NEW THIS WEEK (8/1) IN THEATERS, VOD AND/OR ON HOME VIDEO
THE BAD GUYS II--An amiable sequel to the 2022 animated sleeper that picks up where the first movie left off with the charming crew of reformed animal criminals struggling to stay on the straight and narrow. This time the Bad Guys--Mr. Wolf (Oscar winner Sam Rockwell), Mr. Snake (Marc Maron), Ms. Tarantula (Awkwafina), Mr. Shark (Craig Robinson) and Mr. Piranha (Anthony Ramos)--are reluctantly pulled back into action when a mysterious new villain, the Phantom Bandit (Danielle Brooks), threatens their hard-earned new reputations and the city they’ve sworn to protect. With their dynamic still shaky after having gone legit, the team must navigate personal tensions, elaborate heists and moral dilemmas to prove they’ve truly changed their criminal stripes. Returning director Pierre Perifel retains the original's visual flair by blending slick 2D flourishes with kinetic 3D animation. The movie leans into its crime-caper roots with playful energy while delivering fast-paced, cleverly choreographed action sequences. Though the plot revisits familiar redemption cliches, "Bad Guys 2" maintains a consistently breezy tone that should have no trouble appealing to both kids and grown-ups. With its sharp comic timing and enough clever twists to keep things pacy, this entertaining follow-up proves that even semi-reformed crooks can still steal the show. (B.) https://youtu.be/HvLHYox_Vq8?si=2hniHtG_Pz1IVVfX
BILLY MADISON--The 1995 comedy that cemented Adam Sandler's rise to stardom remains an unapologetically juvenile entry in the pantheon of ‘90s slapstick. Director Tamra Davis showcases Sandler in peak man-child mode as the titular Billy, a wealthy, immature slacker forced to repeat grades 1 through 12 to prove he’s worthy of inheriting his father’s hotel empire. The movie thrives on its ridiculous premise, giving Sandler ample room to unleash a barrage of bizarre voices, surreal non sequiturs and cartoon-level antics. Yet within the chaos lies a surprisingly endearing undercurrent. Billy’s evolution from an obnoxious goofball into someone capable of taking responsibility gives it a satisfying emotional backbone. The pre-"West Wing" Bradley Whitford makes a suitably loathsome antagonist while Bridgette Wilson exudes girl-next-door charm as Billy’s exasperated but ultimately supportive teacher. It also benefits from memorable cameos and goofy side characters including a weepy clown, a flaming bag of dog poo and a hilariously unhinged academic decathlon. For fans of lowbrow humor and Sandler’s unique comic stylings, "Billy Madison" offers an early and enthusiastic dose of what would become his signature style. Decades later, its unwavering commitment to its own silliness remains oddly charming and even endearing. Extras on the KL Studio Classics' Blu-Ray include two separate audio commentaries with, respectively, Davis and author/filmmaker Bryan Connelly and "Billy Gilmore" podcast host Wilson Smith; deleted scenes and outtakes; and the original theatrical trailer. (B PLUS.)
THE NAKED GUN—A reboot of the beloved Zucker-Abrahams-Zucker trilogy that doesn’t stray far from the anarchic comic spirit of the original films. Starring Liam Neeson in Leslie Nielsen's role of bumbling detective Frank Drebin, it’s a gleefully absurd return to a franchise defined by slapstick, deadpan humor and relentless
derision. Neeson, best known for his stoic action roles, leans into self-parody with surprising finesse, fully embracing Drebin’s clueless sincerity. Whether he’s accidentally detonating a vending machine or interrogating a mannequin, Neeson plays it straight and that’s precisely what sells the comedy. The plot is mostly a loose framework designed to string together a barrage of visual gags, groan-worthy puns and surreal sight gags. This time, Drebin stumbles into a convoluted plot involving a corrupt pharmaceutical tycoon, a stolen experimental drug and a botched awards show assassination attempt. Naturally, it makes very little sense and that’s part of the
charm. Some jokes feel recycled or strained, but more often than not director Akiva Schaffer finds the right balance between nostalgia and fresh lunacy. (B MINUS.) https://youtu.be/uLguU7WLreA?si=l6Gr5Q5AT5vQjHeq
