\n<\/p>\n
Gary (played by Glen Powell) is a reserved philosophy professor who finds himself posing as a hit man for a sting operation in this Richard Linklater comedy. While in disguise, he falls for one of his clients (Adria Arjona).<\/p>\n
From our review:<\/p>\n
\nIf I see a movie more delightful than \u201cHit Man\u201d this year, I\u2019ll be surprised. It\u2019s the kind of romp people are talking about when they say that \u201cthey don\u2019t make them like they used to\u201d: It\u2019s romantic, sexy, hilarious, satisfying and a genuine star-clinching turn for Glen Powell, who\u2019s been having a moment for about two years now. It\u2019s got the cheeky verve of a 1940s screwball rom-com in a thoroughly contemporary (and slightly racier) package. I\u2019ve seen it twice, and a huge grin plastered itself across my face both times.<\/p>\n<\/blockquote>\n
In theaters<\/em><\/a>. Read the full review.<\/em><\/p>\n
It\u2019s worse than Mondays.<\/h2>\n<\/div>\n<\/div>\n
\n\n\u2018The Garfield Movie\u2019<\/a><\/span><\/h3>\n
The grouchy tabby gets another big-screen adaptation, this time following an unexpected reunion with his father.<\/p>\n<\/div>\n<\/div>\n
\n\nFrom our review:<\/p>\n
\nThe film, directed by Mark Dindal, is an inert adaptation that mostly tries to skate by on its namesake. In other words, it\u2019s a Garfield movie that strangely doesn\u2019t feel as if Garfield as we know him is really there at all. Part of this can be attributed to the voice \u2014 Chris Pratt, an overly spunky casting choice that was doomed from the start \u2014 but there\u2019s also a built-in defect to the very concept of the big-screen Garfield treatment. An animated, animal-centric children\u2019s movie tends to require a narrative structure of action-packed adventure \u2014 the antithesis of Garfield the cat\u2019s raison d\u2019\u00eatre.<\/p>\n<\/blockquote>\n
In theaters. <\/em>Read the full review<\/em><\/a>.<\/em><\/p>\n
An A.I. movie that sticks to the script.<\/h2>\n<\/div>\n<\/div>\n
\n\n\u2018Atlas\u2019<\/a><\/span><\/h3>\n
In this sci-fi thriller, Jennifer Lopez plays Atlas, a data analyst <\/span>with a distaste for artificial intelligence, who must help capture an A.I. robot that wants to destroy humanity.<\/p>\n
From our review:<\/p>\n
\nLopez, who was also a producer on the movie, flings herself into the role with abandon, the kind of performance that\u2019s especially impressive given that she\u2019s largely by herself throughout. \u2026 At times \u201cAtlas\u201d feels like pure pastiche, and it looks, in a fashion we\u2019re getting used to seeing on the streamers, kind of cheap, dark, plasticky and fake, particularly in the big action sequences. Science fiction often earns its place in memory by envisioning something new and startling \u2014 but with \u201cAtlas,\u201d we\u2019ve seen it all before.<\/p>\n<\/blockquote>\n
Watch on Netflix<\/em><\/a>. <\/em>Read the full review<\/em><\/a>. <\/em><\/p>\n
The sorrow and the surreal.<\/h2>\n<\/div>\n<\/div>\n
\n\n\u2018Kidnapped: The Abduction of Edgardo Mortara\u2019<\/a><\/span><\/h3>\n
Based on a true story, this film follows a Jewish child, Edgardo Mortara, in 19th-century Italy who is kidnapped by the papal state and raised as Roman Catholic.<\/p>\n
From our review:<\/p>\n
\nThe director, Marco Bellocchio, anchors the period with a somber visual elegance and employs surreal gestures to tease out the psychological and spiritual aspects of the tragedy. Political cartoons lambasting Pope Pius IX come to life through animation. During an especially sorrowful moment in the boy\u2019s confinement, one of the figures of the crucified Christ in the Roman dormitory for child converts takes leave of his cross with the help of little Edgardo.<\/p>\n<\/blockquote>\n
In theaters. <\/em>Read the full review<\/em><\/a>.<\/em><\/p>\n
Shantay, you stay.<\/h2>\n<\/div>\n<\/div>\n
\n\n\u2018Solo\u2019<\/a><\/span><\/h3>\n
In Montreal, Simon (Th\u00e9odore Pellerin) pursues a career as a drag queen and contends with two thorny relationships: a destructive crush on a fellow performer and a reunion with his absentee mother. <\/span><\/p>\n<\/div>\n<\/div>\n
\n\nFrom our review:<\/p>\n
\n\u201cSolo\u201d is a subtle snapshot into a gay man\u2019s profound yet familiar upheavals. Simon\u2019s drag spectacles may be intentionally fierce and operatic, but there\u2019s something refreshing about this drama\u2019s intimate scale and lack of interest in sweeping tragedies, especially in the context of queer cinema.<\/p>\n<\/blockquote>\n
In theaters. <\/em>Read the full review<\/em><\/a>.<\/em><\/p>\n
Inspirational, not necessarily insightful <\/h2>\n<\/div>\n<\/div>\n
\n\n\u2018Sight\u2019<\/a><\/span><\/h3>\n
A man who endured a traumatic childhood during the Chinese Cultural Revolution becomes a world-renowned eye surgeon in this fictionalized account of the life of Dr. Ming Wang.<\/p>\n
From our review:<\/p>\n
\nAs is the custom with inspirational medical movies, however, the new film \u201cSight,\u201d directed by Andrew Hyatt, leans hard into uplift \u2014 it provides only the narrative-necessary minimum of the science. Wang\u2019s achievement in developing innovative technology is central to one of the stories here, yes. But the dominating narrative is one of personal growth.<\/p>\n<\/blockquote>\n
In theaters. <\/em>Read the full review<\/em><\/a>.<\/em><\/p>\n
Compiled by Kellina Moore.<\/p>\n<\/div>\n<\/div>\n