NEW THIS WEEK (7/4) IN THEATERS, VOD AND/OR ON HOME VIDEO
EEPHUS--Carson Lund's feature directorial debut shares many of the virtues of the films he's shot for Taylor Taormina, including last year's wonderful "Christmas Eve at Miller's Point." Like Taormina's baubles of joy, it's a great hang-out movie where narrative takes a back seat to the overall "vibe." Populated with characters you actually enjoy spending time with, they're the indie film equivalent of comfort food. Lund's heartfelt ode to baseball and the communities it fosters is set in a small Massachusetts town in the 1990's and chronicles the final game between two softball teams, Adler's Paint and the Riverdogs, before their cherished field faces demolition. Taking place over the course of the game, it captures the camaraderie, rivalries and shared histories of the teams' players. The filmmaking mirrors the leisurely rhythm of baseball itself with Lund's relaxed pacing transforming quotidian moments into profound reflections on community and change. The ensemble cast--nobody you've ever heard of, but they're all wonderful--delivers nuanced, lived-in performances that embody the diverse personalities that populate amateur leagues. (Former Red Sox pitcher Bill "Spaceman" Lee plays a small role, adding authenticity and a soupcon of Bean Town nostalgia.) More than just a "sports movie," it's about reaching a time in your life when it feels like it's getting late earlier and earlier. A soulful meditation on the passage of time and the inevitable changes that come with it, "Eephus" will resonate with anyone who has experienced the melancholy
end of an era. The Music Box DVD includes two commentary tracks: one with Lund, co-writer/producer Mike Basta and cinematographer Greg Tango, and the other with Adler's Paint and Riverdogs actors; a behind-the-scenes featurette; deleted scenes and a blooper reel; an interview with Bill Lee; storyboards/image galleries; and "Inside Baseball," an essay by critic Caden Mark Gardner. (A.)
40 ACRES--Set in a near-future version of Canada ravaged by ecological collapse, famine and chaos, first-time director R.T. Thorne's tense, emotionally resonant dystopian survival thriller is rooted in generational trauma. Descendants of Black settlers, the Freeman family has spent generations farming the land promised to them as reparations. Hardened mother and former military medic Hailey (a commanding Danielle Deadwyler) fiercely protects her family's way of life. As Galen, Hailey's Cree husband and the Freeman's moral fulcrum, Michael Greyeyes brings quiet strength and dignity to the film. Their teenage son, Emmanuel (Kataem O'Connor), is torn between the harsh code of survival and the lure of a more compassionate worldview. The arrival of a mysterious young woman (Milcania Diaz-Rojas' Dawn) triggers a slow unraveling of the family's fragile order just as a group of violent marauders threatens their isolated homestead. Thorne makes poetic use of misty, wide-open landscapes and intimate interiors to evoke both beauty and dread. While rooted in the historical promise of “40 acres and a mule,” the movie feels both timely and urgent, raising questions about legacy, identity and survival.
GHOST TRAIL--After having survived years in Syria's infamous Sednaya prison, former literature professor Hamid (Adam Bessa) lives in exile where he's part of an underground network tracking down fugitive war criminals. When he begins to suspect that a chemistry student (Tawfeek Barhom) at the local university is actually the man who tortured him, Hamid embarks on an obsessive surveillance mission. The palpable tension that director Jonathan Millet creates isn't from action or spectacle, but through intimate, restrained observation. As a man hollowed out by trauma yet driven by a burning need for justice, Bessa delivers a finely calibrated, slow-burning tour de force. Equally compelling are Barhom, Hala Rajab (a spirited fellow exile who encourages Hamid to reclaim a sense of life beyond revenge) and Julia Franz Richter (Hamid's handler who provides logistical support but increasingly questions his motivations and mental state). They bring texture and moral complexity to a story that could have easily slipped into lazy genre tropes. Millet’s immersive, measured direction creates a chilling atmosphere that reflects the haunted psyche of his protagonist. (The cinematography and sound design help mirror the film's themes of dislocation and psychological fragmentation.) Thanks to layered performances and an empathetic gaze, the movie avoids pat resolutions in favor of ethical ambiguity, asking difficult questions about justice and the personal toll of memory. (B PLUS.) https://youtu.be/XZ6lDA3dJqo?si=LsR6xyF3qhJxK_nW
AVAILABLE TO RENT ON VARIOUS PLATFORMS BEGINNING JULY 8TH.
