“Train Dreams” presents the ordinary, little life of its protagonist as quiet, quick, easy to miss, and yet extraordinary. Based on a novella with the same name by Denis Johnson, “Train Dreams” follows Grainier (Joel Edgerton), a taciturn logger and railroad worker in the Pacific Northwest, as he experiences love and loss.

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.

The hit French film “Sacré Coeur” (“Sacred Heart”) is set to reach American audiences next spring, with a U.S. release planned for June 12, the Solemnity of the Most Sacred Heart of Jesus.

A widely discussed new documentary about UFOs, “Age of Disclosure,” includes an allegation from a former CIA official that the Vatican holds evidence of the existence of non-human intelligence — and he does not mean angels.

Whether on stage or screen, however — papal endorsement notwithstanding — this recounting of the early years of the Trapp Family singing group gives short shrift to their Catholic faith.

Celebrity Chef Lidia Bastianich knows what it’s like to be in a strange land, without a home. OSV News recently spoke with the Italian-American — who has become famous as a television host, author and restaurateur — about her own experiences as an Italian immigrant fleeing communism in the former Yugoslavia, and her current work as a board member for Jesuit Refugee Services/USA.

Given that its 2016 predecessor proved to be boffo at the box office as well as a hit with critics, it seems surprising that it should have taken almost a decade for the Mouse House to give us “Zootopia 2” (Disney). Whatever may have caused the delay, the follow-up registers as an enjoyable adventure that’s suitable for all but the youngest.

Movies with a Christmas theme abound but ones that focus on Thanksgiving are rarer. Still, a handful of notable films have incorporated the November holiday into their plots.

With “Wicked: For Good” (Universal), director Jon M. Chu concludes his two-part adaptation of Stephen Schwartz’s hit Broadway musical in the same luxuriant style with which he began it in 2024. Like its predecessor, moreover, the film is mostly free of objectionable content.

It’s hard to imagine the pitch session at which the premise of the would-be psychological thriller “The Carpenter’s Son” (Magnolia) was presented for approval. “Drawing on a 2nd-century apocryphal text,” the summary might have run, “why don’t we turn Jesus’ teenage years into the basis for a horror film?”