Owen Gleiberman

It’s a sublime summing up, a movie that reflects the whole series in its magic mirror, and (just maybe) a perfect ending.

Disclosure Day turns out to be a lavishly intense chase thriller with a dollop of deep-think rumination and two characters at its center whose own close encounters have shaped their lives and destinies. Scene for scene, the movie is a vigorous and diverting ride. Yet coming after the mountains of real UAP footage we’ve seen, Disclosure Day never gives you the contact high of awe that “Close Encounters” did.

In “Earth, Wind & Fire,” Questlove tells the band’s story, and Maurice White’s story, in a way that’s at once thrilling and haunting. He captures their rightful place in the pop cosmos.

It’s jammed with spoof-genre history, but that makes it feel more exhausting than exhilarating. It’s a top-heavy satirical party that’s become so meta it’s meh.

Atonement comes to a place that, in a lesser film, might appear sentimental but in this one is bracingly real. You can feel the movie burning away the fog of war.

As an atmospheric freakout, Backrooms is extraordinarily effective.

Soderbergh has done an ace job of illustrating “The Last Interview” by turning it into a dreamy archival collage, accompanying John’s words (and Yoko’s too) with hundreds of photographs I had never seen before. (He also uses a handful of fantasy images created by AI; if they’d been devised with older technology, no one would care, and no one should care now.)

It’s middle-drawer mishegas — though part of what’s sort of fun about it, and also interesting (even when it gets overdone), is that the director, in this case, is truly coming on like he has something to say.

Ira Sachs’s The Man I Love is a stirringly offbeat drama, small and delicate and disarmingly precise, with a performance by Rami Malek that, if there’s any justice, should finally quiet down all the reviewers who’ve always been so snarky about him.

If Propeller One-Way Night Coach lets you know anything genuine, it’s that Travolta, at an early age, looked around at his life and thought it was magical. That, in its way, is a gift, one that in movie after movie he has reflected back to his fans.