Rock in the Red Zone


The beauty of music is that it endures no matter the circumstances.

(2014) Documentary (The Orchard) Avi Vaknin, Laura Bialis, Robby Elmaliah, Kubi Oz, Micha Biton, Haim Uliel, Yoav Kutner, Noah Badein, Itai Avitan, Hagit Yaso, Lidor, Yossi Klein Haleui, Vishayahu Maso, Dr. Adrianna Katz. Directed by Laura Bialis

 

It is sometimes in these chaotic times a sad fact that the American left often wags its collective fingers at Israel for their treatment of Palestinians on the West Bank and the Gaza Strip. There are plenty of really good documentaries that cover this subject. There aren’t many however that look closely at everyday Israelis coping with the bombs that are sent over on makeshift rockets called Qassams. Rock in the Red Zone has the distinction of being one of the very few.

Bialis became fascinated with Sderot, a small town of 20,000 on the western edge of the Negev desert that is subject to daily rocket attacks by Hamas and Hezbollah. Citizens get 15 seconds warning from a system called Red Alert; when the alarms go off, they drop what they’re doing, leaving their cars in the middle of the road and seek shelter at bomb shelters throughout the town and environs. They leave their windows open so that they can hear the warnings and escape in time; one of the city’s residents, musician Avi Vaknin remarks that the greatest fatalities occur when those who aren’t used to the way of life in Sderot don’t hear the warning sirens and continue driving on their merry way, unaware that death is rocketing at them from the nearby Gaza strip.

A two week stay made such an indelible mark on filmmaker Bialis that she chose to return for a lengthier stay to find out more ostensibly about the underground music scene (literally; much of the rehearsal and performance takes place in underground bunkers and converted bomb shelters). She moves in with Vaknin who introduces her to the music scene in Sderot which is surprisingly fertile; the band Teapacs which represented Israel in the Eurovision song contest are from there (their lead singer Kubi Oz speaks fondly of his embattled home town). More recently, the winner of Israel’s version of America’s Got Talent came from there.

Most of the residents come from Morocco, Tunisia and Ethiopia; Jews who found their way to Israel following World War II and were discriminated against by the European-based Jews who essentially founded the country. The music of those areas mixed with western Rock and Roll, blues, Klezmer and other musical forms. Much of the music has the kind of immediacy that comes from not knowing when you wake up in the morning if you were going to make it to see the sunset. It’s often quite poignant and very often compelling.

The major misstep that is made by the film is well into it when it becomes obvious that Avi and Laura have become romantically involved. From then on the movie becomes more about their relationship and essentially morphs into a home movie, complete with wedding footage. Bialis is a top-notch filmmaker but she breaks one of the cardinal rules of documentary filmmaking: don’t become the story. When Bialis starts to become the story, the movie falls apart.

That’s a shame too because up until then the movie is very compelling; the courage of the people of Sderot who are almost as angry at their own government for essentially ignoring their plight than they are at the Palestinians doing the bombardment. Even with all the stress and trauma (and make no mistake, every single resident of the town suffers from PTSD bar none – one of the most poignant moments is a woman dissolving into a shaking, shuddering mess during an attack) they find the humanity within them to keep soldiering on, living their lives almost in defiance of those who would seek to disrupt them. You can see the joy in their eyes when a concerted effort of activists brings thousands of ordinary Israelis to downtown Sderot to shop and dine. When you live on the razor’s edge, everything becomes magnified.

When the film concentrates on that message, the movie soars. When it becomes a love letter from the director to her husband, it stumbles. I don’t doubt the depth of her passion for her man nor his for her but it really undermines all the really good work she does up until that point. This is just one example of what happens when the heart rules the mind.

REASONS TO GO: The story is a tribute to everyday courage. The music is surprisingly diverse and effective.
REASONS TO STAY: The film loses focus during the final third.
FAMILY VALUES: There is some profanity, disturbing images of the aftermath of the bombings as well as injured children and some drug references.
TRIVIAL PURSUIT: The movie is loosely based on the evacuation of Chinese citizens from the port town of Aden during the Yemen Civil War of March 2015.
BEYOND THE THEATERS: Radial
CRITICAL MASS: As of 7/10/18: Rotten Tomatoes: 57% positive reviews. Metacritic: 54/100.
COMPARISON SHOPPING: No One Knows About Persian Cats
FINAL RATING: 7/10
NEXT:
Beast Stalker

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Bright


Not your two ordinary cops.

