When it comes to making what’s touted as being a grand, sweeping epic, a filmmaker had better have his or her ducks in a row before beginning. Unfortunately, in the case of director Ridley Scott’s latest, that’s only half true.

In 1989-90, the skies over Belgium were filled with unidentified flying objects on an ongoing basis, prompting the incident to become known as “the Belgian UFO wave.” Not long after it began, journalist Marc Vaerenbergh (Dominique Rongvaux) began investigating the event in depth, speaking with countless civilian and military witnesses. He stayed on the story until he suddenly and mysteriously vanished (presumably for knowing too much), a disappearance that was never officially solved.

What’s the difference between love and sex? It’s a conundrum that many of us wrestle with (and one that many of us would probably rather not bother with). However, what if it comes up in connection with resolving a sensitive, ongoing problem? That’s what Sandra (Lucie Debay) and her partner Rémy (Lazare Gousseau) must face when it comes to finding an answer to their longstanding infertility problem.

It’s always frustrating to walk out of a movie and ask yourself afterward, “What did I just watch?” That was my reaction to this scattered, unfocused offering from the writing-directing duo of Dominique Abel and Fiona Gordon, and that’s unfortunate given that this release has some definite strengths in its corner.

From time to time, a movie comes along that’s hard to define, and, hence, it’s hard to know what to make of it. Such is the case with the second feature outing from filmmaker Johan Renck, a director best known for TV commercials and music videos, a reputation that bleeds through at times in this production. Viewer opinions and interpretations of this one are all across the board, making “Spaceman” one of the most challenging releases to peg in recent memory.

In telling a story with surreal and/or other-worldly aspects, there’s a big difference between “mystical” and “mystifying,” and that’s where this second feature from writer-director Morissa Maltz misses the mark.

When a film seeks to depict the life story of a beloved public figure, it generally works best when it paints a comprehensive portrait of said individual. However, in this biography of the wife of rock ʼn roll icon Elvis Presley, viewers get a picture that seemingly tells only half of the story.

Movies about the flood of new immigrants into Europe from Africa and the Middle East have been growing in number in recent years. Depictions of the many hardships these individuals face (sometimes graphic and disturbing in nature) have been making their way into the cinematic community, showing exactly what these desperate freedom seekers are up against. And this latest offering in this genre does just that in telling the story of two Senegalese teens as they make the perilous attempt to find their way to a new life in Italy.

For those in the LGBTQ+ community who reside in the West, the greater freedoms and civil liberties that have emerged in recent decades have made life more fulfilling for this once-persecuted constituency. But, for those who live in more conservative lands, such rights and privileges have been slower to surface (and in fewer numbers at that). This is true even in somewhat more lenient countries like Turkey, where the somewhat more tolerant and cosmopolitan nature of cities like Istanbul have shown some progress but still lag behind other locales.

With the release of such innovative communications products as the Apple and Android smartphones, questions began to circulate about the future viability of onetime market leader BlackBerry, a line of devices that subsequently went into rapid decline. Ironically, that real-life business world narrative itself raises comparable questions about the viability of a movie that tells the BlackBerry story.