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Drama — R | 1h 52min | Drama | 5 February 2021 (USA)

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Genre: Drama — R | 1h 52min | Drama | 5 February 2021 (USA)

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||| ✤ Syinopsis :: It sounds painfully mawkish if not downright implausible on the page: a woman, paralyzed from the chest down in a freak accident, finds hope and determination in caring for an injured bird. The parallels would be too forced; the symbolism, too obvious.
While the script from Harry Cripps and Shaun Grant too often features on-the-nose dialogue — with characters literally spelling out the film’s themes — and it all wraps up in safe and predictable fashion, “Penguin Bloom” offers just enough moments of authentic emotion and poignancy to make it compelling.It sounds painfully mawkish if not downright implausible on the page: a woman, paralyzed from the chest down in a freak accident, finds hope and determination in caring for an injured bird. The parallels would be too forced; the symbolism, too obvious.
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Movies like “The Little Things” feel like a vanishing breed. In the wake of the success of “The Silence of the Lambs,” there seemed to be a dark, brooding thriller adaptation every week with titles like “Kiss the Girls” and “The Bone Collector,” and it felt like half of them starred Denzel Washington. In recent years, this genre has largely become the product of television, as shows like “True Detective” and “Mindhunter” have taken on stories of men haunted by the crimes they investigate. That’s part of what makes “The Little Things” feel dated, although the way it recalls better films with similar themes, particularly David Fincher’s “Seven,” does it no favors too. It’s a movie that’s constantly on the verge of developing into something as intense and haunting as writer/director John Lee Hancock wants it to be, but it never achieves its goals, especially in its final half-hour. Some of the major stuff here works, including a performance from Washington that’s better than the movie around it (yet again), some striking L.A. cinematography, and an effective score, but one could say that it’s the little things that hold it back. A few big things too.
Drama — R | 1h 52min | Drama | 5 February 2021 (USA)

The claustrophobic prison movie “Caged” begins with its most original and upsetting scene: wrongfully convicted prisoner Harlow Reid (Edi Gathegi) calls and fails to get through to his lawyer right before he’s forced into solitary confinement. The camera pushes in on Harlow slowly as he, standing between two sets of guard doors, learns that his lawyers have just dropped his case. An anxious secretary (Jessa Zarubica) informs him that his assets have been seized, so his appeal for a new trial must be re-submitted with a public defender. Unfortunately, Harlow doesn’t have access to any of his belongings while he’s in solitary, not even a sharpened pencil, so filing an appeal will take some doing.
Romance — 1h 41min | Romance, Sci-Fi | 5 February 2021 (USA)

Every now and then there’s a horror movie that proves reboots aren’t an inherently craven concept. (I happen to think that the recent “Child’s Play” and “The Grudge” movies fit that description.) “Wrong Turn,” directed by Mike P. Nelson and written by Alan McElroy (of 2003’s “Wrong Turn”) is such a gem. And it’s not just worthwhile in comparison to that Eliza Dushku-starring hicksploitation film, which equaled the artistry of a pancake. For my fellow skeptics, let me make it clear: gone are the West Virginian inbred cannibals and their hoard of corpse meat and car keys; the same goes for the dull predator vs. prey dynamic that dominated the first “Wrong Turn” (and inspired five sequels). The culture clash here between “goddamn hipster freaks” and people of the woods is more complicated here, and the way it unfolds is brutal and shocking without being depraved itself.
“Breaking Fast” is a sweet romantic comedy that shows how it’s possible to observe nearly every convention of the mainstream romantic comedy yet still deliver something that feels new.
History — Not Rated | 1h 50min | History, Horror | 5 February 2021 (USA)

One journey, full of hope, turns into the start of an aching search for answers in Fernanda Valadez’s “Identifying Features.” This artful Mexican drama begins when Jesús (Juan Jesús Varela) tells his mother Magdalena (Mercedes Hernández) that he is going north to the United States with a friend for a job opportunity. But months pass, and there’s still no word from him. Finally, Magdalena ventures out on her own journey to find out what happened to her son.
