Category Archives: New In Theaters

Reviews of what’s out now

New In Theaters

Kindness Has No Borders

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A Handful of Water

by Daniel Baldwin

Jakob Zapf’s quiet drama A Handful of Water revolves around grieving widower Konrad Hausnick (Jurgen Prochnow) living out his days going through his usual routine in a very cold and robotic manner, with the only light in his life coming not from his adult daughter and her new family, but instead from his fish-filled basement aquarium. He is a man who has found himself unable to move beyond his sorrow, nor to find room in his heart for the joy of others. Enter Thurba Al-Sherbini (Milena Pribak).

Thurba is a 12-year-old Yemeni refugee who is on the run . She set off into the world on her own when German police come knocking at her home, forcing her to leave her mother and two siblings behind. Per German law, the family cannot be deported back to Bulgaria unless all members are accounted for. If you’re guessing that Thurba manages to take up residence in Konrad’s home, you’re right on the Deutsche Mark!

A young person managing to bring a bereaved aging man out of his shell is a tale as old as time. Sometimes it comes in the form of fantastical animation like Up!, a violent comic book blockbuster like Logan, or a soaring sports drama like Creed. And sometimes it arrives in a much smaller package, as it does here. This is a tried and true formula because it’s one that often sings and that holds true for this film as well.

Those of you who are primarily used to seeing Prochnow vamp it up in a villainous manner across decades of genre cinema are in for a treat here, as this is a very different side of the man. Jurgen has rarely been better than he is as Konrad, and his performance is matched pound for pound by newcomer Pribak. They are the heart and soul of the film. It doesn’t matter if you can guess where things will go at almost every turn, as the flavors they add to the journey make it worthwhile.

A Handful of Water might not contain very many surprises, but it also avoids the pitfalls of many dramas of this type. It’s never too on the nose with its message and it’s never too saccharine for its own good either. Zapf, Prochnow, and Pribak get the recipe right from moment one and the end result is a fine little drama.

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How to Train Your Latin Dragon

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The Fist of the Condor

by Daniel Baldwin

Since 2006, the Chilean powerhouse team of writer/director Ernesto Diaz Espinoza and martial arts superstar Marko Zaror has been delivering some of the best independent action cinema in the world. From raucous martial arts mayhem (Kiltro) to street-level superhero satire (Mirageman) to Eurospy parody (Mandrill), their wild body of work together has been a diabolical fondue of influences ranging from kung fu movies to spaghetti westerns to blaxploitation cinema and beyond. What makes them all the more impressive is that of the four previous films they’ve made together, no two are alike in terms of style and tone. Other than a good time, you never know what you’re going to get from an Espinoza and Zaror pairing.

The Fist of the Condor sees this duo reuniting for the first time in almost a decade. Their last outing, the rogue assassin tale Redeemer, had been their weakest effort to date, but I’m happy to report that they’ve bounced back here and then some. A deep-flowing love of classic kung fu cinema has always run throughout their collaborations, but it’s never flowed as deeply or as lovingly as it does here.

This is a martial arts adventure just as concerned with evoking the philosophy of both the genre and the real-life practices behind it as it is in showcasing expertly-choreographed fights. There is a poeticism behind the fisticuffs on display here that calls to mind the Hong Kong classics of yore, leaving us with a masterful modern piece of meditative martial arts cinema that would make the Shaw Brothers smile.

Espinoza has always had a way with striking imagery that is a delicious mix of exquisite location photography and beautiful artifice that holds decades of movie knowledge behind it. Condor is no different, as it births some of the best sequences his wonderful mind has conjured to date. All backed by another excellent ‘70s-infused score by longtime collaborator Rocco, of course!

Those whose only experience with Marko “The Latin Dragon” Zaror are his villainous turns in Hollywood films such as John Wick: Chapter 4 and Machete Kills might be surprised to see the monk-like heroism of his primary role here. Fear not, however, as he also plays his own evil twin! His heroic (but not innocent) protagonist Guerrero is his best role since Kiltro and one we’ll be lucky to see continue, since this is meant to be the first in a trilogy. The next two cannot get here soon enough.

