For some advice on a delicate situation, Secretary of State Elizabeth McCord is going to turn to three people who know what it's like to deal with a tough decision on the season premiere of "Madam Secretary."
The LGBTQ experience is being contemplated through an intriguing filter -- the social mores and homophobia that characterized the end of the 19th century -- via a trio of independent films devoted to historical figures opening in a three-week span.
Jane Fonda's life is so filled with drama that her illustrious screen career feels a bit short-changed by "Jane Fonda in Five Acts," an HBO documentary that opens with audiotapes of President Nixon badmouthing the actress and only gets more interesting from there.
Netflix's deluge of original series is such that it's now doubling up on high-profile premieres, with the same-day arrival of "Maniac" -- starring Jonah Hill and Emma Stone -- and "The Good Cop," featuring Tony Danza. Each falls short for disparate reasons, as the first show has moments but suffers from a surplus of arty ambition, while the latter feels too much like the third or fourth best series on USA network.
Former rap mogul Marion "Suge" Knight pleaded no contest Thursday to manslaughter in connection with the death of a man during a hit-and-run incident after a confrontation on the set of the movie biopic "Straight Outta Compton."
Drawing from a trove of diaries and audiotapes, "Love, Gilda" is a bittersweet, nostalgic ode to Gilda Radner, one of "Saturday Night Live's" original Not Ready for Primetime Players, who died far too young. Deeply personal, this first-rate CNN Films documentary -- making a pit stop in theaters before its date with primetime -- also has something to say about the male-dominated world of comedy that Radner inhabited.
"This is Us" creator Dan Fogelman has inadvertently provided a stark lesson on key differences between TV and movies with "Life Itself," the new film that he wrote and directed. Featuring similar emotional beats, the movie suffers by cramming all that melodrama into a confined space, heightening the sense of manipulation to what feels like absurd levels.
Michael Moore weaves together threads spanning his entire filmmaking career in assembling "Fahrenheit 11/9," which is both its emotional strength and its structural weakness. The director connects multiple strands in building a case for activism around the election of Donald Trump, but it's an at-times disjointed, scatter-shot journey -- one designed to antagonize his critics, and get those who feel they're slowly going mad watching cable news to nod along.