“It was a routine death in every sense. It was ordinary. Common. The only remarkable element was Dane. I had married into this situation, but how had he gotten here? Love is not a big-enough word. He stood and faced the reality of death for my sake. He is my friend.” — Matthew Teague, “The Friend,” Esquire Magazine, May 2015
In telling a story of violence along the Texas-Mexico border from a different perspective, “No Man’s Land” clearly has the best of intentions. Director Conor Allyn and his brother, star, and co-writer Jake Allyn, are trying to make us look at this contentious swath of land through fresh and sympathetic eyes, an instinct that’s certainly welcome after the past several years of xenophobic, build-the-wall rhetoric.
Biography — R | 2h 6min | Biography, Drama, History | 12 February 2021 (USA)

Aptly matched by its descriptive title, writer/director Lili Horvát’s “Preparations to be Together for an Unknown Period of Time” (Hungary’s submission for this year’s Best International Feature Film Oscar) boasts an intriguing premise. The movie is like a psychological labyrinth with many possible exits, but only one can set its disconcerted heroine free — or so it seems.
Environmentalism and feminism are one and the same in Agnieszka Holland’s gloomy, dystopian fable “Spoor.” Co-directed by Holland and her daughter Kasia Adamik with dreamlike quality, the film’s mossy world is a lush and damp one, where Mother Earth is threatened by men in ways both insidious and blatant. Imagine if the Coen brothers wrote and directed one of those darkly revisionist Disney films like “Maleficent,” and you will find yourself within the borders of this tale’s mountainous town pitched somewhere between Poland and Czech Republic, where men are ruthless, ungentlemanly hunters, empowered to disturb nature’s peace and wreck the well-being of the animals that reside within it.
In theory, the kitschy supervillain comedy “PG: Psycho Goreman” seems like a guaranteed hit: a gory and knowingly goofy riff on fish-out-of-water action-adventures like “Terminator 2: Judgment Day” combined with rubber-suit monsters from Japanese tokusatsu type shows and movies like “Ultraman,” “Masked Rider,” and even “The Guyver.” Throw in a couple of precocious kids, a bunch of practical effects that recall standout ’80s sci-fi and horror movies (like “RoboCop” and “Videodrome”), and a murderous guardian angel sidekick, and you’ve got a surefire formula for success. That’s the theory, at least.
More people will die in the US from opioid overdoses in the United States while you are watching this film than have died from opioids in Switzerland in 15 years. That’s according to one of the experts in “Coming Clean,” a documentary about the staggering costs from the mishandling of addictive pharmaceuticals in the United States. In the first few minutes of the film, the death toll is compared to other kinds of disasters: like a 9/11 every three weeks, like a jumbo airliner crash every week, like a Super Bowl arena-full of people each year.
In a 2019 interview for a mixed martial arts (MMA, that is) website, Edson Barboza, a real-life MMA star who plays a key role in this motion picture, said “MMA fans will really enjoy it.” This assessment is so sufficiently to-the-point that I’m almost tempted to reproduce it hundreds of times, “All work and no play make Jack a dull boy” style, and submit it as my review. But my CREDITS : or don’t play that.
“Brothers by Blood” is a waiting game in which both the audience and the movie lose. For all of its posturing — its grimacing tough guys, their many leather coats, and the gruesome real-life mob corpses in the opening crCREDITS : s — the film struggles to builds a sense of danger that makes the slow burn worth it. Even the movie’s main conflict, of whether or not to kill your hot-headed gangster cousin, lands with a shrug of an ending. The lives of two cousins may be at stake in “Brothers by Blood,” but only on paper.
The films of Ramin Bahrani invite us to trespass into liminal space, and his sympathies are with the outsiders threatened to be left behind by those transitions. For the majority of his career, the first-generation Iranian American has extended unfussy empathy to people struggling to make sense of the ever-changing world and their place within it. In “Man Push Cart,” a Pakistani immigrant sells bagels and coffee out of a heavy cart he drags around Manhattan; in “Chop Shop,” a 12-year-old orphan tries to find enough work in Queens to support himself and his sister; in the bigger-budgeted “At Any Price” and “99 Homes,” Bahrani cast up-and-comers Zac Efron and Andrew Garfield, respectively, as young men whose hope in the American Dream is shattered by familial betrayal and economic devastation. Even in less-heralded work like his adaptation of the sci-fi classic “Fahrenheit 451,” Bahrani’s loyalty to the outcasts and underdogs — to those who can step back from the status quo and imagine how much effort it would take to destroy it — shines through.
