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.
Triumph is simply survival in Christopher Nolan’s latest, blistering film, “Dunkirk,” which follows characters in three World War II narratives in a script that intersects when you least expect it – a mighty example of storytelling and the power of atmosphere.
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.
There’s a lot of baggage that comes along with the release of director Jon Watts’ “Spider-Man: Homecoming,” the third iteration of the character onscreen in 15 years. Despite it all, this the film is an absolute delight.
Protecting small businesses in Harvard Square and elsewhere, biking and transportation improvements, and looking out for Cambridge’s trees – they’ve been priorities Jan Devereux plans to keep if reelected to the City Council in November.
Animal Control officers will be out today looking for an orphaned fawn at Jerry’s Pond – and it’s crucial they’re the only ones out looking. Too much stress from feeling hunted, even by people just wanting to help, could kill the baby deer rather than helping it.
Edgar Wright supplies an adrenaline shot that never lets down. You won’t get a chance to go to the bathroom seeing “Baby Driver” – but also, because of the breakneck pace, the audience never gets a chance to get caught up emotionally.
The beleaguered “Justice League” franchise, barely off the ground with the turgid “Batman v Superman: Dawn of Justice” beatdown last summer, gets a much-needed shot in the arm from the feminine side side of the tracks.
In Ridley Scott’s followup to the divisive 2012 “Prometheus,” a prequel to the much-lauded “Alien,” he attempts merging the two films’ polarizing sensibilities with awkward results, making for an experience that’s restlessly soulless, predictable and frustratingly dumb.