NEW THIS WEEK MARCH 7, 2025 (IN THEATERS AND ON HOME VIDEO)
ARABESQUE--One of the better non-Bond spy flicks of its era, director Stanley ("Singin' in the Rain") Donen's 1966 follow-up to "Charade" once again deftly blends humor, intrigue and romance with his typically dynamic visual flair. Gregory Peck plays Professor David Pollock, an expert in ancient languages unwittingly drawn into a dangerous web of international espionage after being recruited to decipher a cryptic hieroglyphic. Pollock's new assignment leads him to the glamorous and enigmatic Yasmin Azir (Loren), mistress of a powerful businessman ensnared in a nefarious plot. Soon, the glamorous duo is forced to navigate a labyrinth of deception, double-crosses and even attempts on their lives. Donen’s stylish direction is marked by inventive camera angles, fast cuts and distorted perspectives, lending the film a kinetic frisson evocative of the psychedelia that would define late '60s cinema. The chemistry between Peck and Loren is palpable though Peck--more accustomed to dramatic roles like his Oscar-winning Atticus Finch in 1962's "To Kill a Mockingbird"--sometimes chafes against the lighthearted tone. Loren is utterly beguiling, though, effortlessly blending charm and an intoxicating whiff of mystery. If the screenplay lacks the wit and narrative cohesion of "Charade," Henry Mancini's jazzy score, lavish production design and the charismatic leads make up for the screenplay's intermittent shortcomings. KL Studio Classics' newly issued Blu Ray includes an audio commentary with historians Nathaniel Thompson, Steve Mitchell and Howard S. Berger; the archival featurette, "Music by Mancini," with Mancini and syndicated columnist Leonard Feather; plus multiple theatrical and TV trailers. (A MINUS.)
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.) https://youtu.be/CMyrp5Vk3mU?si=J6fZcogdPEiXK4dE
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.)
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.)
QUEEN OF THE RING--Mildred "Millie" Burke, a pioneering figure in professional women's wrestling during the early to mid-20th century, is the engaging subject of director Ash Avildsen's compelling new biopic. In what deserves to be a star-making turn, Emily Bett Rickards captures both Burke's physical prowess and emotional depth. The movie follows Burke's Cinderella-like journey from a single mom working in a Kansas diner to becoming America's top female wrestler. Her tumultuous marriage to wrestling coach Billy Wolfe (Josh Lucas) addresses themes of sexism, racism and spousal abuse prevalent in the era. To the film's credit, it doesn't shy away from depicting the myriad challenges Burke faced both in and outside the ring fighting for recognition in a male-dominated industry. Meticulous attention to period detail helps recreate the glitzy, gritty world of early professional wrestling, and Francesca Eastwood and Damaris Lewis (as Mae Young and Babs Wingo respectively) impress as fellow trailblazers who broke barriers and contributed to the sport's evolution. (B.)
https://youtu.be/jXBbdsWsJM0?si=RG73qoePnHVX4xZw
ROSE--Following the death of her husband, 78-year-old Rose Goldberg (screen legend Francoise Fabian, still luminous 56 years after her star-making turn in Eric Rohmer's "My Night at Maud's") embarks on a late-life journey of self-discovery, challenging social expectations and redefining her identity beyond "widow" and "mother." Fabian's lovely, nuanced performance subtly captures Rose's transformation from grieving wife to a newly reawakened woman zestfully embracing life's pleasures and possibilities. Drawing inspiration from her own grandmother's life, director Aurelie Saada infuses the film with an infectious joie de vivre, highlighting the beauty in quotidian moments: dancing in the kitchen while preparing a meal, engaging in lively banter with new friends at a restaurant or simply rediscovering physical desires. Saada's rich depiction of Rose's French-Tunisian-Jewish heritage adds unexpected depth by highlighting cultural traditions and the complexities of family dynamics. By challenging conventional notions about aging, Saada affirms that personal evolution and the pursuit of happiness are timeless endeavors not restricted to the young. The Cohen Media Group Blu Ray features a Q&A with Saada at New York's Cinema Arts Centre and the theatrical trailer. (B PLUS.)
