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 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.)

https://youtu.be/ytUz_H-5p2I?si=lxjTJAd75lAbz7mV

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.)  https://youtu.be/SdsHRpjfqEI?si=Hg_PnhZN48sXF_UL

JULIET & ROMEO-- Writer-director Timothy Scott Bogart's genre-bending reimagining of Shakespeare’s classic tragedy places Juliet (Clara Rugaard) at the center of her own story. In this pop musical version set in 1301 Italy, Juliet and Romeo survive the infamous double-suicide and set out to reclaim their future, stepping out of their families' shadow. The soundtrack--an infectious mix of modern pop, alt-rock and theatrical ballads--is one of its strongest elements. While not every number hits equally hard, the music overall adds both energy and momentum. It's also visually striking with the cinematography using vibrant colors and dramatic lighting to reflect Juliet’s inner turmoil and growth. The production design by three-time Oscar winner Dante ("Hugo," "The Aviator") Ferretti merges Renaissance aesthetics with modern fashion and urban settings, creating an immersive world that feels timeless yet still contemporary. Rugaard gives a compelling performance that confidently anchors the film. While less central to this iteration, Jamie Ward's Romeo supplies enough charm to give the star-crossed lovers' shared history dramatic heft without overshadowing Juliet’s narrative arc. While leaning a bit too heavily into Girl Power sloganeering, its heart remains true. (B.) https://youtu.be/HLOfwe_0YsA?si=CN_ILkd4YHuMK4y-

THE MOOGAI--Director Jon Bell's Australian film tackles the psychological ordeal of motherhood and the haunting legacy of that country's colonial trauma. After giving birth, Sarah (Shari Sebbens), an Aboriginal woman, becomes convinced that a malevolent spirit--the Moogai--is attempting to steal her child. As Sarah's fears intensify, the line between supernatural terror and psychological trauma becomes increasingly blurred. What sets this apart from run-of-the-mill scary movies is its thoughtful exploration of intergenerational trauma within Indigenous communities. By skillfully blending traditional horror elements with social commentary, Bell's film is both provocative and (frequently) terrifying. (B.)  https://youtu.be/dICInqeO8a0?si=OV4IKCQg6fbp-M7_

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.)

https://youtu.be/M7LhGytiHFM?si=w1b_se_ANPqOTet4

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.) 

https://youtu.be/S80Jz_ob8-U?si=UUe-VfdSCNAbvHPx

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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.)

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.)

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.) 

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.)

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