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Dennis Harvey Film Critic Beauty makes more of an impression than the titular creature in “The Beast Within.” Documentarian Alexander J. Farrell’s first narrative feature is a handsomely crafted, modestly scaled affair that benefits from being shot largely around the historic Harewood Woods and Castle in West Yorkshire.

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‘Crumb Catcher’ Review: The Honeymoon’s Over Before It Starts in Black-Comedy Thriller

Dennis Harvey Film Critic Even Mario Bava’s succinctly titled horror “Hatchet for the Honeymoon” 54 years ago did not imagine a more vividly unpleasant entrée to wedlock than “Crumb Catcher,” Chris Skotchdopole’s feature directorial bow. In this mix of home-invasion thriller and grotesque comedy, a just-hitched young couple already on each other’s last nerves are surprised by uninvited visitors, causing the night to go from bad to very much worse. If you can withstand spending nearly two hours in the company of these grating, argumentative characters, there are rewards to be had in a skillfully wrought, twisty suspense tale that releases to limited U.S.

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‘Thine Ears Shall Bleed’ Review: A Middling Pioneer Face-Off with Forces Of Evil

Dennis Harvey Film Critic Mysterious are the ways of the Lord, but devious those of His opposite number in “Thine Ears Shall Bleed.” This enterprising first feature from Ben Bigelow recalls “The Witch” in placing another pious pioneer family at the mercy of the elements — and apparent occult forces — during an early chapter of American history. The command of atmospheric tension Robert Eggers demonstrated in his own debut is not much evidenced here, making for a middling supernatural drama that’s never terribly convincing, or scary. Nonetheless, it’s an indie sufficiently polished to attract viewers looking for offbeat genre fare that’s relatively restrained in graphic horror content.

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‘Boneyard’ Review: There Isn’t Nearly Enough for Mel Gibson or 50 Cent to Do in Clunky Serial Killer Thriller

Dennis Harvey Film Critic You might expect a film that begins with Mel Gibson announcing, “The Bible says we should rejoice in our suffering,” to be a little more high-minded than “Boneyard.” But this trashy trawl through a fictionalized version of the “West Mesa Murders” — a still-unsolved southwestern crime spree in our century’s early years — is the kind of dubiously moralizing exploitation exercise that makes “Sound of Freedom” look like a noble class act by comparison. Likewise “inspired by true events,” Asif Akbar’s movie alternates between lurid serial-killer suspense not far removed from the retro grindhouse ogling of concurrent “MaXXXine” and a convoluted procedural involving variably corrupt, conflicting investigators.

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’A Sacrifice’ Review: Suicide Is Painless In a Fuzzy Thriller Starring Sadie Sink and Eric Bana

Dennis Harvey Film Critic An academic’s visiting teenage daughter falls under the sway of a sinister cult connected to his own research in “A Sacrifice.” Suspended between straightforward thriller and something loftier, Jordan Scott’s sophomore feature — headlined by Sadie Sink and Eric Bana — is a slick but unsatisfying narrative muddle. It has the feel of a literary adaptation that doesn’t quite translate to a different medium: While the individual thematic elements are intriguing enough, they just don’t come together on screen in sufficiently coherent or atmospheric form.

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‘Trigger Warning’ Review: Supersoldier Jessica Alba Wages War on Domestic Criminals in Slick but Contrived Melodrama

Dennis Harvey Film Critic Jessica Alba unleashes her inner Rambo in “Trigger Warning,” wherein her active U.S. military officer gets pulled homeward by tragedy, only to uncover corruption she’ll have to clean up before leaving again. Indonesian director Mouly Surya’s well-crafted first English-language feature is too formulaically contrived to qualify as “elevated genre” or to boast the personal stamp of her prior work.

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‘A Desert’ Review: Joshua Erkman’s Debut Feature Is an Intriguing but Murky, Horror-Adjacent Mystery

Dennis Harvey Film Critic It’s easy to get lost in the desert, a fate that befalls Joshua Erkman’s debut feature. While his protagonists eventually get dangerously close to some lurid, lethal goings-on, this self-described “neo-noir horror” leaves a vague and rudderless final impression despite its intriguing-enough buildup. “A Desert” aims for the enigmatic, supernaturally-tinged mystery of something like Lynch’s “Lost Highway,” but in the end lacks the tension and atmosphere to pull that tricky gambit off.

