NEW THIS WEEK APRIL 25, 2025 (IN THEATERS AND ON HOME VIDEO)
THE ACCOUNTANT 2--Director Gavin O'Connor's long-delayed sequel to his 2016 sleeper goes deeper into the world of autistic mathematical savant and trained assassin, Christian Wolff (Ben Affleck), particularly his fraught relationship with estranged brother Braxton (Jon Bernthal). Intertwining themes of fraternal bonds with a convoluted plot involving organized crime and human trafficking, it serves up a heady brew of action and character development that provides solid entertainment, particularly for fans of the original. Affleck and Bernthal's chemistry effectively sells the dynamics of sibling rivalry and (ultimate) reconciliation. Their performances bring a welcome emotional depth to the narrative, balancing kick-ass action setpieces with moments of humor and vulnerability. The rococo plot borders on overly complicated at times, however, which might alienate audiences who prefer movies with, uh, more linear storytelling. (B.)
https://youtu.be/HPMh3AO4Gm0?si=LM_2T7L2o1PGQxNH
JEAN DE FLORETTE; MANON OF THE SPRING--Set against the stunning backdrop of rural Provence, Claude Berri's two 1986 films comprise an epic tale of greed, revenge and fate. Based on Marcel Pagnol’s beloved novels, "Jean de Florette" and "Manon of the Spring," they create a deeply affecting meditation on destiny, morality and the inescapable weight of the past. The first film introduces us to Ugolin (Daniel Auteuil) and his conniving uncle César Soubeyran, known as Le Papet (Yves Montand). The two peasants seek to acquire land with a hidden water source to cultivate carnations. However, their plans are thwarted when the rightful heir, Jean Cadoret (Gérard Depardieu), inherits the land. Jean, an optimistic and well-schooled city man with a hunchback, dreams of farming the land with his wife and daughter, Manon. Unbeknownst to him, Ugolin and Le Papet block the spring, depriving Jean's farm of water. Despite his perseverance and reliance on scientific methods, the crops fail, leading to Jean's tragic downfall. The sequel takes place years later with Manon (Emmanuelle Beart) now a reclusive young woman living in the hills. Having discovered the truth about her father’s demise, she seeks justice. Manon's actions set off a chain of events that bring ruin to Ugolin and Le Papet, culminating in a devastating revelation about their true connection to Jean. Berri’s direction masterfully balances the grandeur of the Provençal setting with the intimate, often heartbreaking struggles of his characters. The cinematography captures the rugged beauty of the land, reinforcing the themes of survival and the power of nature. Jean’s tragedy is heartbreaking, made even more so by Depardieu’s heartbreaking performance. Auteuil plays Ugolin with a mix of foolishness and desperation and Montand delivers a haunting portrayal of a man whose greed leads to unforeseen consequences. Béart’s career-launching performance is utterly mesmerizing, embodying both her character's fragility and fierce determination. Shifting from tragedy to poetic justice, it delivers a cathartic ending that will haunt you long after the credits roll. With their superb performances and masterful storytelling, the two films rank among the greatest achievements in post-New Wave French cinema. Criterion's Blu-Ray Special Edition includes a 2018 documentary (Claude Berri: The Card Dealer") on Berri's life and career; the 2017 doc, "The Force of Destiny," about the making of the films; and an essay by UK film academic Sue Harris. (A PLUS.)
THE LEGEND OF OCHI--Set in a mythical Eastern European country, director Isaiah Saxon's feature debut follows Yuri (newcomer Helena Zengel), a young girl who defies her father's (Willem Dafoe, dependably strong) warnings about the elusive creatures known as Ochi. When Yuri discovers an injured baby Ochi, she embarks on a journey to return it to its family, challenging the fears and prejudices of her community. A visually enchanting fantasy adventure exploring themes of connection, tradition and rebellion, its most impressive feature is Saxon's use of practical effects. The Ochi creatures magically come to life via puppetry and animatronics reminiscent of classic '80s fantasy films like "The Dark Crystal," "The Neverending Story" and "Labyrinth." This OG approach lends a tactile authenticity to the creatures, inviting viewers into a meticulously crafted world. Filmed in the picturesque landscapes of Romania's Apuseni Mountains and Bâlea Lake, it's a feast for the eyes with natural scenery enhancing the otherworldly atmosphere. (B.) https://youtu.be/_jTFLg3arYU?si=WfmiGtafW9tohebe
NEIGHBORHOOD WATCH--After witnessing what he thinks was an abduction, a mentally ill young man (Jack Quad) enlists the aid of a reclusive neighbor (Jeffrey Dean Moran, practically oozing cynicism) after the authorities rebuff him. Director Duncan ("The Clovehitch Killer") Skiles' neo-noir thriller skillfully explores the complexities of perception and trust, confidently balancing suspense with dark humor in a manner evocative of Hitchcock's "Rear Window" and 1989 cult flick "The 'Burbs." Skiles' slow-burn approach keeps you questioning Simon's version of events versus the reality of the situation, and Quaid and Morgan's skittish odd-couple chemistry helps goose the action with tension and wit. By bravely tackling themes of mental health and societal skepticism, Skiles challenges viewers to consider the consequences of dismissing anyone who perceives the world differently. With its thought-provoking narrative hook and terrific lead performances, it's a sure bet for fans of psychological thrillers that offer more than just surface-level scares. (B.)
