Movies with Milan

Movies with Milan

Movies reviews from Milan PaurichFull Bio

 

Movies with Milan

2020: The Year's Best Films and their directors (also where/how you can find them):

 1) Small Axe (Steve McQueen) AMAZON PRIME

 2) Nomadland (Chloe Zhao) OPENING IN THEATERS EARLY 2021

 3) City Hall (Frederick Wiseman) STREAMING ON PBS.ORG

 4) First Cow (Kelly Reichardt) ON DEMAND/DVD

 5) Saint Frances (Alex Thompson) ON DEMAND/DVD

 6) Sorry We Missed You (Ken Loach) ON DEMAND/DVD

 7) We Are Who We Are (Luca Guadagino) HBO MAX

 8) Promising Young Woman (Emerald Fennell) CURRENTLY IN THEATERS

 9) Soul (Pete Docter) DISNEY +

10) Wasp Network (Olivier Assayas) NETFLIX

Honorable Mention (in alphabetical order):

Another Round; Beanpole; Beastie Boys Story; Borat Subsequent Moviefilm; Boys State; Crip Camp; Da 5 Bloods; Dick Johnson is Dead; The Father; French Exit; The Gentlemen; I'm Thinking of Ending Things; Kajillionaire; The King of Staten Island; Let Them All Talk; Martin Eden; On a Magical Night; Once Were Brothers: Robbie Robertson and the Band; Our Friend; The Painted Bird; Palm Springs; A Rainy Day in New York; The Traitor; True History of the Kelly Gang; The Truth; Vitalina Varela; What Did Jack Do?; The Wild Goose Lake.

2020: The Year's Worst Films:

 1) Secret Society of Second-Born Royals 

 2) Dolittle

 3) Onward

 4) Resistance

 5) Artemis Fowl

 6) Eternal Beauty 

 7) I Still Believe

 8) The Last Thing He Wanted

 9) Bill and Ted Face the Music 

10) Infidel 

NEW TO STREAMERS (AND IN THEATERS):

FATALE--Two-time Oscar winner Hilary Swank plays an L.A.P.D. detective gone bad in Deon ("The Intruder," "Black and Blue") Taylor's amusingly bonkers action melodrama. As Swank's former one-night stand who finds himself enmeshed in her increasingly deadly head games, Michael Ealy isn't bad, but not as sympathetic as he probably should have been. Despite a title with smoky evocations of film noir classics like "Double Indemnity" and "Chinatown," it's actually more of an African-American/Millennial twist on Hitchcock's "Strangers on a Train." But (duh) not nearly as good. (C.) 

THE MARKSMAN--Liam Neeson plays an Arizona rancher and ex-Marine sharpshooter who makes it his mission to protect an 11-year-old Mexican migrant (Jacob Perez) fleeing the murderous drug cartel who followed him into the U.S. and murdered his mother. Directed by former Clint Eastwood protege Robert Lorenz (whose only previous film was 2012's "Trouble With the Curve" which starred Eastwood and Amy Adams), it evinces some of the virtues of a typical Eastwood movie. Although ultimately too formulaic for its own good, Neeson--in what is essentially the "Eastwood Role"--does some of his best screen work in years. (B MINUS.)

M.L.K./F.B.I.--The jumping off point for Emmy-winning documentarian Sam Pollard's essential non-fiction film are declassified F.B.I. files documenting the agency's surveillance and serial harassment of slain Civil Rights leader, Dr. Martin Luther King Jr. Infuriating yes, but a must-see for any sentient American. (B PLUS.)

MONSTER HUNTER--"Resident Evil" auteur Paul W.S. Anderson tackles another videogame franchise with more noisy, brain-dead nonsense that explains why critics hate most vidgame movies and resent the overuse of CGI at the expense of old-fashioned verities like plot and characterization. "RE" star (and Mrs. Anderson) Milla Jovovich plays U.S. Army Ranger Artemis who teams up with "The Hunter" (Thai martial arts superstar Tony Jaa who's the best thing here) to save the world from persnickety giant spiders. Instead of ending, it just stops--probably as a shout-out to the inevitable sequel. I'd say that was wishful thinking, but there were six (count 'em) "Resident Evil" movies after all. (D.)

NEWS OF THE WORLD--Although somewhat encumbered by a hushed solemnity, Paul ("United 93," "Captain Phillips") Greengrass' slow-burn revisionist western has a physical beauty--courtesy of virtuoso cinematographer Darius Wolski's painterly images--and moral authority that makes it compelling even when you're on the verge of dozing off. Tom Hanks plays a former Civil War captain tasked with escorting a young girl (Helena Zengel) to her only living relatives after having spent the past six years living with the Kiowa Indians who kidnapped her after murdering her family. It's sort of a cross between John Ford's "The Searchers" and "True Grit" (the John Wayne original or the 2010 Coen Brothers reboot: take your pick) with a soupçon of "Paper Moon" thrown into the mix for good measure. (B.)

ONE NIGHT IN MIAMI--The "night" in question is February 25, 1964 when Cassius Clay (Eli Goree) defeated Sonny Liston in a championship bout. Later, Clay--on the cusp of his conversion to the Muslin faith and becoming Muhammad Ali--meets up with friends Malcolm X ( Kingsley Ben-Adir from "Pesky Binders"), Jim Brown (Aldis Hodge) and Sam Cooke (Leslie Odom Jr., best known as Aaron Burr in "Hamilton") at Miami's Hampton House Motel. Adapted from a stage play by Kem Powers, Regina King's feature directing debut is essentially filmed theater. But the performances are so strong, especially Odom Jr. who deserves a Best Supporting Actor Oscar nomination, that Powers' apocryphal tale remains riveting from start to finish. (B PLUS.)

PROMISING YOUNG WOMAN--Carey Mulligan gives the best female performance of the year in first-time director Emerald Fennell's remarkably accomplished, terrifically enjoyable black comedy that has the larkish Guignol spirit and flamboyant visual style of vintage Brian DePalma ("Carrie," "The Fury, "Body Double," et al). It also benefits from Fennell's diabolically clever script that keeps pulling out one surprise after another from of its considerable arsenal of narrative tricks. The fact that you're never entirely sure where it's headed makes the journey as exhilarating as it is (frequently) shocking. (A.) 

ROCK CAMP: THE MOVIE--Serviceable documentary chronicling the 24-year history of music producer David Fishot's rock 'n' roll fantasy camp in which (mostly) pampered adults get to live out their r&r dreams during intensive 4-day weekends. Counselors include rock dignitaries like Roger Daltrey, Paul Stanley and Nancy Wilson, but it's Fishot who gets the most screen time, lending the whole thing a hagiographic feel. (C.)

WONDER WOMAN 1984--This only quasi successful follow-up to the 2017 D.C. blockbuster reunites director Patty Jenkins with stars Gal Gadot and Chris Pine whose romantic chemistry is still off the charts. The major reason the sequel doesn't have quite the same joie de vivre as the original is an indulgent, and frequently lumbering, 151 minute run time. As a result, this is only fun intermittently, usually whenever Kristen Wiig is onscreen as WW antagonist Barbara Minerva. The film's "be careful what you wish for" theme has even more resonance than probably intended thanks to the year that 2020 was. (B MINUS.) 

NEW ON HOME VIDEO/STREAMIMNG CHANNELS:

AFTER WE COLLIDED--Drippy sequel to last year's equally insipid Millennial love story continues the star-crossed romance of Tessa (Joephine Langford) and Hardin (Hero Fiennes Tiffin). Most of the blame falls on Anna Todd whose YA book series inspired the films, but director Roger Kumble is equally culpable. Kumble, who hasn't made a good movie since 1999's "Cruel Intentions," apparently never met a cliche he didn't like. Considering the fact that are two more "After" films in the works ("After We Fell" and "After Ever Happy"), I guess we'll be stuck with the tear-soaked travails of Tessa and Hardin for a little while longer. Sigh. (D MINUS.)

ALL MY LIFE--Despite being based on a true story, this syrupy romance feels like a lesser Nicholas Sparks flick. "Glee" alum Harry Shum Jr. gets a fatal cancer diagnosis shortly after proposing to Jessica Rothe. An online fundraising campaign is launched to insure they have their dream wedding before it's too late. The most curious aspect of the film is that director Marc Meyers is best known for--are you sitting down?--2017's "My Friend Dahmer." 'Nuff said. (C MINUS.)

AMMOMITE--Director Francis Lee follows his standout 2017 film "God's Own Country" with a slow-burning period romance between a paleontologist spinster (Kate Winslet) and a London housewife stuck in a loveless marriage (Saorise Ronan). While bordering on the decorous at times--anyone hoping for a British "Blue is the Warmest Color" will be sorely disappointed: the two leads don't even kiss until 70 minutes in--the filmmaking is so assured and the performances so compelling that it's easy to get caught up in the whirlwind of emotions. Strong support from Gemma Jones, Fiona Shaw, James McArdle and Alec Secareanu. (B PLUS.)

ANTEBELLUM--Co-directors Gerard Bush and Christopher Renz's provocative new thriller does such a masterful job of building suspense that it's unfortunate the third act feels so anti-climactic and curiously rushed. Until then, their feature debut proves very much worthy of comparison to both Jordan Peele's "Get Out" and Steve McQueen's Oscar-winning "12 Years a Slave." Janelle ("Moonlight," "Hidden Figures") Monae plays dual roles as a slave in the pre-Civil War South and an academic/best-selling author in present-day Washington, D.C. It's when those disparate timelines merge that the movie begins treading water. Until then, you'll be dazzled by Pedro Luque's fantastic cinematography, the taut pacing and Monae's kickass performance. (B.)

AVA--Jessica Chastain plays a steely hired assassin fending off an assassin (Colin Farrell) of her own in Tate ("The Help," "Get On Up") Taylor's generic action flick that feels like a Charlize Theron reject. Plenty of "A" list talent on display (the supporting cast includes everyone from John Malkovich to Geena Davis), but the end result feels like a failed franchise starter that never quite got off the ground. (C MINUS.)

BILL AND TED FACE THE MUSIC--29 years after "Bill and Ted's Bogus Journey," Keanu Reeves and Alex Winter reunite for a sequel that should please their old fans, but is unlikely to win them any new converts. When our stoned heroes learn that only they can save the world from eminent destruction--it has something to do with one of their songs--they embark

on a mission that feels very similar to previous B&T missions in 1989's "Excellent Adventure" and "Bogus Journey." Historical and musical figures (including everyone from Babe Ruth, Mozart, Jimi Hendrix and Louis Armstrong), Death (once again played by William Sadler) and their teenage daughters (they procreated?) play a role, but it's really all about Bill and Ted. Reeves and Winter remain amiable company: too bad their comeback vehicle is so superfluous and mechanical. Director Dean Parisot peaked with 1999's "Galaxy Quest" and remains stuck in the same '90s time warp as his goofball protagonists. (C.)

