NEW THIS WEEK APRIL 11, 2025 (IN THEATERS AND ON HOME VIDEO)
THE AMATEUR--Previously adapted into a middling 1982 film starring the post-"Deer Hunter" John Savage, Robert Littell's ripping spy yarn finally receives its cinematic due in director James Hawes' intense espionage thriller. "Bohemian Rhapsody" Oscar winner Rami Malek plays CIA cryptographer Charles Heller whose life is shattered when his wife is killed in a London terrorist attack. Frustrated by the agency's inaction due to internal politics, Heller coerces his superiors into training him as a field operative, embarking on a perilous solo mission to hunt down the perpetrators. Malek expertly captures Heller's transformation from desk-bound analyst to steely operative, and an ace supporting cast--including Jon Bernthal, Michael Stahlberg and Laurence Fishburne as a grizzled CIA trainer--lend their combined gravitas to the proceedings. The taut pacing effectively balances high-stakes action setpieces with introspective moments that explore the moral ambiguities of justice and revenge. (B.)
https://youtu.be/DCWcK4c-F8Q?si=h1vY0cHK81oKnE_9
DROP--The first night out in years for widowed mom Violet (Meghann Fahy) takes an unexpectedly sinister turn when she begins receiving anonymous AirDrop messages threatening her family. Christopher ("Happy Death Day," "Freaky") Landon's taut techno-thriller expertly melds classic Hitchcockian suspense with modern digital anxieties. The confined setting--an upscale Chicago rooftop restaurant--helps amplify the high-stakes tension and claustrophobic terror. Fahy and Brandon ("1923," "It Ends With Us") Sklenar as Violet's dinner date give warm, deeply empathetic performances that make this another worthy addition to Landon's increasingly impressive oeuvre. (B.) https://youtu.be/bs_nFwh5eJw?si=6zY4jsWjjTSaJncU
GOOD BAD THINGS--Danny (Danny Kurtzman who cowrote the screenplay) is an aspiring entrepreneur with muscular dystrophy who runs a struggling L.A. marketing firm with best friend/roommate Jason (Brett Dier). After meeting a vivacious photographer (Jessica Parker Kennedy's Madi) on a prospective new client's dating app, Danny's life takes an unexpected turn when he forms a surprising romantic bond with her. Director Shane D. Stanger's portrayal of disability within a rom-com context feels both refreshing and even historical. A poignant exploration of love and self-discovery that transcends hackneyed genre cliches, it offers an inclusive, realistic depiction of love, modern relationships and the universal need for human connection. Bonus features on the Music Box Blu Ray include a filmmakers panel with Ramy Youssef and Sian Heder; a conversation between Kurtzmann and Steve Way; and an interview with Stanger and cinematographer Nathan Haugaard. (B.)
I'M ALL RIGHT, JACK--Director John Boulting's 1959 British comedy stars Ian Carmichael as Stanley Windrush (a role he originated three years earlier in Boulting's "Private's Progress"), a naive but enthusiastic recent college graduate who uses his posh family's connections to get a job at his uncle's missile factory. Stanley ultimately becomes the unwitting pawn of both corrupt management and the workers' union steward (a pre-Inspector Clouseau Peter Sellers) who makes sure that no one is ever fired, regardless of how incompetent or lazy. When Stanley speaks to the press about what management and the union have been doing, he becomes a national hero overnight. Soon the workers shutdown that Stanley instigated spreads throughout England with millions going on strike, effectively torpedoing the national economy. Miraculously, this deeply cynical social satire ruthlessly chastises the working class without losing sympathy for them. They're not bad blokes really, and certainly preferable to the crooked bosses willing to sell out their country for a quick payday. It's doubtful that any Hollywood film has ever dealt so bravely with similar labor-management issues. An obvious influence on Lindsay Anderson's 1973 masterpiece "O Lucky Man," it's buttressed by a splendid supporting cast including future Miss Marple Margaret Rutherford, Richard Attenborough, Liz Fraser and Terry-Thomas. Extras on KL Studio Classics' Blu Ray include an audio commentary with comedy historians Gemma and Robert Ross; a retrospective interview with Fraser; and the original theatrical trailer. (A.) https://youtu.be/L_TQ_AWZ9UQ?si=DMaNgtSAK4MgvIWU
