Brian Lowry

Jon Stewart resurfaces with a politically savvy directorial effort, Irresistible, that's a bit too heavy-handed to live up to its title. Delving into the corrosive influence of money on politics, Stewart's second film exhibits passion for its topic and cleverly registers an important point before it's over, but labors too much getting there.

It is, frankly, a lot to absorb — and would risk crumbling under the weight of Lee’s ambition were it not for the second gut punch to the region that BP’s horrifying blunder delivered.

It's also a terrific showcase for star Nicole Beharie.

What sets Bully. Coward. Victim. The Story of Roy Cohn apart is the personal connection for director Ivy Meeropol, the granddaughter of Julius and Ethel Rosenberg.

There's an unintended kick, in the current moment, watching a movie designed to make you want to flee the confines of a house.

Artemis Fowl isn't an unqualified good egg, but it's perfectly adequate, and the best of the kid-friendly movies redirected to streaming by coronavirus -- a low bar, admittedly, after "Trolls World Tour" and "Scoob!"

It's another timely, thought-provoking message from a filmmaker known for them, in a movie that piles so much on its plate as to fall short of Lee's best.

Shirley was clearly intended for the film-festival circuit, offering a narrowly pitched story where it's easy to admire the performances without feeling like the journey adds up to much. While Moss captures the complexity of Shirley's personality, the movie sheds scant light on the underlying why of it all.

The High Note is a breezy way to kill a few hours. Granted, it's more an opening act than a headliner, but that simply makes its digital, on-demand residency feel like the venue where the film rightfully belongs.

Watching Issa Rae and Kumail Nanjiani riff off each other is intermittently fun, but that's all there is to recommend The Lovebirds, a dark, somewhat chaotic romantic comedy.

Granted, Scoob! appears more into recycling than reinvention -- it's more a snack than a meal -- but it does endeavor to make an old concept fresh and cool again in children's eyes. That might answer the question why the movie exists, but based on the results, nothing here merits an exclamation point.

What Spaceship Earth makes clear is that before booking a ticket, the devil is in the details.

The inherent contradiction in Becoming, Netflix's documentary about Michelle Obama, is repeatedly articulated by the former First Lady herself: How can someone reclaim a semblance of a normal life when you are one of the world's most recognizable figures? The latest project under the Obamas' Netflix production deal doesn't fully answer that riddle, but it's an interesting contemplation of the question.

With Hugh Jackman and Allison Janney as a can't-miss combination, Bad Education joins a juicy true story somewhere in the middle, drags before getting into the meat of it, and then rallies solidly in the second half. While smaller in tone and topic than most HBO movies, it's a solid exploration of greed and corruption, where the ultimate hero is, of all things, a teenage journalist.

Far more interested in stunts than story, Extraction is a simple-minded action vehicle for Chris Hemsworth that should benefit from providing a theatrical-style adrenaline rush when the spigot for such fare has closed. Basically, Netflix is serving up an old-fashioned B movie, at a moment when the A-list blockbusters have been postponed.

Slay the Dragon does an extraordinarily good job of taking a complex issue and connecting the dots, which seems particularly appropriate for a documentary about gerrymandering.

The film is alternately funny and heartwarming, but more than anything, eye opening, covering a chapter at best underreported in history books, if not outright overlooked.

Vin Diesel doesn't drive that fast, but he's plenty furious in "Bloodshot," and with good reason. Adapted from a comic book, the movie casts the heavily muscled star as a zombie killing machine, in what amounts to a superhero origin story with more twists than expected, but ultimately a simple-minded excuse for lots and lots of action.

A thinly sketched out, wildly violent satire, one that rather cynically uses the current backdrop of partisan tribalism as the hook for an old-time exploitation piece.

The story chronicles a fascinating moment in the civil rights movement, without yielding quite the returns that it should.

Pixar's enviable track record with original animation is a mixed blessing, creating sky-high expectations for each new movie. Onward, an undeniably emotional and imaginative concept, joins that rich tradition, without reaching the upper rungs of the ladder set by its predecessors.

Moss, whose gift for speaking volumes with purposeful stares is well-documented on "The Handmaid's Tale," perfectly captures the sense of invasion Cecelia feels, and at first, helplessness. Her growing strength, in the face of such an overwhelming threat, is the movie's most empowering element.

The blessings of technology actually undermine the movie in significant, distracting ways.

That seed of potential, however, sails away on a tide of numbing stupidity.

The bottom line is a plot intended to make one consider life's big issues merely reminds us it's too short to sit through movies as muddled as this.

The best thing that "Sonic" has going for it, by leaps and bounds, is the infusion of manic energy that it receives from an unleashed Jim Carrey as the villain, Dr. Robotnik, basically a mad scientist out to capture or kill the little alien. Everything else, though, is a rather tedious slog.

In "Suicide Squad," Margot Robbie's Harley Quinn was the best part of a bad movie. That's true again with Birds of Prey, which moves the Joker's sadistic sidekick front and center, then proceeds to assault the senses in much the way its protagonist wields a baseball bat.

Taylor Swift details the process that lead her to speak out politically in Miss Americana, an uneven documentary that provides behind-the-scenes insight into the singer's upbringing and awakening, while occasionally feeling like the kind of celebrity reality series you might find on E! or Bravo.