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Neither is “Lionesses,” which will likely inspire comparisons to everything from Deniz Gamze Ergüven’s “Mustang” (a country setting, an indifferent society, young women desperate to break free) to Sofia Coppola’s “The Virgin Suicides” (deep ennui, an unsettling tremor of what’s to come, a real sense of how to film the bonds between women), all of which hints at a big career to come for Bajrami, on whichever side of the camera she chooses....

Now, though, it’s hard to remember what all the fuss was about. Considering the landscape of both books and television, it’s hard not to feel like a TV series devoted to Brown’s character is arriving a few years past its expiration date. Even worse is the fact that Brown’s novel “The Lost Symbol” was initially planned to be the third Hanks feature before the switch to “Inferno.” That change might be telling us something about the source material we’re watching....

Here’s a more detailed synopsis per Netflix: “Dee Dee Allen (Meryl Streep) and Barry Glickman (James Corden) are New York City stage stars with a crisis on their hands: their expensive new Broadway show is a major flop that has suddenly flatlined their careers. Meanwhile, in small-town Indiana, high school student Emma Nolan (newcomer Jo Ellen Pellman) is experiencing a very different kind of heartbreak: despite the support of the high school principal (Keegan-Michael Key), the head of the PTA (Kerry Washington) has banned her from attending the prom with her girlfriend, Alyssa (Ariana DeBose)....

But it was still a frustrating ride. “We never made a film where we weren’t present during the principle action,” Vasarhelyi said in an interview with Chin over Zoom. The pandemic forced them to interview their key subjects, the British divers who drove the mission, from afar. Underwater reenactments were shot with the divers at Pinewood Studios in the U.K. rather than at the actual Tham Luang cave in Chiang Rai....

You might sense it in the structure of Imbet, Magali Pouzol, and Jean-Charles Ostorero’s screenplay, which unfolds through a series of nested memories à la Isao Takahata’s “Only Yesterday” — or “Citizen Kane.” More specific is how this meditative, breathless, and occasionally transcendent film rustles with the same melancholic beauty that swirls through every frame of Hayao Miyazaki’s magnum opus “The Wind Rises.” Where that melodrama weighed the creative spirit against its most awful cost, this adventure story reaches even higher in its bid to understand why some men (and only men, so far as Imbert’s picture is concerned) are compelled to climb the world’s tallest mountain and/or die trying....

Inevitably, the movie rights to Finn’s novel were snatched up and original studio Fox lined up an enviable array of talents behind (director Joe Wright, screenwriter Tracy Letts) and in front of the camera (Amy Adams, Julianne Moore, Gary Oldman, Anthony Mackie, Wyatt Russell, Brian Tyree Henry, and Jennifer Jason Leigh). Not so bad! But after bad test screenings necessitated some rewrites (care of Tony Gilroy) and pushed-back release dates, the pandemic further moved the film off the calendar....

In a new interview with EW, Hanks opened up about the research he did about the shadowy power broker and what ultimately convinced him to make the movie. The actor said that he was interested in the codependent role that the two men had, and the way their intense business relationship ultimately shaped American culture. “Baz said, ‘There would’ve been no Colonel Tom Parker without Elvis. And there certainly would’ve been no Elvis without Colonel Tom Parker....