NOW AVAILABLE IN THEATERS, ON HOME VIDEO AND/OR STREAMING CHANNELS:

BECOMING LED ZEPPELIN--This long-awaited documentary takes a deep-dive into the origins of one of the most seminal rock bands. Unlike some music docs that rely on a mix of archival footage and external commentary, it features new interviews with surviving members Jimmy Page, Robert Plant and John Paul Jones. This helps give the film an intimate and authoritative feel, offering insight straight from the legends themselves. Chronicling Led Zeppelin’s rise from their early influences and formation to worldwide stardom, director Bernard MacMahon utilizes rare footage and previously unseen performances to explore the personal and professional journeys of each member. The detailed look at their pre-Zeppelin careers, particularly Page’s prolific session work and Plant’s blues inspirations, helps paint a richer picture of their evolution. The absence of a broader critical perspective, however, means that it often feels more like hagiography than a comprehensive biography. Additionally, the two-hour-plus run time and occasionally sluggish pacing might test the patience of casual viewers. (B MINUS.)

THE BRUTALIST--Visionary director Brady ("Vox Lux") Corbet's intimate epic comes equipped with a 15-minute intermission which is a good thing since it has a luxurious 200-minute run time. It's precisely the type of film  nobody dares make anymore:  a glorious throwback (albeit a hard "R"-rated one) to the roadshow presentations that practically defined Hollywood in the 1960's. Beginning at the end of WW II and spanning several decades, the lead character, (Adrien Brody's Laszlo Toth), is a Jewish-Hungarian architect and Holocaust survivor who arrives in Philadelphia where a cousin (Alessandro Nivola) promises to set him up. It takes awhile for Laszlo to find his footing which he ultimately does in the form a wealthy patron, Harrison Lee Van Buren (Guy Pearce), after being hired by the industrialist's adult children (Joe Alwyn and Stacy Martin) to redesign their dad's study. Soon Laszlo is working on Van Buren's dream project, a utopian community where residents can "gather, reflect and learn." Complications ensue when Laszlo's crippled wife (a compelling Felicity Jones) and niece (Raffey Cassidy) are finally allowed to enter the country, moving in with him at Van Buren's sprawling estate. Corbet's bold, muscular vision is immediately signaled in the opening scene with an upside-down shot of the Statue of Liberty that serves as a poetic harbinger of Laszlo's journey. The story of one Eastern European immigrant's path--from the old world to the new, from fascism to echt capitalism--brilliantly encapsulates 20th century American life in a single movie. Shot in VistaVision, Corbet's masterpiece demands to be seen on the biggest screen possible. (A.)

CAPTAIN AMERICA: BRAVE NEW WORLD--Because Chris Evans retired from the role after 2019's "Avengers: Endgame," Anthony Mackie--who played "Falcon" in a half dozen Marvel movies as well as the Disney+ miniseries, "The Falcon and the Winter Soldier"--has now been promoted to the titular superhero role. Mackie's Cap isn't Evans' Steve Rogers, but Sam Wilson, the same character he played in his previous Marvel outings. If all that sounds confusing, wait until you see the movie. And Evans-to-Mackie isn't the only actor swap here:  Harrison Ford (the sole bright spot here) replaces the late William Hurt as U.S. President Thaddeus "Thunderbolt" Ross. Besides skin color (Mackie is African-American; racist-in-chief Trump would probably call his casting a D.E.I. hire), the major difference between Steve and Sam is that the new Captain America isn't gifted with serum-enhanced invincibility; instead he's forced to rely on his street smarts, combat skills and advanced technology. While this would seem to indicate a more grounded, human-scaled superhero adventure, it really isn't. The script, which seems A.I.-generated, builds to the same hackneyed "Saving the Universe From a Megalomaniacal Villain" climax as pretty much every Marvel Corp. film product to date. For undemanding comic book enthusiasts only. (C MINUS.)

COMPANION--The, er, complexities of human-robot relationships and the nature of control are explored in writer-director Drew Hancock's smart, twisted comedic thriller. A "meet cute" between Iris and Josh (Sophie Thatcher and Jack Quaid) at a grocery store eventually leads to a romantic weekend getaway where things take an unexpected turn after Iris kills their host (Rupert Friend) in self-defense. Although she's an "emotional support robot" designed to be Josh's perfect partner, Iris truly believes she's human. Her evolution from ignorance (of her robotic nature) to self-awareness and ultimately bloody revenge is both immensely gratifying and wickedly funny. Hancock wittily critiques themes of male entitlement, technology and self-determination while deftly incorporating elements of romance, horror and even social commentary. (B PLUS.) 

