‘Disclosure’ on Netflix: Film Review

"They say that when you die, your whole life flashes before your eyes. I wish it were that simple," says James, the main character, in his voiceover narration at the beginning of Volition.

Owen Gleiberman Chief Film CriticWhen you look at the face of Danny Trejo, you see the creases and hollows and pockmarks, the eye pouches like saddlebags, the badges of a life so well-worn that, at first, that’s just about all you see. Yet the more you look, the more you notice a paradox.

Dennis Harvey Film CriticBeing released during an epidemic lends additional if unintended frisson to “The Beach House,” a cryptic yet reasonably involving thriller in which vacationers find themselves under threat. The nature of that threat remains ambiguous, but in its partially-airborne inescapability, it definitely hits a note of creepy relevance.

Jessica Kiang In 2013, Daniel Rye, a Danish photographer in his mid-twenties, went to Syria to document the plight of civilian refugees and was kidnapped by ISIS. Ransomed and held captive for 13 months, Rye was psychologically and physically tortured, starved and beaten by his captors, first on his own and then alongside several other international hostages, among them U.S.

Also Read: Andy Samberg Loved 'Palm Springs' Script Because It Was 'A Little More F- Up' Than Traditional Rom-Coms (Video)We meet Samberg’s character, Nyles, when he wakes up on the morning of the wedding and halfheartedly ogles the leg of his girlfriend, Misty (Meredith Hagner).

A bright and shiny character-driven drama that begins as another send-up of social media madness, Sweat at some point turns a dark, unexpected corner. Ultimately, writer-director Magnus von Horn allows that there may be some personal redemption for his heroine, a self-obsessed fitness star and influencer played with breathless muscle-flexing and almost comic self-confidence by stage thesp Magdalena Kolesnik.

The timing couldn't be more fortuitous for the release of Mary Mazzio's uplifting documentary about the nation's first African American high school rowing team, which feels almost like a tonic for these troubled times. Narrated by Common and including NBA greats Grant Hill and Dwyane Wade among its executive producers, A Most Beautiful Thing, scheduled to open in theaters, powerfully demonstrates the healing potential of sports and the ways it can help bridge societal divides.

Where did the universe, humanity, our planet and chocolate ice cream come from? They were all created by a giant, all-powerful being made of spaghetti, with two googly-eyes on raised stalks and a pair of meatballs where cheeks would bulge. This is the Flying Spaghetti Monster (FSM), and if there were any justice in the world, His story would stand as good a chance of being taught as fact in American schools as the anti-evolution narrative called Intelligent Design.

Owen Gleiberman Chief Film CriticTom Hanks shows what a commanding actor he can be from the first taut combat sequence of “Greyhound,” when the title warship, leading a convoy through the North Atlantic in the early months of World War II, spies a U-boat speeding toward it from a dozen miles away. As the German sub approaches, we hear a lot of rapid-fire military and navigational jargon shooting back and forth between the sailors (“Hydrophone effects slow rev, sounds like 60 RPM, sir!”).

Maggie Lee Chief Asia Film CriticEye-popping action steals the show in “Lupin III: The First,” the first computer-animated feature entry in the classic franchise about the French gentleman thief and master of disguise.

Richard Kuipers There’s a bit of everything and most of it works in “Chasing Dream,” the first feature directed by Hong Kong ace Johnnie To since “Three” in 2016.

Peter Debruge Chief Film CriticIn “17 Blocks,” Cheryl Sanford, matriarch of a low-income African American household in southeast Washington, D.C., talks wistfully of a “parallel universe” where she and her family enjoy cookouts, vacations and gift-filled Christmas mornings. This melancholy confession comes moments after a closeup of her casually snorting cocaine.

A persuasive argument, not that one should still be required, for handing women directors the reins more often on big-canvas action movies, The Old Guard represents a boldly assured step for Gina Prince-Bythewood away from the intimate romantic drama of strong previous work like Love & Basketball and Beyond the Lights.

Owen Gleiberman Chief Film CriticThere’s a thing you can always count on in blockbuster movie culture: If a popcorn genre hangs around long enough, after a while it’s going to merge with another popcorn genre it seemingly has nothing to do with.

Jessica Kiang The protagonist of Pablo Larraín’s “Tony Manero” was a man obsessed to the point of insanity with achieving celebrity as the replication of someone else. So there’s a sort of inverse symmetry at work in the Larraín-produced “Nobody Knows I’m Here,” the strange little debut from Gaspar Antillo, about a man whose celebrity was stolen from him, and given to another.

Owen Gleiberman Chief Film CriticIn the last two years, a series of scalding and essential documentaries — “Leaving Neverland,” “Surviving R. Kelly,” “Untouchable,” “On the Record,” “Jeffrey Epstein: Filthy Rich” — have shined a light on the contours of sexual abuse and the supreme, if not obscene, concentration of power that too often allows it to be concealed and perpetuated.

Peter Debruge Chief Film CriticWith “Da 5 Bloods,” Spike Lee follows his long overdue Oscar win for “BlacKkKlansman” by revealing a side of the Vietnam story that’s seldom told. Through the Trojan horse of a treasure-hunt adventure movie, the director explores the mindset of Black soldiers who fought for their country at a time when African Americans were being oppressed at home.

Early in “Judy & Punch,” a wife who’s just helped her husband perform a vigorously slap-happy puppet show in a desultory corner of 17th century England poses the question, “Do you think the show really needs to be that punchy?”

More than a PSA or cinematic call to arms, this indie documentary is a compassionate, sincere manifesto on suicide prevention.

A hijacked drug deal's messy aftermath ensnares an entire family in Christian Sparkes' effective if overloaded crime drama.