Odie Henderson

The summer season rarely has room for a nice, adult comedy like You Hurt My Feelings. It is counter-programming of the finest order and one of the year’s best films.

I admire Maniscalco’s decision to make his character the butt of the jokes, literally and figuratively. If only the jokes were funny. He has zero romantic chemistry with Bibb, who appears to be acting in another movie entirely, but he and De Niro make a credible father and son.

As for The Little Mermaid, it’s one of Disney’s better remakes. But don’t throw away your DVD of the original.

Master Gardener is the third film in writer-director Paul Schrader’s redemption trilogy. The series includes 2017′s “First Reformed,” which is good, and 2021′s “The Card Counter,” which is not. Unfortunately, the trilogy ends with its worst entry, an excruciatingly slow white-savior narrative that aims to provoke yet does nothing but bore.

Fast X is watchable, and its car chases are often exciting, but it’s not as satisfying as the best F&F movies (“Fast and Furious 6,” “Furious 7,″ and the extremely ridiculous “F9″). Part of the problem is Dante.

Imagine my surprise when I discovered that Book Club: The Next Chapter was not only watchable but occasionally amusing.

What stands out in Still: A Michael J. Fox Movie is the candor and determination of its subject. Moments with his four adult children and wife are beautifully captured, and Fox pulls no punches in his responses to Guggenheim’s occasionally tough questions. The result is a worthwhile, inspirational, and very watchable documentary.

Admittedly, Carmen is an acquired taste. But if you’re in the mood for something that will stun your senses, I highly recommended it.

Unlike the first two installments, Guardians of the Galaxy Vol. 3 ultimately feels tethered to the MCU in ways that mute the uniqueness of the series. Unlike its predecessors, its familiar beats feel like a bridge back to the MCU rather than a divergence off the beaten path.

Fremon Craig has made a completely satisfying crowd pleaser full of first-rate performances.

Polite Society is a tale of smashing the patriarchy through martial arts and a bit of science fiction, featuring gorgeously shot scenes of action, comedy, and outright terror.

Though it occasionally pulls its punches, the blows Chevalier does land sting and leave a mark.

By the end of this extremely entertaining and informative documentary, the one thing you will come away with is that Little Richard always presented himself the way he wanted us to see him. And, yes, he was indeed as influential as he always said he was.

While Mafia Mamma fails as a comedy, it succeeds in delivering the graphically violent moments one expects from a movie about the Mafia.

Paint is so haphazardly thrown together it’s painful to watch.

The best I can say for The Super Mario Bros. Movie is that it’s infinitely better than its predecessor. But you don’t need a power-up to clear that bar.

As a star-studded (and highly fictionalized) history lesson, Air is massively entertaining and one of the best films of 2023 so far. It also works as a nostalgia piece for people like me who, in their youth, lusted after the pricey footwear.

A more fleshed-out character might have grounded a last act burdened by an unconvincing plot twist, an odd moment of wish-fulfillment, and an over-reliance on the clichés that befall Black people in urban-set films.

The screenplay, by directors Jonathan Goldstein and John Francis Daley and co-writer Michael Gilio, tries to evoke the feeling that “D&D: HAT” is being written on the fly as the movie unfolds. While their attempt is valiant, it takes away from the task of creating a world that we’ll want to revisit or see again (you know there will be sequels).

If nothing else, Braff gets good to great performances out of his cast. The standouts are Pugh and Freeman: She’s a violent slash of petulance, while he remains a master of barely concealed wrath. Both actors are willing to plumb the depths of desperation, but their hard work is wasted in a film unworthy of their talents. A Good Person is a mediocre movie.

Each installment saw an increase in runtime, and “Chapter 4″ clocks in at a massive 169 minutes. Not one second of it is wasted; this is wall-to-wall carnage of the finest, most entertaining order.

It’s a worthwhile alternative to the comic-book movie opening this week, provided you’re open to a dark comedy that teeters precariously on the edge of the abyss.

When Boston Strangler focuses on the two journalists who wrote about this case, it is quite involving.

Champions wants to be a clone of the 1976 sports movie classic “The Bad News Bears,” right down to giving us a Tatum O’Neal-style toughie, Cosentino (Madison Tevlin). While Tevlin is very funny and convincing, Harrelson fails to plumb the depths of unlikability in his character that Walter Matthau brought to Coach Buttermaker.

The scariest thing about Scream VI isn’t seeing someone get knifed in the face 600 times; it’s this movie’s absurdly inaccurate depiction of New York City.

Throughout the eight years covered by writer-director Davy Chou’s latest, Return to Seoul, Freddie will alienate the people around her and, by extension, the viewer.

Told from the perspective of its 9-year old protagonist, Cáit (Catherine Clinch), writer-director Colm Bairéad’s adaptation of Claire Keegan’s 2010 novella, “Foster” is as beautiful as it is devastating.

The backstory between Donny and Dame is too heavy and complex for a movie that aims to be a crowd-pleaser, but Majors and Jordan do their best to balance the material.