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John Krasinski is back in the title role as a former CIA operative who’s drawn back into the world of spy antics and treachery. The team heads to London, then Dubai, which showcases the city’s cool architecture. Sadly, that’s the film’s best asset. Otherwise, it’s much like my review of the series (my review) with “more intrigue and espionage than big staged action sequences.” If you can dredge thru the continual dialogue scenes, there is one car chase which upends a few trash cans and lots of shooting. What the film lacks is any spectacular staging or even mildly exciting action. I’d pronounce this a disappointment, but given the 2/5 star rating of the original series, I’m not surprised that this did worse.

This is a revenge film, but not what you’d expect. There is retribution, but it’s more a drama about the relationship between two sisters (Kara Young and Mallori Johnson). When they were children, their father committed a horrific act that left them with significant scarring, hence the desire for payback. It was written and directed by Aleshea Harris from her play. She’s created a duo with a bond so close, they can communicate without words (although we get the subtitles). Young and Johnson are both compelling in their performances and they’re joined by Vivica A. Fox, Sterling K. Brown and Janelle Monáe for star power. The pacing is deliberate and the violence is mostly off-screen, so the focus remains on the challenges and joy of their bond. Harris has an assured hand in allowing the scenes to play out without making much effort to ramp up the action elements. There’s an unquestionable arthouse aesthetic to the approach and an unexpected ending that serves justice and hope.

Michael Johnston plays a guy who has a crush on a co-worker (Inde Navarrette). He ends up making a “magical” wish that she’s completely devoted to him. Her almost instant love devolves into an uncontrolled obsession…until it turns bloody and bad. This is one of those psychological dramas that’s more about dread and anticipation than real scares. The actors are committed to their roles and writer/director Curry Baker maintains some small sense of anxiety, but there’s only one pay-off scene that makes an impression. Otherwise, it’s a slightly-disturbing, slow-burn film with too much talk. It's more about atmosphere than real tension.

Writer/director Guy Ritchie is known for his cleverly-staged smart action films like “Snatch” & “Sherlock Holmes,” but he’s gone flat with this one. Even with Jake Gyllenhaal and Henry Cavill in the lead, it doesn’t have much going for it (although there is discussion that the duo is a gay couple). They play extraction professionals who are hired by a woman they call “mom” (Eiza González) to retrieve a billion-dollar loan. Most of the movie lays out the elaborate plans with precise detail before the inevitable big chase. Ritchie’s script is very methodical without any of the sassy comedy that make his films more fun. The performances are jaunty, but the action (Ritchie’s hallmark) is unoriginal and unexciting. This movie got little advance press and it’s easy to see why: There’s no black humor or white hot action, just a bland gray movie.

Hugh Jackman plays the kindly shepherd who’s murdered and it’s up to his sheep to solve the case. The talking sheep had potential for a cute comedy, but even though they have some personality, the dialogue's never especially smart or clever. Even with voices that include Patrick Stewart, Regina Hall, Chris O’Dowd and Julia Louis-Dreyfus. Things start off with bright charm and a few laughs, but the whole affair soon becomes a more traditional whodunit. As the local cop, Nicholas Braun brings some of his wonky charm, but that’s not sufficient. Director Kyle Balda (“Minions,” “Despicable Me 3”) knows his way around quirky characters, but this script doesn’t provide sufficient eccentricity or humor. It ultimately becomes a sweet little mystery, without the wacky fun that the premise promised.

Sally Field creates another charming character, as a lonely woman who cleans at the local aquarium at night. Her “friend” is the local octopus (voiced with a mellow Afredi Molina), where she confides her personal thoughts. Along comes a young man looking for meaning (the ever-charming laid-back Lewis Pulliam) and their relationship adds another element to this little drama. Of course, the octopus is all CGI, but cool. There are hokey elements, but the film’s earnest base makes this unlikely bond sweeter, thanks to Field’s slightly-quirky creation and Pullman’s easy appeal. BTW, the title gets a new meaning with the last line.

This is pretty much the same movie, just set 20 years later. Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci are all back, essentially in similar situations (except Blunt, who’s working for Dior). This time, Hathaway’s character is now a respected journalist hired to head the features department at “Runway.” Keeping with the times, this print publication is struggling for relevance in today’s digital age. The writers and director have returned as well, so it has the same jaunty attitude, lively pace and fab fashions as the original. Everyone’s still great in their roles, with Streep continually fabulous and subtly funny (plus the long list of cameos as listed in the credits). Any fans of the original will certainly find plenty to enjoy in this buoyant sequel. Sad note: Tucci’s character is the only one who hasn’t had any relationship in either movie.

