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本周要观看的新电影:《太空拥堵:新遗产》、《猪》、《恐惧街》第 3 部分:1666 年

夏季电影季即将来临——尽管发行时间表从未如此混乱,一些大片直接进入流媒体,而各种独立电影坚持大流行前的模式,只在影院上映。


让Variety帮助您找到下一个来之不易的逃避现实,无论是漫威大片(如《黑寡妇》)还是寻找稀有鲸类动物的水上之旅(如《最孤独的鲸鱼》)。

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亚历克斯·沃尔夫与尼古拉斯·凯奇谈论“猪”、“老”和“超越萌芽”


“猪”明星尼古拉斯·凯奇解释了他如何让未经训练的猪“用爱看着我”


“猪”明星尼古拉斯凯奇放弃好莱坞:“我进入了自己的荒野”


以下是Variety报道的本周上映电影的概要,以及您可以在哪里观看这些电影的信息。在此处查找要流式传输的更多电影和电视节目。


7 月 16 日那一周的新版本

在剧院

Space Jam:新的传统

发行商:华纳兄弟

在哪里可以找到它:在影院和 HBO Max 上


“Space Jam:A New Legacy”是混乱的,彩虹色的胡说八道,与原版不同,它设法像电影一样融合在一起。再一次,一位 NBA 传奇人物滑入了一个由虚构人物组成的阴间,他们必须帮助他赢得一场篮球比赛才能逃脱。正如兔八哥可能会说的那样,“呃,你在期待复活节兔子吗?” 取而代之的是,Bugs 只是简单地说,“听起来非常熟悉。”

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Pig

发行商: Neon

在哪里可以找到它:在影院

CRITIC'S PICK

“Pig”首先给人留下深刻印象的是它设法同时感受到外面和接地的方式。除了其前提明显牵强的性质之外,它还包括从餐厅工作人员的地下搏击俱乐部到“乡村蘑菇馅饼”和“妈妈的法式吐司和解构扇贝”等章节标题的所有内容。但它从未陷入荒谬之中,Sarnoski 稀疏的对话辅以 Alexis Grapsas 和 Philip Klein 提供的恰到好处的低调配乐。这也是为什么除了凯奇之外无法想象任何人会担任主角的原因:没有其他人可以像他一样同时拥抱和提升内在荒谬的情节发展,同时找到接近其中深刻意义的东西。

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密室逃脱:冠军赛

发行商:索尼

在哪里可以找到:在影院中


这个后续行动立即宣布自己的目标不高于严格的特许经营“更多相同”,从回顾之前的事件开始,并以第 3 名的实际开球结束。寻求一次性夏季娱乐的观众会发现它肯定满足基本的期望,进一步增强了非原创原作的忙碌、电子游戏般的 PG-13 刺激。

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Roadrunner

发行商:焦点

在哪里可以找到它:在影院中

这部电影呈现了波登在他的名人生涯中如何演变为一个人的心理,几乎是小说式的描绘。当然,名利的好处可以改变任何人。但 Bourdain 的独特之处在于,他是一个飞扬的个性——一个瘾君子、一个追求轰动的人、一个渴望体验的鲁莽反叛者——他找到了一种方法,让自己适应在餐厅厨房工作的夜间需求。厨房就是他的家。它给了他结构和目的,一个发挥他痴迷本性的地方。一旦他成为电视明星,他的厨师生涯就被抛在了后面。家没了。

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在 Netflix 上可用

恐惧街第 3 部分:1666

在哪里可以找到它: Netflix


“恐惧街第 3 部分:1666”不仅仅是 Netflix 恐怖三部曲中最好的;它还通过深化神话并强调连续观看所有三章的重要性,以更有利的方式重新塑造了前两个条目“1994”和“1978”。就其本身而言,这些电影中的任何一部松散地基于 RL Stine 的小说都会是一种高于平均水平的流派回归。它们一起构成了最近记忆中更涉及恐怖的系列之一。

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Gunpowder Milkshake

哪里可以找到: Netflix

“Gunpowder Milkshake”由以色列电影制片人 Navot Papushado(“大坏狼”)导演和合着,在糖果色的动作梦境中展开,感觉就像 Netflix 版的塔伦蒂诺主题公园。开场场景设置在一个霓虹闪烁的餐厅里,配上礼节性点的奶昔,然后电影又回到了 15 年前的同一家餐厅,当时还是个女孩的山姆最后一次见到她的母亲斯嘉丽,由严肃的角色扮演。专横的莉娜·海蒂。妈妈是一名刺客,为事务所工作,这是一个如此险恶和强大的装备,几乎完全是抽象的。为了报复,她杀错了人,不得不消失。山姆被迫自生自灭,基本上取代了她母亲的位置。

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7 月 9 日那一周的新版本

可在影院和迪士尼 Plus 上使用

Black Widow (Cate Shortland)

发行商: Walt Disney Studios

在哪里可以找到它:在影院和迪士尼 Plus 上

是斯嘉丽约翰逊将这部电影整合在一起并赋予它灵魂的触感。娜塔莎对复仇的渴望在跳动,但她内心的伤口也在跳动,而在漫画类型中不同寻常的约翰森将最脆弱的情感作为她力量的人性的一部分……“黑寡妇”拉开了第四阶段的序幕。 MCU,感觉不像第一部独立的“黑寡妇”电影。感觉更像是第二部迷失在荒野中的“黑寡妇”电影。但我在这里要说这是一件好事。我们大多数人都见过足以维持一生的超能力。“黑寡妇”利用来自内部的力量。— 欧文·格莱伯曼

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在 Netflix 上可用

恐惧街第 2 部分:1978 (Leigh Janiak)

在哪里可以找到它: Netflix 的

“第 2 部分”多次明确提到斯蒂芬金,有时会呈现出一种模糊的“它”般的品质,就好像邪恶的概念躺在长满苔藓的坟墓中,并不太休眠,并定期给附近的人带来剧烈的不幸。尽管从未完全达到其最明显影响的水平,但由于所有这一切都发生过并且毫无疑问会再次发生,这部电影具有一定的庄严感。— Michael Nordine

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第八夜(金泰亨)

在哪里可以找到它: Netflix


我如何成为超级英雄(道格拉斯·阿塔尔)

在哪里可以找到它: Netflix


在剧院可用

最孤独的鲸鱼(Josh Zeman)

发行商: Bleecker Street

在哪里可以找到它:现在在剧院和从 7 月 16 日开始的 VOD 上

Zeman 向我们介绍了不同类型的鲸鱼,同时组装了一部标准问题的非小说类电影,主要包括进行平面谈话的头部访谈拥有一批科学专家。混合中还有简单、定义明确的图形和丰富的档案镜头,讲述了海洋巨头的历史困境,这些巨头曾经因为珍贵的鲸脂而被成群结队地残忍杀害。— Tomris Laffly

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Dachra (Abdelhamid Bouchnak)

发行商: Dekanalog

在哪里可以找到:在影院

尽管剧本存在各种缺点和陈词滥调,但《达克拉》此刻从不觉得自己傻。它具有险恶的氛围,对股票类型元素(阴险的孩子,不祥的蒙面人物等)的美学精致利用更加令人印象深刻,因为这个非常漂亮的企业据称总成本相当于 80,000 美元。Bouchnak 的电影并没有再次公开向昔日的欧元碾压式票价致敬,而是经常让人回想起诸如西班牙“谁能杀死一个孩子?”等邪教经典的令人深感不安的氛围。和 Lucio Fulci 的意大利语“公墓之家”,其令人难忘的品质与他们脆弱的剧本几乎没有关系。— 丹尼斯·哈维

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Scales (Shahad Ameen)

发行商: Variance Films

在哪里可以找到它:在剧院里沙特

女性作为二等公民的地位在沙特头盔作家 Shahad Ameen 的寓言式处女作“Scales”中得到了有力的比喻形象化。故事更多是通过图像而不是对话来揭示,故事在一个荒岛上展开,那里的传统要求每个家庭都将一个女儿献给海女,以确保当地渔民有好渔获。凭借闪闪发光的黑白摄影、身临其境的声音设计、怪诞的配乐和令人毛骨悚然的揭示,这部电影融入了原始而令人不寒而栗的东西,紧张的前三分之一尤其强烈。— 艾丽莎·西蒙

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American 965 (Tristan Loraine)

发行商: BossaNova

在哪里可以找到:在影院


在 VOD 上可用

Marathon (Keith Strausbaugh, Anthony Guidubaldi)

在哪里可以找到它: Amazon Prime Video、Vudu、Fandango Now


Meander (Mathieu Turi)

在哪里可以找到它: Amazon Prime Video、Vudu、Google Play


儿子(Ivan Kavanaugh)

在哪里可以找到: Amazon Prime Video、Vudu、Google Play、YouTube


7 月 2 日那一周的新版本

在影院和 HBO Max 上可用

No Sudden Move (Steven Soderbergh)

发行商: Warner Bros. Pictures

在哪里可以找到它:在影院和 HBO 上 Max

Soderbergh 有恶作剧的一面,但事实是他在 40 年代或 50 年代就在家里大肆宣传喜怒无常的黑白惊悚片,如罗伯特·西奥德马克或约瑟夫·H·刘易斯。他的最新作品使这种联系更加明确。这是一部肮脏、多触角的犯罪惊悚片,背景设定在 1954 年种族两极分化的底特律,索德伯格陶醉于那个时代的装饰:圆形汽车和时尚宽松的衣服、优雅的砖基建筑、50 年代的表面“清白”,现在看起来它是为了掩盖腐败而设计的。他还拍过一部电影,其中每个人都在双重穿越每个人。— 欧文·格莱伯曼

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可在剧院和 Peacock 上使用

The Boss Baby: Family Business (Tom McGrath)

发行商: Universal Pictures

在哪里可以找到它:在剧院和孔雀上

好吧,他们制作了“The Boss Baby”的续集。2017 年的梦工厂电影,非常松散地基于 Marla Frazee 的儿童读物系列,押注了一个消化不良、超级智能、穿着黑色西装的婴儿在做非婴儿般的事情时用亚历克鲍德温的声音说话的吸引力。《老板宝贝:家族企业》也在押注家庭观众准备重返影院。不幸的是,这部电影本身通常没有它背后的商业问题那么有趣,这是一部非常称职的电影,它加入了足够的离奇元素,使对原版公式的相当基本的翻修变得生动起来。— 安德鲁·巴克

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仅在剧院

The Forever Purge (Everardo Valerio Gout)

发行商:环球影业

在哪里可以找到:在影院

“永远的大清洗”以德克萨斯州为背景,这个地方喜欢认为自己发明了法律应该由一个人、他的枪支而不是其他任何东西组成的想法。到目前为止,该系列一直鼓励我们将大清洗视为城市的事情:所有人口稠密的震中的居民都带着被压抑的愤怒。但是,将一部“净化”电影拍成一部疯狂的西方动作片的想法会引起共鸣,尤其是当你加入“永远的净化”所围绕的热门燃烧瓶时。在这部电影中,大清洗变得如此令人上瘾,人们利用其无法无天的宣泄,以至于他们没有愿望或意图停止。— 欧文·格莱伯曼

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The Neutral Ground (CJ Hunt)

在哪里可以找到它: Laemmle Glendale Theatres 独家发售,随后是 7 月 5 日 PBS 的“POV”

亨特交替有趣和令人愤怒的散文片超越了表面辩论,探讨了为什么一些南方人如此依恋他们内战英雄。答案虽然可能很复杂,但与被称为“失落事业”的有害宣传活动息息相关。Hunt 于 2015 年启动了这个项目,当时新奥尔良市长 Mitch Landrieu 开始大肆宣扬要拆除该市的邦联纪念碑,有点笨拙地取消了“每日秀”(亨特现在的地方作为现场制作人工作)。— Peter Debruge

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Zola (Janicza Bravo)

发行商: A24

在哪里可以找到它:在

比“Hustlers”和“The Florida Project”加起来更喧闹的剧院里,但来自一个类似的女性赋权场所,“Zola”是一种不敬的、感性的- 对观众的冒犯之旅——其中很多人可能对他们的核心感到震惊——以及为女主角泰勒·佩奇和莱利·基奥表演的展示,扮演试图让她误入歧途的脱衣舞娘。受到一场史诗般的推特风暴的启发,该风暴成为一种病毒式的轰动,成为滚石乐队的故事,不知何故被选为大银幕,“佐拉”讲述了一场疯狂的公路旅行,其中两个女孩从底特律前往佛罗里达,狗屎向南。— Peter Debruge

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点播和选择剧院

第一次约会(曼努埃尔·克罗斯比,达伦·纳普)

发行商:磁铁释放

在哪里可以找到它:在剧院和点播中

更关心向 90 年代昆汀塔伦蒂诺致敬,而不是用可信的赌注讲述当代的成年故事,“ 《第一次约会》给一对年轻夫妇带来的不是浪漫的夜晚,而是一部漫无目的的通宵犯罪喜剧,大部分都是无趣的,没有令人信服的悬念。取而代之的是,我们看到了一部充斥着错误的血腥喜剧,充满了说俏皮话的罪犯、错过的联系和射击游戏。也许“第一次约会”最令人沮丧的方面,除了迈克和凯尔西在一起的时间很少之外,是迈克在这种情况下持续的被动。— Tomris Laffly

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The God Committee (Austin Stark)

发行商: Vertical Entertainment

在哪里可以找到:在影院和点播中

Kelsey Grammer 和 Julia Stiles 并不是天生的浪漫情侣,他们尴尬的配对是 Mark St. 的改编版最大的失误。 Germain 的剧本是关于一组医生的任务,他们负责决定三名患者中的哪一个应该接受心脏移植。通常类似于《实习医生格蕾》对《十二怒汉》的示意性变体,这部严肃的戏剧在很大程度上是低调的,其吱吱作响的元素被对其各种纠缠不清的问题的细致入微的观察所抵消。这不足以获得票房吸引力,但它确实使它成为成人 VOD 观众的可靠选择。— 尼克·沙格

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幻影(帕特里克福布斯)

发行商:格林威治娱乐

在哪里可以找到它:在剧院和按需

“如果你很穷,没有钱,并且无法为自己找到一个真正对你的案子嗤之以鼻的律师,你”我要死了,”在这部引人入胜且最终令人愤怒的纪录片中,一位辩护律师曾遗憾地指出。这并不是对卡洛斯·德鲁纳 (Carlos DeLuna) 遭遇的完全恰当的描述,他于 1989 年因 1983 年几乎可以肯定没有犯下的残酷谋杀而被处决。事实上,这部巧妙而引人入胜的电影表明,DeLuna 的辩护人并非无动于衷或无能,而是严重(也许是故意)误导了减轻证据的信息。— Joe Leydon

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Till Death (SK Dale)

发行商: Screen Media

在哪里可以找到它:在影院和点播中

“即使这是我做的最后一件事,我也会摆脱你。” 这句台词是艾玛(梅根·福克斯饰)在他们偏远的湖边小屋庆祝他们成立 10 周年后的第二天早上对她的丈夫说的,这种对话总结了这部冬季惊悚片的直率。但是当艾玛对马克怒火中烧时,她已经沐浴在他的血液中,手铐铐在他软弱无力的尸体上,呆在空荡荡的房子里,找不到锋利的工具(或可以工作的电话)。在杰森·卡维 (Jason Carvey) 过于文字化的剧本中,曾经的心理困境已成为噩梦般的现实。— Manuel Betancourt

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明天的战争 - 图片来源:亚马逊提供

明天的战争 - 图片来源:亚马逊提供

由亚马逊提供


亚马逊独家

The Tomorrow War (Chris McKay)

在哪里可以找到它: 亚马逊 Prime

“The Tomorrow War” 是一场大型、愚蠢、有时乏味、有时有趣的文明与外星人的对决,它将一群普通人通过虫洞送到未来为了拯救人类。他们正在战斗的生物是长相古怪的野兽。想象一下《异形》电影中的大嘴怪兽与迅猛龙交叉,与飞速奔跑的鸡交叉,皮肤看起来像是被蛋液卷过并浸入了白花。这是一部外星人战斗时间扭曲的电影,让你渴望“星河战队”的细微差别。这是令人振奋的足够的定义。— 欧文·格莱伯曼

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恐惧街第 1 部分:1994 年 - 图片来源:Netflix 提供

恐惧街第 1 部分:1994 年 - 图片来源:Netflix 提供

由 Netflix 提供


Netflix 独家提供

美国:电影(马特·汤普森)

在哪里可以找到它: Netflix

美国的创造神话实际上可能并不完全根深蒂固——我们中很少有人仍然相信乔治华盛顿砍倒那棵樱桃树的故事——但它们远没有那么古怪“美国:电影”,一部动画喜剧,其中我们的第一任总统是一个挥舞着电锯的自由斗士,他建立了美国,为他最好的朋友亚伯拉罕·林肯的谋杀案报仇雪恨。如果那个时间线看起来不可能,那是因为它是——不是这个“成人游泳”式的卡通关心,给多少人成为一体的故事带来了无政府主义的能量。— Michael Nordine

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恐惧街第 1 部分:1994 年(Leigh Janiak)

在哪里可以找到它: Netflix

7 月 2 日首播,每周五推出新一期,为期三周,Netflix 的新“恐惧街”三部曲切片和切块“鸡皮疙瘩”作者 RL Stine 的其他书籍系列分为三部长篇恐怖电影,每部都详细描述了小镇 Shadyside 的不同血腥屠杀。“第 1 部分”取自《怪奇物语》,导演 Leigh Janiak 呼吁观众近乎过去的怀旧情绪,唤起固定电话和购物中心仍然存在的时代。该策略为几个不合群的青少年和他们醒着的噩梦之间的普通摊牌提供了一个有趣的复古饰面。— Peter Debruge

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黄金时段(Jakub Piatek)

在哪里可以找到它: Netflix

在奥斯卡提名的“Corpus Christi”中以冒名顶替的牧师的身份搅乱了一个波兰村庄之后,明星 Bartosz Bielenia 试图在“黄金时段”中震惊整个国家。他在这里的角色是另一个不满者,这个人全副武装,准备在新年前夜接管一家电视演播室,向世界传达一个特殊的信息。但他有点过于无缘无故的反叛:我们永远不会发现这个主角的抗议抱怨是什么。这种缺乏使得导演皮亚特克和合著者卢卡斯·查普斯基的第一部故事片是一部熟悉的人质剧,其预期的叙事理由奇怪地是 MIA。— 丹尼斯·哈维

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6 月 25 日那一周的新版本

仅在剧院

F9 (Justin Lin)

发行商:Universal Pictures

在哪里可以找到:广泛发行

这部电影一直在回顾它的肩膀——该系列建立的所有间谍团队作为家庭的关系,以及我们认为已经去世的一个关键角色。你可以说,当一部轰动一时的电影系列有 10 部电影——还有 20 年——的历史时,它就获得了回顾的权利。但特许经营的一般运作方式是好的续集向前看,或者至少关注现在。《F9》再次由贾斯汀·林执导,他在《速度与激情:东京漂移》上大放异彩,并制作了该系列的后三部作品,但考虑到《F9》是林的第五部《F》和 F” 电影,也是他八年来的第一部,它的动作比醉酒更有活力。— 欧文·格莱伯曼

