Petra Costa’s documentary “Apocalypse in the Tropics” — which not only details Bolsonaro’s rise and fall but how democracies can be subverted and dismantled — is pretty timely.

Superman is a mess, but it’s a colorful one. It’s either a terrible superhero movie or an OK parody, take your pick.

The depth of [Thorne's] characters, brought to life by a terrific cast, and tactile world building are what set 40 Acres apart. The setting feels authentic; you could imagine yourself living on this farm with this family.

While the original was serious, Old Guard 2 is merely forlorn. Its story holds little interest and, to make matters worse, it doesn’t even end. Instead, it stops mid-story, promising a sequel that feels less like a promise than a threat.

Barbara Walters Tell Me Everything begins as a fawning “greatest hits” collection. Then, in the second half, it deepens.

Despite traversing such a familiar track, “F1” delivers something made expressly for the big screen experience. What keeps it from being purely the kind of “theme park” Martin Scorsese demeaned in his criticism of Marvel movies is the Pitt of it all; fortunately for “F1,” it’s always Sonny on the human side.

All that said, this movie is likely review-proof. The franchise is doing just fine without critical approval. This one is less of a slog, but there is precious little interesting or new in Jurassic World Rebirth. It’ll likely earn a billion dollars anyway.

There are painful moments in “Marlee Matlin: Not Alone Anymore,” and there are triumphs. But mostly, it is a film of grace and acceptance — a necessary portrait of a groundbreaking artist.

In 1925, Charlie Chaplin released "The Gold Rush," his best film to date and one of the best he would ever make - or anyone would ever make.

Whereas “Weeks,” made without Boyle’s and Garland’s involvement, felt like a rehash with poorly motivated actions, “Years” is carefully thought out and would be vibrant filmmaking even without the previous material.

Directed by the Oscar-winning Domee Shi (“Turning Red”), Alameda native Madeline Sharafian and Adrian Molina (“Coco”), the visually appealing “Elio” moves confidently and delicately handles themes of isolation, grief, family strife and friendship.

Utilizing plentiful archival footage, contemporary commentary, recent interview observations from people who were there and some dramatized recreation, director Cristina Costantini gets some sly laughs, edged with appropriate anger, out of the sexist mindsets Ride deftly steered her career through in the 1970s and ’80s.

The new version excels because it makes its teenage protagonist deeper and more mature — and its monsters extra frightening.

The Unholy Trinity is a passable, 95-minute diversion, but an unremarkable one.

Sweeney gives the movie its extra spark, its sense of occasion.

Marketed as a romantic comedy, “Materialists” is a sharper, more thoughtful film than its genre would suggest. This is a story about perceived value and what its pursuit costs its characters — emotionally, physically and materially.

Killer of Killers continues the concept co-director Dan Trachtenberg applied to his 2022 live-action “Prey,” only with the more elaborate action, wider scope and graceful, graphic kineticism animation can accommodate.

Despite moments of unintentional humor, “The Ritual” has an appealing gravity about it, which probably derives from its adherence to the historical record.

The most lethal weapon is de Armas herself. She twirls through “Ballerina” with a bone-crunching tenacity. Her and the stunt team more than earned their pay with every kick, chop, punch and glass-smashing body hurl.

Neither too “oy vey” nor “Weekend at Bernie’s” but steeped in the best aspects of both Jewish and black comedy, Bad Shabbos is a treat any night of the week.

“Stories of Surrender” makes no pretense of telling the full Bono story. But it picks its spots with artful precision and with keen cinematic instincts.

As suspense thrillers go, “Dangerous Animals” is as uncompromising as it gets. It doesn’t aspire to much, but it’s well-acted and well-written, looks great and full of surprises.

The fighting in the “Karate Kid” movies and its Netflix series offshoot, “Cobra Kai,” has always been quality, but in “Legends” it’s too quick-cutting and chaotic, hard to follow and over much too quickly.

The movie goes to Vienna, to Egypt and to Italy and was probably more fun to make than watch.

The formula persists two centuries after Austen perfected it because it’s aspirational and satisfying at the same time: We want it to wreck our own lives, too. It’s durable precisely because it’s pliable, offering storytellers a template in which to explore their own era’s mores and ideals, questions and anxieties.

If there’s hope in these films, it’s in a reestablishment of human connection. As father and daughter, Del Toro and Threapleton (daughter of Kate Winslet), establish real chemistry as people willing to change for the better.

Bring Her Back belongs in the trapped-in-a-house subgenre of horror, but it has a creepy psychological depth and is filled with disturbing but impressively composed images. It really gets under your skin.

Male loneliness and insecurity is a thing and the subject of much discussion in media. For me, though, there’s only so much cringe you can binge.