JURASSIC WORLD REBIRTH--Director Gareth ("Rogue One," 2014's "Godzilla") Edwards' contribution to the 32-year franchise improves upon the recent Chris Pratt-Bryce Dallas Howard misfires with a refreshing blend of suspense, spectacle and even surprise. Edwards shifts the tone back toward a darker, more primal edge, restoring the sense of danger that defined Steven Spielberg's 1993 classic. Rather than relying solely on CGI, it melds practical effects with real‑world locations, adding texture and suspense to the equation (the dinosaur sequences feel remarkably visceral). An unsuspecting civilian family on vacation and a covert team led by Scarlett Johansson are catapulted into danger on a secluded, genetically volatile island. Screenwriter David Koepp, who penned the first "Jurassic Park" returns, pays homage to its roots while still managing to chart new territory. (Rescuing dinosaur DNA for medical research grounds the film in real ethical and environmental stakes.) Pacing is generally taut with several nerve‑racking set pieces that effectively balance awe and dread. The introduction of new mutant dinosaurs (including a hulking new T. rex and some bizarre hybrids) injects freshness and unpredictability into the IP. Performances are generally solid with the combined charisma of Johanssen, two-time Oscar winner Mahershala Ali, Rupert Friend and "Wicked" boy toy Jonathan Bailey anchoring the human side of the story. Some of the character arcs are a tad formulaic, though, and occasional lulls (not helped by an overly generous 135-minute run time) dilute the overall impact. But if you're craving a dino adventure that’s more than just CGI spectacle--one that ticks the nostalgia box while delivering a few genuine scares--"Rebirth" mostly succeeds. While it doesn’t eclipse the original, it’s arguably the most thematically and tonally resonant sequel since 2001's "Jurassic Park III." (B.) https://youtu.be/6m1eOoUoVao?si=C6DTlLgrpkNEqdFO
NOW AVAILABLE IN THEATERS, ON HOME VIDEO AND/OR STREAMING CHANNELS:
BALLERINA--Set between "John Wick Chapter 3: Parabellum" and "Chapter 4," the latest addition to the Wick universe introduces Eve Macarro (Ana de Armas), a ballerina-turned-assassin trained by the Ruska Roma. Driven by vengeance for her father's murder, Eve navigates a perilous path through the criminal underworld. De Armas balances vulnerability with lethal intent, essaying a character who's haunted by loss but driven by cold, methodical resolve. The world around her feels very Wick-ian (gilded underworld institutions, secret codes and complex allegiances), but director Len Wiseman shrewdly shifts the emotional focus towards identity, inheritance and choice. With an eye for rhythm and composition, Chad Stahelski's typically knockout fight choreography melds ballet with brutal combat, creating visually arresting action sequences that set it apart from run of the mill genre fare. Eve’s movements are fluid and precise, but never ornamental: each motion is tied to survival, revenge or both. This blend of choreography and combat gives the film a unique tone, making the violence feel like an extension of Eve’s past rather than a contradiction of it. (A standout sequence features Eve battling adversaries in a dimly lit ballroom where each pirouette is as deadly as it is elegant.) The supporting cast, populated with both new (Gabriel Byrne, Norman Reedus) and familiar faces (Ian McShane, Anjelica Huston, the late Lance Reddick and even Keanu Reeves), provides solid ballast for de Armas' tour de force. Though its narrative structure follows the revenge-thriller template, "Ballerina" distinguishes itself through tone and a focused commitment to aestheticized violence. More than just a spin-off, this stylish evolution of the franchise is a ballet of blood and precision. (B.)
