Greg Evans

“Man of Steel” is an hour of back story, an hour of explosions and crashing skyscrapers and then a half-hour-long fistfight. I counted two jokes.

“Dirty Wars” bristles at the extralegal, ever-expanding war on terror.

Nothing is forced in Joss Whedon’s modern-dress, black-and-white version of “Much Ado About Nothing.” He filmed it in the kind of Southern California mansion that a modern prince might live in. (It’s his own house.)

Punk music is a dangerous game in some corners of the world, as detailed in the revealing HBO documentary “Pussy Riot: A Punk Prayer.”

Margarethe von Trotta’s “Hannah Arendt” confines itself to the period in the early 1960s, when the German-born thinker covered the trial of Nazi chief Adolf Eichmann for the New Yorker magazine and weathered the firestorm that followed.

The Bluths, as narration reminds us at the start of each new Netflix episode of “Arrested Development,” are a family whose future was abruptly canceled.

Oscar-winning filmmaker Alex Gibney untangles the complex Wikileaks saga and founder Julian Assange’s brilliant, dark mind in the fascinating “We Steal Secrets: The Story of WikiLeaks.”

Liberace was his own worst-kept secret for decades, grasping at lies even on his deathbed.

J.J. Abrams’s “Star Trek Into Darkness” is so much better than it needs to be you just might regret decades of smirking at Trekkie convention-going geeks.

Tom Chadwick, the aimless, hard-luck bloke at the heart of director Christopher Guest’s endearing faux-documentary HBO comedy “Family Tree,” will grasp at any straw linking him to his brave, fearless ancestors.

Baz Luhrmann’s “The Great Gatsby” is a gaudy, Ritz-sized rhinestone of a movie, more flashy than dazzling, beguiling from some angles and phony to its core.

“A smirk and a cheesy one-liner?,” sneers a villainess during some finely choreographed mayhem in Shane Black’s “Iron Man 3.”