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上帝存在,她的名字是 Petrunya (Teona Strugar Mitevska)

发行商: 1844 Entertainment

哪里可以找到:在选定的剧院

看着一个女人在被告知她一文不值后掌控自己的命运可以成为电影中更强大的时刻之一,但是当她为自尊而奋斗的时候,被一个英俊的男人所认可的幸福让步,这真的是多么令人满意? “上帝存在,她的名字是佩特鲁尼亚”将自己定位为女权主义的呐喊,反对在霸道的大男子主义和顽固的宗教的控制下的父权制马其顿,但温和的仓促结局削弱了其性别平等的推动力。Mitevska 提供了她迄今为止最集中的电影,其集中的情节挖掘了机会,强化了无知的传统将女性困在屈从角色的方式。— Jay Weissberg

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我带着你(Heidi Ewing)

发行商: Sony Pictures Classics

在哪里可以找到它:在选定的影院中

“我带着你”讲述了一对来自墨西哥的无证同性恋夫妇的真实故事,他们为爱情、自由和美国梦。纪录片导演海蒂·尤因首次涉足叙事电影制作,作为她现实生活中的人物伊万和杰拉尔多的真实写照,开始了该项目,但演员将扮演这两个人的早年生活——无论是童年还是后来的生活,在他们相遇并坠入爱河的那一刻。叙事场景的拍摄方式让我们很难在整个过程中保持投入,而且演员们似乎并没有扮演我们现在被允许观察的两个人。— 瓦莱丽情结

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灵魂之夏(……或者,当革命无法通过电视转播时)(Ahmir “Questlove” Thompson)CRITIC'S PICK

发行商:探照灯图片

在哪里可以找到:在纽约和洛杉矶的部分影院,随后是 7 月 2 日的 Hulu

1969 年发生了很多事情,标志着这一年成为一个转折点:阿尔塔蒙特、查帕奎迪克、登月、曼森谋杀案、伍德斯托克。但是发生了一件很少有人知道的重要事情(而且更大的文化已经完全忘记了),那就是在哈莱姆的莫里斯山公园举行了六个周末的惊人系列音乐会。现在第一次为这段镜头闪耀的艺术家是 Ahmir “Questlove” Thompson 在一部与众不同的音乐纪录片中,因为虽然这是一部欢乐、灾难性和深情诱人的音乐会电影,但它的真正含义是什么是美国黑人生活的关键转折点。— 欧文·格莱伯曼

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Sun Children(Majid Majidi

发行商: Strand 发行

地点:在部分纽约和洛杉矶剧院

看着伊朗导演 Majid Majidi 的“太阳之子”,我想起了“佛罗里达计划”。作为关于 21 世纪儿童的最佳电影之一,“佛罗里达计划”发生在距沃尔特迪斯尼世界仅一箭之遥的地方,对于那些被忽视的儿童角色来说,在他们进入公园之前参观这似乎是一个梦想。《太阳之子》反过来呈现了这个场景。影片开头有两个男孩,12 岁的阿里 (Rouhollah Zamani) 和年轻的阿富汗朋友/同谋阿博法兹尔 (Abolfazl Shirzad),他们跑过他们能想到的最豪华的地方:德黑兰购物中心,他们一直在那里偷轮胎停车场里的豪车。— Peter Debruge

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Werewolves Within (Josh Ruben)

发行商: IFC Films

在哪里可以找到:在影院

“侵入和死亡,”在乔什·鲁本 (Josh Ruben) 敏捷、巧妙地导演的故事片“狼人之内”(Werewolves Within) 早期看到的一个不相干的标志上写着。虽然标语牌特指一些当地人的私人财产,但人们可以安全地将警告应用于围绕它的整个覆盖着雪的佛蒙特州村庄。欢迎来到比弗菲尔德(Beaverfield),这是一个充满秘密、谎言和意识形态差异的沉睡小镇,您只能自行承担风险。但要知道这是一个值得冒险的风险,尤其是如果 Rian Johnson 的令人愉快的刺山柑“Knives Out”最近已经触动了你对舒适诱人、稳定有趣的谋杀之谜的渴望,其中凶手的身份直到最后都是任何人的猜测。— Tomris Laffly

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点播和选择剧院

Lansky (Eytan Rockaway)

发行商: Vertical Entertainment

在哪里可以找到:在选定的剧院和点播

这部独立剧是对先前叙述的现实生活事件的另一种诠释,在不同程度的准确度中,在 1974 年电视电影“弗吉尼亚山”、1999 年 HBO 制作的“兰斯基”和巴里莱文森的“Bugsy”等多样化的电视电影中(1991)。然而,说实话,与这些前辈的比较并不总是对洛克威有利。但没关系:凯特尔在他的表演中注入了足够多的冬季狮子般的庄严,以主宰他出现在屏幕上的每一刻,而当他不在的时候也有不少,这反过来又足以推动“兰斯基”通过延伸当感受到时间的流逝时,预算限制是显而易见的。— Joe Leydon

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除非你告诉(乔纳森·夸塔斯),否则我的心无法跳动(乔纳森·夸塔斯)

发行商:黑暗天空电影

在哪里可以找到:在选定的影院和点播

乔纳森·夸塔斯 (Jonathan Cuartas) 在犹他州拍摄的第一部影片更强调功能失调的国内戏剧而不是惊悚片,对于主流恐怖片粉丝来说可能太低调了。但是这部电影的信念和强大的表演应该会吸引那些欣赏吸血鬼电影之前的低调,“现实”旋转的人,例如“汉密尔顿”,乔治·A·罗梅罗的“马丁”,原版“让正确的人进入”或更多最近的“轮回”。在 2021 年翠贝卡音乐节上重返银幕,“心”在去年的 COVID 严重受损版本中正式首映,并在其间巡回国际电影节巡回演出。— 丹尼斯·哈维

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亚马逊 Prime 专属

Mary J. Blige 的我的生活(Vanessa Roth)

在哪里可以找到它: 亚马逊 Prime

追踪 Blige 1994 年专辑“我的生活”的黑暗起源,与歌迷一起探索其遗产,并展示了 2019 年一对的简短(可能太简短)表演片段Blige 为庆祝成立 25 周年而举办的音乐会,Roth 的 doc 不乏来自该主题自己(也是执行制片人)的合作。但是这部电影有一种告别的光彩,有时无法充分发挥相关作品的全部力量——作为一个以粉丝为中心的回顾展,它击中了很多正确的音符;但作为一个更彻底地探索一个复杂的、仍然具有影响力的地标的机会,它从来没有深入挖掘过。— 安德鲁·巴克

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Discovery Plus 专享

Rebel Hearts (Pedro Kos)

在哪里可以找到它: Discovery Plus

到 1968 年,不合群的姐妹们的生活变得复杂起来,而一个冲突不断的天主教会正在努力应对长达十年的社会动荡。随着公民权利和性别政治的发展,许多基督的新娘发现自己在外部世界的进步和教会僵化的父权制之间左右为难。追踪一个特别独立的洛杉矶修女团体的故事,圣母无玷圣心修女会,佩德罗·科斯(Pedro Kos)平易近人、眼睛湿润的医生“反叛之心”巧妙地将全球女权主义者的觉醒贯穿于一个非常具体的经历中很少有挑衅的,不再与世隔绝的女性。— Guy Lodge

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迪士尼Plus专属

沃尔夫冈(大卫·盖尔布)

在哪里可以找到它: 迪士尼加上

沃尔夫冈·帕克让美食变得有趣,不仅美味、优雅和健康,而且以一种吸引孩子内心的方式充满多汁。人们去 Spago 是因为他们想被人看到,但也因为这是一个夜间烹饪派对。是帕克从高端餐厅虚张声势中消除了闷气,这种精神席卷了纽约和其他美食圣地,并蔓延到了腹地。前 Spago 厨师 Evan Funke 在电影中说:“他是我们这个国家饮食方式的创始人。” 如果帕克什么都不做,他就会成为一个巨人。但是,当“沃尔夫冈”有趣地捕捉到时,帕克陷入了比包括他在内的任何人都可能预期的更具影响力的创新。— 欧文·格莱伯曼

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HBO Max 独家提供

LFG(Andrea Nix Fine、Sean Fine)

在哪里可以找到它: HBO Max

这部事实上引人注目、毫无歉意的电影讲述了美国女子国家足球队为了同工同酬向他们的雇主美国足球联合会提起诉讼之后的故事。在此过程中(为职业女运动员支付股权还有很长的路要走),该团队在场上踢了一些球和一些屁股,然后度过了冠状病毒大流行,因为他们要求获得公平的赔偿。这部纪录片有力地证明了他们是一个多么出色的团队。虽然“LFG”并没有透露难以捉摸的配方,但它却是一位队友所说的团队的“特制酱料”。— 丽莎·肯尼迪

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冰路 - 图片来源:Allen Fraser/Netflix

冰路 - 图片来源:Allen Fraser/Netflix

艾伦弗雷泽/ Netflix


Netflix 独家提供

Good on Paper (Kimmy Gatewood)

在哪里可以找到它: Netflix

熟练的喜剧演员 Iliza Shlesinger 被证明是 Netflix 的强大力量。松散地基于她的现实生活经历以及自始至终创新整合的站立例行程序,她的自编特辑“纸上谈兵”以一个女人为中心,她不情愿地决定在人际关系方面放松警惕,只遇到一个有问题的人,他比安全更滑。它包含关于女性直觉、性别政治和关系(柏拉图式和浪漫)的尖锐俏皮话,超越了它自嘲的标题。— 考特尼霍华德

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花之屋:电影(Manolo Caro)

在哪里可以找到: Netflix


冰路(乔纳森·亨斯利)

在哪里可以找到它: Netflix

好像冰封的北方还没有给他在“灰色”和“冷酷的追击”中带来足够的悲伤,利亚姆·尼森又回来了,以“冰路”进行更冷酷的惩罚。” 乔纳森·亨斯利 (Jonathan Hensleigh) 自十年前的《杀死爱尔兰人》(Kill the Irishman) 以来首次担任编剧兼导演,这位明星是三位司机之一,他正在危险的旅程中运送救援马尼托巴北部被困矿工所需的设备。几乎所有可能的危险都会在途中阻挠他们的任务,制作一部越来越令人难以置信的动作片,它会吸引大多数观众,但也可能让他们觉得有点被愚弄了。— 丹尼斯·哈维

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Sisters on Track (Corinne van der Borch & Tone Grøttjord-Glenne)

在哪里可以找到: Netflix


6 月 18 日那一周的新版本

卢卡 - 图片来源:皮克斯

卢卡 - 图片来源:皮克斯

皮克斯


迪士尼Plus专属

Luca (Enrico Casarosa)

发行商: Walt Disney Studios

在哪里可以找到:包含在 Disney Plus 订阅中

《卢卡》以 50 年代的意大利为背景,虽然有点过失,但有时感觉很一般,几乎可以成为任何工作室的动画长片。但这是一次视觉上令人着迷的小镇怀旧之旅,也是一个非常令人愉快的鱼出水寓言——字面意思,因为它是关于一个渴望上岸的男孩海怪。早期的部分设置在海底,如果你认为“小美人鱼”遇上“海底总动员”,你不会太远。“卢卡”是一部针对孩子们的电影,毫不掩饰地回收旧配方。在这部电影中,当像卢卡(雅各布·特伦布莱饰)这样的海怪离开水面时,他会立即变成人形;当他回到水中时,他又回来了。— 欧文·格莱伯曼

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火花兄弟

火花兄弟

仅在剧院

12 Mighty Orphans (Ty Roberts)

发行商: Sony Pictures Classics

在哪里可以找到:在影院

很难想象一个足球教练在“12 个强大的孤儿”中到达沃思堡的共济会之家时比现实生活中的英雄拉斯蒂·拉塞尔(卢克·威尔逊)做的少:他的球队没有鞋子,他的球队没有场地,没有团队。拉塞尔克服了这些缺点,彻底改变了比赛。他激励足够多的球员组成一支球队,然后创新所谓的分散进攻,以从更强的学校接受更大的球队。“强大的螨虫”几乎体现了失败者体育电影的所有内容,导演泰罗伯茨的处理几乎达到了我们对该类型所期望的所有感觉良好的音符,还有一个额外的:它标志着各种卷土重来对于卢克威尔逊。— Peter Debruge

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河口犯罪(Nancy Buirski)

经销商:大喊!工作室

在哪里可以找到它:在选定的剧院中

由于几位主要参与者仍然活着接受采访,这部纪录片生动地证明了此案对迫使南部各州摆脱吉姆克劳时代的长期影响,尽管有新的联邦法律。但在某些方面,这部电影最大的优势在于它对档案材料的使用。它们交织在一起,提供了一种异常明显的感觉,即民权运动要取得真正的进展需要克服多少根深蒂固的制度和文化偏见。这是一个丰富多彩的故事,其中心人物加里·邓肯给人留下了对比鲜明的安静、坚忍的印象。— 丹尼斯·哈维

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盖亚(Jaco Bouwer)

经销商:贴花

哪里可以找到它:在剧院里,

大自然母亲可能是“盖亚”中的捕食者、猎物或其他超自然存在,用展开的芽和根以及突然的真菌露头渗入她的目标,直到她最终从在他们里面。或者在这种酷酷、沉默寡言的生态恐怖片中看起来如此,它并不急于向我们展示究竟是什么黑暗势力在围绕着三个紧密匹配的人类角色的树林中发挥作用。然而,我们确实看到了它们的影响,表现为电影本身。然而,“盖亚”足智多谋的视觉效果却无法与写作中的敏捷性相提并论。一段时间后,讲故事的感觉更加苍白而不是神秘。— Guy Lodge

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杀手的妻子的保镖(帕特里克·休)

发行商:狮门影业

在哪里可以找到它:在剧院

在放荡的惊悚夸张的狂热中攻击你的不仅仅是极端暴力的动作。情节也是如此,这与安东尼奥·班德拉斯(Antonio Banderas)有关,他是一个穿着吸烟夹克的蓬头垢面的精神病人,他打算用计算机病毒摧毁欧洲。然而,这个故事真正与三个主角有关——反社会的杀手大流士·金凯德(塞缪尔·杰克逊饰)、他凶猛的奸夫妻子索尼娅(萨尔玛·海耶克饰)和王牌保镖迈克尔·布莱斯( Ryan Reynolds),一只具有讽刺意味的敏感的定制猫,他随行——用各种可以想象到的威胁、嘲讽和侮辱来互相攻击。— 欧文·格莱伯曼

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丽塔·莫雷诺:只是一个决定去做的女孩(Mariem Pérez Riera)

发行商:路边景点

在哪里可以找到:在剧院

这部出自《美国大师》剧组的纪录片欢快地从一次令人振奋的职业重塑跳到了下一次,冷静地思考如果没有挥霍无度的种族主义和性别歧视阻碍她的道路,她可能会拥有多产的电影作品。注入这部电影的自豪感——来自她的合作演员的钦佩,对她拉丁裔的追随者和学员的钦佩,以及她自己的自信——来得恰到好处。这类文档的潜在主题并不多,真正有理由将其置于一个角色弧中,在如此漫长而优美的高原之前,涉及如此多的微观上升和下降。— 克里斯·威尔曼

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The Sparks Brothers (Edgar Wright) CRITIC'S PICK

Distributor: Focus Features

在哪里可以找到它:在剧院

在 140 分钟的时间里,就像紧缩的半小时一样,即使是以前没有经验的人也可能觉得他们一直都知道 Sparks——或者至少他们应该知道。这部电影以朴实无华的方式,以其详尽的档案镜头深入挖掘,来自 80 多位名人受访者的单色点点滴滴的钦佩,以及兄弟们自始至终面无表情的插话,这部电影令人信服地证明,有一个宇宙与我们的宇宙平行运行Sparks 是世界上最大的乐队。时不时有一首特定的歌曲大受欢迎,那个宇宙几乎与我们自己的无限不那么有趣的歌曲融合在一起。— Jessica Kiang

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Summer of 85 (François Ozon)

发行商: Music Box Films

在哪里可以找到:在选定的影院中,随后将在全国范围内扩展

自从 2003 年夏天欧松在戛纳电影节上推出了 Sapphic sizzler 电影《游泳池》之后,这位法国导演就没有像他在《85 年夏天》中那样肆无忌惮地勾引观众了。Ozon 的最新作品是对更多无辜时代的轻松初恋闪回,不仅回顾了 COVID-19 之前的生活,而且更重要的是,在艾滋病掩盖了它的到来之前。悲剧削弱了这里的怀旧情绪,尽管 Ozon 对“请以你的名字呼唤我”的反应这种感觉不应归咎于病毒——他自己对两个灵魂在一个赛季中找到彼此的热情描述,以及这如何塑造了一个年轻人的性别认同向前发展。— Peter Debruge

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Sweat (Magnus van Horn)

发行商: Mubi

在哪里可以找到:在部分影院

瑞典作家兼导演马格努斯·范·霍恩 (Magnus van Horn) 积极完成的大二故事以一个表面上容易进行讽刺人物研究的目标为主题——年轻、性感、无情地自我推销的波兰健身大师西尔维亚,她拥有大约 600,000 名粉丝和恰好零个朋友——并关注她在为期三天的职业活动、个人危机和社交媒体更新中,介于两者之间,让人筋疲力尽。起初,结果产生了你期望从这种以表演为导向的生活方式的肖像中所期望的准确洞察力,然后一些受欢迎的冲突通过 Magdalena Koleśnik 棘手的、走钢丝的巡回演唱会渗透进来。— Guy Lodge

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点播和选择剧院

Les Nôtres (Our Own) (Jeanne Leblanc)

Distributor: Oscilloscope Laboratories

Where to Find It: In select theaters and on demand

A moody, clenched drama that works its tension so deep you may find your palms marked with the indentations of your fingernails by the end, “Les Nôtres” is the deeply uneasy but compelling second film from director Jeanne Leblanc (“Isla Blanca”). Illuminated by a powerfully self-possessed performance by Émilie Bierre as the 13-year-old whose pregnancy will have dire consequences for all except the pedophile responsible, this is an enraging film astringent enough to peel the paint from the façade of virtue propped up by the small-town Quebecois community in which it takes place. — Jessica Kiang

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Siberia (Abel Ferrara)

Distributor: Lionsgate

Where to Find It: In very limited release, on demand and digital

“Siberia” is the sixth film Abel Ferrara has made with Willem Dafoe, and by the end of it, were it not for vivid memories of past collaborations with Harvey Keitel and Christopher Walken, it would be hard to conceive of him ever having cast anyone else. “Siberia” represents a beautiful, unhinged, sometimes hilarious trek into geographical and psychological wilderness that will delight some and mystify many others. As a study of a rugged individualist looking back on long-withered connections — to others, to the mainstream world, and indeed to himself — it feels personally invested both as a star vehicle and an auteur piece. If it isn’t, the joke’s on us, and still pretty funny. — Guy Lodge

