Two coaches are fired for dismal performance at the beginning of “Next Goal Wins,” the fact-based story of the worst professional soccer team in the world, based on the 2014 documentary of the same name. The team that not only never won a game but never scored a goal is on the tiny US territory of American Samoa. Still smarting after the worst defeat in the history of international soccer, 31-nil against Australia, Tavita (Oscar Knightley) reluctantly fires the team’s gentle coach, and announces he is bringing in someone from the outside world.

Meanwhile, in one of the funniest scenes of the year, Thomas Rongen (Michael Fassbender) is also being fired. To make it even more painful, the message is coming from the sport’s supervising panel, which includes his soon-to-be-ex-wife (Elisabeth Moss as Gail) and her new boyfriend (Will Arnett as Alex). They are not unsympathetic, but Tom’s performance and that of the team he coaches have deteriorated badly and they think he needs a chance of scene. There’s hardly a bigger change than a team in a tiny island on the other side of the world. Without any alternative, he goes, bringing a suitcase full of alcohol with him.

Taika Waititi, who co-wrote and directed the film and appears briefly as a minister, benefits from one of the most enduringly popular of all genres, the fact-based underdog team combined with the redemption arc for the coach story — think of “The Bad News Bears” or “A League of Our Own.” He is very aware of the minefield that is impossible to avoid in a story of people of color whose job in these stories is usually to be cute and a little bit simple and to be both enlightened by the more sophisticated, if troubled, white coach and to enlighten him as well with their folk wisdom. Waititi, who grew up in New Zealand with a white, Jewish mother and a Maori father, has a delicate touch, and calls out the issue explicitly a couple of times to let us know that these characters and this film may be whimsical, almost a fairy tale, but these are real people who are very aware of these tropes not just in stories, but in their lives. They even joke about not wanting Tom to be a white savior and about pretending to share mystical native wisdom to inspire him. There is gentle humor about the Samoans, but not at their expense. We do not get to know too many of the players, but Tavita and his wife Ruth, played by the wonderful Rachel House, have significant roles.

Waititi’s character almost winks at us as he introduces the film, telling us it is a true story “with a couple of embellishments.” But the parts you might guess are made up really did happen. One of the team’s star players was Jaiyah Saelua, a trans woman in our terms, but in Samoan culture a part of a third gender called fa’afafine that is not only accepted but cherished. In real life, Tom was supportive of Jaiyah without any hesitation, but the film adds some tension by giving Tom some trouble accepting Jaiyah (a heartfelt performance by non-binary actor Kaimana). And the basics of the story really happened, including the ignominious Australia game and how meaningful the experience was for Tom and the Team.

It is warm-hearted and endearing. It has the same appealingly modest tone that the team does; it just wants to have fun and score one goal.

Parents should know that this film includes some strong language, drinking, a very sad off-screen death, a vehicular injury played for comedy, and some discussion of being uncomfortable around non-binary and trans people (note, in real life, as you can see in the documentary, Rongen was unhesitating and unequivocal in his support for the trans player).

Family discussion: Have you ever had a coach who made a difference in your life? What would you do if you were asked to coach this team?

If you like this, try; “A League of Their Own,” “The Damned United,” and “Ted Lasso”

“The Marvels” is not your father’s superhero movie. If you don’t want to see superheroes cry or apologize, skip this one. If you’re looking for grand-scale, innovative action sequences with wow-inspiring special effects, maybe wait for “Dead Reckoning; Part 2.’ In other words, “The Marvels” is not what many ticket-buyers and comic book fans look for in an Avengers movie. But for those who are looking for something other than the usual CGI superpowers, it has some satisfying pleasures.

Captain Marvel (Brie Larson) can be a problematic character because even in the world of superheroes, she is the first among equals. She can pretty much do anything and has very little in the way of a kryptonite-style vulnerability. That is why she is the Marvel version of the Lone Ranger, used only sparingly in the Avengers movie, with the explanation that she is so powerful her highest and best use is somewhere out in the galaxy. There is such a thing sa being too super; it means the stakes are not dire enough to be interesting. So her vulnerabilities are one internal — some memory loss — and one external — she has made mistakes with tragic consequences. What made the first Captain Marvel movie its superpower was the realization that what she had been taught about who were the good and bad guys was not true.