THE KING OF KINGS--This animated retelling of the life of Christ framed through Charles Dickens (Kenneth Branagh) narrating the story to his young son features an impressive vocal cast including Oscar Isaac (Jesus), Mark Hamill (King Herod), Uma Thurman (Mrs. Dickens) and Pierce Brosnan (Pontius Pilate). While the unconventional approach of intertwining Dickens' bedtime story within biblical events offers an original take on a (very) well-known tale, the muffled emotional tone and cost-cutting animation pretty much ensures that it won't cross over from Evangelical households. Anyone seeking a more scintillating version of "The Greatest Story Ever Told" is advised to look elsewhere. (C MINUS.) https://youtu.be/HDhet3EVRac?si=4INhivktebPDRMX7
SACRAMENTO--Neurotic father-to-be Glenn (Michael Cera) is tricked by free-spirited estranged childhood friend Ricky (Michael Angarano who also directed) into accompanying him on a road trip from L.A. to Sacramento, ostensibly to scatter Ricky's late father's ashes. The drive serves as a backdrop for the old buddies to confront their past, address unresolved tensions and--hopefully--navigate the uncertainties of the future. Oscillating between whimsical and weighty, it effectively captures the nuances of adult friendships, personal evolution and the challenges of embracing change. As good as the two leads are, Kristen Stewart steals the movie as Glenn's supportive (and uber-patient) wife, providing a much needed grounding presence amidst all the testosterone-fueled madness. (B.) https://youtu.be/jZRbFs_WhX0?si=yVwmYuH6O7Y4QCLQ
SOME LIKE IT HOT--A master class in screen comedy blending rapid-fire wit, impeccable timing and gender-bending farce, Billy Wilder's masterpiece remains as fresh and hilarious as it was upon its release in 1959. After witnessing the infamous St. Valentine's Day Massacre, struggling Chicago musicians Joe (Tony Curtis) and Jerry (Jack Lemmon) disguise themselves as women and join an all-female band heading to Florida. As “Josephine” and “Daphne,” they awkwardly navigate their new identities, leading to a cascade of comic complications—especially when Joe falls for the band’s singer, Sugar Kane (Marilyn Monroe) and Jerry finds himself the object of wealthy suitor Joe E. Brown's affections. Wilder’s nonpareil direction ensures that every joke lands with precision. The script, co-written with I.A.L. Diamond, is chockfull of sharp dialogue and cleverly constructed misunderstandings. Curtis and Lemmon deliver sublime performances with Lemmon’s increasingly absurd reactions stealing every scene. Monroe, in one of her most iconic roles, exudes charm and vulnerability, particularly in her sultry musical numbers like "I Wanna Be Loved by You." Beyond the slapstick and romance, the film subtly challenges gender norms and social conventions making it surprisingly progressive for its time. The film’s legendary closing line, “Nobody’s perfect," encapsulates its playful, open-minded spirit. Timelessly funny and endlessly rewatchable, this is simply one of the greatest comedies ever made, proving that Wilder’s genius remains unmatched in the genre. The new Criterion Collection box set includes both 4K and Blu-Ray copies of the film along with a smorgasbord of extras including film scholar Howard Suber's audio commentary; a featurette on Orry-Kelly's costumes with historians Deborah Nadoolman Landis and Larry McQueen; Wilder's 1982 appearances on "The Dick Cavett Show;" a 1988 French television interview with Lemmon; three behind-the-scenes documentaries; a 2001 chat between Leonard Maltin and Curtis; a 1955 Monroe radio interview; and an essay by author Sam ("The Big Goodbye") Wasson. (A PLUS.)
