Movie reviews: new releases for August 6


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  • Photos of Warner Bros.
  • Margot Robbie in The suicide squad

All the streets are silent ***

There is a whole subgenre of documentary filmmaking that you might call “Holy Crap, we have an incredible treasure trove of stock footage, so what if that sounds a little shapeless.” Director Jeremy Elkin uses the resources at his disposal to explore the intersection of skate culture and hip hop culture in New York City circa 1987-97, most of those resources consisting of video footage shot by Eli Gesner as he circulated in these two worlds. Many of the main survivors also appear on screen to provide context, including people like Fab 5 Freddy, actor Rosario Dawson, and many skating stars, as they portray the rise of club-centric clubs. hip hop like Mars, the influential after-hours radio show hosted by DJ Stretch Armstrong and Bobbito Garcia of Def Jam Records, and the launch of the skate-gear empires Zoo York and Supreme. But while there is a clumsy attempt to create a narrative line involving the hapless skater /Kids star Harold Hunter, what really strikes here are the moments Gesner captured with future hip hop legends in some of their first performances: Jay Z, Busta Rhymes, Method Man & Ghostface Killah and more. It’s interesting to see the unique New York fusion of predominantly white skating participants and predominantly black hip hop participants, but the reason to stay is to feel like you’re here for the birth of a revolution. musical. Available August 6 via SLFSatHome.org. (NR)

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Russell Mael, Marion Cotillard and Adam Driver in Annette - AMAZON STUDIOS

  • Amazon Studios
  • Russell Mael, Marion Cotillard and Adam Driver in Annette

Anne *** 1/2

I’m not sure if Ron and Russell Mael – the veteran musical brother better known as Sparks – realized they were doing something autobiographical when they crafted the story behind this radical musical drama, but it’s hard not to see it that way. Initially, apparently, it is a love story between an unlikely couple: the comedic bad-boy Henry McHenry (Adam Driver) and the opera soprano Ann Defrasnoux (Marion Cotillard). This relationship goes through the stages of the initial infatuation through marriage and finally a baby they name Annette, but the theatrical artifice is integrated into the staging of director Leos Carax, of a prologue that finds the Maels them themselves and their actors taking their recording session in the streets, to a particularly interesting casting choice like Annette. But while Sparks’ songs rarely match the high bar set by the propulsive opener “So May We Start” – even the tunes begin to sound like recitatives with their lyrical repetition – the story takes great turns to tie the knot together. McHenry’s disgust at his need. be part of pleasing an audience. The whole thing takes a strange turn, but by the time we reach the emotionally unexpected conclusion, Annette feels like two brothers who never hit it big when they conclude that having an audience that loves you is ultimately a lot less powerful than having a family member who loves you. Available August 6 in theaters; August 20 via Amazon Prime. (D)

Evening Hour **
Knowing the source can be a curse, and that’s how director Braden King and screenwriter Elizabeth Palmore adapt Carter Sickels’ novel. Set in the coal-mining country of Kentucky, he follows Cole (Philip Ettinger), an assistant at an elderly care facility who supplements his income by buying and selling prescription opioids. As he faces the death of the grandfather who raised him, he is confronted with the complications of two people coming back from his past: his long-absent mother (Lili Taylor) and Terry (Cosmo Jarvis), his perpetual failure. childhood. best friend. King opens with a stunning landscape shot that sets up the juxtaposition of this beautiful location with mining baring the hills, but this adaptation almost completely abandons the role of the mining company in disrupting the lives of These persons. And all of the key relationships make it seem like they are missing key pieces, sacrificing a fully realized portrayal of a community in crisis for the sake of a simple drug thriller. Ettinger, who was so indelible that the apocalypse-obsessed parishioner in First reformed– continues to show his depth as an actor, but he works with character and narrative, which has left a huge chunk of his emotional strength in some early drafts. Available August 6 via SLFSatHome.org. (NR)

Jean and the hole ****
See the feature review. Available August 6 in theaters and on VOD. (D)

