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John Ridley’s “Shirley” examines the 1972 presidential campaign of Shirley Chisholm (Regina King), the first Black woman to be elected to Congress, and the first woman to campaign for the Democratic nomination for President. Across the timeline of her run for office, “Shirley” depicts Chisholm’s fierceness against the misogynoir that looked to suppress her efforts […]

“I’m afraid of being alone,” intones William Shatner in the opening minutes of “You Can Call Me Bill.” It’s a sentiment that, as he tells it, has pervaded every moment of his life both on and off camera. As Captain Kirk, he barrels out into the universe to satisfy his curiosity about what’s out there.

A local icon in San Francisco who made a national impact on the night club and adult entertainment industries, with the documentary “Carol Doda Topless at the Condor,” filmmakers Marlo McKenzie and Jonathan Parker bring the titular Doda’s story to life with a rich trove of archival materials and new talking head interviews with Doda’s

The Russell Crowe renaissance feels like it’s just around the corner. Although I’ve been saying that since “The Nice Guys,” so I could be wrong. He’s undeniably reached a phase of his career in which he has nothing left to prove, and he’s often the best thing about every project he’s in. (He made “The

For his 2017 debut, “The Best of Old Worlds,” Austrian director Adrian Goiginger told a story based on his own childhood experiences regarding his troubled relationship with his addict mother. For his latest effort, “The Fox,” he once again mines his family history for inspiration, this time going back in time to tell a story

“Riddle of Fire” is the kind of cinematic bedtime story whose whimsical tone makes it easy to overlook its many keenly crafted intricacies. The feature directorial debut by writer/actor Weston Razooli works through a charming conviction: Three kids brothers Hazel (Charlie Stover) and Jodie (Skyler Peters) and their friend Alice (Phoebe Ferro) rumble down a

Inadequacy peeks from behind the uncomfortable smiles and passive aggressive remarks that two adult men exchange in the presence of the 13-year-old boy under their care. Both of these visibly distressed would-be role models is desperate for some validation. The father, Jim (Colin Burgess), has driven his adolescent son Branson (played by boyish-looking adult actor

Written and directed by Ng Choon Ping and Sam H. Freeman, “Femme” is a complicated movie. Channeling old school revenge films with a slick look, its stylish yet conflicting approach is a tough look at anti-LGBTQ+ violence and what vengeance might look like. However, that’s where things get morally shaky and the answer to the

When Paul (Brendan Rock) says those words to the nameless woman who shows up at the door of his isolated trailer in the middle of a stormy night, the wordless uneasiness, already present in “You’ll Never Find Me,” shivers into anticipatory dread. We know what’s coming. We’ve seen it before. Only, we haven’t. “You’ll Never

Director Gil Kenan’s film does a vaguely better job of balancing the old and the new than its predecessor, “Ghostbusters: Afterlife.” It finesses the fan service in a way that the 2021 reboot/legacyquel/whatever you want to call it did not, offering familiar images and bits of dialogue in breezier fashion while also moving these characters,