BLACK BEAR--In a revelatory dramatic turn, Aubrey Plaza plays an emotionally unstable actress whose director/husband (Christopher Abbott, dependably strong) may be deliberately screwing with her head on the set of their latest movie. Michael Levine's intricately structured film takes "meta" to the nth degree, yet still manages to cast a haunting spell and be extremely moving in the bargain. Sarah Gadon is the third part of the Plaza/Abbott romantic equation, and she's wonderful, too. (B PLUS.)

BLACKBIRD--After making the decision to end her life, a terminally ill Susan Sarandon invites her family to join her for one last weekend. Long buried secrets/resentments inevitably intrude on--and threaten to wreck--the occasion. Director Roger ("Notting Hill," "Le Weekend") Michell is such an innately classy filmmaker that he never allows the potentially sudsy material to descend into bathos. Helping his cause is a splendid cast (Sarandon, Sam Neill, Mia Wasakowski, Lindsay Duncan and Kate Winslet who, for some reason, looks unnervingly like Tina Fey here), all of them in fine form. (B.)

BORAT SUBSEQUENT MOVIEFILM--Sacha Baron Cohen's most iconic creation (sorry, Ali G.) finally gets the sequel that fans of Larry Charles' 2006 cult classic probably thought they'd never see. (I know I didn't.) Amazingly, Baron Cohen's Kazakh "journalist" remains as funny and, yes, culturally relevant as ever as he navigates the poisonous waters of Trump's Covid America. Accompanying Borat this time is his 15-year-old daughter (Maria Bakalova in a scene-stealing performance), and their encounters with both ordinary Americans and high-placed members of Trump's inner circle (hey there, Rudy!) are as jaw-droppingly surreal and scabrously funny as you could imagine. (A MINUS.)

BOYS STATE--Husband-and-wife filmmaking team Amanda McBaine and Jesse Moss' verite-style documentary premiered at Sundance this January where it sold for a bigger sum than any previous doc in the festival's history, and for good reason: it's sensationally effective and wildly compelling. A fly-on-the-wall account of the annual, week-long American Legion-sponsored event in which 1,000 teenage boys descend upon the Texas state capitol, split into Nationalist and Federalist parties then elect a "governor," "attorney general," etc., it's a heady microcosm of the national political zeitgeist. A few of the boys (e.g., Machiavellian Ben Feinstein who probably has a bright career ahead of him as a Republican dirty tricks op in the Karl Rove/Lee Atwater tradition) will likely scare the bejesus out of you. Others, like thoughtful, reflective, Barack-Obama-in-the-making Steven Garza, are so inspirational they'll single-handedly restore your faith in today's youth. (A.)

THE BROKEN HEARTS GALLERY--An art gallery assistant (Geraldine Viswanathan from HBO's "Bad Education") makes an exhibit out of souvenirs from old boyfriends. It soon becomes a social media sensation with other women (and a few men) adding remnants from past relationships, too. Viswanathan and "Stranger Things" alum Dacre Montgomery as a potential new romantic interest are as adorable as puppies frolicking under a lawn sprinkler. While first-time director Natalie Krinsky's movie won't go down in rom-com history, it's a decent enough "Ladies Night" divertissement. (B MINUS.)

BUDDY GAMES--Josh Duhamel directed and stars in an aggressively unfunny bro-comedy whose witless, juvenile script feels like something Adam Sandler rejected 20 years ago. A group of estranged childhood pals reunite to compete in a series of extreme physical challenges for a $150,000 cash prize. Think MTV's "The Challenge" with poop jokes. (D.) 

THE BURNT ORANGE HERESY---Giuseppe Capotondi's delicious neo-noir is based on Charles Willeford's 1971 novel, although the original Florida setting has been changed to Italy's Lake Como district. A broken-down art critic (Danish actor Claes Bang from 2017 Palme d'Or winner "The Square") is hired by a wealthy collector (Mick Jagger) to coerce a reclusive artist (Donald Sutherland) into selling one of his few extant paintings. Joining him is a femme fatale-ish American schoolteacher (Elizabeth Debicki) on an extended European sabbatical. Like the best noirs, it keeps you guessing right up until the final scene, and it's also ideally cast and acted to perfection. (B PLUS.)

A CALL TO SPY--Fact-based tale of a spy network set up by Winston Churchill during WW II to infiltrate Nazi-occupied France. What made the enterprise so groundbreaking was that many of the spies were women. As the American expatriate with a wooden leg who joined the campaign, Sarah Megan Thomas (who also wrote the screenplay) is solid, as are Rebecca Ferguson lookalike Stana Katic as the principal spy recruiter and Radhika Apte (a wireless operator who would become the first British Muslim war hero). Director Lydia Dean Pitcher's film is a tad on the stolid, "Tradition of Quality" side, but it's such a ripping good yarn--and so solidly mounted--that the end result is still good, old-fashioned fun. (B.)

CHRIST STOPPED AT EBOLI--The version of Francesco ("Salvatore Giuliano") Rosi's adaptation of political activist Carlo Levi's autobiographical novel that I saw in New York City forty years ago ran just a little over two hours. At the time, I wasn't even aware that a longer cut existed. (Certainly Janet Maslin's New York Times review made no mention of it.) While the abridged Rosi, then simply called "Eboli," seemed perfectly fine to me at the time, it didn't really leave much of a lasting impression. After seeing the Criterion Collection's newly released Blu-Ray edition which preserves the original four-part, 220-minute "Christ Stopped at Eboli," I'm beginning to think it could very well be Rosi's masterpiece. A political filmmaker whose work at times has verged on the wonkily doctrinaire (take 1976's "Illustrious Corpses;" please!), this is the only Rosi film I've seen that hints at the closet humanist lurking beneath the Marxist polemics. As the Levi surrogate, screen legend Gian Maria Volonte ("A Fistful of Dollars," "Investigation of a Citizen Above Suspicion") gives a career performance as a man exiled by Mussolini to a rural village in southern Italy because of his anti-Fascist views. The experience proves revelatory for Volonte's citified intellectual who, possibly for the first time, grows to understand and appreciate the psychology of both his troubled country and its citizenry. Costarring the great Irene Papas, Alain Cuny and Lea Massari, this isn't the type of movie you casually dip into like an episode of a streamer series. Because it needs to be met head-on, don't even begin watching unless you're prepared to devote four hours to the experience. This is definitely one film you'll want to finish in one sitting. For such a major work, the extras are a little on the skimpy side (at least by Criterion's usual Tiffany standards). The worthiest supplement is a 1978 documentary contextualizing the movie within the tradition of Italian political cinema with both Rosi and Volonte. The rest--excerpts from a 1974 doc featuring Rosi and Levi; an excerpt from Marco Spagnoli's 2014 doc "Unico" in which Rosi discusses his working relationship with Volonte; a new interview with translator/author Michael F. Moore; an essay by Columbia University professor Alexander Stille--are fine, too, but it's the film itself which makes the disc a must-own. (A.)

COME AWAY--2020's second revisionist "Peter Pan" (the lovely, if little-seen "Wendy" by "Beasts of the Southern Wild" director Benh Zeitlin was the other) is so leaden and joyless that it barely registers a pulse. The first live-action movie helmed by "Brave" director Brenda Chapman stars Angelina Jolie and David Oyelowo as the parents of Peter (Jordan Nash) and Alice (Keira Chansa) whose adventures in Neverland wreak emotional devastation on their family. Everyone involved with the film has obviously tried very hard to create a spell of enchantment, but real magic eludes it at every step. The audience is likely to leave the theater as depressed as the morose characters. (C MINUS.)

COME PLAY--Oliver (Azhy Robertson), an autistic 8-year-old boy, inadvertently summons a diabolical force named Larry via his iPhone and iPad. It's up to Oliver's bickering parents--the always welcome Gillian Jacobs and John Gallagher Jr.--to rescue him (and themselves). Based on his 2017 short, director Jacob Chase's feature debut occasionally strains to pad its slender premise to 90-odd minutes. But empathetic performances and a refreshingly un-gory approach to screen horror makes it a decent alternative for anyone seeking a spooky pick-me-up. (C PLUS.)  

THE COMPLETE FILMS OF AGNES VARDA--"Complete" is right! This 15 (count 'em) disc Criterion Collection box set commemorating the 39-film oeuvre of French New Wave godmother Varda is the first truly indispensable Blu-Ray release of the new decade. If you think that "godmother" sobriquet sounds like hyperbole, consider: when 26-year-old Varda made her first feature (1955's "La Pointe Courte" starring a baby-faced Phillipe Noiret), Jean-Luc Godard and Francois Truffaut were still writing movie reviews for Cahiers du Cinema. Besides a sumptuously illustrated 200-page book containing notes on Varda's films and essays on her life by, among others, Amy Taubin and Ginette Vincendeau, seemingly every frame of celluloid and/or video Varda shot in the course of her lifetime is included here. From undisputed classics like "Cleo From 5 to 7 (1962), "One Sings, the Other Doesn't" (1977) and "Vagabond" (1985); to the relatively obscure (among them 1969's "Lion's Love...and Lies" starring Andy Warhol superstar Viva and "Hair" authors Gerome Ragni and James Rado which plays like a West Coast Warhol movie, and 1995's star-studded "One Hundred and One Nights" whose stunningly eclectic cast includes everyone from Marcello Mastroianni to Robert DeNiro, Catherine Deneuve and Harrison Ford); her culty 1988 collaborations with Jane Birkin ("Kung Fu Master" and "Jane B. par Agnes V."); Varda's loving celebrations of the life and career of her late husband, Jacques Demy (1991's "Jacquot de Nantes" and 1995's "The World of Jacques Demy"); as well as her lavishly praised 21st century docu-diaries (including 2017's "Faces Places," 2000's "The Gleaners and I" and her final film, last year's suitably elegaic "Varda by Agnes"); they're all here. As are any number of shorts like 1970's "Black Panthers," shot during the same late 1960's L.A. sojourn that produced "Lion's Love" and Demy's "The Model Shop." Besides the copious discoveries the set provided, it was lovely revisiting a digitally restored copy of my personal favorite Varda, 1965's "Le Bonheur," whose intoxicatingly romantic spirit always felt a bit like one of Demy's movies (minus the song score, natch). Predictably, Criterion's extras (e.g., rare footage from unfinished Varda features, "La melangite" and "Christmas Carole;" over seven hours of archival programs featuring Varda, many directed by her as well; and a 72-minute 2006 television version of a Varda installation from the previous year) are nearly as bountiful as the films themselves. You could spend a month of weekends just getting through them all. (A PLUS.)

