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THE ALTO KNIGHTS--Director Barry ("Bugsy") Levinson and screenwriter Nicholas ("GoodFellas") Pileggi combine their true-crime bonafides for an engrossing biographical recounting of the tumultuous relationship between notorious mid-20th-century New York crime bosses, Frank Costello and Vito Genovese (both played by screen legend Robert De Niro). The film chronicles their circuitous path from goombahs to bitter rivals, climaxing in a power struggle that would eventually reshape the entire power structure of the American Mafia. De Niro brilliantly captures the nuanced differences between the diplomatic Costello and hair trigger Genovese, highlighting the contrasting personalities that would lead to their eventual conflict. Levinson's assured direction and Pileggi's insightful script offer a compelling study of organized crime dynamics. (Debra Messing and Kathrine Narducci as, respectively Costello and Genovese's wives, provide the movie's emotional ballast.) The keen attention to period detail and judicious use of archival footage help enhance the overall verisimilitude, immersing us in the era's grotty atmospherics. More backstory into the roots of Genovese and Costello's friendship might have enhanced the impact of their eventual fallout, but Levinson & Co. still manage to provide a fascinating glimpse into an impactful chapter in mob history. 

(B PLUS.)  

BLACK BAG--Protean director Steven Soderbergh's second 2025 theatrical release (the superb "Presence" precedes it by a mere two months) is a masterfully crafted spy thriller cannily melding espionage with marital intrigue for a sleek and sophisticated divertissement. The seemingly resolute partnership of George and Kathryn (Michael Fassbender and Cate Blanchett), a married couple working for the Secret Intelligence Service (S.I.S.), is severely tested when suspicions of an agency mole emerge, with Kathryn herself falling under microscopic scrutiny. David ("Jurassic Park," "Mission Impossible") Koepp's inventive, multi-layered screenplay propels the story with its brisk pacing and sharp dialogue. A knockout sequence involves George covertly administering a truth serum to guests at a dinner party, leading to a cavalcade of revelations that blur the lines between professional and personal loyalties. The scene exemplifies the film's ability to balance tension with dark humor, keeping viewers on the edge of their seats. Fassbender and Blanchett are at the top of their game here. Fassbender imbues George with a cool, methodical demeanor reminiscent of classic spy archetypes, yet adds layers of vulnerability that help make him sympathetic. Blanchett's mercurial Kathryn exudes an elegant hauteur, brilliantly capturing the essence of a woman navigating the treacherous waters of espionage and marriage. Their combustible on-screen chemistry enhances Koepp's probing exploration of trust and deception. Soderbergh's stylish direction employs his signature digital cinematography to help create a visually crisp aesthetic complementing the modernist trappings. His decision to focus on character-driven storytelling over mindless action sequences allows for a more intimate depiction of his protagonists' psyches, elevating it well beyond standard genre fare. A smart, sizzling addition to the spy genre, it showcases Soderbergh's directorial prowess as well as the nonpareil talents of his two lead actors. (A.)

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.)

THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE--Director Peter Browngardt's delightful return to classic, hand-drawn animation affectionately preserves the legacy of Warner Brothers' beloved Looney Tunes franchise. The elemental plot showcases Daffy Duck and Porky Pig (both superbly voiced by Eric Bauza) who discover an alien plot to take over the Earth via mind-control bubblegum. Their dynamic is hilarious and heartfelt, with the unbreakable bond between duck and pig adding unexpected depth to the slapstick hijinks. The film's strength lies in its ability to blend gut-busting humor with genuine emotion, and the animation becomes increasingly dynamic as the story progresses. It's a must-see for longtime fans and newbies alike thanks to Browngardt's seamless blend of humor, heart and classic OG animation. (B PLUS.)

DEATH OF A UNICORN--An unexpected encounter with a unicorn (yes, a unicorn) on their way to a weekend getaway with a wealthy family leads to a series of gruesome, darkly funny events for Eliot (Paul Rudd) and his teenage daughter Ridley (Jenna Ortega). Rudd and Ortega are both very good delineating a strong family bond amidst the ensuing chaos. Also fine are Richard E. Grant and Will Poulter as the unscrupulous billionaire and his even more craven son. The plot and thematic undertones are vaguely reminiscent of the "Jurassic Park" franchise, especially in its depiction of the hubristic exploitation of mythical creatures. But director Alex Scharfman still manages to serve up a tasty brew of horror and comedy, delivering beaucoup gore and some discomfiting laughs. (B.)

