NEW THIS WEEK MAY 16, 2025 (IN THEATERS AND ON HOME VIDEO)
THE AMOROUS ADVENTURES OF MOLL FLANDERS--Director Terence ("From Russia With Love," Wait Until Dark") Young's robustly entertaining adaptation of Daniel ("Robinson Crusoe") Defoe’s classic 18th-century novel stars Kim Novak as the titular Ms. Flanders, a cunning and ambitious woman determined to rise above her humble upbringing by any means necessary (including seduction and marriage). Novak brings her OG movie star luster to the role, making Moll both sympathetic and flagrantly manipulative. Taking his stylistic cues from Tony Richardson's Oscar-winning "Tom Jones," Young leans heavily into comedy and romantic escapades, steering clear of the darker tones of Defoe’s original tale. Instead of a harsh critique of social norms and gender inequity, it's a frothy, swashbuckling romp through 18th-century England. George Sanders, Angela Lansbury, Leo McKern, Vittorio de Sica and Richard Johnson lend strong support as dupes who fall prey to Moll’s chaotic, opportunistic schemes. The lavish costumes, rich color palette and opulent sets give the film a fairy tale-like quality. John Barry’s score adds to the light, whimsical tone complementing Young's focus on adventure and romance over realism or morality. While more concerned with charm than critique--and lacking the narrative heft and psychological complexity of the novel--it's an enjoyable ride through the antics of one of literature’s most infamous heroines. Included on the KL Studio Classics' Blu Ray are an audio commentary with historians Daniel Kremer and David Del Valle and the original theatrical trailer. (B PLUS.)
https://youtu.be/IdVnw1IP3QI?si=XsW_iqG6JXprn9Jo
SISTER MIDNIGHT--Karan Kandhari’s bold filmmaking debut takes a deep dive into the psychological landscape of a woman trapped in an oppressive marriage. Set in a surreal version of contemporary Mumbai, it tells the story of newlywed Uma (Radhika Apte) whose life begins to unravel as she navigates a loveless, suffocating relationship with her husband Gopal (Ashtok Pathak). What begins as a bleak domestic drama morphs into a hallucinatory nightmare as Uma's sense of reality fragments and transforms. Kandhari's blending of black comedy, horror and social satire is confident and stylized, using vibrant visuals and disorienting edits to reflect Uma’s spiraling mental state. Kandhari's nonlinear, frequently surreal storytelling invites us into a disjointed but emotionally resonant world. The heart of the movie is Apte’s extraordinary performance which imbues Uma with a quiet intensity that captures both her vulnerability and growing empowerment. As the story progresses, Uma transforms from a passive figure to a symbol of resistance against patriarchal constraints. It's a visually striking, thematically rich work that marks a compelling addition to modern Indian cinema by offering a unique and provocative take on female agency and psychological liberation. (B PLUS.)
CLOWN IN A CORNFIELD--Adapted from Adam Cesare’s cult novel, "Tucker and Dale vs. Evil" director Eli Craig's latest horror movie follows teenager Quinn (Madison Reyes) and her friends as they face off against Frendo the Clown, a nightmarish figure stalking their small town’s cornfields. Craig updates the "Killer Clown" template with surprising wit, making it seem both fresh and weirdly nostalgic. After a tense first act that neatly builds atmosphere, the relentless pacing kicks into high gear with some creative, gruesome and wickedly funny kills. Reyes' Quinn is a vulnerable yet fiercely resilient Final Girl, and the supporting cast mostly avoids falling into tired stereotypes, giving the bloodbath an unexpected emotional frisson. Craig uses practical effects and minimal CGI to impressive effect, making Frendo’s appearances genuinely frightening. Some third act plot twists feel a tad rushed, but it sticks the landing with an audience-pleasing finale. (B.)
