NEW THIS WEEK APRIL 18, 2025 (IN THEATERS AND ON HOME VIDEO)
EEPHUS--Carson Lund's feature directorial debut shares many of the virtues of the films he's shot for Taylor Taormina, including last year's wondrous "Christmas Eve at Miller's Point" (which ranked #3 on my 2024 10-best list). Like Taormina's baubles of joy, it's a great hang-out movie where narrative takes a back seat to the overall "vibe." Populated with characters you actually enjoy spending time with, they're the indie film equivalent of comfort food. Lund's heartfelt ode to baseball and the communities it fosters is set in a small Massachusetts town in the 1990's and chronicles the final game between two softball teams, Adler's Paint and the Riverdogs, before their cherished field faces demolition. Taking place over the course of the game, it captures the camaraderie, rivalries and shared histories of the teams' players. The filmmaking mirrors the leisurely rhythm of baseball itself with Lund's relaxed pacing transforming quotidian moments into profound reflections on community and change. The ensemble cast--nobody you've ever heard of, but they're all wonderful--delivers nuanced, lived-in performances that embody the diverse personalities that populate amateur leagues. (Former Red Sox pitcher Bill "Spaceman" Lee plays a small role, adding authenticity and a soupcon of Bean Town nostalgia.) More than just a "sports movie," it's about reaching a time in your life when it feels like it's getting late earlier and earlier. A soulful meditation on the passage of time and the inevitable changes that come with it, "Eephus" will resonate with anyone who has experienced the melancholy end of an era. (A.)
THE SANDS OF IWO JIMA--Released just four years after the end of WW II, veteran director Allan Dwan's 1949 masterpiece remains one of the most iconic war films ever made. Capturing both the brutal reality of combat and the idealized sense of duty that defined the Greatest Generation, it remains a stirring tribute to the courage and sacrifice of U.S. servicemen. John Wayne won his first Oscar nomination for playing Sergeant John Stryker, a hard-nosed Marine tasked with preparing a group of young soldiers for battle. Wayne's performance ranks among his all time best, portraying Stryker with a tough-as-rawhide exterior and underlying emotional depth. Alternately feared and respected by his men, Wayne's Stryker embodies the complexities of a leader in wartime: flawed, human and ultimately heroic. What ultimately sets the movie apart is Dwan's artful balance of character development and action. He spends time building the relationships between the soldiers, making their deaths even more devastating. Culminating in the iconic Battle of Iwo Jima, Dwan utilized actual combat footage to ground the drama in historical authenticity. (The raising of the flag on Mount Suribachi, now an indelible image, is used to powerful effect.) A war film that understands the human cost of heroism--being a soldier in battle is depicted as suitably terrifying, and nothing in battle is accomplished without casualties--it shows that for men to move forward others must sacrifice their lives. The KL Studio Classics' Blu-Ray includes an audio commentary with "Combat Films: American Realism" author Steven Jay Rubin and historian Steve Mitchell; a featurette ("The Making of 'Sands of Iwo Jima'") hosted by Leonard Maltin; and the original theatrical trailer. (A.)
https://youtu.be/HOltalUkdwI?si=Xjp4amWOkK8KeynX
SINNERS--Ryan ("Creed," "Black Panther") Coogler's brilliant, well-nigh uncategorizable new film masterfully melds supernatural horror with profound historical/sociopolitical themes. Set in 1933 Mississippi, it follows twin brothers, Smoke and Stack (both portrayed by Michael B. Jordan in a thesping tour-de-force), as they arrive from Chicago to open a juke joint, hoping to create a sanctuary for Black joy amidst the oppressive backdrop of Jim Crow laws and Ku Klux Klan intimidation. The pungent atmosphere is steeped in the rich cultural tapestry of the Deep South with music--epitomized by Sammi "Preacher Boy" Moore (impressive newcomer Miles Caton), a virtuoso blues musician whose performances seem to conjure supernatural forces--playing a central, almost mystical role. The arrival of the mysterious and sinister Remmick (Jack O’Connell) introduces a vampiric element into the plot which serves as a potent metaphor for Black class struggle and cultural erasure. Coogler's direction is bold and passionate, blending horror movie tropes with a penetrating exploration of American racial history. The stylized visuals, exquisitely crafted by cinematographer Autumn Durald Arkapaw, and evocative musical score rooted in African American spirituals enhance the film's emotional impact. A genre-defying work, it stands as a testament to Coogler's artistic evolution and commitment to storytelling that resonates on multiple levels. (A.)
SNEAKS-- Designer sneaker Ty (Anthony Mackie) comes to New York City to rescue his sister (Chloe Bailey) from a shady collector (Laurence Fishburne), encountering a motley crew of footwear along the way (voiced by, among others, Martin Lawrence, Macy Gray and Keith David). Since anthropomorphic objects as the subject of animated films worked for Pixar with the "Toy Story" and "Car" movies, it was only a matter of time before someone turned their attention to...shoes. Unfortunately, directors Rob Edwards and Chris Jenkins' chintzy knock-off lacks the originality and heart that Pixar brought to their billion-dollar franchises, and the undistinguished animation makes it as dull visually as it is narratively. (D PLUS.)
THE UGLY STEPSISTER--Director Emilie Blichfeldt’s dreamlike and harrowing reimagining of Cinderella transforms the Grimm fairy tale into a provocative exploration of beauty, identity and social pressure. Set in a decaying fairy-tale kingdom, it follows Elvira (Lea Myren), a young woman overshadowed by her conventionally attractive stepsister, Agnes (Sofie Loch Naess). Driven by desperation and a desire to win the prince's affection, Elvira undergoes nightmarish transformations under the guidance of the enigmatic Dr. Esthetique (Adam Lundgren). These procedures--including nose chiseling and the ingestion of a tapeworm--are depicted with unflinching, visceral detail, highlighting the grotesque lengths to which Elvira goes to conform to impossible beauty standards. Cleverly blending elements of Cronenbergian body horror with the essence of the original fable, it forces viewers to confront the darkest undercurrents of childhood myths. (B PLUS.)
THE WEDDING BANQUET--Andrew ("Fire Island," "Driveways") Ahn's reimagining of Ang Lee’s same-named 1993 LGBT classic retains the core premise (a gay Asian-American man stages a sham marriage to satisfy his traditional family) while updating the setting under a modern lens by exploring generational and cultural issues within a socially evolved world. Directed with sensitivity and wit, the film balances emotional depth with humor. The lead performances by Lily Gladstone, Kelly Marie Tran, Han Gi-Chan and Bowen Yang as the central romantic couples all shine, and their individual romantic chemistries are palpable. Ahn's updated screenplay smartly blends in contemporary pressures—from social media scrutiny to immigration tensions—without losing the original’s emotional kick. The internal struggles between filial duty and personal truth are depicted with subtlety, and the whole thing feels both authentic and deeply moving. While "2025 Contemporary," it never loses the warm, intimate aesthetic that grounded Lee's movie. What helps set this remake apart is its broader inclusivity and consideration of modern queer realities, particularly within diasporic Asian families. Standing confidently on its own, Ahn's socially aware update offers a fresh perspective that honors its source while still offering something fresh and relevant to a new generation. (A MINUS.) https://youtu.be/kWy_IzW04YM?si=lHxYfdEBbYffJme-
NOW AVAILABLE IN THEATERS, ON HOME VIDEO AND/OR STREAMING CHANNELS:
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.)
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.)
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.)
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.)
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.)
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.)
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.)
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 unforgettable films. (A.)
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
