An old-school World War II drama, a quietly powerful Irish drama, a Christmas story and a fantasy anime hit theaters this week.
Additionally, the brilliantly creepy horror film “Heretic” hits theaters this week.
Here is our summary.
“Flash”: Award-winning filmmaker Steve McQueen goes old skool, so to talk, along with his breathtakingly filmed World War II adventure story. The story revolves around nine-year-old boy George (impressive newcomer Elliott Heffernan), who someday faces disaster throughout the air raid on London in order that he can see his mother Rita (Saoirse Ronan) and grandfather (Paul Weller) again. True to McQueen standards, “Blitz” is polished and crafted to perfection. It's also very paying homage to Forties Britain – the garments, the streets, the homes, the hairstyles, the racism and the results of war – which is powerfully captured in Yorick Le Saux's gritty cinematography.
“Blitz” will not be revolutionary and tells an old-fashioned story like lots of us have seen before. But it goes a special way and features one other great acting turn from Ronan, who conveys the love and panic a mother feels when she realizes her son will not be where he must be – on this case, in a rustic house where He might be gone. Damage is the way in which.
The all-too-precocious George jumps off the train into the countryside and, in true Dickens style, meets some helpful people in addition to some shady characters on his treacherous journey home.
While fans may long for an edgier McQueen à la “12 Years a Slave,” “Shame” or “Hunger,” there is no such thing as a doubt that the author directing this epic film still thinks outside the box.
His story addresses the racism of the time (George is of mixed race) and the fate that his father suffered partly because of this. But the film stands out more for its impressively staged motion scenes, one in a subway that recalls elements of James Cameron's “Titanic,” and the opposite with haunting brilliance that mixes the enjoyment of a giant party and a jazz performance with destruction and Death contrasts left lying within the rubble after an air raid.
Both scenes are unforgettable and breathtaking in a solid, unremarkable film that warms the unwavering love between a mother and son and the courage and bravado of Londoners throughout the Blitz. Expect greater than that and also you will probably be dissatisfied. Details: 3 out of 4 stars; hits theaters November eighth and will probably be available to stream on Apple TV+ November twenty second. (Note: It can be a shame to not see this on a giant screen.)
“Little things like this”: Cillian Murphy delivers one of the crucial acclaimed performances of 2024. He is ideal in every scene. The awards likely won't occur, nonetheless, because the talented actor nabbed an Oscar last yr for the far more visible “Oppenheimer.” In this small but big Irish indie based on one other wistful and achieved novella by Claire Keegan, Murphy will rip your heart out as compassionate, low-earning Irish coal merchant Bill Furlong, an insomniac with five daughters and one hardened man. The working woman (Eileen Walsh) desires to recuperate from her meager existence. Bill finds himself in an ethical crisis when he crosses paths with a miserable head nun (Emily Watson) in a convent that is a component of the infamous Magdalene Laundries – a spot where women are severely mistreated. Bill is dead drained most of his waking hours and has difficulty respiration as a result of his work. In the lean days before Christmas, Bill struggles with what to do after encountering a desperate, abused woman on the convent. The associated horrific events behind the monastery partitions awaken memories of Bill's past and the way another person's altruistic actions have influenced his life. Irish playwright Enda Walsh adapts Keegan's sophisticated work with grace, while director Tim Mielants draws top-notch performances from his forged. But it's Murphy's sensitive and impeccable performance and Bill's weathered face and people small but meaningful gestures that make “Small Things Like These” such a quietly big film about extending a helping hand to those in need. It's a message for all seasons. Details: 3½ stars; in theaters November eighth.
“The Best Christmas Contest Ever”: Desiring to turn into an annual holiday watch tradition, Dallas Jenkins' endearing, faith-filled adaptation of Barbara Robinson's Chestnut has the true meaning of Christmas and takes greater than a number of references from Bob Clark's 1983 classic “A Christmas Story.” , to the nostalgic drunken narration by “The Gilmore Girls” actress Lauren Graham. The screenplay by Ryan Swanson, Platte F. Clark and Darin McDaniel could have used a bit of more eggnog-like spice when coping with the rude and rowdy behavior of the six poor Herdman children who sneak right into a snoozer at a church pageant within the town of Then turn it over. Still, his earnest messages that churches have to be more inclusive so we are able to create healthy communities couldn't be more priceless in these difficult times. Judy Greer stands out from the forged as a nervous but patient assistant festival director and mother who learns to talk as much as support the kids the church desires to shun and leave behind. Details: 3 stars; hits theaters on November eighth.
“Overlord: The Holy Kingdom”: Anyone not aware about the intricacies of a multi-episode anime series – let alone a series that has resulted in 4 popular seasons – would jump in fear right into a pre-existing world and hope to know what the hell is happening goes. Overall, I got it, even when I didn't know anything in regards to the backstory of the character Momonga, the protagonist who gets sucked right into a video game. In the world of this film, where demigods, power struggles and hidden traitors lurk, Momonga has transformed into Ainz Ooal Gown, a sorcerer king who plays a vital role within the fight against the Demon Emperor Jaldabaoth, a power-obsessed being who desires to rule every part and anything everyone – living or dead – within the Holy Kingdom. Director Naoyuki Itô obviously enjoys classic world-building elements and takes care of some pretty amazing visual set pieces. All the essential elements are there too: bloody battles, surprising revelations and latent powers in unlikely sources. I’ll not have caught all of the references, but I'm determined to see what happens next after this film's cliffhanger ending. You could say I'm addicted. I believe you will probably be too. Details: 3 stars; in theaters November eighth.
“Weekend in Taipei”: Luc Besson might be counted on to end up crazy time-wasters that defy logic but look implausible and draw strength from tongue-in-cheek motion sequences. You get all that on this full-on popcorn fun co-written and co-produced by the French filmmaker. Luke Evans suits perfectly into the role of brash Minneapolis DEA agent John Lawler, who goes rogue after a bloody raid and flies to Taipei to take down a mega-heroin ring run by wickedly wealthy businessman Kwang (Sung Kang). Fifteen years earlier, Lawler went undercover in Taiwan and fell in love with spirited Joey (Gwei Lun-mei), now mother to environmentally conscious 13-year-old Raymond (Wyatt Yang). Oh yes, she happens to be Ms. Kwang. From there, the plot becomes increasingly ridiculous, but everyone within the forged – especially Evans – sells it with a wink as director/co-screenwriter George Huang stages martial arts brawls and shootouts. There are two breathtaking sequences – one which begins within the kitchen of a restaurant and extends to the front of the home, and one other in a Marriott hotel room that’s destroyed. “A Weekend in Taipei” loses its unbroken charm toward the top, but there’s good enough occurring — including a humorous nod to Audrey Hepburn and “Breakfast at Tiffany’s” — to make it value a visit to the cinema. Check your brain on the door. Details: 3 stars; in theaters November eighth.
“Black Taxi”: Most can relate to a foul rideshare experience. Not-so-happy couple Anne (Synnøve Karlsen) and Patrick (Luke Norris) embark on the final word hellish ride with a gregarious, over-sharing driver (Nick Frost, living it up here). He has ulterior motives that lead to them being held hostage in his taxi. Director Bruce Goodison uses the stress well in the primary two-thirds of this efficient Shudder release, but then the plot hits a dead end in the ultimate act. There's some great things here; foggy, dense English backroad atmosphere and a dose of bloody punishment, however the story simply runs out of fuel and we're left stranded on the side of the road. Details: 2½ stars; available November eighth on Shudder.
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