FINAL DESTINATION: BLOODLINES--A chilling and surprisingly effective continuation of the iconic horror franchise that delivers exactly what fans crave: creative deaths, suspenseful pacing and an eerie sense of inevitability. The film taps back into the core concept of death's design with a fresh cast and updated visuals while staying true to the time-tested formula in which a character has a premonition of a catastrophic event and saves a group of people who then begin dying in gruesome, Rube Goldberg-style fashion. What sets this entry apart from its predecessors is an attempt to delve into the psychological toll of cheating death. The characters are a bit more fleshed out, and "Bloodlines" tries exploring the idea of fate versus free will with more thematic weight. The kills are inventive and suspenseful, making good use of misdirection and tension until the inevitable moment when things go horribly wrong. Directors Adam Stein and Zach Lipovsky successfully revive the series' original ethos by serving up a tasty mix of early aughts nostalgia and CGI slickness. They clearly know their target audience and lean into what "Final Destination" has always done best—turning quotidian life into an anxiety-inducing nightmare. (B.) https://youtu.be/UWMzKXsY9A4?si=B_V9ZvgkG3r5EObi
HURRY UP TOMORROW--Visionary "Waves"/"It Comes at Night" director Trey Edward Shults' ambitious, genre-blurring psychological thriller follows a fictionalized version of Abel "The Weekend" Tesfaye, an insomniac pop star spiraling into a surreal odyssey after meeting the mysterious Anima (Jenna Ortega). As much of a sensory experience as a narrative one, cinematographer Chayse Irvin's visuals (shot on 35mm, 16mm and Super 8) are hypnotic and intentionally disorienting, mirroring the lead character's fractured psyche. Daniel Lopatin’s haunting score, which includes Tesfaye’s own music from his companion album, deepens the immersive atmosphere. Ortega's Anima--both muse and mirror to Tesfaye's unraveling mind--adds psychological dimension to the film's exploration of fame, identity and the toll of artistic obsession. As Tesfaye's increasingly concerned manager, Barry ("Saltburn," "The Banshees of Inisherin") Keoghan provides a grounded counterpoint, highlighting the real world consequences of his client's descent into madness. While the abstract narrative and deliberate pacing may prove daunting to normies, Shults' boldness in blending psychological horror with musical elements makes it a one-of-a-kind cinematic experience. (B PLUS.) https://youtu.be/NsIOX5dQrbY?si=thkKV9KkB-J1-41B
PERFORMANCE--Co-directors Donald Cammell and Nicolas Roeg's psychedelic fever dream unsettles as much as it mesmerizes, blending gangster noir, identity crisis and surreal experimentation into one of the most iconic British films of the 70's. Shot in 1968 but withheld for two years by Warner Brothers due to its outré content, this remains a landmark in transgressive cinema. (Not surprisingly, it received an "X" rating from the blue-nosedMPAA.) The story follows Chas Devlin (James Fox), a brutal and sadistic London gangster on the run after killing a fellow mobster. Seeking refuge, he hides out in the decaying Notting Hill mansion of reclusive rock star Turner (Mick Jagger in his acting debut). What begins as a tense psychological standoff between the two men slowly mutates into a hallucinatory breakdown of identity, sexuality and reality itself. Fox delivers a stunning performance, embodying Chas' cold, controlled aggression that slowly unravels under the pressure of Turner's bohemian influence. Jagger is both magnetic and unsettling—part Svengali, part victim of his own mythos. Distaff costars Anita Pallenberg and Michèle Breton amplify the hypnotic atmosphere by blurring the line between acting and lived experience. Cammell and Roeg use the visual language of film (jump cuts, dissolves, abrupt tonal shifts) as a means of exploring themes of duality and transformation. Time folds in on itself, and we're never allowed a comfortable sense of narrative footing. These techniques, disorienting by design, mirror the characters’ psychological disintegration and the breakdown of established identities: masculine vs. feminine, violence vs. art, control vs. surrender. The soundtrack is equally essential to its visceral impact. Featuring contributions from Ry Cooder and Jagger himself (notably the haunting “Memo from Turner”), the music reinforces the woozy, destabilized vibe. It’s less a score than a sonic hallucination, fusing blues, rock and avant-garde textures into a swirling sonic background. "Performance" was both ahead of its time and a product of its moment, steeped in the countercultural experimentation of the late ’60s yet disturbingly prescient in its depiction of fractured identity and the commodification of rebellion. It scandalized critics upon release with its graphic violence, open drug use and gender ambiguity, but has since earned a deserved reputation as a cult classic. Ultimately, it's less a traditional crime drama than an existential spiral: an acid-tinged meditation on the masks we wear and the consequences of removing them. Roeg and Cammell's masterpiece demands active engagement, rewarding viewers willing to let go of logic and immerse themselves in its intoxicating weirdness. Daring, disorienting, and uncompromising, this isn't a movie you watch, it’s one that you experience. The Criterion Collection 4-K Blu-Ray includes Kevin Macdonald and Chris Rodley's 1998 documentary "Donald Cammell: The Ultimate Performance;" the 2007 making-of doc "Influence and Controversy: Making 'Performance;'" a new visual essay with dialogue coach/technical adviser David Livintoff; standalone interviews with cast members; a featurette on the over-dubbing done for the U.S. release version; film scholar Peter Wollen's 1995 article ("Danydism, Decadence and Death in 'Performance'"); and an essay ("Cavorting With the Void") by critic Ryan Gilbey. (A.)