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). 

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.)  

LOCKED--After breaking into a luxury SUV, small-time crook Eddie (Bill Skarasgard) finds himself trapped inside the pricey vehicle. Unbeknownst to him, the vehicle's owner, William (Anthony Hopkins), has rigged it as a high-tech cage to punish intruders, delivering his own brand of twisted justice. Director David Yarovesky's gripping thriller--an English-language remake of 2019 Argentinian movie "4x4"--pits two formidable actors at the top of their game in a tense battle of wits. Hopkins' chilling turn as a moralistic vigilante echoes the sinister charm of his iconic Hannibal Lecter, making William both terrifying and wildly compelling. Skarsgard, last seen emoting under a mountain of prosthetics in "Nosferatu," expertly captures the desperation and vulnerability of a man caught in an escape-proof trap. The confined setting amps up the tension, creating a claustrophobic environment that keeps you on edge for 90 fat-free minutes. Despite the limited physical space, Yarovesky ensures that the narrative never drags by focusing on the psychological duel between his two characters. And Michael Ross' screenplay smartly juggles themes of justice and morality while challenging preconceived notions of "right" and "wrong." (B.)

MICKEY 17--Exploring topical themes of societal exploitation and economic inequality, Bong Joon-ho's long-awaited follow-up to 2019's Oscar-winning "Parasite" serves up a satirical, though-provoking examination of identity in a capitalist dystopia not too far removed from America's current sociopolitical climate. Robert Pattinson plays Mickey Barnes, an "Expendable" assigned to perilous tasks on a colonization mission to the forbidding ice planet Niflheim. Each time Mickey dies, his consciousness is transferred to a new clone, eventually leading to his seventeenth (and final?) iteration. For anyone who hasn't been keeping track of Pattinson's impressive post-"Twilight" career, his dramatic range and razor-sharp comic timing here will be a revelation. Mark Ruffalo, Toni Collette, Naomi Ackie and Steven Yeun all contribute stand-out supporting turns, but Pattinson is the magical elixir that makes this exhilarating melding of genre elements (sci-fi, satire and social commentary) sing. It's another stellar addition to Bong's already formidable oeuvre. (A MINUS.)

THE MONKEY--As children, twin brothers Hal and Bill Shelburn (both played by Christian Convery) discover a sinister wind-up monkey toy that seemingly causes death whenever it plays its cymbals. Years after attempting to rid themselves of the cursed object, the brothers (Theo James does double duty as the adult versions of Hal and Bill) are forced to confront their traumatic past when the monkey reemerges, bringing with it a new wave of gruesome fatalities. Director Osgood Perkins' adaptation of Stephen King's 1980 short story seamlessly blends visceral horror and savage dark comedy to deliver a uniquely unsettling creep-fest. Perkins, known for atmospheric and slow-burning horror flicks like last summer's box-office smash "Longlegs," embraces a more frenetic, gore-laden style this time with a Grand Guignol aesthetic and creatively engineered, blood-soaked setpieces as queasily funny as they are terrifying. James delivers two compelling performances as the twins descend into paranoia and fear, and Tatiana ("Orphan Black") Maslany steals her share of scenes as their mother, adding much-needed emotional weight to the gruesome proceedings. Major props to cinematographer Nico Aguilar for stylishly capturing the macabre proceedings with elegance and grotesque visual flair. (B PLUS.)   