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Holding Out for a Hero

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The Super Mario Bros. Movie

by Hope Madden

Allegedly, Anya Taylor-Joy, who’d never played a Mario game of any kind, played incessantly to prepare for her role as Princess Peach in The Super Mario Bros. Movie. I have also never played, but I am far less committed.

Directors Aaron Horvath and Michael Jelenic (both of Teen Titans fame) hit their tone in an absurd, adorable opening sequence that introduces the evil of Bowser (Jack Black, perfect). Then we skip to Brooklyn to meet a pair of lovable plumbing losers, Luigi (Charlie Day) and Mario (Chris Pratt).

Soon the indefatigable Mario and his hapless brother are sucked into another realm where the filmmakers show their fondness for these games. To keep from inadvertently spoiling any surprises, I’ll limit my description because I have no idea what is and is not an Easter egg here.

But video games equal quests and quests are excellent underpinnings for films as long as you strike the right tone. The recent Dungeons & Dragons movie knew that, which is why it was the first success in three attempts to turn that game into a good movie.

Writer Matthew Fogel (Minions: The Rise of Gru) balances light hearted humor with video game architecture that benefits from Illumination’s trademark vibrant color. Bowser gets an excellent music video moment custom made for Black, and Seth Rogan gives Donkey Kong a bratty quality I never realized he needed.

Plus, did you know there were these skeleton turtle zombies? AND little masked dystopian devil soldier guys who are simultaneously goth and cute as can be? But this side of the coin gets little attention, the filmmakers instead making a solidly family friendly flick with no grim undercurrents.

It’s simple enough for kids to enjoy it, it throws a little macabre humor at you via Lumalee (Juliet Jelenic), and it looks good. Not glorious, but definitely good. The game-like levels definitely go on for too long and you feel each of those scant 92 minutes, but it’s a pretty good time.

The Super Mario Bros. Movie feels to me like a fitting celebration of a series of beloved video games. But what do I know? As a movie, it’s perfectly entertaining.

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Bedeviled

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The Five Devils

by Hope Madden

The magical realism of Léa Mysius’s sophomore feature takes a minute to suss out. Things feel straightforward enough, at least for a time. Although, how can a person miss the magic in Sally Dramé’s little face?

Dramé plays Vicky, and she plays her magnificently. Vicky’s an odd duck, disliked intensely at school but happy as can be accompanying her mother, Joanne (Adèle Exarchopoulos) to the pool where Joanne is an instructor and lifeguard.

But all is not right at home between Vicky’s parents, and when her dad’s sister Julia (Swala Emati) comes to stay, things really come undone.

Mysius expertly balances family drama with fantastical elements to achieve an emotional honesty about a complex topic. The drama itself borders on melodrama, with backstabbing, coupling and uncoupling, and sexual relations of an almost Greek tragedy sort. Understated performances from the entire cast keep it from devolving into soap opera, but Mysius has something better than that in store.

The time travel magic of the film, limited as it is to the impish Vicky, allows for a childlike innocence, even when the implications of that magic become very dark. Essentially, by straddling soap opera antics and fantasy elements, Mysius can ask more questions about family entanglements than she answers. But the questions she asks are so rarely tackled that leaving them hanging does not feel unsatisfying.

Again, so much of the success of the film sits with the emotionally honest performances. Exarchopoulos once again delivers raw vulnerability that never feels staged. In fact, despite its sometimes lurid narrative meanderings, there is nothing showy about The Five Devils.

This is an unusual film, generous with its characters even as it looks at the selfishness of love, the neediness within family, and the strange battles we fight.

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It’s Gotta Be the Shoes

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Air

by George Wolf

1984. It was the best of times for Converse and Adidas, as they dominated the market share for basketball shoes. But for Nike’s basketball division, it was the worst of times that threatened to shut them down completely.

