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As August goes, this week’s movies are not so bad. You’ll acquisition a brace that are actually account your time, a brace that are appealing middling. No accurate blockbusters on the agenda this week, but abutting anniversary looks promising!

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In theaters

by George Wolf

The Night House rests on a trusted abhorrence foundation that’s adorned with several stylishly awful fixtures. But it’s a agitating advance achievement from Rebecca Hall that becomes the abutment axle preventing absolute collapse.

Hall plays Beth, a New York abecedary still addled from the contempo afterlife of her bedmate Owen (Evan Jonigkeit). As Beth drifts through her absorbing beach abode aggravating to adjust, new discoveries accompany abrupt questions about her backward husband’s alfresco interests.

Though Beth’s acquaintance (Vondie Curtis-Hall, consistently a pleasure) and best acquaintance (Sarah Goldberg) both acquaint her not to ample the abandoned in her activity with “something dark,” the aphotic keeps calling. The added Beth address into things Owen larboard behind, the added signs point to an abashing abstruse life, and to the achievability that Owen may not accept actually confused on.

Director David Bruckner (The Ritual, The Signal) and screenwriters Ben Collins and Luke Piotrowski (Super Aphotic Times) anniversary accept resumes assuming absorbing after-effects aural bound budgets. Stepping up a bit in class, their allegory for the fog of affliction and abasement is accustomed but well-crafted, with humble jump scares and finer chilling visuals.

Bruckner fuels the accepted what’s real/what’s-in-her-head questions with some chic camera tricks that accomplish the abode appear eerily animate with affected perspectives and Dali-esque illusions.

As solid as the film’s architecture may be, it avalanche on Hall to accomplish abiding the reveals cat-and-mouse in the third act acreage with added affect than silliness.

She’s added than up to the task. Aboriginal on, Beth’s abiding grief, and her animus adjoin anybody who’s not Owen, carries an actuality that gets us actually abaft Beth’s claimed journey. And that pays assets already the blur relies on our acceptance in what Beth believes. Thanks to Hall, we end up affairs in.

Looking advanced to 2022, Bruckner, Collins and Piotkowski will aggregation up afresh for the Hellraiser reboot. That agency that while there’s abundant in The Night House to amuse abhorrence admirers today, there’s additionally affluence actuality to get us hopeful about the future.

Grade: B

In theaters

by Hope Madden

For one of those apache apache thrillers to work, it helps to accept a acceptable advance who has allure with the bad guy. Martin Campbell’s The Protégé delivers on both fronts.

And yes, in these films chance about takes a backseat to activity choreography, autograph rides shotgun to action. This additionally sounds a lot like Campbell’s latest, although it would be added forgivable if the activity stood out abundant that you could discount the shortcomings in story.

Maggie Q is protégé apache Anna, and while her close battle never break the surface, she convinces as she moves bewigged from one set allotment to the next. Anna’s mission this time is personal, natch, and her bendable atom comes from her mentor, played by Samuel L. Jackson.

How is he? Well, he’s, you know, Sam Jackson. He’s actually Sam Jackson. That works in about every added movie, and it works aloof as able-bodied here.

But the absolute activated abundance in The Protégé is Michael Keaton. His talent, charisma, accessible agreeableness and accustomed acceptable amusement annoyance every scene. Luckily, he’s in a lot of them, so he elevates best of the film.

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Campbell (Casino Royale) stages able admitting bromidic activity sequences. His script, by activity adept Richard Wenk (The Equalizer), can’t tie appearance action to abstruseness elements to area or conflict. Instead, it stitches calm account from a scattering of added films with little affair for coherence.

Perhaps this is why Campbell struggles so mightily with tone. This affair swings aback and alternating amid associate account and animus fantasy, all-embracing espionage abstruseness and romance. The bit that about drives a blur like this—you know, aback the barbarous advance assuredly faces their demons—feels about coincidental, abrogation it no allowance to resonate.

The Protégé is not a abhorrent film. At affliction it’s aloof a decay of your time.

Grade: C

At Gateway Blur Center

by Matt Weiner

Harder alike than award a cryptid these canicule ability be accepting to see a new activated affection meant for adults. Cryptozoo, the latest from banana book artisan Dash Shaw and animator Jane Samborski, is acute affidavit of how basic it is that we still do—rare as these sightings get.

Not that there’s annihilation amiss with the abounding accomplished activated options we do get, all with the requisite PG jokes to accumulate parents active and bathetic climaxes that accomplish you apprehend a matinee out with the ancestors has angry into at atomic three approaching analysis sessions for a adolescent 20 years into the future. But it’s auspicious to get a adventitious to see lushly textured, hand-drawn beastly assignment go adjoin interrogating association aloof a little added than article like “stereotypes are bad.”

Cryptozoo kicks off as an Indiana Jones-style chance with a allegorical twist. Lauren Grey (Lake Bell), accomplished veterinarian and biking cryptid hunter, advance bottomward these aberrant creatures and offers them a abode in a adequate zoo area they can cautiously collaborate with the accessible as able-bodied as their own kind.

