It’s no easy task to find a fresh way to approach a familiar face, but D’Apolito does a wonderful job ushering us through the highs and lows of Gilda Radner’s life.

Ultimately, Sorry to Bother You does what every great first film should: it heralds the arrival of an exciting new talent and generates enthusiasm for what’s going to be in that second feature.

The result, as directed by the promising Jeremiah Zagar (“We The Animals”), is an agreeable combination drill of humor, hurt, on-court action and redemptive uplift that’s closer to simply being a solidly inspiring sports movie than anything notably representative of the Sandler oeuvre.

Villeneuve’s Dune is both dazzling and frustrating, often spectacular and often slow. It’s huge and loud and impressive but it can also be humorless and bleak – though on the whole, it tries valiantly to address the problems of taking on Herbert’s complex epic.

The Survivor needs to be an unpleasant movie to watch, because you don’t want to simply use Nazi atrocities to advance the plot. So Levinson doles them out, makes them shock and then ties them into the postwar Haft standing in a ring and enduring merciless beatings.

For those already invested in the “Dune” franchise, “Dune: Part Two” is a sweeping and engaging continuation that will make you eager for a third installment. And if you were a fence-sitter on the first, this should also hold your attention with a taut, well-done script and engaging characters with whom you’ll want to spend nearly three hours.

As long as Odenkirk’s grumpy sheriff has his coffee and mustache intact, he is the key to finding the perfect balance. No matter how many blows the film and he take, the joy in seeing him swing freely makes it all good, family fun.

Bad Boys: Ride or Die shows that not only is there still life in this series, but as long as it stars Smith and Lawrence with skilled directors like Adil & Bilall, you could have Lowrey and Burnett wheeling themselves around the old folks’ home and have a blast.

Within the first few minutes of Athena, it’s clear this is propulsive filmmaking with thematic substance.

Memorable acting, striking cinematography, and a provocative examination of the nexus between entertainment and media and politics — that’s part of what’s kept the legend of “Citizen Kane” alive for decades, and it’s enough to make Mank necessary, if not entirely fulfilling, viewing for film lovers.

The Hateful Eight may frustrate some of his more literally sanguine supporters, but it’s nonetheless an entertaining piece of dialogue-driven theater — with the occasional rifle-shot to the head.

Amanda Knox delivers its own justice by covering all the complexities of its ever-fascinating true crime tale.

While Grappe ultimately finds an ending that’s a bit pat, the power of the Ukrainian spirit comes through beautifully, underscoring the stakes of what is, and always will be, at hand for the country, now more than ever: identity, safety, and freedom.

There should be more Crimmins performance footage and fewer interviews that only reiterate points already made several times. Crimmins is preaching to the choir, and the film, while fascinating and inspiring, is at least a half-hour longer than it has story to tell.

Miss Stevens bears a maturity and genuineness that thankfully feels miles apart from the inspirational assembly line of Hollywood product.

This is a big, broad action movie, so director Ilya Naishuller isn’t trying to be particularly subtle by implying that just as Will and Sam must work through their differences, so too must the global community.

The scale in which Fukada works — as both writer and director — is so deliberately intimate that immense experiences feel microcosmic, while tiny moments make a huge impact.

It’s not impossible to give audiences both a puzzle-box narrative and an exploration of life choices and what it means to be human, but the balance just doesn’t play here.

The characters may cut into the cinematic canvas with a knife, smother it with glue, and just generally wreck it, but they can’t destroy what Soderbergh has achieved.

It’s not just "Netflix holiday rom-com good." It’s actually very, very good.

It’s a movie about cool people looking and acting cool, for the enjoyment of the (probably uncool) people in the audience. They call it ‘star power’ because it dazzles.

Director McAvoy is skilled at honing in on the details, never wavering in his ambition to tell a small tale about friendship, its pitfalls, and the lies that result in hurting others.

As with all of Shelton’s improv-inspired movies, the plot offers plenty of interest but the personalities provide the purpose.

It is a spare and yet unsparing film, and a bold artistic statement from an emerging filmmaker.

An unexpectedly romantic movie coming from the 'Sinister' and 'The Black Phone' director, but it’s also a gnarly monster flick with memorable beasties galore.

Any time a logical explanation (or even an illogical one) seems imminent, Lanthimos pulls the rug out from under his audience’s expectations.

Zombieland: Double Tap continues the original’s cheeky tone and irreverent humor, while it also acknowledges that it’s a series a little out of place and time with the current political age. But if all you’re looking for is “Shaun of the Dead,” but American, then this is the movie for you.

While Widows can be powerful and dramatic, the director doesn’t seem all that interested in the complicated heist that is theoretically driving the plot.