THE CROODS 2: A NEW AGE--Formulaic sequel to the 2014 DreamWorks CGI caveman 'toon in which the Crood brood (Nicolas Cage, Catherine Keener, Emma Stone and Ryan Reynolds as Stone's boy-toy) moves to a more upscale prehistoric 'hood where their new neighbors (Peter Dinklage and Leslie Mann voice The Bettermans) turn out to be status-conscious snobs. Bananas, "punch monkeys" and Partridge Family songs factor into the equation which is punctuated by the sort of lame caveman jokes that would have been rejected by "Flinstones" staff writers in the 1960's. (C MINUS.)

DIARY OF A MAD HOUSEWIFE--The final collaboration between director Frank Perry and screenwriter/producer Eleanor Perry (they divorced shortly after its release), is, not so coincidentally Perry's last great film. Seen today, Carrie Snodgress' magnificent lead performance as a Manhattan wife/mother who's more angsty than insane feels doubly poignant since it serves as a reminder of the great career Snodgress should have had back in the day if Hollywood had known what to do with her. (At least she scored a Best Actress Oscar nomination for the movie.) As Snodgress' awful husband and equally icky lover, Richard Benjamin and Frank Langella single-handedly define just what the Women's Liberation movement was rebelling against. The newly released Kino-Lorber Blu-Ray includes an audio commentary by historians Steve Mitchell and Howard S. Berger and screenwriter Larry ("Ed Wood," "The People Vs. Larry Flynt") Karazewski. (A.)

THE EMPTY MAN--An empty vessel. Based on Cullen Bunn's graphic novel, first-time director David Prior's egregiously overlong supernatural thriller is long on moody atmosphere, but fatally lacking in any palpable suspense. Good actors like James Badge Dale, Marin Ireland and Stephen Root seem as confused by the murky script as any theatrical audience this hopes to attract will be. Prior, a longtime associate of David Fincher, mimics Fincher's slow-burn style--and dark color palette--without any of the intensity or creative genius. (C MINUS.)

FAT MAN--When a bratty rich kid (Chance Hurstfield) gets a lump of coal in his holiday stocking, he hires a hitman (Walton Goggins) to ice Santa Claus. Since Santa is played by Mel Gibson--who, quite frankly, is getting too old for this shite--it's going to take more than a contract killer to cancel Christmas. A semi-clever idea is bludgeoned to death by inelegant execution and lazy writing. For anyone thinking of taking the kids (hey, it's Santa!), this is one of the bloodiest, most sadistic movies in recent memory. Ho-ho-huh? (C MINUS.) 

FIRST COW--In the 1820's Oregon Territory, a cooking savant (John Magaro) and his Chinese immigrant buddy (Orion Lee) team up to start a baking business whose secret ingredient is pilfered milk from the town's only cow. Their problems begin once the beast's owner (Toby Jones as a transplanted British land baron) gets wind of their illicit late night milking. Like all of director Kelly Reichardt's films ("Wendy and Lucy," "Certain Women"), this moves at its own measured pace, and there's not a whole lot of conventional "action." But the wonderful performances, marvelously tactile "McCabe and Mrs. Miller"-ish production design and Christopher Blauvelt's gorgeous cinematography insure that it's consistently absorbing and even (a Reichardt first?) robustly entertaining. (A.)

FOUR KIDS AND IT--Michael Caine provides the voice for an ancient sand monster (the titular "It") who comes back to life in order to grant wishes to--you guessed it--four children. Russell Brand plays the Big Bad who wants to kidnap the beast to do his less benign bidding. Middling British kidflick that feels an awful lot like the sort of blandly interchangeable movies that Steven Spielberg's Amblin used to produce in the '80s ("Harry and the Hendersons," "Batteries Not Included," etc.). Not terrible, just instantly forgettable. (C.)

FREAKY--Or "Freaky Friday the 13th." Christopher Landon, director of the "Happy Death Day" movies, returns with an even better darkly comic horror flick about a serial killer (Vince Vaughn as the infamous Blissfield Butcher) who swaps bodies with 17-year-old high school student Millie (Kathryn Newton). There are more laughs than scares, but its meta-cleverness keeps you happily buzzed for the duration. (B.)

THE GLORIAS--Visionary director Julie ("Frida," "Across the Universe") Taymor's Gloria Steinem biopic is as entertaining as it is fascinating--and a much-needed corrective to FX/Hulu's lopsided "Mrs. America" miniseries from earlier this year. Played at various stages of her life by Ryan Kiera Armstrong, Lulu Wilson and Oscar winners Alicia Vikdander and Julianne Moore (all of whom are wonderful), feminist icon Steinem leaps off the screen in vivid, compelling fashion. Thanks to Taymor's unerring visual dynamism, it's a feast for the eyes as well. As both character study and sweeping historical drama, this 2020 Sundance Film Festival hit stands proudly as one of the year's finest and most essential movies.

(A MINUS.)

GODMOTHERED--Jillian Bell is a klutzy godmother-in-training who comes to the aid of harried single mom Isla Fisher in director Sharon ("Bridget Jones's Diary") Maguire's lightly likable Disney streamer. Considering the fact that Fisher is one of screendom's most gifted comediennes, it's mystifying that she's not given anything funny to do: she basically plays straight woman to Bell whose performance is pitched at "11." Still, as holiday-themed family comedies go, it's still better than most. (Take "A Christmas Chronicle 2;" please.) (C PLUS.) 

GREENLAND--After a giant comet renders most of Earth uninhabitable, Atlanta engineer Gerard Butler must somehow find a way to bring his wife (Morena Baccarin) and son (Roger Dale Floyd) to safety in--you guessed it--Greenland. Butler's latest "B" disaster flick isn't quite as howlingly awful as his last one (2017's dreadful "Geostorm"), but it's easy to see why it was rerouted to streamers. "Armageddon" and "Deep Impact," not to mention Irwin Allen's entire 1970's oeuvre, never looked better. (C MINUS.)

HALF BROTHERS--An uptight Mexican yuppie (Luis Gerardo Mendez) learns that he has an American half-brother (Connor Del Rio who overplays the yang to Mendez's ying) after being summoned to their dying father's bedside. The Chicago-to-El Paso road trip/scavenger hunt that ensues serves as the template for a "Planes, Trains and Automobiles"-style odd couple/buddy movie, but John Candy and Steve Martin did it a lot better 33 years ago. Not half-bad, but not very good either. (C PLUS.)

HAPPIEST SEASON--Mackenzie Davis takes girlfriend Kristen Stewart home to Grove City, PA for the holidays. The only problem is that she still hasn't come out to her family (Victor Garber and Mary Steenburgen play Davis' uptight parents). Director Clea DuVall's frisky, friendly rom-com is likely to become a Yuletide staple in LGBTQ households. Or any household that's grown increasingly tired of "A Christmas Story" and "It's a Wonderful Life" reruns. (B.) 

HERSELF--Phyllida ("The Iron Lady," "Mamma Mia!") Lloyd's moving new film stars Clare Dunne--who also cowrote the screenplay--as Sandra, a battered housewife/mother whose attempts to free herself and her children from an abusive spouse (Ian Lloyd Anderson) turn into a Sisyphian battle against governmental red tape. Dunne brings such a steely resolve to Sandra that you can't help but rooting for her battle against an outdated patriarchal system of oppression. It's a remarkable performance. (B PLUS.)

HILLBILLY ELEGY--J.D. Vance's best-selling 2016 memoir about growing up poor and disenfranchised in southwestern Ohio has been turned into an awards bait Ron Howard movie that, sadly, rings false in nearly every way. Amy Adams, Glenn Close and Gabriel Basso (as, respectively, Vance's mom, grandma and Vance himself) act their hearts out, bless their souls, but air-brushed Hollywood "poverty" can't help but feel synthetic and a trifle condescending. (C MINUS.)

HONEST THIEF--After a pair of non-genre movies ("Ordinary Love" and "Made in Italy," both released this year) to prove he can still act, Liam Neeson returns to tough-guy avenger mode with a pedestrian B-movie in a bid to reclaim his red meat "Taken" fanbase. Neeson plays a career bank robber whose bid to go straight is foiled by some crooked feds. The rest plays out pretty much as you'd expect if you've seen any straight-to-DVD action flicks in the past ten years. (C MINUS.)

I'M THINKING OF ENDING THINGS--Oscar-winning screenwriter Charlie ("Being John Malkovich") Kaufman's first live-action directorial outing since 2008's brilliant "Synechdoche, New York" is another WTF?!? triumph. Jesse Plemons and Jesse Buckley take a road trip to visit his parents' (Toni Collette and David Thewliss) farm. In the process, their still-new relationship begins to unravel in disturbing and even frightening ways. While a tad overextended at 140 minutes (a common Netflix problem), it's so brilliantly crafted, compelling and superbly acted that I could have easily sat through an additional hour. (A.)

THE INFORMER--Ex-con Joel Kinnaman is recruited by F.B.I. agents Rosamund Pike and Clive Owen to go undercover and infiltrate a psychotic drug lord (Eugene Lipinski). What could possibly go wrong? Well, pretty much everything as it turns out. A not unwelcome throwback to the sort of glorified "B" movies that studios routinely produced once upon a time before going almost exclusively into the comic book franchise business. (C PLUS.)

THE IRISHMAN--The third Netflix original to get the Criterion Collection treatment (their previously released 'flix films were "Roma" and "Marriage Story") is Martin Scorsese's three-and-a-half-hour mob drama magnum opus that ranks among the finest work of America's greatest living director. Suffused with a Proustian density and the kind of emotional weight and reflectiveness that only comes with age, it both demands and rewards multiple viewings. Fantastic performances by Robert DeNiro, Al Pacino, Joe Pesci, Stephen Graham, Harvey Keitel, et al., too. The extras offer a groaning board of additional cinephile pleasures, including a 2019 roundtable conversation with Scorsese, DeNiro, Pacino and Pesci; "Making 'The Irishman'" featuring Scorsese, producers Irwin Winkler, Jane Rosenthal and Emma Tillinger Koskoff, cinematographer Rodrigo Prieto and various cast/crew members; critic Farran Smith Nehme's "Gangsters Requiem," a video essay contextualizing "The Irishman" within Scorsese's oeuvre; an inside baseball-y exegesis by Scorsese of the movie's Frank Sheeran Appreciation Night sequence; "The Evolution of Digital De-aging," a fascinating 2019 short on how the visual effects were created; 1999 and 1963 interviews with, respectively, Frank "The Irishman" Sheeran and Jimmy Hoffa; and "The Wages of Loyalty," an essay by critic Geoffrey O'Brien that takes a deep dive into the film. (A PLUS.)

