city Dennis, county Harvey: Last News

Dennis Harvey Film Critic Adapted from the author’s 1999 debut novel, “God Is A Bullet” is the first screen translation of a work by one Boston Teran, a prolific but pseudononymous scribe of popular page-turners. Those tomes have been well-received by thriller fans, though others have speculated they might be a genre put-on penned by possibly more than one well-known literary figure. Nick Cassavetes’ slick adaptation certainly maintains the book’s mix of lurid incident and pontificating pretentiousness — albeit without the kind of intensity that might have made this far-fetched story credible, or the atmospheric style that might’ve pulled it off as a fevered nightmare à la David Lynch instead. 

Dennis Harvey Film Critic The unimaginable — a modern U.S. civil war — gains considerable clarity and alarming proximity in the documentary “Against All Enemies,” about the continuing rise of far-right extremist groups. Various talking heads here stress that the January 6 insurrection was no aberration but part of a fast-evolving pattern that poses a serious threat to our democracy. Charlie Sadoff’s film focuses largely on the role of military veterans in groups that one way or another seem to be agitating for violent government overthrow, though it also casts a wider net. This densely packed, sobering overview of hitherto subterranean political trends feels tooled for broadcast, where in any case it would have the most impact. 

Dennis Harvey Film Critic You might think Shia LaBeouf portraying a 20th-century Italian saint under the direction of perpetual bad-boy expat Abel Ferrara is a pretty strange prospect. But that’s just the iceberg tip of the oddities in “Padre Pio,” which, despite the American star’s casting in the title role, often appears uninterested in its own venerated ostensible subject.  Instead, much of this awkward English-language period piece focuses on peasants’ struggle to overthrow padrone control just after the First World War. Depicting that conflict often feels beyond the modest production’s scale — and, in any case, is never meaningfully connected to the angsty histrionics of LaBeouf, who seems to be in his own separate, indulgent, semi-improvised movie. Though coherent relative to Ferrara’s last narrative feature, the impenetrable espionage tale “Zeroes and Ones,” this eccentric misfire will likely puzzle fans of his past cult favorites, while flummoxing Catholic viewers who expect straightforward religious uplift. Gravitas Ventures is releasing to 50+ U.S. markets. 

Dennis Harvey Film Critic Released to theaters in the theatrical dog days of mid-2020, Jonathan Milott and Cary Murnion’s “Becky” became a home-formats hit, its gleefully tasteless home-invasion thrills a guilty-pleasure tonic for COVID captives going a bit stir-crazy. Now Lulu Wilson is back as that title character, more or less the sole survivor of her prior screen outing. You can be sure in “The Wrath of Becky” that age hasn’t dulled her pissed-off homicidal verve, and that fate will surely provide another crop of ne’er-do-wells to tempt its exercise.  However, a different writing-directing duo is in charge this time, Matt Angel and Suzanne Coote. Their efforts generate rewards that are somewhat diminished, if still diverting. Quiver is releases this SXSW-premiered sequel to U.S. theaters, with home-formats dates as yet unannounced. 

Dennis Harvey Film Critic Joe Piscatella’s 2017 “Joshua: Teenager vs. Superpower” offered a fairly exhilarating view of youth activism, as it charted one Hong Kong student’s spearheading public opposition to mainland China’s increasingly heavy-handed takeover. The can-do optimism that documentary left viewers with is on life support in the director’s follow-up, which shifts nominal focus to one of Joshua Wong’s fellow protest leaders. But mostly “Who’s Afraid of Nathan Law?” observes the gradual crushing of a pro-democracy movement that not long ago had promised to engage Beijing in genuine dialogue. This equally skillful if much more downbeat sequel should follow its predecessor to wide travel on the festival circuit, then broadcast and streaming exposure. 

Dennis Harvey Film Critic A creeping black spot on a darkening globe suffers some degree of illumination — not voluntarily, of course — in “The Rise of Wagner.” Benoit Bringer’s documentary about the Russian private army of mercenaries relies on a mix of news reports, human rights experts and sometimes anonymous witnesses to expose Wagner Group’s shadowy involvement in various conflicts over the last decade. It’s a damning if necessarily rather fragmented view, since the organization remains cloaked in secrecy, its own government continuing to deny affiliation. Offering global political insights as well as lurid true-crime-type content, this Hot Docs premiere is well-suited to broadcast slots for serious-minded nonfiction.  