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Sweet Thing (Alexandre Rockwell)

发行商: Film Movement

在哪里可以找到:在选定的剧院和点播

时间奇怪地拖着《甜蜜的事》的袖子,一个由衷的、充满希望但又略带空洞的黑白成人。对仍然充满天真和想象力的贫困童年进行了生动、苦乐参半的冥想,它以一种与当代勇气并没有完全融合的方式感觉过时。在形式上,它更像是对 Rockwell 90 年代早期鼎盛时期的古怪提醒,而不是我们现代的产物。凭借神韵和活力,它为过去的电影付出了梦幻般的回顾债务,这主要归功于罗克韦尔自己的女儿拉娜 (Lana) 的迷人表演,最终呈现了一段感人至深的探索之旅。— Jessica Kiang

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Hulu 和 Nat Geo 独家提供

再次崛起:塔尔萨和红色夏天(黎明波特)

在哪里可以找到它: Hulu 和 Nat Geo

《再次崛起》是越来越多的电影和电视剧集——小说和非小说——的一个艰难但受欢迎的补充,它坚持认为这个国家的暴力、反黑人的过去已经延续到我们现在的过去。它在六月节开始播放——一个复杂而强大的节日——绝非小事。在可预见的未来,欢乐似乎必然与病态种族主义的刺耳证据交织在一起。“再次崛起”建立了一个案例,即内战结束后,黑人的成就经常遭到野蛮甚至屠杀。波特的技能之一是她能够在关注推动她叙述的人类主题的同时向机构提出问题。— 丽莎·肯尼迪

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父亲身份 - 图片来源:Philippe Bosse /Netflix

父亲身份 - 图片来源:Philippe Bosse /Netflix

菲利普·博塞 / Netflix


Netflix 独家提供

Ali & Ratu Ratu Queens (Lucky Kuswandi)

在哪里可以找到: Netflix


Fatherhood (Paul Weitz)

Where to Find It: Netflix

It used to be that when you called a movie a glorified sitcom, it was an insult. But when you watch “Fatherhood,” an unabashedly formulaic, undeniably sweet Netflix dramedy in which Kevin Hart offers up a benign variation on his trademark irascibility in the role of a devoted but desperate single dad, it’s easy to imagine the sitcom version as richer, deeper, more layered. That said, on its own terms the movie accomplishes what it sets out to do. It transitions Hart from playfully scowling cutup to earnest heartfelt actor, and it does so in a way that, at times, is genuinely touching, even as the audience can see every sanded-down conflict and market-tested beat falling into place. — Owen Gleiberman

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Jagame Thandhiram(Karthik Subbaraj)

在哪里可以找到它: Netflix


6 月 11 日那一周的新版本

In the Heights - 图片来源:华纳兄弟/埃弗雷特收藏

In the Heights - 图片来源:华纳兄弟/埃弗雷特收藏

华纳兄弟/埃弗雷特收藏提供


在影院和 HBO Max 上可用

In the Heights (Jon M. Chu) CRITIC'S PICK

发行商: Warner Bros.

在哪里可以找到:在影院和 HBO Max

《疯狂的亚洲富豪》导演朱执导了这部令人大跌眼镜的大银幕改编电影,改编自革命性的托尼奖获奖嘻哈音乐剧,让林曼纽尔·米兰达登上了地图。“In the Heights”一直是一个乐观和欢乐的节目,也是代表部门的灵感来源:它以拉丁裔演奏拉丁裔为特色,用复杂、快速的韵律演唱,充满西班牙表达和加勒比文化——食物,时尚,最重要的是音乐。就像它的来源一样,这部电影是一场爆炸,从华盛顿高地的街道上拍摄,从属于多米尼加裔美国解说员乌斯纳维(安东尼拉莫斯)的酒窖到公园、游泳池和其他公共场所,从中受益匪浅。— Peter Debruge

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仅在剧院

亚洲(Ruthy Pribar)

发行商: Menemsha Films

在哪里可以找到:在选定的影院中

“Arthouse 'Gilmore Girls' 遇到'The Fault in Our Stars'”将是描述“亚洲”中一系列熟悉元素的一种方式,同时抹去以色列作家兼导演普里巴尔聚集的任何罕见的精致和情感敏锐度他们。在她朴实可爱的处女作中,普里巴尔在短短的 85 分钟内解决了棘手的母女关系、绝症的痛苦和两代人沮丧的性渴望,从来没有捷径过容易的多愁善感或高调的情节剧。当然,平衡木上的她并不孤单:Alena Yiv 和 Shira Haas 的一对优美音调、相互反映的表演帮助这部低调的成人家庭剧在头脑和心灵中牢牢记住。— Guy Lodge

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Censor (Prano Bailey-Bond)

Distributor: Magnet Releasing

Where to Find It: In theaters, followed by on demand on June 18

The premise of “Censor” is so strong that it’s little wonder the film can’t quite live up — or perhaps down — to it: In a Thatcher’s Britain riven by tabloid-fueled “video nasty” hysteria, a young woman working for the national censorship board is assessing a horror flick, when it triggers sudden flashbacks to a traumatic, amnesiac episode in her own life. Given the ongoing debates around censorship and the relationship between screen violence and its real-life counterpart, not to mention the grungy exploitation aesthetic of the no-budget films it references, “Censor” dangles the prospect of topical, ticklish provocation that will prove offensive to some sensibilities. — Jessica Kiang

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The Misfits (Renny Harlin)

Distributor: The Avenue

Where to Find It: In theaters, followed by on demand and digital on June 15

Had “The Misfits” been made 22 years earlier — say, in the sweet spot between James Bond globe-trotter “The World Is Not Enough” and the release of Guy Ritchie’s “Snatch” — chances are, audiences would’ve had a pretty good time watching “Die Hard 2” director Harlin’s idea of a cutting-edge heist movie. “The Misfits” stars Pierce Brosnan as one of half a dozen not-so-petty criminals who team up to knock off a for-profit prison in Abu Dhabi, where the guy who built it (Tim Roth) has been stockpiling blood money for terrorists in the form of well-secured gold bars. But this is 2021, and Harlin is still making movies for ’90s sensibilities. — Peter Debruge

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Peter Rabbit 2: The Runaway (Will Gluck)

发行商: Columbia Pictures

在哪里可以找到它:在影院中

比阿特丽克斯·波特心爱的文学人物彼得兔在他同时代的大银幕处女作中遭遇了一些身份危机。在 2018 年的《彼得兔》中,他任性、顽皮的精神与作者融入她庞大的儿童读物系列的基本美德无异。续集与一个更加悔恨、实际上已经康复的暴民重聚,他正在努力纠正世界对他的看法与他对自己的看法。多么合适。他从自私到无私的旅程将带领他进行有趣的反省,但在那些没有看过早期电影的人眼中,他也是一种救赎。— 考特尼霍华德

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Sublet (Eytan Fox)

发行商: Greenwich Entertainment

在哪里可以找到:在指定的影院中

一位中年同性恋美国旅行作家在特拉维夫租了一套公寓,从一位悠闲的电影学生那里租用福克斯公式化的取悦观众。福克斯对他最著名的电影(《约西与贾格尔》、《水上行走》)的那种黑暗沉思如此谨慎地冒险,在这个精心设计的中年危机故事中,没有任何惊喜。年龄较大的同性恋人群。新人 Niv Nissem 提供了一种新鲜感,打破了一切的常规。约翰·本杰明·希基很少有机会领导一部电影的演员阵容,这是一种耻辱,因为他是一个微妙的演员,用比剧本更深的阴影来填补迈克尔陷入困境的忧郁。— Jay Weissberg

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点播和选择剧院

Holler (Nicole Riegel)

发行商: IFC Films

在哪里可以找到:在选定的影院、点播和数字

在美国电影中,有一种让人分心的做法是让已经 20 多岁的演员扮演青少年,尽管“霍勒”包含了最近记忆中为数不多的几个例子之一,其中近十年的年龄差异虽然明显,但对电影的影响优势。露丝,这位机智的俄亥俄州高中生,是 Riegel 首秀的核心人物,她被迫过早地长大。生活是不公平的,这在英国演员杰西卡·巴登 (Jessica Barden) 的脸上表现得淋漓尽致,她出色的表演照亮了这种不加修饰的潜入艰难的小镇生存……并逃脱。露丝代表了一大群很少出现在银幕上的美国公众:没有 iPhone 和 Instagram 帐户的年轻人,只能勉强过日子。— Peter Debruge

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La Dosis (Michael Haussman)

Distributor: Samuel Goldwyn Films

Where to Find It: On demand and digital

The line between mercy killing and plain old murder is uncomfortably drawn in Argentine “La Dosis.” Writer-director Martin Kraut’s debut feature sets up an intriguing cat-and-mouse conflict between one male hospital nurse whose early-terminus interventions are of the compassionate kind, while a new staffer’s seem motivated by pure malice. Not quite as suspenseful or twisty as that premise might lead one to expect, this ends up falling somewhere between thriller and character-study terrain. Nonetheless, it occupies that not-entirely-satisfying middle ground capably enough to keep viewers interested, and to suggest its maker has the chops for less-modestly-scaled future projects. — Dennis Harvey

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Exclusive to Netflix

Awake (Mark Raso)

Where to Find It: Netflix

With second-rate “Bird Box” knock-off “Awake,” Netflix just may have found the cure for insomnia. In this occasionally engaging but mostly frustrating sci-fi thriller, an unexplained event causes a massive electromagnetic pulse that fries most electronics and leaves nearly all of humanity incapable of sleep. From the mysterious incident onward, the characters slowly slide toward insanity as fatigue takes its toll, although it’s not clear how everyone on earth immediately recognizes (or believes) that the resulting restlessness is permanent. If the recent real-world pandemic has taught us anything, it’s that early in a health crisis, nobody knows anything, and the resulting confusion tends to be more exhausting than engaging. — Peter Debruge

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Skater Girl (Manjari Makijany)

Where to Find It: Netflix

First-time director Makijany intentionally built a set that would live after she called cut: the first skatepark in Rajasthan, India, where rural children can find freedom and confidence on four wheels, and even mingle beyond their caste. Her gentle drama is a promotional piece for the project from need to execution to totally tubular climactic skateboarding championship, timed, of course, to coincide with the day her teenage heroine Prerna (Rachel Saanchita Gupta) is to be married. There will be no kick-flipping of clichés here. What’s novel are simply her images of Prerna zipping through her village’s curved alleyways and dusty marketplace.— Amy Nicholson

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悲剧丛林(Yulene Olaizola)

在哪里可以找到它: Netflix

在砍刀有节奏的砍伐下,树上的锯齿形伤口看起来像伤口,露出树皮的红色肉和里面的原始骨白色木材。用绳索和粗糙的冰爪紧紧抓住树干的人是 Chicleros,他们收集从树上渗出的亮白色树液煮成 Chicle,一种橡胶状物质,早在 1920 年 Olaizola 迷人的“悲剧丛林”被设置时,就被使用做口香糖。就这些事件的过去而言,这部黑暗抒情剧的奇怪而缓慢的潮流似乎更古老——就像丛林本身一样古老,它比任何人类角色都更像电影中不透水的、无所不知的主角. — Jessica Kiang

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许愿龙(Chris Appelhans)

在哪里可以找到它: Netflix


无限 - 图片来源:派拉蒙影业公司提供

无限 - 图片来源:派拉蒙影业公司提供

派拉蒙影业提供


派拉蒙Plus专享

无限(Antoine Fuqua)

在哪里可以找到它: Paramount Plus

衍生出来,这个“黑客帝国”遇到了“老卫兵”的狂热者提供了一个如此熟悉的前提——一个人的神经多样性实际上可能是一个了解物种未开发潜力的窗口——几乎是平庸的。这并不能阻止多余的专家 Fuqua 在其相对紧张的运行时间内打包大量的大屏幕奇观。“无限”以追逐场景开始,并在几个世纪以来一直在发动战争的两个敌对的 hasta-la-vista 灵魂团体之间展开最后的决战。这些幸运的灵魂可能正在写交响乐或治愈癌症,但更令人兴奋的是看到马克沃尔伯格骑摩托车离开悬崖并降落在低空飞行的货机机翼上。— Peter Debruge

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The Amusement Park (George A. Romero)

Where to Find It: Shudder

It’s only fitting that George A. Romero, who created the zombie movie as we know it, would release a film from beyond the grave. Nearly 50 years after it was completed, shelved and thought to be lost, “The Amusement Park” has returned to the land of the living — and, just as important, proven worth the wait. The project was commissioned as a kind of anti-ageist PSA by the Lutheran Society, who were so displeased with the dizzying final result that they shelved it. Shot on delightfully grainy 16mm and featuring a cast of nonprofessional actors, the film is so alluringly disorienting that, by its end, some viewers will find themselves struggling to remember how this fever dream started. — Michael Nordine

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New Releases for the Week of June 4

Available in Theaters and on HBO Max

The Conjuring: The Devil Made Me Do It (Michael Chaves)

Distributor: Warner Bros.

Where to Find It: In theaters and HBO Max

It’s 1981, and Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga) are taking part in an exorcism intended to purge the body and soul of David (Julian Hilliard), a mild bespectacled 8-year-old boy. They’ve been through this before. The first “Conjuring” film was set in 1971, the second in 1977, and though this is the technically the seventh film in the “Conjuring” universe (which now includes three “Annabelle” movies and “The Nun”), it’s the third to center directly on the Warrens, the real-life Christian paranormal investigators who were instrumental, in the ’60s and ’70s, in lending the spooky legends of the Amityville era their aura of tabloid credibility. — Owen Gleiberman

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Only in Theaters

All Light, Everywhere (Theo Anthony)

Distributor: Super LTD

Where to Find It: In select theaters

A highly persuasive film about how we should be wary of film’s power to persuade, “All Light, Everywhere” is a superb if sinister example of how the outwardly modest essay format can deploy arguments that challenge us to unpick our most basic assumptions. Here, it’s the idea that a thing and its recorded image can never have a 1:1 relationship: It’s not just that our eyes deceive us, it’s that we’re conditioned to accept the representations of those deceptions as the truth. It’s a rewarding if slightly frustrating project, but then it would be a betrayal of the premise if it supplied us with anything more than a tiny, ephemeral, vertiginous glimpse of all the things we cannot see. — Jessica Kiang

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Bad Tales (Favolacce) (D’Innocenzo Brothers)

Distributor: Strand Releasing

Where to Find It: In select theaters, followed by virtual cinemas and PVOD on June 11

Innocence is not a concept to be found in the D’Innocenzo Brothers’ cinematic oeuvre, which consists of two films so far: “Boys Cry” and “Bad Tales,” both of which forgo the notion of childhood as a state of uncorrupted naivete. Rather, in the Italian siblings’ deeply cynically, Todd Solondz-ian worldview, humans are animals — an untamed snarl of impulses, emotions and predatory self-interest — and children are perhaps the least predictable of all, lacking an innate moral center and therefore susceptible to the influence of others. It’s a grim view that’s passed like a case of head lice to the white-picket sanctuary in their sun-crisped sophomore feature. — Peter Debruge

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Gully (Nabil Elderkin)

Distributor: Vertical Entertainment

Where to Find It: In select theaters, followed by on demand and digital on June 8

“Gully” is the first dramatic feature directed by Elderkin, the Australian-American director — usually credited simply as “Nabil” — who has made videos for Kanye West, Dua Lipa, Kendrick Lamar, Bruno Mars, Nicki Minaj, Frank Ocean, the Black Eyed Peas, John Legend, Diddy, Shrillex, and Antony and the Johnsons. You can glimpse his talent in “Gully” — not because it’s a film of showoff imagery (it’s actually got a rather unvarnished low-budget aesthetic), but because the movie looks, for a while, like it’s trying to be “Boyz n the Hood” meets “A Clockwork Orange,” and you get curious to follow that down. The movie is set in South Central L.A. and features a trio of very good young actors. — Owen Gleiberman

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Hero Mode (A.J. Tesler)

Distributor: Blue Fox Entertainment

Where to Find It: In select theaters, followed by VOD on June 11

No one says “teamwork makes the dream work” in “Hero Mode,” but that maxim’s corny sentiment nonetheless aptly applies to A.J. Tesler’s video game-themed teen comedy, which follows a formula that dates back to at least the era of the Super Nintendo and Sega Genesis. A lively saga about a young coding wizard who’s charged with saving his family’s gaming business, this celebration of old- and new-school creativity doesn’t break novel ground in any respect. Fortunately, though, its good humor, spry pacing and likable performances should appeal to its pre-high-school target audience. — Nick Schager

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Spirit Untamed (Elaine Bogan)

Distributor: Universal Pictures

Where to Find It: In theaters

A kid named Lucky loses her mother, moves to the frontier with her father and befriends a wild mustang in “Spirit Untamed.” While experienced professionals fail to break the strong-willed stallion, Lucky (who has never ridden a horse) feeds it a few apples, and before long, the youngster has tamed the obstinate animal — which is inconsistent with this cheap and all-around lazy animated movie’s title, but chalk that up to marketing. It’s not clear whether this latest — and least appealing — incarnation of DreamWorks’ “Spirit: Stallion of the Cimarron” is a reboot, a remake or just a running-on-fumes grab at some easy cash, but this benign (read: bland) movie exists, and kids know the property, so it will get seen. — Peter Debruge

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Tove (Zaida Bergroth)

Distributor: Juno Films

Where to Find It: In select theaters

The Moomins, with their hippo-like silhouettes, are beloved cartoon characters familiar to readers around the globe. But less is known about their creator, the bisexual, Swedish-speaking, Finnish visual artist and author Tove Jansson and her surprisingly unconventional life. The engaging biopic goes a long way toward remedying that knowledge gap. Featuring a mesmerizing lead performance by Alma Pöysti, the sensuously textured film, shot on 16mm, concentrates on a formative decade in Tove’s life (from the mid-1940s to mid-’50s) and explores her artistic and personal passions, and the challenges they entail. With multiple hooks, sales and festival interest should be strong. — Alissa Simon

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On Demand and in Select Theaters

The Carnivores (Caleb Michael Johnson)

Distributor: Dark Sky Films

Where to Find It: On demand and digital

Dim echoes of David Lynch and early Roman Polanski abound throughout “The Carnivores,” a fitfully fascinating mix of teasing narrative opacity and stylized psycho-thriller atmospherics. Director Johnson walks a tricky tightrope here, and occasionally seems perilously close to toppling into absurdity. Indeed, there are moments when he inadvertently cues memories of the hilarious remark by Janeane Garofalo’s veterinarian talk show host in “The Truth About Cats and Dogs”: “You can love your dog. Just don’t love your dog.” And it doesn’t help much that Tallie Medel, one of his two lead players, actually bears a slight physical resemblance to Garofalo. — Joe Leydon