SHE RIDES SHOTGUN—Director Nick ("Calm With Horses") Rowland's visceral, emotionally charged adaptation of Jordan Harper’s Edgar Award-winning novel places a violent ex-con and his estranged daughter in a desperate fight for survival. Taron ("Kingsman: The Secret Service," "Rocketman") Egerton delivers one of his most impressive performances to date as Nate McCluskey, a newly paroled convict who learns that a prison gang (Aryan Steel) has ordered a hit not only on him but his 11-year-old daughter, Polly. When Polly’s mother is murdered shortly after Nate’s release from prison, he races to retrieve the daughter he hasn’t seen in years. Played with striking restraint and growing ferocity by Ana Sophia Heger, Polly is a quiet, cautious girl forced into a chaotic world of danger and distrust. As father and daughter go on the run across a sun-scorched Southern California landscape, it becomes both a harrowing chase movie and a character study of two damaged souls trying to forge a connection under the most extreme circumstances. Nate and Polly's journey is marked by stolen cars, tacky roadside motels and lingering threats from Aryan Steel, chillingly embodied by John Carroll Lynch as the gang’s sadistic leader. Rowland brings a bruised naturalism to the stripped down, tightly paced narrative that grounds the action in surprising emotional depth. It's a tough but tender meditation on redemption and the bonds that blood alone can't guarantee. (B.) https://youtu.be/U9OkHjOnQPg?si=fDFaDkEQ9AhPrFTF
SHOSHANA--This richly textured period drama follows socialist‑Zionist journalist Shoshana Borochov (Irina Starshenbaum) and her romantic entanglement with British police officer Tom Wilkin (Douglas Booth) in late 1930's-early 1940's Palestine. "24 Hour Party People"/"The Trip" director Michael Winterbottom achieves a compelling balance between political tension and romance, elegantly melding fact with fiction and allowing the wider history of Zionist movements and British colonialism to emerge naturally from the characters' lives. The film gains its emotional impact not through overwrought melodrama but in quiet, everyday moments (a dance at a Tel Aviv café, a tense police raid, stolen conversations by the docks) suffused with political urgency. Giles Nuttgens’s cinematography paints Tel Aviv as a stylish yet fragile city, illuminated in warm tones that contrast sharply with the grim undertones of violence and upheaval. The period details--from gleaming '30s costumes to jazz‑tinged nightlife--transports you into a world poised on the brink of transformation. Starshenbaum brings laudable emotional layering to her role, portraying Shoshana's evolution from idealistic journalist to a woman confronted by convulsive historical forces. Booth’s calm, sympathetic presence anchors the moral center while Harry Melling offers a chilling counterpoint as a hard‑line British officer. Intellectually engaging, visually lush and emotionally resonant, it's both a search for love under impossible conditions and a thoughtful meditation on how personal relationships are shaped (and ultimately strained) by the tides of history. (A MINUS.)
SOULEMAYNE'S STORY--Set in the shadowy underbelly of French society, Boris Lojkine's compassionate, deeply felt portrait of a young migrant's struggle for recognition and acceptance follows Soulemayne, a Guinean teenager seeking asylum whose daily existence revolves around crafting a convincing version of his life story to satisfy a system more interested in documentation than truth. Lojkine brings a striking immediacy and intimacy to the narrative, echoing the emotional realism and moral urgency found in the work of Luc and Jean-Pierre Dardenne. Like their films, "Soulemayne’s Story" is grounded in the quotidian: moments of silence, bureaucratic exchanges and fleeting encounters that carry profound weight. The handheld photography and naturalistic pacing intensify our immersion in Soulemayne’s fragile world, making his smallest victories and setbacks resonate deeply. At the movie's center is a remarkable lead performance by Abou Sangare who brings a magnetic intensity to the titular role. His portrayal captures the layers of fear, hope, calculation and weariness that define Soulemayne’s existence. He effortlessly conveys the resilience and vulnerability of a boy forced to become his own storyteller in order to survive. What makes the film so compelling is its refusal to sentimentalize or simplify. Intimate in scale but powerful in its social and emotional impact, it paints a complex, clear-eyed picture of the immigrant experience grounded in truth and told with heart-stopping empathy. (A MINUS.)
