Here’s our roundup.

“Girl You Know It’s True”: One of the biggest music scandals to rock the industry came in the shocking reveal that the two lead singers of the late ‘80s/early ‘90s pop group Milli Vanilli lip-synched all their songs, never singing one friggin’ note. That confession further tarnished the rep of the Grammys, which anointed the duo with its best new artist trophy, an honor later revoked. Director/screenwriter Simon Verhoeven’s entertaining biopic looks at how greed and fame fueled the calculated, infamous rise of the German group made up of two attractive Munich club dancers, the late Robert Pilatus (Tijan Njie) and Fab Morvan (Elan Ben Ali). Framed as sort of a rags to excessive riches story and as a well-deserved slap to the two-faced music industry, “Girl You Know It’s True” is executive produced by many involved in this public hoodwinking. But while that gives you pause the resulting film doesn’t let either singer off the hook — showing how they became drug-snorting, bed hopping divas that demanded sushi (and flew into a rage if they didn’t get it) along with one red Ferrari. But it is sympathetic to their plight as well, showing how they, like so many pre-packaged performers (cooked up in this case by producer Frank Farian — played well by Matthias Schweighöfer in a Spicoli-like wig) were lucrative puppets in a hit-making machine that celebrates bouncy tunes and hot looks over actual singing talent. “Girl You Know It’s True” doesn’t always work (the fourth-wall breaking narration hits a false note and the industry skewering and racist reactions to the two could have been even more pointed) but even at 2 hours, this one is as catchy as, well, a Milli Vanilli song. Details: 3 stars out of 4; available to rent and stream Aug. 9.

“Twilight of The Warriors: Walled In”: A few decades back, martial arts movies were supremely popular, side-kicking their way into American theaters and onto VHS and DVD. Today, the deluge has turned into more of a trickle. Director Soi Cheang throws it back to that heyday with this seamlessly edited, action-stuffed Hong Kong epic that’s visually arresting and massively exciting. Already a huge hit in Hong Kong, it’s a summer find that lands in theaters this week. it sets itself in Kowloon Walled City, a decaying, large-scale Hong Kong slum where a refugee named Chan Lok-kwan (the lithe, acrobatic Raymond Lam) lands after being hoodwinked by triad leader Mr. Big (martial arts superstar Sammo Hung) over an ID card. Lok-kwan jets off with a bag of Mr. Big’s blow and catches the eye of Cyclone (Louis Koo), a barber/gangster with cred and connections to a decades-old grudge match. Cyclone gets him a job and sets him on a path for a new life. The plot gets far more tangled than that and draws in past vendettas and secret legacies. It serves as a bouncy functional diving off point into a pool of tightly choreographed brawls that are guaranteed to make you blurt out “ow, ouch.” They’re spectacular, vigorous sequences in what’s a very stylized production (the underworld look is incredible to behold) that rockets to a massive showdown that might just make you applaud in your seats. See it on the big screen. Details: 3½ stars; in theaters Aug. 9.

“The Last Front”: These days, a good, old-fashioned World War I-set thriller can be hard to come by. Director/screenwriter Julien Hayet-Kerknawi comes to the rescue with this intense, visually striking first feature that feels an awful like a Western. Rather than tell a soldier’s story (a staple of this genre), he focuses on the Lamberts, a Belgian farm family. Grieving widower Leonard Lambert (“Game of Thrones” Iain Glen) reluctantly leads the charge against the Germans as they advance on his farm where he lives quietly with his dreamy son and uptight daughter. An unfortunate encounter with the drunken, rage-fueled lieutenant Laurentz (Joe Anderson, in full-blown hissable mode) thrusts Leonard into helping all villagers as his grief turns into fury. “The Last Front” does grab you but it isn’t subtle by any means — even when it depicts artful scenes in nature as a sharp contrast to the blood men spill in battle. But it’s done with such conviction and passion, you won’t mind. Details: 3 stars; in select theaters Aug. 9.

“This Closeness”: A quick trip to Philadelphia for a high school reunion leads an attractive but seriously self-absorbed Gen-Z couple, Tessa and Ben (Kit Zauhar and Zane Pais) to rent a sliver of a room in an apartment. Their host (Ian Edlund) turns out to be introverted and socially awkward, traits that both annoy and fascinate this couple stuck in a rut. Zauhar is also writer and director here, and her very funny, squirmable sophomore feature gazes at how we wall ourselves off from each other even when we happen to be together. During Tessa and Ben’s brief stay, jealousies, hookups, slights and arguments happen and point to personality fractures in all parties involved. Zauhar is a dexterous actor and an astute observer of frayed, worn-down relationships and how they come loaded with baggage that tends to get unloaded in an unhealthy way. Her bit involving the hot-and-cold frustration over a malfunctioning air conditioner is ingenious, and serves as a perfect metaphor for her bickering couple. She’s the real deal, and I can’t wait to see what the New York-based filmmaker comes up with next. Details: 3 stars; available to watch for free on MUBI.

“Starve Acre”:  A few years back, A24 gobsmacked us with one of the strangest Icelandic folk horror yarns ever. It was about a cute but unsettling half-human lamb. If you thought that one — called simply “Lamb” — was weird, just wait till you get a load of director/screenwriter Daniel Kokotajlo’s ‘70s-set brain messer featuring an ominous bunny. It’s beyond weird, and I mean that as a compliment. Matt Smith and Morfydd Clark star as a none-too-happy British couple living on his family’s rugged, isolated land — rooted in a nasty bit of back history — way out in the country. When their boy starts doing odd “Omen”-esque acts, they begin to worry — for good reason. Then the unexpected happens, shifting the entire film. Based on a novel by Andrew Michael Hurley, “Starve Acre” is bizarre from start to bloody finish. If you like literal-minded, meat-and-potatoes horror films, avoid it. But if you dig moody oddities with a dash of humor and a Gothic look that puts you ill at ease throughout, grab it. Details: 3 stars; available to rent on multiple platforms.

“The Abandon”: If funds and time are tight, it’s never wise for a filmmaker to shoot at a variety of locations. It’ll only create more headaches. Director Jason Satterlund and screenwriter Dwain Worrell wisely keep most of their action contained to the inner walls of a strange cube where wounded soldier Miles Willis finds himself trapped. A claustrophobic story such as this one relies heavily on ingenuity and good acting to make you care. The ever-game Jonathan Rosenthal does just that. His performance is a very physical one since he gets battered about while the cube starts to slowly close in on him. Miles isn’t alone, though, and communicates with another (Tamara Perry) without ever seeing her. She, too, is stuck for no apparent reason. Questions, suspicions and surprises swirl about as each tries to figure out if they can trust the other. “The Abandon” succeeds on a variety of levels, as a taut survival thriller, a kicky sci-fi film and an emotional drama (I was surprised how this one got to me at times). It also hits you with a “what the hell” finale that swings open the door for a sequel. Bring it on. And the meantime, let’s hope Rosenthal and Satterlund get the notice they deserve. Details: 3 stars, available now to rent.

“Detained”: In this over-the-top but satisfying neo-noir that cribs heavily from “The Usual Suspects” playbook, a disoriented hit-and-run suspect Rebecca (Abbie Cornish) finds herself relentlessly interrogated by two badgering detectives (Laz Alonso and Moon Bloodgood) over a crime she can’t remember committing. Did Rebecca really mow someone over? Or is she just being framed? Director and co-screenwriter Felipe Mucci keeps us guessing throughout in this implausible, unhinged shocker that’s recklessly enjoyable and well-acted. Beware, though, it does go overboard with a couple of “surprise” reveals. Those can be easily forgiven since this is a finely tuned ride ideal for toss-the-brain-aside weekend consumption. Details: 2½ stars; available to rent now.

“Duchess”: Clunky,  junky and devoid of any nutritional value, director/co-screenwriter Neil Marshall’s inept crime thriller wants to meld a Guy Ritchie caper with a Jackie Collins novel, and it winds failing at both. Charlotte Kirk stars as a brash London pickpocket who falls for a hot guy (Philip Winchester) involved in illicit activities, including diamond trafficking. Kirk’s character Scarlett/Duchess provides lackluster voice-over narration in a derivative bore that jets back and forth to the Canary Islands and London. The blah fight scenes get pointlessly gory and the romance is a yawner  It’s a star vehicle for Kirk who isn’t able to convince us why we want to spend any time with Duchess. The camera certainly cozies up to her, worshiping her body to excessive levels. It’s hard to imagine that this came from the same filmmaker who gave us “The Descent.” Details: 1 star; available to rent Aug. 9.

Contact Randy Myers at soitsrandy@gmail.com.

We have thoughts on that as well as about some indie films you need to check out, including “The Beast Within,” “Fresh Kills” and the documentary “Eno.”

Here’s our roundup.