This is really 2 films: A biography covering the first 30 years of Michael Jackson’s life and a concert film that features performances of many of his early hits. The story starts with his childhood, which was dominated by his controlling, abusive father (intensely played by Colman Domingo). The highlights of his career with the Jackson Five and his early solo albums are featured. John Logan’s original screenplay included the child-abuse allegations, but that was scrapped by his estate and the settlement with an accuser. Even so, his early experiences with plastic surgery, the Pepsi commercial accident and his strained relationship with his father are designed to give the story more drama. As Jackson, Jaafar Jackson (son of Jermaine) and Juliano Valdi (as the child version) are both exceptional in their emotional depth and performance skills. BTW, Miles Teller and Mike Meyers show up in almost unrecognizable looks. Even more fake is the CGI creation of Jackson’s pet chimp Bubbles. Interestingly, sister Janet refused to be involved, so she’s essentially written out of his life. Director Antoine Fuqua has made a traditional biopic that covers all of the highlights with assured guidance. The film effectively mythologizes Jackson with a sequel promised at the closing “His story continues.” Lovers of the star will appreciate this softball sweet and sour version of his life, but to enjoy the real thing, check out the 2009 concert doc “This is It.” Speaking of previous work, the doc “Leaving Neverland,” which directly addressed the charges, has been pulled from HBO.

Peter Farrelly is half of the famed Farrelly Brothers, who are known for such classics as “There’s Something About Mary” and “Dumb and Dumber.” He’s gone on to direct several other comedies including this one and it primarily sticks to their love of gross-out sex comedy…this time with flat results. Mark Wahlberg and Paul Walter Hauser play marketing execs who want the land the condom sponsorship for the World Cup with their new concept (it covers the balls). Things are going well until they don’t and the duo ends up on the run. Wahlberg can sometimes effectively deliver deadpan lines and Hauser can shine with his awkward style. Sadly, they’re both trying too hard and the flacid script doesn’t offer them many opportunities for genuine humor. There are expected gross out, slapstick moments and some supporting stretches from Sacha Baron Cohen and Molly Shannon that also don’t add much. Farrelly’s last comic outing was “Ricky Stanicky,” which was very funny (my review). This time he’s hindered by writing that offers little hope of comic enjoyment.

You may have heard about John Davidson, who yelled inappropriate slurs at gay and Black actors at this year’s Bafta Awards. He has Tourette's Syndrome and this film won several awards, including Best Actor and Best British Film. Scott Ellis Watson plays him as a teen, while Robert Aramayo assumes the role as an adult. The story takes him thru his troubled puberty, when his condition first appeared, to his later years, as he learned to cope with it and become an advocate to encourage understanding of this neurodevelopmental disorder. Writer/director Kirk Jones is a competent filmmaker and this latest film ably tells the story with appropriate setbacks and victories. The actors playing Davidson are both remarkable in portraying the complexities of the condition, as well as the character’s emotional challenges. While this is a pretty standard biopic without much drama, but it does present an informative and mildly emotional look Tourette's Syndrome.

David Lowrey’s last film was “The Green Knight,” which I gave 1.5 stars and called it “a tedious, pretentious slog” (my review). I can only go for 1 star this film. Anne Hathaway plays a superstar pop singer who travels to the home of her former best friend and costume designer (Michaela Coel) for a new dress. Thus begins a painfully tiresome interaction between the duo. In quiet tones with a languid pace, they interact with an endlessly low-key lack of energy. The usually dark cinematography doesn’t help. There are a few concert flashbacks that add nothing to the narrative and only break up the painful pace. This is an affected and deadly drama. 

As the film starts, an art conservator (Michaela Coel) is hired by the offspring of a famous artist (Ian McKellen) to access the remaining titular paintings in his attic. From his first moment, McKellan exhibits the charismatic power and utter delight that’s made him so enduring. He’s continually entertaining and funny. As his complete opposite, Goel manages to hold her own in what is basically a two-hander. Adding to the dark comic elements are the greedy children, beautifully smarmy James Corden and Jessica Gunning. Steven Soderbergh wrote and directed under his name, while shooting as Peter Andrews and editing as Mary Ann Bernard. His complete control allows for this intimate, mature, entertaining film, while poking some fun at the art market. Not only one of McKellan’s best performances, but one of the year’s best.