TOGETHER--A breakout hit at this year's Sundance Film Festival, Michael Shanks’ tense, slow-burning psychological horror-drama blends relationship decay with grotesque body horror. Alison Brie and James Franco play Millie and Tim, a couple whose bond has grown brittle after years of emotional erosion. Hoping to rekindle their connection, they relocate to an isolated farmhouse in rural Oregon in a last-ditch attempt to fix what’s broken. Instead, the move magnifies their disconnection. Millie, played with open wound vulnerability by Brie, is hopeful yet increasingly anxious in the barren countryside while Franco’s Tim brings a simmering resentment and unease to every interaction. Their fragile coexistence is further strained when they encounter an eerie organic structure hidden in the surrounding woods. This pulsating alien entity slowly begins to exert a sinister influence on them psychologically and physically. As the entity seeps into their world, the couple’s bodies and minds begin to mutate--sometimes subtly, sometimes violently--blurring the line between intimacy and parasitism. Shanks makes a confident feature directorial debut, relying on tight framing, creeping silence and minimal exposition to emphasize the claustrophobia of a relationship deteriorating in real time. The horror elements are visceral and metaphorical, with the invasive organism serving as a grotesque manifestation of codependence, repression and guilt. It's a deeply unsettling meditation on love turned toxic that uses sci-fi tropes to strip a couple bare emotionally and corporeally. (A MINUS.) https://youtu.be/aSR8mOPBa0I?si=NfSYR-tbiDyaJK2J
TROUBLE MAN--Michael Jai White directs and stars as Jaxen, an ex‑cop turned P.I. in present-day Atlanta hired to find missing R&B singer Jahari (La La Anthony). With Cliff “Method Man” Smith supplying welcome gravitas as Jaxen’s streetwise sidekick and Mike Epps providing comic relief, the setup promises an entertaining blend of martial‑arts action and humor. White’s trademark athletic flair keeps the fight scenes watchable, and there’s a groovy Blaxploitation vibe to Jaxen cruising Atlanta’s clubs and back alleys. Plus, at a streamlined 93 minutes it avoids the bloat that sabotaged Jai White's previous foray as director/star, 2023's "Outlaw Johnny Black." But everything here is strictly surface-level. The screenplay—Jahari’s disappearance is tied to a criminal underworld of, yawn, Hong Kong triads—feels cobbled together and predictable; the humor is serviceable at best; and the mystery plot unravels with more convenience than cleverness. Despite some slick visuals and decent performances it never truly gels. For the record, this isn't a remake of the same-named 1972 movie starring Robert Hooks. (C.) https://youtu.be/yBguDmMxbjw?si=mIRNpHmfCtMENJQE
NOW AVAILABLE IN THEATERS, ON HOME VIDEO AND/OR STREAMING CHANNELS:
CARNAL KNOWLEDGE--Mike Nichols' searing, stylish and unflinching examination of masculinity, sexual politics and emotional alienation is crafted with razor-sharp precision and anchored by bravura performances. Written by legendary Village Voice cartoonist Jules Feiffer, this wildly provocative 1971 masterwork strips the romantic veneer from sex and relationships, laying bare the toxic entanglements
and emotional paralysis that often lie beneath. Unfolding over two decades, it traces the lives of two college roommates—Jonathan (Jack Nicholson) and Sandy (Art Garfunkel)—as they navigate their romantic and sexual entanglements from youth into middle age. Jonathan, all smirking bravado and cynical detachment, emerges as the movie's bruised and brutal heart. Nicholson is electrifying, charting Jonathan’s arc from glib womanizer to emotionally hollow predator with chilling nuance. Garfunkel plays Sandy as a more passive and idealistic counterpart, one who cloaks his desires in sensitivity but ultimately proves just as self-serving and deluded. Candice Bergen is stunning in an early role as the woman both men pursue in college. Bergen's Susan hints at the emotional dislocation experienced by women who find themselves trapped in male fantasies and contradictions. Yet it’s Ann-Margret who delivers the most devastating turn as Bobbie, Jonathan’s later lover and live-in girlfriend. She infuses the role with a potent mix of vulnerability and volatility, capturing the deep emotional toll of being tethered to a man incapable of genuine intimacy. Her scenes with Nicholson simmer with tension and heartbreak, and her unraveling gives the film its most wrenching moments. Nichols’ direction is spare but incisive with long takes, tight framing and stark compositions heightening the emotional claustrophobia. Every shot feels purposeful, emphasizing both the erotic charge and the emptiness that define the characters’ relationships. The temporal jumps are handled with remarkable fluidity, conveying how little these men truly change even as the world around them evolves. Visual motifs (mirrors, empty beds, dim apartments) recur throughout, reinforcing the theme of loneliness and spiritual isolation. Unlike traditional romantic dramas of the era (its antithesis, "Love Story," opened a mere six months earlier), "Carnal Knowledge" refuses sentimentality or redemption. Its brilliance lies in its honesty: harsh, at times bitter, but never less than riveting. Nichols and Feiffer dissect male insecurity and entitlement with unflinching clarity, and its commentary on how men use sex as a weapon or shield remains startlingly relevant, retaining its power both as a fearless character study and cultural artifact of shifting gender dynamics. Through its unrelenting gaze and unforgettable performances, it continues to provoke, disturb and resonate. This is one of Nichols’ boldest, most enduring works. The Criterion Collection Blu-Ray includes an audio commentary with director Neil ("In the Company of Men," "Your Friends and Neighbors") LaBute; a conversation between Nichols biographer Mark Harris and critic Dana Stevens; an interview with film-editing historian Bobbie O'Steen (daughter of frequent Nichols editor Sam O'Steen); a 2011 chat between Nichols and director Jason ("Up in the Air," "Juno") Reitman; a Q&A with screenwriter Jules Feiffer; an essay by Harvard literature professor Moira Weigel; and a 1971 "American Cinematographer" article about the look of the film.
