"Supergirl" hasn’t been attempted in a while...and rightly so in some ways because it has to get the tone right. With Milly Alcock, they have cast completely right but somehow the story doesn’t quite feel up to snuff and the villain a little too eccentric. There are moments when it really locks in like when Kara at one point jumps into orbit off a dying planet. Her devil may care attitude works well. The story is about helping Krypto so that does make sense. But the adjoining story of a little girl who needs help and the bad villain Krem (played by a well hidden Mathew Schoenaerts) doesn’t quite hit right.

The intention of a myth or at least its story is to either to soften the blow or provide a historical context of what something could be. With “The Death Of Robin Hood”, like a similar story of Odysseus starring Ralph Fiennes called "The Return" a couple years back, it is about deconstructing the idea of a myth. Hugh Jackman, covered in long hair, gristle and world weariness plays Robin Hood hiding himself from the world.

With any sequel, the question becomes necessity. It is not a question whether the 5th movie in the Toy Story franchise is good. It is more if it needs to be. "Toy Story 3" still is the pinnacle in what it did because of the stakes and the angst that permeated in the path of these toys. “Toy Story 5” does address a different world than 4 did in 2019...and things have changed...but the question of course becomes motivation.

During the First World War with the advent of the Panzer tank, all bets were off as the brutality of war was uncontained with barely any safe guards and chemical/gas weapons at optimal use. The story behind "Landship" is part of history but not brought to bear until 70 years later. It shows a Panzer team that made their way across to the German trenches without disappearing into a mortar hole but eventually was turned over by German artillery.

Steven Spielberg’s original concepts are pretty good and with a writer like David Koepp who did "Jurassic Park" making something like "Disclosure Day" should be an exceptional run. And while this feels like a more complete Spielberg film than many recent forays, it suffers from a lot of plot holes that take away from its overall power. There are some great moments of wonder for sure but it is almost like not enough time was spent on the script. There are also set pieces that are bridges but don’t really expound on the character structure to move the plot.

When one thinks of He-Man, it definitely needs to be 80s strong. The new “Master Of The Universe” leans into this with varying degrees of success. It seems to want to emulate 1980's "Flash Gordon" even down to the Brian May’s guitar solos since Queen did that score. But this is a different film and a different time. The camp of that 1980s film worked well but Flash was different than Adam here who seems to be too woke.

Like "Annihilation", "Contact" or "The Arrival", good science fiction about intelligent life in the cosmos has to be done in a very specific way but with the technology we have at hand. "Signal One" from writer/director Jonathan Sobol takes quantum tech and uses it to create sounds in the air in a specific way. Isabelle Fuhrman, best known for her title role in "Orphan" takes on a very intelligent, instinctive and fascinating new role as a scientist who figures out an algorithm that can open up portals of communication.

A tit-for-tat "Sniper"-type thriller hasn't been done in a while. While "Seven Snipers" has some story issues, its taut progression, effective acting and great use of a single location allows it to rise over others of its ilk despite some story issues. This has to do with the three leads, in Radha Mitchell, Ioan Gruffudd and Tim Roth. While the main face off is between Mitchell and Roth, Gruffudd, plays Milk, a compadre of Mitchell's character Hewndricks and bridges the gap for Mitchell's daughter Anja (Annabelle Wolfe).

The focal point of "Pressure" which has been seen on countless History Channel documentaries and other military programs over the years is the weather that threatened and eventually perhaps helped the D-Day invasion in Normandy. What is interesting in this film is to hyperfocus it in the decisions made in the nights before but place it in the main perspective of Team Captain Stagg (here played by a demure -- in a way -- Andrew Scott). After "Ripley", this is indeed a right turn in the best way for him because it shows his manner even when the character at the interim point is unlikable.