Zendaya & Robert Pattinson play a couple in the final stages of their wedding prep, which is peppered with flashbacks to their earlier relationship. While hanging with best friends, they all decide to reveal the worst thing they’ve ever done. Her unexpected revelation changes the tenor of the evening and reverberates from then on. Zendaya effectively captures the complexity of the situation. So does Pattinson, but he infuses his character with slightly funny tearful breakdowns. Meanwhile, their chemistry is OK. Writer/director Kristoffer Borgli has effectively captured the complexities of this potential meltdown. He also likes to make his presence known using sparce but noticeable flute phrases and OCD editing that jumps in and out regularly. While the film isn’t perfect, it certainly creates an interesting conversation about love, understanding and forgiveness.

Gaten Matarazzo and Sean Giambrone play two loser college students who happen upon a mysterious substance that takes them on a drug adventure. Along the way they encounter several gross-out encounters and outrageous confrontations. The exploding head sequence is an instant comedy classic…smartly timed and hilarious. Sarah Sherman and Caleb Hearon add some fun characters with their cameos. Since there’s so much crazy happening, some of it lands while other crashes. Co-writer/directors Nick Kocher & Brian McElhaney have kept it crammed with all types of wacky stuff, plus some original elements that make this typical stoner comedy a dizzy, wacky trip.

This sequel picks up at the end of the first film. Samara Weaving is the only one left after the wild game of Hide & Seek wrecks hazard on her new family. While recovering in the hospital, her sister appears (Kathryn Newton) and they end up on yet another diabolical, deadly chase. The success of the last film has garnered some cool new talent including Elijah Wood, Sarah Michelle Gellar and Shawn Hatosy (look for director David Cronenberg as the father). Even so, the movie hasn’t upped its game. Much of what I said about the first one still applies: “Samara Weaving plays the new bride who undergoes a lethal game of Hide & Seek before she can be accepted into her hubby’s rich, weird family. She undergoes a gauntlet of danger and injuries to avoid her end. The movie has plenty of energy and occasional humor, but not much suspense. Plus, the plotting often seems convoluted.” 

Daniel Roher is about to have his first child and the controversy around AI is causing him to wonder if he should be introducing a new person to this upcoming tech world. He assembles a bunch of experts, including ChapGTP founder Sam Altman, to discuss the power and pitfalls. They present a compelling case on both sides. Roher, along with co-director Charlie Tyrell, has kept this pretty traditional with talking heads with some fun graphics and illustrations to soften the blow. AI is the most powerful technology ever created and the outcome is terrifying and exciting. This film manages to convey both potentials with lots of personal input, but it doesn't offer a satisfying conclusion.

A middle school science teacher (Ryan Gosling) wakes up alone in a space ship light years from home. He got there because a strange substance is gradually eating our Sun and he’s been sent to a distant planet to uncover a solution. After a few flashbacks to reveal more details, he happens upon another creature whos planet is experiencing the same thing. What starts as an involving space sci-fi adventure turns into a buddy flick with his new friend. While saving the universe still plays a part, the film gradually focuses on their relationship. This was written by Andy Weir, who also penned “The Martian” (my review), so he knows how to create new and cool sci-fi concepts. He’s done it again here, while directors Phil Lord and Christopher Miller have crafted a crowd-pleasing adventure that launches a fun exploration that ends up being sweetly touching.

The series started out with a violent, cruel attitude that slowly lost its mojo as the seasons progressed, primarily because the boss, Tommy Shelby (Cillian Murphy) got soft. This feature picks up in Birmingham, 1940, when WWII threatens the United Kingdom. Murphy returns as a man who’s tried to straighten out his life, when he finds his son (Barry Keoghan) is wreaking havoc back home that may have dire results for the whole country. Eventually, they encounter each other, but it doesn’t really matter. The things that made the series so compelling have faded: The brutal fights and operatic emotions have been tamped down. Everything has gone dark and dramatic with potent cinematography to match. There’s lots of brooding monologues without much hard action to back it up. Even the final climax lacks punch. Creator Stephen Grqaham (who also returns on screen) and director Tom Harper are back, but their desire to end the franchise on a grand note didn’t pack the slashing impact of the series.

This Pixar animation takes on the climate crisis. A 19-year-old animal lover discovers a new technology that allows her to inhabit a robotic beaver, which leads her to assemble the animal kingdom to save her favorite pond. As expected, the lively pacing keeps it moving, but it lacks some of the hallmarks of the studio. The characters are charming, but none of them are especially quirky or unique. Although there are spunky moments, the opportunities for genuine humor are slim. The design is attractive without adding anything new to the style. Sure, it’s got a warm center and important message, but there’s a lack of anything new or special.