IRRESISTIBLE--It's not surprising that a movie about American politics written and directed by Jon Stewart would be smart, pointed and, yes, very funny. But Stewart's second film as writer-director--his first was the under-seen 2014 drama "Rosewater"--is also beautifully acted, confidently helmed and snappily paced. In his best screen role in years, Steve Carell plays a political strategist convinced that the future of the Democratic party is a retired Marine colonel (Chris Cooper) he coerces into running for mayor of a sleepy Wisconsin burg. Rose Byrne plays the equally jaundiced GOP operative trying to poach Carell's "irresistible" candidate away from him. Costarring Mackenzie Davis and Topher Grace, the laughs are bountiful and immensely gratifying in our scorched earth Trumpian era. If Preston Sturges were still alive and making populist-leaning political satires like "The Great McGinty" and "Hail the Conquering Hero," the result might look an awful lot like this. (B.)

JUNGLELAND--Charlie Hunnam plays the screw-up manager/trainer of his bare-knuckle pugilist little brother Jack O'Connell in a modestly compelling family drama that will seem awfully familiar to anyone who's seen "The Fighter" or "Warrior." Accompanied by a teenage runaway (Jessica Barden from Netflix's "The End of the F***ing World"), the brothers drive from Massachusetts to San Francisco for an underground boxing match--the titular "Jungeland"--with a $100,000 purse. Predictably for this type of movie, the journey proves more important than the actual destination. (C PLUS.)

KAJILLIONAIRE--A family of con artists (Richard Jenkins, Debra Winger and a fantastic Even Rachel Wood) invite a newbie (Gina Rodriguez) to join their reindeer games in Miranda ("Me, You and Everyone We Know") July's deeply strange, weirdly touching and impeccably acted new film. As usual, July is more interested in the dynamics of family--in all of its messy, dysfunctional permutations--than she is in plot mechanics, so don't expect a juicy neo-noir like "The Grifters," Stephen Frears' masterful 1990 adaptation of the Jim Thompson novel. It is, however, the finest, most bracingly original "con" movie since David Mamet's 1987 masterpiece, "House of Cards." And July remains one of the most interesting and idiosyncratic directors working in American indie cinema. I just wish she was more prolific: this is only her third film in fifteen years. (A.)

THE LADY EVE--Few directors in the history of American movies had as remarkable a winning streak as nonpareil writer-director Preston Sturges did in Hollywood's Golden Age. Beginning with "The Great McGinty" in 1940 and concluding with 1944's "Hail the Conquering Hero," Sturges made seven--count 'em--screwball classics that were as popular with audiences as they were with critics. "The Lady Eve," which came near the start of Sturges' amazing run (it was released in 1941), is perhaps my favorite of all his films. Barbara Stanwyck (never better) plays a conniving card shark who sets her sights on Henry Fonda's geeky snake researcher/brewery heir during an ocean cruise. The fact that the movie--thanks to Stanwyck and Fonda's densely layered performances--is as uproarious as it is touching proves Sturges' unmatched ability to turn emotions on a dime. The extras on the newly released Criterion Collection Blu-Ray/DVD are worthy of Sturges' genius. There's a 2001 audio commentary featuring film historian Marian Keane; an introduction, also from 2001, with the great Peter Bogdanovich; a new discussion with Bogdanovich, Sturges' biographer/son Tom Sturges, filmmakers James L. Brooks and Ron Shelton and critics Kenneth Turan, Susan King and Leonard Maltin; a video essay by critic David Cairns; a 1942 Lux Radio Theatre adaptation of the movie with Stanwyck and Ray Milland; an audio recording of a song ("Up the Amazon") from an unproduced stage musical based on the film; a 1946 Life Magazine Sturges profile; and an essay by critic Geoffrey O'Brien. (A PLUS.)

THE LAST SHIFT--After 48 years of working at Oscar's Chicken and Fish, a fast food restaurant in Albion, Michigan, graveyard shift manager Richard Jenkins is finally planning to retire. Before leaving his job, he's tasked with training a young ex-con (Shane Paul McGhie, terrific), an experience that proves instructive for both of them. Costarring Allison Tolman, Ed O'Neill, Birgundi Baker and Da'Vine Randolph, director Andrew Cohn--a documentarian making his first fiction film--brings a nuanced, non-judgmental eye that helps make this a thoughtful examination of working class American lives. (B.)

THE LAST VERMEER--True-life story about Dutch art dealer/con man Hans van Meegeren (a career-best Guy Pearce) who was accused of collaborating with the Nazis during World War II. (He allegedly sold a priceless Vermeer painting to Hermann Goering.) Claes Bang--most recently seen in another art-themed movie, "The Burnt Orange Heresy"--plays the Dutch Jewish officer tasked with investigating van Meegeren by the Allied provisional government who wound up defending him in court. First-time director Dan Friedkin has crafted a great-looking film with juicy performances (the tony supporting cast includes Vicky Krieps from Paul Thomas Anderson's "Phantom Thread" and August Diehl who starred in Terrence Malick's "A Hidden Life") that plays more like crafty pulp fiction than a cut-and-dried historical drama. (B PLUS.) 

LET HIM GO--When their late son's widow surreptitiously moves to North Dakota with her abusive new husband, Montana ranchers Kevin Costner and Diane Lane embark on a road trip to keep tabs on their young grandson. The family reunion doesn't go especially well; soon shotguns are a-blazing and butcher knives wielded. Until derailing in its implausible third act, director Thomas ("The Family Stone") Bezucha's adaptation of Larry Watson's 2013 novel is suitably gripping and impeccably acted (Costner and Lane are predictably aces, and Jeffrey Donovan, Will Brittain and a deliciously villainess Lesley Manville impress as the in-laws from hell). Bezucha also does a nice job of establishing the film's early-'60s setting without hitting you over the head with Boomer signifiers. (B.) 

LET THEM ALL TALK--Oscar-winning director Steven Soderbergh's smashing new dramedy is set almost entirely aboard the Queen Mary 2 where a Pulitzer-winning novelist (Meryl Streep) is reunited with her college pals (Dianne Wiest and a scene-stealing Candice Bergen). Although the pretext for the ocean voyage is a chance for the three ladies to catch up, things don't quite go according to plan. Soderbergh--who shot the film in just 14 days--brings such a Gallic je ne sais quoi to the proceedings that I kept picturing Isabelle Huppert in Streep's role. Oui, oui! (A MINUS.)

LOVE AND MONSTERS--In a dystopian future world ruled by giant monsters, Dylan ("The Maze Runner") O'Brien embarks on an 80-mile trek to reunite with his high school sweetheart (Jessica Henwick). Goofy, kind of sweet, but ultimately no great shakes unless you're a tween who hasn't seen a whole lot of movies. It's "Zombieland" minus the zombies, gore, meta humor and Bill Murray. (C.)

MADE IN ITALY--A reclusive British artist (Liam Neeson in a welcome break from vigilante dad flicks) and his estranged son (Micheal Richardson) meet in Italy to sell the crumbling villa left to them by their late wife/mother. Rapprochement isn't easy, but the sunny climate and rustic charms of the Italian countryside prove to be potent icebreakers. Nice support from Valeria Bilello as the comely local restauranteur Richardson strikes romantic sparks with and Lindsay Duncan who comes close to stealing the movie as an acerbic realtor. (B MINUS.) 

MANK--David ("The Social Network," "Gone Girl") Fincher's glittery recreation of 1930's Hollywood in all its b&w splendor serves as the backdrop for the story of how Herman J. Mankiewicz (a splendid Gary Oldman) cowrote "Citizen Kane" with Orson Welles. As Marion Davies, William Randolph Hearst's mistress and the inspiration for "Kane"'s Susan Alexander, Amanda Seyfried gives an Oscar-worthy performance. The one major problem I have with the film is that it purposely discounts Welles' literary contribution at the expense of lionizing Mankiewicz. But I guess that's why it's called "Mank." (A MINUS.)

MA RAINEY'S BLACK BOTTOM--August Wilson's 1982 play--part of his ten-part "Pittsburgh Cycle" despite taking place entirely in a Chicago recording studio--is transferred to the screen with a minimum of frills by esteemed stage director George C. Wolfe who wisely turns it into a showcase for the thesping wattage of Viola Davis (blues legend Ma Rainey) and the late Chadwick Boseman (Rainey's new horn player). It's more canned theater than cinema, but powerhouse performances by the two dynamic leads make this an unforgettable experience nonetheless. (B PLUS.)

MARTIN EDEN--Jack London's classic novel about a man of humble origins who rises to the ranks of society and literati has been transplanted to Italy with Pietro Marinelli as the social-climbing titular character. Director Pietro Marcello's engrossing, remarkably tactile adaptation is a master's class on how to bring great literature to the screen. It's slightly wonky, unabashedly erudite but also a fascinating example of how to make a story (and characters) written more than a century ago come to vivid and often quite beautiful life. (A.)

THE MIDNIGHT SKY--While director/star George Clooney's dystopian sci-fi-er is visually stunning, the script--adapted from Lily Brooks-Dalton's 2016 book, "Good Morning, Midnight"--appears to have been recycled from countless other post-apocalyptic yarns. Clooney plays a dying astronomer living in the Antarctic, and Felicity Jones, Kyle Chandler and David Oyelowo are among the astronauts whose two-year mission climaxes with a global crisis that prevents them from returning to earth. A stirring score by the great Alexandre Desplat helps fill in some of the emotional beats missing from the actual film, but it's a lost cause. (C.)

MILITARY WIVES--"Full Monty" director Peter Cattaneo returns from career limbo with another feel-good flick about a group of army wives who form a choir on a British military base during the Afghanistan War. Kristin Scott Thomas (uptight) and Sharon Horgan (fun-loving) star as the polar opposites vying for control of the chorus members' hearts and minds. Allegedly "inspired" by a true story, it actually feels more influenced by other middlebrow dramedies of its ilk, Cattaneo's own "Monty" included. (B MINUS.)