As “The Marvels” begins, Captain Marvel/Carol Danvers is using a memory band to try to restore the blank spots. Meanwhile, Monica Rambeau (Teyhonah Harris of “Chi-Raq” and “They Cloned Tyrone”), the daughter of Carol’s best friend, has grown up and is an astronaut. She also has some superpowers involving electrical energy. Also meanwhile, Kamala Kahn (the adorable Iman Vellani from the Disney+ series) is a high school student with powers that are also elextricity-based, thanks to a cuff bracelet she was given by her grandmother. When she is not doing her homework, spending time with her close-knit Pakistani-American family, or saving the day, she creates fan-fiction about joining forces with her idol, Captain Marvel.Her comic strips are amusingly animated for us to enjoy.

and *also* meanwhile, we have Dar-Benn, played by Zawe Ashton. She has Kintsugi’d teeth and the indispensable quality of a supervillain, an imperious British accent (though very far from “Mr. Malcolm’s List”). Ashton is really underused here, stuck with a one-note villain role that has her more petulant than evil. Also, even by comic book standards, that is an unimpressive name. After what appears to be a long and arduous search, she has found one super-power-granting cuff bracelet, and now must locate the other one of the pair, the one currently on the wrist of a Pakistani-American teenager. Dar-Benn wants to use the power of the bracelets to save her people, and if that means wiping out another group of refugees, no problem, perhaps a side benefit.

Somehow, whatever tear Dar-Benn has made in the fabric of the universe or time or reality or all three leads to a very entertaining glitch. Captain Marvel, Monica, and Kamala discover that when they use their powers at the same time, they switch places. So Captain Marvel finds herself in a teenager’s suburban bedroom and Monica (who, like Captain Marvel, can fly) and Kamala (who cannot, though she can create presumed energy blocks that can help protect her from a fall) find themselves in Captain Marvel’s spaceship or outside of Nick Fury’s outpost.

Finally the three Marvels get together, with Goose, the cat-appearing Flerken, and go after those “surges in the jump point systems” that lead to Dar-Benn.

So, be aware: this movie is more about relationships than bam-pow-chase-explosion. There is crying and there are apologies and even some praying. There’s one scene that is so over-the-top it involves the word “princess” and singing. Goose gets into some Tribble-ific territory with a song from “Cats” on the soundtrack. I was into it; many people will not be.

NOTE: Watch the credits for one extra scene.

Parents should know that this film includes some strong language and extended comic book-style action and peril with characters injured and killed (or killed-ish). There is a situation where not everyone can be saved, and it is handled clumsily.

Family discussion: Should Carol have gone home as she promised? Why didn’t she? What do you think the legal issue was on the ocean planet?

If you like this, try: the other “Captain Marvel” movies, the “Ms. Marvel” series, and the comic books

Sandra Oh and Awkwafina playing sisters in a comedy? Sign me up!  They’re two of my favorites. There’s one wild sister with blue hair extensions, big earrings, and no impulse control and one shy, serious sister who dresses in drab monotone and watches her favorite game show with her 20-year-old dog every night? Sounds like fun! And Oh, the dramatic actress from “Killing Eve” is playing the wild one and Awkwafina, the comic who first came to public attention with a song about her private parts is the shy, serious one? Wait, what?

Yep. And it is clear that both of them had a blast making this outrageous comedy, which makes it all the more fun for us. Oh plays Jenny Yum, ten years older than her younger sister, Anne (Awkwafina), the responsible one who works in a CPA office, where she stays in her cubicle as her co-workers celebrate a birthday because no one thought to invite her and she would not join them even if they had.