DEN OF THIEVES 2:  PANERA--As one of the rare Gerard Butler actioners that didn't suck, 2018's "Den of Thieves" probably seemed a breath of fresh air at the time. Since Butler had toplined such all-time stinkers as "Geostorm" and the "Fallen" movies ("London" and "Olympus"), the relative competence of director Christian Gudegast's neo-noir was a pleasant surprise for critics and audiences. While no one was exactly clamoring for a sequel, Butler, "Thieves" costar O'Shea Jackson Jr. and Gudegast have reteamed for this belated follow-up anyway. The overly complicated plot involves a Marseilles (yes, passports were stamped) diamond heist in which L.A. gangsta Donnie (Jackson) recruits "Big Nick" O'Brien, Butler's morally compromised cop, to participate in the larceny. Naturally a local mafia outfit (the Panthers) also wants a piece of the action. For a January throwaway, it's mildly watchable but not quite worth leaving the house for in this Arctic winter. (C.)

A COMPLETE UNKNOWN--Historical accuracy is less important in biopics than how well the film captures emotional and psychological truths about the real-life protagonist, and how accurately it captures the period setting. Judged on those terms, James ("Walk the Line," "Ford v Ferrari") Mangold's Bob Dylan movie is an unqualified triumph. Tracking Dylan's career trajectory from the 19-year-old Minnesota native hitchhiking to New York City in 1961 to the 1965 Newport Folk Festival where he scandalized purists by going electric, Mangold and co-writer Jay ("Gangs of New York," "The Age of Innocence") Cocks' screenplay keep the action briskly streamlined and unstintingly authentic. As the young Bob, Timothee Chalamet gives the sort of transformative performance--he brilliantly, and seemingly effortlessly, captures the Dylan ethos, and even does his own singing--that deserves to become legendary. But the entire cast is pretty much flawless:  Edward Norton (as saintly folk icon Pete Seeger), Elle Fanning (playing a thinly veiled version of Dylan's creative and political muse Suze Rotolo), Monica Barbaro (positively incendiary as Joan Baez), Scoot McNairy (an ailing Woody Guthrie), Dan Fogler (longtime Dylan manager Albert Grossman), Boyd Holbrook (Dylan penpal Johnny Cash) and Norbert Leo Butz (ethnomusicologist and Newport Festival major domo Alan Lomax who took great personal offense at Dylan veering off the folkie course by wading into rock and roll waters). It makes the perfect companion piece to Martin Scorsese's transcendent four-hour 2005 Dylan documentary, "No Direction Home," which covered the exact same frame in Dylan's biography. (A.) 

DOG MAN-- When Officer Knight and his faithful police dog Greg are injured in the line of duty, a crackpot surgeon fuses their bodies together and creates the titular super-hero with the head of a pooch and body of a man. Desperate to impress his Chief (Lil Rel Howery), Dog Man makes it his mission to take down feline supervillain Petey the Cat (Pete Davidson). But after a common foe (Ricky Gervais' Flippy) kidnaps Petey's clone Lil Petey (adorably voiced by Lucas Hopkins Calderon), the former arch nemeses team up to rescue the kitty and save the day. Adapted from Dav Pilkey's best-selling graphic novels--which began life as a spin-off of Pilkey's "Captain Underpants" series--director Peter Hastings' CGI DreamWorks Animation 'toon is crammed with occasionally laugh-out-loud visual gags and cannily fuses humor with heart. (B). 

FLIGHT RISK--With its ridiculously pulpy high-concept premise and expedited run time (91 minutes including end credits), Mel Gibson's first directorial outing since 2016's Oscar-nominated "Hacksaw Ridge" feels a lot closer to the straight-to-VOD or streaming "B" movies ("On the Line," "Hot Seat," etc.) he's been relegated to as an actor in recent years than any of his previous helming gigs. In a rare villainous turn, Mark Wahlberg plays hired goon Daryl who's tasked with eliminating the key government witness (Topher Grace's Winston) at an upcoming high-profile mob trial. After killing the small-engine pilot hired to transport Winston and his Air Marshall escort (Michelle Dockery, a long way from "Downton Abbey") across the Alaskan wilderness, Daryl takes over the plane's navigation. But when Winston catches wind of the ruse en route, it becomes a fight to the death as the crafty whistleblower and steely female cop square off with an increasingly unhinged Daryl. While the script may not be first (or even second) rate, old pro Gibson directs the hell out of it and the three leads are all much better than the material deserves. 

(C PLUS.) 