“Deadpool & Wolverine”: What a bummer it’s been with the Marvel Cinematic Universe spinning out of control (“Ant-Man and the Wasp: Quantumania” and “The Marvels” were DOA), with even diehard fans suffering from superhero burnout. The elixir to all the multiverse burnout arrives in the costumed form of this rude, raunchy and hard-R-rated Marvel resurrection of sorts. Director and co-screenwriter Shawn Levy’s MCU bad-boy matchup pits profane wisecracker Deadpool with brooding worrywart Wolverine, and resuscitates the gasping and splintered MCU. The reason it works that it has the right people attached – from stars Ryan Reynolds and Hugh Jackman and on to Levy — who tones down the nauseating overuse of CGI that’s marred recent efforts and leans heavily into an irreverent midlife/existential crisis storyline concocted by a team of five (including Reynolds), which liberally ribs almost everything attached to it (20th Century Studios, Disney, “Gossip Girl,” Blake Lively, “Furiosa,” “The Proposal,” Jackman’s divorce and so on). The cameos — none of which should be revealed — pump things up even more so, to the approximate size of that eighth wonder of the world, Jackman’s biceps. (Impressive, Hugh. Impressive). Meanwhile, Emma Corrin gives one wicked turn as supervillain Cassandra Nova, the mind-manipulating twin sis of “X-Men’s” Charles Xavier. After Deadpool teams up with Wolverine (Why? I won’t tell you), the bickering duo are jettisoned off to the Void — a “Mad Max”-like post-apocalyptic junkyard where dead timelines waste away. Nova is the ruler there, and she loves control in every form, setting the stage for mayhem.

“Deadpool & Wolverine” throws a lot at us — including the awesome, over-the-top violent choreographed fights set to pop songs, and even the extra-juicy bit tagged on at the end  credits — and nearly all of it works. But what makes “Deadpool & Wolverine” the best Deadpool movie yet and the second best “Wolverine” film (James Mangold’s “Logan” still stands tallest) is how the union of two of the edgiest superheroes tempers the tendencies of each other, serving as a needed buffer between Deadpool’s barrage of double entendres and fourth-wall breaking asides and Wolverine’s relentless, gloomy tendency to beat himself up over and over again about past mistakes. United, they’re better and create something more sustainable and less monotonous, a game changer — if you will — that contributes in making “Deadpool & Wolverine”  one of the best, most satisfying and certainly adult roller-coaster rides of this summer. Details: 3½ stars out of 4; in theaters July 26 (with a scattering of screenings July 25).

“Fresh Kills”: Actor Jennifer Esposito hits the target with her electrifying directorial debut that reinvents and reinvigorates worn-out mobster tropes. Esposito co-stars as an ‘80s-’90s Staten Island mob wife/mom shouldering domestic duties and raising two close sisters (Emily Bader from Prime Video’s “My Lady Jane” and Odessa A’zion) while hubby profits from crime and murder. Esposito’s grasp of her multi-dimensional characters, their problems and the era in which they live, is dead-on perfect. Better yet, she gives us a rich portrait of what it’s like to be a girl and then a woman brought up in the shady, violent, macho world of Mafia madness. Sadly, after the film’s successful screening during the 2023 version of Cinequest, it never received a release in the Bay Area. Now you can rent this dynamite film. Details: 3½ stars; available on Fandango at Home, Amazon Prime, Apple TV+, Google Play and more..

“The Beast Within”: Alexander J. Farrell’s Gothic tale conjures a visually intoxicating world that’s both dark and thematically unsettling in unexpected ways. Drawing on “Beauty and the Beast,” even “Little Red Riding Hood,” this bold narrative debut takes a huge swing in its critical, closing minutes and it works — extremely well. Kit Harington of “Game of Thrones” gives a high-wire performance as Noah, a cursed dad from an indeterminate era living with a hyper-alert family deep in the U.K.’s remote woods. Noah is a gregarious, handsome guy, but on occasion needs to get chained up when a bad moon rises. His wife (Ashleigh Cummings) and her father (James Cosmo) do everything to ensure Noah will do no harm to 10-year-old Willow (Caoillinn Springall, handling a tough role with ease). “The Beast Within” is a supernaturally laced thriller, but seems as if came from a painful, dark personal place where the horrors are human and the wounds remain open forever. Details: 3 stars; in theaters July 26.

“Eno”: Often, documentaries about creative types gush about their subject. Not so, Gary Hustwit’s revolutionary mindblower about musician/producer Brian Eno and his hyperkinetic creative process. While David Byrne of the Talking Heads — a group the former Roxy Music member produced — weighs in, Hustwit’s approach avoids the use of talking heads and favors emulating the organic, free-flowing process of creating something changeable — akin to musical performances. This “generative” documentary is continually fluid and changes from one screening to the next. What could have been a confounding mess morphs into a brilliant plunge into the creative process of the tech-savvy Eno and what inspires the the influential artist (he loves nature) and how he allows the work he’s conceived grow up, move out and become its own vibrant entity. “Eno.” is intellectually stimulating, cinematically exciting and truly unique. Details: 4 stars; opens July 26 for a seven-day engagement at the Roxie, with each screening being different than the other.

“The Commandant’s Shadow”: Two families — one whose matriarch survived Auschwitz and the other that includes the elderly son of the commandant (Rodolph Hoss) that oversaw the extermination of more than a million Jews — get their stories told in Daniela Voker’s extraordinary look at the legacy of evil and how unfathomable acts continue to scar ensuing generations. Anyone who saw Jonathan Glazer’s award-winning “The Zone of Interest” will spot how that 2023 film so eerily replicated the Hoss family house featured here, which sat next door to a relentless killing machine. Voker bookends interviews with family members — some who remain in denial of who their father really was — with clips of Hoss’ trial, recollections from his autobiography and photos. Its most powerful moments occur when 87-year-old Hans Jurgen Hoss confronts the scope and scale of the extermination and realizes that his memories of how idyllic his childhood are faulty. Details: 3½ stars; available now on Max.

“Dirty Pop: The Boy Band Scam”: Fans of The Backstreet Boys and NSYNC will want to watch Netflix’s spill-the-tea three-part series on Lou Pearlman, and how the boy-band wiz built an empire out bad money culled from the longest running U.S. Ponzi scheme. “Dirty Pop” dusts in performance footage but it’s the voices of those who knew or worked with Pearlman (sorry, no Justin Timberlake) that fuel it. Fine tells the story well, except when he dumps in video of Pearlman and doctors it up so it appears the late businessman’s reading (a voice actor is used) excerpts from a book he co-authored. Even though “Dirty Pop” reveals upfront this is manipulated, its weirdness backfires and distracts from the story itself. Details: 2½ stars; drops July 24 on Netflix.

“The Fabulous Four”: There’s nothing wrong about wanting to make a goofy comedy about four 60ish/70ish female chums reuniting for a wedding in Key West. But there’s really not much right about “The Fabulous Four,” a predictable slog built around wah-wah jokes, lame situations and an incredibly horrendous bit of lip syncing from Michael Bolton. The cast — Bette Midler, Susan Sarandon, Megan Mullally and Sheryl Lee Ralph – deserve better, and the beginning promises there will be one doozy of a cat fight since Sarandon’s workaholic, cat-lady Dr. Lousie Zebarski and Midler’s social-media addict Marilyn have been estranged for years over a dating kerfuffle. But the tired-out screenplay from Ann Marie-Allison and Jenna Milley even botches that gimme near the end. An obligatory song-and-dance number at the end comes feels tacked on, as if someone saw “Mama Mia!” and said bingo – let’s replicate that box-office crowd pleaser. Made me want to rewatch “Grace and Frankie” instead. Details: 1½ stars; in theaters July 26.

“The Girl in the Pool”: Freddie Prinze Jr.’s growing-more-desperate performance as a cheating family man who stuffs his murdered mistress’ bloody body into a pool storage bin minutes before his surprise birthday party gets sprung keeps this dark comedic thriller afloat. What manages to sink it happens when the screenplay takes a radical tonal shift that doesn’t produce the emotional punch it thinks it’s earned. For the first two thirds, “The Girl in the Pool” leans into genre inclinations and gives us loads of suspects: a drunken, flirtatious invitee who paws at Tom’s (Prinze Jr.) and his angry wife Kirsten’s (Monica Potter) model-looking son; a suspicious father-in-law (Kevin Pollak) and so on. The red herrings don’t net much of anything, except making us realize that Prinze Jr. and Potter (seen together in the 2001 rom-com “Head Over Heels”) deserve better than this. Details: 2 stars; opens July 26 in theaters and also available to rent.

Contact Randy Myers at soitsrandy@gmail.com.

We’ll address that and take a look at Netflix’s unbeatable standalone series “Eric,” with Benedict Cumberbatch, and “Ezra,” a family drama that deals authentically with autism.

We also review a Beach Boys documentary and a shocking epic about a Jewish child’s kidnapping that’s tied to the Vatican.

Here’s our roundup.

“In a Violent Nature”: A primordial evil rises from the backwoods muck in northern Ontario and goes on a killing spree — garroting, beheading and dismembering unlucky park campers, one of whom snatched a coveted family heirloom that he wants back. Anyone unfortunate enough to cross bloody paths with Johnny (Ry Barrett, not uttering one coherent line of dialogue) most likely won’t witness a new dawn. Fueled by a rage festering over a decades-old injustice, Johnny dons a freaky old-time firefighter’s mask and cuts quite the memorable slasher figure — the subject of many scary campfire stories, one of which gets shared amongst unsuspecting victims in Chris Nash’s slasher debut.

