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That’s a long title for what sounds like a fairly simple premise: Richard Gere plays a schemer who makes other people’s dreams happen. His friendship with a minor Israeli politician becomes thorny after the guy gets promoted. Writer-director Joseph Cedar (Footnote) is strong on nuances of urban Jewish psychology.
Most modern filmmakers got their start in commercials and music video. David Lynch, on the other hand, started out as a surrealist painter and indeed, his earliest short films "The Alphabet" and "The Grandmother" were partially animated. He wanted to see his paintings move. This documentary—directed by Rick Barnes, Olivia Neergard-Holm and Lynch acolyte Jon Nguyen—explores the master’s formative years, before Hollywood came improbably knocking.
You don’t need a warped sense of humor to enjoy British writer-director-star Alice Lowe’s gruesome black comedy, but it helps. Prevenge is nasty fun, as was 2012’s Sightseers, the vacationing-serial-killer caper that Lowe cowrote and starred in. The new film exists in the same twisted world, where ordinary suburbanites in sweaters turn out to be psychopaths. In this case, that person is Ruth (Lowe), a pregnant woman and widow convinced that her unborn child is telling her to go on a killing spree. So she does.
Box-office top 10
The Boss Baby is one of those snarky, post-Shrek cartoons that desperately wants to appeal to parents as well as kids, but its relentless pop-culture winks seem workshopped to death (there’s a running joke about Gandalf that’s bafflingly unfunny). Undemanding kids might get a kick out of its jazzy, restless visual style and poo jokes, but grown-ups will find themselves taking some impromptu nap time.
The virtue of courage is high up on the list of Disney princess must-haves (just below kindness, beauty and a strapping prince in tight pants). So three cheers for Dreamgirls director Bill Condon and star Emma Watson for having the courage to make a live-action musical adaptation of Disney's adored Beauty and the Beast with 2017 gender politics and a diverse cast. Not only is this new Belle the studio's most feminist princess to date, the update boasts the first (and second) interracial kiss to ever appear in a Disney movie, as well as the first openly gay character. And it's all done with a lovely feeling of integrity.
A horror film with the power to put a rascally grin on the face of that great genre subverter John Carpenter (They Live), Get Out has more fun playing with half-buried racial tensions than with scaring us to death. To some, that will come as the slightest letdown: The movie is a touch too in love with its big idea—that meeting your white girlfriend’s parents might be hazardous to your health (even if, as we hear, they “would have voted for Obama a third time”).
When his wife becomes a born-again Christian, a hardheaded journalist (Cloverfield’s Mike Vogel) decides to disprove faith in general. Let’s be deductive journalists ourselves: Since this movie is getting a release on Easter weekend from Pure Flix Entertainment (the distributors of God’s Not Dead and God’s Not Dead 2), guess which side wins?
This one’s for those who like their monkey business big, dumb and uncomplicated.In 1973, a detachment of tech nerds, soldiers, a brawny tracker (Tom Hiddleston) and an ambitious photojournalist (Room’s Brie Larson) are dispatched to the South Pacific to either gather undiscovered plants or—as we suspect—poke the giant ape. It’s a movie made for wrestling fans stoked for the main event.