Reviewing Nanette Burstein’s simplifying overview of Elizabeth Taylor, favoring iconic star status over in-depth career insights. Also, some comments on Martin Scorsese’s tribute to the legendary British filmmaking duo Michael Powell and Emeric Pressburger.

A few words about Laurent Bouzereau’s documentary of Faye Dunaway, which makes a case for her best screen performances, while trying to downplay or rationalize her irritability as part of getting the job done.

Examining Yorgos Lanthimos’s trifecta of thematic overlap smothered in cleverness, currently favored over Kevin Costner’s more thematically challenging epic Western. Also: Alicia Vikander as Katherine Parr stands her ground against Jude Law’s Henry VIII in the uneven but worthwhile FIREBRAND.

Offering context as to how HOOPER, a 1978 Burt Reynolds/Hal Needham ode to stuntpeople, and THE FALL GUY, a Lee Majors/Glen Larson 1980s TV series about a crime-solving stuntman, gave birth to an “original” would-be blockbuster.

Mammoth victory lap documentaries usurped by modest Jerry Lee Lewis chronicles dumped by A24. Plus THE BEEKEEPER/WICKED LITTLE LETTERS/THE MINISTRY OF UNGENTLEMANLY WARFARE.

Alex Garland’s opaque on purpose Divided America epic, plus easier to grasp monster and demonic fare.

Reviewing this year’s first surefire blockbuster plus Ethan Coen and Tricia Cooke’s lesbians on the road comedy, which will likely find a larger audience via streaming.

Discussing 50s noir films including I DIED A THOUSAND TIMES, PICKUP and ROADBLOCK. Also, a few words about the black-and-white version of GODZILLA MINUS ONE, which complements its 1954 ancestor GOJIRA.

Bradley Cooper takes a technical leap forward in his biopic of Leonard Bernstein, but it’s Carey Mulligan’s performance as wife/partner Felicia that saves this from being merely awards aspirant.