Dennis Harvey Film Critic As the saying goes, you can take the man out of Texas … but apparently he’ll drag an arsenal of Lone Star State clichés wherever he goes, at least in “One Ranger.” Stuntman turned writer-director Jesse V. Johnson’s latest action programmer has Thomas Jane as a Texas Ranger so ornery-tough he makes even Chuck Norris look too nice, called upon to chase terrorists overseas for no obvious reason at all. Well, perhaps the reason is simply to indulge some viewers’ notion that Texamurricans just naturally shoot ’n’ smack them foreign evildoers better. Those not buying such logic will find this mediocre effort ridiculous as well as uninspired. Lionsgate is releasing the feature to 11 U.S. theaters as well as digital and on-demand platforms on May 5. 

Dennis Harvey Film Critic The sensation of a nation crumbling from within — not in slo-mo deterioration, but amid the chaos of widespread violence and political upheaval — is unimaginable to most people. Yet it’s something many will live to experience. Offering a primer of sorts in that grim prospect is “5 Seasons of Revolution.” Made by the pseudonymous Lina, this very first-person documentary doesn’t offer a lot of explanatory background or big-picture commentary on Syria’s still-ongoing civil war. But in charting the filmmaker’s attempts at reportage alongside the fates of her imperiled group of friends between 2011-15, it provides one vivid perspective on a whole country in freefall.  At that timespan’s beginning, the pro-democracy protests of the Arab Spring reach our English-language narrator’s homeland, where she’s an aspiring video journalist. Her likewise twentysomething close associates, introduced at the start here, are fellow journalists, social workers, activists. All grew up in a de facto police state now controlled by President Bashar al-Assad, whose father presided over the country’s transformation into a military dictatorship decades prior. Defying an official media blackout, she interviews demonstrators and those who witnessed their being fired on by government forces. We see joyful still images of street actions, suggesting a turning point may be at hand.

Dennis Harvey Film Critic Offering a singular perspective on Russia’s current pariah status in much of the world is Gaukur Ulfarsson’s “Soviet Barbara,” probably the most enjoyable — as opposed to depressing — documentary involving the invasion of Ukraine you’re likely to see. It focuses on Icelandic multimedia artist Ragnar Kjartansson’s preparation for exhibits that would open a major new museum in Moscow.  That launch proves fatefully ill-timed in terms of larger events, however, even as his splashiest custom creation provides ironic commentary on recent Russian history by reprising an American TV soap opera that had been an unlikely imported smash in the nation’s immediate post-USSR years. The colorful intersection between art, ideology, patronage and politics should appeal to a wide range of nonfiction outlets and programmers.

Dennis Harvey Film Critic Artificial Intelligence has been increasingly in the news of late, with observers worried that it will soon become difficult for teachers to tell if students actually completed a project themselves (or a program did it for them), for anyone to recognize whether a supposed breaking evidential video is in fact a deepfake, and so forth. “The Artifice Girl,” however, frames the problems raised by ever-growing technological sophistication in a familiar narrative framework: that of the machine intelligence that begins to surpass its human “masters.”  Unlike portrayals from “2001” to “Ex Machina” and beyond, however, Franklin Ritch’s debut feature does not treat that dynamic in thriller terms, as a hostile takeover. Instead, this smaller-scaled speculative fiction is more concerned with ethics, as pondered in a series of dialogue sequences that aren’t static but might also have worked on stage, and require nothing in the way of FX. The results may not be what fantasy fans in need of action and spectacle are looking for. But Ritch’s film, which won the Best International Feature Audience Award at Fantasia last year, is engaging food for thought for viewers willing to let ideas rather than visuals fire up their futuristic imagination. XYZ Films is releasing it April 27 to limited U.S. theaters, as well as on-demand and digital platforms. 

Dennis Harvey Film Critic In 2014, Argentine writer-director Damian Szifron made a considerable splash with “Wild Tales.” The Oscar-nominated, Almodóvar-produced feature consisted of six escalatingly over-the-top stories that put a blackly comic slant on human behaviors at their worst, adding up to a flamboyantly enjoyable whole. It’s surprising that it’s taken him nearly a decade to deliver his next feature, and more surprising still that it turns out to be his English-language debut “To Catch a Killer.”  This Baltimore-set thriller, with Shailene Woodley as a cop helping FBI agent Ben Mendelsohn track down a mass shooter, is the screen equivalent of a page-turner: a solid investigative procedural that breaks no new ground, but delivers sufficient suspense, character interest, and action in confident fashion. Nonetheless, it’s a curiously impersonal, straight-ahead genre piece for a writer-director who so assertively staked out his terrain as an auteur the last time around. Vertical Entertainment is opening it on 500+ U.S. screens this Friday.