HEART EYES--Seattle advertising executive Ally (Olivia Holt) strikes a genuine connection with Jay (Mason Gooding), the freelance ad man brought in to help kickstart her faltering new campaign. Unbeknownst to them, the notorious "Heart Eyes Killer" is terrorizing the city, targeting romantic couples on Valentine's Day. After finding themselves inadvertently in the psycho's crosshairs, they spend an eventful V-D night falling in love and, uh, trying to stay alive. Director Josh Ruben's crafty blend of rom-com and slasher flick skillfully balances its competing genres with enviable flair, and the witty screenplay--co-written by the estimable Christopher Landon of "Freaky" and "Happy Death Day" fame--serves up genuine scares and heart-tugging emotion. Solidly anchoring the film is Holt and Gooding's palpable chemistry which makes their characters' evolving relationship both credible and engaging. (B.) 

KING LEAR--Jean-Luc Godard’s avant-garde 1987 reimagining of Shakespeare’s play practically defies categorization, challenging audiences with its fragmented, surrealist approach to narrative and meaning. Far removed from any straightforward adaptation, this is a dense, self-referential exploration of art, language and the creative process. Situated in a post-apocalyptic world where art and literature have been nearly obliterated, the central task is the reconstruction of those lost cultural artifacts. William Shakespeare Jr. the Fifth (experimental theater wunderkind Peter Sellars) is a descendant of the legendary playwright, tasked with rediscovering and reassembling his ancestor’s work. What ensues is not so much a retelling of "King Lear" as a meditation on the fractured nature of modern storytelling. Godard uses "Lear" as a springboard for thematic and formal experimentation blending disjointed visuals, cryptic dialogue and philosophical musings into a piece that feels more like a conceptual collage than a film. The result is a disorienting but provocative work that rewards patience and intellectual engagement while alienating anyone seeking "coherence." Godard’s use of sound and image is especially striking, incorporating abrupt cuts, overlaid voices and jarring music to disrupt traditional cinematic rhythms. This subversion forces us to focus on the film as a constructed medium, drawing attention to its artifice. The cinematography, meanwhile, alternates between stark, naturalistic beauty and abstract imagery, creating a tension that mirrors its inner chaos. The cast, including teen queen Molly Ringwald, Woody Allen and Godard himself, deliver performances that oscillate between deadpan and exaggerated, further emphasizing the experimental ethos. In a glorified cameo, Norman Mailer plays himself, underscoring the metafictional elements of the project. Godard seems less interested in "King Lear" as a dramatic tragedy and more as a symbol of the fragile state of culture and communication. A deeply divisive film even among Godard aficionados, it’s a challenging work that eschews emotional resonance for intellectual abstraction. As an exploration of the limits of cinema--and its daring vision of art's role in an increasingly fractured world--this stands as one of Godard’s boldest deconstructions of the narrative form. The Criterion Collection's Blu-Ray includes an audio recording of Godard's "Lear" press conference at the 1987 Cannes Film Festival; new interviews with Sellars, Ringwald and New Yorker critic Richard Brody, author of "Everything is Cinema: The Working Life of Jean-Luc Godard;" and Brody's insightful exegesis of the film in his essay, "After the End of the World." (A.)  

LOVE HURTS--Mild-mannered Milwaukee realtor Marvin Gable (Ke Huy Quan) is understandably shaken after receiving a letter from the former partner-in-crime (Ariana DeBose's Rose) he left for dead when a job went south years earlier. Soon Marvin finds himself reluctantly drawn back into the hit man game with Rose calling the shots. Among the many gnarly types gunning for them is Marvin's estranged crime boss brother Knuckles (Daniel Wu). The first movie directed by former stunt choreographer Jonathan Eusebia, there's nothing in this cookie cutter abomination we haven't seen in dozens of "John Wick" knock-offs in recent years. Despite their inexplicable Oscar wins (Quan for the overrated "Everything Everywhere All At Once; DeBose for Spielberg's "West Side Story" reboot), neither has the chops or charisma to co-headline a starring vehicle. Despite running a mere 83 minutes, it's sheer torture to sit through. (D MINUS.)