(A PLUS.)
THE FANTASTIC FOUR: FIRST STEPS--Set in an alternate retro-futuristic timeline, this latest attempt to build a cinematic franchise out of the comic book introduced in 1961 establishes the origin of Marvel’s “first family” with stylized flair, practical effects and laudable ambition. Pedro Pascal brings a cerebral energy to the role of Reed Richards/Mr. Fantastic, but there’s a slight emotional distance that keeps his performance from truly connecting. Vanessa Kirby conveys quiet strength and layered intelligence as the team’s moral center, Sue Storm/Invisible Woman; Joseph Quinn’s Johnny Storm/Human Torch) offers a jolt of charisma and youthful energy; and Ebon Moss-Bachrach’s Ben Grimm/The Thing delivers grounded pathos beneath his rock-solid exterior. Julia Garner is a striking presence as Shalla-Bal, a reimagined Silver Surfer, and Ralph Ineson’s deep-voiced Galactus lends the final act an operatic sense of grandeur even though his role feels more setup than payoff. Director Matt Shakman’s decision to lean into a '60s-inspired sci-fi aesthetic (complete with retro space suits and analog gadgetry) gives it a unique personality within the MCU. Unfortunately, the pacing lags in the second half and the stakes seem oddly muted for a film involving a world-devouring cosmic entity. While the character dynamics are promising, they don’t always cohere dramatically. An ambitious reset that takes a bold aesthetic swing with visual invention and an impressive cast, it ultimately feels more like a place-setter than a fully satisfying standalone adventure. (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.)
I KNOW WHAT YOU DID LAST SUMMER--Director/co-writer Jennifer Kaytin Robinson’s reboot of Jim Gillespie's 1997 sleeper smartly bridges nostalgia with modern horror, leaning into the franchise's hook-wielding legacy while still managing to inject fresh psychological tension and a vibrant visual style. Set 27 years after the Southport Massacre, the story centers on five teens—Danica Richards (Madelyn Cline), Eva Brucks (Chase Sui Wonders), Milo Griffin (Jonah Hauer‑King), Teddy Spencer (Tyriq Withers) and Stevie Ward (Sarah Pidgeon)—who, after being involved in a fatal car crash, stupidly conceal their inadvertent victim's corpse. Their dirty little secret resurfaces a year later when a fisherman‑masked killer begins targeting them. Southport survivors Julie (Jennifer Love Hewitt) and Ray (Freddie Prinze Jr.), considerably older yet still burdened by trauma, force them to confront the collective guilt that binds them all. Robinson emphasizes atmosphere with bright coastal vistas undercut by shadows, swift POV stalking scenes and brutally effective kills that feel both visceral and somehow personalized. The young cast turns in solid work with Cline carrying the film's emotional weight, Sui Wonders bringing Gen‑Z attitude and Hauer‑King confidently grounding the whole ensemble. Hewitt and Prinze Jr. add legacy resonance, delivering heartfelt moments as mentors haunted by their conjoined pasts. Despite a somewhat protracted 111 minute run time, the pacing stays reasonably tight, blending jump-scares with unexpected emotional stakes. While it may not redefine the genre, it's a serviceable addition to the "I Know What You Did" legacy.
(B MINUS.)
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.)
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.)
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.)