That all changed, of course, when Nike brought Michael Jordan into the fold, and Air deconstructs that watershed moment with an endlessly compelling vitality.

If you still need proof that Ben Affleck is a damn fine director, you’ll find it, right down to how he frames the multiple telephone conversations. But the real surprise here is the script. In a truly sparkling debut, writer Alex Convery brings history to life with an assured commitment to character.

Taking his inspiration from the ESPN documentary Sole Man, Convery invites us into the sneaker wars via Sonny Vaccaro (Matt Damon), the legendary shoe rep and “Mr. Miyagi” of amateur b-ball. Convinced the only way to save Nike basketball was to tailor everything around Jordan, Sonny began relentlessly lobbying Nike CEO Phil Knight (Affleck), executive Howard White (Chris Tucker) and marketing director Rob Strasser (Jason Bateman).

And when Jordan’s agent David Falk (Chris Messina) tells Sonny it’s a lost cause, he brazenly heads to North Carolina for a face-to-face meeting with M.J.’s mother (Viola Davis) and father (Julius Tennon).

Davis was reportedly Michael’s personal choice, proving the man knows more than basketball. She’s as masterful as you’d expect, becoming the linchpin in a sterling ensemble that delivers Convery’s nimble dialog with consistent authenticity and wit.

And much like his success with the Oscar-winning Argo, Affleck proves adept at a pace and structure that wrings tension from an outcome we already know. In fact, he goes one better this time, inserting archival footage that actually reminds us of how this all turned out, before leaving Mrs. Jordan’s final ultimatum hanging in the air like a levitating slam from Michael.

And as for the man himself, the film wisely treats him “like the shark in Jaws,” with rare glimpses that only reinforce the elusive nature of the game-changing prize this Nike team is out to land.

The film’s closing summary may flirt with hagiography, and some of the soundtrack hits do feel a bit forced, but Air finds a crowd-pleasing new groove inside a classic album. It’s the thrilling sports movie we didn’t know we needed, and a part of the Jordan legacy that instantly feels indispensable.

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Anyone for Tetris?

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Tetris

by George Wolf

So, you had mad Tetris skills back in the day, did you? Wel then, maybe you know that the name came from merging “tetra” (Greek for “four”) with “tennis.”

But did you know that the road to your gaming glory was paved with blackmail, Cold War intrigue, corporate backstabbing, KGB harassment and perhaps even one exuberant singalong to Europe’s 1986 anthem “The Final Countdown?”

The Apple Original Tetris gives us all that and more, riding an animated lead performance from Taron Egerton and a nostalgic, 16-bit aesthetic for an entertaining ride through history that’s only too happy to borrow from both Pixels and Argo.

And no matter how familiar you are with gaming culture, this is one crazy-ass story.

In the late 1980s, Henk Rogers (Egerton) was a video game sales rep whose shoot-from-the-hip manner and boots-with-suits style earned him a cowboy reputation. His first look at Tetris left him mesmerized at its “poetry, art and math,” and obsessed with obtaining the marketing rights for he called “the perfect game.”

But Tetris was a spare-time invention from Russian worker bee Alexey Pajitnov (Nikita Efremov), and getting those rights would put Rogers in the criss-crossing crosshairs of a competing sales rep (Toby Jones), a billionaire tycoon (Roger Allam, under some questionable makeup) and his heir (Anthony Boyle), game developers from Nintendo and various members of the KGB.

Fun! it is, especially the moments when a Russian business exec (Oleg Stefan, fantastic) moves from room to room in his office building, pitting the players against each other with deadpan delight.

Once again, Egerton is terrific. We first meet Henk as a fast-talking sales dog always ready with a pitch. But as Henk’s passion for a possible Tetris goldmine gives way to manic desperation, it feels real, as does his concern for safety of Alexey and his family.