THE MOTHER AND THE WHORE--Despite winning two major awards--the Grand Jury and FIPRESCI (International Federation of Film Critics) prizes--at the 1973 Cannes Film Festival, Jean Eustache's protean masterpiece struggled to find U.S. distribution. Even a warm reception from audiences at the New York Film Festival where it had its North American premiere that fall didn't entice any buyers. Of course, a notoriously clueless New York Times review by stringer Nora Sayre didn't help its commercial prospects. The situation was so dire that the Times actually published an article by James Monaco in December '73 in which he chided the majority of New York critics whose condescending or contemptuous (e.g., Sayre's) reviews seemingly frightened away  prospective distributers. In closing he added despairingly, "I hope you get a chance to see it." Dan Talbot's New Yorker Films ultimately took Monaco's bait and gave "The Mother and the Whore" an early spring release the following year at one of Manhattan's premier arthouses, the Little Carnegie on 57th Street. But the combination of mixed reviews and a three-hour thirty-eight minute run time doomed it commercially. Like so many films that wouldn't achieve "Classic" status until years later (Michael Cimino's "Heaven's Gate" and Elaine May's "Mikey and Nicky" among them), "TM&TW" slipped through a distribution rights limbo and was nearly impossible to see for decades. (I didn't see it until someone thoughtfully posted a copy of New Yorker's original VHS print a few years ago.). Accordingly, the Criterion Collection's release of a new 4K digital restoration of Eustache's cause celebre ranks as the first major film event of 2025. The ultimate statement about disillusioned-by-the-late-'60s young adults who found the Sexual Revolution as abortive as their political forays, it strikes at the gut of personal relationships a la Bernardo Bertolucci's "Last Tango in Paris" while also probing the nub of intellectual rapport previously celebrated in Eric Rohmer talkathons like "My Night at Maud's" with Proust rather than Pascal being the guiding literary muse. There's stark beauty in Eustache's b&w mise-en-scene, the verite-influenced pacing, the unvarnished close-ups and the authenticity of its lived-in locations. The three leads--moon-calf moocher Alexandre (Truffaut and Godard muse Jean-Pierre Leaud); Marie (Bernadette Lafont), a slightly older woman who "keeps" him; and Veronika (Francoise Lebrun in her screen debut), the younger woman who pursues him--are impeccable in their revelation of self. So penetrating is Eustache's recreation of time and place that it remains one of the few films that accurately displayed the social and cultural sensibilities of the '70s. With its myriad monologues, confessions and conversations, language becomes a major character in this veritable "orgy of words." And unlike "Last Tango" which has retroactively been attacked for perceived misogyny, Eustache shows tremendous respect, understanding and love for his female characters. Marie and Veronika truly hold the balance of power in the film, and Alexandre is more puppet than puppetmaster. Eustache would go on to make a mere handful of subsequent works (only one, 1974's gentle coming-of-age movie "My Little Loves," was distributed in the U.S.) before committing suicide in 1981. Among the bonus features on Criterion's Blu Ray are a contemporary interview with Lebrun; a segment from the French TV series "Pour le cinema" with Eustache, Leaud, Lafont and Lebrun; a conversation between director Jean-Pierre Gorin and writer Rachel Kushner about the film's artistic and historical legacy; a featurette about the restoration process; an essay by Lucy Sante; and Eustache's written "introduction" to the film. (A PLUS.)                

MUFASA:  THE LION KING--Sadly, this prequel to Disney's 1994 masterpiece isn't an animated film. Instead it's faux live action in the same way Jon Favreau's gratuitous 2019 reboot was. In other words, so slavishly dependent on CGI trickery that it seems more cartoonishly unreal than any actual 'toon. Inexplicably directed by the prodigiously gifted Barry ("Moonlight," "The Underground Railroad") Jenkins--I guess he was looking for a quick payday to help finance future indie productions--it chronicles the origins of King Mufasa (memorably voiced in previous incarnations by the late James Earl Jones who the movie is dedicated to) as a bedtime story to lion cub Kiara (Blue Ivy Carter), the daughter of Simba (Donald Glover) and Nala (Beyonce). Providing unneeded support are Timon and Pumbaa (Billy Eichner and Seth Rogen) whose vaudeville act is replete with wink-wink, nudge-nudge meta jokes that will soar over the heads of most kiddies. Most of the action involves ferocious white lion Kiros (Mads Mikkelsen, the film's designated Scar surrogate, stalking orphan cub Mufasa (Aaron Pierre) and protector pal Taka (Kelvin Harrison Jr.). There are several new Lin-Manuel Miranda songs, too, but none can hold a candle to "Can You Feel the Love Tonight?," "Circle of Life" or any of the original "King" tunes. While superior to Disney's other 2024 releases ("Moana 2," "Inside Out 2," "Deadpool + Wolverine," etc.), it's further proof that the 21st century Mouse House is seemingly incapable of coming up with a single original thought in its ginormous corporate head. (C.)     

