Welcome back to The Big To-Do. It’s spring cleaning season, and if your closet feels a little emptier than you’d like, the Globe’s Auzzy Byrdsell has a possible solution — huge vintage markets organized by Cambridge-based Found Boston. “Marty Supreme” and a “Stranger Things” spinoff are just two of the streaming picks assembled by the Globe’s Matt Juul to fill the time between Celtics and Bruins playoff games. This week’s One Special Thing is a music thing and a film thing — the soundtrack of a classic teen movie. And the arts brief section The Rundown includes news about a notable local art collection and two festivals, among other things.

Movies

Ben McKenzie’s documentary “Everyone Is Lying to You for Money” earns 3 stars from Globe film critic Odie Henderson. Best known as Ryan from “The O.C.,” McKenzie put his economics degree to use during the pandemic, probing “the legends of cryptocurrency.” He’s “an engaging host and a believable skeptic,” and he’s turned his obsession into an “entertaining, funny, and informative movie.”

The actors who play Tourette’s syndrome activist John Davidson elevate the formulaic biopic “I Swear.” Robert Aramayo “holds the screen with an impressive level of charisma,” and Scott Ellis Watson, as the younger Davidson, is “equally superb,” Henderson writes in a 2½-star review. Unfortunately, “the film occasionally leans toward manufactured uplift over the thornier aspects of real life.”

After 30 “actually intriguing” minutes, David Lowery’s “Mother Mary” tumbles into 1½-star territory. Anne Hathaway stars as a music superstar (think Lady Gaga), opposite Michaela Coel as her estranged costumer. “The back and forth between the two actors becomes fraught with confusing allusions and muddled metaphors before ceding control to some unsuccessful supernatural elements,” Henderson writes.

The Michael Jackson biopic “Michael” “barely counts as a movie.” Henderson gives Antoine Fuqua’s film 1 star, presumably for Mike Myers’s brief turn as CBS Records executive Walter Yetnikoff. “He gets one of the few well-written scenes and, along with Bubbles the Chimp, is the most three-dimensional character in ‘Michael.’”

Which is better, the original or the 1980s remake? Head to the Criterion Channel in May for “several neo-noir interpretations of classic film noirs, a horror film or two, and a comedy where both versions feature an unexpected cast,” writes Henderson, who takes the measure of nine pairs. “If you think I’m going to fall into that erroneous trap of ‘remakes are never better than their originals,’ I’ve got a few surprises in store.”

As “Pretty in Pink” turns 40, it endures because of more than just “the world’s ugliest prom dress.” For Gen X, the soundtrack assembled by screenwriter John Hughes “was the best mass-market mixtape ever created,” writes the Globe’s Christopher Muther. “It remains as appealing as [Molly] Ringwald’s teen roles, and makes us nostalgic for the days when mixtapes could be found covering dashboards and bedroom floors.”

TV & Streaming

The limited series “Half Man” confirms that writer-actor Richard Gadd’s success with “Baby Reindeer” was no fluke. It’s “another bold dive into roiling psychosexual currents, and a smartly provocative examination of interpersonal power dynamics,” writes Globe TV critic Chris Vognar. “Built around four performances of almost feral intensity, ‘Half Man’ is the rare series that I wish had stayed just a little bit longer.”

Jerry West “was a tortured superstar,” and Kenya Barris’s documentary “The Logo” tells his story. Barris “keeps splashing the screen with unnecessary text and showing himself yukking it up with his subjects,” Vognar writes. On balance, though, “West emerges as a deeply flawed man of great character, with a jump shot that still looks impossibly sweet.”

Music

Vermont native Noah Kahan’s new album is out today. To mark the release of “The Great Divide,” Globe correspondent Victoria Wasylak turns the Sound Check column into a roundup of “performers from the state who’ve recently released new music and have upcoming performances in Greater Boston.” Says Burlington resident Lily Seabird, “I’m not a skier or anything so I think being bored a lot has lent itself to making a lot of music.”

Noah Kahan made his Tiny Desk debut this week. The mini concert included three tracks from his new album and one from 2022’s “Stick Season.” “We’re all just such huge fans of NPR and we’re just grateful for what you do, and we love you,” he said during the performance. Globe correspondent Gitana Savage has a recap.

Earworm warning: Keep reading and “Musta Got Lost” may get stuck in your head. The J. Geils Band live album “Blow Your Face Out” retained Peter Wolf’s preamble to the song (originally “Must of Got Lost”) “to give it a flavor of what it was like to see a show,” the frontman tells Globe correspondent Steve Knopper. Fifty years later, this entertaining story reveals how “Rapunzel” became “Reputah the Beautah!”