Anyone familiar with 20th century history will recognize this film’s title as the place where the world-changing cases against **** leaders took place. Instead of staging a grand trial drama, this film focuses on a psychiatrist who’s sent to evaluate the leaders before the trials (Rami Malek). His interviews with Hermann Göring turn into an obsessive bond, as he strives to understand the evil behind the man (played with subtle bravura by Russell Crowe). Meanwhile, the prosecuting lawyers (led by Michael Shannon) strive to determine the best way to approach this controversial new case. The character dynamics are emboldened by the captivating performances from every member of the cast, which also includes Leo Woodall and Richard E. Grant. Director James Vanderbilt has crafted a tightly gripping narrative that brings humanity to the horrors, while never excusing their actions. Despite it’s 2:28 length, every minute was compelling, sometimes disturbing. It’s a significant historical drama that packs a powerful dramatic wallop.

The title refers to the passenger seat on a motorcycle. This is where the young sub (Harry Melling) sits when he rides with his dom (Alexander Skarsgård). This original take on a romance revolves around the world of BDSM. It starts with the duo’s chemistry, which is electric from the first scene. Skarsgård creates a distant character with plenty of sex appeal, while Melling is constantly compelling as he navigates his new sexual actualization. The few sex scenes are erotic and kinda mean, but there are also moments of humor and genuine warmth. Their relationship is original, complex and ultimately poignant, which makes this a complex and very human relationship story.

Priyanka Chopra Jonas plays a woman living a quiet life in the Cayman Islands, waiting for her sailor husband to return. He shows up, but as captive of a pirate (Keith Urban) who arrives causing causalities on his way to the showdown with her. I’ll say no more to avoid any spoils. The action consists primarily of BRUTAL hand-to-hand fights with some guns for quicker results. That’s really the whole point of this film: A high body count with lots of stabs and slashes. Chopra Jonas confidently fights back with bloody attacks, while Urban is equally vicious. There is a basic plot with some family members, but they only serve to add emotional elements. Even so, it’s all about the fierce action in a pulp package.

Even though it’s set in Mexico and the US, this film has a distinct European feel. This is primarily due to writer/director Michael Franco’s style, which is detached and deliberately paced with minimal dialogue. In the past it’s been his shortcoming, but this time it’s working. Jessica Chastain plays a rich socialite who’s having a passionate affair with a promising ballet dancer (Isaac Hernández, who is really an accomplished dancer). The scenarios alter between her luxurious activities and his continuous struggles…peppered with their HOT erotic encounters. They’re both quietly compelling in their understated performances. Instead of extensive narrative explanation, this drama offers glimpses into their lives. Even with the distant emotions, Franco’s simplified storytelling is quietly affecting and the final scene packs a shocking wallop.

This film moves the multiverse out of Marvel territory. Michaela McManus plays a woman whose daughter was killed, so she travels through parallel universes, repeatedly killing the murderer. Along the way, she teams up with a runaway (Stella Marcus) that adds some humanity to the story. Although there are kills, they’re often quick, so it’s not about the action. It’s also set in a grubby town, so don’t expect any cool visuals. After we put all the pieces together, it’s primarily about the effect this process has on her. Interestingly, it’s written and directed by The McManus Brothers, who are literally her brothers. With any project dancing around quantum physics theories, there are challenges to the logic, but it doesn’t matter. This is a scrappy indie film that’s appealing in its earnest examination of revenge and grief with a sci-fi angle.

Glen Powell stars as a man who was disowned at birth by his rich family. A childhood girlfriend (Margaret Qualley) casually suggests he eliminate the people who are in line for his inheritance, hence the title. The concept had potential for an enjoyably dark crime comedy. Powell maintains his charisma and charm, but he isn’t helped by writer/director John Patton Ford, who didn’t make the script sufficiently funny or the kills effectively clever. Qualley creates a pretty devious character. At least the pacing keeps it from ever being dull, but it’s never especially smart either. His last film, “Emily the Criminal” was more successful.