Not all cryptids are humanoid, though—you try answer “Jurassic Park but with sasquatch” to a kraken—and so the zoo’s citizenry is a mix of humanely captured exhibits and actually acquainted bewitched creatures who aloof appetite to alive and adulation and go about their circadian lives afterwards abhorrence of animality or worse from their animal neighbors.

The “worse” comes in the anatomy of Nicholas (Thomas Jay Ryan), a acquisitive ex-military tracker who hunts bottomward cryptids to advertise to governments as active weapons. Aback Nicholas and Lauren go afterwards the above barbarian (a dream-eating baku), Lauren charge accomplice up with Phoebe (Angeliki Papoulia), whose point of appearance on coexistence as a gorgon leads Lauren to boring catechism her constant following and backfire from the acerbic allegation of commercialism and capitalism.

If that sounds like a drag, Shaw’s script—and abnormally the accurate assets and amusing capacity on anniversary cryptid—keep it buoyant. The aftereffect is an aggressive activated affection area the average fits the message. This is a allegory with absolute bite, mapping out a apple area acceptable intentions can still appear to a bad end, and that can be the best important moral to learn.

Grade: A-

At Gateway Blur Center

by Brandon Thomas

Barbara Lee: Speaking Truth to Power is a admiring anniversary of the adept Congresswoman from Oakland, California. Instead of actuality an issues-driven boner piece, Speaking Truth to Power is a cine that seeks to accept how Lee’s history and affairs led her to acceptable the woman she is today. 

Barbara Lee hasn’t become a domiciliary name like Nancy Pelosi, Maxine Waters or Alexandria Ocasio-Cortez. Despite her accessory anonymity on the civic political stage, the blur puts a spotlight on how Lee has managed to get allusive legislation anesthetized while captivation assimilate her amount beliefs. It’s allotment of what has fabricated Lee so alluring to her constituents, added Abode associates and senators, and to her own family.

So abundant of the aboriginal allocation of Speaking Truth to Power focuses on Lee’s aloof post-9/11 vote adjoin the Authorization for Use of Military Force Adjoin Terrorists. By actuality the abandoned affiliate of the Abode of Representatives to vote adjoin the Act, Lee put a ambition on her aback during a abounding time in American politics. Through aptitude into this allotment of Lee’s activity so aboriginal in the film, Administrator Abby Ginzberg sets the date to appearance how the Congresswoman has consistently been that conscionable in her behavior and convictions.   

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Of course, the blur is brimming abounding of aglow testimonials from the creme de la creme of American political and activist life: John Lewis, Van Jones, Cory Booker and Danny Glover, aloof to name a few. These vignettes never abuse to beat the film, but add aged $.25 to Lee’s advancing chance from adolescence through her career in Washington.

The absolute meat and potatoes of the blur comes from Lee herself. So abundant of her chance is told from her point of appearance as the filmmakers chase her from Washington, D.C., to her commune in California, and alike aback to El Paso, Texas, area she grew up in the adumbration of Jim Crow. The claimed ancillary of Lee’s chance isn’t accustomed the above absorption that her able ancillary is, and that feels about by design. Lee isn’t shy about her struggles as a distinct mother, or the failings of accomplished relationships. But she isn’t attractive to let those accomplished hardships ascertain her either. 

By the end of Speaking Truth to Power, it’s credible that Barbara Lee deserves to be included in the pantheon of those above domiciliary names. Not for her political accuracy though. No, Barbara Lee should be remembered for her convictions. 

Grade: B

On Netflix

by George Wolf

You apperceive that activity aback addition comes out of a aegis aperture at the absolute moment you’re aggravating to appear in afterwards a key?

Or aback a above cable account appearance puts your alarm appropriate through to the air on the actual above day you acquisition a compatible in actually your admeasurement blind up and cat-and-mouse for you to alloy in about you don’t actually work?

Me neither. So while Netflix’s Sweet Girl calls absorption to a actual absolute botheration in America, the anecdotal that drives it trades actuality for contemporary contrivanace.

Through a frequently alteration timeline we accommodated Ray Cooper (Jason Momoa) and his babe Rachel (Isabela Merced). Tragedy hits their Pittsburgh-based ancestors aback wife/mother Amanda Cooper’s activity is cut abbreviate by cancer. Amanda fights hard, but assuredly succumbs aback a able new biologic is withheld by abhorrent Pharma Bro Simon Keely (Justin Bartha).

While Keely and Congresswoman Diana Morgan (Amy Brenneman) are on alive TV debating decree biologic prices, Ray calls in to allegation the price-gouging Keely for his wife’s death, and to affiance agitated revenge.

Ray’s civic blackmail seems to alone agitate the absorption of an analytic anchorman on the aisle of a Big Pharma conspiracy, and aback Ray’s affair with the biographer turns accidentally bloody, ancestor and babe become fugitives bolter by both the cops and the killers.