This bracing, ultraviolent genre entry trumpets the arrival of a brash filmmaker whose bold vision alternates between caressable shots in nature to emotionally detached scenes of extreme, inventive carnage — disturbing sequences that will test the mettle of the most serious horror hound. Should graphic macabre deaths not be your thing, this is not your film. (It’s unrated for a reason).

Nash’s film won raves at Sundance where it debuted, but it doesn’t reinvent the genre so much as revitalize it with buckets of new blood. Nash’s unorthodox style is most welcome in a canon grown tired and lazy in its over-reliance on tacky jump scares and preposterous twists. What contributes in making “Nature” more distinctive is that much of it gets told from the viewpoint of Johnny, who lies in wait in in these ominous woods with the steely intent of an underfed crocodile.

Nash takes risks throughout his debut — the final 10 minutes with Lauren Taylor from “Friday the 13th: Part 2” more than proves that he knows how to feed on our apprehension, and I will reveal no more. But he’s not alone in making “In a Violent Nature” one of the best horror debuts in recent memory. Cinematographer Pierce Derks and sound designers Tim Atkins and Michelle Hwu share in that, making us feel like we are part of the disorienting sights and sounds of the woods. And Steven Kostanski’s prosthetics effects scream with unbearable realism. There’s no doubt character development isn’t the film’s strong suit — nor one of its goals — but Johnny slays his way into the league of unstoppable, unforgettable killing machines: Jason Voorhees (“Friday the 13th”), Michael Myers (“Halloween”) and Leatherface (“The Texas Chainsaw Massacre”). Welcome to the club. Details: 3½ stars out of 4; in theaters May 31.

“Eric”: With a plethora of often salacious if formulaic true-crime series dominating the streaming charts, what a refreshing surprise to discover that this six-part mystery/drama series set in ‘80s New York is, in fact, the product of a fertile imagination. Benedict Cumberbatch bullseyes another role as hair-triggered “Good Day Sunshine” (think “Sesame Street”) puppeteer Vincent. He’s a disrupter who ushers in turbulence in the office and at home, an apartment he shares with his wife Cassie (Gaby Hoffmann) and their creative 9-year-old son Edgar (Ivan Morris Howe). When Edgar goes missing after another loud fight between mom and dad, desperate Vincent hits the skids and the bottle while searching for his child with the help of a monster-like character Edgar created.

Running parallel and later interacting with that search is another investigation by dogged detective Ledroit (McKinley Belcher III, a rising star), a closeted gay man. He’s working on the missing kid case and staking out a disreputable nightclub. Initially, you can’t help but wonder where this story will take us, and it splinters off into directions that tap into homophobia, fear, AIDS, racism, homelessness, corruption and addiction. Above all else, it reflects the danger of oppression and not being true to oneself. Award-winning series creator Abi Morgan (“The Split”) and director Lucy Forbes (“This Is Going to Hurt”) bring their knack for authentic, ambidextrous storytelling to the table. The period details couldn’t be better, and the final episode weaves the many elements together with effortless poignancy. Details: 3½ stars; available May 31 on Netflix.

“Ezra”: An A-list cast — Bobby Cannavale, Rose Byrne, Robert DeNiro and Vera Farmiga (in a small part) — elevates this rewarding family-driven drama that sheds light on the anxieties that can trip up best-intending parents of an autistic child. As “Ezra” attests, flustered parents might need to work more on themselves before they can truly be present with their child. When 11-year-old Ezra (William Fitzgerald) gets bumped from school then gets into an accident, his quick-tempered but loving father Max (Cannavale), a struggling comedian, takes him on an impromptu and illegal father-son road trip. It serves another mark against him and leads to more exasperation from Max’s ex Jenna (Byrne) and his dad Stan (De Niro). Tony Spiridakis’ personalized screenplay rests in capable, warm hands with director Tony Goldwyn. Cannavale channels the emotional complexities and vulnerabilities of his character with compassionate clarity. Details: 3 stars; in theaters May 31.

“Kidnapped — The Abduction of Edgardo Mortara”: This shocking slice of Italian history revisits how in 1858  the Catholic Church went into a Jewish couple’s home and swiped their 7-year-old child. It was done at the behest of Pope Pius IX and it was demanded the child be raised Catholic since a nurse decided to baptize him without the family’s blessing. There’s no reason, really, to embellish this story one bit but acclaimed filmmaker Marco Bellocchio does it anyway at times, turning “Kidnapped” into a melodrama. It’s a mistake and results in an intrusion that takes us out of the tight grip of this beautifully composed but far from subtle story. Bellocchio’s production — from its cast to its cinematography — works well enough, notably with an ending that hits you right in the gut. The cast — child actor Enea Sala’s as an unsettled Edgardo, Paolo Pierobon as a clueless Pope Pius IX and Barbara Ronchi as the distraught and then furious mom Marianna Mortara — all hit the right notes. “Kidnapped” has its problems, but it is gripping. Details: 2½ stars; in theaters May 31.

“The Beach Boys”: In this watchable but routine overview of the classic California band made up mostly of relatives, the more uncomfortable-making elements about the group get addressed rather than explored. So you’re left with a scratching-the-surface documentary that’s enjoyable for any fan but is less filling than you’d like. Director Frank Marshall and Thom Zimny divulge some darker elements – the abuse of Murry Wilson, the father and heartless music publisher for sons Brian, Carl and Dennis and Brian’s struggles with perfection and mental illness. But often it feels like there’s much more to the story than being divulged, even when it brings up Dennis being haunted by his association with Charles Manson. For Beach Boys’ legions of fans, not digging too deep into the sandbox might just be fine. Details: 2 stars; available on Disney+.

Contact Randy Myers at soitsrandy@gmail.com.

And then there’s the metaphorical, trance-like “I Saw the TV Glow.”

Here’s our roundup.

“Bridgerton Season 3”

Will that shrewd purveyor of Regency-era gossip — Lady Whistledown (voice of Julie Andrews) —  finally get her comeuppance and be unmasked as the one and only Penelope Featherington (Nicola Coughlan)? That’s the question dangling over Netflix’s extra-spicy third season, which has the audacity of giving us a cliffhanger, albeit one you can foresee from the start of the first episode, before Part 2 resumes June 13.

Oh, dearest readers, the injustice of that!

There’s some good news indeed worth sharing that would meet with even the persnickety Whistledown’s approval: That new showrunner Jess Brownell is bringing a bit of tartness to the series’ comfort-food dish, elements that were somewhat absent from sexy Season 2.

The big wedge — there’s always at least one — between Season 3’s two main lovers comes from Penelope not ‘fessing up about her double life as the feared anonymous missive writer Whistledown or her own crush on suitor Colin Bridgerton (Luke Newton, more than fulfilling the hunk and acting requirements). As in previous seasons, much happens away from the fumbling about of its two starry-eyed lovebirds, and proves just as interesting, including the unresolved dustup between Eloise (Claudia Jessie) and Penelope, a welcome love interest (finally!) for Violet Bridgerton (the enchanting Ruth Gemmell), the reappearance of the so-in-love Anthony Bridgerton (Jonathan Bailey) and Kate Sharma (Simone Ashley) from Season 2, and my personal favorite — a cnew character, the introvert Lord John Stirling (Victor Alli), who takes a quite the shine to Francesca Bridgerton (Hannah Dodd). Toss in an invitation to engage in a threesome, and this racier season, which, of course, is resplendent with gorgeous costumes, period details and classical-contemporary music, is just as much of a great escape from wretched reality as, says, a corker of a romance novel.

Details: 3 stars out of 4; four episodes drop May 16, four more drop June 13.

“Babes”

When presented as a comedy and even sometimes as a drama, portrayals of pregnancy and motherhood tend to get sanitized, even idealized. That’s not the case with this hilarious, uninhibited comedy about two New York best friends — single yoga teacher Eden (Ilana Glazer, who co-wrote the screenplay with Josh Rabinowitz ) and married dentist Dawn (Michelle Buteau) — dealing with the pangs and joys of both as their friendship gets tested. Eden is needier than Dawn and overly relies on her to be there every step of her pregnancy since the father of her unborn child died just after conception. Director Pamela Adlon navigates a raucous screenplay that robustly brings up lactation, sexual urges when pregnant and babysitting fails (one of the biggest laughs pertains to “The Omen”). But beyond those laughs and a suspension of belief (a yoga salary could cover the rent of that New York apartment?), there are authentic and beyond-the-standard observations and interactions here. That is particularly true when Eden meets with her casually and conditionally involved father (Oliver Platt). Those revealing scenes and the relatable, anything-goes exchanges between Glazer and Buteau and Buteau and Hasan Minhaj — acing his part as Dawn’s very likable husband — make “Babes” a rather revolutionary comedy that is a big bundle of joy (and lactation) from start to finish.

Details: 3½ stars; in theaters May 17.

“Back to Black”

The short, turbulent life of talented British singer/songwriter Amy Winehouse, who died at 27 in 2021 from alcohol poisoning, remains seared in the public’s consciousness, perhaps due to the incessant paparazzi that hounded and humiliated her at every move. And that’s part of the reason why director Sam Taylor-Johnson’s biopic starring a committed Marisa Abela seems unnecessary, adding little of anything new to the story while holding back even when it addresses the ugly side of being in the public eye. To its credit, “Back to Black” never feels exploitative and regards its subject respectfully. But the storytelling is disjointed and cycles through important markers in life — her ascendancy, her recording sessions, her volatile relationship and marriage to Blake Fielder-Civil (Jack O’Connell, giving his all in a narrowly focused role) and her untimely demise — without accomplishing much more than reminding us of how horribly sad this all is. We knew that going in.