This film has all the elements of a solid crime drama: There’s a detached, kind-hearted, pro thief (Chris Hemsworth), the beleaguered detective on his trail (Mark Ruffalo), the frustrated inside connection (Halle Berry) and the impetuous disrupter (Barry Keoghan). What it also has is too much time: too much excess story told too slowly. There are absorbing moments, some decent action and compelling performances. This movie’s strong cast interactions overshadowed the heist aspects, which is fortunate since they’re the films best asset. The running time is 2:19 and at 1:45 it could have been a gripping drama. BTW, writer/director Bart Layton’s last film was “American Animals.” another heist flick that sometimes worked and also featured Keoghan

Margot Robbie and Jacob Elordi play the adult versions of the famed star-crossed, ill-fated lovers. (BTW, the young version of Heathcliff is played by Owen Cooper, the lead in “Adolescence”) This attractive couple faces numerous odds in this version, thanks to writer/director Emerald Fennell (writer of “Saltburn” & “Promising Young Woman”). She’s taken liberties with the story and setting. Then entire film is dark, literally and figuratively. The clothes are brighter in the later “rich” scenes, but the tragic story has virtually no moments of joy. Instead, they have furtive heated sexual exchanges. Robbie suffers appropriately, while Elordi smolders in the early scenes before becoming dashing (and mumbles a lot). There are some attractive elements, including the cinematography and production design, but Fennell has indulged herself to the point of tedium. Some of the film is wonderful, but it bogs down more than it inspires.

First off, this movie has nothing to do with the original Nirvana led by Kurt Cobain, but is based on a Canadian TV series of the same name (with 2 “n”s). Matt Johnson and Jay McCarrol play aspiring performers who are desperate to get a gig at the Rialto, although we never hear them sing a song. Their efforts end up with them travelling back to 2008 and some other preposterous episodes. It was also shot guerilla style on the streets of Toronto, including some nerve-racking footage on the exterior ledge of the CN tower without permits. Their style of comedy is goofy, unexpected, brash and energetic (there’s lots of running down the street). Even so, I never found it funny, although the young audience around me seemed entertained. This duo has created a unique project that’s feels like an extended comedy sketch from two desperate wannabes.

This latest installment in the Predator series takes a unique approach: Instead of having the beast terrorizing people on Earth, it takes us to their home planet, which also introduces their culture. After one young beast (Dimitrius Schuster-Koloamatangi) is ostracized from his clan, he sets out to capture the ultimate adversary. Along the way, he teams up with a cheery android (Elle Fanning). Their quest includes the expected violent encounters, but there are also more sensitive moments with insight into their feelings. Dan Trachtenberg, who’s directed several of the others in the franchise, has added new sci-fi elements, locations and tech that make the design appealing and downright cool. Under the impressive prosthetics, Schuster-Koloamatangi manages to give “humanity” to his character, while essentially turning him into the hero. Fanning’s upbeat performance is simply delightful. This is undoubtedly one of the most unusual buddy road films ever made, but it’s one of the most entertaining and original

A man (Sam Rockwell) bursts into a diner and declares that he’s from the future and is back to save the world from the impending AI apocalypse. After lots of bluster, he manages to assemble a crew that includes Juno Temple, Haley Lu Richardson, Zazie Beetz and Michael Peña. They set out on a weird and wacky sci fi adventure. This was directed by Gore Verbinski, who’s best known for the “Pirates of the Caribbean” films, so off-the-wall comedy is expected. There aren’t many outright laffs and many of the scenes go on too long, but the main quest and the side trips that set up the character’s involvement keep it interesting. This is an extremely unusual comic adventure that’s makes scary statements about our culture’s obsession with our devices and their addictive appeal.

French director Luc Besson is best known for his action films like “The Fifth Element” and “La Femme Nikita,” but this more a dramatic romance with a few moments of violence. It starts in the 15th-century when a prince (Caleb Landry Jones) denounces God after his wife is killed. Somehow, this turns him into an immortal ****. The story also travels forward 400 years as he goes to Paris to find her reincarnation. Jones creates a creepy and compelling character in both a young and ancient iteration. First off, this is more about the inconsolable love that drives his quest than the typical horror approach. There are some fun weird moments, esp. the gargoyles that serve as his minions (see one in lower right corner of the picture with this review). It also features glossy production design and lush cinematography. What the film lacks is pace. Every scene goes on too long and it’s a tedious wait between the spurts of evil. Besson has taken a new angle with the sad lost soul approach, but the slow development keeps it from being it a memorable addition to the legend.

Aiden Zamiri is not only known for directing music videos with artists like Billie Eilish and FKA Twigs, but also for working with Timothée Chalamet’s image for his press tours. He applies his hip skills to this faux documentary about singer Charli XCX’s prep for her “Brat” arena tour. It employs his restless style of shooting and editing to keep it edgy and cool. Charli is at the center of almost every scene, as it looks at her creative process and the pressures of **** and she's not afraid to paint her portrait with flaws. The rehearsal process takes up most of the time and features a quietly funny Alexander Skarsgård as the arrogant director. It’s also great to see Rosanna Arquette as the record company boss. There are amusing observations and wisecracks sprinkled throughout, but it’s more about the star’s lack of control. Even people not familiar with the singer may find this an interesting approach to a documentary style with maybe some insight into the artist herself.