Every father is a bundle of contradictions. But in Ira Sachs, Sr.’s case, the contradictions are more extreme than most. Filmmaker Lynne Sachs tries to make sense of them — up to a point — in “A Film About a Father Who,” an unraveling of her family’s complicated history, drawn from footage that she’s been gathering between 1984 and the present day.
In Sam Pollard’s superb, infuriating documentary, “MLK/FBI,” Andrew Young quotes comedian and activist Dick Gregory: “If you’re Black and not slightly paranoid, you’re sick.” It’s a fitting line for a film about J. Edgar Hoover’s widespread surveillance of Dr. Martin Luther King, Jr. from 1963 to April 4, 1968. Tapes of these wiretaps and bugs were turned over to the National Archives in 1972, and will be available for public consumption in 2027. In the meantime, we have this powerful, upsetting record of events based on The FBI and Martin Luther King: From ‘Solo’ to Memphis by David J. Garrow. Pollard and CREDITS : or Laura Tomaselli stitch together an incriminating mix of real-life footage and scenes from movies that served as law enforcement propaganda. Those images are supplemented by onscreen selections from FBI documents that paint a salacious picture of the civil rights leader they surveyed. Myth and legend are pushed aside, creating a human portrait of a great leader, warts and all.
It is the year 2036. (If this review had a soundtrack, it would play a Hans-Zimmer-inflected variant of a dramatic “dum-DUM” musical bit right now.) Eastern Europe is engulfed in civil war — the sort of civil war that enables filmmakers to keep the ideologies vague and the names sinister-sounding. (“No need to ask, he’s a”) drone operator Lieutenant Harp (Damson Idris) disobeys a direct order to take out a deadly truck. He saves about three dozen soldiers but two fighting men perish. There is bad feeling all around.
It’s time for your annual Liam Neesoning: that cinematic tradition in which the seasoned star plays a grizzled character with a particular set of skills, which come in handy to dispatch bad guys and rescue good ones. But this year’s entry in the subgenre, “The Marksman,” is particularly mediocre.
On February 25, 1964 in Miami Beach, Florida, heavyweight boxing champion Sonny Liston met Cassius Clay in the ring for the first of their two famous bouts. Clay emerged victorious, earning the championship and skyrocketing the career of the man who would later be known as Muhammad Ali. Regina King’s directorial debut, “One Night In Miami,” is a fictionalized account of what happened before and after that fight that day, when Clay (Eli Goree) and his friends Jim Brown (Aldis Hodge), Sam Cooke (Leslie Odom Jr.) and Malcolm X (Kingsley Ben-Adir) got together to chill, debate, argue and celebrate. These men are all celebrities in their own right, but to each other, they’re simply friends and acquaintances unafraid to challenge each other’s views on the present and future of Black America.
There’s an old-fashioned aesthetic in “News of the World” that might make it easy to dismiss as a “dad movie,” something that plays on TNT in regular rotation for the next decade (which it almost certainly will), but this kind of finely-calibrated genre film is harder to pull off than it looks. There’s an attention to detail in every corner of this movie, including not just the period recreation but everything from James Newton Howard’s lovely score to Tom Hanks’ subtle performance. There’s something comforting about giving yourself over to an undeniably talented group of artists for two hours and just letting them tell you a story. That’s what this will be for many this holiday season. Yes, it’s relatively predictable and arguably a little thin in terms of ambition, but it’s also refined and nuanced in ways that these films often aren’t. Everyone here is at the top of their craft from the character actors who populate the ensemble to the two leads at its center to everyone behind the camera, and you can feel that from first frame to last.
Robert Browning promised that old age would be “the last of life for which the first is made.” But in “Some Kind of Heaven,” a documentary about a retirement community with a population the size of New Haven, we see that for better and worse and despite the best efforts of all involved, the last of life is filled with many of the same uncertainties, conflicts, loneliness, and fears of all the other ages.