VULCANIZADORA--Indie auteur Joel Potrykus' latest no-budgeter is a darkly comic, emotionally raw meditation on male friendship, guilt and the failure to grow up. Reuniting with Joshua Burge, Potrykus revisits the characters of Marty and Derek from 2014's "Buzzard," now a decade older but not appreciably wiser on a camping trip in the Michigan woods. Their journey begins with juvenile antics—bottle rockets, metal music and buried porn magazines—but gradually reveals a more disturbing purpose. Marty (Potrykus), recently out of prison for arson, is haunted and nearly mute while Derek (Burge) masks his own failures with manic energy and denial. Their dynamic is bleakly funny and deeply sad, illustrating how toxic male bonding can become a form of mutual sabotage. The title (Spanish for “tire repair shop”) serves as a metaphor for the characters’ attempts to patch over their emotional wounds. Blending absurdist humor with existential dread, this is a powerful exploration of arrested development and the unbearable weight of regret. (B PLUS.)
NOW AVAILABLE IN THEATERS, ON HOME VIDEO AND/OR STREAMING CHANNELS:
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.)
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.)
CLOWN IN A CORNFIELD--Adapted from Adam Cesare’s cult novel, director Eli ("Tucker and Dale vs. Evil") Craig's latest horror movie follows teenager Quinn (Madison Reyes) and her friends as they face off against Frendo the Clown, a nightmarish figure stalking their small town’s cornfields. Craig balances the slasher template with surprising wit, updating the “killer clown” template for a bloody good time that manages to feel both fresh and weirdly nostalgic. After a tense first act that neatly builds atmosphere, the relentless pacing kicks into high gear with some creative, gruesome and wickedly funny kills. Reyes' Quinn is a vulnerable yet fiercely resilient Final Girl, and the supporting cast mostly avoids falling into tired stereotypes, giving the boodbath an unexpected emotional frisson. Craig uses practical effects and minimal CGI to impressive effect, making Frendo’s appearances genuinely frightening. Some third act plot twists feel a tad rushed, but it sticks the landing with an audience-pleasing finale. (B.)
FIGHT OR FLIGHT--A brutishly entertaining action comedy that embraces its B-movie origins with unapologetic gusto, director James Madigan's feature debut stars Josh Hartnett as disgraced former secret service agent Lucas Reyes who's tasked with apprehending a mysterious figure known as "The Ghost" aboard a transcontinental flight. The mission spirals into chaos when it's revealed that the plane is teeming with assassins aiming to eliminate both Reyes and his target. The kinetic energy and over-the-top action merits favorable comparison with the John Wick franchise and 2024 Bollywood sensation "Kill." Continuing the career revival he began last year with M. Night Shyamalan's "Trap," Hartnett makes Reyes both a formidable action hero and a curiously endearing protagonist. Madigan's commitment to his ludicrous premise--complete with mid-air chainsaw battles!--adds to its charm for anyone seeking adrenaline-fueled escapism that prioritizes style over substance. (B.)
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.)
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.)
SHADOW FORCE--Retired covert special forces ops Kyrah and Isaac (Kerry Washington and Omar Sy) go rogue to rescue their young son (Ky Sarr) from a vengeful former employer (Mark Strong). Washington and Sy's chemistry adds much-needed emotional layering to a generic plot, and director Joe ("Narc," "Smokin' Aces") Carnahan's well-tooled action setpieces should leave genre fans happily sated. (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.)
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.)
THUNDERBOLTS--The latest entry in the M.C.U. is an uncharacteristically gritty, character-driven take on the superhero genre, shaking up the usual formula with a team of antiheroes forced to work together under government oversight. Directed by Jake Schreier, it unites a motley crew including Yelena Belova (Florence Pugh), Bucky Barnes (Sebastian Stan), Red Guardian (David Harbour), and John Walker (Wyatt Russell), each bringing their own baggage and moral ambiguity. The movie's principal strength lies in its ensemble dynamic. Pugh once again shines as Yelena, balancing dry wit with emotional depth while Stan’s Bucky offers a weathered, reluctant leadership that helps give it a grounded heart. The group’s dysfunction is both the source of its tension and considerable charm with dark comedy and raw conflict pushing the narrative forward. Tonally it feels a lot closer to D.C.'s "Suicide Squad" than your typical Marvel Film Corp. fare: gritty, morally complex and refreshingly low on world-ending stakes. The action is slick and brutal, but the emotional beats hit just as hard, exploring themes of redemption, control and identity. It does, however, bog down a bit in the second half, and the Big Bad feels underdeveloped (a typical M.C.U. flaw). While "Thunderbolts" doesn't exactly reinvent the wheel--at times it feels like the pilot for a new Disney+ series--this refreshing departure for Marvel leans into the messier side of heroism with surprising nuance. (B.)
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.)
---Milan Paurich