(2017) Fantasy (Netflix) Will Smith, Joel Edgerton, Noomi Rapace, Edgar Ramirez, Lucy Fry, Veronica Ngo, Alex Meraz, Happy Anderson, Ike Barinholtz, Dawn Olivieri, Matt Gerald, Margaret Cho, Joseph Piccuirro, Brad William Henke, Jay Hernandez, Enrique Murciano, Scarlet Spencer, Andrea Navedo, Kenneth Cho, Bobby Naderi, Carlos Linares, Bunnie Rivera. Directed by David Ayer

 

This Netflix film, released last Christmas, is a perfect example of the dichotomy between critics and audiences. Film critics hammered the film, calling it confusing and preposterous. Audiences loved it, making it one of the most watched non-theatrical movies ever. Netflix called for a sequel which is likely to be on the streaming giant’s front page in two to three years.

Smith, one of the most appealing actors in Hollywood for the past two decades, stars as a bitter and curmudgeonly L.A. cop who has a new partner that he doesn’t want. That sounds like the plot to dozens of cop buddy movies but this one’s a little different – it turns out his partner, Nick (Edgerton) is not just a different ethnicity. He’s an Orc – a completely different species.

The two are on the trail of a magic wand so powerful that whoever wields it can essentially bend the world to their will. Fortunately, only a select few can actually wield the wand; these worthies are called “Brights” and they only appear once every generation or so. Also on the trail of the wand is a bunch of corrupt cops, a gang of Orcs (who are portrayed here essentially as low-riding gangbangers) and an evil elf named Leilah (Rapace). Assisting Nick and Daryl (the Smith character’s name) is a less corrupt elf named Tikka (Fry).

There are some pretty decent effects here and Smith has never been so badass as he is in this film. I’m not kidding when I say that this is his best performance in a decade. Daryl walks around in a perpetually foul mood, like there’s a rock in his shoe he can’t quite get rid of or he has a particularly painful case of hemorrhoids. Either way, he’s far from cheerful; he’s like the anti-Fresh Prince.

It should come as no surprise that Max Landis wrote this; one of the things he does extremely well as a writer is world-building. The world of Bright is believable despite the mash-up of high fantasy and urban crime drama. There is a lot of detail and one gets a lot more detail that didn’t make it into the script. This is the kind of thing that can turn a single picture into a franchise.

David Ayer is the perfect director for this. Not so much for the fantasy elements although he is just fine with those but there are few directors who intuitively understand the workings of an urban crime drama like Ayer, whose previous credits include Training Day (as a writer), End of Watch, Harsh Times and Street Kings.

I don’t understand all the critical hate; this is really a good movie but I suppose this kind of fantasy mash-up isn’t for everybody. Still, I found it not just solidly entertaining but actually absorbing. This is one I wouldn’t mind seeing regularly (I’ve already watched it several times since it debuted). As far as I’m concerned, I only wish that this movie had a more widespread theatrical run; I would have liked to have seen it on a big movie theater screen. Ah well, if wishes were horses…there would undoubtedly be a few of them trotting around in the world of Bright.

REASONS TO GO: The filmmakers do an excellent job of world-building. Will Smith is at his badass best in this one.
REASONS TO STAY: The final action sequence is a bit disappointing.
FAMILY VALUES: There is plenty of profanity, fantasy violence and some nudity.
TRIVIAL PURSUIT: With a $90 million production budget, this is the most expensive Netflix movie to date. Also, it is the first Netflix film to generate a sequel which was signed shortly before the movie was released to the streaming service.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 6/29/18: Rotten Tomatoes: 26% positive reviews: Metacritic: 29/100.
COMPARISON SHOPPING: Alien Nation
FINAL RATING: 7/10
NEXT:
Three Identical Strangers

A Wrinkle in Time (2018)


Oprah Winfrey and Storm Reid try to bring balance to the Force.

(2018) Science Fiction (Disney) Storm Reid, Oprah Winfrey, Reese Witherspoon, Mindy Kaling, Chris Pine, Levi Miller, Deric McCabe, Gugu Mbatha Raw, Zach Galifianakis, Michael Peña, André Holland, Rowan Blanchard, Bellamy Young, David Oyelowo (voice), Conrad Roberts, Yvette Cason, Will McCormack, David MacPherson, Akemi Look, Tim Kang, Jessica Rockwell. Directed by Ava DuVernay

 

As a boy I read – eagerly, I might add – Madeleine L’Engle’s classic children’s book A Wrinkle in Time. I was fascinated by the amazing worlds she created and thrilled to the adventures of the intrepid Murry children. It was a favorite of mine but I haven’t read it in almost since I was 11 or 12 and the details have become lost to me.

