The indie drama “Magic Hour” (Greenwich Entertainment) was directed by Katie Aselton, who also co-wrote the screenplay (with husband Mark Duplass) and stars in the movie. Aselton plays Erin, who is married to Charlie (Daveed Diggs). Our first glimpses of the couple present a portrait of a playful pair, seemingly happily married, who are trying to conceive.

There’s something almost impossible to explain about the way "The Mandalorian" and Grogu found their way into so many of our lives. Maybe it’s because, at its core, it never felt like a story about space battles or lightsabers. It felt like a story about finding someone in a broken world and deciding, somehow, to keep protecting each other anyway.

Bradley Cooper received a couple of Oscar nominations for the 2024 biopic “Maestro,” in which he starred as the late Leonard Bernstein, in addition to directing and co-writing the screenplay. “Maestro” didn’t avoid the subject of Bernstein’s queerness, but it felt like a secondary subject.

Brother and sister Raymond (Brandon Soo Hoo) and Coco (Andie Ju) have brought shame on their family in the past. He got thrown out of Duke, and she dropped out of art school. But those things will pale in comparison with the high-stakes criminal activity in which they become involved in Jing Ai Ng’s feature-length debut “Forge” (Utopia).

As unnecessary sequels go, “The Devil Wears Prada 2” (20th Century Studios) earns a well-deserved place near the top of the list. Where the original, released 20 (!) years ago, had iconic lines (“That is all.”) and portrayals (Meryl Streep should have won an Oscar for her performance, as opposed to the undeserved one she received for the abysmal “The Iron Lady”), the sequel is lacking.

It’s incredible to think that it took this long for Michael Jackson, the late “King of Pop” who died two months shy of his 51st birthday in 2009, to be the subject of a big-screen biopic (in IMAX, no less). Unfortunately, the mono-monikered “Michael” (Universal/Lionsgate), directed by Antoine Fuqua, with a screenplay by gay writer John Logan, comes off as nothing more than a glorified Lifetime movie.