Dennis Harvey Film Critic Even among many who’ve grasped the scientific evidence, or experienced escalating weather extremes, climate change remains an abstraction for most — something too large and vague to trigger urgent emotional response. Not so the fictive activists in “How to Blow Up a Pipeline,” inspired by Andreas Malm’s nonfiction tome of the same name. Though diverse in background and motivations, the eight individuals here drawn together to attack an oil conduit in Texas share a sense that the planetary environmental crisis is immediate, and the time for gently chiding protests past.  Whether their actions constitute “eco-terrorism” and whether violence of any kind is ever justifiable in the service of progress are questions Daniel Goldhaber’s sophomore feature duly grapples with. Still, its degree of moral self-examination is unlikely to appease climate deniers, who’ll likely decry the film (if they notice it at all) as a recruitment poster for aspiring saboteurs. It’s more nuanced than that, but this strong, straightforward drama-cum-thriller about a divisive topic will nonetheless primarily appeal to viewers on the left side of the political dial. Neon is releasing to U.S. theaters on April 7.

Dennis Harvey Film Critic It has been rather bewildering to witness no less than two dozen low-budget action movies involving Bruce Willis being churned out over the last three years. That legacy-dimming run ends with “Assassin,” which arrives almost exactly one annum after his family announced a retirement due to diagnosis of cognitive disorder aphasia (and, later, frontotemporal dementia). Like nearly every preceding opus featuring the erstwhile global superstar in roles of prominent billing but little screentime, this rote genre exercise is little more than a time-killer, and as such a regrettable close to a significant career. Saban Films is releasing it to U.S. theaters, digital and VOD platforms on March 31.

Dennis Harvey Film Critic Found-footage horror — that thing you never want to see again, until once every couple years someone finds a fresh angle — meets “The King of Comedy,” of all things, in “Late Night With the Devil.” The third feature from enterprising Aussie siblings Colin and Cameron Cairnes kicks up a notch their flair for bringing novel twists to familiar genre tropes, by positing occult mayhem during a live broadcast of a 1970s network talk show.  The resulting mix of vintage Me Decade showbiz cheese and “Exorcist”-y demonic doings is distinctive, not to mention deftly handled by the brothers as both writers and directors. Well-received at its SXSW premiere, this clever high-concept gambit should raise its makers’ profile, likely inviting some Hollywood offers — which one suspects they’d be open to, given this is their first project set (though not produced) in the U.S. rather than on home turf. 

Dennis Harvey Film Critic Who am I? Where do I fit in? Am I some kind of misfit? Will I ever be an ex-virgin? Such questions surely occur to every adolescent at one point or another. But only one out of approximately every 5,000 female ones arrive at them for the same diagnostic reason as the heroine of “Bloody Hell.” Molly McGlynn’s second feature focuses on a 16-year-old distressed to discover she has a rare congenital disorder that considerably complicates her nascent sex life, formative sexual identity and indeed basic sexual plumbing. This SXSW-premiering Canadian seriocomedy is a bit less focused and effective than the writer-director’s prior “Mary Goes Round,” but it’s still accomplished, and similarly renders relatable the sometimes self-defeating behaviors of a protagonist who’s got a lot of issues on her plate.

Dennis Harvey Film Critic The “evil twin” school of psychological metaphor has been a frequent device in horror fiction, and its familiarity does not much benefit the very literal-minded “Appendage.” Writer-director Anna Zlokovic’s first feature centers on a young Manhattanite whose insecurities manifest themselves in the form of a mini-me who becomes a serious usurping threat. This SXSW-launched Hulu Original is sufficiently polished to pass muster as a night’s streaming entertainment for undiscriminating genre fans. But despite the grotesque premise, its attack is a little too blunt to make much impact, whether taken as thinly-veiled satire or straight fantasy thriller.   Introduced chafing under the critical control of her waspish mother (Deborah Rennard) during a visit home to the suburbs, Hannah (Hadley Robinson) is a nice, talented, attractive twentysomething nonetheless driven by the sense that she’s got everything to prove. An aspiring fashion designer, she certainly gets negative reinforcement on that front from her employer, a stereotypically vicious style maven named Cristean (Desmin Borges). On the plus side, there is very supportive boyfriend Kaelin (Brandon Mychal Smith), and workmate/best friend Esther (Kausar Mohammed), who introduced the couple to one other. But their reassurances tend to fall on deaf ears, as Hannah stays up late each night slaving over dresses her mean-spirited boss will likely dismiss with a sneer.