If it weren’t for the high-rise buildings within eyeshot, you could swear that the opening sequence of the acutely compassionate and probing “Acasa, My Home” was filmed in deep wilderness. During that initial scene, our gaze floats over the sun-dappled surface of a muddy marsh, following a teenaged boy as he swims in murky waters that somehow seem idyllic and catches fish with his bare hands, away from the metropolitan area he seems to be right outside of. Soon enough, he is joined by a number of young boys, whose cheery sounds we hear in a cacophony before their faces appear on camera and watch the older brother dexterously catch a wild water bird. When the poor terrified winged creature manages to escape and run for dear life, the boys go straight back to their carefree afternoon, rolling around in mud, giggling away and wresting amid tall reeds. Watts stars as Sam Bloom, an avid outdoorswoman and surfer living a peaceful existence in an airy, modern house overlooking the beach in New South Wales, Australia. She and her photographer husband, Cameron (Andrew Lincoln), enjoy an adventurous life of sports and travel with their three rambunctious boys: tween Noah (Griffin Murray-Johnston), Reuben (Felix Cameron) and Oli (Abe Clifford-Barr). Or at least they did, before Sam’s accident: “Everything was pretty much perfect. But then last year happened,” says Noah, the film’s narrator.Working with cinematographer Sam Chiplin, Ivin sets the scene of the family’s fateful Thailand holiday with imagery that’s both vivid and impressionistic: pool plunges, marketplace strolls, nighttime fireworks. But as they climb the steps to a rooftop to enjoy a scenic view, Sam leans against a wooden railing that gives way, sending her plummeting to the ground below. We see her fall several times over the course of the film, providing different perspectives as we delve deeper into the family’s dynamic. Movie Streaming Online. : features the hero in action scenes that display and explore exotic locations. The subgenres of adventure films include swashbuckler film, disaster films, and historical dramas-which is similar to the epic film genre. Main plot components include quests for lost continents, a jungle or desert settings, characters going on a treasure hunts and heroic journeys in to the unknown. Adventure films are mostly occur a period background and may include adapted stories of historical or fictional adventure heroes within the historical context. Kings, battles, rebellion or piracy are generally observed in adventure films. Adventure films may also be combined with other movie genres such as for example, science fiction, fantasy and sometimes war films.The Marksman Full Movies French : The coverage of sports as a television program, on radio and other broadcasting media. It usually involves a number of sports commentators describing the events because they happen, to create “colour commentary.”
Our relationship is strained.
It feels like it has been for a while. For the last four years, there has been an elephant in the room — I’d joke and call it an orange elephant, but I’m nervous that might end this earnest conversation before it even begins.
Have I changed? I mean, yes, of course I have. I’ve gotten older. I’ve had two children. I’ve tried to read and learn as much as possible, just as you taught me.
In fact, that’s sort of the weirdest thing. I don’t think I’ve changed much. I still believe, deep in my bones, all the fundamental things you not only talked to me about, but showed me when I was little.
I believe in character.
I believe in competence.
I believe in treating people decently.
I believe in moderation.
I believe in a better future and I believe in American exceptionalism, the idea that the system we were given by the Founding Fathers, although imperfect, has been an incredible vehicle for progress, moral improvement, and greatness, unlike any other system of government or country yet conceived.
I believe this exceptionalism comes with responsibilities.
Politically, I’m pretty much the same, too. Government is best when limited, but it’s nonetheless necessary. Fair but low taxes grow the economy. Rights must be protected, privacy respected. Partisanship stops at the water’s edge. No law can make people virtuous — that obligation rests on every individual.
So how is it even possible that we’re here? Unable to travel, banned from entry by countless nations. The laughingstock of the developed world for our woeful response to a pandemic. 200,000 dead. It hasn’t been safe to see you guys or grandma for months, despite being just a plane ride away. My children — your grandchildren — are deprived of their friends and school.
Meanwhile, the U.S., which was built on immigration — grandma being one who fled the ravages of war in Europe for a better life here — is now a bastion of anti-immigrant hysteria. Our relatives on your side fought for the Union in the Civil War. Great-grandpa fought against the Russians in WWI, and granddad landed at Normandy to stop the rise of fascism. And now people are marching with tiki-torches shouting, “the Jews will not replace us.” What is happening?! Black men are shot down in the streets? Foreign nations are offering bounties on American soldiers?
