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Travis Barker has spent most of his life on stage making difficult things look effortless. Put him behind a kit and the speed can become almost ludicrous, his entire body working with the precision of someone who knows exactly where the next beat belongs. TRAVIS BARKER: LOUDER THAN FEAR is concerned with the parts of his life that couldn't be controlled that way. Fame could be managed. Music could be practiced. A plane crash, severe burns, grief, addiction, survivor's guilt, and a fear so overwhelming that it changed how he lived required something else entirely.

Who’s killing the sisters of Theta Pi? In Sorority Row, making its 4K debut, the sisters of Rosman University’s Theta Pi – Cassidy (Briana Evigan), Chugs (Margo Harshman), Jessica (Leah Pipes), Ellie (Rumer Willis), and Claire (Jamie Chung) – are committed to staying mum regarding the prank that ended in tragedy for Megan (Audrina Patridge), one of their own. But when graduation day arrives, so does terror, as a killer hunts Theta Pi’s sisters one by one. With Carrie Fisher.

The roof over EC’s Nashville home is leaking, and everyone seems to have an opinion about how she should repair it. The problem is practical, expensive, and increasingly difficult to ignore, which makes it a fitting concern for a singer who has spent years defending her independence without ever finding the financial security that was supposed to accompany a successful career.

This probably won’t be the popular response, but PROJECT HAIL MARY was simply an okay movie for me. I didn’t dislike it, and there’s no issue in its performances, storytelling, or technical craft. It just never produced the sense of wonder or emotional impact that its reputation led me to expect. Watching it at home may have widened that distance. The scale, sound, and visual design clearly belong on the largest screen possible, and a theatrical viewing might have made those accomplishments feel more impressive. Even then, I suspect my overall reaction would remain much the same. There’s plenty to admire, but nothing that truly blew me away.

A service bell rings from a room sealed for years, turning an ordinary moment in the hotel into a warning. In HOKUM, Damian McCarthy gives the Bilberry Woods Hotel an unnerving awareness of its guests, making its corridors feel like you’re being watched, and every locked door suggests that Ohm Bauman has already wandered closer than he realizes.

Martin Scorsese lets loose an old Hollywood musical and then drops one of his most unpleasant leading men directly into it. Jimmy Doyle has the saxophone, confidence, and persistence traditionally used to mark a romantic lead, but the polish has been stripped away. He doesn’t charm Francine Evans into giving him a chance. He exhausts her resistance until she can no longer escape him.

I’ve always loved the way Baz Luhrmann approaches a movie as a complete sensory experience. His use of color, framing, music, editing, and production design doesn’t just add recreation to the story; it determines how the audience experiences it. That unmistakable imagination made ELVIS one of the most exciting studio productions of 2022. With EPiC: ELVIS PRESLEY IN CONCERT, Luhrmann brings the same eye for spectacle to archival material without trying to overpower it. His fingerprints remain visible in the scale, cadence, and emotion, but he understands that the most compelling image available is Elvis himself. No actor could reproduce Presley’s combination of humor, sensuality, energy, and absolute command of an audience.

BEAU IDEAL takes its time revealing how difficult Jake Carver is to trust. His concern for the boy living next door seems justified, but every new decision makes it harder to tell whether he’s protecting someone or looking for a reason to confront his own past. Jake Carver has built an identity around sensitivity, compassion, and the certainty that he isn’t like the father who hurt him. Once he becomes convinced that a boy living next door is being abused, that carefully maintained self-image stops being private. It becomes permission.

THIS TEMPTING MADNESS begins with Mia waking from a coma after a near-fatal fall, her memory fractured and much of her life now being explained to her by other people. She soon learns that her husband has been arrested for trying to kill her, but the flashes returning to her don’t match the reality of those around her. With no reliable account of what happened, Mia is left trying to rebuild both the night of the fall and her understanding of the people closest to her.

Ten years later, SING STREET remains every bit as warm, funny, and emotionally heartfelt as it was upon release in 2016. John Carney’s coming-of-age musical gets so much of its energy from Conor’s decision to start a band and impress Raphina, but its more peaceful sadness stands out more on a return visit. Brendan’s role carries added weight, especially as he pushes his younger brother toward the kind of escape he never managed for himself.

A fortune-telling cabinet has something about it that makes it real; there’s a texture, and the stale unease of something that has watched generations feed coins into it. The eerily, almost mechanical face, glowing eyes, off-putting gestures, and ominous cards make the Harbinger look like a forgotten fairground attraction that should have remained locked inside an abandoned arcade. Whenever the film places that object in the room and allows everyone to wonder whether it’s alive, it finds the strange charm it’s been chasing. Think of it as if Zoltar from the 1988 film BIG had something deeper and darker to it.

The fluorescent lights never look threatening on their own. Neither do the tiles, security cameras, advertisements on the walls, ventilation grates, or the middle-aged man carrying a briefcase. After director/co-writer Genki Kawamura makes us study them long enough, every detail begins to feel like a warning placed there specifically to test whether we’re paying attention.

Jean-Claude Van Damme was already established as a fighter by 1990, but DEATH WARRANT asks him to do something slightly different. Rather than entering a tournament or avenging a murdered relative, he has to do an investigation. The kicks remain part of the package, obviously. Yet, the movie delays some of its martial arts gratification in favor of whispered conversations, suspicious medical records, alliances, and a mystery that becomes more distorted as Louis Burke moves closer to the truth.

ALLEY CATS refusing to turn the animals into adorable little humans (well, for the most part). Gus and his friends scratch, hunt, fight, sleep wherever they can, and approach most living creatures as possible food or competition. They can discuss death, relationships, and the meaning of existence, but those conversations never stop them from behaving like cats.