Details: 2 stars; in theaters May 17.

“The Blue Angels”

The aerial acrobatics of the Blue Angels — the Navy’s Flight Demonstration Squadron that’s again set to dazzle Bay Area spectators Oct. 11-Oct. 13 during Fleet Week — are indeed a sight to behold and experience, either firsthand or on IMAX. And those scenes are the high point of Amazon MGM Studios’ ordinary documentary about them. It’s when director Paul Crowder’s salute to this team touches ground that it loses all of its momentum and energy, offering a cursory, one-dimensional look at the service people behind this tireless program. When it’s up in the air, it does soar.

Details: 2 stars; opens May 17 in IMAX theaters and May 23 on Prime.

“I Saw the TV Glow”

A generic synopsis explaining what writer/director Jane Schoenbrun’s unconventional sophomore feature is all about would do it a disservice. That’s because Schoenbrun’s metaphorical genre blender feels like it’s going to stay in the popular coming-of-age lane, and then detours into bold, original directions. Schoenbrun’s trance-like storytelling — their calling card —  centers on two suburban ‘90s teens. There’s  uncertain Owen (Ian Foreman first and later Justice Smith, in his best, most soul-wrenching performance yet) and rebellious teen Maddy (Brigette Lundy-Paine), who bond over an obsessed-about and cheesy TV series titled “The Pink Opaque.” Laden with pop-culture references (from “Buffy the Vampire Slayer” to “Twin Peaks”) and actors/musicians (Fred Durst and Phoebe Bridgers), “I Saw the TV Glow”  captures the awkward, outcast feeling of finding more meaning and context within a TV show than one’s life struggling to break free from an assigned gender and identity that isn’t who one is inside.

Details: 3½ stars, in select theaters,  expanding May 17 into additional theaters.

“Bodkin”

Neither too dark nor too light, this seven-episode Netflix mystery series makes a enjoyable watch and opens the door for a season 2. (I’d walk through it). But by no means does it approach the twisted brilliance of a quirky movie or play from Martin McDonagh (“The Banshees of Inisherin”), which it seems to want to emulate. That Oscar winner juggles humor and tragedy expertly, while this Higher Grounds Production (the Obamas production company) drops the ball occasionally on both. You won’t care since it’s the three central characters and the actors who portray them that pick them up  and put them back up in the air and keep us engaged. Lafayette native Will Forte stars as out-of-his-element American podcaster Gilbert who gets in over his head (no surprise) when he and his assistant Emmy (Robyn Cara) enlist the aid of bullish and under-investigation journalist Dove (Siobhan Cullen) to investigate the disappearance of three Bodkin townspeople during an annual celebration. The town isn’t so happy about them being there. There are numerous red herrings and even nuns doing yoga. Maybe next time – if there is indeed a next time – the case itself will be juicier.

Details: 2½ stars; now available on Netflix.

Contact Randy Myers at soitsrandy@gmail.com.

Fact is, no one really knows how it will all go down during this summer’s so-called popcorn season, even if there are ample hints that 2024 won’t be nearly as scorching-hot as 2023 (changing movie habits and the residue of two strikes factor into the equation). At the very least, we know there won’t be another “Barbenhemier” — when two of 2023’s most anticipated films opened on the same weekend.

Nonetheless, there are golden nuggets aplenty in the 2024 summer film lineup, running May 23 to the end of August, even with some films that don’t have release dates yet (including Greg Kwedar’s buzzy “Sing Sing,” starring Colman Domingo, about a prison theater production; and “Kneecap,” the raucous Sundance hit about rebellious Belfast musicians). Here are some of the upcoming highlights. Note that release dates are subject to change.

“Furiosa: A Mad Max Saga”: George Miller tosses squabblers Charlize Theron and Tom Hardy and puts “The Menu’s” Anya Taylor-Joy into the driver’s seat for this action juggernaut. Now hold off on getting all “mad” about that — this is, after all, a prequel; the change makes sense. Chris Hemsworth (unrecognizable) plays the heavy, but the best news is there’s a 15-minute action sequence. Can’t wait for that. Opening: In theaters May 24.

“The Garfield Movie”: The high-maintenance feline created by cartoonist Jim Davis stars in this animated comedy in which our pudgy feline hero is reunited with his long-lost father (voiced by Samuel L. Jackson) for an outdoor adventure. Chris Pratt voices that darn cat. Opening: In theaters May 24.

“Hit Man”: Glenn Powell’s g-force career rockets to an even higher gear with this dark Netflix comedy/romcom based on the incredible true story of an undercover police officer posing as a hitman who gets wrapped up in saving an enigmatic woman (Adria Arjona). Richard Linklater directed “Hit Man” and co-wrote it with Powell. Opening: In theaters May 24; available for streaming June 7.

“Sight”: In this inspirational truth-based drama from Angel Studios, a Chinese American eye surgeon (Terry Chen) revisits painful memories from his past while helping an orphan regain her eyesight after a horrific act by a stepmother. Greg Kinnear costars. Opening: In theaters May 24.

“Summer Camp”: Former chums (Diane Keaton, Kathy Bates, Alfre Woodard) reunite decades after having met at — you guessed it, summer camp! They proceed to get involved in PG-13 shenanigans. We hope it doesn’t crib a page or two from the lackluster “Book Club: The Next Chapter” handbook. Opening: In theaters May 31.

“Haikyu!! The Dumpster Battle”: Tennis and swimming are scorching-hot sports on screens right now, so why not shower cinematic love on volleyball? This Japanese anime work positions two high school rivals as they square off in  “the ultimate showdown” between two underdog teams. Opening: In theaters May 31.

“Young Woman and the Sea”: Will Disney’s biopic swim in the same well-regarded lane as “Nyad”? It appears so; studio execs are so keen on it, they’re sending it to theaters before it streams on Disney+. Daisy Ridley (“Star Wars”) stars as Trudy Ederle, who navigates nasty jellyfish and sexist naysayers to become the first woman to swim across the 21-mile English Channel. Opening: In select theaters May 31; on Disney+ July 19.

“In a Violent Nature”: Cross the naturalistic ebb and flow of a Terrence Malick epic with a slasher flick and some say that’s what you get with Chris Nash’s ultra (and we mean ultra) gory horror debut. Sort of. Told mostly from the killer’s POV, “Nature” balances shots of tranquil nature with closeups of extreme carnage wrought by a hooded backwoods legend. Opening: In theaters May 31.

“Bad Boys: Ride or Die”: Will Smith and Martin Lawrence dodge bullets and deliver wisecracks as Miami cops Mike Lowrey and Marcus Burnett. In this third sequel, the guys seek to honor their former captain, now dead, by debunking implications he was involved in a drug case. We’re rooting for the directing duo of Adil El Arbi and Bilall Fallah — aka Adil & Bilall — who helmed the well-received “Bad Boys for Life” in 2020 after Warner Bros. shelved their “Batgirl.” Opening: In theaters June 7.

“The Watchers”: Ishana Night Shyamalan’s feature debut follows in her father’s fear-inducing footsteps with an Ireland-set chiller starring Dakota Fanning as an unlucky motorist getting sidetracked in some creepy woods where critters lord over an assortment of freaked-out folks. The trailer harbors “A Quiet Place”-like vibe. Opening: In theaters June 7.

“Inside Out 2”: Emeryville-based Pixar unveils yet new emotions with a sequel to its 2015 megahit about a girl named Riley. Now a year older, the 13-year-old’s hit puberty, a change that ushers in four new emotions: anxiety, envy, ennui, embarrassment. Looks like director Kelsey Mann is taking Riley’s story into more exciting, complex directions this time. Opening: In theaters June 14.

“The Grab”: In this timely documentary, director Gabriela Cowperthwaite tracks a dogged investigative journalism team at Emeryville’s Center for Investigative Journalism, led by Nathan Halverson, as they uncover a shocking global power grab in which countries scramble to suck up precious land and vital resources. Opening:  In theaters June 14.

“The Bikeriders”: Indie auteur Jeff Nichols’s character-driven portrait of a macho ‘60s band of Chicago-area motorcycle riders (Tom Hardy, Austin Butler) and an observant narrator (Jodie Comer) who hangs out with them hit a road bump on the way to theaters. Who cares? “Bikeriders” remains one sleek ride that serves a tempting slice of Americana anchored around three terrific performances. Opening: In theaters June 21.

“Thelma”: A spirited senior citizen (June Squibb) channels her inner Ethan Hunt to get back at the dirty rotten scoundrel who scammed her. Screenwriter/director Josh Margolin’s bright-eyed comedy could make even the most sour person smile, particularly with its melt-your-heart exchanges between Thelma and her grandson (Fred Hechinger). Opening: In theaters June 21.

