The Best Movies podcast is back! In this season, Roe Conn and Richard Roeper take you through the best feel-good movies.

Hey, if the Golden Globes can combine these two categories, why not us? (Although I’m not sure I agree with the Globes that “Once Upon a Time in Hollywood” belongs in this group.)

On this episode we pay tribute to groundbreaking blockbuster comedies such as “Bridesmaids,” slightly under the radar fare such as “Spring Breakers,” and musical biopics such as “Rocketman.”

Did “Bohemian Rhapsody” make the cut? Well, let’s just say it DID come up in the discussion.

“A Star is Born”

Roeper’s review — October 2018

This is the fourth “A Star is Born,” following the non-musical original from 1937; the 1954 film with Judy Garland and James Mason, and the 1976 hit starring Barbra Streisand and Kris Kristofferson. On paper (or I guess we should say online), this seems like a safe, mainstream vehicle for Cooper’s directorial debut — but given Cooper has never performed music and Lady Gaga has never headlined a movie, and if either or both failed miserably we’d be talking Razzies instead of Oscars, there’s actually something bold and brave about tackling this material.

They pulled it off and then some.

Warner Bros. Pictures

Recognitions at the 2019 Academy Awards

• Original Song, Winner
• Best Actress, Lady Gaga, Nominated
• Best Actor, Bradley Cooper, Nominated
• Best Supporting Actor, Sam Elliot, Nominated
• Best Adapted Screenplay, Nominated
• Best Picture, Nominated
• Best Cinematography, Nominated
• Best Sound Mixing, Nominated

“Booksmart”

Roeper’s review — May 2019

Indeed, thanks to an impressive feature directing debut by Wilde; one of the sharpest and funniest screenplays of the year, courtesy of Susanna Fogel, Emily Halpern, Sarah Haskins and Katie Silberman, and the absolutely winning lead performances by Kaitlyn Dever and Beanie Feldstein, “Booksmart” lives up to that early promise, consistently delivering big laughs and sharp insights.

Certain elements are reminiscent of high school movies ranging from “Risky Business” to “Fast Times at Ridgemont High” to “The Breakfast Club” to “Say Anything” to “Superbad” to “Easy A,” and “Booksmart” often presents familiar characters and situations: the gigantic blow-out party, the last chance to reveal one’s true feelings to a longtime crush, well-meaning but clueless parents, the misunderstood “weirdo” kid, the big fight between best friends, etc.

United Artists

“Bridesmaids”

Recognitions at the 2012 Academy Awards

• Best Supporting Actress, Melissa McCarthy, Nominated
• Best Original Screenplay, Nominated

“I Saw the Light”

Roeper’s review — March 2016

In a risky move for writer-director Marc Abraham as well as Hiddleston, the actor does his own vocals instead of lip-syncing to Williams. And while it should come as no surprise Hiddleston can’t come close to matching the rich and soulful sounds of Williams, he does a serviceable job.

In a beautifully lit opening sequence, Hiddleston as Williams sits on a stool and sings the melancholy “Cold, Cold Heart.” It’s one of the many instances in the film in which Williams’ music more eloquently defines the man than anything he says offstage. (Williams wasn’t the first and certainly wasn’t the last music star who was infinitely more expressive in his music than he was in conversation or in interviews.)

Sony Pictures Classics

“Rocketman”

Roeper’s review — May 2019

Elton John deserves a movie operating on a much grander scale than a standard, paint-by-numbers showbiz biopic, and “Rocketman” is a suitably snazzy vehicle.

Director Fletcher (who took over for the MIA Bryan Singer in the final weeks of principal photography on “Bohemian Rhapsody”) has delivered a glitzy, ambitious and gorgeously appointed interpretive musical worthy of Sir Elton’s glorious artistry. And while this is a largely affectionate and sympathetic tribute, the film pulls no punches when focusing on Elton’s mercurial personality and his self-loathing, nearly fatal deep dives into addiction.

Paramount Pictures

“Spring Breakers”

“Straight Outta Compton”

Roeper’s review — April 2015

The early days of dreaming big. The creative sessions deep into the night. The first big break. The electric live performances. The multiple explosions of success and fame and money and sex and drugs. The in-fighting and the breakups and the tragedies.

All of that is told to great effect in F. Gary Gray’s enthralling, energized, 147-minute tribute to N.W.A. — but this is also something of a docudrama about the racial tinderbox that was Los Angeles in the wake of the Rodney King verdict; the ugly, violent feuds between warring rap labels; and N.W.A.’s role as rhyming journalists chronicling the times.

Recognitions at the 2016 Academy Awards

• Best Original Screenplay, Nominated

“Ted”

“Teen Spirit”

Roeper’s review — April 2019

Against all odds and facing far more experienced competition, Violet keeps advancing. Can she win it all? We sure hope so! We love this kid and we’re right there in her corner!

Even before Violet signs up to audition for a British pop show called “Teen Spirit,” Minghella (an actor himself and the son of the late director Anthony Minghella of “The English Patient,” “The Talented Mr. Ripley,” et al.) and cinematographer Autumn Durald Arkapaw give her the star treatment.

Bleecker Street

“This is the End”