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Edge of the World (Michael Haussman)

Distributor: Samuel Goldwyn Films

Where to Find It: On demand and digital

With its winsome narration, frequent cutaways to nature and focus on discovery, “Edge of the World” resembles nothing so much as Terrence Malick’s similarly titled “The New World.” In yet another similarity, “Edge of the World” follows an English explorer who finds more than he was expecting upon arriving in a foreign land. Here it’s Sir James Brooke (Johnathan Rhys Meyers), who arrives in Borneo in 1839 and quickly meets two princes vying for power; that they’re cousins only adds to the intrigue — and tension. This kind of adventurer is a well-worn archetype, but Meyers plays him well. The script isn’t always on the same level as his performance, however. — Michael Nordine

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Grace and Grit (Sebastian Siegel)

Distributor: Quiver Distribution

Where to Find It: On demand and digital

For a metaphysical love-conquers-all tale, “Grace and Grit” offers very little substance around such lofty concepts as existence, spirituality and romantic harmony. An adaptation of famous philosopher Ken Wilber’s much admired book, the film unfortunately anchors itself in an exploitative mode, insincerely using terminal illness as inspirational fodder. The real-life saga of a doting couple and their demanding, gradually more harrowing experience with cancer, “Grace and Grit” isn’t the viscerally rousing picture that it thinks it is. Through an overstretched running time, this amateurish exercise falls short of even selling the essentials of the immensely accessible melodrama at its heart. — Tomris Laffly

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Monuments (Jack C. Newell)

Distributor: Row House Films

Where to Find It: In select theaters and virtual cinemas

It’s oddly appropriate that grief-stricken widower Ted (David Sullivan) spends most of “Monuments” schlepping his wife’s ashes around the geographical midpoint of the continental U.S.A. This dippily surreal existential comedy — imagine Quentin Dupieux engineering a head-on collision between “Bring Me the Head of Alfredo Garcia” and “Little Miss Sunshine” — feels like it’s born of the exact middle ground between the big-budget escapist mainstream and the hardcore arthouse “coasts” of American cinematic output. It’s in a flyover state of mind. — Jessica Kiang

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My Tender Matador (Rodrigo Sepúlveda)

Distributor: Freestyle Digital Media

Where to Find It: On demand and digital

Among the many praiseworthy qualities of “My Tender Matador,” the most notable is its honesty. It would have been so easy for the film, about a transgender woman in Pinochet’s Chile and her relationship with a straight political activist, to have overplayed its hand with ill-judged sentiment or sensationalism, but instead director Rodrigo Sepúlveda Urzúa guides everything just right, from the refusal to treat anyone with less than full respect to the superb ensemble, and from Sergio Armstrong’s carefully calibrated camerawork to the thoughtful understanding of how daylight changes a person who’s lived fullest under the protection of the night. — Jay Weissberg

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Super Frenchie (Chase Ogden)

Distributor: Greenwich Entertainment

Where to Find It: In select theaters and on demand

“Super Frenchie” shares some DNA with Oscar-winner “Free Solo.” The documentary isn’t as elegant or as fraught as that spectacular look-ma-no-tethers tale, but it’s nervous-making enough to impress. There’s reckoning about risk and reward, compulsion and choice, pleasure and loss. But Ogden wanted to augment a story of physical pyrotechnics with one of familial insight. A feat he often, gently achieves with the help of his ridiculously upbeat, uniquely wired subject who drudges up mountains — Mt. Hood, the Matterhorn, the Eiger — and floats down from their ledges. — Lisa Kennedy

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Under the Stadium Lights (Todd Randall)

Distributor: Saban Films

Where to Find It: In select theaters, on demand and digital

The road to hell is paved with movies like “Under the Stadium Lights,” a well-intentioned but wearyingly ponderous and curiously disjointed faith-based drama about football players and their dedicated chaplain at a high school in Abilene, Texas. It doesn’t help much that, with its bumpy pacing, gaping plot holes, and supporting characters who grab attention and then inexplicably disappear, the movie plays like a miniseries that has been ruthlessly cut down to feature length. And it helps even less that the sluggish narrative is repeatedly and interminably padded with local TV footage of actual 2009 football games emblazoned with on-screen signage for local advertisers. — Joe Leydon

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Undine (Christian Petzold)

Distributor: IFC Films

Where to Find It: In select theaters, on demand and digital

Christian Petzold’s “Undine” begins with a breakup. Framed tightly on the face of lead actor Paula Beer, we absorb the news as she does. But this is no ordinary separation, and as jilted lovers go, Undine’s far from typical. Her name betrays what sets her apart, although in the vast realm of mythological entities, undines are hardly the well-understood creatures that Petzold’s revisionist contemporary fable assumes (not in America, at least). As a result, this overripe romantic tragedy won’t have the same impact abroad as the three critical darlings that preceded it, “Barbara,” “Phoenix” and “Transit.” — Peter Debruge

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Exclusive to Hulu

Changing the Game (Michael Barnett)

Where to Find It: Hulu

Mack is a practically undefeated transgender wrestler who won the girls’ title in the state of Texas even though he wanted to contest in the boys division as per the gender he identifies with. He is the first subject we meet in “Changing the Game,” a compassionate documentary that follows three teenage transgender athletes as they brave numerous societal biases to practice their chosen field of sports with the respect they deserve. Unadventurous in its design, the film admittedly benefits from a traditional approach that slowly familiarizes the audience both with the subjects and the layers of an ongoing discriminatory debate around fairness. — Tomris Laffly

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Exclusive to Netflix

Breaking Boundaries: The Science of Our Planet (Jon Clay)

Where to Find It: Netflix


Carnaval (Leandro Neri)

Where to Find It: Netflix

Netflix’s party-minded “Carnaval” has a lot on its plate, tackling everything from influencers, the toxic nature of their business and the complexities of making and maintaining female friendships in that industry. Set against the revelry and pageantry of Brazil’s Carnival celebration, the lighthearted romantic comedy delivers hijinks and a few sweet sentiments about having the courage to embrace destiny. Nevertheless, its broad comedy and thoughtful themes aren’t completely cogent, due to a lack of properly motivated character developments and questionable scenarios. With its glaring faults, “Carnaval” hews closer to the abysmal annoyances prevalent in “Desperados” than the remarkable wit of “Ibiza. ”— Courtney Howard

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Dancing Queens (Helena Bergström)

Where to Find It: Netflix

Actor-turned-filmmaker Bergström brings sequined cheer and free-to-be-you-and-me spirit to this story of a young, cisgender female dancer who gets an unlikely break by concealing her gender identity to perform in an ailing Gothenburg drag club, and it should duly find a sizable global audience when it premieres on Netflix at the outset of Pride month. In its eagerness to please, however, the film winds up pushing its own queer characters and narratives to the sidelines — a paradox that it never quite resolves. The director’s daughter Molly Nutley assumes leading lady duties here, and her fresh, quietly controlled screen presence saves many a scene from outright schmaltz. — Guy Lodge

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Xtreme (Daniel Benmayor)

Where to Find It: Netflix


Exclusive to Shudder

Caveat (Damian Mc Carthy)

Where to Find It: Shudder

Mc Carthy serves up a generically foreboding premise and pulls off several efficiently traditional jump scares in this variation on a haunted-house formula, but it’s the shape-shifting mind games of his own narrative that most unnerve the viewer, as seemingly fixed plot points of who is under threat — and when, and why, and so on — keep darting out of sight. The result is finally more intriguing than it is rewarding: It’s hard to keep an audience invested in your story as you steadily strip them of their bearings. If all this snaky evasion and elaboration does eventually eat away at the film’s anxious tension, the scuzzy niftiness of its construction continues to impress. — Guy Lodge

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New Releases for the Week of May 28

Available in Theaters and on Disney Plus

Cruella (Craig Gillespie) CRITIC’S PICK

Distributor: Walt Disney Studios Motion Pictures

Where to Find It: In select theaters and Disney Plus

Starring Oscar winner Emma Stone as the monochrome-coiffed fashionista with a soft spot for puppy fur, “Cruella” takes its cues from the “Wicked” playbook — or more recently, Warner Bros.’ “Joker” — to deliver a dark yet sympathetic portrait of a cult-favorite character whom audiences only thought they knew. That character, of course, is “101 Dalmatians” dognapper Cruella de Vil (previously embodied by Glenn Close for one of the studio’s first live-action adaptations), who turns out to be more fierce than cruel in a franchise offering with an identity of its own. What “Cruella” is not — to the immense relief of many — is another “Maleficent.” — Peter Debruge

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Only in Theaters

A Quiet Place Part II (John Krasinski)

Distributor: Paramount

Where to Find It: In theaters

If you’re vaccinated and feeling safe enough to step foot outside your home, Krasinski has crafted a follow-up that justifies the trip. It can be hard to believe that both the sequel and the instant-classic 2018 original were produced by Michael Bay, a filmmaker who has pushed the moviegoing experience to ear-splitting extremes, since Krasinski so effectively embraces the opposite strategy: Less is more, suggestion can be scarier than showing everything, and few things are more unnerving than silence. … Instead of addressing the gaping plot holes, the new film wagers if you’re on board for the ride, logic shouldn’t matter. — Peter Debruge

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Shepherd: The Story of a Jewish Dog (Lynn Roth)

Distributor: Glass Half Full Media

Where to Find It: In limited theaters

Writer-director Roth instinctively knows how to pluck the heartstrings with her heartrending historical drama, “Shepherd: The Story of a Jewish Dog.” Her adaptation retains the wit and wisdom found within the pages of Asher Kravitz’s novel “The Jewish Dog,” whose unconventional conceit chronicling the Holocaust through the perspective of a German Shepherd lends itself to plenty of poetic and fantastical realism on screen. Yet the family-friendly feature all too frequently falls into conventional trappings that it unwittingly sets up for itself, particularly when it strays from the pup’s point of view. — Courtney Howard

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Swimming Out Till the Sea Turns Blue (Jia Zhang-ke)

Distributor: Cinema Guild

Where to Find It: In New York and Los Angeles theaters

Following his films “Dong” (2006) and “Useless” (2007) — studies of painter Liu Xiaodong and fashion designer Ma Ke, respectively — Jia’s latest belatedly completes a loose nonfiction trilogy on Chinese artists, this one taking four authors as its focus as a number of them congregate at a Shanxi literary festival. “Dong” and “Useless” were short, illuminating works; the two-hour “Swimming Out Till the Sea Turns Blue,” as signified by its lolling, poetic title, is rather more of a sprawl, seeking to address a hefty chunk of modern Chinese cultural history through the lives and legacies of its chosen quartet of writers. — Guy Lodge

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On Demand and in Select Theaters

American Traitor: The Trial of Axis Sally (Michael Polish)

Distributor: Vertical Entertainment, Redbox Entertainment

Where to Find It: In select theaters and on demand

Clumsy, campy and kitsch, but also deadeningly dull for long stretches, “American Traitor” is based on the true story of radio star Mildred Gillars (Meadow Williams), aka Axis Sally, an American wannabe actress who found notoriety as the English-language voice of the Third Reich’s propaganda machine. It’s a portrait that aims for movingly enigmatic but ends up mystifyingly immobile. Williams is so carefully primped, so artfully posed in shafts of slatted light and so gauzily fawned over by Jayson Crothers’ scrupulously steam-ironed digital photography, that she ends up more costumed mannequin than conflicted heroine. — Jessica Kiang

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Endangered Species (MJ Bassett)

Distributor: Lionsgate

Where to Find It: In select theaters, on demand and digital, then home video June 1

The other family-imperiled-by-rampaging-beasts movie this weekend, “Endangered Species” is different from “A Quiet Place Part II” in many ways, particularly in that its characters cannot stop yakking — with corresponding diminished viewer concern for their survival under extreme duress. The thriller has a vacationing American clan doing all the wrong things in a Kenyan wildlife preserve. Needless to say, the local fauna quickly notice there are some fresh snacks on the savanna, to our protagonists’ grief. The squabbling human dynamics make this outdoor suspense exercise one in which too soon we start rooting for the four-legged cast members. — Dennis Harvey

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Moby Doc (Rob Gordon Bralver)

Distributor: Greenwich Entertainment

Where to Find It: In theaters and on digital platforms

Moby co-wrote this documentary which is like a self-portrait, an acid flashback, a therapy session, a rumination, and a surrealist music-video package all rolled into one. In the opening moments, we see Moby, the avatar of hooky rhapsodic EDM, still quizzical and lean in his mid-50s, wearing black glasses, a brown-and-white beard, and a red flannel shirt as he sits in his rather modest-looking home studio and speaks into the camera. He says he’s had a “strange life” that could have resulted in “just another biopic about a weird musician.” But he says that “what’s more interesting, at least to me, is the why of it. The why of everything.” — Owen Gleiberman

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Port Authority (Danielle Lessowitz)

Distributor: Momentum Pictures

Where to Find It: In theaters now, then on demand and digital June 1

Selling realness. That’s the essence of Harlem’s tight-knit drag ball scene, where dazzling kiki competitions celebrate the art of passing as something other than whatever labels society has given you: man as woman, gay as straight, street kid as supermodel. This likable debut arrives decades late to the party, spinning a simple but effective romance in which that same goal of self-transformation is what separates two star-crossed lovers whose worlds collide on the steps of New York’s busiest bus terminal. While it may feel too obvious for some, Shakespeare’s “Romeo and Juliet” serves as a clever model for a movie set in the world of ballroom “houses.” — Peter Debruge

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Exclusive to HBO and HBO Max

Oslo (Barlett Sher)

Where to Find It: HBO

Perhaps it’s time for another meeting between officials from Israel and Palestine, like the series of off-the-books negotiations that took place in Oslo, Norway, back in 1993. The discussions were brokered by a non-partisan Norwegian couple, which provides a uniquely neutral framing device for an in-depth look at the issues concerning both sides. Now, as a recent outbreak of violence in the region reminds how precarious any peace agreement has been, it’s no wonder that HBO has scheduled its made-for-TV adaptation to air sooner than later, when its historical perspective might prove most relevant. — Peter Debruge

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Exclusive to Hulu

Plan B (Natalie Morales)

Where to Find It: Hulu

“Plan B” is a girls-behaving-badly all-night-long road-trip comedy that’s built on a formula chassis, but it’s fast and funny, with a scandalous spirit, and it’s got a couple of lead performances that, if there’s any justice, should have the town talking. The film made me realize that almost every time a movie like this one comes along that has young women at the center of it, it’s been an independent film. In the randy teens + binge party = escalating trainwreck genre of high delinquent comedy, that’s a crucial distinction, because it means that the films bypass a certain mainstream blandification. — Owen Gleiberman

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Exclusive to Netflix

Blue Miracle (Julio Quintana)

Where to Find It: Netflix

Many a chef will tell you that fish and cheese don’t go together, but “Blue Miracle” says otherwise. Based on the true story of an amateur Mexican team who won the world’s richest fishing tournament in 2014, this likable family film misses nary a cornball trick in Hollywood’s underdog-drama playbook. Viewers can see precisely where Quintana and co-writer Chris Dowling have embellished the saga of a Cabo orphanage proprietor (Jimmy Gonzales) who led a handful of his teenage wards to that unlikely victory: “Blue Miracle” is awash with eleventh-hour peril and contrivance, reducing characters to stock figures to make plain sailing of its crowd-pleasing narrative. — Guy Lodge

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Dog Gone Trouble (Kevin Johnson)

Where to Find It: Netflix


New Releases for the Week of May 21

Army of the Dead - Credit: Courtesy of Netflix/Everett Collection

Army of the Dead - Credit: Courtesy of Netflix/Everett Collection

Courtesy of Netflix/Everett Collection


Exclusive to Netflix

亡灵大军(Zack Snyder)

在哪里可以找到: Netflix

如果你今年只看一部电影,扎克施奈德的“亡灵大军”可能是门票,因为它是一场时尚宏伟、肌肉发达但传统的爆米花盛会几乎适合所有人的东西。这是一部僵尸片。这是一部抢劫惊悚片。这是一个感伤的父女和解故事。它的背景是拉斯维加斯(尽管它是被炸毁的维加斯反乌托邦废墟)。它有一群才华横溢的演员,扮演勇敢的叛徒。它有一个壮观的高潮,以投下的核弹为特色。这是两小时 28 分钟的紧张刺激的乐趣,所有这些都由 Snyder 以一种快活的古典主义精神上演。观众可能会问:不喜欢什么?— 欧文·格莱伯曼

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亚马逊 Prime 专属

P!NK: All I Know So Far (Michael Gracey)

在哪里可以找到它: Amazon Prime

Offstage,Gracey 的音乐会文档显示 Pink 几乎是你见过的最接地气的摇滚明星。这部电影是在她美丽的创伤世界巡回演唱会的三周期间拍摄的,当时她正在欧洲旅行,她和她在一起 15 年的丈夫,前自由式摩托车越野赛冠军凯莉哈特,以及他们八岁的女儿威洛,还有他们两岁的儿子詹姆森。一位音乐幕后工作人员偶尔会向我们介绍一位流行歌星的孩子,但在这次活动中,他们是重头戏。“到目前为止我所知道的一切”是将这位超凡脱俗的摇滚叛逆者作为真人大小的妈妈的独特肖像。— 欧文·格莱伯曼

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仅在剧院

Dream Horse (Euros Lyn)

发行商: Bleecker Street, Topic Studios

在哪里可以找到它:在剧院里

路易斯·奥斯蒙德 (Louise Osmond) 2015 年圣丹斯电影节的观众获胜者“黑马”是一部像一部令人愉悦的小说一样的纪录片,它讲述了失败者胜利的真实故事有这样一个传统上令人满意的叙事弧。事实上,新的“梦马”证明了同样的材料确实是为戏剧化准备的。林恩的故事可能具有广泛的吸引力,但在其熟悉的类型中几乎没有真正的惊喜,英国电影制片人至少从“The Full Monty”开始就专门研究这种类型。尽管如此,这是一个精心制作、巧妙处理的努力,它行使了足够的克制,以真正赢得其必要的欢笑和泪水。— 丹尼斯·哈维

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Final Account (Luke Holland)

发行商: Focus 特色

在哪里可以找到它:在选定的影院中,

“Final Account”是一项雄心勃勃的事业的第一个产品,旨在采访现在的老年佣工和女仆,他们默许纳粹政权促成了最终解决方案。这部电影是对大约 300 名男女访谈的提炼,其中一些人实际上是机器中的齿轮,就像纳粹家庭的家庭教师,而其他人,例如党卫军男子,则直接参与其中。他们出现在镜头前的意愿令人惊讶,但反应的范围并不令人惊讶,从令人信服的无知到骄傲,偶尔还承认暴行确实发生在他们的眼皮子底下。— 杰·韦斯伯格

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New Order (Michel Franco)

