Chicago Sun-Times

After all the clutter and noise, it turns out that “Snow White” is a perfectly serviceable, gorgeously filmed, toe-tapping musical that pays homage to the animated film while making significant changes, including deviating from the original storyline to make Rachel Zegler’s Snow White more of a People’s Princess and girl-power rebel than someone warbling “Some Day My Prince Will Come.”

With clear and obvious influences from films such as “Joker,” “The King of Comedy,” “Whiplash” and, most prominently, “Taxi Driver,” writer-director Bynum and Majors team up for a disturbing and blistering case study of a man who feels utterly unseen and is obsessed with making a name for himself.

De Niro infuses Costello with a kind of avuncular charm, while Genovese has the fiery temper and paranoid fury to match Jake La Motta in “Raging Bull.” It’s a privilege to witness one of the best actors of all time, still at the top of his game.

I’m not going to pretend I always knew exactly what everyone was talking about as we plunged ever deeper into the weeds of double-crossing and triple-crossing among a batch of mostly iniquitous secret agents, but it’s a zippy and darkly funny ride every step of the way. The dialogue jumps off the page, and the performances are universally brilliant.

The running time is 104 minutes, but it felt longer than “The Brutalist.”

The Electric State short-circuits from a severe case of Character Overload, with great actors mired in hopelessly silly and underwritten parts.

Despite the stylish direction from the duo of Dan Berk and Robert Olsen and winning performances by Jack Quaid and Amber Midthunder, “Novocaine” sputters to the finish line.

Drawing from behind-the-scenes footage and photos on the “Rust” set, police footage from the scene and from interrogation rooms, interviews with actors and production staffers as well as director Joel Souza (who was wounded but fully recovered) and Hutchins’ personal archives, “Last Take” is a powerful piece of work.

While the documentary doesn’t provide conclusive proof of a link between any covert government operations and Manson, it’s at least fodder for lively debate (not to mention a Netflix documentary).

It’s a variation on the teletransportation paradox as filtered through a live-action Looney Tunes cartoon, with some B-movie creatures thrown in for good measure.