“Kinds of Kindness”: Outside-of-the-box filmmaker Yorgos Lanthimos (“Poor Things”) serves up another cinematic curiosity, threading together three stories,  with Oscar winner Emma Stone heading a cast that includes Jesse Plemons, Willem Dafoe, Hong Chau and Mamoudou Athie, among others. Its trailer keeps things very cryptic, but it’s hard to pin down anything from Lanthimos in a couple of minutes. Opening: In theaters June 21.

“Horizon: An American Saga: Chapter 1”: Kevin Costner’s not exactly hanging up his spurs and cowboy hat after riding off the “Yellowstone” sunset. The Oscar-winning “Dances With Wolves” star wrote, directed and stars in this multi-part Civil War-era story (Chapter 2 arrives Aug. 26). Opening: In theaters June 28.

“Ghostlight”: A construction worker (Keith Kupferer) discovers a much-needed outlet for his unresolved feelings of grief and loss while performing in a local stage production of “Romeo and Juliet.” The drama is directed by Alex Thompson and Kelly O’Sullivan. Opening: June 14 in limited release, then expands.

“Janet Planet”: Tired of prequels, sequels, and rampant explosions? This deliberately paced A24 character drama is the very antithesis of all that. It’s about 11-year-old Lacy (Zoe Ziegler) who spends an eventful summer of 1991 in an unconventional home with her mom (Julianne Nicholson), while learning about her own place in the world. It’s the feature debut from Pulitzer Prize winner Annie Baker, who wrote and directed. Opening: In select theaters June 21, expands June 28.

“A Quiet Place: Day One”: John Krasinski doesn’t direct (he does earn a credit as a screenwriter) and Emily Blunt doesn’t star in this origin tale about the invasion of those hearing-sensitive critters. Lupita Nyong’o and Djimon Hounsou star, with Michael Sarnoski, who gave us the quirky and quite good “Pig,” directing. Opening: In theaters June 28.

“A Family Affair”: Nicole Kidman and Zac Efron reunite (they did steam up screens in 2012’s “The Paperboy”) for Richard LaGravenese’s romantic dramedy co-starring Joey King and Kathy Bates. King plays a daughter who stumbles in on Efron – her movie star boss – while he’s getting up close and personal with her mom (Kidman). (Opening: Streaming on Netflix June 28.

“Despicable Me 4”: Gru (voice of Steve Carell) and fam hide out in a safe house after vengeance-seeking villain Max Superball (voice of Will Ferrell) escapes from prison. This has Minions, too, of course, so it’ll set off box office fireworks over the 4th of July holiday. Opening: In theaters July 3.

“Beverly Hills Cop: Axel F”: Fast-talking former Detroit cop Axel Foley (Eddie Murphy) is back on the beat and reunites with Billy (Judge Reinhold) and John (John Aston) while working with a new partner (Joseph Gordon-Levitt). Taylour Paige co-stars as Axel’s daughter. Opening: Available on Netflix July 3.

“Sound of Hope: The Story of Possum Trot”: In this inspirational drama, based on actual events, an East Texas church community rallies to adopt 77 children in dire need of attention and care. Hearts will indeed get warmed. Opening: In theaters July 4.

“MaXXXine”: Ti West’s third in his X saga continues his bloody fantastic salute to old-school slashers. Here, porn star/wannabe actress Maxine (the unforgettable Mia Goth) hustles for a job in 1980s Hollywood and crosses paths with a serial killer dubbed the Night Stalker. Opening: In theaters July 5.

“Fly Me to the Moon”: Director Greg Berlanti’s romantic dramedy is a tricky proposition, and is set around the Apollo 11 lunar landing. Scarlett Johansson, Channing Tatum and Woody Harrelson play characters caught up in shooting a fake production of the moon landing — just in case. Opening: In theaters July 12.

“Touch”: Baltasar Kormákur’s drama about a widower Kristofer (Egill Ólafsson) looking to find his former love Miko (Yôko Narahashi) looks to become the season’s guaranteed blubber fest, with Palmi Kormákur playing the younger version of Kristofer to Koki’s younger Miko. Opening: In theaters July 12.

“Longlegs”: Actor Maika Monroe hits a “Silence of the Lambs” groove as a 1974 FBI agent who uncovers a personal link during her investigation of a series of killings with occult ties. Nicolas Cage co-stars. Even the trailer for Oz Perkins’ horror feature curdles the blood. Opening: In theaters July 12.

“Twisters”: A cocky tornado wrangler and viral sensation (Glen Powell) catches wind of a less laidback storm tracker (Daisy Edgar Jones) and her novel tech contraption as winds in Oklahoma ratchet up. Lee Isaac Chung (“Minari”) tackles a disaster feature that’s a loose antecedent to the 1996 box office hit. Opening: In theaters July 19.

“Didi”: This guaranteed crowd pleaser — shot and set in Fremont — marks the winning feature debut of Oscar nominated Fremont native Sean Wang. The talented filmmaker tells a funny but piercing coming-of-age story about 13-year-old skateboarder Chris Wang (Izaac Wang, in a breakthrough performance) and his brushes with crushes, his feuds — in particular with an exasperated mom (Joan Chen) — and his exploits with his friends. Opening: In theaters July 26.

“Deadpool & Wolverine”: If there’s a matchup that could pull the Marvel Cinematic Universe out of its deep funk, it would be this one, which teams potty-mouthed Wade Wilson, aka Deadpool (Ryan Reynolds), with ultimate brooder James “Logan” Howlett, aka Wolverine (Hugh Jackman). What’s it about? No one’s saying much, but it looks like Deadpool enlists the aid of Wolverine as they tangle with the villainous Cassandra Nova (Emma Corrin). Expect this unabashedly R-rated superhero action/comedy fest to juice up the box office. Opening: In theaters July 26.

“Harold and the Purple Crayon”: Author Crockett Johnson’s 1955 children’s classic about a crayon with magical, universe-creating properties and the 4-year-old boy who wields it, gets the studio treatment with Harold now a man ( Zachary Levi) entering the real world. Opening: In theaters Aug. 2.

“It Ends With Us”: One of novelist Colleen Hoover’s most popular, if controversial, bestsellers tells the complicated romantic story of the wary, conflicted Lily (Blake Lively) and her volatile relationship with neurosurgeon Ryle (Justin Baldoni, who directs) and her first dear heart, Atlas (Brandon Sklenar). No one’s gonna shrug over this one. Opening: In theaters Aug. 9.

“Trap”: In M. Night Shyamalan’s latest high-concept thriller, dad Cooper (Josh Hartnett) delights his teen daughter (Ariel Donoghue) by taking her to a concert where the feds have secretly concocted a bizarre plan to ferret out The Butcher, a serial killer. Is there a twist? Of course there is. Opening: In theaters Aug. 9.

“Flint Strong”: Oscar-winning filmmaker Barry Jenkins wrote the screenplay and serves as a producer for Rachel Morrison’s anticipated feature debut. It tells the true, inspiring story of boxer Claressa Shields as she prepares for the 2012 Olympics. Ryan Destiny stars. Opening: In theaters Aug. 9.

“The Instigators”: Matt Damon and Casey Affleck play a pair of neurotic failed robbers who take a therapist (Hong Chau of “The Whale”) along on their getaway ride. Opening: Aug. 9 on Apple TV+.

“Borderlands”: “Thanksgiving’s” Eli Roth co-wrote and directs a videogame adaptation that promises to be next level since it stars Cate Blanchett as a bounty hunter hired to collect a missing daughter, an assignment that leads to her joining forces with a band of bumblers (Kevin Hart, Jack Black, Jamie Lee Curtis, Ariana Greenblatt and Florian Munteanu). They discover more than what they bargained for. Opening: In theaters Aug. 9.

“Oddity”: Damian McCarthy follows up his accomplished horror debut “Caveat” with an already praised sophomore effort about a psychic twin sister paying a “special visit” to her slain sister’s former husband and his new girlfriend. Opening: In theaters Aug. 14.

“Alien: Romulus”: Will the scaly, slithery outer space human eater pop out from more chests?  Or will it just lay a big egg? We’ll just have to see what director/co-screenwriter Fede Alvarez (“Don’t Breathe”) envisions for this installment in the iconic but well-worn “Aliens” franchise. “Civil War’s” Caliee Spaeny stars as the potential space chum in a chapter that parallel parks between 1979 “Alien” and 1986 “Aliens.” Opening: In theaters Aug. 16.

“The Union”: A New Jersey construction worker (Mark Wahlberg) meets up with his high school sweetheart (Halle Berry) who just so happens to be a spy who wants him to join in some spy games in Europe. Mayhem and mirth ensues. Opening: Available on Netflix Aug. 16.

“The Crow”: Claiming to be a modern re-imagining of a classic graphic novel, this reboot recruits the versatile Bill Skarsgard to portray the murdered, resurrected, and now vengeance-seeking Eric Draven, a role the late Brandon Lee — who died making the film — turned iconic in 1994. Opening: In theaters Aug. 23.

“Blink Twice”: Zoe Kravitz directs beau Channing Tatum in a thriller she co-wrote about the diabolical goings-on at a tropical island owned by slick, filthy-rich tech giant Slater King (Tatum). A cocktail waitress (Naomi Ackie) accepts an invite to party there and it’s one trip she might just regret. Opening: In theaters Aug. 23.

Contact Randy Myers at soitsrandy@gmail.com.