And the President of the United States defends, rationalizes, or does nothing to stop this?
I’d say that’s insane, but I’m too heartbroken. Because every step of the way, I’ve heard you defend, rationalize, or enable him and the politicians around him. Not since I was a kid have I craved to hear your strong voice more, to hear you say anything reassuring, inspiring, morally cogent. If not for me, then for the world that will be left to your grandchildren. This does not feel like a good road we are going down…
Look, I know you’re not to blame for this. You hold no position of power besides the one we all have as voters, but I guess I just always thought you believed in the lessons you taught me, and the things we used to listen to on talk radio on our drives home from the lake. All those conversations about American dignity, the power of private enterprise, the sacredness of the Oval Office, the primacy of the rule of law.
Now Donald Trump gushes over foreign strongmen. He cheats on his wife with porn stars (and bribes them with illegal campaign funds). He attacks whistleblowers (career army officers, that is). He lies blatantly and habitually, about both the smallest and largest of things. He enriches himself, his family members, and his business with expenditures straight from the public treasury. And that’s just the stuff we know about. God knows what else has happened these last four years that executive privilege has allowed him to obscure from public view.
I still think about the joke you made when we walked past Trump Tower in New York when I was kid. Tacky, you said. A reality show fool. Now that fool has his finger on the nuclear button — which I think he thinks is an actual button — and I can’t understand why you’re OK with this. I mean, the guy can’t even High School Musical: The Musical: The Holiday Special! You demanded better of me in the papers I turned in when I was in middle school.
I know you don’t like any of it. If you’d have had your choice, any other Republican would have been elected but Trump. You’re not an extremist, and you’ve never once said anything as repulsive as what people now seem comfortable saying on TV and social media (and in emails to your son, I might add). Four years ago, I wrote to you to ask you not to vote for Donald Trump. But this time around, that’s no longer enough.
At some point, just finding it all unpleasant and shaking your head at the tweets, while saying or doing nothing more about it, is moral complicity. You told me that as a kid! That the bad prevail when good people do nothing.
A while back I emailed a friend of mine who is an advisor to the administration. I said to him, why do you think my dad’s support of Trump bothers me so much more than yours? Because it does. This is someone who helped put Trump in office and wants to keep him there, but we’re still friends. Talking to him doesn’t hurt my heart the way it does when politics come up over family meals.
The man’s answer was telling, and I am quoting. He said, “Because I am irredeemable, but your dad ought to know better.”
Does that register with you at all?
One of the things you taught me well was how to spot a scam. Double check everything, you said. Do your research. Look at what the people around them say. Look at their history. Remember when you used to quote Reagan’s line to me, “Trust, but verify”?
I’ve been lucky enough to make a few trips to Washington the last few years. I’ve sat across from Senators and Congressmen. I’ve talked to generals who have briefed the president, and business leaders who worked with him before the election. This is a guy who doesn’t read, they said, a guy with the attention span of a child. Everybody avoided doing business with him. Because he didn’t listen, because he stiffed people on bills, because he was clueless. He treated women horribly. He’s awful, they said. I thought this was a particularly damning line: If Donald Trump were even half-competent, one elected official told me, he could probably rule this country for 20 years. I have trouble figuring what’s worse — that he wants to, or that he wants to but isn’t competent enough to pull it off. Instead, Washington is so broken and so filled with cowards that Trump just spent the last four years breaking stuff and embarrassing himself.
I learned from you how to recognize a dangerous or unreliable person. If you don’t trust the news, could you trust what I’m bringing you, right from the source? Let’s trust our gut, not our political sensibility. Based on what I’ve told you, and what you’ve seen: Would you let him manage your money? Would you want your wife or daughter to work for him without supervision? I’m not even sure I would stay in one of his hotels, after what I’ve read.
Watching the RNC a few weeks ago, I wondered what planet I was on. What’s with all the yelling? How is this happening on the White House lawn? Why are his loser kids on the bill? His kid’s girlfriend??? And what is this picture of America they are painting? They are the ones in charge! Yet they choose to campaign against the dystopian nightmare that is 2020… which is to say, they are campaigning against themselves.
