One thing for sure you can say about the films of writer-director Nicole Holofcener is that they’re rarely what you expect but always deliver more than you hope for. What’s more, given her recent track record, she keeps getting better and better with each release.

To say that iconic actress/dancer/comedienne Mary Tyler Moore was a gifted, complicated, reserved, often-misunderstood individual is indeed an understatement. However, director James Adolphus’s new HBO documentary presents a reverent, insightful and respectfully candid biography of the famed star of TV, stage and screen, showing Moore in all of her magnificent multidimensionality.

At the risk of sounding snarky, the title of this debut feature from writer-directors Lise Akoka and Romane Gueret could be interpreted in multiple (and unflattering) ways. Suffice it to say, however, this documentary-style drama about a filmmaker seeking to cast his production with nonprofessional actors from a low-income neighborhood (i.e., ghetto) in suburban northern France presents a haphazard mélange of story threads that seem more meandering than insightful or enlightening.

Questions related to assisted suicide and the right to die have been debated hotly for decades, and proponents on each side of these issues have made passionate arguments for their causes. A number of fine films have addressed these issues, too, such as “Blackbird” (2018), “You Don’t Know Jack” (2010), “Whose Life Is It, Anyway?” (1981) and “The Barbarian Invasions” (2003). And now moviegoers can add the latest offering from writer-director François Ozon to that list.

Film has become so pervasive in our society that we tend to take it for granted. From big screen blockbusters to intimate arthouse dramas and documentaries to home movies, we see these cinematic records of us and our world virtually everywhere we look. It’s a phenomenon that’s present globally, too, one that spans all seven continents. And, because these images have been committed to a fixed medium, we tend to assume that these records will be with us permanently. But will they?

In the 1980s, actor Michael J. Fox burst onto the entertainment scene as one of the decade’s mega-stars with the success of his hit TV show Family Ties and a string of popular movies, most notably the iconic sci-fi comedy, “Back to the Future” (1985). Before long, he was seemingly everywhere all at once, a fitting development for someone who had lived his life like that from the time he was a child.

Most media coverage about the war in Ukraine – where most of us get our news about the conflict – comes down to a recitation of facts and figures, with the biggest and most dramatic stories receiving virtually all of the attention. But how does the war impact the nation’s citizens at the personal level? What’s more, we hear so much about the unity of Ukraine’s residents in combatting their Russian foes, but in what ways does that commitment materialize?

Stories of UFOs, ETs and the government coverups associated with them have become commonplace in today’s culture, in everything from specialty cable TV series to Coast to Coast AM radio to episodes of The X-Files, with narratives that are all remarkably and consistently similar. And now director James Fox’s new documentary has added its voice to this growing chorus of material on the subject, exploring the alleged 1996 crash of a UFO in Varginha, Brazil.

One thing that movie fans can say unequivocally about French cinephiles is that they often possess a love of absurdist humor, both in the films they watch and in the pictures their countrymen make. That’s been verified once again in writer-director Quentin Dupieux’s latest, a wacky, wigged out sci-fi/fantasy comedy that’s truly one of a kind.

When the elderly Grand Imam of Cairo’s prestigious Al-Azhar University passes away suddenly, a scramble ensues over the appointment of his replacement, one that involves the maneuverings of various vested interests from religious fundamentalists to political pragmatists to devoutly spiritual purists. But who will ultimately take over? That depends on the efforts of a young new student who becomes caught up in this power struggle.