But two indie features are even better: Oscar winner Ryusuke Hamaguchi’s exceptional eco-themed drama “Evil Does Not Exist” and Francis Galluppi’s noir homage “The Last Stop in Yuma County.”

Here’s our roundup.

“Dark Matter”: Cerebral sci-fi brain twisters such as Netflix’s “3 Body Problem” and this nine-part series (seven episodes would have sufficed) from Apple TV should come bearing a warning advising viewers to avoid all distractions since they’ll want to devote their full attention to this complex, mind-bending territory. The similarities between “Dark Matter” and Netflix’s “3 Body Problem” don’t stop there. Both series originated from popular novels, and while “Dark Matter” isn’t nearly as ambitious as its metaphysical cousin, it, too, centers on a thought-provoking concept. This one is centered on an abducted Chicago family man/physics professor Jason Dessen (Joel Edgerton, well cast as an everyman) and his seemingly endless attempts to keep opening doors to various alternative realities until he encounters the one that sends him back to his “normal” life with wife Daniela (Jennifer Connolly) and son Charlie (Oakes Fegley). What led him to this desperate act?  Another version of himself has cozied up and is carrying on in his stead. The concept might seem silly, but the story by author Blake Crouch — who serves as showrunner and executive producer here and who also wrote many of the episodes — works, and challenges us to ponder what lengths we would go to if we were in not only Jason’s shoes but his wife Daniela’s as well (Connolly gives the role more dramatic shading than usual). Co-starring Alice Braga as another searcher with Jason in this weird multiverse, “Dark Matter” asks us to consider our own dual natures and how they would be altered if our worlds were different. Details: 3 stars out of 4; two episodes drop May 8, with one following every Wednesday through June 26.

“Pretty Little Liars: Summer School”: Horror and comedy don’t always mix well, often due to one genre showing up the other. But creator, writer and executive producer Roberto Aguirre-Sacasa respects both and strikes a good balance with a guilty pleasure that’s stuffed with killer salutes to iconic horror films as well as other pop culture touchstones (“Xanadu,” anyone?). The eight-parter (it’s really Season 2 of “Pretty Little Liars: Original Sin”) follows in the bloody footprints of the first, but don’t worry if you’re new to the party. The Cliff Notes version supplied in its fast-paced recap at the start of “Summer School” caught me up with all the gory details about its five “final girls” — played by Bailee Madison, Chandler Kinney, Zaria, Malia Pyles and Maia Reficco. They’re guardedly upbeat since the serial killer known as A who hounded them before is on trial and facing a long sentence. Before you can say “Candyman” numerous times in front of a mirror, a killer pops up and starts slaying folks around Millwood, the high school and even that secluded, creepy cabin in the woods. As the body count rises and potential love interests emerge — including a cute new movie theater employee (Noah Alexander Gerry) and a handsome, often shirtless, Millwood Creamery ice cream coworker (Antonio Cipriano) — our five intrepid teens (who look notably older than a typical sophomore) tangle with an outraged parent and even the legend of Bloody Rose Waters. It also deals, at times seriously, with issues about overcoming trauma. All of this makes one hope that this “Liars” club sticks around  least for its junior year. We might even follow them to grad school. Details: 3 stars; two episodes drop May 9, followed by one episode every Thursday through June 20.

“Evil Does Not Exist”: As a jocular crew from the big city searches for a remote, tranquil spot in Mizubiki, outside of Tokyo, for a glamping site, an assignment arises that upends the quiet existence of dad Takumi (Hitoshi Omika, astonishing in the role) and his daughter, Hana (Ryo Nishikawa). They live in a rustic cabin tucked comfortingly away from Japan’s busy city life; and the arrival of these strangers sets off a domino effect that leads to a startling, unpredictable outcome. Oscar winner Ryusuke Hamaguchi — one of our very best filmmakers — follows up his more straightforward “Drive My Car” with this ecological-themed surprise that mirrors the dramatic tempo and unexpected punch of a story written by the late Raymond Carver. Hamaguchi peers under the mossy rock of humanity and finds a simmering “evil” that exists within us all and it’s one that has the potential to destroy everything in its path. Details: Opens May 10 in theaters.

“The Last Stop in Yuma County”: Expect to hear the name Francis Galluppi mentioned far more in the future — that is, if this knockout feature debut, a sly, lethal slice of bloody neo noir, portends what the screenwriter and director has in store in the future. Galluppi confines two-thirds of this film to a well-worn locale — an off-the-beaten-track diner cum gas station, a place that normally sees few customers. On this most unfortunate day, however, a suspicious assortment of folks arrive, including a knife salesman (Jim Cummings). They wait it out not only for their fried grub to be served by a wary waitress (Jocelin Donahue) and a gas truck so they can fill up tanks and skedaddle. Enter two violent bank robbers (Richard Brake and Nicholas Logan). Tension builds to a breaking point in Galluppi’s salute to noirs past and present that has a distinct style all to its own. Details: 3½ stars; available to rent May 10.

“East Bay”: Shot and set throughout the East Bay and occasionally in San Francisco, director Daniel Yoon’s quirky drama finds a 39-year-old Korean American part-time filmmaker lamenting that he’s been a loser in life. Told in an unconventional, fit-and-start manner, “East Bay” distinguishes itself with humorous characters and comedic encounters, along with a sweet romance Jack (Yoon) has with a film festival organizer (Constance Wu of “Crazy Rich Asians”). At times, though, it plays things a little too loose (a bit featuring gay slurs backfires) for its own good. Still, “East Bay’s” puppy-dog demeanor and existential ways will likely win you over. Details: 3 stars; in select theaters and available to rent.

“The Image of You”: Pour yourself a glass of the cheapest chardonnay to be found in a cardboard box, and let the guilty pleasure times roll. This hysterical, over-the-top thriller takes the exhausted-beyond-all-belief plot device about twin sisters for a spin, and the result is a bumpy ride from start to finish. One sis happens to be annoyingly sweet and clueless, the other  a wild vixen with an out-of-control libido. What a shock! Trouble goes down the tubes when bland and boring sis Anna falls for clueless but easy-on-the-eyes stock trader Nick (Parker Young) and soon the jealous and volatile sis Zoe sets her eyes, thighs and everything on him. Director Jeff Fisher realizes he’s throwing some trash about and lets his cast go for it. “Pretty Little Liars” Sasha Pieterse ping-pongs between the unlike twins with gusto. Infrequently, Mira Sorvino and Nestor Carbonell pop their heads in the door to play the concerned but enabling parents. Expect to howl (depending on how much wine has been consumed) almost as much as you did during Tommy Wiseau’s “The Room.” The difference is that this one knows exactly what it’s doing. Hats off, to that. Details: 2½ stars; available May 10 for rental.

“Force of Nature: The Dry 2”: In this sequel also based on a Jane Harper novel, Aussie federal agent Aaron Falk (a subdued Eric Bana, at times too subdued) and his colleague Carmen Cooper (Jacqueline McKenzie) search for missing informant Alice (Anna Torv) in the rugged, but fictional Giralang Ranges. Alice was aiding Aaron in a case that implicated her boss and she was poised to hand over documents. But a corporate wilderness retreat with four coworkers,  considered problematic and in need of some bonding,  puts the investigation in jeopardy after everyone but Alice returns after getting lost in the woods. Director/screenwriter Robert Connolly takes full advantage of gorgeous but treacherous Australian locales – including a waterfall – and all of it is quite a sight to behold. In the end, though, the mystery at the center of “Force of Nature” lacks the emotional, personal depth of the 2020 film, even if Aaron is haunted by more events from his past. But it makes up for that with its message about the high toll of exacting justice, and if the ends do indeed justify the means. Details: 3 stars; available to rent May 10.

“Tarot”: A potentially fun horror concept wherein an evil spirit summoned up via a deck of hand-drawn Tarot cards exacts vengeance on an unsuspecting batch of seven rich college chums in Massachusetts comes undone by muddled mythology and a lackadaisical script reliant on too many jump scares and illogic. Nondescript, underwritten characters get picked off, admittedly with some invention, after an impromptu card reading at a mansion where the friends gathered to celebrate a birthday. Directors/creenwriters Spenser Cohen and Anna Halpern hem themselves in with a PG-13 rating and fail to capitalize on what works – namely the demons conjured up and even the slayings. A bogus ending all but seals its fate. Too bad since there’s something worth saving. But this one’s not playing with a full deck and cribs too often from better horror franchises, including “Final Destinations,” even “Saw.” Watch “Infected” on Shudder for something creepy-crawly instead. Details: 1½ stars; in theaters now.

“The Lost Boys”: Although set in Belgium, director Zeno Graton’s taut drama examines a very American problem — the incarceration of young male teens. Graton’s knockout debut is just as convincing in portraying the all-consuming attraction between unwanted Joe (Khalil Gharbia of “Peter von Kant”) and volatile William (Julien de Saint Jean). The leads are exceptional, and Graton’s direction and pacing never slackens in this astute observation into the lives of these “lost boys” who find each other. Details: 3 stars, available to rent May 10.

Contact Randy Myers at soitsrandy@gmail.com.

The refreshingly adult drama peers in on the games that limber, calculating athletes play both on and off tennis courts — a metaphor, naturally, that applies to the power dynamics adventurous lovers often negotiate.