Dennis Harvey Film Critic “Righteous Thieves” ends with its protagonists having a wee festival of self-congratulation, sipping champagne as they promise themselves — and perhaps threaten viewers — they’ll have more adventures like the one that’s just wrapped. Their delight is not infectious, because this dopey caper’s prior 90 minutes have been rather like hoisting a flute of promised champers only to taste flat Fresca.  Director Anthony Nardolillo and writer Michael Corcoran’s film strikes a pose of sly ingeniousness throughout that is uncorroborated by any actual cleverness, surprise, wit, tension, thrills or much else you’d hope for in a high-end-heist tale. The “righteous” part — that our heroes are reclaiming artworks stolen by Nazis long ago — feels no less superficial than everything else in this uninspired genre piece. Lionsgate opens it in seven U.S. theatrical markets March 10, simultaneous with digital and on demand release. 

Dennis Harvey Film Critic Writer-director-star Alex Heller’s debut feature is a fictive spin on the very crisis she experienced at age 19, when she dropped out of college and was diagnosed with bipolar disorder. Not the weightiest screen treatment of a serious mental health issue, this drolly self-deprecating portrayal nonetheless achieves a degree of poignancy and depth within a distinctive sensibility you might call Midwestern Sardonic. After a fest run, it’s opening in limited theaters and on demand March 3.  Clemence Miller (Heller) screams “trainwreck” from the moment we first see her dragging a garbage bag across campus, haranguing everyone whose path she crosses. She then turns that alienating energy on her terrified dorm roommate (Taylor Marie Blim), who says, “You’re ruining my college experience!” The roomie has, it turns out, already informed Clem’s mother that she has spiraled into “hoarding, stealing, paranoia and shrieking.” Ergo Sherri (J. Smith-Cameron) bursts through the door, dragging her eldest child back to suburban Illinois not a moment too soon.

Dennis Harvey Film Critic Half a century ago Hollywood was frantically trying to figure out the newly-dominant “youth market.” Since some of that market had recently found Jesus, there was a brief spate of related films: Zefferelli’s hippie-fied St. Francis biopic “Brother Sun, Sister Moon,” adapted stage musicals “Jesus Christ Superstar” and “Godspell,” the Billy Graham-produced “A Time to Run” chief among them. But as the “Jesus Movement” got absorbed into more mainstream institutions, the brief vogue flickered out.  For a moment there, however, counterculture and Christ had a groovy thing going on, one that promised both salvation for those who’d gone overboard on sex, drugs and rock ’n’ roll, as well as a healthy shakeup of churches that had lost touch with younger generations. Dramatizing that moment is “Jesus Revolution,” an engaging, upbeat new effort from co-directors Jon Erwin (“I Can Only Imagine”) and Brent McCorkle (“Unconditional”), adapted from Greg Laurie’s memoir. 

Dennis Harvey Film Critic Last year the copyright protection on British author A.A. Milne’s most famous creations ran out, releasing — or perhaps condemning — them to the public domain. The first (and, let’s hope, worst) consequence of that development is “Winnie-the-Pooh: Blood and Honey,” a rock-bottom joint that fails to meet even the most basic expectations set up by its conceptual gimmick.  Nonetheless, that gimmick, combined with some early images and clips, propelled prolific micro-budget shingle ITN Studios’ latest project to viral notoriety, resulting in its first theatrical release after a purported 700+ titles in 32 years. Fathom Events is handling U.S. distribution, with other territories concurrent or imminent (it’s already opened in Mexico), and home formats on hold until that limited run has played out. A sequel is already in the works. But while it would be nice if this film’s windfall improves the quality of its producers’ future projects, that fluke pop-culture awareness is unlikely to occur again — certainly not among viewers who’ll still be chagrined at having paid actual money to see a movie this amateurish.  

Dennis Harvey Film Critic Class divisions that assume macrocosmic significance in Ruben Östlund’s “Triangle of Sadness” remain microcosmically scaled in “Pretty Problems,” another cleverly discomfiting, festival-blessed comedy hitting theaters on Oct. 13. Kestrin Pantera’s third directorial feature, which won the Audience Award at SXSW, also places a less-advantaged young couple in an enclave of the very rich. Here, however, the upscale slumming is not free, but rather at their expense — a cruel-gamesmanship setup that (as our hero duly notes) suggests the usual horror-movie agenda of “They’re gonna kill us.” That teased direction is not where the film eventually goes, and indeed the script (hatched by several lead performers here) manages to keep upending expectations to the end. The result is a fresh mix of social satire and relationship dissection with a saving dollop of heart. IFC is opening it on about 30 U.S. theater screens, simultaneous with on-demand platforms.