NEW THIS WEEK MAY 2, 2025 (IN THEATERS AND ON HOME VIDEO)
BONJOUR TRISTESSE--First-time director Durga Chew-Bose's mesmerizing reinterpretation of Françoise Sagan’s novel (previously adapted by the legendary Otto Preminger in 1958) blends quiet melancholy with a vivid, contemporary sensibility. True to Sagan's literary voice—poetic, introspective and richly textured—it leans more into atmosphere than plot mechanics, creating a cinematic mood piece that explores adolescence, longing and emotional detachment with delicate precision. Set against the sun-drenched backdrop of the French Riviera, it follows 17-year-old Cécile (played with disarming complexity by a breathtakingly poised Lily McInerny) as she navigates the sensual freedoms of summer with her charming, hedonistic father, Raymond (Claes Bang), and the emotional upheaval brought by the arrival of Anne (Chloe Sevigny), a poised, principled woman who threatens
their carefree lifestyle. The film positively luxuriates in Cecile's drifting thoughts, using voiceover, lingering close-ups and fragmented memories to evoke a feeling of being suspended between innocence and cynicism. The cinematography—lush, sun-drenched, yet tinged with a quiet sadness--mirrors the emotional undercurrents of the story. Chew-Bose's confident, literary direction favors silence over exposition. At times, it almost feels like a visual essay: reflective, elegant and emotionally resonant. A meditation on youth, freedom and the subtle cruelties of carelessness, it's the kind of movie that doesn't shout for our attention but whispers its truths, inviting us to sit with its beauty and palpable ache. (A.) https://youtu.be/jKYEyYcraDY?si=Yw0LusQaQse4BiDZ
ELECTRA--Hala Matar’s genre-blurring surrealist thriller reimagines the Greek myth through a stylish contemporary lens. Set in the Italian countryside, it follows Dylan (Daryl Wein) and Lucy (Abigail Cowen), who pose as a journalist and photographer to infiltrate the lavish estate of fading rock star Milo (Jack Farthing) and his enigmatic partner Francesca ("Borat Subsequent Moviefilm" Oscar nominee Maria Bakalova). Their goal: to steal a valuable painting—an act that quickly spirals into a tangled web of deceit and unexpected violence. Matar, the first Bahraini woman to direct a feature film, delivers a confident debut that leans into visual flair and genre subversion. The film’s satirical edge skewers celebrity culture and artistic pretension, with Milo portrayed as a self-absorbed, Jack Sparrow-esque jerk and Francesca as a performance artist teetering between sincerity and self-parody. Their interactions with the imposters are laced with tension and absurdity, culminating in a twisty finale that’s both poetic and unsettling. (B.) https://youtu.be/Nsc1m4Gbkx8?si=AHH9zbIMkA_HJ8_u
POSSE--The second and final film Kirk Douglas directed and starred in (1973's "Scalawag" preceded it by two years) is a revisionist Western that tweaks standard-issue genre tropes by focusing on political ambition and moral corruption rather than straightforward heroics. Douglas plays Marshal Howard Nightingale, a lawman with his sights set on a Senate seat, who pursues notorious outlaw Jack Strawhorn (Bruce Dern) to help boost his public profile. Douglas cleverly flips expectations, though, by showing that Nightingale isn't the noble hero he pretends to be while Strawhorn is a more honorable man. Douglas' strong performance exudes charisma and authority, but Dern steals the movie with his sly, calculating turn. Their dynamic provides the most compelling moments with Strawhorn continually exposing Nightingale’s hypocrisy. The critique of power and the media’s role in shaping political fortunes makes it feel especially relevant in the Trump era. With handsome cinematography and well-staged action sequences, the Western landscapes serve as both a backdrop for the chase and a metaphor for the moral wilderness the characters navigate.While the hard-boiled cynicism might not appeal to OG Western aficionados, Douglas' oater stands out for its willingness to challenge cliches. As both director and star, Douglas delivers a thought-provoking deconstruction of the Western mythos making his film a unique entry in the genre. It’s a sharp, underrated sleeper primed for rediscovery (or discovery) by both critics and audiences. Historian Steve Mitchell's audio commentary track and the original theatrical trailer are the sole extras on KL Studio's new Blu-Ray. (B PLUS.) https://youtu.be/JiQAHN3ZD50?si=Y0KR4LfBPoRlWPXS
ROSARIO--Felipe Vargas’s debut horror flick delivers a tightly wound, atmospheric thriller that blends supernatural dread with ethnological introspection. During a snowstorm, Wall Street professional Rosario "Rose" Fuentes (Emeraude Toubia) returns to her late grandmother's decaying Brooklyn apartment to settle affairs. What begins as a reluctant overnight vigil with her grandmother’s corpse spirals into a nightmarish descent into occult secrets and ancestral curses. The movie excels in its claustrophobic setting, using confined space to heighten tension and unease. While Vargas relies a little too heavily on familiar genre tropes, the exploration of generational trauma and cultural identity helps distinguish it from the pack. (B MINUS.)