MOUCHETTE--Only the great French ascetic Robert Bresson could make a film ending in the suicide of its lead character that somehow feels emotionally transcendent. The 1967 follow-up to what many--myself included--consider Bresson's greatest work (the previous year's ineffable "Au hasard Balthazar"), "Mouchette" is a movie that has only gained in stature with critics and audiences over the ensuing decades. It's now regarded as one of his seminal films, and certainly one of the most distinctly "Bressonian." The newly released Criterion Collection release looks amazing in its 4K digital restoration; unfortunately, the extras aren't nearly as plentiful as the Criterion norm. Included are a 2006 audio commentary track by critic Tony Rayns; "Au hasard Bresson" (cute title), Theodore Kotulla's 1967 documentary featuring Bresson on the set of "Mouchette;" a standalone episode of French tube series "Cinema" that includes on-set interviews with Bresson and actors Nadine Nortier and Jean-Claude Gilbert; the original French trailer (edited by none other than Jean-Luc Godard!); and a recycled 2007 essay ("Girl, Interrupted") by critic/poet Robert Polito. Perhaps the lack of frou-frou was intentional. After all, I did say that Bresson was an ascetic. (A.) 

MULAN--The weakest Disney 'toon to be given the live action treatment is, ironically, one of the best. Cross-dressing warrior Mulan (promising newcomer Yifei Liu) almost single-handedly saves her kingdom from imminent doom--albeit with the help of enough CGI to keep ILM in business until the 22nd century. Niki ("Whale Rider") Caro's $200-million mega-production features an all-star Asian cast that includes such stalwarts as Gong Li (who gives the film's best performance), Jet Li, Donnie Yen and Jason Scott Lee, and everyone is terrific. Of all the movies re-routed to streamers in the Covid era, this probably suffers the most from being viewed on a small screen. Caro has made a film so visually dazzling and with such an epic sweep/feel that only IMAX could have done it justice. But it's so entertaining and well-made that it deserves to be seen in any format. (B PLUS.)

THE NEST--Sean Durkin's first film since his 2011 Sundance breakthrough,"Martha Marcy May Marlene," stars Jude Law and the phenomenal Carrie ("The Leftovers," FX's "Fargo") Coon as a married couple who uproot their family and move to mid-1980's England with predictably dire consequences. While Law's character loves referring to himself as a commodities broker wunderkind, he's really just a cash-poor fabulist heading for a major fall. The title makes it sound like a cheesy, direct-to-video horror flick, but this is actually sophisticated arthouse fare vaguely reminiscent of Joseph Losey's hallowed collaborations with Harold Pinter ("Accident," "The Servant," etc.). High praise indeed. (A MINUS.)

THE NEW MUTANTS--Five adolescent mutants (including Maisie Williams from "Game of Thrones" and "The Witch" ingenue Anya Taylor-Joy) are held for observation in a psychiatric hospital by a doctor (Alice Braga) whose motives remain, uh, murky at best.The last official entry in the "X-Men" franchise has been collecting dust on the shelf for two years (it had eight different release dates in the interim), and it's easy to see why. Director Josh ("The Fault in Our Stars") Boone seems to think his mission was to make a touchy-feely YA movie which is neither particularly interesting or even original. After all, previous "X-Men" flicks like 2011's "First Class" have flirted with YA tropes without forgetting they were supposed to be comic book adventures, too. This non-starter is talky, sluggishly paced and strictly for "X"-pletists. (D PLUS.)

ON THE ROCKS---Sofia Coppola's best film since 2010's "Somewhere" is another perfectly scaled minor masterpiece about the unconventional relationship between a father and daughter. Rashida Jones plays a Manhattan wife/mother whose suspicions that her husband (Marlon Wayans) may be having an affair triggers an alarm with reprobate dad Bill Murray. 

Soon, the two are conducting not-so-clandestine surveillance on the hubby, squabbling and affectionately pressing each other's buttons every step of the way. Like Coppola and Murray's previous big-screen collaboration, 2003 Oscar nominee "Lost in Translation," not a whole lot happens in terms of "plot." But its the incidental character details and lovingly rendered ambiance (New York City is as much of a protagonist as Jones or Murray) that make the journey so richly amusing and inexorably moving. (A.)

PALM SPRINGS--This smashing Millennial riff on "Groundhog Day" stars Andy Samberg and Cristin Miliati as wedding guests doomed to repeat the same day ad nauseam. A lot has changed since 1993 when Bill Murray repeatedly woke up to the strains of Sonny and Cher's "I Got You Babe" in Punxsutawney, PA, and director Max Barbakow and screenwriter Andy Siara prove adept ghost whisperers of a new generation of discontented, vaguely nihilistic thirty somethings who want to grow up, but aren't sure whether it's worth the trouble. (Which probably explains the 21st century cultural domination of comic book movies.) The abyss of contemporary American life has rarely been this scabrously funny or exquisitely moving. (A.)

THE PERSONAL HISTORY OF DAVID COPPERFIELD--The antithesis of a musty Masterpiece Theater-style embalming of "Great Literature," "Veep" creator Armando Iannucci's spry, witty, indecently entertaining Charles Dickens adaptation pretty much defines "romp." Casting "Slumdog Millionaire" star Dev Patel as David pretty much insures this isn't going to be your grandmother's "Copperfield," and Iannucci's multicultural, contemporary sensibility informs nearly every delicious frame. The result is a singular achievement, and the cast is glorious--including Tilda Swinton, Hugh Laurie and "Dr. Who" Peter Capaldi--too. Not only is Patel's titular protagonist the hero of his life, his movie is the de facto hero of a very sad, tragically deflated movie year. (A.)

PIECES OF A WOMAN--Vanessa Kirby plays a young woman whose marriage to Shia LeBeouf falls apart after their baby girl dies post-childbirth. Director Kornel Mundruczo does such extraordinarily intimate work with his actors (including screen legend Ellen Burstyn as Kirby's mother) that the line between character and performer all but disappears. Like the John Cassavetes masterpieces it resembles (particularly 1974's "A Woman Under the Influence"), it can be an excruciatingly painful movie to watch at times. But chances are likely that you'll never forget it. (A MINUS.)

PIERROT LE FOU--In his Village Voice review, critic Andrew Sarris said that this early period Jean-Luc Godard masterpiece was the first Godard film he had to wait on line to see. Although it premiered at the 1965 Venice Film Festival--and screened at the New York Film Festival the following year--"Pierrot le Fou" didn't receive a U.S. theatrical release until early 1969. At that point, even the director's most ardent fans were beginning to suspect that the days of conventionally entertaining Godard movies like "Breathless," "Band of Outsiders" and "A Woman is a Woman" were long gone. No wonder "le Fou," arguably the last Godard film that could be categorized as "fun," became a hot ticket among Manhattan cinephiles. On paper, it didn't sound appreciably different than Gallic bon-bons like "That Man from Rio" and "Up to His Ears" that Godard leading man Jean-Paul Belmondo had been making for Philippe De Broca during the same mid-'60s period. But as always with Godard, his signature "JLG" touches were in the details. Belmondo plays Ferdinand, a romantic iconoclast who ditches his rich wife to go on an extended (and increasingly surreal, with playful comic book touches sure to endear it to Marvel and D.C. fans) road trip with ex-girlfriend/gangster moll Marianne (Godard's then wife/muse, Anna Karina). The pair is ostensibly rebelling against capitalist/consumerist culture and bourgeois society, but it's really just topical window-dressing for a giddy homage to the sort of "lovers on the run" Hollywood noirs like "They Live by Night" and "Detour" that Godard would soon reject. Among the extras on the newly released Criterion Collection Blu-Ray are a 2007 Karina interview; 2007 video essay "A 'Pierrot' Primer" helmed by frequent Godard collaborator Jean-Pierre Gorin; Luc Lagier's 2007 documentary, "Godard, l'amour, la poesie," about Godard and Karina's marriage and professional relationship; excerpts from 1965 interviews with Godard, Belmondo and Karina; an essay by Godard biographer/New Yorker film critic Richard Brody; Sarris' original review of the film; and a 1965 interview with Godard. (A.)

POSSESSOR--Brandon Cronenberg's sophomore film is a stunning leap from his 2012 debut (the merely icky "Anti-Viral"). At its best, it could even be mistaken for one of his superstar director dad David's finest works. Jennifer Jason-Leigh, who starred in Cronenberg Sr.'s 1999 freakout "Existenz," plays the head of a top-secret agency that inserts brain implants into agents who then inhabit the bodies of unwitting assassins. It's a millennial "Manchurian Candidate," perfect for this social media era. As Jason-Leigh's star pupil, Andrea Riseborough is creepily effective, and Christopher Abbott comes close to stealing the show as her latest, er, success story. Provocative, terrifying and sometimes profound, it's one of the year's most disturbing (and unforgettable) films. (A MINUS.)

THE PROM--Based upon the cultish 2018 Broadway musical, Ryan Murphy's shrill and frequently grating Netflix adaptation stars Meryl Streep and James Corden as Broadway has-beens who, after teaming up with never-weres Nicole Kidman and Andrew Rannells, descend upon a small Indiana town to teach tolerance. (Really.) Except for Kidman--possibly the finest working actress in film/television today--nearly every performance is pitched to the second (or is it third?) balcony. Whether Streep or Corden is the worst offender in that regard, I'll let you be the judge. (D PLUS.)

PUZZLE OF A DOWNFALLEN CHILD--The directorial debut of former fashion photographer (and future Cahiers du Cinema darling) Jerry Schatzberg was barely released by Universal Pictures in 1970 despite starring "Bonnie and Clyde" breakout--and onetime Schatzberg gal pal--Faye Dunaway. In fact, the movie has been notoriously difficult to see for decades. Even rep houses--remember them?--couldn't get a print. So Kino-Lorber's newly issued Blu-Ray is a both a cause for celebration as well as a much-needed corrective to the official history of the New Hollywood era. Schatzberg, whose subsequent filmmaking career had its ebbs and flows (1973's Palme d'Or winning "Scarecrow" with Gene Hackman and Al Pacino and 1979's whip-smart political drama "The Seduction of Joe Tynan" were arguably his post-"Child" high points), does his best-ever work here. Although heavily influenced by European art films of the era--Antonioni and Bergman in particular--Schatzberg finds his own distinctive voice in telling the haunting story of a former model (Dunaway as the titular "downfallen child") whose past and present merge in a fugue-like state as she recalls her life to a former colleague (Barry Primus) who plans to use her life story as grist for an upcoming movie. Dunaway is extraordinary: I think this ranks, alongside "B&C," "Chinatown," "Network" and "Mommie Dearest," among her all-time great screen performances. She's reason enough to see this, but the film itself is pretty darn remarkable as well. They really don't make 'em like this anymore. Extras include a reflective Schatzberg interview; an audio commentary track by historians Bill Ackerman and Daniel Kramer; and the alternate studio-mandated opening. (A.)  