Ben Foster moves into a beautiful new home with his wife and son. On their first nite, a car crashes into a tree out front, leaving one person dead. This begins his twisted obsession with the calamities calamaties at the corner and the fate of the people involved. Foster’s character is about as bleak as can be, going from slightly introvert to quietly unhinged. He seems unrealistically too far at times, but to appreciate the film, it’s necessary accept it. Director Jason Buxton never goes for outright thrills, preferring to create a character that’s both unsteady and unsettling. Ultimately, the ending makes it all worthwhile.

Netflix cranks out these romantic stories based on popular books and this is the latest (by Emily Henry). Emily Bader and Tom Blyth play best friends who decide to meet every year and share a vacation. Of course, the inevitable romantic attraction develops, but not before the typical setbacks. There’s nothing new in this series, except that they get to visit some cool locations. Bader manages a bit of quirk in her character, while Blyth is cute but ineffectual. The pace keeps things moving and there’s sufficient chemistry between them to make it bearable. The writing or supporting characters add nothing unique. Like most of these, it’s got a continual background of soulful pop songs that sound like they could all have been written by Taylor Swift. Fans of this genre who are just looking for a reassuring formula may enjoy, but it’s one of many quickly forgotten bland romantic ventures.

Rachael McAdams plays a nerdy, but smart office worker who’s ridiculed by the executives, esp. the new company’s young new president (Dylan O’Brien). After a harrowing air disaster, they end up together on a deserted island. He’s slightly injured, so her love of “Survivor” comes in handy as she takes the upper hand, which ends up in a vicious power struggle. McAdams is too pretty for the character, but she still carries it off. O’Brien effectively maintains his guy’s arrogant attitude, even after some unpleasant setbacks. There are some elements that push credibility, but director Sam Raimi manages to keep in interesting, while dropping in a few moments of his signature suspense style. If you can look past the plot discrepancies, this is an enjoyable “escape.”

Ann Lee was the founding leader of the Shaker Movement in the US. Amanda Seyfried plays her in this unusual, but interesting historical drama. The story starts with her as a girl in England, but as an adult, she has a vision which takes them to America. The Shakers were known for their unique form of droning songs and jerky dance moves (as well as their wooden furniture). As their worship style is distinctive, this film takes a similar approach. First, it’s a musical! Even though all of the songs are sung during their ceremonies, they still perform them all the way through. Seyfried does a commendable job in the lead and the rest of the cast is fine. Writer/director Mona Fastvold is best known for working with her co-writer Brady Corbet and their most famous collab is “The Brutalist” (my review). Her unique approach requires forgoing expectations of a typical narrative in order to experience this sect in an curious light.

Rose Byrne recently won a Golden Globe for this role. She plays a therapist, who has serious personal issues, in addition to her daughter's illness and an absent husband. From the opening shot, writer/director Mary Bronstein (she also plays a therapist) keeps the camera close on Byrne for almost every minute. This showcases the actor’s notable dramatic skills.  Despite her struggles, the character is unpleasant most of the time, making it hard to like her. Conan O’Brien plays it straight as her co-worker, while A$AP Rocky adds the only personality. There are some “fantasy” moments that only serve to add to the tedious pretentiousness of her dilemmas. As an acting exercise, Byrne gets to shine, but don’t ask the audience to emphasize with this unpleasant woman in a rather frustrating character study. BTW, she did have legs, so the title must refer to her general frustrated inadequacy.

Jason Momoa and Dave Bautista play half-brothers with an unpleasant past. After their father dies mysteriously, they begrudgingly come together to uncover the truth. They also fight a lot (with others and each other). This is an action comedy that works for two reasons: The chemistry of the duo and the incredible action sequences. Bautista goes for gruff, while Momoa is the funniest he’s ever been with sly, off-handed comic delivery. The action scenes are insane with numerous wild blows and one crazy car chase (the CGI seemed to be peeking thru). There’s even a direct reference to the classic “hallway” scene from “Oldboy,” where he dispatches a number of opponents while working his way down the hall. The plot follows the basic formula, but the stars and the action help make it a fun popcorn entertainment.

