“I’m Still Here” (Sony Pictures Classics) is an adaptation of Marcelo Paiva’s 2015 memoir recounting how his family survived the worst years of Brazil’s military junta in the 1970s.

Capsule reviews of theatrical movies available now for streaming or scheduled for broadcast on network or cable television as well as notes on TV programming for the same week.

Catholic Review Editor Christopher Gunty, along with guest co-host Ann Augherton of the Arlington Catholic Herald, had a wide-ranging, sometimes wild, conversation with two Catholic movie experts: Pauline Sister Rose Pacatte and John Mulderig, film reviewer for OSV News. Hear their recommendations for the winners, and what they wished the entertainment industry would focus on this year.

Roses are red… and so is the flood of gore that mars the Valentine’s Day-themed slasher flick “Heart Eyes.”

Through their participation in “The Chosen,” many of the show’s crew members and actors — including Jonathan Roumie, who portrays Jesus — have rediscovered faith.

Capsule reviews of theatrical movies available now for streaming or scheduled for broadcast on network or cable television as well as notes on TV programming for the same week.

Capsule reviews of the 10 films contending for Best Picture. The Oscars ceremony will take place in Los Angeles on Sunday, March 2.

Enjoyable humor and a touch of romance do increase the appeal of the otherwise frenetic actioner “Love Hurts” (Universal). A barrage of obscenities in the script, as well as fleeting forays into visual grisliness, are less welcome elements.

Despite being billed as a romantic comedy, “You’re Cordially Invited” (Amazon MGM) showcases more spite than genuine love. Throw in a heavy dose of off-color dialogue — as well as some wayward values — and the upshot is a mirthless, even dispiriting, experience.

Comic chaos is the order of the day in “Dog Man” (Universal), the animated adaptation of a series of graphic novels by Dav Pilkey. Yet touching sentiments are also successfully incorporated into writer-director Peter Hastings’ film.