Ava DuVernay has created a nine figure-budgeted version – much has been made that she’s the first African-American female director to be at the helm for a movie with a budget more than $100 million – which is not all sizzle and no steak precisely; it’s more accurately that the steak has been overwhelmed by the sizzle.

Meg Murry (Reid) is depressed and acting out to a large degree. Her physicist father Alex (Pine) disappeared four years earlier and her principal (Holland) as well as her mother (Raw) are both beginning to gently push her into letting him go and come to the realization that he’s gone for good. Then into their lives – including her precocious adopted brother Charles Wallace (McCabe) who might be more brilliant than her and her father put together – comes Mrs. Whatsit (Witherspoon), a kind of kooky and eccentric woman who tells her that her father is alive in another part of the universe where he had traveled by the sheer force of his mind and he needs her help in returning home.

Through Mrs. Whatsit she meets Mrs. Who (Kaling) and Mrs. Which (Winfrey), equally eccentric and just as powerful. The two Murry kids along with Calvin (Miller) who’s kind of sweet on Meg, accompany the three Missus to rescue Alex. But he’s being held captive by an evil force of energy called The It (having nothing to do with Pennywise the Clown) and it is growing rapidly to the point that if her father can’t be rescued the Universe will be overrun by the It.

The movie is a massive misstep by one of the most talented directors working today. The story gets lost in a turgid script that emphasizes the visuals (which to be fair are incredibly imaginative and a literal joy to behold) over the story. Worse yet, the dialogue is wretched; people in this film don’t talk like real people. At least Mrs. Who has an excuse; she’s programmed (essentially) to talk in affirmations, but everyone else seems to mouth platitudes that after awhile grow wearisome.

Winfrey, Kaling, Raw, Pine and Witherspoon are all fine actors and they do very well here. Reid can sometimes be a bit smarmy but for the most part she is asked to carry the film on her young shoulders and she doesn’t disgrace herself. McCabe however is Hella annoying and he brings to mind poor Jake Lloyd from Star Wars Episode One as a candidate for worst juvenile performance of all time.

The movie failed to find an audience during its theatrical release in March. Some blame it on the fact that the Murry family was interracial, although the African-ness of Black Panther didn’t seem to hurt it any. I’m sure the success of the Marvel film had an impact on the audience for A Wrinkle in Time but I also think poor reviews and bad word-of-mouth doomed it. In all honesty, I don’t think A Wrinkle in Time is a bad film but it’s not a very good one either. It’s kind of bloated and the message of family, hope and tolerance gets completely lost. I have no doubt DuVernay is going to be making important films for decades to come; this one though likely won’t be on her highlight reel years from now.

REASONS TO GO: The visuals are insanely imaginative. Winfrey, Kaling and Witherspoon are perfectly cast.
REASONS TO STAY: The dialogue torpedoes the film. McCabe’s performance is overbearing most of the film.
FAMILY VALUES: Although suitable for most children, the film contains scenes of peril as well as some themes that may go over the heads of some of the less socially developed kids.
TRIVIAL PURSUIT: Two more Murry children (twins Sandy and Dennys) who appeared in the novel were cut from the film version.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Movies Anywhere, Vudu, YouTube
CRITICAL MASS: As of 6/27/18: Rotten Tomatoes: 40% positive reviews. Metacritic: 53/100.
COMPARISON SHOPPING: The Holy Mountain
FINAL RATING: 5.5/10
NEXT:
Bright

Nobody Speak: The Trials of the Free Press


Terry Bollea (Hulk Hogan) runs out of fingers to count how many pro wrestling titles he’s won.

(2017) Documentary (Netflix) Nick Denton, Hulk Hogan, A.J. Daulerio, Charles Harder, David Folkenflik, Peter Thiel, David Birenspan, John Cook, David Carr, Floyd Abrams, Peter Sterne, David Houston, Leslie Savan, Will Alden, Ryan Mac, Matt Drange, Elizabeth Spiers, James Wright, Hike Hengel, John L. Smith, Jennifer Robison. Directed by Brian Knappenberger

 

Long considered one of the pillars of democracy, a free and independent press acted as a check on the powerful; their job to shine the light of truth on those who would keep things hidden in the darkness. In recent years, the press has come under attack particularly by our current President who has gone so far as to call them “the enemy of the people.”