RADIOACTIVE--A compelling, if rather decorous biopic about two-time Nobel Prize-winning scientist Marie Curie by director Marjane Satrapi whose autobiographical 2007 animated one-off "Persepolis" remains her best film to date. Rosamund Pike and Sam Riley are very good as Marie and co-researcher hubby Pierre, but Satrapi's attempts to footnote their discoveries of radium and polonium with a warning on the moral consequences (the A-bomb!) feels rather pedantic and even mildly hokey. As a primer on the Curies' extraordinary lives and times (late 19th century to early 1930's Paris) it'll suffice until a better movie comes along. (B MINUS.)

A RAINY DAY IN NEW YORK--Timothee Chalamet and Elle Fanning (both infinitely charming) play college students who spend a weekend in Manhattan and encounter a series of, uh, challenges to their relationship. Among them are a big-shot movie director (Liev Schreiber) Fanning is interviewing for her school paper, and the kid sister (Selena Gomez in a scene-stealing turn) of Chalamet's ex. Despite a release delay of almost a year, this Woody Allen rom-com is hardly damaged goods. In fact, it's one of Allen's most buoyantly entertaining films in recent memory, and gorgeously lensed by cinematographer extraordinaire Vittorio Storaro. Wonderful supporting performances from (among others) Diego Luna, Cherry Jones and Jude Law. (A MINUS.)

REBECCA--Armie Hammer and Lily James replace Laurence Olivier and Joan Fontaine in director Ben Wheatley's freeze-dried remake of Alfred Hitchcock and David O. Selznick's Oscar-winning 1940 Daphne Du Maurier adaptation. Wheatley, best known for iconoclastic, envelope-pushing movies like "High-Rise" and "Free Fire" seems to be chafing at the constraints of telling a conventional story in a more or less conventional manner, and that tension results in a film that can't make up its mind what it wants to be. Or why it even exists. Hammer, James and especially Kristin Scott Thomas as Mrs. Danvers (a role immortalized by Judith Anderson in the Hitchcock version) are all perfectly fine, I suppose, but no one involved with this Netflix production has given us a satisfactory reason to return to Manderlay. (C.)

THE RENTAL--Two annoying yuppie couples rent a country home for a weekend getaway that turns out to be anything but a vacation. First-time director Dave Franco does a commendable job of ratcheting up the suspense and creating atmosphere. Unfortunately, the characters are so uniformly unappealing that it's difficult to care what happens to them once the killings begin. Alison Brie and Dan Stevens (with another wobbly "American" accent) are the most familiar faces in the cast, but the best performance is turned in by Toby Huss as a vaguely menacing rental agent. (C PLUS.) 

ROALD DAHL'S THE WITCHES--How ironic that Robert Zemeckis' most enjoyable--and most successfully realized--film since 2000's "Cast Away" would be rerouted to HBO MAX due to the global pandemic. Based upon Roald Dahl's 1983 kid-lit favorite (previously filmed by Nicolas Roeg in 1990), this new version features a fun cast, spooky scares, a judicious helping of humor and--a rarity for Zemeckis this millennium--CGI in service of the material rather than as a be-all/end-all. Anne Hathaway plays the Grand High Witch, and the best compliment I can pay is that her performance compares favorably with Anjelica Huston's justly legendary portrayal from the Roeg version. Octavia Spencer and newcomer Jahzir Kadeem Bruno make splendidly empathetic protagonists, and watching them get the upper hand on the broom-riding sisters-of-Satan at a witches convention is as fun as it is emotionally gratifying. (B.) 

ROLLING THUNDER REVUE: A BOB DYLAN STORY BY MARTIN SCORSESE--The second Martin Scorsese Netflix movie released by the Criterion Collection in as many months is another masterful Scorsese music documentary (see "No Direction Home," his fantastic 2005 Dylan bio-doc). "Rolling Thunder Revue" incorporates (frequently rare) archival footage/interviews, generous clips from Dylan's undeservedly obscure 1978 mega opus "Renaldo and Clara" and more (much more) in the service of something altogether unique and largely unprecedented in music film annals: a playful, occasionally laugh-out-loud-funny meditation on time, memory, "truth" and illusion, and the tricks a brilliant director can wring from the so-called historical record. Set largely against the backdrop of Dylan's legendary 1975 Rolling Thunder Revue--essentially a traveling counterculture caravan featuring Allen Ginsberg, Joni Mitchell and Joan Baez among other Baby Boomer icons--the movie is consistently surprising, often revelatory and enormously entertaining. Extras include interviews with Scorsese, editor David Tedeschi and writer Larry Sloman; restored footage of heretofore unseen Rolling Thunder Revue performance footage (including a new, extended cut of "Tangled Up in Blue"); a nuts-and-bolts demonstration on how the original footage was digitally restored for the film; an essay by novelist Dana Spiotta; and "Logbook Entries" by Sam Shepard, Ginsberg and Anne Waldman. My only disappointment is that "Renaldo and Clara"--which has been notoriously difficult to see since its truncated theatrical release 40+ years ago--isn't included among the disc's bonus features. (A.) 

RUN--Sarah Paulson's twisted notion of Mother Love is potentially homicidal in "Searching" director Aneesh Chaganty's tightly coiled nail-biter. As the teenage daughter caught in Paulson's web of deceit and much, much worse, Kiera Allen delivers a standout debut performance. (B PLUS.)

SAFETY--Inspirational true-life story of Clemson football player Ray Ray McElrathbey who, after being forced to become the legal guardian of his 11-year-old brother, nearly lost his player eligibility to NCAA apparatchiks. Corny, but affecting thanks to empathetic performances from Jay Reeves and Thaddeus J. Mission as the McElrathbey brothers, and Corinne Foxx and Hunter Sansone as, respectively, Ray Ray's girlfriend and roommate. 

(B MINUS.)

SAVE YOURSELVES!--Brooklyn hipsters John Reynolds and Mani Bilyn travel upstate to a cabin in the woods for a week-long vacation. Unplugged from technology, they're oblivious to an incipient alien invasion. A goofy throwback to '80s creature features like "Gremlins," "Critters" and "The Evil Dead," co-directors Alex Huston Fischer and Elena Wilson's debut feature is a little too wink-wink, nudge-nudge meta for its own good, but immensely charming and frequently laugh-out-loud funny. Screen newcomers Renolds and Bilyn are good company, and dependable scene-stealers Amy Sedaris and Ben Sinclair provide stellar back-up support. (B MINUS.)

THE SECRET GARDEN--Even though Agnieszka Holland's 1993 version was pretty much flawless, there's nothing intrinsically wrong with attempting another screen iteration of Frances Hodgson Burnett's kid-lit staple. Certainly Greta Gerwig proved with last year's "Little Woman" that even the hoariest literary chestnuts are worth revisiting when adapted by filmmakers willing to do something appreciably new/different with familiar source material. TV director Marc Munden hasn't done that, alas, with this perfectly serviceable, if largely uninspired reboot. Newly orphaned Mary (Dixie Egerickx) goes to live with her widowed uncle (Colin Firth) at his Mrs. Havisham-like country estate. Nice performances (Amir Wilson and Julie Walters steal the show as, respectively, Mary's woodsy pal Dickon and harrumphing housekeeper Mrs. Medlock) and lovely cinematography/production values help it go down easily enough. But it's unlikely to leave a lasting impression either. (C PLUS.)

THE SECRETS WE KEEP--In late 1950's America, a Romanian emigre (Noomi Rapace) begins to suspect that her neighbor (Joel Kinnaman) may have been the same SS officer who assaulted her and murdered her sister during WW II. Her revenge involves keeping him prisoner in her basement--and making hubby Chris Messina an accomplice. Israeli director Yuval Adler's pulpy melodrama flirts with exploitation movie tropes, but turns out to be thematically richer and a lot better than you might suspect. Strong performances by Rapace, Kinnaman, Messina and especially Amy Seimetz as the "Is he, or isn't he?" Nazi's wife. (B MINUS.)

SHE DIES TOMORROW-- Amy (Kate Lyn Sheil) has a premonition that she's going to die within 24 hours. Her alarming pronouncement spreads like wildfire, and soon everyone within her orbit (including best friend Jane Adams and brother Chris Messina) become convinced that they, too, are living on borrowed time. Sort of a feminist reimagining of David Robert Mitchell's high school freak-out "It Follows," Amy Seimetz's sensationally effective psychological horror flick also feels a bit like the first Covid movie. Beautifully acted, disorientingly trippy and profoundly unsettling, it's a film that's hard to shake. Weeks after seeing it, it's still creeping me out. (A MINUS.)

S**THOUSE--A college freshman (Cooper Raiff who also wrote and directed in an impressive filmmaking debut) has trouble adjusting to campus life in a refreshingly low-key and immensely likable new indie. As the sophomore RA our chronically depressed protagonist spends an eventful night with, Dylan Gelula practically oozes charisma, and Logan Miller steals every scene he's in as a stoner roommate-from-hell. Don't let the off-putting title be a deterrent: this is a terrific little film that deserves to find a wide and appreciative audience in whatever platform you can find it. (B PLUS.) 

SHORTCUT--Italian-made horror cheapie about what happens when a school bus driver takes a--you guessed it--shortcut en route to driving five high school students home. The American cast is appealing, though, and the creature effects are refreshingly Old School lo-fi. (C PLUS.)

SIX MORAL TALES--2020's first truly essential Blu-Ray release is also the most purely pleasurable: a lovingly packaged Criterion Collection box set of French New Wave master Eric Rohmer's self-described "Six Moral Tales." The features ("La Collectionneuse," "My Night at Maud's," "Claire's Knee" and "Love in the Afternoon") and shorts ("The Bakery Girl of Monceau" and "Suzanne's Career") have all been given scintillating 2K digital restorations, and collectively serve as the perfect gateway for anyone still unfamiliar with Rohmer's sublime oeuvre. Like pretty much every Rohmer movie, his "Moral Tales" are essentially romantic comedies, albeit rom-coms with a Ph.D. Hyperarticulate and effervescently witty, the nonpareil badinage between men and women in Rohmer Land would serve as a highly influential template to future filmmakers worldwide. Richard Linklater's "Before" trilogy would have never existed without Rohmer, nor would pretty much the entire filmography of South Korea's Hong Sangsoo. Befitting Criterion's usual standards of excellence, the 3-disc package has enough extras to keep a cinephile busy for weeks. There are four additional Rohmer shorts ("Presentation, or Charlotte and Her Steak;" "Veronique and Her Dunce;" "Nadja in Paris;" "A Modern Coed") from 1951, 1958, 1964 and 1966 respectively, and one that he served as adviser on (1999's "The Curve"); a 1965 episode from the French television series "En profil dans le texte" directed by Rohmer; archival interviews with Rohmer, actors Jean-Claude Brialy, Jean-Louis Trintignant, Beatrice Romand, and Laurence de Monaghan, film critic Jean Douchet and producer Pierre Cottrel; a 2006 conversation between Rohmer and director Barbet Schroeder; a 2006 "video afterward" by director/playwright Neil LaBute; a booklet featuring essays by critics Molly Haskell, Geoff Andrews, Phillip Lopate, Kent Jones, Ginette Vincendeau and even a remarkably sanguine piece from notorious contrarian Armond White; excerpts from cinematographer Nestor Almendros' 1984 autobiography in which he discusses his working relationship with Rohmer on the set of "La Collectionneuse;" Rohmer's legendary 1948 Les temps modernes essay "For a Talking Cinema;" and an English translation of the book of Rohmer stories which served as basis for the films. (A PLUS.)