ONE OF THEM DAYS-- L.A. roomies Alyssa (Grammy-winning recording artist SZA) and Dreux (Keke Palmer from "Nope") have 24 hours to scrounge up the rent money Alyssa's ne'er do well boyfriend (Joshua David Neal) blew on his latest get rich quick scheme in first time feature director Lawrence Lamont's agreeably raunchy shaggy dog story. At its best, this female buddy comedy has some of the wit and grit of producer Issa Rae's late, great HBO sitcom "Insecure." (It also shares that series' wonderfully vivid sense of place:  the city of Los Angeles is as much a lead character as Dreux or Alyssa.) Reliable cut-ups Ll Rel Howery and Katt Williams provide their share of laughs, and "Girls" alumnus Maude Apatow totally kills it as a clueless white girl neighbor. (B.)

PADDINGTON IN PERU--Everyone's favorite marmalade-loving bear is back for a third edition in the beloved screen franchise adapted from Michael Bond's kit-lit perennials. Conspicuously absent this time is Paul King who, after helming the two previous Paddington outings, graduated to 2023's equally wonderful "Wonka." If first-time director Dougal Wilson can't duplicate King's visual imagination and antic sense of humor, it's a fast-paced, unerringly sweet adventure sure to please fans. After receiving a letter from passive-aggressive Reverend Mother (Oscar winner Olivia Colman) about his beloved Aunt Lucy's deteriorating health, Paddington (enchantingly voiced once again by Ben Whishaw) recruits the Brown family (Hugh Bonneville reprises his pater familias role while Emily Mortimer subs for the MIA Sally Hawkins) to join him on a trip to Peru. Upon discovering that Lucy (Imelda Staunton) has gone missing in the Amazonian rain forest, Paddington recruits a sketchy riverboat captain (Antonio Banderas) to help find her. Yes, the quest narrative feels a tad boilerplate, lacking the depth and emotional resonance that gave the earlier films their je nais se quois. But it's still the kind of all-ages-friendly "feel-good" movie we all could use during this endlessly bleak, seemingly endless Arctic winter. (B.)  

SONIC THE HEDGEHOG 3--The "Sonic" kidflicks have basically turned into "sign of life" messages from the otherwise MIA Jim Carrey. In the latest edition of the Paramount/Nickelodeon franchise based on SEGA's video game behemoth, Carrey's reliably amusing scene-stealer Dr. Robotnik turns into an unexpected ally of Sonic, Tails and Knuckles when a new villain (Shadow the Hedgehog) enters the fray with a dastardly plot to destroy the world. Once again directed by Jeff Fowler (who also helmed the 2020 and 2022 entries), it's no great shakes but should have no trouble satisfying its target demo of Hedgehog-loving grade-schoolers. And Carrey's go for broke Commedia dell'arte performance will prove fitfully amusing for any grown-up hoodwinked into chaperoning the wee bairns. (C PLUS.)

WICKED--The most iconic and beloved Broadway musical since "Phantom of the Opera," Stephen Schwartz and Winnie Holzman's 2003 Broadway smash has finally made its (long-delayed) transfer to the big screen. Directed by "Crazy Rich Asians" auteur John M. Chu who proved his movie musical bona fides with 2021's "In the Heights," the only puzzling aspect is that it's actually a "Part One" (something conspicuously absent from the marketing campaign:  the concluding chapter arrives same time next year). Putting aside the fact that it's somewhat baffling how one-half of the screen version can be a half hour longer than the original stage production, Chu serves up a veritable smorgasbord of riches with his "Wizard of Oz" prequel. Mostly set at Shiz University where future Wicked and Good Witches Elphaba ("Harriet" Oscar nominee Cynthia Erivo) and Galinda (pop star Ariana Grande) are reluctant roommates who become BFFs despite their surface differences (Elphaba is green-complexioned and slightly dorky while the almost illegally blonde Galinda is the original Mean Girl, but nicer). Naturally there's a boy involved--Jonathan Bailey's Prince Fiyero--who sets up a nascent love triangle. Groomed as her protege by Dean of Sorcery Studies Madame Morrible (Michelle Yeoh, the sole weak-ish link in an otherwise nonpareil cast), Elphaba quickly becomes a thorn in the side of Oz's preening Wizard (Jeff Goldblum, perfectly cast) for protesting his nascent fascistic tendencies (the kingdom's talking animals are treated like second-class citizens and effectively stifled). Thanks to Nathan Crowley's fantastic art deco production design, the film is as visually dazzling as it is timely in the wake of this year's presidential election where division and fear of "the other" ruled the day. Rather than feeling bloated, the luxurious 160-minute run time instead provides ample room to establish Oz's rich mythology. It also works beautifully as a standalone movie:  no one will leave unsatisfied despite the lack of a conventional "ending." (A MINUS.)

 ---Milan Paurich