In the opening scene, Chris Pratt finds himself strapped to a chair in a solo court run by an AI judge (Rebecca Ferguson). He has 90 minutes to prove that he didn’t kill his wife or he’ll be executed. Being a cop, he begins his “armchair” investigation, calling on AI’s vast resources. This is basically a “found footage” movie that constructs the narrative from security footage, bodycams, phone records and social media posts. This sci-fi forward aspect is cool, but makes it harder to create any tension, since almost everything plays out in the past. Pratt doesn’t get much chance to drop his smirky quips, opting instead to create a more intense character. Ferguson maintains a neutral expression, as is appropriate for her impartial judge. Director Timur Bekmambetov has made some inventive and intense movies, but this struggles to create any excitement, even with the proliferation of high-tech imagery (including a one-man drone).

Colin Farrell & Margot Robbie play strangers who meet at a wedding and end up on the titular journey. They spend lots of time driving to various locations where they discover doors in the wild. When they step thru the doors, they venture to a previous time in their lives to re-live important moments. Sure, bits of the trip are bold and sometimes beautiful, but the whole thing falls apart once they enter the doors. The narrative starts to head off the rails and careens into emotional encounters that turn this into an introspective wasteland. Director Kogonada and writer Seth Reiss peppered the film with some cinematic surprises and occasional humorous moments, but these are overshadowed by the dull “meaningful” drama that develops. BTW, Phoebe Waller-Bridge and Kevin Kline are somewhat unrecognizable in their interesting supporting roles at the car rental agency.

Director Danny Boyle and writer Alex Garland created “28 Days Later” in 2003 and it broke new ground with its fast-moving zombies. This latest sequel continues to be more about the survivors than the undead and how the humans have become even more horrible than the ghouls. Ralph Fiennes is back as the doctor trying to understand the virus, which is furthered by his encounter with a particularly imposing zombie (Chi Lewis-Parry). The majority of the movie is spent with the gang that showed up at the end of the last film. Jack O'Connell plays the leader of this small group of young people who are doing his bidding, which is basically capturing and torturing innocent humans. This includes some pretty gruesome scenes, but violence is an expected part of these films. Throughout these cruel episodes is a boy from the last one (Alfie Williams) who’s been conscripted into the gang. His experiences provide the story’s sensitive moments and they ultimately end the film with a somewhat hopeful outlook. It’s certainly better than the last one (my 1.5 star review) and bodes well for the final one. Even there aren't any real moments of tension, it's mean and violent, but ultimately sweetly compelling.

This is based on a true incident in 1977, when a desperate customer (Bill Skarsgård) took the president of a mortgage company (Dacre Montgomery) hostage with the titular sawed-off shotgun wired around his neck. This standoff leads to the expected back-and-forth with the police. There’s also a reporter on the scene, that doesn’t add any information, only parallels what really happened. Skarsgård creates a character that’s gruff and not especially empathetic, while Montgomery just seems defeated and desperate. Al Pacino has a small, essentially useless part as the company’s owner, while Coleman Domingo adds a bit of class as a local radio DJ. Director Gus Van Sant has staged the event and the subsequent discussions without much tension. As a result, this plays out as a re-creation without much excitement or anxiety. NOTE: The credits feature actual footage from the event, which shows the criminal as an even more outrageous character.

This film opens with a dull series of police being interrogated, including the stars Matt Damon and Ben Affleck. After inconsequential scenes that set up the feistiness of the characters, a team heads to a stash house where they discover a lot of cash. This starts the machinations of how to handle it and who might be dirty (there’s always a dirty cop), which results in intense discussions as the confusion and danger mounts. Through all the back-and-forth, the actors play it rough and tough. What little action that arises is staged in confusing darkness with matching editing. Writer/director Joe Carnahan creates a unique situation, but his efforts to generate tension don’t. It consists primarily of a lot of angry encounters, trying hard to be dynamic, but turning out to be a tirade of noisy drama. BTW, it’s never explained, but “The Rip” is cop parlance for “ripping off” the bad guy’s stuff.

Lee Byung-hun plays a loyal worker at a Korean paper factory who gets laid off (by the Americans who took over the company). After months, a potential job comes up, so he decides to eliminate the competition…literally. It’s an unusual story made even more special by noted director Park Chan-wook’s unique slant. There are unpredictable elements, including some magical realism moments, slapstick violence and a sometimes-confusing plot. It’s undeniable that he’s a master with his unique angles, creative camerawork and unexpected moments. Adding to the slightly surreal elements is cinematographer Kim Woo-hyung’s saturated colors and dramatic lighting. This film is in no way like a typical American comedy/thriller. Chan-wook’s distinctive approach makes the interesting predicaments unexpected, surprising and enjoyable.

