TV: The setup of “Your Honor” is promising — Bryan Cranston plays a New Orleans judge whose teenage son is the driver in a fatal hit-and-run — but “much of what comes after the forceful opening is a disappointment,” says Gilbert. Four episodes in, Cranston’s character “just keeps screwing up,” and “[t]he thought of six more episodes watching more things run amok isn’t an especially happy one.”
A less suspenseful story than “The Crown” is hard to imagine, but with season 4, the series has turned a corner. Princess Diana (and Margaret Thatcher) are on the scene, and “[v]iewers who previously might have dismissed creator Peter Morgan’s drama as a stuffy spectacle . . . are suddenly enthralled,” Gilbert writes. “During this season’s 1979-1990 timeline, the family turns into a pack of wolves preying on a defenseless lamb.”
TV TALK: Globe TV critic Matthew Gilbert hosts a subscriber-only event, “The Crown and More,” Friday from 1 to 2 p.m. He’ll discuss the best of television available for streaming, including his just-released top 10 picks for 2020. You’ll hear what his job is like and have the opportunity to ask questions about your favorite shows, what to watch next, and all things TV. RSVP here.
FILM: “Another Round” is a “stinging, gorgeously filmed tragicomedy about male insecurity and the power of positive drinking,” Globe film critic Ty Burr writes in a 3½-star review. Director and co-writer Thomas Vinterberg’s tale of middle-aged men experimenting with “a program of steady, judicious daily drinking” offers a look at Danish life before it “widens its scope to the international stage and the totality of the human condition.”
Before you roll your eyes at the news that Francis Ford Coppola has re-edited “The Godfather: Part III” into “The Godfather Coda: The Death of Michael Corleone,” check with Burr. The 30-year-overdue reimagining “is largely and surprisingly successful, a judiciously trimmed and re-sorted rethinking of how Al Pacino’s Michael Corleone tries to get out of the crime business and how it ‘pulls him back in’ again.”
The “darkly magnetic” Aubrey Plaza tackles “an ambiguous but emotionally sprawling dramatic role” in “Black Bear,” which earns 2½ stars from Burr. The film “turns in on itself, prompting audiences to wonder whose story is being told and in what order.” Short answer: Plaza as a screenwriter (or is she?) in need of a break, and Christopher Abbott and Sarah Gadon as a maybe-couple in “a high-tension examination of artistic and domestic betrayal.”
With Elliot Page in the headlines, the timing of two documentaries that explore the trans life experience is serendipitous. Matt Kliegman’s “Markie in Milwaukee” is biographical, “and it impresses with its artfulness and insight as it captures the tormented soul of its subject,” writes Globe correspondent Peter Keough. Tania Cypriano’s “Born to Be” follows plastic surgeon Dr. Jess Ting and five patients, creating an “intimately observational and moving” story.
Titling a movie “Love, Weddings & Other Disasters” is asking for trouble, and sure enough, Burr gives the “dreary, low-rent