THE MOTHER AND THE WHORE--Despite winning two major awards--the Grand Jury and FIPRESCI (International Federation of Film Critics) prizes--at the 1973 Cannes Film Festival, Jean Eustache's protean masterpiece struggled to find U.S. distribution. Even a warm reception from audiences at the New York Film Festival where it had its North American premiere that fall didn't entice any buyers. Of course, a notoriously clueless New York Times review by stringer Nora Sayre didn't help its commercial prospects. The situation was so dire that the Times actually published an article by James Monaco in December '73 in which he chided the majority of New York critics whose condescending or contemptuous (e.g., Sayre's) reviews seemingly frightened away  prospective distributers. In closing he added despairingly, "I hope you get a chance to see it." Dan Talbot's New Yorker Films ultimately took Monaco's bait and gave "The Mother and the Whore" an early spring release the following year at one of Manhattan's premier arthouses, the Little Carnegie on 57th Street. But the combination of mixed reviews and a three-hour thirty-eight minute run time doomed it commercially. Like so many films that wouldn't achieve "Classic" status until years later (Michael Cimino's "Heaven's Gate" and Elaine May's "Mikey and Nicky" among them), "TM&TW" slipped through a distribution rights limbo and was nearly impossible to see for decades. (I didn't see it until someone thoughtfully posted a copy of New Yorker's original VHS print a few years ago.). Accordingly, the Criterion Collection's release of a new 4K digital restoration of Eustache's cause celebre ranks as the first major film event of 2025. The ultimate statement about disillusioned-by-the-late-'60s young adults who found the Sexual Revolution as abortive as their political forays, it strikes at the gut of personal relationships a la Bernardo Bertolucci's "Last Tango in Paris" while also probing the nub of intellectual rapport previously celebrated in Eric Rohmer talkathons like "My Night at Maud's" with Proust rather than Pascal being the guiding literary muse. There's stark beauty in Eustache's b&w mise-en-scene, the verite-influenced pacing, the unvarnished close-ups and the authenticity of its lived-in locations. The three leads--moon-calf moocher Alexandre (Truffaut and Godard muse Jean-Pierre Leaud); Marie (Bernadette Lafont), a slightly older woman who "keeps" him; and Veronika (Francoise Lebrun in her screen debut), the younger woman who pursues him--are impeccable in their revelation of self. So penetrating is Eustache's recreation of time and place that it remains one of the few films that accurately displayed the social and cultural sensibilities of the '70s. With its myriad monologues, confessions and conversations, language becomes a major character in this veritable "orgy of words." And unlike "Last Tango" which has retroactively been attacked for perceived misogyny, Eustache shows tremendous respect, understanding and love for his female characters. Marie and Veronika truly hold the balance of power in the film, and Alexandre is more puppet than puppetmaster. Eustache would go on to make a mere handful of subsequent works (only one, 1974's gentle coming-of-age movie "My Little Loves," was distributed in the U.S.) before committing suicide in 1981. Among the bonus features on Criterion's Blu Ray are a contemporary interview with Lebrun; a segment from the French TV series "Pour le cinema" with Eustache, Leaud, Lafont and Lebrun; a conversation between director Jean-Pierre Gorin and writer Rachel Kushner about the film's artistic and historical legacy; a featurette about the restoration process; an essay by Lucy Sante; and Eustache's written "introduction" to the film. (A PLUS.)     

NOVOCAINE--When his new girlfriend, Sherry (Amber Midthunder from the excellent 2022 "Predator" prequel, "Prey"), is kidnapped during a bank robbery, Nathan (Jack Quaid) leverages his congenital insensitivity to pain (CIP) to embark on a Hellzapoppin' rescue mission. The high concept premise of Dan Berk and Robert Olsen's future cult flick offers a clever spin on the action movie template, allowing for inventive fight sequences emphasizing Nathan's inability to feel pain. Quaid--most recently seen in January genre-buster "Companion"--balances the physicality required for "John Wick"-ian action setpieces with the emotional range of a man confronting his own mortality. And Midthunder brings immense charm to her role, making Sherry more than just a standard issue damsel in distress. The mix of high-octane thrills and gallows humor doesn't always gel smoothly, however. Some of the comic moments feel a tad forced and character motivations (e.g. Sherry's involvement in the robbery) defy logic, negatively impacting the (slightly overlong at 110 minutes) film's pacing. (B MINUS.)

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.)  

THE PENGUIN LESSONS--Set against the backdrop of 1976 Argentina, director Peter ("The Full Monty") Cattaneo's heartwarming film stars Steve Coogan as Tom, a disillusioned British teacher at a Buenos Aires boarding school who forms an unexpected bond with the penguin he rescued from an oil spill. This unlikely friendship becomes a catalyst for Tom's personal growth amidst the country's ensuing political turmoil. Coogan's performance expertly balances wit and emotional depth, capturing Tom's journey from apathy to a new sense

of purpose. His interactions with the penguin as well as a top-notch supporting cast—including Jonathan Pryce's stern headmaster and Björn Gustafsson, utterly charming as a dorky colleague—provide beaucoup humor and warmth. Skillfully juxtaposing the innocence of the human-animal bond with the harsh realities of Argentina's political unrest, it offers a nuanced portrayal of courage and compassion during turbulent times. (B.)

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