“Black Bag”
Cate Blanchett and Michael Fassbender are stars of Michael Fassbender as Kathryn and George.
From our review:
“Black Bag” is the third film written by David Koepp and released since 2022 and directed by Steven Soderbergh, Banger. It is also refined, resourceful and bone-leaning. The fiery, fiery, fascinating puzzles, look at the screen if you're lucky, about beautiful spies doing extraordinary things that the rest of us only read in novels. It's nonsense, but it's the kind of brilliant adult nonsense that critics like to say (like Hollywood) say they don't make any more.
In the theater. Read the full review.
Critics' Choice
It was lost in the role.
“actor”
After undergoing a traumatic brain injury that affects his memory, Paul Cole (Andre Holland) tries to bring his life back together in this melancholic mystery directed by Duke Johnson.
From our review:
Filmed in a warehouse in Budapest, “Actors” sometimes feel like a horror film about amnesia and agency struggles. The scene snaps off as if the thread of events evaporated, and the feeling that this feeling permeates the beautifully controlled performance of the Netherlands. His Paul may be confusing, but he is also afraid to face life that could become one or more repeated charades.
In the theater. Read the full review.
Critics' Choice
Lights, cameras, quarantine.
“Unfinished movie”
The crew of the film tries to take up production in Uhan, which stalled a decade ago, but only derails if the coronavirus spreads and the crew needs to be isolated in this meta drama directed by Ruhe.
From our review:
Whether Lou's cinematic world is colliding with us, and in that era, whether the holders were under strict lockdowns like China or loose social advice like much of the US, there is a sense of oppression of space and time throughout the familiar tricky role.
In the theater. Read the full review.
There is no pain, everything gets.
“Novocaine”
Jack Quaid stars as Nate Kane. Nate Kane is a man who overcomes a dangerous mission to save his crash with the advantages of a genetic condition that prevents him from feeling suffered from this action, directed by Robert Olsen and Dan Burke.
From our review:
Violent comedy works more than anything through Quaid. Coaid is natural and agile at embodying the funny paradox of a non-fallen Nevisie hero. The indestructible man's spin means highlighting “novocaine” on paper from John Wicks and Jason Statham, which we know well. But what keeps it restless in the boring stye is his gow, boyish charisma, his goky, boyish charisma and quaid, a real tough guy who doesn't know how to act on it.
In the theater. Read the full review.
This pop star sings another song.
“Opus”
Director Mark Anthony Green's horror film follows the journalist (Ayo Edebiri) as she joins the cliff-stopping pop star Moretti (John Malkovich) in his remote mansion, full of weirdness and intrigue.
From our review:
Anyone who is supposed to send “Opus” has a slightly broader purpose. But even if the only real goal of the film is to scare it, it bets too much on the final twist. Moretti's explanation of behavior is not so demonic or original, as Green seems to think. If it's a close-up shot of a movie, it's hard to say anything else: how retro.
In the theater. Read the full review.
Is that everything?
“The day the Earth exploded”
This Looney Tunes is directed by director Peter Brownguard, Duffy Duck and Porky Pig, revealing an alien mind control plot that includes bubblegum.
From our review:
The action is enthusiastic and willing and vulgar. At some point, a dome of foam gum appears from the rear edge of the dog. There are also old-fashioned slapsticks. It turns out that chatting fake teeth will effectively save the world. However, the energy of the film is not rewarded with a real joy dividend. The anarchy wasn't merely enough to be rendered here in the end.
In the theater. Read the full review.
This 90's grunge sci-fi won't reach Nirvana.
“Electrical Condition”
In an alternative version of the 1990s, when humanity barely won the war with technology, the teenager (Milly Bobby Brown) teamed up with the action comedy directors Anthony Russo and Jorusso with some friendly robots with the villainous smuggler (Chris Pratt).
From our review:
The design team clearly enjoyed creating a gallery of retro-future store animatronics that depicts badly from mid-20th century mascots and brands. However, there is no logic as to what the film says about the relationship between humans and machines, or about the generality. You can't blame some of the actors who seem confused or bored.
Watch Netflix. Read the full review.
Manly a manly man who misses the forest because of the trees.
“Who's the fire?”
In this ensemble drama directed by Philip Resurge, a group of men gather in remote areas of the forest to tackle each other.
From our review:
Lesage's character may talk a lot, but he avoids explanation, so he ends up overloading the story with a dramatically elevated episode. These keep things boiling, but often exaggerating what is obvious, as is the case with telegraph dialogue. The lost soul goes missing. Men hunt with bows and arrows. Naked women bare their flesh. That's very difficult, but so is the case with films. It's beginning to see Albert and Blake reconnect.
In the theater. Read the full review.
Fear and breakfast.
“Childcare”
After a young couple (Brandon Flynn and Nick Dodani) bring their parents (played by Lisa Kudrow, Dean Norris, Eddie Falco and Brian Cox) on a weekend getaway, the family discovers that the rental home has a long-lasting ghostly tenant in this horror comedy directed by Craig Johnson.
From our review:
As the demonic plot sounds, the tone moves into a full-blown slapstick insanity, with multiple Pomera being brutally slaughtered with the heads “exorcist” style, family projectile vomiting, and means fashion. The cast is a game – Cox in particular can rob top Linda Blair, but the script by “Saturday Night Live” writer Kent Sublett is remarkable and polished, lacking the wit of “The Evil Dead” (obvious influence) and Brio's “Scarary Films.”
Take a look at Max. Read the full review.
A gentle story about first love.
“Young Heart”
The adult drama, directed by Anthony Shattman, follows Elias (Lu Gussense), a 14-year-old boy who struggles to embrace his sexuality after falling in love with his neighbor.
From our review:
The film changes between Elias' blissful surrender and the state of anger's oppression, capturing him with emotionally exposed close-ups. The quiet scenes of naturalistic performances and summer idling remind us of Luca Guadagnino's drama, Call Me by Your Name, although “Young Hearts” is healthier and ultimately more cliché and effort.
In the theater. Read the full review.
Edited by Kerina Moore.
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