NEW THIS WEEK MARCH 14, 2025 (IN THEATERS AND ON HOME VIDEO)
BLACK BAG--Protean director Steven Soderbergh's second 2025 theatrical release (the superb "Presence" precedes it by a mere two months) is a masterfully crafted spy thriller cannily melding espionage with marital intrigue for a sleek and sophisticated divertissement. The seemingly resolute partnership of George and Kathryn (Michael Fassbender and Cate Blanchett), a married couple working for the Secret Intelligence Service (S.I.S.), is severely tested when suspicions of an agency mole emerge, with Kathryn herself falling under microscopic scrutiny. David ("Jurassic Park," "Mission Impossible") Koepp's inventive, multi-layered screenplay propels the story with its brisk pacing and sharp dialogue. A knockout sequence involves George covertly administering a truth serum to guests at a dinner party, leading to a cavalcade of revelations that blur the lines between professional and personal loyalties. The scene exemplifies the film's ability to balance tension with dark humor, keeping viewers on the edge of their seats. Fassbender and Blanchett are at the top of their game here. Fassbender imbues George with a cool, methodical demeanor reminiscent of classic spy archetypes, yet adds layers of vulnerability that help make him sympathetic. Blanchett's mercurial Kathryn exudes an elegant hauteur, brilliantly capturing the essence of a woman navigating the treacherous waters of espionage and marriage. Their combustible on-screen chemistry enhances Koepp's probing exploration of trust and deception. Soderbergh's stylish direction employs his signature digital cinematography to help create a visually crisp aesthetic complementing the modernist trappings. His decision to focus on character-driven storytelling over mindless action sequences allows for a more intimate depiction of his protagonists' psyches, elevating it well beyond standard genre fare. A smart, sizzling addition to the spy genre, it showcases Soderbergh's directorial prowess as well as the nonpareil talents of his two lead actors. (A.)
https://youtu.be/n_56L6WzLT8?si=p7MuShYHXhd9Reof
THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE--Director Peter Browngardt's delightful return to classic, hand-drawn animation affectionately preserves the legacy of Warner Brothers' beloved Looney Tunes franchise. The elemental plot showcases Daffy Duck and Porky Pig (both superbly voiced by Eric Bauza) who discover an alien plot to take over the Earth via mind-control bubblegum. Their dynamic is hilarious and heartfelt, with the unbreakable bond between duck and pig adding unexpected depth to the slapstick hijinks. The film's strength lies in its ability to blend gut-busting humor with genuine emotion, and the animation becomes increasingly dynamic as the story progresses. It's a must-see for longtime fans and newbies alike thanks to Browngardt's seamless blend of humor, heart and classic OG animation. (B PLUS.)
EVERY LITTLE THING--Director Sally Aitken's poignant 2025 documentary explores the life of Terry Masear, a Los Angeles-based wildlife rehabilitator dedicated to rescuing injured and orphaned hummingbirds. Aitken offers an intimate portrayal of Masear's daily life, showcasing her unwavering commitment to these delicate creatures. She feeds them with syringes, constructs intricate aviaries and provides round-the-clock care, all within the confines of her Hollywood Hills home. The stunning slow-mo cinematography captures the ethereal beauty of hummingbirds in flight, offering a mesmerizing glimpse into the avian world. While the serene, compassionate tone feels like a soothing balm in these troubled times, the film does grow a tad repetitive at times, focusing exclusively on the cyclical nature of rescue, rehab and release. Despite these caveats, the emotional depth Aitkin achieves is incontestable, especially when exploring Maesar's personal motivations and the profound connections she forms with each bird. Besides shedding light on hummingbirds, it also prompts reflection on universal themes of empathy and the human capacity for compassion. It's a gentle reminder of the impact small acts of kindness can have both on the creatures we share our world with--and on our own humanity. No extras on the Kino Lorber DVD. (B PLUS.) https://youtu.be/ztqYOM_qGgU?si=RnVzk0ektXOXZQyJ
NOVOCAINE--When his new girlfriend, Sherry (Amber Midthunder from the excellent 2022 "Predator" prequel, "Prey"), is kidnapped during a bank robbery, Nathan (Jack Quaid) leverages his congenital insensitivity to pain (CIP) to embark on a Hellzapoppin' rescue mission. The high concept premise of Dan Berk and Robert Olsen's future cult flick offers a clever spin on the action movie template, allowing for inventive fight sequences emphasizing Nathan's inability to feel pain. Quaid--most recently seen in January genre-buster "Companion"--balances the physicality required for "John Wick"-ian action setpieces with the emotional range of a man confronting his own mortality. And Midthunder brings immense charm to her role, making Sherry more than just a standard issue damsel in distress. The mix of high-octane thrills and gallows humor doesn't always gel smoothly, however. Some of the comic moments feel a tad forced and character motivations (e.g. Sherry's involvement in the robbery) defy logic, negatively impacting the (slightly overlong at 110 minutes) film's pacing. (B MINUS.)