It is easy for someone like myself to take umbrage; after all, I spent almost 15 years in the newspaper business and continue as a writer and a commentator albeit as a movie reviewer. Still, the Free Press tends to be something of a sacred trust to me and people like me. It is sometimes easy to forget that the state of the media has changed radically. Gone are the days of local newspapers being crusaders; most newspapers are owned by corporate interests and are expected to turn a profit which has become increasingly difficult in this age of the Internet. Some of the charges brought against the Media aren’t without merit.

This documentary, which played Sundance last year and has been playing on Netflix since not long after that, examines the assault on the Press from three vantages. The first and most lengthy is coverage of the Gawker Hulk Hogan sex tape suit. Gawker was something of a tabloid website that specialized in lurid news stories that mainstream outlets wouldn’t touch. When a sex tape of wrestler Hulk Hogan getting busy with his friend shock jock Bubba the Love Sponge’s wife, Hogan (whose real name is Terry Bollea) requested that the tape be taken down. When Gawker refused, Hogan sued. Getting a judge who once represented Terry Schiavo’s parents in that heart-wrenching case, the judgment went against the website, to the tune of $140 million (which was later negotiated down to $31 million). The result was that Gawker declared bankruptcy and their media empire (which included other websites like Jezebel and Gizmodo) were sold to Latin media giant Univision and Gawker was quietly shut down.

The film portrays the website and its British founder Nick Denton as crusaders for the free press, but that’s a bit misleading. Media critic the late David Carr of the New York Times once referred to the site as “The Mean Girls of journalism.” The question that is brought up but not really addressed is that where privacy get superseded by the right of the press to report the news. David Houston, Bollea’s lawyer, successfully argued that Hulk Hogan having sex is not news and on that I would agree.

After the judgment is handed down, it is revealed that the lawsuit was funded by billionaire Silicon Valley venture capitalist (and former founder of Pay Pal) Peter Thiel, a Trump supporter, who was once outed by Gawker and wanted to not only see them taken down a peg but to be driven out of existence which he was successful in doing. This is troubling particularly when the next segment, the surprise 2015 purchase of the Las Vegas Review-Journal by mysterious buyers.

The reporters at the newspaper of record for Sin City are told to do their jobs and not worry about who owns the paper but that is like waving bloody red meat in the face of a starving wolf. Soon the investigative journalists at the newspaper discover that the purchaser is GOP mega-donor Sheldon Adelson, the owner of the Venetian and one of the biggest financial supporters of Republican political candidates next to the Koch Brothers. He essentially wanted to buy the paper to control the news coming out about his casino and business dealings.

These are troubling trends that billionaires dissatisfied with the coverage about them can simply buy the news and then have their own agenda  become part of the media landscape. Knappenberger most certainly brings up some very important and troubling questions; unfortunately he gets a bit preachy towards the end which dilutes his point quite a bit. Still, in these times where the press is being demonized, it behooves us to understand the forces behind the campaign to discredit the media. While no newspaper reporter is ever truly unbiased, there is at least an expectation that the facts will be verifiable and correct. The fact that now we seem to prefer to get our news from echo chambers rather than from sources that at least place value on the truth is something that could end up destroying our country from within.

REASONS TO GO: The story is a worthwhile one. There’s plenty of detail in the information presented. There are some unexpected twists and turns. It’s a chilling look at how the First Amendment has been systematically eroded.
REASONS TO STAY: The filmmakers get a little preachy towards the end. There’s a little too much quick-cutting for my taste.
FAMILY VALUES: There is some profanity and a bit of sexual content.
TRIVIAL PURSUIT: Although the movie debuted at the 2017 Sundance Film Festival, it did get a brief theatrical run followed by it’s Netflix debut in June of last year.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 6/26/18: Rotten Tomatoes: 90% positive reviews. Metacritic: 68/100.
COMPARISON SHOPPING: Tabloid
FINAL RATING: 8/10
NEXT:
A Wrinkle in Time

Game Night


Some games are riskier than others.