THERE'S STILL TOMORROW--In post-WW II Rome, Delia (Paola Cortellesi who directed and cowrote the screenplay) is a long-suffering housewife/mother grappling with the harsh realities of an abusive marriage (Valerio Mastandrea plays her suitably loathsome husband) while dreaming of a brighter future. The stunning b&w lensing pays loving homage to Italian neorealism while effectively capturing the early 1950's setting. Despite looking too glamorous for her role, Cortellesi sensitively captures Delia's arc from subjugation to empowerment. The inclusion of contemporary pop music like OutKast's "Bombs Over Baghdad" adds an amusing touch that helps underscore key moments in the story. Winner of six David di Donatello Awards (Italy's equivalent of the Oscars), it's a poignant look at one woman's quest for autonomy against the backdrop of an entrenched patriarchal society. No extras on the Greenwich/Kino Lorber DVD. (B PLUS.) https://youtu.be/nNREdtrrQyk?si=cIS_CbJPr6qW9ark
WARFARE--Co-directed by Alex ("Civil War") Garland and former Navy SEAL Ray Mendoza, this raw, unflinching look at modern combat immerses audiences in the harrowing realities faced by soldiers during the Iraq War. Set in 2006, the movie follows a platoon of Navy SEALs on a surveillance mission that spirals into chaos within insurgent territory. The commitment to authenticity is evident in every frame, directly drawn from Mendoza's firsthand experiences, and the recollections of his fellow SEALS. A stellar ensemble cast delivers in spades with (among others) Noah Centineo, Will Poulter, Michael Gandolfini and Charles Melton embodying the camaraderie inherent in life-or-death situations. The real-time narrative structure and unvarnished, documentary-style lensing brilliantly capture the disorientation and terror of warfare which contributes to the overall visceral impact. Both a tribute to the sacrifices of service members and a sobering reminder of the human cost of global conflict, it's one of the year's most indelible films. (A MINUS.) https://youtu.be/JER0Fkyy3tw?si=vTec01lEmDrDv62z
NOW AVAILABLE IN THEATERS, ON HOME VIDEO AND/OR STREAMING CHANNELS:
THE FRIEND--Adapted from Sigrid Nunez's 2018 novel, "The Deep End"/"What Maisie Knew" directors Scott McGehee and David Siegel's film is a poignant meditation on loss, companionship and the unexpected paths of healing. Iris (Naomi Watts), a college professor in New York City, inherits a Great Dane named Apollo after the unexpected suicide of her close friend and mentor, Walter (Bill Murray). Despite her initial reluctance, Iris's relationship with Apollo initiates a profound journey through mourning and acceptance. Watts delivers a lovely, nuanced performance, delineating Iris' evolution from a reclusive cat person to someone who finds solace and companionship in Apollo. Watts movingly captures the complexities of grief as Iris navigates the challenges of adopting a massive dog in a pet-restricted apartment while dealing with her own emotional turmoil. Murray, though limited in screen time, leaves an indelible impression, capturing the charismatic yet enigmatic figure whose absence propels the narrative. The movie's strength lies in its depiction of the bond between Iris and Apollo, showing how unexpected connections can aid in the healing process. Anchored by wonderful performances--including Great Dane Bing who conveys deep reservoirs of feeling through his expressive eyes--it vibrates with genuine, heartfelt emotion. (A MINUS.)
HELL OF A SUMMER--While awaiting the arrival of this summer's brigade of campers, counselors at Camp Pineway find themselves unwitting targets of a deranged Jason Voorhees wannabe. Co-directed by "Stranger Things" alumnus Finn Wolfhard and Billy Bryk, this meta riff on classic '80s slasher flicks doesn't really break any new ground creatively, but the nostalgic vibe makes it mildly appealing for fans of the "Scary Movie" franchise. Besides solid contributions from Wolfhard and Brykl, the ensemble cast includes reliable scene-stealer Fred ("Thelma," "Gladiator 11") Hechinger, D'Paraoh Woon-A-Tai, Julia Lalonde and Abby Quinn.
(C PLUS.)
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.)
