Netflix documentary series “Bobby Kennedy for President” offers only a two-dimensional portrait of the slain presidential candidate on screen.
There’s really no point to “Action Point” (Paramount). This chaotic, poorly crafted comedy — a star vehicle for Johnny Knoxville of “Jackass” infamy — amounts to little more than an endless succession of painful, supposedly amusing, pratfalls.
A cinematic grand slam of sorts happened to Graciela Rodriguez Gilio, whose maiden voyage in the film world, “Beyond the Sun,” was screened at the Vatican last year with Pope Francis in attendance.
With its brief but excessively graphic scenes of bloodletting, the otherwise mildly interesting sci-fi thriller “Upgrade” (BH Tilt) skirts the outer boundaries of moral acceptability.
Before he grew up to be Harrison Ford, intergalactic freebooter Han Solo was Alden Ehrenreich — or so at least the folks behind “Solo: A Star Wars Story” (Disney) would have you believe.
Though it goes heavy on the slapstick, “Show Dogs” (Global Road) is, overall, an amiably lightweight comedy.
“Can we please stop saying sex?” a character asks in the ensemble romantic comedy “Book Club” (Paramount). The answer, in a word, is no.
“First Reformed” (A24) has quite a bit to say about religious belief, environmentalism, grieving, alienation, rage, the power of love and the corruption of religion by money and power.
“Life of the Party” (Warner Bros.) turns out to be an especially poor choice of title for a campus-set comedy that is, essentially, lifeless. Flat and boring, the film also winks at — though it doesn’t display — extracurricular bedroom activities.
Don’t mess with Mom; that’s the message of the less-than-credible and excessively violent thriller “Breaking In” (Universal). As it strains its tenuous premise, the film approaches a conclusion calculated to appeal to viewers’ worst instincts.