ELIO--Pixar's ambitious swing into science fiction melds earnest storytelling with whimsy to tell the story of a newly orphaned 11-year-old (Yonas Kibreab's Elio) who's accidentally beamed into outer space and mistaken for Earth’s official ambassador to a galactic council. Tapping into classic Pixar themes of identity, belonging and personal growth, it’s a high-concept premise packed with colorful visuals and the type of wide-eyed wonder the studio who brought us the "Toy Story" and "Inside Out" franchises specializes in. Elio's journey is both literal and emotional as he navigates interstellar diplomacy while wrestling with insecurity and self-doubt back on terra firma. Despite being visually polished and vibrant, it doesn’t really break any new ground aesthetically. The character designs are familiar, leaning into Pixar’s now-signature big-eyed, soft-featured look. And the alien world feels more cliched than inventive. The film occasionally struggles to balance its tonal shifts—from playful to sincere to mildly suspenseful--while some of the humor feels more geared toward younger audiences, leaving older viewers in the lurch. Although "Elio" never reaches the heights of Pixar’s most iconic works, it still manages to deliver a satisfying payoff. (B.)
F1--Set in the high-stakes world of Formula 1, this summer blockbuster aspirant follows veteran driver Sonny Hayes (Brad Pitt) lured out of retirement to mentor rising talent Joshua Pearce (Damson Idris) on a struggling racing team. What begins as a comeback story soon becomes a meditation on legacy, risk and the fine line between glory and tragedy. Director Joseph Kosinski, known for immersive action setpieces in "Top Gun: Maverick" and "Tron: Legacy," brings a kinetic intensity to his latest high-octane blend of adrenaline and emotion. Real-world racing footage is seamlessly interwoven with scripted drama, lending verisimiltude to the stunning racing scenes. The thunderous sound design and camera placement—often inside the driver's seat or millimeters from tires—creates a dizzying sense of danger and speed. Brad Pitt brings his trademark charisma and a hard-earned melancholia to his grizzled racer, and Idris is equally compelling as the young phenom wrestling with pressure, ambition and identity. Their chemistry carries much of the emotional weight, anchoring the spectacle with real stakes. While the film occasionally leans a bit too heavily on familiar underdog tropes, it compensates with assured direction, sleek visual craftsmanship, the visceral thrills of professional racing and a screenplay that respects both the sport and its fans. "F1" isn’t just about the thrill of the race, it’s about why drivers keep returning to the track no matter the cost. Kosinski's slick, character-driven sports drama is a crowd-pleaser with plenty of fuel in the tank. (B PLUS.)
HOW TO TRAIN YOUR DRAGON--Dean DeBlois' live-action adaptation of DreamWorks' animated trilogy brings a familiar story to life with impressive visual effects and heartfelt performances that capture the spirit of the original films while carving out a new cinematic identity. Mason Thames plays Hiccup, the awkward, terminally shy Viking teenager who challenges his tribe’s long-standing tradition of dragon hunting. Thames brings an earnest vulnerability and quiet strength to the role, embodying Hiccup’s transformation from outcast to hero. Also very good is Nico Parker as Astrid, the fierce warrior-in-training who initially doubts Hiccup’s methods but grows to appreciate his compassion and vision. Parker adds a grounded presence and sharp intelligence to the role that makes Astrid more than just a generic love interest. The story hinges on the evolving bond between Hiccup and Toothless, the wounded Night Fury dragon Hiccup secretly befriends. Their growing trust, communicated through subtle gestures and expressive CGI, forms the emotional heart of the movie. The CGI used to bring Toothless and the other dragons to life is first-rate, balancing realism with expressive charm. Gerard Butler, reprising his animated role as Hiccup’s stern but loving father, brings a welcome gravitas, particularly in scenes exploring the generational divide between tradition and change. The themes of empathy, identity and challenging inherited beliefs remain intact, and DeBlois’ direction strikes a neat balance between sweeping action setpieces and character-driven moments. (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.)
KARATE KID: LEGENDS--Director Jonathan (Netflix's "The End of the F***ing World") Entwistle surprisingly agreeable extension of the beloved franchise blends legacy characters with a new generation of karate kids, striking a cozy balance between dutiful reverence and more progressive storytelling. Returning characters Daniel La Russo (Ralph Macchio, looking every bit of his 64 years) and Mr. Han (the ageless Jackie Chan) share the screen for the first time, creating a nostalgic bridge between the original movies and the (superior) 2010 reboot. Entwistle's grounded, character-driven tone avoids over-stylized action in favor of more intimate storytelling that reflects the characters' internal growth. (Legendary martial arts coordinator Andy Cheng's choreography emphasizes form, discipline and emotional stakes over flashy theatrics.) The slender plot, centering around a global martial arts tournament, is merely a pretext to reunite past masters and introduce newcomers Ben Wang and Sadie Stanley, weaving together various threads from different corners of the "Karate Kid" universe. While leaning a bit too heavily into fan service, it generally uses the callbacks and cameos to enrich rather than distract. More than a trip down memory lane, it’s a respectful (and respectable) addition to the series' 40-plus-years legacy. (B 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.)