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.)
THE RULE OF JENNY PEN--After a debilitating stroke, retired judge Stefan Mortensen (Oscar-winner Geoffrey Rush) moves into a nursing home where he becomes the unwanted target of fellow resident Dave Crealy (a chilling John Lithgow) and his malevolent hand puppet, the titular Jenny Pen. The dementia-riddled Crealy enjoys terrorizing people, inflicting both physical and psychological damage with the help of Jenny. Vacillating between feigned innocence and escalating menace, Lithgow makes Crealy a truly memorable villain. And Rush beautifully captures the vulnerability and frustrations of a once formidable man stripped of his former autonomy. Their dynamic anchors the film, creating a tense atmosphere that neatly balances Gothic horror with a poignant study of the indignities of aging. (B.) https://youtu.be/msFtdWr5Kqs?si=JAgrdsPc6TlOK3eu
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.)
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).
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.)
I'M STILL HERE--A heart-breaking portrayal of resilience during Brazil's military dictatorship, this triple 2025 Oscar nominee (Best Picture, Best International Feature and Best Actress) stars Golden Globe winner Fernando Torres as Eunice Paiva whose husband is forcibly "disappeared" by the regime. Torres delivers a bravura performance, capturing Eunice's gradual transformation from grieving wife to ferocious human rights advocate. Delving into the personal and political turmoil faced by the Paiva family, the film highlights themes of loss, courage and the relentless pursuit of justice. Director Walter ("Central Station," "The Motorcycle Diaries") Salles brings first-hand authenticity to the material, drawing from his personal connections with the Paiva family. His direction, combined with Murilo Hauser and Heitor Lorega's screenplay, offers a nuanced depiction of a family's struggle against oppression. Beyond its cinematic achievements, "I'm Still Here" resonates globally by drawing stark parallels between historical events and contemporary issues of democracy and human rights. It serves as a powerful reminder of the personal costs of political repression, and the enduring strength of those who fight against it. (A.)
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.)
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.)
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.)
RIFF RAFF--Combining dark comedy with crime drama, Dito ("A Guide to Recognizing Your Saints") Montiel's genre-bender examines the complexities of family loyalty and the inability to escape one's past transgressions. The seemingly tranquil life of reformed criminal Vincent (Ed Harris) is rudely upended when his estranged son Rocco (Lewis Pullman) turns up for the holidays accompanied by his pregnant girlfriend Marina (Emanuela Postacchini) and Vincent's ex-wife Ruth (Jennifer Coolidge). Vincent's impromptu guests also bring unwelcome danger thanks to two mobsters (Bill Murray and Pete Davidson) hot on their trail seeking bloody retribution. The eclectic ensemble cast delivers in spades with "White Lotus" Emmy winner Coolidge's blowsy Ruth a standout. The unlikely pairing of SNL veterans Murray and Davidson provides welcome humor amidst the frequently shocking violence. And newcomer Miles J. Harvey's heart-rending performance as Vincent's stepson provides much-needed emotional ballast. Despite some tonal whiplash, the inventive plot twists and breakneck pacing make it very much worth seeking out for Tarantino and Coen Brothers fans. (B.)
THE UNBREAKABLE BOY--Director Jon ("Ordinary Angels") Gunn's heart-tugging examination of family, faith and the unyielding human spirit stars Jacob Laval in the title role of Austin LeRette, a young boy diagnosed with both autism and osteogenesis imperfecta (aka brittle bone disease). Laval radiates his character's infectious joy and optimism while, as Austin's parents, Zachary Levi and Meghann Fahy capture the fears and uncertainties of raising a child with special needs. A story of resilience and unconditional love, it emphasizes the transformative power of embracing differences by highlighting how Austin's unwavering spirit becomes an unexpected source of strength for his family. Deftly balancing humor with heartache, the film remains consistently engaging without lapsing into maudlin sentimentality. By serving as a reminder of the beauty found in embracing life's imperfections--and the strength derived from love and acceptance--this ranks as one of the better Kingdom Story productions to date. (B MINUS.)
---Milan Paurich