Director Jon S. Baird (Stan & Ollie) indulges the throwback Thursday vibe, with plenty of game player graphics, pixellated frames and 80s jams. But look beyond the breezy attitude, and you’ll also find that writer Noah Pink includes some resonant nods to how even the seemingly harmless technology can quickly be weaponized.

Yes, the finale becomes a bit tidy, idealistic, and familiar (does Ben Affleck get a credit?), but the fictionalized history of Tetris is worth revisiting, meaning that after a slew of terrible video game adaptations, the genre can bask in a rare double score. Dungeons and Dragons can please crowds at the multiplex, while briefcases and boots gets the job done at home.

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They Got Game

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Dungeons and Dragons: Honor Among Thieves

by Hope Madden and George Wolf

There is a new Dungeons and Dragons movie, Dungeons and Dragons: Honor Among Thieves. Unfortunately, there is not a topic on this planet about which Madd and/or Wolf know less than Dungeons and Dragons. It honestly took us decades to undersand that “zero charisma!” reference in E.T.

Well, good news, then, that MaddWolf pack writer Cat McAlpine is a D&D expert!

Bad news! Cat McAlpine was unavailable for the screening because she was – we swear to God this is true ­– playing Dungeons and Dragons. So, you’ll have to settle for us. And here’s the crazy thing: we liked it.

We did not expect to. You should have seen the fit we threw when we realized Cat couldn’t review it and we would have to. Hissy levels.

Obviously, we can’t speak to how closely the film sticks to whatever it is Dungeons and Dragons is/does/conjures. But as a comedic adventure film with a quest narrative and a game-like aesthetic, it succeeds.

Co-directors John Francis Daly and Jonathan Goldstein (Game Night), both writing with Michael Gilio (Kwik Stop), find an easy humor that feeds off the charm and charisma of their cast. They inject a Guardians of the Galaxy tone into a narrative that mirrors role-playing level changes, and let a talented ensemble keep you entertained.

Chris Pine is the lute-playing, wise-cracking Edgin, who teams with the badass Holga (Michelle Rodriguez) to bust out of prison and go on the run from that cad Forge (Who else but that cad Hugh Grant). They pick up young sorcerer Simon (Justice Smith) and the shape-shifting druid Doric (Sophia Lillis) along the way, and the foursome embarks on an adventure to retrieve a powerful relic that could help reunite Edgin and his daughter Kira (Chloe Coleman).

Does any of this follow a D&D storyline? We don’t know. But even before Bridgerton‘s Regé-Jean Page shows up to lampoon his own image as the dashing Xenk, the contagious, wink-wink swashbuckling had won us over.

The fantastical creatures are plentiful (an “owl bear,” presumably cocaine free!) and gameboard-worthy, while Daly and Goldstein keep upping the ante with fast-paced plot turns that recall those “extra life” badge things that gamers rely on to keep the action pumping.

And the adventure does run a tad long, sometimes feeling simultaneously overstuffed and superficial. But the tone it embraces feels just right, and Honor Among Thieves fulfills its quest to deliver likable characters, infectious humor, and escapist fun.

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Assault on Overlook Hotel

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Malum

by Hope Madden

Equal parts Assault on Precinct 13 and The Shining by way of Charles Manson, Anthony DiBlasi’s Malum is a quick, mean, mad look into the abyss.

Jessica Sula stars as a rookie cop whose first night on the job is a babysitting gig, so to speak. The new station is up and running and all she has to do is sit tight at the old station, redirect anyone who stops by, and wait for morning. So far, so Carpenter.

Jessica (her character’s name, as well) actually requested this stint because her dad, a hero, ended his career in this very building and she just wants the two careers to overlap, if only for one shift. But the cult that her father put an end to one year ago tonight has designs on Jessica.

DiBlasi is reimagining his own 2014 flick Last Shift, although it feels more like a riff on Carpenter’s 1976 Precinct 13 than anything. Regardless, what the filmmaker does is confine the audience along with our hero in a funhouse.