Zendaya is a thunderbolt that strikes time and again in “Challengers” and she gives this passionate drama all the reverberating rumble it requires.

RELATED: How does Zendaya tennis film ‘Challengers’ rank with other Hollywood love matches

Working off an screenplay from stage dramatist and novelist Justin Kuritzkes, she proves she’s perfect to play Tashi, one of the most indelible, assured female characters we’ve encountered onscreen in some time. She’s fierce and strong in body, mind and confidence. She’s also driven, and knows exactly what she wants — to be at the top of her game at all times, regardless of which game she’s dealing with.

“Challengers” fluidly jumps back and forth in time as it reveals how the past influences the present. We are shown how Tashi became a tennis sensation at an early age; at 18 she holds the world and numerous fawning guys in the palm of her hand.

That includes two bros and up-and-coming tennis players —  the play-it-loose Patrick (indie heartthrob Josh O’Connor) and the more reigned-in Art (“West Side Story’s” Mike Faist). After watching her obliterate her competition on the court and hearing her release a primordial scream of victory that sends shivers down the spine, the hormonal guys find themselves stupidly gobsmacked and transfixed by her.

Shortly thereafter, the threesome meet up at a motel — the selling point of the film’s trailer — for one hot make-out session reveals the robust, if subconscious, attraction all three have for each other. It’s a smoldering cinematic exchange and director Guadagnino — who so expertly navigated the insistent desire in “Call Me By Your Name,” with Timothee Chalamet and Armie Hammer — toys with how these two handsome straight guys are drawn to each other in ways they might not even realize. The ever-aware Tashi, notices right off.

The dynamics of the threesome radically change once Tashi and Patrick start a fiery relationship while a jealous Art — who loves to be the “good guy” — frets on the sidelines. A brutal injury Tashi sustains while playing for Stanford (the film was not shot there) shuts down her playing days, leading her to later become coach to Art, who eventually starts to loosen his passionate grip on the sport.

As you can tell, there’s a lot of volleying back and forth — in various ways — in “Challengers,” which sets it apart from traditional “sports-related” films. Then comes the nail-biting showdown between two erstwhile friends and now competitors – Patrick and Art. Both actors are game for it: O’Connor embodies the soul of a slacker here and is ever so sexy while Faist brings just the right amount of empathy and resignation to his part as a good person that lacks a certain spark.

RELATED: Zendaya reflects on being ‘breadwinner’ in family with Oakland teacher parents

The adrenaline-pumping “challengers” match takes place some 13 years after the threesome have met. It is here when Guadagnino calls out all the stops — and opens the faucets on geysers of sweat torrenting down from the brows of these two adversaries and former besties. If that doesn’t amp you up, the throbbing, caffeinated soundtrack from Trent Reznor and Atticus Ross will. It hits you hard like a triple shot of espresso that’s been washed down with a Red Bull. And if that doesn’t do it, perhaps the tennis ball POV will do the trick.

“Challengers” gets unruly, passionate, tempestuous and downright impossible as its three lovers get tangled up in their desire and ambitions. That’s why it makes such grand-slam entertainment, especially in its delicious excessiveness.

Contact Randy Myers at soitsrandy@gmail.com.

‘CHALLENGERS’

3½ stars out of 4

Rating: R (language, some sexual content, nudity)

Starring: Zendaya, Josh O’Connor, Mike Faist

Director: Luca Guadagnino

Running time: 2 hours, 11 minutes

When & where: Opens April 26 at theaters nationwide

Michael Douglas has a knack for playing famous people, or people who become famous (at least in Hollywood lore) after he has played them. Here are some of his most memorable characters.

Inspector Steve Keller (“The Streets of San Francisco”): The long-running TV series (1972-1977) paired up a hot-shot investigator (Douglas) with a police veteran (Karl Malden) and the result was one of the better odd-couple cop series out there. Where to see it: Available to stream on Pluto TV.

Adventurer Jack T. Colton (“Romancing the Stone,” “The Jewel of the Nile”): The romantic sparks do fly on screen in this 1984 comedy/drama and its 1985 sequel about a romance novelist (Kathleen Turner) trying to save a kidnapped relative with the help of an exotic bird smuggler (Douglas). The studio had zero confidence in “Stone’s” box-office chances prior to its release, and then it turned into a big hit. Where to see them: Available on YouTube and several other streaming/rental platforms.

Dan Gallagher (“Fatal Attraction,” 1987): In Adrian Lyne’s hot and steamy thriller, a one-night stand between a married man (Douglas) and an unbalanced book editor (Glenn Close) turns into a lethal obsession that even claims the life of a bunny! It was a talker, and fueled numerous imitators. Where to see it: Available to stream or rent on numerous platforms.

Gordon Gekko (“Wall Street,” 1987; “Wall Street: Money Never Sleeps,” 2010): With his slicked back hair, chic and expensive suits and wicked words of get-rich-at-any-cost wisdom, the king of greed ruled over both of Oliver Stone’s over-the-top portrayals of nefarious Wall Street/corporate raiders. Douglas’ Oscar-winning performance in the original is legendary, and his presence props up the so-so sequel. Where to see them: Both are available for streaming and rental on numerous platforms.

Liberace (“Behind the Candelabra,” 2013): Douglas channeled the piano-playing gay icon so well that he took home an Emmy and other awards for his performance in Steven Soderbergh’s highly praised HBO film. Matt Damon co-starred as Liberace’s younger lover Scott Thorson. Where to see it: Available on Max and several other streaming/rental platforms.

Detective Nick Curran (“Basic Instinct,” 1992): Douglas rarely shies away from tricky or risky material (see: 1994’s controversial sexual harassment thriller “Disclosure” and 1993’s angry-white-man “Falling Down”), but Paul Verhoeven’s tawdry erotic mystery thriller set in the Bay Area finds Douglas playing a not-so-virtuous cop who becomes the toy of a best-selling novelist (Sharon Stone) with ice pick issues. Where to see it: Available to stream or rent on numerous platforms.

Richard Adams (“The China Syndrome,” 1979): After seeing James Bridges’ advocacy disaster/thriller about a near-cataclysmic nuclear plant mishap, many experienced an emotional meltdown themselves. The film prompted viewers to  advocate decommissioning nuclear power plants or ensure they would be safe. Douglas plays a TV cameraman, and he all but acquiesced the screen to Jane Fonda’s intrepid TV reporter and Jack Lemmon’s desperate whistleblower. It came out less than two weeks before the Three Mile Island accident in Pennsylvania. Where to see it: Available to rent on YouTube and several other streaming platforms.

Here’s our roundup.

“Civil War”: The joyless eyes and weathered face of photojournalist Lee (Kirsten Dunst) tell her story, one of an entrenched sense of hopeless resignation as she and her colleagues cover a war that pits California and Texas and other states against the government and its supporters. Alex Garland’s intense dystopian “what if” movie — which is far less polarizing than you’d think — serves as a warning of the perils of national disharmony, constant conflict and the human desire to dominate and win at any cost, even when we’ve lost sight of what it is we’re fighting for. Lee has seen these developments play out too many times in other nations, yet she’s never flinched from capturing the savagery — the scorched, bullet-ridden corpses of men, women and children — on camera. Now to her ultimate dismay, the war zone has come to her home turf, and Lee confronts an existential dread over how her efforts to catalog the carnage overseas has failed to prevent America from following the same path. Garland’s button-pushing feature seems all too plausible given the climate of hair-trigger anger and bitterness in which America exists today. Thankfully, the assured London-based screenwriter/director of “Ex Machina” and “Annihilation” resists recklessly fanning the flames.

“Civil War” mostly follows four journalists. There is Lee; her adrenaline-junkie journalist partner Joel (Wagner Moura, who we need to see more of); a budding, over-eager photographer Jessie (Cailee Spaeny of “Priscilla,” showing quite the range) and old-school veteran newsman Sammy (Stephen McKinley Henderson, ideally cast). Lee and Joel are on the way to interview the beleaguered president (Nick Offerman, in what amounts to a cameo). Along the way, they happen upon one horrific sight after another — a gas station where the car wash has been turned into a torture chamber; a lethal soldier (a bloodcurdling Jesse Plemons) with a narrow vision of his own righteous justice; and even a Christmas holiday display that’s equally horrific and comedic. Garland’s dystopian supposition shows us that in a nation when citizens take up arms against each other, it is everyone who fails. Details: 3½ stars out of 4; opens April 12 in theaters.

“Fallout”: Two of the largest sinkholes that showrunners/filmmakers fall into when adapting a popular video game can be: 1.) offending fans by changing too much, and/or 2.) creating a narrative that fails to speak to people unfamiliar with the game. “Fallout,” Prime Video’s eight-part series, leaps past those death traps due to executive producers Jonathan Nolan and Lisa Joy (HBO’s “Westworld”) and showrunners Geneva Robertson-Dworet and Graham Wagner. Their respect for the game and its scenario — a dystopian Earth more than 200 years after a nuclear attack — and their decision to fill out the characters’ back stories make for a riveting series. Doses of humor helps too.