(2018) Comedy (New Line) Jason Bateman, Rachel McAdams, Kyle Chandler, Jesse Plemmons, Sharon Horgan, Billy Magnussen, Lamorne Morris, Kylie Bunbury, Michael C. Hall, Danny Huston, Chelsea Peretti, Camille Chen, Zerrick Deion Williams, Joshua Mikel, R.F. Daley, John Francis Daley, Michael Cyril Creighton, Brooke Jaye Taylor, Jonathan Goldstein, Charlotte Hazzard. Directed by John Francis Daley and Jonathan Goldstein

 

Everyone knows someone whose competitive urges are on a scale of one to ten about a 35. Max (Bateman) and his wife Annie (McAdams) are just like that. They host a regular game night at their home in which friends are invited (or in the case of creepy cop Gary (Plemmons), not) to play a variety of party games. When Max’s mega-successful big brother Brooks (Chandler), a venture capitalist who Max has competed with unsuccessfully comes to town, Max is put off his game a little bit. When Brooks offers to host game night at his lavish home, Max is further intimidated.

Brooks dispenses with the traditional board games and instead does a kidnap mystery event, offering his cherry red Stingray (Max’s dream car as it turns out) as a prize for the first to solve the mystery, Max looks at it as an opportunity to finally get redemption with his brother. But when it turns out that the kidnapping is real and so are the guns, things take a turn for the wacky.

I honestly didn’t expect too much from the movie going in. I thought it would be another mildly funny and occasionally laugh-out-loud comedy that seem to dominate the comedy landscape these days but I was pleasantly surprised. This is one of the funniest movies of the year, hands down. Not only is the script funny but it’s generous – nearly everyone in the ensemble cast has their moment to deliver an amazing punch line or even a moment of sublime physical comedy. Bateman shines the brightest, still as likable as ever.

If the movie has a drawback it’s that it sometimes overthinks things. The story works best when things are kept simple. This is a rare film that is funny without being gimmicky, allowing the characters to develop nicely without being overly silly. Da Queen liked it even more than I did, which is saying something. If you’re looking for a movie that is bound to make you laugh, this is the one to select, at least as far as 2018 is concerned.

REASONS TO GO: The movie is unexpectedly funny in places. Bateman remains one of the most charming actors in Hollywood.
REASONS TO STAY: The plot occasionally gets over-complicated.
FAMILY VALUES: There is a bunch of profanity, some sexual references and a bit of violence.
TRIVIAL PURSUIT: Bateman and McAdams previously appeared together in State of Play.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Movies Anywhere, Vudu, YouTube
CRITICAL MASS: As of 6/25/18: Rotten Tomatoes: 83% positive reviews. Metacritic: 66/100.
COMPARISON SHOPPING: Tag
FINAL RATING: 7.5/10
NEXT: 
Nobody Speak: Trials of the Free Press

Tomb Raider


Lara Croft takes aim.

(2018) Adventure (MGM/Warner Brothers) Alicia Vikander, Dominic West, Walton Goggins, Kristin Scott Thomas, Derek Jacobi, Daniel Wu, Alexandre Willaume, Tamer Burjaq, Adrian Collins, Keenan Arrison, Andrian Mazive, Milton Schorr, Hannah John-Kamen, Peter Waison, Samuel Mak, Sky Yang, Civic Chung, Josef Altin, Billy Postlethwaite, Roger John Nsengiyumva, Jaime Winstone. Directed by Roar Uthaug

 

The Tomb Raider videogame franchise remains a benchmark in the industry. One of the first to feature a female main character, it was (and is) a rollicking adventure in the vein of Indiana Jones that requires a quick wit as well as fast fingers. Of course, lead character Lara Croft’s notoriously buxom figure didn’t hurt sales either.

After a pair of successful but mediocre movies in the late 90s and early 2000s, the franchise is being rebooted with Swedish actress Alicia Vikander in the lead role. She lives in a beautiful and opulent estate but is a bike courier to pay the bills; that’s because her father (West), a billionaire, disappeared seven years previously and Lara doesn’t want to sign the papers that will give her the inheritance because doing so would be as much as admitting he’s dead, something she steadfastly refuses to believe.

Then she gets wind of a possible location where her father might be and off she goes to find him. It will involve finding the tomb of a cruel Japanese queen, avoiding a terrible curse as well as barbaric corporate sorts who seek to open the tomb and unleash hell on the world. Aided only by a drunken sailor, Lara goes off to save the day but she is not yet the confident adventuress that inhabits the video games. Yes, this is an origin story.

On the surface of it, casting Vikander as Croft is a slam dunk move. She’s truly a wonderful actress, has ballet training and moreover is a fan of the videogame. She bulked up on muscle and performed some of her own stunts for the film but oddly enough, her portrayal of Croft didn’t really connect with me. In fact, I found the whole tone of the film to be flat in an off-putting way. It probably didn’t help that the screening I attended was virtually deserted. There just didn’t seem to be as much chemistry or energy going on in the movie.

