Read the full review In Theaters and on Amazon Prime Video That’s the “hilarious” insight Adam McKay wants to impart with “Don’t Look Up,” a smug, easy-target political satire in which two earnest astronomers (Leonardo DiCaprio and Jennifer Lawrence) have one hell of a time trying to convince an attention-deficit president (Meryl Streep, clearly having more fun than we are) or bobblehead media (repped by Cate Blanchett and Tyler Perry) that there’s a comet hurtling toward Earth.

Humans are stupid and can’t be expected to agree on anything, even if their existence depends on it. Read the full review In Theaters and on Netflix Rather, “Resurrections” takes comfort in the familiar, fleshing out the emotional core of a world that always felt a little hollow. Where those films set out to break sound barriers in our brains - the way “bullet time,” the highway sequence and Neo’s final battle against an apparently infinite number of Agents Smith did - this one largely eschews innovation. Where to Find It: In theaters and on HBO MaxĮssentially a greatest hits concert and a cover version rolled into one (complete with flashback clips to high points from past installments), the new movie is slick but considerably less ambitious in scope than the two previous sequels. The Matrix Resurrections (Lana Wachowski) That acknowledgement, jagged and potentially confrontational though it may be, is first-time helmer Maggie Gyllenhaal’s offering to audiences accustomed to a more conventional depiction of the female experience. “I’m an unnatural mother,” Leda confesses at one point, saying aloud that which women aren’t typically allowed to admit about motherhood - that such a precious gift can be an unwelcome burden for some, and that by extension, not everyone is cut out for the job - in a film that gives any who may have felt this way a rare sense of being seen. Where to Find It: In theaters and on Netflix The Lost Daughter (Maggie Gyllenhaal) CRITIC’S PICK Read the full review In theaters and on Netflix Based on a novel by wartime fiction specialist Robert Harris, the film’s stern, businesslike demeanor and rich period detail lend it a ring of truth, though its ticking-clock timeline is only a notch less outlandish than the wildly ahistorical remix of First World War lore in “The King’s Man.” - Guy Lodge Immersively crafted but never emotionally involving, this handsome imagining of underground attempts to prevent war during the 1938 Munich conference flip-flops between the perspectives of George MacKay’s English political aide and Jannis Niewöhner’s German turncoat, spreading its sympathies between them.

Where to Find It: In theaters, then on Netflix on Jan. Munich: The Edge of War (Christian Schwochow)

About time movie stream