Emerging opportunistically around the anniversary of the terrorist attacks of 9/11, this is a fairly-straight ahead action flick that can only hope to attain the technocratic wizardry of Tom Clancy and frenetic energy of Robert Ludlum.
What happens if your online stalker happens to be just a sweet, lovable mess? At the heart of “Ingrid Goes West” is Aubrey Plaza’s titular Ingrid, a sympathetic introvert with a need for attention and an impulsive streak that often goes off the skids.
It’s “Rain Man” meets “Eddie Coyle” in this up-in-your-chest New York City heist flick where there’s no good time to be had by anyone on screen, except maybe in the exaltation of having scored the money – and that lasts a few fleeting seconds as the cops close in.
Parents fearful of the violence that broke out at a Charlottesville, Va., white supremacy march struggled with whether to bring their children to a protest Saturday on Boston Common. One family came up with the perfect way to help the cause while avoiding danger.
It’s only been four years, but feels much longer, since director Steven Soderbergh last treated filmgoing audiences to one of his quirky, deconstructive gems. His latest taps into the skin of some of fare such as “Ocean’s Eleven” while farming fresh territory.
What drives “Wind River” isn’t so much the present action but the heavy backstories carried by characters acted by Elizabeth Olsen and Jeremy Renner, which burn with real, raw emotional palpability.
The focus isn’t so much a chronology of a 1967 five-day riot, but a motel siege where three young black men would be dead in the wake of nightmarish kangaroo-court interrogation tactics – and the trial that followed with all-too-predictable results.
Hyperstylized spy thriller “Atomic Blonde” is violent as hell and makes no apologies, punching its way through end-of-the-Cold War Berlin in a battle for a crucial “list” of British intel assets – but the only asset here that really matters is Charlize Theron’s MI6 operative.
Beyond some sharp narrative maneuvering, “War” has plenty more going for it than other summer noise out there, including a star turn by Steve Zahn as the mangy and withered Bad Ape that is worthy of an Oscars bid.
Given Sophia Coppola’s penchant for strong female characters and repressed sexuality, it somewhat makes sense that she set her sights on remaking the 1971 Civil War gothic “The Beguiled” starring Clint Eastwood and Geraldine Page. But her remake subtracts, not adds.