A vampire movie with a familiar bite.
“Abigail”
A group of clumsy criminals kidnap a girl and hold her for ransom, but it turns out the titular 12-year-old ballerina is more than just a tulle.
From our review:
A bright and obvious splatter, the new horror film “Abigail” follows a simple and proven recipe that requires a minimum of ingredients. Total time: 109 minutes. It features a mysterious child, a mild-mannered fixer, and six logically difficult criminals. Place them in an oversized pot with a few mice, creaky floorboards, and a spooky shadow. mix. Continue to simmer and stir until the stew is near boiling. After an hour, increase the heat until some of the meat has separated from the bones and is deep red throughout. enjoy!
At the theater. Read the full review.
A “bastard” who cannot be called glorious.
“An ungentlemanly Ministry of War”
The film is based on the true story of a (until recently) unknown World War II operation in which unscrupulous men are tasked with sinking a supply ship and cutting off Germany’s resources. will appear.
From our review:
Guy Ritchie’s latest film, The Ungentlemanly Ministry of War, is the perfect airplane movie. That’s not a compliment, but it’s not exactly a diss either. There are some movies you shouldn’t watch on a plane, like slow, artistic dramas or movies that require concentration and good sound (don’t watch “The Zone of Interest” on your next flight). But something has to be seen. That’s why we have movies like this.
At the theater. Read the full review.
It’s like Dorothy Gale was your Uber driver.
‘people who do not know’
The thriller, originally released as 13 short episodes on the streaming service Quibi, follows indie film scream queen Maika Monroe as a ride-hailing driver who moves from Kansas to Los Angeles and confronts a murderous passenger. I’m playing the role I have to play. .
From our review:
The recut (available on Hulu) leaves little trace of the early days, but the longevity of the entire algorithm-driven streaming company highlights the villain’s obsession with technology. -He declares that the world will be seen in a new, meta perspective, where “those who find the formula to determine the losers and winners of life will rule.”
Watch on Hulu. Read the full review.
It’s a strange period piece, but it’s set in the summer of 2020.
“Stress position”
After New York goes into lockdown, Terry (John Early) clashes with the other tenants of the brownstone she shares with her soon-to-be ex-husband.
From our review:
The filmmaking is expressive and purposeful, even if some points seem muddy. Stress Position, which recently closed the New Director/New Film Festival, captures the often hallucinatory havoc wrought by that “long ago” moment, with its shimmers, shadows, and dynamics. There is.
At the theater. Read the full review.
A prince and a poor man fall in love.
‘egoist’
Ryuta (Hio Miyazawa), a personal trainer, has a sick mother, a big secret, and no cash. Will a romance with a wealthy magazine editor solve his problems, or will their differences doom their relationship from the start?
From our review:
Class is a central theme in “The Egoist.” Kosuke and Ryuta’s star-studded romance shows us how money and the struggle to make ends meet can complicate even the most genuine love. But as the film leans into melodrama, both friction and enthusiasm are lost, and the steamy premise turns cold to the touch.
At the theater. Read the full review.
There is always one more “last job.”
“Blood for Dust”
Seventeen months after a heist plot goes awry, two former criminal buddies reunite for a drug-smuggling operation.
From our review:
Director Rod Blackhurst’s Blood for Dust is a throwback in the sense that it’s very familiar. An early shot of a snow-covered parking lot inevitably brings to mind Fargo, but there’s no witty dialogue or humor in Blood for Dust. The climactic gunfight is so dimly lit that it’s hard to discern who’s firing at whom. It’s easy to guess.
Available to rent or purchase in theaters on most major platforms. Read the full review.
The private world of friendship between childhood friends has collapsed.
“We’ve grown up now.”
Two young boys from Chicago’s Cabrini-Green public housing complex pursue their fantasies (including a field trip to the Art Institute of Chicago) in the face of harsh realities.
From our review:
You instantly fall in love with Malik and Eric. Together they form a private world, like a museum, that exists apart from real life, its pressures and dangers. Sound design is especially effective in conveying the little bubbles that children create themselves. In Cabrini, there’s a constant murmur of outside voices and music, but you can’t hear a single thing.
At the theater. Read the full review.
Zack Snyder offers a chaotic stew of references.
“Level Moon — Part 2: Scargiver”
The second half of Zack Snyder’s space opera follows a group of interplanetary warriors trying to defeat the Imperial Army.
From our review:
The screenplay by Snyder, Kurt Johnstad, and Shay Hatten oversteps the characters’ aspirations every time they speak. There’s no real dialogue, just exposition dumps and monologues. At the end, after an hour of speeches, we are subjected to his hour-long frenzied battle. Primal, ruthless, painful carnage is where Snyder excels. He will kill anyone, even a good person, from his grandmother to a guerrilla fighter who just wants to go back to folk dancing.
Watch on Netflix. Read the full review.