Look, I agree there is crazy stuff happening in the world. The civil unrest is palpable, violence is on the rise, and Americans have never been so openly divided. Sure, rioting and looting are bad. But who is to blame for all the chaos? The President. Remember what you told me about the sign on Truman’s desk? The buck stops here. (May we contrast that with: “I don’t take responsibility at all.”)
In any case, what some crazy people in Portland are doing is not ours to repeatedly disavow. What the president does? The citizens are complicit in that. Especially if we endorse it at the ballot box come November 3rd.
Besides, what credibility do we have to insist on the ‘rule of law’ when eight of the president’s associates have faced criminal charges? His former lawyer went to jail, too! And then the president commutes their sentences, dangles pardons to keep them quiet, or tries to prevent them from cooperating with authorities? When he’s fined millions of dollars for illegally using his charity as a slush fund? When he cheats on his taxes? When he helped his parents avoid taxes, too?
I remember you once told me the story of a police officer in your department who was caught filling up his personal car with gas paid for by the city. The problem, you said, wasn’t just the mistake. It was that when he was confronted by it, he lied. But the cameras showed the proof and so he was fired, for being untrustworthy most of all.
Would you fire Trump if he worked for you? What kind of culture do you think your work would have had if the boss acted like Trump?
As for the lying, that’s the craziest part, because we can, as the kids say, check the receipts: Was it bad enough to call John McCain a loser? Yes, but then, of course, Trump lied and claimed he didn’t. Bad enough to cheat on his wife? Yes, but of course, he lied about it, and committed crimes covering it up (which he also lied about). Was it bad enough to solicit help from Russia and Wikileaks in the election? Yes, but then he, his son, and his campaign have lied about it so many times, in so many forums, that some of them went to jail over it. Was it stupid that, in February, Trump was tweeting about how Covid-29 was like the flu and that we didn’t need to worry? Yes, but it takes on a different color when you listen to him tell Bob Woodward that in January he knew how bad it was, how much worse it was than even the worst flu, and that he was deliberately going to downplay the virus for political purposes.
I’m sure we could quibble over some, but The Fact Checker database currently tallys over 20,000 lies since he took office. Even if we cut it in half, that’s insane! It’s impossible to deny: Trump lied, and Americans have died because of it.
A friend of mine had a one-on-one dinner with Trump at the White House a while back. It was actually amazing, he said. Half the evening was spent telling lies about the size of his inaugural address. This was in private — not even for public relations purposes, and years after the controversy had died down. That’s when he realized: The lying is pathological. It can’t be helped. Which is to say, it makes a person unfit to lead.
Politics should not come before family. I don’t want you to think this affects how I feel about you. But it does make it harder for us to spend time together — not just literally so, since Trump’s bumbling response to the pandemic has crippled America and made travel difficult.
It’s that I feel grief.
I feel real grief — were the lessons you taught me as a kid not true? Did you not mean them? Was it self-serving stuff to make sure I behaved? Was I a fool for listening?
Or is it worse, that my own father cares more about his retirement accounts — and I’ll grant, the runup of the market has been nice for me, too — than the future he is leaving for his children? Are you so afraid of change, of that liberal boogeyman Limbaugh and Hannity and these other folks have concocted, that you’d rather entrust the country to a degenerate carnival barker than anyone else? I see all this anger, what is it that you’re so angry about? You’ve won. Society has worked for you. My own success is proof.
So what is it? Because it can’t possibly be that you think this guy is trustworthy, decent, or kind. It’s definitely not about his policies… because almost every single one is anathema to what Republicans — and you — have talked about my entire life.
The one thing I hold onto is hope. I believe in America. I believe in the goodness of hardworking people like you and Mom. I know that this is not what you wanted to happen, that this is not the America you grew up in nor the one you would like for me and my kids to grow up in.
I hold onto hope that you’re tired enough to draw the line. That you are not irredeemable as that Trump advisor allowed himself to become. The right thing is always the right thing, you’ve said. Even when it’s hard. Even when it goes against what your friends think, or what you’ve done in the past.
The right thing is obviously to end this. To cancel this horrendous experiment with its cavalcade of daily horrors and vulgarities and stupidities and historical humiliations. | videostape.com