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‘Sabbath Queen’ Review: A Provocative If Cluttered Face-Off Between Different Notions of Judaism

Dennis Harvey Film Critic With the question “What is a Jew?” as much of a politicized hot potato these days as it’s ever been, “Sabbath Queen” adds plenty of fuel to an already fiery debate. Like director Sandi DuBowski’s prior documentary “Trembling Before G-d” (2001), this long-aborning followup puts a spotlight on LGBTQ protagonists struggling to make a place for themselves within — or despite — the cultural and religious strictures of the Orthodox Judaism they were raised in.

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‘I Used to Be Funny’ Review: A Complex Canadian Seriocomedy in Which Laughter Suffers a Breakdown

Dennis Harvey Film Critic For many viewers, the scenes hardest to take in viral streaming cringefest “Baby Reindeer” weren’t the ones of overt stalking or abuse, but those depicting the DOA stand-up comedy of Richard Gadd’s alter ego — moments whose flop-sweating public failure seemed to stretch into tortuous infinity. Canadian feature “I Used to Be Funny” likewise hinges on a paralyzing intersection between stand-up, anxiety and depression. Mercifully, however, here it’s not the protagonist’s stage act that is the cause of massive self-doubt.

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‘Queen of the Deuce’ Review: A Fun Footnote About a Behind-The-Scenes Mogul of the Sexual Revolution

Dennis Harvey Film Critic Over half a century ago, movies were changing at warp speed, with censorship boundaries falling and artistic ones expanding, as remembered from such game-changers as “Bonnie and Clyde,” “I Am Curious (Yellow)” and “2001: A Space Odyssey.” You probably do not remember the likes of “Whip’s Women,” “Come Ride the Wild Pink Horse,” “Once Upon a Body” or “Scare Their Pants Off!” — and good luck finding them now, since many such disposable late-1960s “adults only” features are assumed lost now. But they, too, made the ’60s “swing,” while making fortunes for individuals like the subject of “Queen of the Deuce.” Valerie Kontakos’ documentary is about a singular character, one Chelly Wilson.

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’Galileo: A Rock Musical’ Review: Grafting 80s-Style Power Ballads Onto The Story of a Renaissance Visionary Yields Assertive But Awkward Results

Dennis Harvey Film Critic With science denialism and theocratic politics both on the rise, it’s an opportune moment to revisit the life of Galileo Galilei, whose discoveries about the cosmos four centuries ago were considered a threat to the authority of the Catholic Church. But there are probably better ways to broach the subject than “Galileo: A Rock Musical,” an odd mixture of earnestness, flash and snark made odder by a score that trades in bombastic power-ballad sounds reminiscent of Jefferson Starship, Styx and Jim Steinman.

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‘Force of Nature: The Dry 2’: Eric Bana Returns in a Complicated Second Aussie Mystery

Dennis Harvey Film Critic After getting through the reopened old wounds and fresh corpses of “The Dry” in his dusty outback hometown, Eric Bana’s Federal Agent Aaron Falk certainly deserved a change of scenery. He gets one in woodsy “Force of Nature: The Dry 2,” though naturally the second feature adapted by director Robert Connolly from Jane Harper’s print mystery series soon finds him equally knee-deep in troublesome sleuthing. This sequel to one of Australia’s biggest homegrown hits reprises much of its page-turning plottiness — as well as a straining for emotional depth that proves elusive.

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‘Any Other Way: The Jackie Shane Story’ Review: Solving The Mystery of a 1960s R&B Talent

Dennis Harvey Film Critic A distinctive, dynamic R&B vocalist who seemed on the verge of major stardom through the 1960s, Jackie Shane disappeared soon after — so completely that many fans and former associates assumed her dead. It was a riddle rendered all the more mysterious by her singular status within that field as a more-or-less “out” transperson, her persona an assertive exercise in gender-blur before that term existed.