MATERIALISTS--Writer/director Celine ("Past Lives") Song's sharp, emotionally intelligent romantic comedy explores love, ambition and authenticity through the lens of modern relationships in New York City. By blending acerbic wit with genuine tenderness, Song delivers a fresh, stylish look at what people want and what they’re willing to trade to get it. At the center of the film is Lucy, a high-end matchmaker navigating the gilded world of Manhattan’s elite. Played with cool precision by Dakota Johnson, Lucy finds herself entangled in a love triangle that challenges her ideas of happiness and self-worth. Lucy's suitors—a charming private equity broker (Pedro Pascal) and a struggling actor/cater-waiter (Chris Evans)—offer opposing visions of fulfillment: one rooted in security and status, the other in artistic passion and vulnerability. Johnson shines as a woman pulled between superficial glamor and deeper emotional truths while Evans and Pascal bring unexpected dimensions to their roles. The chemistry between the three leads is electric, their interactions infused with longing, humor and unspoken tension. Visually, the film is sleek and seductive: rich color palettes, elegant framing and a keen attention to psychological detail. Song emphasizes subtle gestures and small moments, grounding her glossy setting in a palpable human reality. Unlike typical rom-coms, "The Materialists" isn't about choosing between two men: it’s about choosing oneself. It explores how people craft personas to survive in a materialistic culture and what happens when those facades begin to crumble. A modern love story with bite and beauty, it consolidates Song’s reputation as one of the most thoughtful voices in contemporary cinema while affording its nonpareil cast plenty of room to shine.
(A.)
M3GAN 2.0--This follow-up to 2022’s techno-thriller sleeper builds upon its killer-doll premise with a bigger scale and sharper satire. Helmed once again by Gerard Johnstone, the sequel leans into the original’s fusion of horror, sci-fi and black comedy while expanding the mythology behind the artificially intelligent companion gone rogue. In the new outing, another emotionally vulnerable, technologically sophisticated child bonds with an upgraded version of M3GAN whose programming has evolved in, er, unpredictable ways. Johnstone reintroduces the android menace with sleeker design and deadlier capabilities, adding tension and dread to even quotidian scenes. (Amie Donald brings physical precision to M3GAN, while Jenna Davis’s voice work remains creepily effective.) The human characters, including returning cast member Allison Williams, are given more to do as the line between protection and possession becomes increasingly blurred. It also digs deeper into corporate irresponsibility and our reliance on AI, offering unsettling reflections on tech addiction and the commodification of childhood safety. While some of the plotting feels overly formulaic and certain subplots (including a tech espionage thread) veer into the predictable, it maintains a pacy momentum thanks to macabre humor and some inventive kills. Stylishly shot and briskly edited, "M3GAN 2.0" is everything a sequel to a killer robot movie ought to be: creepy, clever and occasionally unhinged. (B.)