SMURFS--When Papa Smurf (John Goodman) is kidnapped by evil wizard brothers Gargamel and Razamel (both voiced by J. P. Karliak), Smurfette (Rihanna) leads her fellow Smurfs into the human world to rescue him, discovering hidden truths about Smurf destiny in the process. The ensemble vocal cast of director Chris ("Puss in Boots," "Shrek the Third") Miller's musical fantasy reboot of Peyo's beloved blue universe is definitely stacked. Besides Goodman and Rihanna, there's James Corden, Sandra Oh, Kurt Russell, Nick Offerman, Alex Winter, Jimmy Kimmel, Dan Levy, Amy Sedaris, Billie Lourd, Nick Kroll, Hannah Waddingham and even an Oscar winner (the redoubtable Octavia Spencer). The vibrant animation--inspired by Peyo’s original comic panels, complete with action lines and thought bubbles--is impressive, but the rescue mission plot remains fairly standard-issue and is constrained by juvenile humor and musical numbers that never truly soar. Accordingly, the emotional stakes rarely deepen, and thematic questions about identity and community feel largely superficial. There's precious little to distinguish it in an increasingly crowded summer family movie landscape. (C.)
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.)
SUPERMAN--Arriving with the weight of a franchise reboot on its shoulders, "Guardians of the Galaxy" auteur James Gunn delivers a film that's earnest, ambitious and uneven. David Corenswet steps into the iconic lead role with a wholesome charm and idealism channeling the character’s hopeful inner core. While his Superman is likable and well-intentioned, the performance sometimes feels a bit flat, lacking the psychological complexity that might elevate his dual identity. Rachel ("The Marvelous Mrs. Maisel") Brosnahan makes an okay impression as Lois Lane, capturing the fast-talking wit and assertiveness that defines the character. Her chemistry with Corenswet is serviceable, though not particularly electric. The real jolt comes from Nicholas Hoult who brings a nervy, cold intelligence to uber-villain Lex Luthor. Hoult’s Big Bad is less theatrical and more calculating than previous incarnations: a sinister presence lurking beneath a polished exterior. He doesn’t get as much screen time as expected, but still manages to leave a lingering impression. The supporting cast—including Isabela Merced (Hawkgirl), Edi Gathegi (Mister Terrific) and Nathan Fillion (Green Lantern)—adds color and hints at a wider DC universe. However, their inclusion sometimes clutters the narrative and distracts from Superman’s arc. Gunn’s direction leans into sincerity and a refreshing optimism, though at times the tonal shifts from newsroom banter to cosmic battles don’t entirely cohere. It's a solid, if slightly overstuffed reintroduction to the iconic D.C. character, succeeding more in tone and intent than execution. (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.)
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.)
YOU CAN COUNT ON ME--A masterclass in character-driven storytelling, playwright Kenneth Lonergan's 2000 filmmaking debut is a quietly devastating, richly human portrait of familial bonds, emotional fragility and the complexities of adulthood that ranks among the most affecting American dramas of the early aughts. Anchored by two extraordinary performances from Laura Linney and Mark Ruffalo, it's a small film that continues to resonate with amazing emotional depth. Set in a sleepy Catskills town, the story revolves around Sammy Prescott (Linney), a single mother and bank employee trying to maintain stability for her young son Rudy (Rory Culkin). Sammy's controlled life is disrupted by the return of her estranged brother, Terry (Ruffalo), a drifter with a penchant for self-destruction and a heart that’s too gentle for this world. Their reunion sparks both tenderness and turmoil as they wrestle with shared childhood trauma, diverging life paths and the struggle to truly understand one another. What makes "You Can Count on Me" so remarkable is Lonergan’s refusal to indulge in melodrama. His screenplay is layered with nuance, humor and a deep sense of empathy. The dialogue feels unforced and the emotional beats land with a natural, uncontrived power. As a director, Lonergan favors simplicity, letting his actors’ expressions and silences speak volumes. Linney’s Oscar-nominated performance is revelatory, capturing Sammy’s strength and vulnerability with clarity and grace. Her portrayal of a woman trying to do the right thing—even when she’s unsure what that is—remains one of the finest of her career. In a breakout role, Ruffalo brings a wounded charisma to Terry, creating a character who is infuriating and lovable in equal measure. Their chemistry is undeniable, imbuing their sibling dynamic with history, affection and deep emotional conflict. The supporting cast brings additonalrichness without detracting from the core brother/sister relationship. Matthew Broderick is hilarious as Sammy’s neurotic boss and Culkin gives a tender, unaffected performance that deepens the emotional stakes. With wit, honesty and compassion, Lonergan captures the messiness of real life, how love coexists with frustration and how connection, albeit imperfect, remains a lifeline. It’s that rare drama that feels both specific and universal. Included on the Criterion Collection's Blu-Ray are Lonergan's audio commentary; new interviews with Lonergan, Linney, Ruffalo and Broderick; an essay by playwright Rebecca (Pulitzer finalist "The Glory of Living") Gilman; and the script of the original one-act play the film was based on. (A.)
---Milan Paurich