Nine days *** 1/2
Follow in the footsteps of the afterlife philosophical dramas like, well, After life, writer / director Edson Oda travels to pre-life for a thoughtful exploration of what makes a life well lived. In a remote station, Will (Winston Duke) is one of many examiners who interview new souls, ultimately deciding which of them will have the opportunity of a life on Earth which he then observes and recounts. Several familiar faces appear among the contestants, including Bill Skarsgård, Tony Hale and Zazie Beetz, offering a variety of perspectives on the type of person who might be best suited to pass life’s trials. And while the relationships Will develops with his interviewees helps to illuminate his own story, there is an equally crucial subplot involving Will’s obsession with the death of one of his previous counts. Duke’s rich and taciturn performance ultimately delves into the judgment we often express towards those who seem too emotionally fragile for this world, while also celebrating the vulnerability it takes to live a good life. That climaxing moments involving a few words of wisdom from Walt Whitman seem like too bold a move for this otherwise restricted narrative might be the only thing that separates Nine days greatness. Available August 6 in theaters. (PG-13)

The suicide squad ***
The ultraviolent mark of writer / director James Gunn weirdness brought to the black comedy Super may have been part of what got him the Guardians of the Galaxy concert, but it seems even better to match what DC allowed him to do. to do with the super villain crew that crashed and burned down in 2016’s Suicide Squad. This one brings together a few familiar faces, including Harley Quinn (Margot Robbie), as well as newcomers like Bloodsport (Idris Elba), Peacemaker (John Cena) and King Shark (voiced by Sylvester Stallone) in a black-op mission for crush the secret experiences in an island nation. Efforts to bring depth to the characters’ stories seem superficial at best, putting virtually all of the weight on the action and comedic rhythms. Fortunately, The suicide squad book has it both ways, starting with the feeling that hardly anyone is guaranteed to survive, and how deaths are likely to be graphic and bizarre. Robbie’s Harley Quinn is now established enough that she steals the focus almost by default, with some of the other characters moving in the background. But it’s not often that a superhero franchise film feels fully engaged in an atmosphere that not only feeds audiences what they expect, but maintains a constant rhythm of “wait, what.” did I just see? ” Available August 6 in theaters and via HBO Max. (D)

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NETFLIX

Vivo ***

While your Lin-Manuel Miranda mileage may vary, his sense of applying the satisfying conventions of musical theater to animation, which was fully visible in Moana– feels like a natural fit. His In the heights Contributor Quiara Alegría Hudes contributes to the story of a kinkajou named Vivo (voiced by Miranda) who smuggled out of the South American rainforest and finds himself in the care of Andrés (Juan de Marcos), a musician from Havana street. But when Vivo learns that Andrés has given up on the love of his life, singer Marta Sandoval (Gloria Estefan), the little critter makes it his mission to find her in Miami and let her know what Andrés was feeling. The story of the quest allows for the introduction of colorful support characters in the Florida Everglades: an Amorous Spoonbill (Brian Tyree Henry); a predatory python (Michael Rooker) and full of action rhythms. But the highlight here is the music, much of which features Miranda’s fast-paced raps and accompanying colorful sets from director Kirk DeMicco (The Croods), all in the service of a simple yet effective story to let people know you love them when you get the chance. Attempts at big emotions never really feel like they land, but it’s no small feat to create a soundtrack that you want to rehearse. Available August 6 via Netflix. (PG)

Whirlpool ***
It’s hard not to view Matt Yoka’s documentary as an almost manual profile of the toxic masculinity manifested as a result of a closed identity, even as it continues to become a mere chronicle of a unique historical moment in the cover. media. The focus is on the founders of LA News Service, a late-breaking news operation that began chasing street-level police calls in the 1980s, before taking off with helicopter footage which have become iconic for capturing events like the post-Rodney- The King’s Verdict Riots and the slow-speed pursuit of OJ Simpson. These founders are initially described as married couple Bob Tur and Marika Gerrard, but in contemporary interviews we see Bob turned transgender and is now Zoey Tur. This knowledge can’t help but inform the public reaction to much of the archival footage, in which you can often hear Bob before the transition constantly abusing Marika live, or learning that Bob had a heart attack. at 35 years old. And all of this information makes it strange just to get caught up in reminders of those bizarre national news events they captured. WhirlpoolIts two sides are individually fascinating, even if they do not always fit together perfectly. Available August 6 via ParkCityFilm.org. (NR)


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