SOUL--The best Pixar 'toon since "Inside Out," maybe "Up," makes a case for why living--even in our supremely imperfect world--is still worth fighting for. In a year when many of us have struggled with sundry existential crises on a daily basis, that message feels both tonic and reassuring. Jamie Foxx plays Joe, a failed jazz musician trying to return to earth after dying in a freak accident. As soul-in-training #22, Tina Fey provides the inner voice of Joe's "spirit." It's a match made in comic heaven, and the film is heaven-sent, too. (A.)  

SPELL--After crash-landing his private plane in the Appalachians (actually South Africa where the film was shot) en route to his estranged father's funeral, buppie Marquis (Omari Hardwick) becomes the prisoner of Hoodoo priestess Ms. Eloise (Loretta Devine). Naturally the fate of Marquis' mysteriously MIA family will soon hang in the balance. The first theatrical feature by director Mark Tonderai since 2012's "House at the End of the Street" (one of the few turkeys Jennifer Lawrence ever starred in) is hokey, pokey and not remotely scary. It's also not worth leaving the house for. (D PLUS.)

SPUTNIK--The few Russian films that make it to the U.S. are traditionally echt-arthouse fare like Kantemir Balagov's stunner "Beanpole" from earlier this year. So a slick genre item like this "Alien"/"Species"/"Predator" hybrid is something of a novelty. A female psychologist (Oksana Akinshina who made her screen debut in Lukas Moodysson's "Lilya 4-Ever" nearly two decades ago) is ordered to examine a Soviet-era cosmonaut (Pyotr Fyodorov) after a failed mission that left his shipmate dead. What the shrink doesn't know is that her patient has an icky space creature living inside him that only comes out at night. Cue the bloody carnage and conniving apparatchik who wants to use the monster as a new bio-weapon. What director Edgar Abdramenko's movie lacks in novelty it more than makes up for in gruesome panache. See it now before the inevitable Hollywood remake. (B.)

SUMMERLAND--During WW II, a young London evacuee (enormously appealing newcomer Lucas Bond) is sent to live with a persnickety author (Gemma Arterton) in the English countryside. Not surprisingly, the kid-phobic scribe soon warms to the lad and they become fast friends. During the course of his stay, she discovers a connection to the boy's mother that... well, since that would fall under the category of "spoiler," I won't say anything more. First-time director Jessica Swale's charming feel-good movie won me over despite a certain overarching predictability: you pretty much know where it's headed within the first 15 minutes. Fine support from Gugu Mbatha-Raw, Tom Courtenay and the wonderful Penelope Wilton who plays an elderly version of Arterton's writer in the 1975 bookending scenes.(B MINUS.)

SYNCHRONIC--Jamie Dornan and Anthony Mackie play NOLA paramedics whose lives are profoundly impacted by the titular designer drug. The cultish directing duo of Justin Benson and Aaron Moorhead ("Spring," "The Endless") are up to their usual disorienting tricks here, and it's hard to pigeonhole exactly what sort of movie this even is from scene to scene. Pharmaceutically induced time-traveling, missing children, a fatal brain tumor, marital discord and more (much more) factor into an increasingly wiggy plot. But Benson and Moorhead somehow manage to pull it all together, at least for the duration of their highly watchable film. Very good performances by Dornan, Mackie and Ally Ioanndes as Dornan's angsty teen daughter are a great assist. (B.) 

SUPERINTELLIGENCE--The A.I. on Melissa McCarthy's smartphone (whose voice is supplied by James Corden) begins to run her life--and, uh, threaten Armageddon, too. The latest pairing between McCarthy and director/spouse Ben Falcone (they previously collaborated on "Tammy" and "The Boss") is entertaining enough to have been a hit if it had opened in theaters last summer as originally planned. Which sort of makes HBO MAX subscribers the unwitting beneficiaries of a global pandemic. Silver linings, people. (B.)  

SYLVIE'S LOVE--A smoky, sultry African-American romance set against the backdrop of 1957 (and, in the second half of the film, 1962) New York City. A luminous Tessa ("Creed," "Dear White People") Thompson stars as an ambitious young woman whose dream of becoming a television producer is temporarily sidelined when she falls in love with a saxophone player (Nnamdi Asomugha). Director Eugene Ashe does a gorgeous job of evoking a long lost Manhattan cityscape, but never loses sight of the love story or its roiling, heart-stopping emotions. If Delmer ("A Summer Place") Daves had made a glossy Hollywood soaper with a predominantly Black cast back in the day, it might have looked something like this. (B PLUS.)

TENET-- Even after sitting through Christopher Nolan's highly anticipated new film twice, I'm still not sure I understand it. By "it," I mean the plot which is so convoluted and (deliberately?) confusing that it practically defies rational synopsis. What I can report is that it feels a lot like what the "Last Year at Marienbad"-era Alain Resnais could have made if he'd been contracted to direct a Bond movie in the last days of Camelot. There are copious action setpieces, all of which are skillfully handled if somewhat lacking in the "Look ma; no hands!" glee of the last few "Mission Impossible" installments. But Nolan does "surface" so well, it's easy to be seduced into the glistening, tactile worlds of his films, even when you're disoriented and narratively adrift for pretty much the whole time. Disorientation (remember "Inception"?) is clearly his preferred bag of tricks. "BlackKKlansman" John David Washington handles the leading man chores with panache (he's "The Protagonist"), and Robert Pattinson does yeoman work as his quipster sidekick. There's also strong work from Kenneth Branagh (dialing down his innate hamminess as the Russian Big Bad), Elizabeth Debicki, Aaron Taylor-Johnson and "Yesterday" breakout Himesh Patel. Michael Caine kills his one scene, but it's only one scene, alas. (B PLUS.)

TESLA--Miniaturist extraordinaire Michael ("Nadja," "Marjorie Prime") Almereyda's stripped-down quasi-biopic about inventor Nikola Tesla and his experiments transmitting electrical power and light in 19th century America is typically eccentric and predictably fascinating. Tesla (Ethan Hawke, who played the title role in Almeredya's superb 2000 modern-dress "Hamlet"), Thomas Edison (a droll Kyle MacLachlan) and George Westinghouse (Jim Gaffigan) are the major players, but the film is quietly stolen by the wonderful Eve Hewsen as J.P. Morgan's daughter who narrates the internecine maneuvering between these titans of electricity. This would make a fantastic double bill with last fall's equally first-rate "The Current War." (A MINUS.)

THREE FILMS BY LUIS BUNUEL--The Criterion Collection's first box set of 2021 contains the final three films directed by the late Spanish surrealist extraordinaire, made during the greatest creative period of a decades-long career that stretched back to the silent era. Except for 1964's "Diary of a Chambermaid," I was never a particularly big Bunuel fan until 1967's "Belle de Jour." Sure, like everyone I dug "Un Chien Andalou" when I saw it as part of a midnight movie program in college. But Bunuel "masterpieces" like "The Exterminating Angel" and "Viridiana" left me strangely cold. The symbolism felt obvious, trite even, and the patches of dark humor seemed jejune. "Belle" turned the corner for me, and my enthusiasm continued unabated with "The Milky Way," "Tristana" and the trilogy (of sorts) that comprise this set. 1972's "The Discreet Charm of the Bourgeoisie" is possibly my favorite Bunuel, and one of the most perfectly realized--and funniest--comedies ever made. 1974's "The Phantom of Liberty" ranks among Bunuel's most undervalued works: hopefully it will pick up new devotees thanks to this Criterion release. And 1977's "That Obscure Object of Desire" remains among the greatest swan songs of any pantheon director. Befitting the Criterion norm, the extras are suitably bountiful. Included are "The Castaway of Providence Street," a 1971 Bunuel homage made by friends and fellow directors Arturo Ripstein and Rafael Castaneda; the 2000 documentary, "Speaking of Bunuel," about the filmmaker's life and career; a 2011 television special about the making of "Discreet Charm;" interviews from 2000 with screenwriter Jean-Claude Carriere about his many collaborations with Bunuel; archival interviews on the three films featuring actors Fernando Rey, Michel Piccoli and Stephane Audran; a 1985 documentary about Serge Silberman who produced five of Bunuel's final seven movies; film scholar Peter William Evans' deep-dish analysis of "Liberty;" 2017 documentary "Lady Doubles" which features actresses Carole Bouquet and Angelina Molina who (jointly) played Conchita in "Obscure Object;" excerpts from a 1929 silent ("La femme et le pantin") based on the same 1898 Pierre Louys novel that Bunuel and Carriere would later adapt for "Obscure Object;" "Portrait of an Impatient Filmmaker: Luis Bunuel," a 2012 documentary with cinematographer Edmond Richard and assistant director Pierre Lary; scholarly essays by critics Gary Indiana and Adrian Martin; and Bunuel interviews from 1975 and 1977 conducted by Mexican film critics (and Bunuel confidants) Tomas Perez Turrent and Jose de la Colina. (A PLUS.)

TOMMASO--Director Abel Ferrara is a recovering addict who lives in Rome with his Italian wife and young daughter. Because Ferrara's latest provocation is about an American filmmaker (Willem Dafoe) with past substance abuse issues living in Rome--and whose onscreen wife and daughter are played by Ferrara's actual wife (Cristina Chiriac) and daughter (Anna Ferrara)--it's tempting for critics to read it as thinly veiled autobiography. That lazy, if sadly inevitable misreading of the movie probably amuses the "Bad Lieutenant" director immeasurably. But it also does the actual film a grave disservice because it's far more interesting and layered than any knee-jerk Freduian analysis. Dafoe (who also starred in Ferrara's first-rate "Pasolini" in 2014) is dependably strong as the lead character, a passionate artist who, like Marcello Mastroianni in Fellini's "8 1/2," suffers from director's block. Adding to Tommaso's angsty ennui is his considerably younger wife who's having an extra-marital affair. Credit Ferrara for not taking the expected melodramatic route with the material: his film has a leisurely rhythm and discursive bent that's far removed from the Ritalin-ish intensity of current Hollywood fare. For audiences willing to get onto its admittedly rarefied wavelength, it's both fascinating and even moving. If you prefer action to contemplation, the movie will probably seem like watching paint dry for two hours.  (A MINUS.)