Foo Fighters’ 12th studio album, “Your Favorite Toy,” out today, “is raucous, loud, sometimes morose, and intentionally unpolished.” Frontman Dave Grohl has had a rough few years, taking a hit to his rep as the “nicest guy in rock,” Globe correspondent Candace McDuffie writes. “Not only is Grohl throwing cold water on a widely held opinion of him, he’s also reminding listeners that being ‘nice’ isn’t all that it’s cracked up to be.”

Harry Smith’s “Anthology of American Folk Music” (1952) was ”a touchstone for the folk music revival of subsequent decades.” New England Conservatory honors the archivist next week with a concert, “Old Weird America and the Harry Smith Archive.” The event “takes its name from the writer Greil Marcus’s vivid term for folk music’s motley, often bizarre roots,” writes Globe correspondent James Sullivan.

Theater

August Wilson’s “Gem of the Ocean,” set in Pittsburgh in 1904, abounds with “vivid character portraits.” The playwright “was a maximalist to his marrow,” writes Globe theater critic Don Aucoin. “He didn’t want to leave anything unsaid, and it’s hard to object when said as well as it often was by him, including in much of ‘Gem of the Ocean.’” The Actors Shakespeare Project production runs through May 17.

The ART opens its last season in Cambridge in August with a starry revival of Eugène Ionesco’s “Rhinoceros.” The casting of John Turturro, Paul Giamatti, and Tatiana Maslany “suggests that a transfer to New York is possible down the road,” Aucoin reports. ART artistic director Diane Paulus, who will direct, worked with Turturro on the text of the 1959 allegory, which she calls “an incredibly evocative piece of theater.”

Music by the Avett Brothers propels “Swept Away,” a tale of shipwreck survivors “and the grim action they took to survive.” Previewing the SpeakEasy Stage Company production opening next week, the Globe’s Lisa Weidenfeld checks in with Scott and Seth Avett about a project Scott says was “a bit humbling. There are nuances that the cast naturally felt ... that it would not really cross our minds to present.”

Museums & Visual Art

Two exhibitions at the Worcester Art Museum “are turning weather and climate into a special type of immersive experience.” “A Weather Eye” “pulls from early prints, instruments, and artwork to showcase how people once tried to understand the sky.” And “Fever Dreams” “does a great job of reinterpreting weather and climate.” Globe meteorologist Ken Mahan brings an expert perspective to this assignment.

Yes, “Marcel Duchamp,” at the Museum of Modern Art, includes “the urinal that broke the art world.” The show “is very much homage to the playful absurdities Duchamp, the artist, levered into the world of serious art,” Globe art critic Murray Whyte writes from New York. “He challenged, and then unraveled the sometimes-impenetrable realm of art with puzzlement, surprise, and joy. ... There may be no more lively artist, then, now, or ever.”

August Sander’s “People of the 20th Century,” at the Yale University Art Gallery, draws on “one of the most magnificent (and influential) bodies of work in photographic history.” “The wonder of ‘People’ — as of people, too — is how the faces of men and women we don’t know and couldn’t otherwise identify can take on the familiarity and immediacy of intimate friends and relations,” the Globe’s Mark Feeney writes from New Haven.

Dance

Choreographers Rashaun Mitchell and Silas Riener “incorporate AI as artists who want the human dancers to lead.” In their work “Open Machine,” this weekend at the ICA, “dancers improvise — through movement and speech — responding to the bodies and images they encounter onstage, and through AI and some live mixing, the video responds.” Globe correspondent Sarah Knight has a preview.

Books

In “Ghost Town,” Tom Perrotta revisits his childhood in 1970s New Jersey, throwing in “a supernatural element ... that’s only committed to fitfully.” “It would have been fun to see Perrotta embrace that ghostly angle more robustly,” writes Globe reviewer Cory Oldweiler, “particularly because much of the rest of the novel consists of watered-down takes on a story that’s been told many times and better, including by Perrotta.”

Emma Copley Eisenberg’s collection “Fat Swim” spotlights the “the in-your-faceness of Eisenberg’s voice and style.” The “stunning, at times shocking” stories, “many of them tales of queer love and a quest to be seen and understood,” all contain an element of pain, Globe reviewer Leigh Haber writes. “But there is also glee, a sense of liberation that in the end, is infectious.”

Today’s newsletter was written by Marie Morris and produced by the Globe Living/Arts staff. Marie Morris can be reached at marie.morris@globe.com. Thanks for reading.

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