Distributor: Neon

Where to Find It: In select theaters

In Franco’s sixth feature, the director demands the public’s attention, launching a full-on assault on our collective comfort zone while doubling down on the very thing that makes his films unwatchable for so many. Moviegoing is, by its nature, an act of empathy, as we invest in the lives of fictional strangers, trusting the narrative to repay our emotional commitment — and yet, in film after film, Franco challenges that assumption. Perversely, for those who’ve now come to expect that from him, “New Order” doesn’t disappoint. Inspired by waves of civil unrest sweeping the globe, this ambitious exercise imagines how such a people’s revolution might manifest if it hit Mexico City. — Peter Debruge

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When Hitler Stole Pink Rabbit (Caroline Link)

Distributor: Greenwich Entertainment

Where to Find It: In select theaters

Judith Kerr wrote her semi-autobiographical children’s novel as a response to her own son’s misconception of her childhood. After watching “The Sound of Music,” he observed that her own escape must have been similar; amused, she proceeded to pen perhaps the most piercing child’s-eye view of Hitler’s rise to power and the Jewish refugee experience ever published. In adapting Kerr’s novel for the screen, writer-director Caroline Link splits the difference somewhat: In this bright, engaging film, Kerr’s story is faithfully and lovingly preserved, though its tougher, quirkier details are mollified by a layer of palatable movie gloss. — Guy Lodge

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On Demand and in Select Theaters

Blast Beat (Esteban Arango)

Distributor: Vertical Entertainment, Sony Pictures Home Entertainment

Where to Find It: In select theaters and on demand and digital

This earnest dual coming-of-age drama monitors two teen brothers’ misfit adventures when their upper-middle-class family is forced to move from Colombia to the outskirts of Atlanta. Arango, a Colombian himself, emigrated to the states in the late ’90s, when the film is less-than-convincingly set. The film’s sincerity nearly balances its wonky plotting. Arango observes that America divides people into stereotypes of “good” and “bad” immigrants. Good immigrants, like Carly, are bright scholars who can contribute to the country. (Carly dreams of becoming a NASA engineer.) Bad immigrants, like aimless, artistic Mateo, are less welcome. — Amy Nicholson

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Seance (Simon Barrett)

Distributor: Grindstone

Where to Find It: In theaters and on demand and digital

You might expect Barrett’s own belated feature directorial debut to expand upon the clever, blackly humorous genre mayhem of his best Wingard projects like “The Guest” and “You’re Next.” But “Seance” proves a disappointingly boilerplate retro slasher that’s pedestrian on every level from concept to execution. It’s not terrible, only so devoid of imagination, wit or novelty (as well as scares) that it seems a perversely generic choice with which to launch a new career phase. RLJE Films is releasing to U.S. and Canadian theaters, VOD and digital May 21, with co-distributor Shudder expected to add it to its own streaming platform sometime later in the year. — Dennis Harvey

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Sequin in a Blue Room (Samuel Van Grinsven)

Distributor: Pecadillo Pictures

Where to Find It: On demand and digital

A redheaded twink (newcomer Conor Leach) who meets his trysts in a sparkling silver club top, Sequin is just 16, but he knows what he wants — or at least he thinks he does. Such confidence can be disarming, since most kids haven’t figured themselves out yet at that age, which makes them easy prey for more experienced partners. Van Grinsven opts not to dwell on the cautionary side of his striking 21st-century coming-out/coming-of-age fable. The risks are self-evident, but there’s no room for judgment in a film that nimbly blends elements of fantasy and thriller, delivered with the heightened attitude of New Queer Cinema auteur Gregg Araki. — Peter Debruge

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暴力之声(Alex Noyer)

发行商: Gravitas Ventures

在哪里可以找到:在选定的剧院和点播

凭借其创造性的痴迷和创伤的主题作为精神病回收,更不用说亚历克西斯的联觉为耸人听闻的、半抽象的、技术色彩的视觉序列提供了许可,“暴力之声”可能拥有达里奥·阿根托 (Dario Argento) 从未想过的最大的 giallo 前提。遗憾的是,Noyer 认为这还不够。即使是最受尊敬的杀人狂前辈,壮观的可怕和怪诞的谋杀场景也充分体现了正义,但程序元素感觉生硬,尽管主角的表演与倒霉的受害者流血一样散发着同情,但情感上的影响几乎没有可辨别:心跳减弱。— Jessica Kiang

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两位神(Zeshawn Ali)

发行商: 8 以上

在哪里可以找到它:在选定的剧院和虚拟电影院中,

伊斯兰教和基督教是“两位神”标题中提到的双重信仰,但它们并没有相互对抗,或者甚至比较。阿里安静、严厉而富有同情心的纪录片可能以纽瓦克一个强硬的黑人穆斯林社区为中心,但它呈现了一个艰难、适应性强的世界,在这个世界中,人们会接受他们能找到的任何信仰和恩典的碎片。哈尼夫在一家穆斯林殡仪馆工作,是一名卑微的雇员,但正是他对这些孩子的影响和联系的潮起潮落,赋予了阿里巧妙的医生——在几年的时间里拍摄,但集中在 82 分钟——它微妙的叙事推力。— 盖伊洛奇

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5 月 14 日当周的新版本

在影院和 HBO Max 上可用

那些希望我死的人(Taylor Sheridan)

发行商:华纳兄弟影业

在哪里可以找到:在选定的影院和 HBO Max 中

一对杀手追捕 12 岁的康纳,他们无情地发动了一场森林大火来掩盖他们的踪迹。安吉丽娜·朱莉对康纳濒临灭绝的幼崽扮演熊妈妈,致力于让康纳活着,就像那两个雇来的枪手希望他死一样。激烈的生存盛会为天才演员变身动作专家泰勒谢里丹提供了一个更大的沙盒,他的“西卡里奥”和“地狱或高水位”的剧本使他成为了一个由 CG 机器人和曾经关联的超级英雄主导的流派的前沿周六早上的卡通片。这标志着一种受欢迎的离开,而不会在景观或声音方面影响观众。— Peter Debruge

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仅在剧院

Finding You (Brian Baugh)

Distributor: Roadside Attractions

Where to Find It: In theaters

Don’t be fooled by the empowerment-sounding title of “Finding You”: The romantic comedy’s engine isn’t driven by the woman herself, but by the men who are continually placed in power positions that directly inform her arc. Where it would have been nice to see the heroine unlocking her own potential, the film instead focuses on her finding an intercontinental romance with a dashing young man, life coaching from an unlikely male ally and a mysterious message from her deceased older brother. Even so, effervescent performances from an ebullient ensemble make “Finding You” a palatable and compelling female coming-of-age tale. — Courtney Howard

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Georgetown (C. Waltz)

Distributor: Vertical Entertainment

Where to Find It: In select theaters

Written by “Proof” playwright David Auburn, “Georgetown” was based on a juicy 2012 New York Times story about a D.C. social climber (Christoph Waltz) arrested for strangling his 91-year-old wife (Vanessa Redgrave), through whom he had gained access to many powerful people, hosting soirees for journalists, ambassadors, and such political heavy-hitters as Antonin Scalia and Dick Cheney. A disingenuous end-credits disclaimer suggests that Waltz’s character, Ulrich Mott, is “not to be confused with” Albrecht Muth — who had affairs with men throughout their marriage — though the feint is clearly intended to underscore the connection. — Peter Debruge

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The Perfect Candidate (Haifaa Al Mansour)

Distributor: Music Box Films

Where to Find It: In theaters

Even more than in her debut hit “Wadjda”, Saudi director Al Mansour’s latest is clearly designed to demythologize the Kingdom, taking a host of cultural signifiers and parading them out in the cinematic equivalent of billboard-sized letters to show that Saudi society is heterogeneous and mutable. The script is so simplistic in how it runs through a checklist of cultural practices — women’s dress, gendered spaces, the role of music — that it reduces the people themselves to unsophisticated representatives of change, and yet its welcome message of female empowerment will be embraced by Western audiences. — Jay Weissberg

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Profile (Timur Bekmambetov)

Distributor: Focus Features

Where to Find It: In theaters

Unlike the Bekmambetov-produced tension exercises “Unfriended” and “Search,” this fast, lurid online-terror thriller (presented all in one computer screen) aims for ripped-from-the-headlines social import, as it follows an intrepid but increasingly ill-advised London journalist in her quest to bait and expose an ISIS recruiter through Skype and social media. Loosely drawn from the experiences of French reporter Anna Erelle, this is an undeniably engrossing but almost entirely specious affair: Any factual grounding gives way beneath the film as it devolves into shrill heart-versus-head melodrama. — Guy Lodge

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Riders of Justice (Anders Thomas Jensen) CRITIC’S PICK

Distributor: Magnet

Where to Find It: In select theaters, expanding to on demand May 21

Deliriously wry and so perfectly balanced it should become a case study in script classes, “Riders of Justice” may be the film that finally gives Anders Thomas Jensen international recognition beyond his usual spotlight as a sought-after screenwriter. Comparisons with the Coen brothers will be inevitable given oddball characters whose fixations and genuine heart contrast with moments of extreme violence, yet the roots of this black revenge comedy go back even further, bringing an asocial spin to classic screwballers where a group of quirky misfits are balanced out by a lone woman who’s the most put-together and in touch of the bunch. — Jay Weissberg

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Spiral: From the Book of Saw (Darren Lynn Bousman)

Distributor: Lionsgate

Where to Find It: In theaters

In its “How can we make the old sick trash new again?” way, the ninth film in the series isn’t just another attempt to squeeze this bloody lemon dry. It takes an actual stab at reimagining the “Saw” franchise. The movie features a new faceless torture maniac — though he’s really just a Jigsaw copycat. The big change is that while “Spiral” features a handful of the series’ dungeon-nightmare set pieces, the movie is framed as a conventional police-corruption thriller. With his seething, embattled performance as Zeke Banks, Chris Rock completes his transformation from comedian to actor who lacks even a whisper of his former cheeky ebullience. — Owen Gleiberman

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点播和选择剧院

The Djinn (David Charbonier, Justin Powell)

发行商: IFC Films

在哪里可以找到它:在选定的影院中,点播和数字

通过编剧兼导演二人组 Charbonier 和 Powell 发现自己在电影中的小学年龄小伙子有祸了:他可能会在他们的情节线中幸存下来,但不会很漂亮。他们的官方首部影片“门后男孩”发现两个这样的孩子在被陌生人绑架后为生命而战。在“The Djinn”中,他们从相同的基本前提精心制作了另一个有效的悬疑练习,将一个少年主角困在一个带有恶意克星的家中。与《门》相比,对话更少,在更狭窄的空间中,这部精简的惊悚片并没有提供太多的思考,但它提供了紧凑的极端危险。— 丹尼斯·哈维

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两个情人的杀戮(罗伯特·马乔安)CRITIC'S PICK

发行商:霓虹灯

在哪里可以找到它:在选定的剧院和点播中

开场似乎是其名义行为的边缘,“两个情人的杀戮”然后稳步退出听起来像是婚姻不忠和愤怒的黑锅。相反,他的经济戏剧实际上是关于婚姻分居的痛苦,尤其是当一方正在努力离婚而另一方正在努力和解时,这是经常发生的情况。与周围的犹他州西部景观相比,它的角色显得相形见绌,这首独奏长片(马乔恩与罗德里戈·奥赫达·贝克共同执导了三部之前的电影)是一部引人入胜的导演缩影。— 丹尼斯·哈维

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RK/RKAY (Rajat Kapoor)

发行商: Outsider Pictures

在哪里可以找到它:在剧院和虚拟电影院中

Pirandello 肯定会认可这部以电影世界为背景的关于作家-导演-演员的小规模身份喜剧背后的精神,体现在作者:卡普尔,他的主角走出了他的新照片,进入了现实世界。更复杂的是,这个角色也是由导演拟人化的,这导致了一部令人愉悦的关于自我的戏剧,它总是轻描淡写地玩弄自由意志和代理的概念。与卡普尔的大多数其他作品(“Mithya”、“Kadakh”)相比,预算更适度,这种众筹的爱情劳动不太可能引起太多轰动,但会受到寻求相宜娱乐的观众的赞赏。— 杰·韦斯伯格

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没有邪恶(Mohammad Rasoulof) CRITIC'S PICK

发行商: Kino Lorber

在哪里可以找到它:在选定的剧院和通过Kino Marquee点播

2017 年拉苏洛夫从戛纳返回时,他被终身禁止拍电影并被判入狱一年。但导演无法阻止。他的最新电影在柏林电影节的比赛中首映,拉苏洛夫没有被沉默,而是发表了他迄今为止最公开的批评声明,一系列关于伊朗死刑及其肇事者的卡夫卡式道德寓言。由此产生的艺术异见……以一部的价格制作了四部电影,其中没有一个片段是贫血的,每部都为伊朗死刑的悖论提供了新的见解。— Peter Debruge

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Netflix 独家提供

Ahaan(Nikhil Pherwani)

在哪里可以找到它: Netflix


Dance of the 41 (David Pablos)

Where to Find It: Netflix

November 1901. Mexico City. A police raid on a high-society private party leads to the arrest of 42 men. Nineteen are found wearing lavish ball gowns that matched the opulence of the (very much illicit) affair. Pablos’ handsome period film traces the real-life story of the one whose presence is promptly erased from the record: the then-son-in-law of Mexican president Porfirio Díaz. Monika Revilla’s screenplay doesn’t begin with the political scandal that gives the film its title. Instead, it uses it as its climax, an impactful punctuation mark on a tender love story played against the backdrop of the patriarchal power structures of Mexico’s turn-of-the-century gentry. — Manuel Betancourt

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Ferry (Cecilia Verheyden)

Where to Find It: Netflix


Oxygen (Alexandre Aja)

Where to Find It: Netflix

A clever example of creativity thriving within the strict protocols of the coronavirus pandemic, tense confinement thriller “Oxygen” plays like “Buried” in outer space: a ticking-clock sci-fi survival drama centered on a single character (“Inglourious Basterds” star Mélanie Laurent) trapped in a spiffy, coffin-like cryochamber with critically low reserves of breathable air. The blank-brained “bioform” awakens ahead of schedule, sealed in some kind of futuristic membrane, with only a helpful HAL 9000-like talking computer called MILO (short for Medical Interface Liaison Operator, voiced by Mathieu Amalric) to assist her. — Peter Debruge

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The Woman in the Window (Joe Wright)

Where to Find It: Netflix

Real-estate porn can work for a thriller — or against it. Sometimes, it’s part of a movie’s mystery and allure: the luxe nooks and crannies where bad vibes can hide. (See “Rosemary’s Baby” or “What Lies Beneath.”) But in “The Woman in the Window,” a movie that takes place entirely in one old dark house, the stately Harlem brownstone in which Anna Fox (Amy Adams) resides is a movie set of such gloomy palatial grandeur that the place threatens to overwhelm everything that happens inside it. — Owen Gleiberman

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New Releases for the Week of May 7

Only in Theaters

Benny Loves You (Karl Holt)

Distributor: Dread

Where to Find It: In select theaters, followed by on demand May 11

Whether it be actual toys or movies about them coming to life and killing people, they don’t make ’em like they used to. While the “Child’s Play” and “Puppet Master” franchises aren’t exactly rife with masterpieces, their pleasures are less guilty than those afforded by the genre’s latest installment: “Benny Loves You,” an English horror comedy liable to make audiences laugh far more than it scares them. Mostly, though, it just borders on boring. Aside from the murderous Benny himself, the film doesn’t add much to its gory genre. — Michael Nordine

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平等标准(Brendan Kyle Cochrane)

发行商: Mutiny Pictures

在哪里可以找到它:在超过 75 家影院中

旨在成为黑人生命问题时代的“电线”,由首次担任故事片作家的塔海姆·布莱恩 (Taheim Bryan) 撰写的多管齐下的纱线, “平等标准”令人遗憾地表现出一贯缺乏克制,而故事扩大了它的范围和风险,在种族紧张局势加剧的情况下,它明显没有达到其善意的抱负,以尊重多种观点。问题的很大一部分是布莱恩的草率写作,每次都过度解释电影的想法。在他过度拥挤的生态系统中,除了最明显的事实之外,并没有什么新东西可以收获:种族主义是一个邪恶的恶性循环。— Tomris Laffly

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法蒂玛(Marco Pontecorvo)

发行商: Picturehouse

哪里可以找到:重新在 AMC 影院独家上映

导演 Pontecorvo 重温了法蒂玛圣母的奇迹,其中三个葡萄牙牧羊人的孩子经历了圣母玛利亚的几次访问,在这个表面上可疑,但最终接受历史剧,当信仰和事实发现自己直接对立时,“假新闻”的说法使“真实故事”的概念变得毫无意义。虽然不是特别巧妙,但“法蒂玛”向那些坚持自己信念的人致敬。它的榜样是儿童,这使得该信息更加引人注目。— Peter Debruge

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今天在这里(比利·克里斯特尔)

发行商:第 6 阶段电影

在哪里可以找到它:在剧院

“今天在这里”,由比利·克里斯托饰演一位受人尊敬的电视喜剧作家和蒂芙尼·哈迪斯饰演圣洁、粗犷的街头歌手,他成为他不太可能的朋友,是一部感觉像是 30 年前就可以制作的电影:一部友好、偏向成人、机智但从不讨厌的角色研究,它只是 90 年代,足以舒适地过时,就像一对老夫妇流苏乐福鞋。这部电影的优点在于,共同编剧和导演的克里斯特尔对演艺界的喜剧世界有深入了解,而他所描绘的刺眼的活力使这部电影植根于真实的事物中。— 欧文·格莱伯曼

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The Water Man (David Oyelowo)

发行商: RLJE Films

在哪里可以找到它:在剧院

一个引人入胜的儿童鬼故事,其幻想元素以现实世界的担忧为基础,“The Water Man”以遥远的熊熊大火结束比之前的超自然元素更可怕——尤其是现在,因为太平洋西北部的大部分地区都在燃烧。David Oyelowo 的表演作品的粉丝可能会惊讶于他选择了这样一个“鸡皮疙瘩”项目作为他的导演处女作,尽管“塞尔玛”明星发挥了他的影响力(在执行制片人奥普拉温弗瑞的推动下)对年轻观众来说非常酷一部家庭电影的背后。— Peter Debruge

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Wrath of Man (Guy Ritchie)

Distributor: Metro Goldwyn Mayer

Where to Find It: In theaters

Ritchie’s RocknRolla-coaster style has plenty of imitators, but here, it’s refreshing to see him calm down and deliver something that’s intricate without being addled. Settling into the tense but relatively restrained mode of Christopher Nolan, the production adopts an elegant, almost monochromatic color palette, while the double-bassy score steadily saws away at our nerves, keeping audiences just this side of a heart attack for the better part of two hours. Like Jason Statham’s character, “Wrath of Man” walks into the room confident and secure in its abilities, professional, efficient and potentially lethal. — Peter Debruge

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Exclusive to Amazon Prime

The Boy From Médellin (Matthew Heineman)

Where to Find It: Amazon Prime

Last November, a personally triumphant hometown stadium show happened to coincide with Latin superstar J Balvin’s native Colombia reaching a flashpoint of historic turmoil. “The Boy From Médellin” shows the reggaeton singer being forced to develop a political conscience, whether he wants one or not. The problem is that, if Balvin actually has a conversion experience, we never see it, so it remains uncertain at the end whether he’s really experienced any kind of enlightenment about the need to address what’s going on in his country or finally does so because it’s actually the career path of least resistance.— Chris Willman

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Exclusive to Netflix

And Tomorrow the Entire World (Julia von Heinz)

Where to Find It: Netflix

“And Tomorrow the Entire World” is a taut, headlong dive into a student Antifa commune in Mannheim, Germany, whose residents gradually splinter over how to fight a rising tide of white supremacy. It finds room for the perspective of both fervent Generation Z activists and their jaded elders, who may support the cause but are aggrieved that the fight hasn’t changed since their day, and fear it never will. Politically resonant but also solidly effective as straightforward youth-in-revolt drama, this Venice competition entry could make the international impression that von Heinz’s previous features have not. — Guy Lodge

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Monster (Anthony Mandler)

Where to Find It: Netflix

The New York City courtroom in which, 17-year-old honors student Steve Harmon stands accused of felony murder, isn’t the customary dark wood and tan walls affair. “Monster” there’s a reason beyond stylish production design for the palette of grays. For the involving, nuanced drama — a Sundance 2018 competition title starring Kelvin Harrison Jr. — explores the gray areas of guilt, innocence and criminal justice, especially as they pertain to young Black men, who are too often seen as guilty till proven not guilty. Innocent is likely too much to ask of a system in which young men like Steve are seen as the beasts, as the monsters of the movie’s title. — Lisa Kennedy

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On Demand and in Select Theaters

Above Suspicion (Phillip Noyce)

Distributor: Lionsgate

Where to Find It: In theaters, on demand and digital

The 1989 murder of Susan Smith is a despairingly grim Southern Gothic story, shot through with reckless sex, institutional corruption and Kentucky-fried local scandal. At least “Above Suspicion,” a steamed-up, sweat-soaked film adaptation of the material, mercifully rakes over its unsavory details in two hours rather than several. It’s quick, dirty and perhaps more tawdry than it needs to be. Chris Gerolmo’s script isn’t at great pains to find the human factor here, and Phillip Noyce’s direction coats the whole unhappy affair in cold blue steel. — Guy Lodge

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Locked In (Carlos V. Gutierrez)

Distributor: Saban Films

Where to Find It: In theaters and on demand

A thriller about a woman’s efforts to thwart a pair of criminals who come looking for their loot, it’s a rote and chintzy affair undone by clunky writing and inane character behavior that prolongs what should have been a relatively brief incident.