A MINECRAFT MOVIE--Following in the footsteps of 2023's billion dollar-grossing "Super Mario Bros. Movie," cult director Jared ("Napoleon Dynamite," "Gentleman Broncos") Hess brings his distinctive brand of humor to the pixelated universe of yet another global video game phenom. As indebted to the "Jumanji" movies as it is to "Minecraft" lore, this all-ages-friendly movie follows four misfits--Garrett "The Garbage Man" Garrison (Jason Momoa), Henry (Sebastian Eugene Hansen), Natalie (Emma Myers), and Dawn (Danielle Brooks)--who are transported into the Overworld, a fantasy realm where creativity is instrumental to their survival. While the mix of live-action and CGI won't be for all tastes (the trailer amassed over a million "dislikes" on YouTube within four days of its drop last fall), this "Minecraft" initiate found the unbridled silliness intermittently amusing, if a tad overextended at 104 minutes. And Hess' "Nacho Libre" star Jack Black proudly earns MVP honors for generating the most laughs in a key supporting role. (C 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.)
SNOW WHITE-- Director Marc ("The Amazing Spider-Man," "500 Days of Summer") Webb's live-action reboot of Disney's animated masterpiece works overtime to reinterpret the beloved classic for woke 21st century audiences. (Excising the iconic "Someday My Prince Will Come" from the soundtrack and replacing the seven dwarfs with seven, er, "magical creatures," are the most obvious sops to contemporary sensibilities.) The two lead roles (Ms. White and the Evil Queen), however, are both beautifully cast. Rachel Zegler (Maria from Steven Spielberg's "West Side Story") effortlessly captures Snow's grace and gentle nature while "Wonder Woman" Gal Gadot brings unexpected dimension to the stock villainess role, blending sexy allure with unmitigated malevolence. Thanks to a vibrant and sumptuous visual palette--the costume and set design are truly "Wicked"-worthy--Webb has created an immersive fairy-tale environment that balances OG nostalgia with enough fresh aesthetics to satisfy moviegoers of all ages and, most importantly in this divisive era, political stripes. (B.)
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.)
THE WOMAN IN THE YARD--Blending themes of grief and supernatural menace, "Carry-On" director Jaume Collet-Serra's horror-thriller stars Danielle ("Till," "The Piano Lesson") Deadwyler as Ramona who, after surviving a car accident that killed her husband (Russell Hornsby), is left to care for her two children (Peyton Jackson and Estella Kahiha) in their secluded rural farmhouse. Their lives take a harrowing turn when a mysterious woman (Okwui Okpokwasili) appears uninvited, delivering ominous warnings and exhibiting increasingly menacing behavior. Deadwyler movingly captures the profound depths of a mother grappling with loss while fiercely protecting her children. Her chemistry with Jackson and Kahila enhances the emotional gravity, grounding the supernatural elements in relatable human form. Collet-Serra effectively utilizes the isolated setting to amp up the tension, transforming the familiar into a landscape of palpable dread. The assured pacing helps maintain suspense, gradually unveiling the true nature of the titular woman and her connection to Ramona's family. While it treads familiar horror movie ground, the emotional depth of Deadwyler's performance makes this a compelling watch for genre fans. (B MINUS.)
A WORKING MAN--Jason Statham reteams with his "Beekeeper" director David ("End of Watch," "Fury") Ayer for another high-octane action thriller best enjoyed if you're willing to check your brain at the door. Statham's Levon Cade is a former black ops contractor now working as a construction foreman. Cade's new blue collar identity is rudely shattered when his boss's daughter (Noemi Gonzalez), whom he regards as family, is abducted by Russian sex traffickers. His relentless pursuit to rescue the girl unveils a vast network of corruption far beyond his wildest imaginings. With its obvious similarities to the "Taken" franchise (Statham's vengeful protagonist bears more than a passing resemblance to Liam Neeson's iconic "avenging dad"), this is hardly the most original action flick you're likely to encounter this year. But it's not half-bad either. (C PLUS.)
---Milan Paurich