Will Arnett plays a man whose marriage is falling apart, so he starts to perform in New York’s stand-up comedy scene. The plot’s potential sounds better than the result. First off, even though the Comedy Cellar’s audience is laughing, his routines are not funny. Meanwhile, his encounters with his estranged wife (Laura Dern) become more and more tedious as they dissect their relationship’s failure. Surprisingly, Arnett is known for his comedy chops, but here he’s going against type for a dramatic portrayal. Dern brings radiance to her role and their family moments are the only bright spots, including the winning performances from their sons (Blake Kane & Calvin Knegten). Bradley Cooper directed (and has a supporting role), but his determination to make this a warm relationship drama undermines any potential for amusement, while dragging down the potential with dull dialogue. There’s promise here, but it doesn’t completely succeed in the comedy or drama aspects.Interesting trivia: Sean Hayes has a small part and his real-life husband Scott Icenogle (a composer on “Will and Grace”) plays his partner in the film.

Wagner Moura plays a man in 1977 Brazil, fleeing the oppressive military dictatorship and his own potential murder threats. He travels to his hometown, where he meets other dissidents and reunites with his son. Meanwhile, corrupt cops and hired killers are disposing of bodies and more. Then there are flash forwards, when two women listen to tapes that might help explain his past. This fragmented narrative rambles with glimpses of the culture and other things that extend the plot. They also make watching it more challenging (or some might say tedious). At 2:40, there’s an interesting story in the film, but the narrative focus is often is sidetracked by excess information and cultural flavor.

Writer/director Jim Jarmusch is known for his unique vision and laid-back approach and this film meets those expectations. It examines family interactions in three parts: “Father” is Tom Waits, who’s visited by his adult offspring (Adam Driver & Mayim Blalik) for an awkward conversation. “Mother” features Charlotte Rampling, who has tea with her daughters (Cate Blanchett & Vicky Krieps) for a more formal, but equally strained interaction. Finally, the siblings (Indya Moore & Luka Sabbat) visit their deceased parents’ Paris apartment for one last moment of memories. There’s no plot here, but there are random elements that appear in each one: a Rolex watch, discussions of water quality, a popular British expression and some mention of clothes (this was partially produced by fashion house Saint Laurent). These “scenes” feel like one-act plays that examine emotionally distant relationships and the labored effort it takes to reconcile these missed connections. Fans of Jarmusch might find it quietly enjoyable.

This film is told in real time, as a platoon of Navy SEALs embarks on a mission in Iraq. It’s also based on a real event remembered by the men who were there. It begins with the logistical prep, as they get ready for an attack on their building. Even when the firestorm begins, the “action moments” are tempered by the methodical procedures they undergo, including constant communication with the base. Since almost all of this takes place in the same location, it’s not the typical war movie. It’s more about the processes and procedures they follow, even when some of them get severely injured. Alex Garland & Ray Mendoza are co-writer/directors and Garland’s “Civil War” was an equally potent conflict film, albeit fictional  (my review). The determination, discipline and brotherhood of these men pushes thru the continuous intensity and chaos to show the horrors of war on a more intimate level. BTW, there are images of the real soldiers that play during the credits.

The original German name for this film is “The Tiger,” the nickname given the tank by designer Ferdinand Porsche. The story takes place on the Eastern Front of World War II, when a five-man crew is sent on a secret mission behind the front line. Naturally, the intensity of the tank’s close quarters creates plenty of tension, especially when they’re being bombarded. Their journey becomes more severe as they travel more deeply into enemy territory. The performances embody the fear that permeates a wartime excursion and director Dennis Gansel has added to the effect with some mildly effective sequences. There are a few scenes of brutal cruelty and some events challenge credibility, including the ending. Ultimately, fans of war stories might find it interesting, but it never culminates in an especially gripping tank trek.

The compelling underwater shots that launch this film provide an eerie foreshadowing of writer/director Charlie Polinger’s unusual perspective. The film takes place at a polo camp, where one twelve-year-old (Kenny Rasmussen) is ostracized for having the titular infection. Another team member (Everett Blunck) feels sympathetic and attempts to befriend him. The social hierarchy of the boys plays out with cruel comments and mean pranks. Joel Edgerton is the only adult member as the coach. This impressive cast of burgeoning adolescents is remarkedly lively and comfortable in their roles, while Blunck once again shows his remarkable depth. (He was equally strong as the lead in “Griffin in Summer,” now on Hulu.) The pace is often deliberate, allowing Polinger to linger on moments, while sometimes dragging the pace. It’s lite on plot and is more about the emotional dynamics and troubling pressures these kids confront. Trudging thru Polinger’s artsy elements can be challenging, but the ultimate character study reveals itself to be probing and powerful.