Told in eight bingeable episodes using a limited amount of CGI, “Fallout” tracks the gory, R-rated-like dilemmas of three characters. Lucy (Ella Purnell) is a plucky, privileged Vault-dweller (the cushy underground environment created for the wealthy to avoid the nuke fallout). She’s looking to save a kidnapped dad who’s now occupying space on the earth’s surface, a scrappy, desert-like wasteland. While on that pilgrimage, she runs into two others: Maximus (Aaron Moten), a squire in the militaristic Brotherhood of Steel who gets an unexpected shot at advancing in rank; The Ghoul (Walton Goggins), a bounty hunter risen from the dead who’s a former cowboy screen star (his flashback scenes are the best ). Each is intent on grabbing a certain artifact, the identity of which I will not spoil. The quest leads to revelations about the underground network, run-ins with dubious characters from above and below and — most welcome of all — tussles with mutant roaches and an underwater beast. “Fallout” never lags for one second and dangles from one cliffhanger to the next. The cast makes it all engaging — Goggins, in particular, rips into the show’s juiciest part and does wonders with it. This’ll be a major hit, and it deserves to be. Details: 3 stars; all eight episodes drop at 6 p.m. April 10 on Prime Video.

“The Sympathizer”: “Oldboy” filmmaker Park Chan-wook and co-showrunner Don McKellar’s series adaptation of Viet Thanh Nguyen’s Pulitzer Prize-winning novel is a cinematic tour de force – with Park paving the way with the first three, and best, of seven episodes. Anyone who’s familiar with the book’s tricky material realizes  that’s an impressive feat to pull off. “The Sympathizer” skips from drama to satire to comedy as it wraps itself around complex issues about identity, the immigrant experience, America’s struggle to grasp Asian culture and history and the feeling of always being the outsider. It does so with vision, depth and detail. Actor Hoa Xuande beautifully handles the difficult task of bringing to life the nameless Captain, the show’s duplicitous protagonist who’s an undercover double agent during the Vietnam War era. His mother was Vietnamese, his dad, French.

The series opens with The Captain imprisoned in Vietnam where he’s ordered to write down his recollections — which provide chances to flash back to his “Three Musketeers”-like friendship with two other boys, his work and relationship with an anti-Communist known as The General (Toan Le) and his family members, a nail-biting flight out of Vietnam during the fall of Saigon, the people he meets and even targets in Los Angeles, and the insane consultancy role he lands in on an overblown, excessive Vietnam War movie.

Through these experiences, the General also encounters larger-than-life characters — key ones played to the hilt by Oscar winner Robert Downey Jr., an actor who specializes in chewing up the scenery. Wisely, the directing and producing team (Downey Jr. is a producer) hands him the drapes, the carpet, and the entire household to rip apart. It’s a smart move with Downey Jr. providing much of the humor and sometimes the menace in a variety of roles. Also memorable — and deserving of another Emmy nomination — is Sandra Oh, the exasperated assistant to Downey Jr.’s professor and the older lover to The Captain. “The Sympathizer” walks a tightrope but is fearless about tackling uncomfortable subject matter. It’s smart and mesmerizing. Details: 4 stars; first episode debuts 9 p.m. April 14 on HBO and will be available to stream on Max.

“Housekeeping for Beginners”: What constitutes a family in a home that’s filled with queer friends all living in a hostile culture’s shadows? And what does someone who’s ill-equipped to shoulder parental duties do when those responsibilities are thrust upon them? Those questions thread throughout Goran Stolevski’s third feature, a painfully honest, ultimately beautiful exploration of how each member of a resilient, very human makeshift North Macedonia family navigates growing pains once Dita (Anamaria Marinca), a social worker who’s grieving her lover’s death, becomes mom to two daughters — a precocious little girl and a rebellious teen. To pass themselves off as anything but gay, Dita draws in unwilling but sexually active housemate Toni (Vladimir Tintor) to “pass” as the husband even though he’s far more interested in his younger and more joyous lover (Samson Selim). Stolevski creates a wonderful group of flawed but understandable characters and then illustrates just how brave they are as they pull together to negotiate and overcome treacherous encounters. In the end, isn’t that what family should be about? Details: 3½ stars; in theaters April 12.

Contact Randy Myers at soitsrandy@gmail.com.

But “Franklin” doubly serves as a warning that democratic systems like the one the series namesake helped create are under attack across the globe.

At least that’s how Michael Douglas, who brings decades of acting prowess to the series’ titular role, views it.

Douglas adds another quiver to his impressive acting cap as the nimble-witted, immensely quotable inventor, author, publisher and founding father. “Franklin” hones in on how the publisher of the annual “Poor Richard’s Alamanack” voyaged to France in 1776 where he served as the pivotal dealmaker who shrewdly convinced France to join the Colonies’ fight for independence against the British.

“I think that it really shares with us the fragility of a democracy and just how fragile this concept is, and how it has to be nourished and protected,” said the award-winning actor and producer during an interview to promote “Franklin,” which debuts on Apple TV+ on April 12.

“That becomes clear and evident (during the series) and has echoes of what’s going on in our contemporary times,” Douglas added. “For democracies are endangered species. They are being overrun by autocracies around the world. And I think (democracies are) an extraordinary system. And when you get into a show like this and realize how brilliant this concept was, it’s something that we should be protecting.”

The final episode of this intelligently scripted series from screenwriters Kirk Ellis (“John Adams”) and Howard Korder (“Boardwalk Empire”) particularly coalesces around that theme.

“Franklin” was adapted from the 2005 nonfiction book “The Great Improvisation: Franklin, France, and the Birth of America,” by Pulitzer Prize winner Stacy Schiff. The book covers an oft-overlooked chapter from American history.

Tim Van Patten directed all eight episodes, and the 79-year-old Douglas served as an executive producer along with Schiff and others. Three episodes of the miniseries drop April 12 with one episode following every Friday through May 17.

Douglas admits he was in the dark about the critical role that Franklin played in wooing France to help fund, arm and fight for the fledgling United States’ freedom. Franklin stayed in France for eight years and was joined part of that time by the more stern John Adams (Eddie Marsan), with whom he sparred often, but who also played an instrumental role in making the Treaty of Paris of 1783 happen.

“Unbelievably,” Douglas added, “I was not aware of the most important part, which was after all that Franklin accomplished, at 70 years old, he goes over to France to really save America because we we were in a war with the British and we didn’t have any weapons’ or money or army … nothing. So he went over to this monarchy to try to talk them into it, with all the intrigue and spies. I didn’t know that part and found it really fascinating and ultimately realized that if it weren’t for France we would not have an America.”

While in France, Franklin dodged double agents while receiving a celebrity greeting — due, in part, to his experiments with electricity — and wooed women all around him, as he known to do.

Douglas was joined in this interview by co-star Noah Jupe (“A Quiet Place” and its sequel) who portrays Franklin’s ambitious grandson Temple in the miniseries. He knew zip about Franklin.

“I’m from the U.K.,” the 19-year-old actor explains. “In my high school history class, we didn’t even talk about the American Revolution. So for me, I had a big learning curve in the sense of learning about the entire history of America.”

Temple gets swept up in his grandfather’s mission and while in France served as his secretary. His father was a British loyalist, and estranged from Benjamin Franklin.

Jupe hopes “Franklin” encourages more people into becoming involved in striving for the common good.

“As a society today, I think we’re all very comfortable in our lives and it’s very difficult to change the way things are. I think that this (series) really shows how much work and bravery you have to put in to make things change and to stand for what you believe in and make your country or the world a better place … . That’s important and rare in today’s world.”

Jupe was impressed by Temple’s youth and how he participated in something monumental.

“You’re getting on a ship for 60 days sailing across the sea to a world where everyone speaks a different language (and) everyone is dressing in a different way. Temple’s there for the purpose of America and that’s the priority. But also he’s trying to grow up.”

Douglas grew up as the son of the late Hollywood legend Kirk Douglas. The actor turned heads and won hearts — especially in the Bay Area — as homicide inspector Steve Keller in the hit 1972-77 series “The Streets of San Francisco.” His career caught fire from there. But it was as producer on 1975’s “One Flew Over the Cuckoo’s Nest,” with Jack Nicholson and the late Louise Fletcher, that nabbed him his first of two Oscars — as a producer.

He also took home the best actor Oscar for his unscrupulous moneymaker Gordon Gekko in 1987’s “Wall Street.” Numerous other iconic roles have bookended his long career, which have included him even appearing in Marvel superhero films. In addition to his Oscars, he’s won five Golden Globes, an Emmy and has received the Cecil B. DeMille Award and the AFI Lifetime Achievement Award.

“Franklin” marks a bit of a change for Douglas — an historical period piece. He enjoyed this new direction.

“I think there’s been a big shift to historical pieces,” Douglas said. “I think a lot of it had to do with ‘Bridgerton’ quite honestly.”

To research his role, Douglas dove into Schiff’s biography as well as Walter Isaacson’s 2003 “Benjamin Franklin: An American Life.”

Both Jupe and Douglas appreciate how this story gets told in a series not a stand-alone film.

“It’s accessible all over the world on this platform,” Jupe said.

Douglas sees the length as being beneficial to the intricacies of the material.

“It’s a story to be told in eight hours, not just two hours,” he said, adding he’s proud of the production design and Van Patten’s direction.

“It takes place over eight years and it needs that amount of time,” he said.