Save for a few brief scenes, almost all of “Locked In” takes place in a steely, nondescript storage facility run by Lee (Bruno Bichir) and his sole employee Maggie (Mena Suvari). Gutierrez repeatedly gives his heroine a chance for escape, only to then sabotage it by having her (or Tarin) behave in a monumentally knuckleheaded manner. — Nick Schager

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Mainstream (Gia Coppola)

Distributor: IFC Films

Where to Find It: In select theaters, on demand and digital

Seven years after “Palo Alto,” Coppola returns with “Mainstream,” packing a far smaller store of compassion and a lot less insight into the next micro-life-stage of telegenic wasted youth. A brittle, exasperated satire on social media celebrity, her sophomore film, like the tacky messiah it creates in Andrew Garfield’s YouTube sensation, soon becomes the very thing it sets out to expose: a glittery, jangly image machine that manufactures little of actual substance, except the conclusion that social media = bad. Sure, it’s a platitude [shrug emoticon] but hey, it’s delivered with attitude. — Jessica Kiang

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The Paper Tigers (Tran Quoc Bao)

Distributor: Well Go USA Entertainment

Where to Find It: In theaters and on demand

With only a couple of clicks of the dial and a little dash of hybrid vigor, the hackneyed can be made fresh again, a point proven by Tran Quoc Bao’s silly and special little kung fu comedy. Balancing the naive structure of an old Shaw Brothers movie (a vengeance mission with an escalating series of fights en route to the Big Boss showdown) with the kind of male-midlife-comedy schtick that bought Judd Apatow a house or six, Tran’s irresistibly good-humored debut is a diverting blend of Hong Kong and Hollywood that delivers, on a slender, Kickstarter-enhanced budget, a rousing roundhouse hug to both traditions. — Jessica Kiang

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Queen Marie (Alexis Sweet Cahill)

Distributor: Samuel Goldwyn Films

Where to Find It: On demand and digital

Queen Marie of Romania expresses her frustration that the press coverage is focused not on her efforts at diplomacy, but her extravagant wardrobe and packed social diary. “I suppose if I wish to be heard, I must first allow myself to be seen,” she sighs. This carefully ironed biopic fancies itself a corrective to such misogyny, offering the British-born monarch belated recognition of her contributions towards the eventual unification of Romania. Played with exacting decorum but little mirth or fervor by Roxana Lupu, she’s never quite a character, but a critical figure in a well-constructed historical diorama. — Guy Lodge

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Stealing Chaplin (Paul Tanter)

Distributor: High Octane Pictures

Where to Find It: On demand and DVD

In this parallel universe, the Little Tramp was buried not in Switzerland but in an undistinguished plot in a Las Vegas cemetery. His body is taken, meanwhile, not in the 1970s but in the present day — by a bumbling fraternal duo of British conmen. What Tranter’s cheap and cheerful film does have going for it is some genuinely sparky comic chemistry between stars Simon Phillips and Doug Phillips — not related, yet well-matched as a hopeless pair of Tweedledum-and-Tweedledumber siblings whose banter is quicker than their combined wits. — Guy Lodge

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The Unthinkable (Crazy Pictures)

Distributor: Magnet

Where to Find It: In theaters and on demand

If there were Oscars for chutzpah, “The Unthinkable” would be a cinch: The first feature for a Swedish collective who’ve been making short films together since childhood, Crazy Pictures’ disaster movie/thriller/romance/dysfunctional family drama is more laudable for its ambitious resourcefulness on limited means than for actual achievement or impact. Despite some strikingly accomplished elements, the awkward whole never quite gels, sewn-together parts from “Red Dawn,” “Independence Day,” et al., failing to cohere amid major logic gaps. — Dennis Harvey

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Coming to MTV

Pink Skies Ahead (Kelly Oxford) CRITIC’S PICK

Distributor: MTV Entertainment Studios

Where to Find It: Premieres May 8 on MTV with a simulcast on Pop TV

With her radioactive coif and precocious repartee, Winona (Jessica Barden) quit her college writing program not because she couldn’t hack it, but because the whole thing felt like a waste of time to her. Now her doctor (Henry Winkler) worries that she might have an anxiety disorder. In adapting her personal essay, “No Real Danger,” Oxford is not overly precious in adapting her essay, and for all we know, there’s actually more of the author in this stylized retelling. “Pink Skies Ahead” aims to destigmatize Winona’s diagnosis, while giving audiences living with anxiety issues a positive point of reference. — Peter Debruge

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New Releases for the Week of April 30

Only in Theaters

Four Good Days (Rodrigo García)

Distributor: Vertical Entertainment

Where to Find It: In select theaters

A Sundance drama of addiction that’s sensitively written and staged (by Garcia) and performed with lacerating honesty by its two leads, Glenn Close and Mila Kunis, “Four Good Days” tells the story of an addict, Molly (Kunis), who shows no signs of recovering. She’s been in and out of detox 14 times, but she always goes back to getting high. What’s going to make this time different? It’s a question at once valid and vaguely annoying, since the only answer is that what’s going to be different this time is that the movie needs a different outcome. Or we wouldn’t have a movie. — Owen Gleiberman

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Limbo (Ben Sharrock)

Distributor: Focus Features

Where to Find It: In theaters

The Uist Islands would be a disorienting place for most outsiders to find themselves stranded for an indefinite amount of time — and that’s without the additional, time-stretching uncertainty of a pending application for political asylum. For the Syrian protagonist of “Limbo,” a refugee stationed in a bleak safe house on the island while he awaits the mercy of the British government, it amounts to a kind of physical and spiritual quarantine in Scottish director Sharrock’s thoughtful, gentle-natured sophomore film, which dramatizes the refugees’ plight through deadpan comedy rather than issue-movie hand-wringing. — Guy Lodge

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Separation (William Brent Bell)

Distributor: Open Road Films, Briarcliff Entertainment

Where to Find It: In theaters

Arriving on the heels of his “The Boy” and “Brahms: The Boy II,” Bell’s “Separation” reconfirms the director’s belief that nothing is scarier than creepy killer dolls. His latest, alas, fails to successfully prove that case, and worse, its story about a recently widowed single father struggling with supernatural phenomena is a dull and misogynistic affair that imagines multiple types of women as malevolent fiends who terrorize supposedly sympathetic men. “Separation” lacks both basic logic and formal polish, with certain sequences looking as chintzy and graceless as they are nonsensical. — Nick Schager

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Exclusive to Amazon Prime

Tom Clancy’s Without Remorse (Stefano Sollima)

Where to Find It: Amazon Prime

“Tom Clancy’s Without Remorse” is a lively formulaic action-hero origin story, dunked in combat grunge, that demonstrates how a resourceful lead actor (in this case, Michael B. Jordan) can bend and heighten the meaning of a commercial thriller. The plot is sometimes murky, but more than that the Cold War tension is now a nostalgic shadow of its former self. Compared to a good “Bourne” film, “Without Remorse” feels generic; compared to the best of the Jack Ryan films, like “Patriot Games,” it will look right at home on the streaming venue of Amazon. — Owen Gleiberman

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Exclusive to Netflix

The Disciple (Chaitanya Tamhane) CRITIC’S PICK

Where to Find It: Netflix

After Tamhane’s extraordinary debut “Court,” his second feature is more ambitious in scope and also more personal, though the Indian director’s approach, abounding in establishing shots, could distance viewers intimidated by their unfamiliarity with north Indian classical music. For those able to set aside potentially daunting feelings of ignorance, this rich, multi-layered story of a young man’s dedication to mastering the spiritual and technical elements of “raga” singing offers much to ponder on teacher-pupil relations, the nature of performance and the consuming character of an artistic calling. — Jay Weissberg

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The Mitchells vs. the Machines (Michael Rianda) CRITIC’S PICK

Where to Find It: In select theaters, followed by Netflix on April 30

Writing partners Michael Rianda and Jeff Rowe are children of the pre-iPhone era, and together — aided by a small army of animators at Sony Pictures Animation — they’ve hatched a subversive delight that should appeal to Gen Y adults and tech-savvy kiddos alike. That’s because the tongue-in-cheek, “Terminator”-esque machine uprising isn’t really the hook here. If the sky-is-falling zaniness that surrounds the Mitchells’ road trip feels slightly familiar, that’s almost certainly because the movie was produced by “Cloudy With a Chance of Meatballs” creators Phil Lord and Christopher Miller. — Peter Debruge

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听到和看到的东西(莎莉·斯普林格·伯曼,罗伯特·普尔西尼)

在哪里可以找到它: Netflix

[“美国辉煌”导演的] 最新提供了他们通常的挑逗外观——我们是诚实的商业电影制片人——试图瞄准-高的。这是一个鬼故事,背景设定在 1980 年,由阿曼达·塞弗里德 (Amanda Seyfried) 和詹姆斯·诺顿 (James Norton) 主演,饰演凯瑟琳 (Catherine) 和乔治·克莱尔 (George Claire),这对夫妇带着一个年幼的女儿从曼哈顿上西区搬来,乔治刚刚在那里获得艺术史博士学位。哥伦比亚,前往哈德逊河谷,在那里他在一所小型私立大学找到了一份教授的工作。这部电影最有趣的方面是它在慢动作中分崩离析的婚姻场景。— 欧文·格莱伯曼

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点播和选择剧院

关于无尽(Roy Andersson)

发行商: Magnolia Pictures

在哪里可以找到它:在选定的剧院和按需提供

无论是偶然还是设计,瑞典导演安德森最典型的滑稽动作是将他的第六部长篇小说命名为“关于无尽”,只是为了它的时钟只有 76 分钟。你几乎没有在它的无限循环悲喜剧中接受它对人类存在的古怪宇宙观,而不是学分已经滚动。安德森似乎将我们的社会弱点视为简单、一致和注定(或者可能是幸运的)永远重复的问题,这个看似庞大的话题最终却变成了这位 76 岁老将的一篇相当简洁的文章。— Guy Lodge

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柏林亚历山大广场(Burhan Qurbani)

发行商: Kino Lorber

在哪里可以找到它:通过 Kino Marquee 在虚拟电影院

中 阿尔弗雷德·德布林 1929 年的小说和莱纳·维尔纳·法斯宾德的 15 小时迷你剧的两大支柱共同创造了一个总体阴影,而库尔巴尼的三个小时的相对苗条“柏林亚历山大广场”的当代改造难以逃脱。尽管通过将主角重新想象为一名无证的非洲移民来承诺对当代话题的深刻冲击,但有一种感觉,无可挑剔的工艺和表演——尤其是来自极具魅力的主角 Welket Bungué——最终加起来太光滑了。— Jessica Kiang

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Best Summer Ever (Michael Parks Randa, Lauren Smitelli)

发行商: Freestyle Digital Media

在哪里可以找到:点播和 DVD

通过“油脂”、“自由自在”、“高中音乐剧”和其他欢快的歌曲组成的巧妙而甜美的即兴演奏,青少年倾斜的娱乐,“有史以来最好的夏天”以其深情的敬意和旺盛的包容性之间的巧妙平衡给人留下了深刻的印象。即使在短暂的浪漫挫折中,联合导演也能保持如此迷人的轻松和明亮的气氛,以至于在一个不存在种族分歧和能干偏见的世界中,人们很容易暂停怀疑并心存感激,并且几乎是唯一的负面刻板印象是一个卑鄙的女孩啦啦队长。— Joe Leydon

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县(Grímur Hákonarson)

发行商: Dekanalog

在哪里可以找到它:在剧院和虚拟电影院

在她的奶农丈夫去世后,一位中年妇女勇敢地牺牲了自己的生计,以反对社区工作中的腐败和不公正现象在这部取悦观众的人文主义戏剧中。与哈科纳森之前的电影《公羊》一样,它探讨了与冰岛民族精神密切相关的根深蒂固的乡村文化,同时倡导传统的冰岛价值观,而不是资本主义的剥削底面。这部电影的阴阳,“县城”充满了活泼的女性能量和意象,并洒上了激动人心的“你去吧女孩!” 喜剧时刻。— 艾丽莎·西蒙

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吃麦片!(Scott Abramovitch)

发行商: Screen Media

在哪里可以找到它:在选定的剧院和点播中

更像是 Wonder Bread 上的蛋黄酱三明治,而不是其标题“吃麦片!”的至少微脆的早餐麦片。是一部电影,其平淡最终战胜了烦恼——但只差一点点。这是一种你很快就会想踢狗的失败喜剧。托尼·黑尔 (Tony Hale) 饰演一个中年小矮人,他声称过去的名人友谊几乎不可能像滚雪球一样毁了他的生活,阿布拉莫维奇 (Abramovitch) 的处女作的目标是像“40 岁的处女”这样的男高音减去粗野。— 丹尼斯·哈维

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Marighella (Wagner Moura)

经销商: Artmattan Prods。

在哪里可以找到它:在虚拟电影院

中 巴西是否需要一部公开鼓吹与其极右翼政府进行武装对抗的电影?这是讨论“Marighella”时需要问的第一个问题,演员 Wagner Moura 的导演处女作集中在巴西残酷的军事独裁统治期间左翼叛乱分子 Carlos Marighella 生命的最后一年。无论人们认为这部电影的优点是作为抵抗战士/恐怖分子的充满肾上腺素的射击圣徒传记片,倒数第二个场景,一个女人拿起机关枪,直视镜头,其令人深感不安的信息毫不含糊。— 杰·韦斯伯格

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外面的故事(Casimir Koznowski)

发行商: Samuel Goldwyn Films

在哪里可以找到它:点播和数字

一个可以从最无关紧要的部分中魔术出个性和目的的演员,Brian Tyree Henry 获得了在电影中扮演的欢迎空间曾经完全围绕着他活泼、深思熟虑的存在而建立。如果没有他狡猾的台词和笨拙的肢体喜剧的诀窍,“外面的故事”就不会如此引人注目。即使有他们,它也扮演了一个令人愉快的扩展情景喜剧飞行员的角色,有一个细长的前提——脾气暴躁的宅男被锁在他的公寓外面,随之而来的恶作剧——从不倾向于最荒谬的可能性。不过,对于亨利,你会再次收听。— Guy Lodge

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Percy vs Goliath (Clark Johnson)

发行商:派拉蒙影业、Saban Films

在哪里可以找到它:在影院、点播和数字电影中

虽然演员阵容强大且引人入胜(包括克里斯托弗沃肯和克里斯蒂娜里奇的激烈转折),这部还原农民剧涉及情感不仅仅是解释,因为它试图传达像 Percy Schmeiser 这样的小家伙种植者对抗 Big Agro 意味着什么。导演克拉克·约翰逊显然想到了“艾琳·布罗科维奇”和“应许之地”这样激动人心的反企业环保运动,将孟山都描绘成一个贪婪的近乎垄断的公司(这不一定是错误的),但没有正确解释珀西被指控的事情. — Peter Debruge

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The Virtuoso (Nick Stagliano)

Distributor: Lionsgate

Where to Find It: In theaters, on demand and digital

Fresh off his second Oscar win, Anthony Hopkins isn’t awful in “The Virtuoso,” but the movie that surrounds him is. It’s a cut-rate thriller about a nameless hit man (Anson Mount) so busy telling audiences how professional he is — via such affirmational observations as, “You’re a professional, an expert dedicated to timing and precision” — that he doesn’t seem to notice his latest assignment is a setup. The one glimmer of originality in James C. Wolf’s script comes from the idea that the virtuoso’s mentor (Hopkins) sees this suicide mission as an act of mercy. — Peter Debruge

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New Releases for the Week of April 23

Available in Theaters and on HBO Max

Mortal Kombat (Simon McQuoid)

Distributors: Warner Bros. Pictures, New Line Cinema

Where to Find It: In select theaters and HBO Max

Now, “Mortal Kombat” gets the R-rated reboot its fans feel the property deserves, which entails being as graphic as the game was when it comes time for the pugilists to eliminate their opponents, whether that means ripping out their hearts or buzz-sawing them in twain with a razor-sharp hat. Such ruthless finishing moves may be the selling point here, but it’s the more nuts-and-bolts backstory that matters if the studio hopes to build a fresh film franchise around the property. True to the game, the violence is both ghoulishly creative and gratuitously extreme. — Peter Debruge