ON SWIFT HORSES-- Directed by Daniel ("Game of Thrones," "Fellow Travelers") Minahan and adapted from Shannon Pufahl’s novel, this poignant drama reimagines 1950's America through a queer lens. The story follows Muriel (Daisy Edgar-Jones from "Twisters" and "Where the Crawdads Sing"), a newlywed stifled by domestic life in 1950's San Diego, and her brother-in-law Julius ("Euphoria" alumnus Jacob Elordi), a restless Korean War veteran exploring his sexual identity in a neon-lit Las Vegas. Their individual paths of desire, deception and self-discovery unfold against a backdrop of horse racing, gambling and the vast, shifting landscapes of the American West. The film’s principal strength lies in its atmospheric storytelling and Edgar-Jones and Elordi's sensitive, beautifully-textured performances. Cinematographer Luc Montpellier bathes the images in golden hues and deep shadows, evoking the era’s romantic allure and the characters' inner turmoil. (B.)
SNEAKERS--Director Phil Alden Robinson's follow-up to 1989 Best Picture nominee "Field of Dreams" is a sleek techno-thriller that expertly melds espionage, comedy and suspense. Released in 1992, the movie feels eerily prescient in its focus on cybersecurity and surveillance, issues that have only grown more relevant in the intervening decades. Martin Bishop (Robert Redford), a former '60s hacker-turned-security expert, leads a ragtag team of misfits including a blind sound expert (David Strathairn), a conspiracy theorist (Dan Aykroyd), a former CIA operative (Sidney Poitier) and a young hacker (River Phoenix). When they're blackmailed into stealing a mysterious black box that can crack any encryption code, they find themselves entangled in a deadly game involving the government, the Russian mob and an old colleague (Ben Kingsley) with a sinister agenda. What makes the film so entertaining is its smart, witty dialogue and the eclectic cast's nonpareil chemistry. Redford is effortlessly charismatic, and the star-studded ensemble flanking him is equally impressive, each adding individual charm and quirks. A time capsule of early '90s tech anxiety wrapped in stylish heist trappings, it's not just a caper flick but a savvy meditation on trust, secrecy and the power of information with just enough heart to resonate 33 years later. The KL Studio Classics' Blu-Ray includes two separate audio commentary tracks, both with Alden Robinson (co-writers/producers Lawrence Lasker and Walter E. Parkes and cinematography John Lindley join him); a making-of featurette; and the original theatrical trailer. (A.)
THE TROUBLE WITH JESSICA--The titular Jessica in writer/director Matt Winn's pitch-black British comedy is a dinner party guest with the stunningly bad taste to commit suicide during the festivities. Because her cash-strapped hosts, Sarah and Tom (Shirley Henderson and Alan Tudyk), fear that Jessica's untimely demise will negatively impact the impending sale of their property, they coerce best friends Richard and Beth (Rufus Sewell and Olivia Williams) into helping them conceal the "unpleasantness." As the anxious homeowner desperate to maintain appearances and her family's financial security, Henderson brilliantly captures the essence of a woman unraveling under pressure. Primarily unfolding within the confines of Sarah's home, the film maintains a proscenium arch-like quality that helps amplify the tension as the characters' still-upper-lip facades slowly crumble. In balancing gallows humor with genuine dramatic stakes, Winn's scathing indictment of upper-middle-class hypocrisies succeeds as both well-tooled farce and lacerating social satire. (B PLUS.)
UNTIL DAWN--"Lights Out"/"Shazam!" director David F. Sandberg's big-screen adaptation of the same-named 2015 video game follows Clover (Ella Rubin) and friends as they venture into a remote valley searching for her sister Melanie (Maia Mitchell) who disappeared a year earlier. Their amateur sleuthing leads to an abandoned visitor center where they're stalked by a masked killer and, after being gruesomely murdered one by one, find themselves reliving the same night ad nauseam. The time-loop gimmick, with each iteration plunging the characters into multiple horror tropes (slasher, supernatural, etc.), allows Sandberg to pay winking homage to various scary movie subgenres. Although it deviates too far from the original game to satisfy purists, gore hounds will rightfully consider it as an amuse-bouche for next month's "Final Destination: Bloodlines." (C PLUS.)
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.)
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.)
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
