Riz Ahmed

It’s not so much that the film’s points are vague as it is that they lack direction.

Hot on the heels of “Sound of Metal,” it’s only natural to worry that “Mogul Mowgli” will resemble the former, but director Bassam Tariq and Ahmed are quick to distinguish this film.

There are no cascading cymbals or thunderous drum rolls, but it’s through the vibrations left after the banging that “Sound of Metal” is able to wallow and survive. 

So in a space that already includes very little South Asian representation, how can South Asian female artists make their mark — especially while fighting existing cultural obstacles to pursue creative work in the often demanding, challenging and oftentimes STEM-centric atmosphere of UC Berkeley?

“Venom” similarly has multiple different storylines. Rather than choosing one of these versions, Fleischer’s film is an amalgam of the character’s in-comic history that fails to be a coherent on-screen narrative.

French director and co-screenwriter Jacques Audiard sets out to upend some of the Western tropes for his first English-language picture, “The Sisters Brothers.” This venture is executed with inconsistent flourish, however, and some revisions can feel weightless.

The Emmy Awards, much like their film, theater and music counterparts, are annually greeted with both excited buzz and exhausted indifference.