Some of the stunts and action set pieces are more than up to snuff. When the movie channels the old serials (which it does do from time to time), it seems to do better. The expository scenes are where the film shows the most problems. Also, some of the CGI is murky and hard to see; I didn’t view this in 3D so I can only imagine how bad it looked in that format.

There are enough thrills and fun for me to give it a mild recommendation but with the caveat that many of the reasons that videogames don’t translate well to movies are present here. Fans of the videogame series probably won’t like this much and fans of adventure films in general probably will agree with them. If you keep your expectations low, this can be a good time however.

REASONS TO GO: Some of the action sequences are quite exciting.
REASONS TO STAY: Vikander doesn’t seem a good fit for the role.
FAMILY VALUES: There is plenty of action and violence as well as some brief profanity.
TRIVIAL PURSUIT: The only two actresses to date to play Lara Croft in the film versions – Angelina Jolie and Vikander – are also both Oscar winners.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 6/24/18: Rotten Tomatoes: 48% positive reviews: Metacritic: 48/100.
COMPARISON SHOPPING: King Solomon’s Mine
FINAL RATING: 6/10
NEXT:
Game Night

Red Sparrow


Misogyny? Wellllll….

(2018) Espionage Thriller (20th Century Fox) Jennifer Lawrence, Joel Edgerton, Matthias Schoenaerts, Charlotte Rampling, Mary-Louise Parker, Ciarán Hinds, Jeremy Irons, Joely Richardson, Bill Camp, Thekla Reuten, Douglas Hodge, Sakina Jaffrey, Sergei Polunin, Sasha Frolova, Sebastian  Hulk, Ingeborga Dapkunaite, Nicole O’Neill, Kristof Konrad, Hugh Quarshie, Kinscö Pethö. Directed by Francis Lawrence

While this is set in recent years, Red Sparrow could very easily be mistaken for a Cold War-era spy thriller by John Le Carré or those of his ilk. At the center is Jennifer Lawrence as Dominika, a former Russian ballerina who has had to move on to other career choices when her ballet career is cut brutally short. She is sent by a well-meaning but corrupt relative slash government official to a school for spies, which she disdainfully calls “whore school.” There she’s taught to use her sexuality as a weapon and the rest of her body as well. Her assignment is to make contact with American agent Nate Nash (Edgerton) but whether or not she is following orders remains to be seen.

This doesn’t particularly add anything to the espionage thriller genre but it doesn’t disgrace itself either. There are plenty of twists and turns in the plot, enough so that the studio sent an e-mail pleading with critics to reveal as little about the plot as possible which in this case is justified – the less you know about what actually happens, the better your enjoyment will be of the film.

The surprising thing about the movie is star Jennifer Lawrence. She has been for several years now one of the most reliable and talented actresses in Hollywood, but this one she falls quite a bit short. Her Russian accent is unbelievable and it slips throughout the movie. Lawrence is a lot of things but she is not a ballet dancer; she doesn’t move like one and any woman who has been through the kind of training that lands you a spot on the Bolshoi is going to have a certain elegance and grace in her every movement.

This is pretty much standard spy stuff, although granted with a surfeit of graphic mayhem, torture and yes, rape. I think some women, particularly those who are sensitive to how women are portrayed as sex objects, are going to have some serious problems with this. It’s not quite misogynistic but it’s close. This is one well worth skipping which is a first in J-Law’s otherwise glittering career. I guess she’s just due for a misstep.

REASONS TO GO: Fans of Cold War-era espionage thrillers will love this. Rampling and Irons deliver swell performances.
REASONS TO STAY: There’s too much rape and torture – there’s too much of everything (it’s too long). J-Law’s Russian accent keeps slipping.
FAMILY VALUES: There is severe violence, torture, rape, sexual content, profanity and some nudity.
TRIVIAL PURSUIT: Deer Tick was originally formed in Providence, Rhode Island. They are currently based in New York.
BEYOND THE THEATERS: Amazon, Fandango Now, Fios, Frontier, Google Play, iTunes, Microsoft, Movies Anywhere, Vudu, YouTube
CRITICAL MASS: As of 6/23/18: Rotten Tomatoes: 47% positive reviews: Metacritic: 53/100.
COMPARISON SHOPPING: Atomic Blonde
FINAL RATING: 5/10
NEXT:
Tomb Raider