NEW THIS WEEK (5/23) IN THEATERS AND ON HOME VIDEO
FRIENDSHIP--In director Andrew DeYoung's darkly funny exploration of male loneliness and social awkwardness, Craig (Tim Robinson from Netflix's "I Think You Should Leave") is a socially inept suburban dad whose life spirals into chaos when he becomes obsessed with his charismatic new neighbor (Paul Rudd). What begins as a budding friendship quickly devolves into a cringe-inducing tale of desperation and emotional unraveling. The film unfolds like a series of interconnected sketches, each amplifying Craig's escalating neediness and lack of self-awareness. Rudd's performance as the effortlessly cool neighbor provides a perfect foil, his charm highlighting Craig's awkwardness and intensifying the comic tension. Their dynamic captures the absurdity of adult male friendships where emotional repression and social ineptitude often leads to disastrous consequences. Balancing humor with genuine pathos, it offers a nuanced portrayal of a man grappling with his own insecurities and the complexities of human connection. (B PLUS.)
KINGPIN--Peter and Bobby Farrelly's follow-up to their 1994 sleeper smash "Dumb and Dumber" is a raucous sports comedy that shrewdly blends their trademark crude humor with unexpected heart. Woody Harrelson plays Roy Munson, a former bowling prodigy whose career was cut tragically short—literally—after a hustling scam went wrong, leaving him with a hook for a hand and a serious drinking problem. Years later, Roy sees a chance at redemption in a naive Amish bowler with savant-like talent (Randy Quaid's Ishmael). Their road trip to a big tournament in Reno is filled with madcap misadventures, sleazy motels and predictably wild encounters. As the washed-up pro bowler, Harrelson's hilarious deadpan performances balances cynicism with flashes of genuine emotion, and Quaid's wide-eyed innocent is the perfect comic foil. Stealing every scene, though, is Bill Murray as Ernie McCracken, Roy's sleazy, egotistical bowling rival. (Ernie's gloriously awful coiffure may be the single funniest thing in the entire movie.) While leaning heavily into the memorably outrageous gross-out gags and politically incorrect humor that are the Farrelly Brothers' sine qua non (and which would reach its apotheosis two years later in "There's Something About Mary"), it also sneaks in some surprisingly sweet moments and underdog sentiment. Though a box-office disappointment in the summer of 1996, the film has since gained a deserved cult following for its surreal charm, eminently quotable dialogue and memorable characters. It's a gleefully unrefined comedy that throws gutter balls and strikes in equal measure, yet still manages to work, sometimes brilliantly. KL Studio Classics' Blu-Ray includes the 1996 theatrical print as well as an extended directors' cut, both replete with separate audio commentary tracks featuring, respectively, the Farrellys and journalist/authors Max Evry and Bryan Reesman. There's also a featurette, "Extra Frames with the Farrelly Brothers," as well as TV spots and theatrical/ teaser trailers. (A.) https://youtu.be/XomVcCptGbQ?si=EVYGlfruYJadWT_z
THE LAST RODEO--Determined to secure funds for his grandson's expensive medical treatment, retired rodeo legend Joe Wainwright (Neal McDonough) re-enters the arena, confronting past traumas and mending strained relationships in the process. Director Jon ("Fried Green Tomatoes," "Up Close & Personal") Avnet's sudsy melodrama clumsily juggles themes of redemption, familial bonds, faith and the enduring spirit of the American West. The movie's authentic depiction of the rodeo world is its principal strength, effortlessly capturing the sport's raw energy and immersing us in the high-stakes environment of competitive bull-riding. McDonough does wonders with a cliched role, and Mykelti Williamson and Christopher McDonald contribute their usual pro jobs in support. For the record, Jake Allyn's 2024 film "Ride" had an almost identical plot. In that version, C. Thomas Howell played a retired bull rider who resorts to crime in order to pay for his daughter's experimental cancer treatment. While no great shakes, it's still a better movie. (C MINUS.)
LILO AND STITCH--"Marcel the Shell With Shoes On" director Dean Fleischer Camp reimagines Disney's 2002 animated classic as a live-action/CGI hybrid. Set against lush Hawaiian backdrops, it follows young Lilo (Maia Kealoha), a spirited tween still grieving the loss of her parents, and her older sister Nani (Sydney Agudong) who struggles mightily to keep it together. Their lives take an unexpected turn when Lilo adopts Stitch (voiced by Chris Sanders), a genetically engineered alien fugitive posing as a dog. As Stitch's Hellzapoppin' shenanigans disrupt their lives, the trio embarks on a journey emphasizing themes of family, acceptance and belonging. Fleischer Camp wisely stays true to the heart of the original 'toon, emphasizing the bond between Lilo and Stitch while exploring deeper emotional layers in the sisters' relationship. The Hawaiian locations are gorgeously lensed and state of the art CGI magically brings the irrepressible Stitch to life. Its poignant message of 'ohana' (family) should happily resonate with fans of the original and newbies alike. (B.)