In his affection debut, administrator Brian Andrew Mendoza utilizes Momoa’s ample allure via some accepted activity choreography, but the able Merced seems wasted. Writers Gregg Hurwitz (The Book of Henry) and Phillip Eisner (Event Horizon) serve up a chance of accessibility on the way to a third act aberration that will ascertain how calmly the blur goes down.

If you can accumulate your eyes from rolling, this blur may feel like the authorization kickstart it aims to be. Otherwise, Sweet Girl leaves a appealing acerb aftertaste.

Grade: C

On VOD

by Rachel Willis

In 2013, in Valdosta, Georgia, a atramentous jailbait was begin asleep in his aerial academy gym. The admiral disqualified his afterlife a adverse accident. There were a few aghast by that cardinal – including administrator Jason Pollock. The aftereffect of his four-year, clandestine analysis is the brave documentary, Finding Kendrick Johnson.

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Drawing on interviews with Kendrick Johnson’s family, official investigators, as able-bodied as account footage, abomination arena photos, and Valdosta’s barbarous history, Pollock makes his own case for what happened to Kendrick.

We’re told aboriginal on this advice is actuality presented in a way that will acquiesce admirers “to accomplish up their own minds.” This isn’t an affair aback absorption on what happened to Kendrick. However, the blur makes a adamantine accusation. This isn’t to say whether or not the accusations are unfounded, but in the age of internet vengeance, it doesn’t sit well.   

It’s not done afterwards reason. The allegation allows the blur to draw parallels. If the roles were reversed, if a white adolescent was murdered and the accused was Black, the case would be handled actual differently. A Atramentous jailbait would actually not be accustomed to alive his life, nor would a white teenager’s annihilation be handled so abominably (and with absolute disregard) by bounded law enforcement.  

Narrators, alike in documentaries, about bear a adamantine sell. Abounding times, movies book bigger afterwards the voiceover giving you the details. But this blur wants the eyewitness to be actual bright about what it’s presenting. In case you absent a detail, Jenifer Lewis’s account helps alarm your absorption to the abounding contradictions in the case.

Numerous clear and agitated images abode the screen. Abomination arena and dissection photos of Kendrick acquiesce the eyewitness to see what happened to Kendrick in bleeding detail. It ability be too abundant for some, decidedly as the documentary draws comparisons to accomplished lynchings, but it’s all-important to highlight the injustices adjoin Atramentous Americans. Too often, Atramentous men, women, and accouchement are murdered, and no one is captivated accountable.

In the past, these crimes would be known, celebrated, and abandoned by the amends system. These days, the amends arrangement tries to canyon off a annihilation as an blow in hopes it will go away. This documentary, forth with Johnson’s family, wants to ensure that doesn’t appear to Kendrick.  

Kendrick Johnson deserves justice. His ancestors demands it. Maybe this documentary will advice them get it.

Grade: B-

On VOD

by Hope Madden

Bella Thorne is the best affair about writer/director Janell Shirtcliff’s camp thriller Habit. Aback is that anytime a acceptable sign?

Thorne plays Mads, a Jesus-loving Texan crude to Hollywood’s base to be with her two hometown besties Evie (co-writer Libby Mintz) and Addy (Andreja Pejic). Mads really loves Jesus. Like in an actually afflicted way.

But that’s the atomic of her problems afterwards Evie’s one night angle makes off with all the drugs and money the girls are captivation for Eric (Gavin Rossdale).

This cine tries so adamantine to be Tarantino by way of John Waters and it fails so actually that it gets acclaim for commitment. What it lacks is inspiration—Shirtcliff’s adventure requires that we be abashed by Mads’s behavior, afraid by the affected aberration of her pursuers, and weirdly fatigued into her cheap world.

The actuality that none of it feels abnormally wild, or that the pursuers abridgement boldness and panache, takes a backseat to the film’s defective accurate quality. Individual scenes accept no anatomy – they drag, best of them missing purpose, punchline or punch.

Nothing feels abnormally taboo, and that’s a botheration because afterwards any absolute “wild” in these antics, you acquisition yourself advantageous absorption to the autograph or, worse still, the acting. Rossdale has a boxy time developing a character, partly because there’s no cogent whether to like or animosity Eric.

Shirtcliff and Mintz accept no abstraction what to do with the absolute villains, Queenie (Josie Ho) and Tuff (Jamie Hince). The filmmakers dress them up like article out of Pee-wee’s Playhouse, but their abomination is awkward and suspect.

Habit plays like a blur fabricated by bodies who actually admired David Lynch’s Wild at Heart, Tony Scott’s True Romance, and aggregate John Waters anytime made, but had no absolute abstraction what they admired about it. The aftereffect is a hodgepodge of adopted ideas, none of them absorbing abundant to arete the characterization subversive.

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Grade: C-

Follow George and Hope on Twitter @maddwolf and accept to their account cine analysis podcast, THE SCREENING ROOM.

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