Jenny and Anne had a chaotic childhood. Their single mother was off partying and gambling. Jenny responded by getting as far away as soon as possible. She has failed after half-hearted attempts at several careers but has developed some survival skills, small-time scams, asking her sister for money, and suing a restaurant for a fish bone found in her filet. Anne takes care of their mother, now in assisted living. She devotes herself to Linguine, the dog Jenny left behind, and to her favorite television show, a “Jeopardy”-like competition called “Can’t Stop the Quiz.” The kindly, bow-tied host, Terry McTeer (Will Ferrell) is a stable force in her life, almost a father figure. She finds his nightly sign-off, “Don’t go anywhere; I know I won’t,” reassuring.

Their mother runs away from assisted living, leaving behind an $80,000 gambling debt. The sisters are given two weeks to pay it back, with the loan shark holding Linguine as hostage. Jenny thinks the only way to get the money is for Anne to win it on “Can’t Stop the Quiz.” Anne, who cannot bear to have anyone look at her, is horrified by the idea of being on television. But she is desperate to get Linguine back.

All of this is just an excuse for extended farce as the sisters interact with a powerhouse cast of supporting actors, including Holland Taylor as a grumpy neighbor who loves Alan Cumming, Tony Hale as the owner of a Ben Franklin-themed inn, and Jason Schwartzman as the quiz show’s smarmy current champion, with ultra-white teeth veneers that practically glow in the dark. Plus there’s a display of hundreds of bow ties that is the background for a very sweet conversation. Wild physical comedy and surreal interactions are grounded by the way the sisters begin to resolve their differences. It is funny, it is outrageous, and it is surprisingly tender-hearted.

Parents should know that this film has mature material including drinking and drug use (an extended humorous drug trip sequence), comic peril and violence and very strong language.

Family discussion: Why did Jenny and Anne respond so differently to the way they grew up? If you were trying to play charades with a member of your family, what could you do that no one else would understand?

If you like this, try: “Lucky Grandma” and “Rat Race”

Barton is one of those posh boarding schools weighted with the history of generations of highly privileged, casually arrogant, hormonally charged teenager boys. “The Holdovers” takes place there over the Christmas holidays of 1969-70. Barton has buildings with just the slightest touch of casusually arrogant shabbiness found only where there are multiple generations of wealth and status who understand it’s much snobbier not to rush to fix and replace everything. And of course the buildings are surrounded by snowy expanses.

The faculty members have the crucial pedigree of having gone to Barton. This, of course, inspires respect and courtesy from the students. No it doesn’t! The students barely respect their prestigious and wealthy parents, but even they rank higher than someone who is still at Barton, decades after graduation. Perhaps the faculty member held most in contempt is Paul Hunham (Paul Giamatti), who has three strikes against him. He looks and smells weird. He teaches a class on Ancient Greece, which the students find useless and monumentally boring. And he is incorruptible and brutally strict. Even his former student, now the school’s headmaster, is furious with him for refusing to give the son of a powerful and wealthy donor a better grade, costing him his college admission.

That is how Hunham gets stuck with staying at the school over winter break, overseeing the students whose parents cannot or will not let them come home. They’re called the holdovers. The students are miserable, especially when they learn that they all have to bunk together in the infirmary because the heat to the dorms has been shut off, and that Hunham has a rigorous schedule of study and exercise planned for them. Everyone else has gone home for the holidays except for Mary Lamb, the head chef, who will be cooking for them. She is in mourning for her son, recently killed in Vietnam. He was a Barton graduate who could not get a draft deferment like his classmates because they could not afford college tuition. And she is played by an exceptionally moving Da’Vine Joy Randolph, so good in “Dolomite Is My Name” and briefly glimpsed this month in “Rustin” as Mahaliah Jackson.

We’ve all heard about the best-laid plans going awry. And I’m sure we’ve all experienced that terrible plans tend to go awry, too. So before too long, the other holdovers have been whisked away, all that are left are Hunham, Mary, and one smart, rebellious, deeply grieving, and extremely angry student who would have been graduating if he had not been kicked out of three other schools. That is Angus Tully, played with exactly that mix of qualities by newcomer Dominic Sessa.