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Only in Theaters

Demon Slayer the Movie: Mugen Train (Haruo Sotozaki)

Distributor: Aniplex of America, Funimation

Where to Find It: In theaters

You’re either already on the “Demon Slayer” train or you’re not, and the hit Japanese feature — arriving stateside having surpassed “Spirited Away” as the highest-grossing anime movie of all time — is hardly the vehicle for the popular franchise to pick up new passengers. That doesn’t mean the action-packed toon won’t appeal to those curious to check out the sensation that has earned more than $415 million internationally. But it will be hard for newbies to follow a fan-service sequel that relies heavily on the complex mythology established by the 26-episode show. — Peter Debruge

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My Wonderful Wanda (Bettina Oberli)

Distributor: Zeitgeist Films, Kino Lorber

Where to Find It: In select theaters

Money can buy outside help, opportunity and material possessions, but not happiness in this punchy satire from “Late Bloomers” director Oberli. Taking a wry but empathetic approach to the phenomenon of care migration, Oberli and her co-writer Cooky Ziesche focus on the changing relationship between one privileged Swiss family and their financially fragile Polish home-care worker over nine months. Naturalistically shot and structured as three chapters and an epilogue, it’s an engaging, mostly well-acted tale, full of surprising twists, even if some seem a bit too on the nose. — Alissa Simon

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Paris Calligrammes (Ulrike Ottinger)

Distributor: Icarus Films

Where to Find It: In Film Forum virtual cinema, then wide on April 30

It would be a great mistake, sight unseen, to pigeonhole “Paris Calligrammes” as just another nostalgia-filled personal documentary about how amazing life was in Paris in the 1960s. Ottinger takes us through this formative time of her life in a way that deftly balances past and present to paint a picture of a threshold era of both positives and negatives. Largely composed of found footage, film clips and home movies, the film reflects the director’s generosity of spirit as well as the period’s bubbling cauldron of syncretic and opposing movements. — Jay Weissberg

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街头帮派:我们如何到达芝麻街(Marilyn Agrelo)

发行商:屏幕媒体

在哪里可以找到它:现在在剧院,然后在 5 月 7 日的点播

“街头帮派”有幸抵达,还有大约 100 个建成 -比大多数纪录片有优势。提供吉姆汉森和弗兰克奥兹操作木偶的老式后台镜头感觉有点像亨利胡迪尼回来揭露他所有的秘密。对于一部分怀旧的观众来说,除此之外的几乎所有东西都可能是肉汁。然而,这几乎是一部非常令人满意的纪录片中最少的乐趣,该纪录片明智地大致平等地强调了香肠是如何制作的以及文化是如何改变的。— 克里斯·威尔曼

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小蒂姆:特大一天(约翰·冯·西多)评论家的PICK

经销商:朱诺电影

在哪里能找到它:在选择剧院

这诱人的纪录片捕获的小蒂姆如何,那种精灵般的新奇的行为,你能想象的愉快的疯狂得到嘘声开放麦克风之夜的舞台,一度成为地球上最大的明星。他是侥幸吗?在某种方式。然而,他并不是凭空出现的。正如纪录片所捕捉到的……他拥有独特的魅力。50 年后的现在看着他,你几乎无法将目光从他身上移开。纪录片捕捉到的一件奇怪的事情是,小蒂姆是那些一直知道他将成为明星的人之一。— 欧文·格莱伯曼

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Together Together (Nikole Beckwith)

发行商: Bleecker Street

在哪里可以找到它:在影院上映,随后是 5 月 11 日的数字

电影 如果贝克维斯令人愉快的不完美电影问到,关于生物钟的所有这些大惊小怪不是女性独有的呢?如果一个单身的、年迈的异性恋男性也能意识到他有一个内部计时器呢?一个笨拙可爱的技术开发人员,马特(埃德赫尔姆斯)决定不等待合适的伴侣出现,而是通过代孕让他的父亲梦想成真。进入扑克脸安娜(帕蒂哈里森),一个孤独,愤世嫉俗的 20 多岁,需要代孕资金,通过攻读加速大学学位来让她的生活回到正轨。— Tomris Laffly

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Wet Season (Anthony Chen)

发行商:Strand

上映地点:在纽约开幕,然后于 4 月 30 日扩展到其他剧院、虚拟电影院和 PVOD

新加坡作家兼导演陈再次证明自己是对生活和社会阶层的敏锐观察者他的热带民族国家和女性面临的问题的敏感编年史。以季风季节为背景,陈对一位敬业的教师和孝顺的妻子心碎的细腻、微妙的描绘充满了爱和幽默,导演以惊人的成熟和克制。就像他 2013 年的处女作《Ilo Ilo》一样,这部苦乐参半的二年级故事片从他的个人生活中汲取了细节,并进一步受益于该电影中两位主要演员的选角。— 艾丽莎·西蒙

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点播和选择剧院

Bloodthirsty (Amelia Moses)

发行商: Brainstorm Media

在哪里可以找到它:点播和数字

版 在“与我一起流血”中以年轻、以女性为中心的吸血鬼故事之后,加拿大导演摩西对狼人做了同样的帮助。剧本由制片人温迪·希尔-图特 (Wendy Hill-Tout) 和她的女儿、创作歌手洛厄尔 (Lowell) 编写,他们将音乐行业的压力融入到故事中。在某种程度上,这种强调可能会让恐怖粉丝失望,他们想要更多花时间到达这里的尖牙动作。但在其适度的范围内,“嗜血”在超自然的悬念与年轻艺术家在职业生涯早期关键时刻的不安全感之间取得了平衡,做得足够值得信赖。— 丹尼斯·哈维

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The Dry (Robert Connolly)

发行商: IFC Films

在哪里可以找到它:在影院和点播中

干旱的澳大利亚小镇周围的贫瘠土地为“The Dry”中的神秘、悬疑和强烈的情感戏剧提供了肥沃的土壤。这部改编自简·哈珀 (Jane Harper) 的国际畅销书的引人入胜的改编作品将埃里克·巴纳 (Eric Bana) 饰演为一名城市侦探,他对家乡一起明显的谋杀-自杀案的调查再次引发了人们对他卷入了一起困扰社区二十年的神秘死亡事件的怀疑。专业导演,“The Dry”拥有所有的角色阴谋,巧妙的情节曲折和红鲱鱼,让观众不断猜测。— Richard Kuipers

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我要伤透你的心(安妮布拉德利,吉姆莫里森)

发行商:渴望

在哪里找到它:点播和数字

歌曲创作合作经常被描绘成神秘的联盟,以至于我们这些不在房间里的人不得不怀疑是否有很多情况下油和水拒绝啮合。最后,这部关于Raine Maida 和Chantal Kreviazuk 的纪录片在屏幕上描绘了写作过程向南时可能导致的暴躁,他们组成了Moon Vs Sun 组合。两人从洛杉矶逃到法国圣皮埃尔岛的一个作曲静修处,却在合作过程中不断地以错误的方式相互摩擦。— 克里斯·威尔曼

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大麻阴谋(克雷格·普赖斯)发行商:塞缪尔·戈德温电影哪里可以找到:点播和数字电影 对于习惯于斯通纳兄弟主角的电影观众来说,“大麻阴谋”提供了一个不错的改变。这部以 1972 年为背景的加拿大戏剧充满了玛丽珍。好吧,真的只有一个玛丽和一个简。但其他年轻女性也加入了他们的行列,她们接听电话参与研究项目。在 98 天内,Mary、Janice、Jane、Mourinda 和 Marissa 将能够——更像是被要求——吸食毒品。他们可以毫无顾忌地吸食。这部电影还与“实验者”和“斯坦福监狱项目”中的研究渎职行为发生了争执。— 丽莎·肯尼迪阅读完整评论





Netflix 独家提供

Stowaway (Joe Penna)

Where to Find It: Netflix

Director Joe Penna is a natural. “Stowaway” is only his second feature, and like the first, “Arctic” (2018), which starred Mads Mikkelsen as an explorer stranded in the frozen wilderness, it’s a tale of survival in extreme circumstances. This one is an outer-space adventure, which these days makes you think that it must be a spectacle film. But Penna takes a mission to Mars and unfurls it on a direct and intimate emotional level. He avoids the traps of making a fanciful piece of gleaming sci-fi like “Ad Astra” or the recent “Voyagers.” “Stowaway” is a modest genre film that stays tethered to flesh-and-blood concerns. — Owen Gleiberman

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New Releases for the Week of April 16

Only in Theaters

Beast Beast (Danny Madden)

Distributor: Vanishing Angle

Where to Find It: In theaters and Alamo On Demand

“Beast Beast” clatters to life with organic percussion: a stick rat-a-tatting against an iron fence, a skateboard scraping on concrete, a rifle pinging bullets against a defenseless tin plate. Together, these sounds combine into jazz, despite the discordance of the three teens making such a ruckus: Krista (Shirley Chen), Nito (Jose Angeles) and recently graduated gun-nut Adam (Will Madden). When the trio eventually – finally – intersect, it’s a fluke. “Beast Beast’s” plot twist is a swing at gravitas that disrupts the balance of Madden’s naturalistic character study. Suddenly the film accelerates from reality to sensationalism, and trades humanity for pulp. — Amy Nicholson

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Gunda (Victor Kossakovsky)

Distributor: Neon

Where to Find It: In theaters

What we didn’t know on Oscar night was how neatly Joaquin Phoenix’s speech would dovetail into his next screen credit: as an executive producer on Kossakovsky’s simple but entirely astonishing documentary “Gunda.” It’s not hard to imagine his words as the unspoken subtext to this wholly dialogue-free animal character study, in which an enormous sow on a Norwegian farmyard embarks on an emotive arc of motherhood without any need for human voiceover or twee anthropomorphism: just the still, searching power of an attentive camera. — Guy Lodge

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In the Earth (Ben Wheatley)

发行商: Neon

哪里可以找到它:在剧院里,

Wheatley 开始制作微型预算短片,而这种可以做的态度——在没有资源的情况下让我们感到不安——迫使他在限制中发挥创造力. 这个快速的构思、拍摄、剪辑和现在在同一病毒爆发期间交付,该病毒爆发使许多其他作品停顿,因为惠特利找到了一种方法将当下的焦虑折叠成对自然转向人类的更深,更原始的恐惧. 许多恐怖电影都发生在大流行之后,但这是第一部将现实世界的爆发融入其自己的近期愿景中的一部,即没有人谈论恢复正常的世界。— 彼得·德布鲁格

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We Broke Up (Jeff Rosenberg)

发行商: Vertical Entertainment

在哪里可以找到:在选定的影院中,随后于 4 月 23 日发布 VOD

“We Broke Up”引起了 rom-com 的涟漪,并将其引向甜蜜的笑声和一些真实的见解。它甚至令人惊讶 - 在该类型中越来越难以实现。导演杰夫·罗森伯格 (Jeff Rosenberg) 和合著者劳拉·雅克明 (Laura Jacqmin) 通过情感协调的对话和灵巧的表达方式,一两声笑了起来。他花时间在《好地方》和《副总统》上;她为“Get Shorty”和“Grace and Frankie”写作。这部电影是罕见的郊游之一,它确实刺痛了对其角色的任何自鸣得意,但也没有兴趣制造坏人以保持情侣分开。— 丽莎·肯尼迪

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Netflix 独家提供

Arlo the Alligator Boy (Ryan Crego)

在哪里可以找到它: Netflix


Ride or Die (Aly Hardt)

在哪里可以找到它: Netflix

本着“塞尔玛和路易丝”的精神,一个女同性恋逃犯和她要杀死的女人在“骑或死。” Netflix 制作的一部充满魅力的情色鸡尾酒,融合了爱情和真正的浪漫,为全血的女主角提供了代理权。这在日本工作室主导的千篇一律的娱乐业中是罕见的,这解释了它具有解放性、取之不尽的能量。该片改编自成人倾斜漫画《群城》(Ultramarine),由演员模特水原希子和演员音乐家佐藤保奈美主演,他们生动的性爱场面和正面全裸必将成为日本的话题。— Maggie Lee

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你为什么杀了我?(弗雷德里克·蒙克)

在哪里可以找到它: Netflix


点播和选择剧院

Hope (Maria Sødahl) CRITIC'S PICK

发行商: KimStim

在哪里可以找到它:在选定的剧院和虚拟电影院

相信这些荣誉:Maria Sødahl 敏锐、发自内心的“希望”值得所有的关注,自从在多伦多首映以来,它在节日和颁奖典礼上得到了所有的关注2019. 自然地,任何以这样的标题处理癌症晚期诊断的电影都会有某种刺痛感,但是“Limbo”导演 Sødahl 在写这部电影时挖掘了自己的癌症画笔,梳理了希望所在的意想不到的小路不仅被压碎,而且被滋养。这里的回报是巨大的,不仅仅是因为多层次的剧本,还有 Andrea Bræin Hovig 和 Stellan Skarsgård 无可挑剔的表演。— 杰·韦斯伯格

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Jakob's Wife (Travis Stevens)

发行商: RLJE Films

哪里可以找到它:在选定的影院和点播中

低预算的必要性通常是低预算发明之母,但遗憾的是在“Jakob's Wife”中并非如此,一个瘦弱的一半- 对吸血鬼神话的热心改造,无法完全确定它是恶搞的还是严肃的,并且没有两者兼具的智慧。虽然在理论上尝试一种混合语气是有希望的,在这种语气中,对一个已婚多年的小镇牧师妻子不满的生活的真实心理洞察力抵消了这种混杂的影响,但实际上,这些冲动只会相互抵消,逐渐减弱电影的赌注早在他们陷入任何人的胸膛之前。— Jessica Kiang

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星期一(Argyris Papadimitropoulos)

发行商: IFC Films

在哪里可以找到它:在选定的影院中,点播和数字电影

有一段时间,“星期一”让您感觉这正是独立浪漫喜剧应有的样子:轻松、真实、完整打破界限的性感,以两个迷人的自由精神为中心。在“星期一”中,这一切的自由奔放不断失控,因为这两个人试图让浪漫派对继续进行,喝酒喝酒。然而真正的问题是,一旦他们一起搬进来,导演就开始用红旗使屏幕过载。《星期一》,主要由希腊剧组拍摄,具有一定程度的活泼气息,两位演员也有真正融合的时刻。— 欧文·格莱伯曼

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Reefa (Jessica Kavana Dornbusch)

发行商: Vertical Entertainment

在哪里可以找到:按需

提供 这种类型的电影有一个永恒的问题,它试图从毫无意义的悲剧中创造出令人满意的戏剧:没有意义,出自如果不是他的最后一天,这一天不会与 Reefa 年轻生命中的任何一天有如此大的不同。就像瑞恩·库格勒(Ryan Coogler)更有活力但同样被操纵的“Fruitvale Station”一样,“Reefa”对如何处理一个英雄感到困惑,他的故事主要是关于他从未做过的所有事情,因此可以理解但根本不可靠的决定是把一切都当成是走向那个命运之夜。— 杰西卡·江

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The Rookies (Alan Yuen)

经销商:大喊!影城

在哪里能找到它:在选择影院,点播和数字

拉梅幽默和不连贯的绘制是“新秀”,最初接合而是越来越繁琐中国动作喜剧惊悚片的缺点中,即使不踢屁股的电影女王米拉乔沃维奇可以为之注入活力。要求不高的流派粉丝可能会喜欢这个布达佩斯背景的大杂烩,内容是关于新秀特工对付精神错乱的亿万富翁,但对于其他人来说,这里并不多。如果以巧妙的幽默感和清晰的喜剧节奏进行游戏,这些色彩缤纷的成分可能会产生一种活泼的诙谐动作冒险。相反,“新秀”选择了幼稚的对话和愚蠢的肢体喜剧。— 理查德·柯伊伯斯

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Vanquish (George Gallo)

发行商:狮门影业

在哪里可以找到它:在选定的影院中,随后是 4 月 20 日的数字和视频点播

“Vanquish”并不坏,而是惰性——这里没有什么是令人信服的、紧张的、动感的、离谱的或愚蠢的足以让这部电影有了稍纵即逝的生命。剧本是如此的数字,表演者几乎无法掩饰他们的不感兴趣,这种感觉很快就会被这些明星在暴力复仇故事中的承诺所吸引的观众所分享。正如 Vicky (Ruby Rose) 发现她的女儿需要昂贵的医疗服务一样,她的雇主 (Morgan Freeman) 宣布他将支付费用——如果她使用“你的一些旧技能”来收集和/或偷钱。如果她拒绝,他说她再也见不到女儿了。— 丹尼斯·哈维

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4 月 9 日那一周的新版本

仅在剧院

航海者(Neil Burger)

发行商:狮门影业

在哪里可以找到:在选定的影院中,

“航海者”的制作并不差,少数演员也有一些天赋,但它有一些死板、简明和有点单调的东西。演员中的每个人都穿着黑色 T 恤,这部电影建议雷德利·斯科特拍摄世界上最昂贵、最有远见的 Gap 广告。《航海者》是一部关于内心野兽的忠实惊悚片,但它并没有太多惊喜。即使角色放任自流,该剧仍主要处于锁定状态。“航海者”嗡嗡作响,但没有太多兴奋。有太多你经常看到的比喻,就像太空行走带着厄运的暗流穿过。— 欧文·格莱伯曼

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Netflix 独家提供

雷霆之力(本·法尔科内)

在哪里可以找到它: Netflix 的

“雷霆之力”想打破这一流派,但它基本上是一部 whiffleball 动作喜剧,中间点缀着梅丽莎·麦卡锡的噱头。电影团队麦卡锡和奥克塔维亚斯宾塞是疏远的高中伙伴,他们在重聚后重新聚在一起,并将自己变成了一支名为雷霆力量的超级英雄团队。莉迪亚(麦卡锡)拥有超强的力量;艾米丽(斯宾塞)可以隐形。“Thunder Force”是麦卡锡的第五部影片,她的丈夫 Ben Falcone 执导,对于他们之前合作过的消费者(“Tammy”、“The Boss”等)来说,这部电影也不足为奇。 ,被打到了一起。— 欧文·格莱伯曼

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点播和选择剧院

孤独的巨人(Gear Patterson)

发行商: Gravitas Ventures

在哪里可以找到它:在 DVD、蓝光和点播上

这是一部不太可能以 73 分钟的生活片段音调诗歌形式出现的戏剧,专注于内心世界十几岁的运动员。它设置在北卡罗来纳州一个无名小镇的树林飞地中,两个主要角色是高中棒球运动员鲍比和亚当,由杰克欧文和本欧文扮演,他们是兄弟,他们看起来很像需要几个场景才能确定您正在观看哪个场景。这部电影给你一种我在理查德·林克莱特的电影之外几乎没有遇到过的感觉——运动员,即使是统治高中社会的人,也会沉思、深情和迷失。— 欧文·格莱伯曼

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寻找一位长着尖牙和小胡子的女士(钦哲诺布)