TOWN BLOODY HALL--Or when Norman Mailer was metaphorically drawn and quartered by a panel of Women's Lib superstars (including Germaine Greer, Diana Trilling and Jill Johnston) on April 30, 1971 at New York City's Town Hall. Mailer, whose recently published book "The Prisoner of Sex" had made him persona non grata in feminist circles, was a sitting duck, and watching the polemical fireworks can retroactively give you a contact high. Husband and wife documentary filmmakers D.A. Pennebaker ("Don't Look Back," "Monterey Pop") and Chris Hegedus' more-talked-about-than-actually-seen record of this fiery conflagration remains one of the finest--and frequently funniest--examples of the cinema verite movement. It also remains as relevant as ever in the #MeToo/#TimesUp era. The newly issued Criterion Collection Blu-Ray includes a new interview with Hegedus (Pennebaker died in 2019); archival interviews with Greer and Mailer; a 1971 episode of the Dick Cavett Show with Mailer promoting the book that instigated the Town Hall event; Hegedus and Greer's audio commentary; a 2004 anniversary commemoration with Pennebaker, Hegedus, Greer, Johnston, et al; and an insightful essay by 4Columns film editor Melissa Anderson. (A.)

THE TRIAL OF THE CHICAGO 7--After numerous false starts over the years (at one point, Steven Spielberg was scheduled to direct), the true-life story of the Yippies who stood trial for inciting riots during the 1968 Chicago Democratic Convention finally comes to the screen...or at least Netflix. Writer/director Aaron ("The West Wing") Sorkin is no stranger to the world of politics, and his version is both pungently written and enormously entertaining. The gold-plated cast--including Sacha Baron Cohen (Abbie Hoffman); Jeremy Strong (Jerry Rubin); Eddie Redmayne (Tom Hayden); Mark Rylance (William Kuntsler); Kelvin Harrison Jr. (Fred Hampton); Michael Keaton (Ramsey Clark); and a scene-stealing Frank Langella (Judge Hoffman)--is unimpeachable, too. (A MINUS.)

THE TRIP TO GREECE--The fourth entry in director Michael Winterbottom's culinary travelogue series with Steve Coogan and Rob Brydon is every bit as delightful as the previous installments. Using the path Ulysses took in "The Odyssey" as their de facto travel itinerary, Coogan and Bryden yuck it up over six days of stream-of-consciousness riffing, celebrity impersonations and foodie porn. If you enjoyed Winterbottom & Company's past getaways--to Great Britain, Italy and Spain respectively--their Greek sojourn will warm the cockles of your heart as much as it did mine. Long may they run. (A MINUS.)

TRUE HISTORY OF THE KELLY GANG--Justin Kurzel, whose previous films have ranged from the near-sublime (a 2015 reworking of Shakespeare's "Macbeth" starring Michael Fassbender and Marion Cotillard) to the quasi-ridiculous (his largely incoherent 2016 video game adaptation, "Assassin's Creed," also starring Fassbender), does his best work to date with this dauntingly ambitious, stunningly realized and remarkably tactile account of fabled 19th century Australian bandit Ned Kelly. While Kelly has been the subject of numerous biopics over the years--everyone from Mick Jagger (1970) to Heath Ledger (2003) has played Kelly--Kurzel's version and "1917" breakout star George MacKay's mercurial Kelly trumps them all. There are smashing supporting turns from Russell Crowe, Charlie Hunnam, Nicholas Hoult and, most memorably of all, Essie Davis as Kelly's supremely pragmatic mother. Thanks to cinematographer Ari Wegner, it's also a visual feast, one best appreciated on the biggest, widest screen possible. Since that's not a possibility right now, just see it wherever you can. (A.)

THE TRUTH--Acclaimed Japanese director Hirokazu Kore-eda follows up 2018 Palme d'Or winner "Shoplifters" with his first French-language film, and it's a minor masterpiece. Gallic thespian royalty Catherine Deneuve and Juliette Binoche (both sublime) play mother and daughter whose journey to rapprochement is marked by roadblocks-a-plenty. Deneuve is a screen legend in the twilight of her career who recently published an autobiography which took generous liberties with "The Truth." Her daughter's long-simmering resentments come to the surface when she pays an impromptu visit with her young daughter and American husband (Ethan Hawke in a good sport performance). Because the Deneueve character is currently shooting a vaguely sci-fi-ish mother/daughter movie which echoes 2015's wonderful "The Age of Adeline," the parallels between fiction and non fiction become, er, discomfiting for all concerned. (A.)

THE 24TH--The Houston Riot of 1917 in which 156 soldiers from the all-black 24th U.S. infantry regiment fought back against serial brutality and abuse at the hands of a virulently racist police force is an extraordinary, albeit little-known story. (Nine civilians, four cops and two soldiers were killed in the melee.) Kevin Wilmott's sobering new film about yet another appalling chapter in American race relations is superbly acted (Mykelti Williamson and Aja Naomi King are standouts in the exemplary cast), tautly paced and inexorably moving. Wilmott, who cowrote Spike Lee's "BlackKklansman," "Chi-Raq" and "Da Five Bloods," proves to be a talented filmmaker in his own right. Although a period movie set more than 100 years ago, it still manages to feel bracingly, depressingly contemporary. (B PLUS.)

UNHINGED--While driving her son (Gabriel Bateman) to school, divorced mom Rachel (Caren Pistorius) becomes the object of Russell Crowe's wrath after a road rage incident that quickly escalates into a murderous cat-and-mouse game. Director Derrick Borte expertly knows how to tighten the screws, and the result is a nasty, inelegant but generally effective exploitation flick that would have been right at home at drive-ins and urban grindhouses in the halcyon '70s. (B MINUS.)

AN UNMARRIED WOMAN--"'Balls' said the queen, 'if I had them I'd be king.'" I've never forgotten that line from Paul Mazursky's "An Unmarried Woman," even though it had been more than 40 (!?!) years since I'd last seen it. Spoken by the late, great Jill Clayburgh after her husband (Robert Altman rep player Michael Murphy) walks out on her after 15 years of marriage for a--hmmm--younger woman, it felt emblematic of the whole "Hear me roar" Women's Lib movement of the 1970's. It was also hysterically funny. I still remember how Manhattan's Beekman Theater practically vibrated with the knowing laughter of Bloomingdales Belt "Ladies Who Lunch" at the first matinee performance in March 1978. Thanks to the Criterion Collection's new Blu-Ray release, I got to re-experience one of the singular zeitgeist films of the New Hollywood era, as well as one of my personal favorites. (Sadly, it's been tough finding the movie in the DVD era.) The extras are less bountiful than the Criterion norm, but still choice. There's a 2005 audio commentary with Mazursky and Clayburgh; new interviews with Murphy, Lisa Lucas (who played Clayburgh and Murphy's tween daughter) and "The Big Goodbye" author Sam Watson; an audio recording of a 1980 Mazursky speech at the American Film Institute; and an essay by Vulture critic Angelica Jade Bastien that frames the movie within the context of both '70s feminism and Hollywood's New Wave. (A.)

UNCLE FRANK--Paul Bettany gives a career-best performance as a gay NYU professor who drives back to South Carolina with his college student niece (Sophia Lillis from the "It" movies) for his estranged father's funeral. Writer/director Alan ("Six Feet Under," "American Beauty") Ball does a terrific job of orchestrating his wonderful cast (including Judy Greer, Margo Martindale, Stephen Root, Steve Zahn and Lois Smith) who never make a false move. (B PLUS.)

VANGUARD--The 007 movie that Jackie Chan never made (until now) reunites him with his favorite director--Stanley Tong, who helmed Chan's "Supercop" movies among many others--and it's their best outing in years. As the head of a top-secret global security force, sixtysomething Chan graciously, and probably sensibly, hands the lion's share of chop-socky duties over to newcomer Yang Yang who rises to the occasion with a potentially star-making performance. The scenic globe-hopping (London, Dubai, Africa, London, et al) gives it an old-fashioned, travelogue-y vibe which feels especially welcome in the Era of Quarantine. (B.) 

THE WAR WITH GRANDPA--A bratty kid (Oakes Fegley) goes to unusual lengths to reclaim his bedroom after grandpa (Robert DeNiro, sigh) moves in. Director Tim ("Alvin and the Chipmunks," "Hop") was clearly aiming for the sort of all-ages-friendly comedy that "Home Alone" auteurs John Hughes and Chris Columbus used to specialize in, but the dispiriting results are closer to a TGIF sitcom pilot that accidentally stumbled onto multiplex screens. In the pre-Covid era, this would have been sent straight to DVD without its (theatrical) supper. (D PLUS.)

WILD MOUNTAIN THYME--Irish spitfire Emily Blunt has romantic designs on neighboring farmer Jamie Dornan, but an imagined family curse prevents him from reciprocating her advances. Oscar-winning writer/director John Patrick Shanley ("Moonstruck," "Joe Vs. the Volcano") stumbles in a labored adaptation of his own short-lived 2014 Broadway play. Accordingly, neither the film's comedic or romantic elements ever fully gel. Costarring Christopher Walken and Jon Hamm, both of whom are infinitely better than their material. (C MINUS.)

WORDS ON BATHROOM WALLS--High school senior/aspiring chef Charlie ("Lean on Pete") Plummer battles the ravages of schizophrenia with the help of mom Molly Parker. After being forced to switch schools because of his condition, a sympathetic classmate with personal issues of her own (Taylor Russell from "Waves") becomes an important new support system. Based on Julie Walton's YA novel, director Thor ("Diary of a Wimpy Kid," "Hotel for Dogs") Freudental's prosaic adaptation plays like a big-screen After School Special that's somewhat elevated by the performances of Plummer and Russell, two of the finest young actors working today. (B MINUS.)

YELLOW ROSE--A neo-realist fairy tale about an undocumented Filipina teenager (promising newcomer Eva Noblezada) whose life unravels after her mom (Princess Punzalan) is deported. Austin's country music scene provides an appealing backdrop (and marketing hook: country star Dale Watson has a supporting role), but it's the beautifully observed characterizations and director Diane Paragas' vivid sense of place that makes this more than just a feel-good tweener entertainment. Back in the '90s, Harvey Weinstein could have positioned this into sleeper hit status and even a potential Oscar run. But in today's decimated theatrical marketplace, all bets are off. See it when/where you can. (B PLUS.)

---Milan Paurich


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