It’s a feeling most deeply felt in the aching reveal shared by Navorski and Warren. “So what am I seeing,” Warren asks Navorski, having just learned that he is not a delayed business traveler but a man without a country. “Who are you,” she further prods, “Unacceptable?” As Navorski, Hanks is kinetic. He relies on

That was one of the intentional dynamics Wingard wanted to feature. Having helmed 2021’s “Godzilla vs. Kong,” he’s the only director to helm a second installment in the MonsterVerse franchise. “I had a completely different take on this movie than I did the last one,” he told RogerEbert.com via Zoom. “For the first time, we

Olivia Colman plays Edith, a woman still cowering under the control of her parents (Timothy Spall and Gemma Jones). They are Christian, although they don’t seem very happy about it. Poor Edith is forced to write Bible verses over and over when she does something her father doesn’t like. Everything changes when the wild free-spirited

Besson (“The Fifth Element”) often encourages Jones to take big swings in his performance as Doug, a soft-spoken showboat who’s constantly tested and underestimated by a litany of cosmic injustices. Doug’s a sullen martyr with a mood board of singularly endearing underdog qualities—in addition to saving pooches, Doug also loves cosplaying as Edith Piaf—that Besson

Liman did it again with “Mr. & Mrs. Smith,” which was a massive hit, no matter the anxieties he caused the studio. In that L.A. Times piece, Liman didn’t take too kindly to being told that Goldsman had called him a madman, although he did admit, “I’m an unusual person … [but] the movie I

“Do Not Expect…” culminates in a masterfully executed sequence that distills the film’s themes into a single, unbroken shot—ostensibly the raw footage from the PSA—where a poor family is manipulated into undermining their own interests in bleakly funny fashion. The road there is full of small indignities and absurd ironies, peppered with pop-culture references (including

Circular and repetitive at times, Shatner nonetheless expresses himself with all the self-effacing honesty of a troubadour. Sure, his ramblings wander aimlessly in moments, particularly when musing on spirituality and philosophy. He’ll lope from reflections on his childhood, a youth marred with deceased pets and an emotionally unavailable mother, to quoting Chekov’s “The Seagull” when

Director Greg Kwedar and his co-writer Clint Bentley adapted the script from John H. Richardson’s 2005 Esquire article “The Sing-Sing Follies” and added embellishments, many devised by the cast, drawing on their own experiences. It was shot at Sing Sing and in a variety of other locations standing in for Sing Sing, including a decommissioned

That film is David Altrogge’s “Clemente,” a loving ode to one of the most impressive and important athletes of all time. Robert Clemente was the first Latin-American to win an MVP, a World Series MVP, and be inducted into the Baseball Hall of Fame. He shattered the color barrier in a way that still resonates

“Ryuichi Sakamoto: Opus” is an hour and forty minutes of just that: Sakamoto playing. There is no introduction. There are no interviews. Sakamoto does not instruct the director, Neo Sora, on how to play the pool variant “Cutthroat” as Rick Danko did for Martin Scorsese in another farewell concert film, “The Last Waltz.” It’s just