经销商: Abramorama

在哪里可以找到:在虚拟电影院

一名加德满都男子被告知他被诅咒并将在一周内死去,他拼命寻找可能拯救他的难以捉摸的灵魂。这部由出生于不丹的作家兼导演诺布 (Norbu) 执导的最新电影虽然利用了藏传佛教的概念,但并未将传统宗教神话用作恐怖片的跳板。取而代之的是,他迷人且视觉上美丽的尼泊尔特色提供了一个有趣的、悠闲的、如果是神秘的个人启蒙之旅。与他先前的特征一样,宗教教义很少被阐明,而是在讨人喜欢、异想天开的吸引力的轶事过程中轻轻升华。再一次,他还使用了非专业演员,效果很好。— 丹尼斯·哈维

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Moffie (Oliver Hermanus) CRITIC'S PICK

发行商: IFC Films

在哪里可以找到它:在选定的剧院和点播中

遵循稳步增长的雄心壮志的三个优良特征,“Moffie”是赫曼努斯真正意义上的杰作:整合的电影将他之前作品的所有承诺和关注转化为一项令人惊叹的形式和叙事艺术壮举,使他成为南非最重要的当代电影制片人。一部尖锐、完美的电影,“莫菲”从一名英国血统士兵的震惊、窒息的角度审视了偏见,因为一个秘密、害怕的少年于 1981 年被征召入伍并被送往安哥拉边境参战。 — Guy Lodge

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Slalom (Charlène Favier)

发行商: Kino Lorber

在哪里可以找到:在选定的剧院和虚拟电影院

有那么一刻,Favier 的处子秀所创造的那种不安、沉沦的感觉突然变成了一种突然的、令人心碎的暴跌。当你意识到这当然是它要讲述的故事时,如果抱有其极度不平衡的中心关系可能以任何其他方式发展的希望,这几乎是愚蠢的。在那一瞥之后,“激流回旋”的惊喜要少于要确认的恐惧,这不是批评——尽管对节拍的熟悉程度令人沮丧,但这部电影仍然引人注目。这也是重点的一部分:我们知道这个故事是怎么回事;并不意味着它不需要被告知。— Jessica Kiang

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The Tunnel (Pål Øie)

发行商: Samuel Goldwyn Films

在哪里可以找到它:在选定的剧院和点播中

制作精良,虽然有点乏味,但 Pål Øie 的惊悚片就像一部水平的、更冷的、更黑的“Towering Inferno”减去全明星 -演员,虽然他们的肥皂剧完好无损。虽然节奏得体(Øie 的经常合作者 Sjur Aarthun 是这里的剪辑师和摄影师),但当几乎没有真正的动作时,这部电影也不可避免地陷入了最终的常规,只是寻找和等待。我们都非常清楚,一旦迟到的额外危险到来危及几乎获救的主角,它就会被嫁接以再次拉紧松弛的叙事张力。— 丹尼斯·哈维

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4 月 2 日那一周的新版本

在影院和 HBO Max 上可用

Godzilla vs. Kong(亚当·温加德)

Distributor:华纳兄弟影业

Where to Find It:在部分影院和 HBO Max

导演希望你留下深刻印象,但也关心这些不说话的角色(尤其是孔,这里明显的弱者)。与此同时,人类整体主要由阴谋骗子和伪科学黑客组成。睁大眼睛,关闭大脑,耳朵流血——这就是温加德希望他的观众的方式。无论是在公海上演一场闹剧,还是在香港市中心的唐尼布鲁克,温加德都拥有在电影中呈现标志性打斗场景的愿景,其中包括多个惊喜(包括另一个团结对手的经典对手),同时仁慈地打卡在不到两个小时。— 彼得·德布鲁格

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仅在剧院

The Unholy(Evan Spiliotopoulos) CRITIC'S PICK

Distributor: Screen Gems

Where to Find It:在选定的影院中,

“The Unholy”是一部紧凑的恐怖商业神学恐怖片。它的幽灵和恶魔在流行版本的基督教中展开,这使它听起来并不比上周的“驱魔人”山寨版或去年对“招魂”特许经营权的帮助更具异国情调。但是“邪恶的”有一个真正有效的宗教情节。它由一位名叫 Cricket Brown 的默默无闻的女演员主演,她扮演一个名叫爱丽丝的聋哑年轻女子,她认为自己是圣母玛利亚。爱丽丝吸收了玛丽的精神,突然可以听到和说话,她可以治愈病人,这吸引了很多人来到她位于马萨诸塞州班菲尔德的乡村小镇。 — 欧文·格莱伯曼 (Owen Gleiberman)

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点播和选择剧院

2021 Oscar-Nominated Short Films: Animation(各种)

Distributor:ShortsTV

Where to Find It:在选定的影院、点播和数字影院中

那些通常会参与奥斯卡奖提名的短片节目希望赢得奥斯卡奖的人将在今年的动画名单中度过特别艰难的时光,因为选择范围很广但缺乏明确的领跑者。一些人才与皮克斯有联系,尽管实际上只有一个短片是在工作室开发的,而其他四个则是更加个性化、独立的表达方式,几乎没有共同点,尤其是技术。与过去的版本相比,这是一个相对疲软的一年,尽管调查在影院上映和由 ShortsTV 点播的产品范围总是一种享受。— 彼得·德布鲁格

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2021 Oscar-Nominated Short Films: Live Action(各种)

Distributor:ShortsTV

Where to Find It:在选定的影院中,点播和数字

法律和秩序及其缺乏在去年的“警察拨款”抗议活动中不容忽视,同样的紧张局势也反映在奥斯卡提名的真人短片中排队。有些条目早于乔治·弗洛伊德 (George Floyd) 被杀,而另一个条目则是对去年夏天那场悲剧的直接反应;还有两个是在国外制作的,涉及超越国界的主题。这一类的决赛入围者推动政治议程并不罕见,然而,这种作物感觉不像是煽动性的,而是真诚的、激进的讲故事,非常值得一看。— 彼得·德布鲁格

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Every Breath You Take(Vaughn Stein)

Distributor:华纳兄弟影业

Where to Find It:在精选影院和优质 VOD 中

在“你的每一次呼吸”中,凯西·阿弗莱克扮演一名精神病医生——或者更重要的是,他扮演一名电影精神病医生,自英格丽·褒曼以来就一直存在的那种角色透过金属丝框眼镜凝视,在希区柯克的“Spellbound”(1945)中提供有关压抑的压抑pensées。他让我们相信菲利普·克拉克博士不是坏人,但他把自己的生活搞得一团糟,理应受到惩罚。这部电影带你走,它有一些紧张的时刻,但有太多巧合的在城里碰面。— 欧文·格莱伯曼

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Funny Face(Tim Sutton)

Distributor:Gravitas Ventures

Where to Find It:在亚马逊、iTunes 和数字平台上可用

作为两个年轻的局外人——一名穆斯林妇女摆脱长辈的压迫心理,以及一名精神错乱、戴着面具的财产重建受害者——相遇、坠入爱河,然后对资本主义机器的愤怒,“Funny Face”采用了直率的社会隐喻,强化了布莱希特式的寓言和霓虹灯点亮的噩梦:一锅炖的方法,有时很诱人,但经常受到强烈影响。剧本平庸、极简的对话对主角科斯莫·贾维斯(“麦克白夫人”)和吸引人的新人德拉·梅斯基尼亚尔之间闪烁的化学反应几乎没有起到任何作用。— 盖伊洛奇

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Roe v. Wade(Cathy Allyn、Nick Loeb)

Distributor:Vendian Entertainment

Where to Find It:在亚马逊、iTunes 和高级 VOD 上提供

针对政治上的 simpatico 观众和他们可以在过道另一边转换的任何人——同时也许可以从前政府的剧本中取出一页——Allyn 和 Loeb 出席他们自己的“另类事实”作为对著名法庭案件的明确描述,断言我们被告知的关于 Roe v. Wade 的事情是一个大谎言。他们的修正主义言论远非公正,有时相当于一场性别歧视的诽谤运动,其执行力大致相当于廉价组装的电视广告,因为它利用宗教内疚来羞辱合法的医疗程序。— 托里斯·拉弗利

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Shiva Baby(Emma Seligman)虚拟电影院中的

Distributor:乌托邦

Where to Find It:在

作家兼导演塞利格曼的搞笑、偷偷摸摸的处女作“湿婆宝贝”中,尖刻的丹妮尔有很多东西:东海岸大学主修性别研究;一位年轻的双性恋犹太女性;一个甜心宝贝测试她的性行为的交易能力。把这部晚年闹剧想象成一个有趣的“克里莎”或“妈妈!”中发生的室内启示录。——但是有了破碎的玻璃物体,一个震耳欲聋的尖叫婴儿,一个无情的怀疑妻子和窥探的亲戚,而不是鲜血和胆量——你就会对它的边缘性格有所了解。— 托里斯·拉弗利

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This Is Not a Burial, It’s a Resurrection(Lemohang Jeremiah Mosese)

Distributor:Dekanalog

Where to Find It:在虚拟电影院中

一首闹鬼的、不带感情的赞歌以及它对社区和祖先的物理遏制——所有这些都受到名义上进步的基础设施的威胁——莱索托出生的作家兼导演 Lemohang Jeremiah Mosese 的第三部引人入胜的故事在主题,因为它在演示中很冒险。在朴实的自然主义和悬而未决的梦幻氛围之间切换,就像其疲惫不堪的 80 岁主角(精湛的玛丽·特瓦拉·姆隆戈)掠过现实和精神领域一样流畅,这是一种根植于神话的、前卫的南部非洲故事很少打破国际节日巡回赛。— 盖伊洛奇

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Hulu 独有

WeWork: Or the Making and Breaking of a $47 Billion Unicorn(Jed Rothstein)

Where to Find It: Hulu

大规模炒作的完美风暴、魅力超凡的傀儡、听起来很有吸引力的想法和投入无底洞的大量资金构成了“WeWork”中一个明确的 21 世纪高金融警示故事。这部来自《中国骗局》导演罗斯坦 (Rothstein) 的纪录片描绘了一家办公空间共享公司令人兴奋但又致命的第一个十年,该公司大肆宣扬的“革命性”理想主义在虚伪、数字洗牌和大规模工作/投资的老派泥潭中崩溃损失,这是一个非常有趣的事后分析。— 丹尼斯·哈维

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Netflix 独家提供

Concrete Cowboy(Ricky Staub) CRITIC'S PICK

Where to Find It: Netflix

这是一部罕见的、重新定义对话的电影,它采用了一种非常特殊的亚文化,并将其转变为普遍和令人振奋的东西——尽管有许多现实世界,但只有这部电影不是纪录片将 Staub 非凡的父子戏剧带入生活的细节(其中包括几位真正的 Fletcher Street 牛仔的配角以及包括历史悠久的马厩在内的一系列北费城地区)。伊德里斯·艾尔巴 (Idris Elba) 作为科尔的头发花白但充满爱心的父亲哈普 (Harp) 的表演令人难忘,这部非凡的处女作旨在为处于危险中的年轻人提供未来。— 彼得·德布鲁格

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Madame Claude(Sylvie Verheyde)

Where to Find It: Netflix


3 月 26 日那一周的新版本

仅在剧院

Nobody(Ilya Naishuller)

Distributor:环球影业

Where to Find It:现已上映,随后于 4 月 16 日上映 PVOD

您可能会说《Nobody》遵循该类型的每一条规则。它有一个英雄(鲍勃·奥登科克),他从一个工作日的家庭男人开始,有一个好妻子(康妮尼尔森)和两个好孩子。然后他在自己的家中遭到罪犯的袭击。之后,他开始玩弄脏话,屈服于他的死亡愿望,并昂首阔步。“Nobody”是一个彻头彻尾的过度,有时甚至是疯狂的曲调进入生死复仇是我的流派。这是一部好电影吗?不完全是。但它的 90 分钟飞逝,它是奥登科克的精明交通工具,自从达斯汀霍夫曼在“稻草狗”中陷入熊陷阱以来,奥登科克是正义猛男大屠杀中最不可能的明星。— 欧文·格莱伯曼

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点播和选择剧院

The Good Traitor(克里斯蒂娜·罗森达尔)

Distributor:塞缪尔·戈德温电影

Where to Find It:按需提供

二战期间迷人的幕后政治被平庸的婚姻情节剧所破坏,导致一部马马虎虎的时代剧提出的问题多于答案。这部电影的中心是流氓外交官亨里克考夫曼(乌尔里希汤姆森)的生活,他于 1939 年被派往华盛顿特区担任丹麦大使。不幸的是,考夫曼的轮流和交易的细节不断被电影的注意力所削弱他相当不寻常的个人生活在这里以陈词滥调的陈词滥调呈现。个人故事和政治故事之间的交替很少让任何一个人产生动力。— 艾丽莎·西蒙

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Nina Wu(Midi Z)

Distributor:电影运动

Where to Find It:可在虚拟影院上映,随后是影院和 VOD 4 月 2 日

“吴妮娜”由其明星创作,灵感来自她作为年轻女演员的经历和哈维·韦恩斯坦丑闻——其中大部分发生在距离戛纳剧院不远的豪华酒店客房,这部引人入胜的、有毛病的、时尚的、麻烦的电影在那里首次亮相。作为第一个直接与#MeToo 相关的叙事在这种情况下播放,它是一个极具挑战性的叙事,也许注定在某些方面被误解,因为它抵制,甚至与将其核心违规行为简化为明显赋予权力的行为相矛盾,战胜逆境的弧线。— 杰西卡·江

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The Seventh Day(Justin P. Lange)

Distributor:垂直娱乐

Where to Find It:在选定的影院和 VOD 中

在“第七天”中,有一丝对驱魔电影类型的创新,即使它不是关于魔鬼。这是关于与他战斗的人物。盖·皮尔斯饰演彼得神父,一位传说中的驱魔人,他的启蒙发生在 1985 年 10 月 8 日,即教皇约翰·保罗二世抵达美国的那天那天,彼得神父协助了他的第一次驱魔——并见到了他的导师路易斯神父(基思·大卫),被一个飞行的十字架刺伤了脖子,此时彼得神父接管并看着他的男孩受害者起火并死亡。这与恶魔战斗中的情况一样糟糕。从那以后,彼得神父一直在弥补。— 欧文·格莱伯曼

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Six Minutes to Midnight(Andy Goddard)

Distributor:IFC 电影

Where to Find It:在部分影院和 VOD 中提供

灵感来自 Bexhill-on-Sea 的维多利亚奥古斯塔学院的真实历史,这是一所 1930 年代为纳粹精英的女儿开设的学校,“六分钟到午夜”想要是一部希区柯克式的惊悚片,但只是管理一个熟悉的模仿,里面充斥着股票角色,应该转移不那么挑剔的观众。笨重的情节围绕一名卧底英国特工展开,他伪装成一名新教师潜入学校。他的任务是发现德国是否计划遣返他们的少女时代的年轻花朵,以及所说的 Mädchen 是否可能成为英国外交棋局中的俘虏。— 艾丽莎·西蒙

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The Vault(安迪戈达德)

Distributor:萨班电影,派拉蒙

Where to Find It:可在影院上映、点播和数字

西班牙抢劫“The Vault”顽固地仍然是那些你知道你几乎在看完后就会忘记的电影之一。这个关于“不可能完成的任务”突袭戒备森严的马德里银行以取回宝藏的光鲜故事并没有什么错,只是这种类型的刺山柑需要紧张的布景、令人惊讶的曲折、独特的角色或有魅力的明星——理想情况下,所有的以上 - 以区分自己,而这一点在所有这些部门中都不尽如人意。无论如何,真正喜欢这种事情的观众可能会被故事的程序方面所吸引。— 丹尼斯·哈维

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在 HBO 和 HBO Max 上可用

Tina(丹·林赛,TJ 马丁)

Where to Find It:3 月 27 日在 HBO 上发布

我进入“蒂娜”感觉就像我骨子里知道这个故事,但这部电影一直让我睁开眼睛——新的见解,新的同理心,以及对蒂娜·特纳是一位多么杰出的艺术家。增强像这样的传记的一件事就是时间的流逝,如果你看过蒂娜·特纳的现场直播,或者看过她在 70 年代、80 年代或 90 年代的剪辑,你可能会认为她很棒(如果你没有,我会怀疑你),但她以一种未经计算的方式开辟了道路,以至于你几乎需要一部像“蒂娜”这样的电影来退后一步,并以透视的方式揭示她是多么巨大的影响。— 欧文·格莱伯曼

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Netflix 独家提供

Bad Trip(Kitao Sakurai)

Where to Find It: Netflix

在替代性羞辱中进行了一次值得蠕动的练习,将 rom-com 公式融合到一个糟糕的恶作剧节目中,“Bad Trip”将失恋的失败者克里斯(埃里克·安德烈)与樱井和丹合写了这部电影咖喱)一个安全词(“爆米花”)和粉红色维多利亚皇冠的钥匙,并让喜剧演员松散以恐吓从佛罗里达州到曼哈顿的北行州际公路沿线毫无戒心的旁观者,在那里他打算向他的中学暗恋表达他的爱玛丽亚(迈克尔·康林饰)。骑着霰弹枪的是 Lil Rey Howery 作为 Chris 最好的朋友 Bud,在他们的踪迹中,一个可怕的隐姓埋名的 Tiffany Haddish 遭遇风暴。— 艾米·尼科尔森

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A Week Away(克里斯·史密斯)

Where to Find It: Netflix

假设你是一个狂野、任性但最终还是有一颗金子般的心,可以选择惩戒处罚:在少年馆度过一段长时间的咒语,或者在基督教青年营里唱歌、游泳和温和的自我反省的一个夏天. 你选哪个?如果这看起来很简单,那么“A Week Away”的成就是让我们集体怀疑,经过 90 分钟积极健康的 hijinks 之后,juvie 到底是否会如此糟糕。这个无害但没有角色的调音器无耻地复制并交叉了“高中音乐剧”和“坎普摇滚”的公式,直到最后的续集细节。— 盖伊洛奇

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Pagglait(Umesh Bist)

Where to Find It: Netflix


Seaspiracy(阿里·塔布里兹)

Where to Find It: Netflix


Secret Magic Control Agency(阿列克谢·齐齐林)

Where to Find It: Netflix


颤栗专用

Violation(Madeleine Sims-Fewer, Dusty Mancinelli) CRITIC'S PICK

Where to Find It: Shidder

一部带有 Lars von Trier 存在主义情绪的室内乐曲,以及一部带有越来越强烈的恐怖感的反讽复仇惊悚片,《Violation》的肢解和令人血脉贲张的恐惧”——从紧张的家庭恩怨到可怕的性侵犯案例和导致残酷报复的煤气灯——都不容易动摇或描述。这部电影令人深感不安的复仇序列的可怕细节最好不要被破坏。“违反”的挑衅性不是这些触发因素的存在,而是它处理它们的方式,因为知道现实生活中的性危险很可能出现在一个人亲密、信任的圈子里,就像他们在陌生人的陪伴下一样。— 托里斯·拉弗利