Just what is it going to take for Joel and Ethan Coen to end this silly separation of theirs and get back together? An online petition? A generous gift basket? A promise to reconsider the merits of Intolerable Cruelty?

Just how good is Kingsley Ben-Adir as the title character in Bob Marley: One Love? So good that I couldn't make out half of what he was saying.

I wondered how my pals from the '80s might've collectively reacted to director Zelda Williams' and screenwriter Diablo Cody's new horror comedy had it actually been released in the year of its 1989 setting. My guess is we would've thought that it was pretty lame but had some decent laughs; that Heathers and Beetlejuice did the same sort of thing much better; and that the movie was only worth our time because we got to see it for free.

I now have to watch The Zone of Interest again – and maybe again and again. It may be too massive for only one viewing. As I've learned, it certainly appears too massive for one viewing without a dialogue afterward

The rare intellectual exercise that's also an emotional gut punch, writer/director Ava DuVernay's Origin delivers its most emblematic sequence toward the end of its 140 minutes, when all of the movie's many varied themes seem to intertwine in a heartrending, enraging true tale about a little boy and a swimming pool.

I.S.S. is exactly what an edgy, professionally rendered January debut should be: 90 minutes long. Is it good? Yes. Is it great? No. Is there any reason to complain about that? Hell, no.

If you liked the 2004 version, you almost can't help but enjoy this latest one, because it's the same movie, albeit with songs.

It arrived a few days late, but the undisputed movie tearjerker of 2023 finally landed in '24 with Thursday's Netflix debut of Society of the Snow, writer/director J.A. Bayona's foreign-language survival thriller about the 1972 Uruguayan Air Force Flight 571 disaster.

In its new musical incarnation, The Color Purple isn't a very good movie. But I'm not sure how much that matters.

I didn't “attend” the first film in my three-day sextuple feature so much as “plop my ass on the couch and watch” it. And for the first hour-or-so of director/writer/producer/star Bradley Cooper's Maestro, which started streaming on Netflix this past Wednesday, I couldn't imagine wanting to be anywhere else.

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