Director Alexander Payne likes to make movies about people who are extremely passionate about issues others do not take too seriously. In “Election,” it’s a high school election. Who can forget one of the great moments in movie history, when one student calls out the ones who care about it. And we all remember this film’s star, Paul Giamatti, getting way too passionate about his disdain for merlot. In “Nebraska,” a senior citizen is over-committed to the idea he has won a sweepstakes.

Here, the always-brilliant Giamatti gives one of the best performances of the year as a kind of tribute to the bitter boarding school classics teacher in “The Browning Version,” and something of a classics version of a Miniver Cheevy, the only way he can make any sense of his lonely, disappointed, unappreciated life is to wrap himself up in a notion of antiquity that is vastly more honorable or at least understandable than what he has. In his mind, every failed student his his “no, in thunder!” to the weak ambiguities and moral compromises and overall unfairness of the modern world. The students — and the other faculty — may be younger, more handsome, richer, more confident, more popular, and more privileged than he is, but Hunham can still feel superior about what he has decided matters more, like his fondness for the the Meditation of Marcus Aurelius.

Mary, Hunham, and Angus each in their own way stuck, have experiences, adventures, mistakes, confidences, and expanded understandings over the course of the holidays. Each scene is a small gem, the ensemble work is as good as it gets, the screenplay by David Hemingson is smart, funny, and touching, and the superb cinematography by Eigil Bryld captures the chilly landscape of the almost-deserted school and the warmth of some of the other locations. This is one of the best films of the year, with career best work by all involved.

Parents should know that this film has very strong language, some peril and injury, family conflicts, mental illness, loss and grief, drinking and drunkenness, smoking, and some drug use.

Family discussion: What should the teachers in charge of students left behind over the holidays do? What are the differences between the time period of the movie and today?

If you like this, try: “The Browning Version” and its remake — both good, but I prefer the original with Michael Redgrave

“New Zoo Revue” was a half-hour children’s television series with almost 200 episodes that ran in syndication from 1972-77 and then in reruns for many more years. It was colorful and tuneful and funny but most of all it was sweet and sincere, created by composer Doug Momary, who co-hosted with his wife, Emily Momary, as Emmy Jo. The human characters interacted with animals (people in costume), a frog, a hippo, and an owl, and the show used songs, skits, and games to teach children about kindness, problem-solving, manners, seasons, time, laughter, and promises. The show had a low-key, endearingly hand-made quality. In an interview, Doug and Emily talked about how they met, the lucky encounter that led to the show, and what it feels like to encounter people in their 50s and 60s who still remember the series and what they learned from it.

Where are you from and what were you doing before The New Zoo Revue?

Emily Momary: I’m originally from Texas, and I had gone to college, and lived in New York for three years. I had a theater background and graduated from the American Academy of Dramatic Arts. Then I went back to finish school at SMU and went out to California to do some summer stock, and that’s where I met Doug. I really fell in love with Doug because of his music. I was actually doing Portia in The Merchant of Venice that summer and Masha in The Three Sisters, so I had a lot to work on. I would hear music in one of the rooms, and I went in, and it was Doug. I would just sit there and listen to him playing his music and just fell in love with him.

Doug Momary: My background is also theater. I graduated from Cal State Fullerton, with a playwriting major. I had no idea how I was going to get into show business, but I just had a dream that one day I would have an opportunity. And that’s when I went up to do summer stock in Santa Maria, California and met Emily. And when we came back down to Hollywood, I had the opportunity to create a kid’s show.

“Given the opportunity?” By who? How? What were the parameters?

Doug Momary: My mom worked at a toy store, and the owner of that toy store, Barbara Atlas, had created a beanbag frog named Freddy. It was just a little frog that you could hold in your hand, a cute little beanbag frog.

Barbara was talking to my mom and saying, “I really want to do a kid’s show and base it around this frog. Do you know anyone who could help me?” My mom, being a good mom, being a good salesperson, said, “I think my son could help you.”

She arranged a meeting with Barbara, and I sat down with her, and she said, “I want to do a show, and you’ve got to use this frog. So that was the parameter.