OPUS--Reclusive pop icon Alfred Moretti (John Malkovich) invites a select group of cognoscenti to his desert retreat for an exclusive listening party of his latest album. Among the guests is rookie journalist Ariel Ecton ("Bear" breakout Ayo Edebiri wasted on a vaguely written role) who quickly becomes suspicious of Moretti's true motives. While clearly aspiring to satirize the dark side of celebrity culture, director Mark Anthony Green's muddled execution falls far short of his lofty ambitions. Burdened with an overly convoluted plot and underdeveloped characters, the film struggles to coherently tie its disparate elements together. Green's attempts at spoofing celebrity worship and cultish behavior feel stale and second hand, echoing similar themes more effectively handled in 2023's "The Menu" and "Glass Onion: A Knives Out Mystery." Malkovich's reliably eccentric, intermittently amusing performance and a first-rate original score by Nile Rodgers and The-Dream are the only quasi-memorable elements of a movie that's ultimately more frustrating than entertaining. (C MINUS.)
THIEF--Artfully blending Donald E. Thorin's stylish cinematography, atmospheric tension and an emotionally complex protagonist, Michael Mann's 1981 neo-noir crime thriller ranks among the most impressive and stunningly accomplished feature debuts in screen history. James Caan plays Frank, a hardened professional safecracker who dreams of escaping the criminal life for a more honest existence. His ambitions are thwarted, however, when he becomes entangled with a powerful Chicago mob syndicate. What distinguishes the film from ordinary genre fare is Mann’s meticulous, even fetishistic attention to detail. The depiction of burglaries is uber-realistic, lending a bracing verisimilitude to Frank’s "job." Thorin bathes the movie in striking neon-lit visuals, creating a moody, rain-soaked aesthetic that would become a hallmark of Mann’s later work. (Tangerine Dream’s pulsating electronic score further amplifies the dreamlike, propulsive energy.) Caan delivers a career-best performance here, portraying Frank as both tough and achingly vulnerable. His diner monologue with Jessie (a fantastic Tuesday Weld) is a Master Class in understated intensity, revealing a man desperate for a life beyond crime, but tragically bound by its rules. Robert Prosky’s quietly menacing mob boss, Leo, serves as their chilling counterpoint, embodying the inescapable grip of organized crime. More than just a heist flick, "Thief" explores themes of individualism, fate and the cost of freedom. Mann’s stylistic precision, combined with a gripping narrative and brilliant performances make this an enduring classic of the crime genre. It also laid the groundwork for future Mann masterpieces like 1986's "Manhunter," cementing his reputation as a visionary auteur. The new Criterion Collection box set includes both 4K UHD and Blu-Ray discs. Additional extras, most of which are recycled from Criterion's 2014 edition, include Mann and Caan's audio commentary track; stand-alone interviews with Mann, Caan and Tangerine Dream's Johannes Schmoelling; and an essay by former Sight and Sound editor Nick James. (A PLUS.) https://youtu.be/SSPtl9uTtx4?si=hD7U17t2dVmrqq76
NOW AVAILABLE IN THEATERS, ON HOME VIDEO AND/OR STREAMING CHANNELS:
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.)
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).
IN THE LOST LANDS--Based on a short story by "Game of Thrones" author George R.R. Martin, Paul W.S. Anderson's fantasy epic is set against the backdrop of a mystical world filled with magic, deception and palpable danger. Sorcereress Gray Alys (Milla Jovovich) is contracted to retrieve a MacGuffin from the Lost Lands (a sinister place where precious few return alive). Accompanied by warrior Boyce (Dave Bautista), the team face mythical creatures and bloodthirsty villains that test their formidable resolve. Blending traditional fantasy elements with "Resident Evil" auteur Anderson's signature ADD editing style, it's a visually striking, fast-paced adventure yarn. Jovovich delivers one of her finest performances to date, bringing quiet intensity and a formidable resolve. And Bautista contributes surprising layers to his role, making Boyce more than just a muscle-bound flunky. Anderson's world-building skills remain impressive with stunning landscapes and eerie magical environments. The screenplay, however, occasionally struggles with pacing which makes some scenes feel rushed while others lack the anticipated emotional payoff. Despite lacking the storytelling depth of Martin's best work, it delivers enough action to satisfy genre buffs. (B MINUS.)
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.)