THE SURFER--Set on the rugged Australian coast, Irish director Lorcan Finnegan's sun-drenched psychological thriller showcases Nicolas Cage in a role seemingly tailor-made for his intense kamikaze style. An unnamed man (Cage) returns to his childhood beach with his teenage son (Finn Little) only to be confronted by territorial locals led by the charismatic Scally (Julian McMahon). Their mantra—“Don’t live here, don’t surf here”—ignites a descent into paranoia, obsession and a visceral examination of toxic masculinity. Cage's performance oscillates between manic and melancholic, embodying a man unraveling under the weight of rejection and personal failure. And McMahon provides a neat counterbalance, exuding a menacing allure that helps anchor the tension. Radosław Ładczuk's striking cinematography captures the stark beauty of the coastline, juxtaposing serene landscapes with the protagonist's inner turmoil while François Tétaz's score helps amplify the unsettling atmosphere. Finnegan's audacious filmmaking and Cage's typically riveting performance make this a stellar addition to the Oscar-winning actor's eclectic resume. (B.) https://youtu.be/KBLSsR3eiaY?si=DKk8ajg4jh1I-se1
SWEPT AWAY--Although Lina Wertmuller's "Love and Anarchy" and "The Seduction of Mimi" were modest hits in American arthouses, it was this bold, provocative 1975 film which straddles the line between political satire and intense personal drama that helped cement her reputation. Set against the stunning backdrop of the Mediterranean, it follows a wealthy, arrogant woman, Raffaella (Mariangela Melato), and communist deckhand, Gennarino (Giancarlo Giannini), who become stranded on a deserted island after their yacht trip goes awry. What begins as a sharp critique of class divisions quickly devolves into a brutal power reversal as Gennarino seizes control in the isolated environment. Wertmüller uses the island setting as a microcosm to explore themes of dominance, ideology and the fragile nature of social structures. The dynamic between the leads is volatile and deeply unsettling, both fascinating and repellent in equal measure. Melato and Giannini deliver powerhouse performances with Melato's transformation from haughty bourgeoise to humbled castaway particularly compelling. The tonal shifts from dark comedy to psychosexual drama can be a little jarring, but they serve to underscore its political and emotional intensity. Wertmüller’s fearless direction is unafraid to confront discomfort and contradiction, challenging audiences to question power, desire and the fluidity of human behavior when stripped of societal norms. It’s not an easy watch—the portrayal of gender and violence was, and remains, controversial—but it’s undeniably compelling and thought-provoking. Love it or hate it, this is a confrontational, daring work that refuses to be ignored or forgotten. RARO's new box set includes both 4K and Blu Ray copies of the film as well as two separate audio commentary tracks by, respectively, historian Samm Deighan and filmmaker Valerie Ruiz, director of the Wertmuller documentary, "Behind the White Glasses," and an interview with Wertmuller fangirl, director Amy ("Fast Times at Ridgemont High," "Clueless") Heckerling. (A.)
THINGS TO DO IN DENVER WHEN YOU'RE DEAD-- (1995) Director Gary Fleder's 1995 neo-noir crime drama stood out from the Sundance-spawned pack of of Tarantino imitators for its offbeat characters and misanthropic worldview. Andy Garcia stars as "Jimmy "The Saint" Tosnia, a reformed gangster pulled back into the criminal underworld for one last job. Among the film’s most memorable qualities is its stylized dialogue, filled with unique slang and arcane musings on life, death and redemption. Christopher Walken's scene-stealing supporting turn as a paraplegic mob boss ("The Man with the Plan") adds sinister gravitas, while Garcia gives the film its tragic, romantic edge. Though often compared to "Pulp Fiction," Fleder carves out his own identity with a melancholic tone and focus on the inevitability of fate. Although it didn't achieve mainstream success at the time, it's since picked up a deserved cult following. While some critics at the time complained that it was overly derivative, others (myself included) praised its ambition and memorable performances. If you enjoy stylish crime dramas with a philosophical bent, this is definitely worth seeking out. The KL Studio Classics' Blu-Ray has a veritable smorgasbord of extras including two audio commentary tracks (one with Fleder and screenwriter Scott Rosenberg, and the other supplied by filmmaker/historian Daniel Kremer); four standalone interviews with Fleder, Garcia, Rosenberg and production designer Nelson Coates; a making-of featurette; and the theatrical trailer.
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.) https://youtu.be/-sAOWhvheK8?si=wN103d-TCGoAzJii
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.)
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.)
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.)
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.)
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.)
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.)
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.)
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.)
---Milan Paurich