MISHIMA--A singular cinematic achievement, Paul Schrader's audacious 1985 blend of biography, psychological portraiture and formal experimentation remains unlike anything else in American or international cinema. More than a biopic, "Mishima" is a stylized meditation on art, identity and the fatal convergence of beauty and violence, filtered through the life and work of Japanese author Yukio Mishima. Schrader, best known for writing gritty character studies like "Taxi Driver" and "Raging Bull," approaches Mishima’s story with both reverence and bold invention. Rather than follow a traditional chronological format, he structures the film in four thematic chapters (“Beauty,” “Art,” “Action” and “Harmony of Pen and Sword”), weaving together three interlaced strands: dramatizations of Mishima’s novels, episodes from his personal life and the final day leading up to his ritual suicide in 1970. This triptych structure creates a layered, prismatic portrait that captures not just what Mishima did, but what he believed, imagined and struggled against. The results are visually breathtaking. Schrader enlisted production designer Eiko Ishioka and cinematographer John Bailey to help create a work of immense formal beauty. The sections depicting Mishima’s fiction, drawn from "The Temple of the Golden Pavilion," "Kyoko’s House" and "Runaway Horses," are staged on lavish, expressionistic sets bursting with color and stylization, while the biographical sequences are shot in a starkly realistic, almost documentary-like style. This interplay heightens the central theme: the tension between the world as it is and the world as it ought to be according to aesthetic or moral ideals. Central to the movie’s power is Philip Glass’s hypnotic, minimalist score. The music helps give it an operatic propulsion, driving the narrative with rhythmic insistence and emotional grandeur. It's one of Glass’s most iconic cinematic compositions, perfectly attuned to the inner turbulence of its subject. Ken Ogata’s performance as Mishima is another essential ingredient. Ogata doesn’t try to make the author sympathetic or palatable; instead, he inhabits his contradictions—his narcissism and discipline, his devotion to beauty and obsession with death—with quiet intensity. He gives voice to a man who demanded absolute control over his body, his writing and his legacy. What makes "Mishima" so remarkable is its refusal to resolve the paradoxes it presents. Schrader doesn’t simplify or judge Mishima’s nationalist zeal, his theatrical final act or his complex sexuality. Instead, he renders a portrait of a man wrestling with the limits of art and the corruptibility of the physical world. The film confronts uncomfortable questions about politics, masculinity and the role of the artist in society, questions that resonate far beyond Mishima himself.Despite being produced by George Lucas and Francis Ford Coppola, "Mishima" was barely released in Japan and struggled to find an audience in the U.S. due to its challenging subject matter and hybrid form. But in the ensuing decades, it ultimately gained recognition as a masterpiece. Intellectually rigorous and emotionally stirring, it's a triumph of cinematic form that honors the complexity of its subject while offering a profound reflection on the relationship between life and art. The new Criterion Collection box set includes both 4K and Blu-Ray copies of the film as well as a treasure trove of tantalizing extras. There are two alternate English narrations (one by "Jaws"/"All That Jazz" star Roy Scheider); Schrader and producer Alan Poul's audio commentary; a making-of featurette with Bailey, producers Tom Luddy and Mata Yamamoto, Glass and Eshioka; an audio interview with coscreenwriter Chieko Schrader; excerpts from a 1966 interview with Mishima; the 1985 documentary, "The Strange Case of Yukio Mishima;" a featurette on Mishima with his biographer John Nathan and Japanese film maven Donald Richie; an essay by critic Kevin Jackson; an article about the movie's censorship difficulties in Japan; and remarkably tactile photographs of Ishioka's sets. (A.)
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.)
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.)
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.)
28 YEARS LATER--Oscar-winning director Danny ("Slumdog Millionaire," "Trainspotting") Boyle returns to the dystopian landscape he helped invent with 2002's "28 Days Later" for the third installment in the apocalyptic zombie saga. With original screenwriter Alex ("Civil War," "Ex Machina") Garland stepping back into the fold, this latest chapter revitalizes the franchise with a fierce, emotionally charged vision that deepens the lore without sacrificing its raw intensity. Set nearly three decades after the Rage virus first decimated Britain, the story follows a new generation contending with both the lingering threat of infection and the fractured remnants of society. Jodie Comer anchors the film with a riveting performance as a hardened, pragmatic survivor forced to confront a violent past and an uncertain future. Also very good are Aaron Taylor-Johnson, Ralph Fiennes and, in a glorified cameo, Jack O'Connell, most recently seen as the lead vampire in "Sinners" Boyle directs with renewed urgency, his kinetic visual style intact but tempered by moments of quiet dread. The pacing remains taut and the action setpieces are visceral and relentless, showcasing the nervy editing and aggressive sound design that made the original so iconic. Returning cinematographer Anthony Dod Mantle's haunting imagery contrasts eerie, depopulated Scottish landscapes with jarring, frequently shocking bursts of violence. Garland’s script expands the core mythology while reflecting contemporary fears about authoritarianism, environmental collapse and viral resurgence. It’s a bleak but compelling narrative that never loses sight of the human stakes at its core. A meditation on the cost of survival, the persistence of trauma and the thin line separating civilization from collapse, "27 Years" is a rare sequel that deepens the emotional and thematic weight of its predecessors while delivering the pulse-pounding terror fans expect. (A MINUS.)
---Milan Paurich
