Richard Roeper

The film shines brightest when we hear the stories of the children of that day who are now young adults, still processing everything that happened—and living in the world that 9/11 helped create.

This could be a stage play, with just the two main characters and a bare minimum of furniture. It’s a testament to the star power and forceful talents of Daniels and Harris that we never grow restless with the static nature of the proceedings.

In 2026, a “Scary Movie” making fun of “Scream” movies, which from the get-go were inside-joke takes on horror films, is like a Russian nesting doll of comedy, where the laughs get smaller with each reveal.

How to Make a Killing makes a half-hearted effort to surprise and maybe disturb us with some late developments, but by that point we’ve been numbed by the film committing the unforgivable crime of being dull.

The screenplay by Damian Shannon and Mark Swift is sharp and funny, and contains knowing insights about misogyny in the workplace and the shifting dynamic between a toxic male boss and an overlooked and mistreated female employee. Mostly, though, “Send Help” is about paying your ticket for an R-rated, Sam Raimi thrill ride with projectile vomiting, flying ropes of blood, and a handful of scenes that fly so off the rails that you wonder if we’re in the middle of a dream sequence, or the mayhem is real.

By the halfway mark of the screen-popping and kinetic but ultimately tiresome and borderline dopey AI thriller “Mercy,” I found myself yearning for a wireless mouse so I could log off.

While there’s no new ground to be covered—Elizabeth’s captors were long ago brought to justice—it’s still a journalistically thorough and fascinating look back at the story, highlighted by present-day interviews with Elizabeth, her little sister Mary Katherine (who witnessed the abduction) and Elizabeth’s father, Ed Smart.

One can’t help but feel sad, and yes, sometimes infuriated, that Chevy Chase never fully figured out a way to enjoy his great success without making so many others in his circle miserable.

A well-produced, visually impressive, character-driven fable about the man who would be king.

Not Without Hope is a respectful and impactful dramatic interpretation that feels true to the real-life events.