I went home that night with my guitar. I wrote the song, sketched out the set, and developed some of the characters, and a couple days later I went in and presented it to her, and she said, “I’d really like this.”

What we wanted to do was not a show about one, two, three, or ABC, but a show about relationships. How do you get along? How do you treat people with respect and kindness and tolerance?

Your show appeared just after Sesame Street on PBS revolutionized children’s programming. Did you ever consult with experts in child development or education?

Doug Momary: I so wish we had. I don’t know how many child experts there were back then.

Emily Momary: We thought it was entertaining, you know, wholesome entertainment for kids. We just love kids, and I think we’re both, somewhere in our psyches, kids at heart. Doug had an instinct about what children would relate to. But we just had no idea of the impact the show would have. Now that our daughter has brought the show back through our Facebook page and we meet these kids that are now grown up and they’re in their 50s, some of them even in their early 60s, and we are hearing what it meant to them when they were little.

Some of them had very, very challenging childhood. Some of them were sick, and were in bed a lot, and our show was a comfort to them. And others, it just made them happy.

It’s been an amazing thing to find out the impact the show really had on the lives of those kids. I’ll tell you honestly, we were just excited to have this fun show to work on, and that’s really all we were thinking about.

Did you get letters or calls when the show was on the air to give you a sense of how it was being received?

Doug Momary: Really, no, they went to the corporate office. And we never saw them – until years later, like just six months ago, somebody found a bunch of letters in a garage sale and actually sent them to us. So, 40 years later, we were reading fan mail from six-year-olds, and it was just an eye-opener. They just wanted to say hi to the characters and tell us how much they loved the show and loved the songs.

And then we went to Comic-Con in San Diego in July, and to meet these people has been incredible.

Emily Momary: People just kept coming up, and there were lots of hugs and tears. We had grown men say, I wanted you as my parent. One man came up, and he said, “I’m so sorry, I’m crying.” And I said, “That’s okay. You go ahead and cry. I’ll probably cry too.” And he said, “My mother passed away recently, and I just remember always watching your show sitting on her lap.” So, you know, it had touched something deep inside him, and we heard that over and over and over again.

Doug Momary: We had grown men say, “I wanted you as my parent”

Emily Momary: Or just, “I had a pair of white boots because you had white boots.” I don’t like to use the word fan base, because I think of them more as family. They call themselves our “New Zoo Kids” now. And we feel that we have, it’s just wonderful, a relationship with all of these kids who are grown up now and have their own children, some have grandchildren.

I’m immensely proud of them. One of the wonderful things about going out there to San Diego was to find out what they’ve done with their lives and the careers that they’re in.

My goodness, we have educators and attorneys and musicians and people who are in the Internet field. It’s really wonderful to think of these little, tiny children that have grown up to do so well and make such wonderful contributions.

Are there any characters or songs or episodes that you hear about that they remember especially fondly?

Doug Momary: We did a show on telling the truth, and this guy came up and said, “I knew Freddie should tell the truth. I knew he should have come clean about his grave.” After all these years, this little song I wrote called “Tell the Truth,” and he remembered it.

You had some remarkable guest stars. Did you have any favorites among the guest stars who appeared on the show?

Doug Momary: We started having the guests stars because Emily was about to have our first child. We had to find some creative way to tell everybody that she was on a trip somewhere. And so they ushered in these guest stars.

I especially enjoyed having Henry Mancini as a guest star on our show. It was amazing because here I was, a young composer, sitting in a rowboat on Freddie’s pond with Henry Mancini.

I said, “Can I ask you a question, sir?” And he said, Sure.” “What recommendation do you have for a young composer like myself?” And he just said, “Keep on writing. That’s all I can say.” That was so inspiring and that’s really true as I found out all these years, that you just keep going, you just keep writing.

What kinds of productions are you doing now?

Doug Momary: For years, we’ve had our own production company in Las Vegas. I’m still doing production and directing and producing. I’m currently developing some new kids shows.