MISSION IMPOSSIBLE: FINAL RECKONING--In his fourth "M:I" outing, director Christopher McQuarrie delivers a gripping, emotionally resonant finale to one of Hollywood's most enduring franchises. Tom Cruise (who else?) returns as IMF agent Ethan Hunt in what is described as his "most personal and high-stakes mission yet." The movie picks up immediately after the events of "Dead Reckoning: Part One" (2023) with the sinister A.I. known as “The Entity” gaining near-omnipotent super powers and threatening the very concept of "truth" in the modern world. Ethan and his team—Benji (Simon Pegg), Luther (Ving Rhames), and Grace (Hayley Atwell)—must track down the final piece of the puzzle that can permanently shut down the Entity before it falls into the wrong hands. Meanwhile, Gabriel (Esai Morales), a ghost from Ethan’s past and a devoted servant of the Entity, is always one step ahead, exploiting Ethan's vulnerabilities. The rococo plot travels across multiple continents with standout sequences in Norway, South Africa and a gangbusters showdown in a remote desert facility where the "Final Reckoning" unfolds. What elevates this from previous "M:I" entries is not just the signature high-octane action setpieces—like a gravity-defying biplane chase and a thrilling underwater infiltration—but its surprising emotional depth. The film digs into Ethan’s guilt, sacrifice and the toll his unwavering loyalty has taken professionally and personally, and Atwell's journey from reluctant thief to trusted ally brings additional gravitas. To his credit, McQuarrie keeps the narrative tight and streamlined despite its massive scale and nearly three-hour run time. A love letter to loyalty, trust, and the cost of duty, it's an action-packed farewell that reminds us why Ethan Hunt (and the star who played him in eight "M:I" movies) became a cinematic legend. (A MINUS.)
THE THREE MUSKETEERS/THE FOUR MUSKETEERS--Richard ("A Hard Day's Night") Lester’s 1973 and 1974 masterworks comprise a sprawling, exuberant adaptation of Alexandre Dumas’ classic novel. Originally conceived as a single film, the project was famously split into two parts during production which allowed for a more detailed, expansive retelling. Taken as a whole, Lester's diptych is a unique blend of swashbuckling adventure, slapstick comedy and unexpected political undercurrents that both honors and subverts the traditional period epic. Lester brings his distinctly irreverent tone to Dumas’ saga. Rather than portraying the musketeers as flawless paragons of nobility, he renders them as fallible, often buffoonish figures operating in a world teetering on the edge of absurdity. Michael York’s D’Artagnan is equal parts earnest and naïve, providing a useful counterbalance to the seasoned but flawed trio of Athos (Oliver Reed), Porthos (Frank Finlay), and Aramis (Richard Chamberlain). Their camaraderie feels natural and is frequently laugh-out-loud funny with constant bickering and improvisational heroics that's a lot closer to Monty Python than Errol Flynn. "Three" sets the tone with its energetic pacing and visual inventiveness. Lester’s penchant for sight gags, anachronistic flourishes and chaotic crowd scenes makes for a brisk, offbeat romp. He eschews the polished grandeur of typical period flicks in favor of muddy streets, drunken sword fights and bungled rescues. The movie positively crackles with the feeling of a world where everyone—courtiers, soldiers, peasants—is in over their heads. In "Four," however, the previously bouyant tone darkens considerably. The consequences of the characters’ actions come to bear, and the story plunges into betrayal, revenge and sacrifice. Faye Dunaway’s Milady de Winter emerges as a tragic, menacing force, and her character arc provides the emotional core of the second chapter. The battle sequences are grimmer, too, as Lester begins probing the cost of loyalty and political intrigue. While still laced with humor, the sequel tempers its levity with pathos, illuminating Lester’s jaundiced view of heroism. A nonpareil supporting cast elevates both films. Charlton Heston delivers a restrained, icy Cardinal Richelieu, a schemer less flamboyant but more politically dangerous than previous interpretations. As Constance, Raquel Welch brings charm and a previously untapped flair for physical comedy to her role, and Christopher Lee's ruthless Rochefort provides an imposing foil without veering into a Snidley Whiplash caricature. Visually sumptuous yet grounded, David ("The Devils," "Out of Africa") Watkin’s supremely tactile cinematography avoids excessive gloss in favor of natural light and immersive mise-en-scène. The sword fights, choreographed with a sense of clumsiness and realism, subvert traditional dueling glamour, reinforcing the idea that violence is a messy and dangerous business. Lester's "Musketeers" movies are not mere costume dramas but satirical, politically tinged adventures that meld old-fashioned thrills with a sly, topical critique. While the "Petulia"/"Robin and Marian" auteur's typically irreverent style may not suit purists, his vision of Dumas’ tale—chaotic, comic and occasionally heart-breaking—remains the most distinctive and enduring screen translation of the classic saga. The newly issued Criterion Collection Blu-Ray box set includes 4K digital restorations of both films; critic David Cairrns' new documentary, "Two for One;" a 1973 featurette ("The Making of 'The Three Musketeers'") with behind-the-scenes footage; the two-part 2002 documentary, "The Saga of the Musketeers," featuring interviews with cast and crew members; and an essay by Time Magazine critic Stephanie Zacharek. (A PLUS.) https://youtu.be/zJZoDf5Lz-Q?si=G0zGrutk8TLannHT
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.)
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.)
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.)
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.)
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.)
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.)
---Milan Paurich
