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Reviews of movies showing in theaters or streaming online

‘BOB MARLEY: ONE LOVE’: How can you contain the meaning of Bob Marley in a single biopic? The pioneering reggae artist’s life was all too short, but his music has persisted infinitely, reaching far beyond the Blue Mountains of his native Jamaica, and he continues to be a global icon and a posthumous ambassador for Rastafarian culture 40 years after his death. But the man himself has been abstracted into an image for sale, a mere signifier adorning a dorm room poster, his songs of peace and freedom the dutiful standards of beach bar cover bands across the globe. Is it possible to tell the story of his life in a way that feels truthfully human? These are the questions with which one wrestles in contending with the new biopic from director Reinaldo Marcus Green, “Bob Marley: One Love.” But unfortunately, the film itself does not undertake these complex matters. Though the film promises to tell a culturally and politically specific story, what could have been daring is ultimately trite, relying on familiar music biopic tropes. It’s a shame, because at the center is a bravura performance from Kingsley Ben-Adir as Marley. 1:44. 2 stars. — Katie Walsh, Tribune News Service

‘DRIVE-AWAY DOLLS’:

It’s fascinating that Ethan Coen and Tricia Cooke, longtime filmmaking collaborators and spouses, and the creative team behind the queer exploitation flick “Drive-Away Dolls,” have repeatedly — and lovingly — described their new film as “trashy” in interviews. It’s a way of nodding to influences

like the “Pope of Trash” himself, John Waters, and titillating B-movie king Russ Meyer. Or perhaps it’s a way to get ahead of, and away from, certain expectations tied to Coen and his former filmmaking partner, his brother Joel. This ain’t your daddy’s “No Country for Old Men,” after all. “Drive-Away Dolls” rather excitedly asserts a space that one could call “a country for young lesbians,” if one were so inclined. The film itself is a “queering” of the ’90s crime caper, the kind of sardonic, ironic, muscular and oh-so-masculine film that the Coen brothers and their contemporaries (Quentin Tarantino, Guy Ritchie et al.), popularized some three decades ago, birthing generations of film bros. The plot centers around an odd couple of friends, an amorous lesbian Lothario, Jamie (Margaret Qualley), and a buttoned-up office worker, Marian (Geraldine Viswanathan), who decide to drive to Tallahassee, Florida, when Jamie

catches too much heat for cheating on her cop ex, Sukie (Beanie Feldstein). The friends opt for a cheap “drive-away” rental, and are accidentally given a vehicle with a secret stash in the trunk, sparking a chase across state lines involving a senatorial sex scandal. And though they’ve got two bumbling henchmen in pursuit, these gal pals live, laugh and lady-love their way through every Sapphic saloon south of the Mason-Dixon line. 1:24. 2 stars. — Katie Walsh

‘DUNE: PART TWO’: For starters, I can’t believe director Denis Villeneuve pulled off the big scene in “Dune: Part Two” in which Timothée Chalamet learns to ride the world’s largest pool noodle. True, the story of “Dune” offers some built-in possibilities for success with such a potentially ridiculous scene. This two-hour, 46-minute continuation of the 2021 “Dune” is the sandiest movie since “Lawrence of Arabia.”

This means whirlwinds and sandstorms worthy of Frank Herbert’s massive hunk of trippy sciencefiction lit, which in turn means lots of dramatic visual texture — all the better to disguise as well as complement the sequel’s extraordinarily sophisticated blend of digital and practical design elements. Now: Is “Dune: Part Two” my thing? Does the bloody fall of House Atreides and the vengeful rise of messiah-in-training Paul Atreides, played by Chalamet; the battle for domination over the spice harvesting business on the desert planet Arrakis; and the machinations of the emperor of the universe (Christopher Walken, but of course we knew that already) and his daughter Princess Irulan (Florence Pugh) amount to a hill of beans in this crazy world? And what about the political and romantic alliance between Paul and Chani, the fierce Fremen warrior fighting for her people? Chani is once again played by Zendaya, who actually has things to do and say in “Dune: Part Two.” Javier Bardem returns, too, with an expanded presence, as Fremen leader Stilgar, heading the revolt against the invading Harkonnen. With a different filmmaker I’d say no, not my space jam. But director and co-writer Villeneuve uses the screen to imagine technological and otherworldly amazements, and treat them matter-offactly. A movie can strip source material for parts, and its own needs, and still capture its essence. 2:46. 3 stars. — Michael Phillips , Chicago Tribune

‘MADAME WEB’: “Madame Web” is the first Marvelaffiliated movie for which I feel truly sorry. Most of its problems are qualityrelated. But some aren’t; some relate to audience fatigue and “OK, well, here’s another one.”

Sony Pictures’ piece of the Marvel pie, separate from the official, Disneybranded Marvel Cinematic Universe, includes the “Spider-Man” movies plus “Venom” and a few others. That pie has been sitting out on the counter, unrefrigerated, for a long time now. This is not “Madame Web’s” fault. The director and co-writer S.J. Clarkson makes her feature debut here; her extensive TV credits include the Marvel series “The Defenders” and “Jessica Jones.” “Madame Web” feels like it should not have been conceived as a movie — with its modest visual scale, the wobbly dramatic stakes, Dakota Johnson’s small performance,

Sydney Sweeney’s small performance,

Tahar Rahim’s small performance. It plays like a bland, third-season Marvel series as watched on a 12-year-old TV set playing in the wrong dramatic aspect ratio, which I realize isn’t a real thing. But now it is. During a corporate event a few years ago, Sony used the phrase “Sony Pictures Universe of Marvel Characters” in reference to its future slate, with an acronym of SPUMC. It’s fun to say, but it evokes something less than fun to watch. 1:57. 1 ½ stars. — Michael Phillips ‘ORDINARY ANGELS’: In “Ordinary Angels,” directed by Jon Gunn, the director of 2017’s “The Case for Christ” and producer of 2023’s “Jesus Revolution,” it’s faith in humanity that comes to the fore, though a church parking lot does play a pivotal role in this adaptation of the true story of young Michelle Schmitt, who was once known as the “Snow Baby of Louisville.” But before we get to the snow, we’ve got to get to know hairdresser Sharon Stevens, played by two-time Oscar winner Hilary Swank. She wrote a memoir titled “Ordinary Angels” about her life and about Michelle, and Kelly Fremon Craig (“Are You There God? It’s Me, Margaret.”) and Meg Tilly wrote the screenplay. Though little Michelle’s incredible journey offers the climax of the movie, it’s Sharon’s redemption tale that offers the dramatic arc of the feature film. Where “Ordinary Angels” stumbles is taking one unique human interest story from 1994 — in which Louisville rallied around Michelle Schmitt to help get her to an awaiting liver transplant during a raging blizzard — and making it instead the story of one woman, Sharon. The character’s motivations don’t gel, and no amount of Swank moxie can make it work. The true story is an inspiring tale of community care and mutual aid, the kind of thing that feels rare and rarely celebrated these days, but as usual, real life is more affecting, more nuanced, and yes, stranger than fiction. This may be a tale of “Ordinary Angels,” but unfortunately, the film itself is far from extraordinary. 1:57. 2 stars. — Katie Walsh

RATINGS: The movies listed are rated according to the following key: 4 stars, excellent; 3 stars, good; 2 stars, fair; 1 star, poor.

FOCUS FEATURES Margaret Qualley, left, and Geraldine Viswanathan star in “Drive-Away Dolls.”