LAST BREATH--A gripping, emotionally resonant survival thriller, director Alex Parkinson's film dramatizes the harrowing events of 2012 when diver Chris Lemons (Finn Cole) faced a life-threatening crisis hundreds of feet below the North Sea. During an otherwise routine maintenance dive, a computer malfunction severed Lemons' lifeline to oxygen and communication. The determination of fellow divers Duncan Allcock and Dave Yuasa (Woody Harrelson and Simu Liu) to rescue Chris underscores the themes of camaraderie and sacrifice. Parkinson excels in crafting a suitably claustrophobic atmosphere, immersing us in the suffocating isolation of the deep sea. The pacing maintains relentless tension throughout with underwater sequences that are both visually striking and nerve-wracking. And Cole's performance beautifully captures the vulnerability of a man confronting imminent death. While largely staying faithful to the real-life incident, some creative liberties have been taken to enhance the overall dramatic effect. Despite those minor qualms, it's a moving testament to human endurance and the profound bonds forged in life-or-death situations. (B.)
MICKEY 17--Exploring topical themes of societal exploitation and economic inequality, Bong Joon-ho's long-awaited follow-up to 2019's Oscar-winning "Parasite" serves up a satirical, though-provoking examination of identity in a capitalist dystopia not too far removed from America's current sociopolitical climate. Robert Pattinson plays Mickey Barnes, an "Expendable" assigned to perilous tasks on a colonization mission to the forbidding ice planet Niflheim. Each time Mickey dies, his consciousness is transferred to a new clone, eventually leading to his seventeenth (and final?) iteration. For anyone who hasn't been keeping track of Pattinson's impressive post-"Twilight" career, his dramatic range and razor-sharp comic timing here will be a revelation. Mark Ruffalo, Toni Collette, Naomi Ackie and Steven Yeun all contribute stand-out supporting turns, but Pattinson is the magical elixir that makes this exhilarating melding of genre elements (sci-fi, satire and social commentary) sing. It's another stellar addition to Bong's already formidable oeuvre. (A MINUS.)
THE MONKEY--As children, twin brothers Hal and Bill Shelburn (both played by Christian Convery) discover a sinister wind-up monkey toy that seemingly causes death whenever it plays its cymbals. Years after attempting to rid themselves of the cursed object, the brothers (Theo James does double duty as the adult versions of Hal and Bill) are forced to confront their traumatic past when the monkey reemerges, bringing with it a new wave of gruesome fatalities. Director Osgood Perkins' adaptation of Stephen King's 1980 short story seamlessly blends visceral horror and savage dark comedy to deliver a uniquely unsettling creep-fest. Perkins, known for atmospheric and slow-burning horror flicks like last summer's box-office smash "Longlegs," embraces a more frenetic, gore-laden style this time with a Grand Guignol aesthetic and creatively engineered, blood-soaked setpieces as queasily funny as they are terrifying. James delivers two compelling performances as the twins descend into paranoia and fear, and Tatiana ("Orphan Black") Maslany steals her share of scenes as their mother, adding much-needed emotional weight to the gruesome proceedings. Major props to cinematographer Nico Aguilar for stylishly capturing the macabre proceedings with elegance and grotesque visual flair. (B PLUS.)
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.)
NIGHT OF THE ZOOPACALYPSE--Being an animated sci-fi/horror movie definitely sets this collaboration between Blue Sky Studios alumni Rodrigo Perez-Castro and Ricardo Curtis--their credits include the "Ice Age" and "Rio" franchises--apart from your average 'toon. Deftly blending comedy and (mild) chills, it showcases their skill in crafting engaging, family-friendly fare. Wolf cub Gracie (Gabbi Kosmidis) witnesses a meteor crash into her zoo, unleashing a virus which mutates animals into zombie-like creatures. Teaming up with recently captured mountain lion Dan (David Harbour) and a motley group of fellow survivors (including a scaredy-cat ostrich and persnickety monkey), they fight to contain the outbreak and return peace to their humble abode. After a somewhat poky start, the film kicks into gear delivering a sweet, "Wild Robot"-style fable of teamwork and acceptance. Drawing inspiration from genre classics like "The Thing," "Alien" and "The Blob," it serves up a potpourri of cinematic references sure to tickle fanboys (and girls) of all ages. And the fluid, vibrant animation reflects the exacting standards of the directing duo's previous studio work. (B MINUS.)
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.)
RULE BREAKERS--The inspiring true story of Afghanistan's first all-female robotics team follows schoolteacher Roya Mahboob (Nikohl Boosheri) whose efforts to establish computer classes for girls ultimately led to the formation of the Afghan Dreamers. Striving to compete on an international stage, the Dreamers face formidable obstacles every step of the way, including bureaucratic obstacles and limited finances. Despite its compelling premise and Boosheri's stellar performance which movingly captures Manhboob's passionate resilience, the cookie-cutter screenplay shamelessly recycles a surfeit of underdog sports movie cliches. Director Bill Guttentag's dooudrama tackles evergreen themes of empowerment, perseverance and the transformative power of education, but is content to merely pay lip-service to those noble sentiments. (C.)
---Milan Paurich