As the film wears on its nightmarish vibe intensifies. Weird characters and genuinely unsettling scenarios play out, some of them predictable but most of them surprises. The jump scares work, the gore plays, and the creature effects are top notch.

Inspired supporting turns from Natalie Victoria, Sam Brooks and Kevin Wayne keep the bizarre tensions building and Sula’s grounded, understated hero holds the mayhem together well

Malum gets nuts, exactly as it should. Though it never feels genuinely unique, it manages to avoid feeling derivative because of DiBlasi’s commitment to the grisly madness afoot. The result is a solid, blood soaked bit of genre entertainment fully worthy of your 92 minutes.  

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Glorious Madness

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I’m an Electric Lampshade

by Christie Robb

Oh man, what can I say about this one? That it’s a celebration of the confidence of mediocre White men? That it’s an inspiring hero’s journey toward self-love and acceptance? It’s kinda both. And a bunch of other stuff.

It’s like a mix of The Office, Spinal Tap,  Alice in Wonderland, and RuPaul’s Drag Race.

And the music videos. My God, the music videos.

I’m an Electric Lampshade follows Doug (Doug McCorkle), a 60-year-old corporate accountant, as he retires from office life to pursue his dream of becoming a concert performer. Director/writer John Clayton Doyle mines this material for all that it is worth—finding the humor, the heart, the beauty, and the weirdness in his cast and locations (the States, Mexico, and the Philippines).

The movie is based on the true story of Doug and is, at least in part, a documentary. But it also incorporates many fictional elements that give it a dreamy, hallucinogenic quality that at times verges on the cartoonish. This isn’t a “conventionally” good movie. It has the makings of a cult classic and is definitely a weird and wonderful little gem.

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Morphinominal!

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Smoking Causes Coughing

by Hope Madden

The narratives of brilliant French filmmaker Claire Denis tend to skip over dramatic highpoints in favor if those moments most filmmakers would ignore. She tells the same story but uses this device to undermine expectations and develop character. In Denis’s hands, it’s a brilliant approach that’s delivered many exceptional films: Trouble Every Day, High Life, 35 Shots of Rum, Let the Sunshine In and so many more.

In his own way, French filmmaker Quentin Dupieux does the same. He certainly does with his latest piece of absurdity, Smoking Causes Coughing, a high concept robbed of its drama and left with Dupieux’s favorite moments. The banal ones.

Costumed avengers Tobacco Force work as a team, each adding their unique gift to a combined weapon strong enough to bring down any enemy – or at least any kaiju in a rubber suit. The whole ordeal is only funnier when the helmets come off and some of the biggest names in French film spend an entire movie dressed like Power Rangers.

Nicotine (Anaïs Demoustier), Ammonia (Oulaya Amamra), Mercury (Jean-Pascal Zadi), Benzene (Gilles Lellouche) and Methanol (Vincent Lacoste) seem to be falling apart. Mercury’s powers were weak last time because he wasn’t sincere enough, and now the Chief (a particularly foul if amorous rat puppet voiced by Alain Chabat) thinks their team lacks cohesion.

And what a time to fall apart! Intergalactic supervillain Lezardin (Benoît Poelvoorde) is planning to eliminate Earth for being uninteresting.

Rather than follow the strategies and preparations, or even the battle itself, Dupieux sets his tale during the weeklong forced retreat where the team builds cohesion and shares campfire stories. The superhero film then becomes, essentially, the framing device for an absurdist’s horror anthology.

What is it all about? The ridiculousness of storytelling, of distracting yourself from life, and the insidious way capitalism influences both your life and your distraction from life?

I have no idea. But if you like Quentin Dupieux movies, you’ll no doubt enjoy this one. It’s less inspired than 2010’s Rubber, less endearing than 2020’s Mandibles. But Smoking Causes Coughing kicks expectations in the ass and has a fine time making moviemaking the butt of its joke.