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‘The Strike’ Review: Doc Chronicles a Battle to Halt Endless Solitary Confinement

Dennis Harvey Film Critic Solitary confinement, theoretically used only when a prisoner is at high risk of harm to or from others, has long been regarded as a severe punitive measure best applied in small doses. The United Nations’ “Mandela Rules” recommend inmates be placed in such conditions for no more than 15 days, to avoid significant damage to physical or psychological health. Yet “The Strike” spotlights one U.S.

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‘Infested’ Review: Effective French Chiller Unleashes Spiders on a Parisian Housing Project

Dennis Harvey Film Critic In an odd quirk of distribution timing, this month has seen the arrival of no less than two imported, semi-comedic thrillers featuring decrepit apartment building invaded by giant spiders. Already playing U.S. theaters is the Australian “Sting,” which is fun, if formulaic.

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‘Hard Miles’ Review: Matthew Modine Stars in a Scenic Cycle Through the West

Dennis Harvey Film Critic A grueling two-pedal route to the Grand Canyon just might provide the course-correction male juvenile offenders need in “Hard Miles.” With Matthew Modine as their teacher-coach, this fact-inspired tale covers familiar redemptive sports drama terrain. But it’s traveled with affectingly understated assurance by director R.J.

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‘Damaged’ Review: Samuel L. Jackson and Vincent Cassel Headline a Slick but Tepid Serial Killer Thriller

Dennis Harvey Film Critic At their least, the myriad serial-killer movies that followed in the imitative wake of “Se7en” three decades ago have gotten the grisly part down, but find compelling suspense, atmospherics and original narrative ideas harder to come by. Such is certainly the case with “Damaged,” which serves up a considerable number of victims’ severed limbs, yet is likely to leave scant impression — scarring or otherwise — on the viewer. Though Samuel L.

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‘Strictly Confidential’ Review: Makeout Scenes and Flimsy Melodrama on a Caribbean Isle

Dennis Harvey Film Critic “Some secrets are meant to stay buried” says the ad line for “Strictly Confidential.” But you’d need a sizable underground bunker to contain all the effortfully shocking revelations sprung in this very silly sudser, which starts out looking like an erotic thriller-mystery, then descends into a series of flashback-laden explication monologues more apt for “Dynasty” than Agatha Christie. Damian Hurley’s directorial feature, with famous mum Elizabeth top-billed and producing, provides several hardbodied younger performers opportunity to model clothes and approximate recognizable human emotions on the coastline of tax haven island nation Saint Kitts and Nevis.

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‘The Bones’ Review: It’s Paleontologists vs. Profit in Entertaining Look at the Fossil Trade

Dennis Harvey Film Critic The proliferation of billionaires — with trillionaires reportedly soon to come — has raised a lot of questions in world politics. But one question has been around as long as wealth itself: What can an individual actually do with that much money? A new answer arises in “The Bones,” proving that the rich will always break fresh ground in the realm of luxury expenditures. Even for the man or woman who “has everything,” there may still be unfulfilled need for a reconstructed Triceratops skeleton dating from approximately 67,000,000 B.C.

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‘5lbs of Pressure’ Review: Forgiveness Comes Hard for an Ex-Con in This Unconvincing Crime Drama

Dennis Harvey Film Critic It is no great aberration in the modern mysteries of film finances that the Manhattan-set “5lbs of Pressure” was, for whatever reason, shot in Manchester, England. While the ruse works well enough superficially — maybe the industrial U.K.

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‘Stopmotion’ Review: Art Infects Rather Than Imitates Life in IFC’s Partly Animated Creepshow

Dennis Harvey Film Critic English animator Robert Morgan has deservedly accrued a shelf of awards over the past quarter-century or so for shorts like “The Cat With Hands,” “The Separation” and ickily awesome “Bobby Yeah.” Their macabre, surreal nightmares are at once threatening and oddly winsome, with a sinister aesthetic equally redolent of the Brothers Quay, early David Lynch and the painter Francis Bacon — all of whom count among the director’s admitted influences. He’s been in no hurry to adopt a longer format, and his first feature underlines the wisdom of that reluctance.

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