‘Wendell & Wild’
Animation followers have been ready some time for a brand new movie from stop-motion grasp Henry Selick, who previous to his Netflix film “Wendell & Wild” hadn’t launched a characteristic since 2009’s fantastic “Coraline.” The endurance has been rewarded. “Wendell & Wild” — primarily based on an authentic Selick thought, tailored right into a screenplay alongside one of many venture’s producers and stars, Jordan Peele — is as offbeat and private because the director’s finest.
Peele and his longtime sketch comedy associate Keegan-Michael Key voice the title characters: a pair of demon brothers scheming to flee the underworld. They assume they’ve discovered their ticket out within the type of an offended orphan teen named Kat (Lyric Ross), who has supernatural powers and a yen for anarchy. Nevertheless it seems they’re all being manipulated and pitted towards one another by mega-rich people who plan to show Kat’s dying outdated industrial city into one massive non-public jail advanced. The film’s plot is a little bit convoluted — not unusual for Selick — and entails each the heroes and the villains freely crossing the boundaries between life and loss of life.
“Wendell & Wild” has the telltale Selick look: the distended character designs, the expressionistic lighting and the willingness to let the puppets resemble puppets and the actions to be a little bit uneven, to underline the handmade high quality. There are distinctively quirky touches all through: like Kat’s love of Afropunk music, her bond with a artful nun (Angela Bassett), and her cautious friendship with a number of non-public faculty classmates who at first look like snobs however really show courageous and useful. For Selick, “animation” isn’t nearly making photos transfer. It’s about giving his photos a beating coronary heart, alive with the chance that the weak could be robust, the grotesque could be good and that nothing dies perpetually.
‘Wendell & Wild.’ PG-13, for some thematic materials, violence, substance use and temporary robust language. 1 hour, 45 minutes. Accessible on Netflix; enjoying theatrically, Bay Theatre, Pacific Palisades
‘Run Sweetheart Run’
Periodically all through the supernatural thriller “Run Sweetheart Run,” when the heroine finds herself in horrible bother — far past her worst expectations on an evening that has turn into a nightmare — director and co-writer Shana Feste fills the display screen with the phrase “RUN!” That is additionally a sign to the viewers: The film is about to take one other wild flip; and in the event that they’re not up for it, they need to bail. Feste and her co-writers Keith Josef Adkins and Kellee Terrell make numerous odd selections with “Run Sweetheart Run” to maintain the motion transferring; and practically all of them edge the story away from the scrappy, sociopolitically astute motion image it’s at its finest.
Ella Balinska is terrific as Cherie, who reluctantly agrees to assist out her boss and mentor (Clark Gregg) by filling in for him at a dinner assembly with a shopper, Ethan (Pilou Asbaek). The dinner evolves right into a date, which ends with Ethan bringing her again to his home and assaulting her, prompting the primary “RUN!” Additional problems ensue. Ethan seems to be a demon who can observe ladies by smelling menstrual blood; and everybody Cherie turns to for assistance is both suspicious of her claims or underneath the villain’s sway. By the tip of the night, she will solely depend on the First Woman (Shohreh Aghdashloo), the shadowy chief of a feminist underground military.
Feste handles the motion and horror in “Run Sweetheart Run” nicely; and for many who can deal with its extra preposterous twists there are trashy pulp kicks available right here. However provided that this film can be making an attempt to say one thing trustworthy and offended about how the powers that be shield abusive males, its silliness is a setback. The additional Cherie’s predicament drifts from the actual world, the better it’s to dismiss it as mere leisure.
‘Run Sweetheart Run.’ R, for horror, violence, bloody photos, language, sexual references and temporary nudity. 1 hour, 43 minutes. Accessible on Prime Video
‘Louis Armstrong’s Black & Blues’
Louis Armstrong is an advanced determine in each the historical past of fashionable music and the historical past of American race relations. An adept trumpeter with a memorably raspy voice, Armstrong helped introduce the world to the smoky, languid, New Orleans type of jazz, and within the course of turned one of many highest-paid and most revered Black entertainers of his period, showing in Hollywood motion pictures and enjoying the very best live performance halls and resorts. However that success got here with compromises, together with avoiding civil rights activism and persevering with to play the identical snappy songs whereas youthful horn gamers have been revolutionizing jazz.
Director Sacha Jenkins’ vigorous and provocative documentary “Louis Armstrong’s Black & Blues” takes within the totality of the person: the bottom he broke, the alternatives he made, the folks he impressed and the folks he let down. Drawing closely on Armstrong’s private audio tapes — supplemented by outdated interviews and archival TV and film clips — Jenkins places the person some referred to as “Satchmo” or “Pops” into a bigger cultural context, contemplating the boundaries of his instances and the exceptional progress he made regardless of them. “Black & Blues” isn’t a simple biography a lot as a set of participating anecdotes and eager observations, meant to spark a renewed appreciation for somebody too typically misunderstood.
‘Louis Armstrong’s Black & Blues.’ R, for language. 1 hour, 47 minutes. Accessible on Apple TV+; enjoying theatrically, Laemmle Noho 7, North Hollywood; Landmark Westwood
The obvious level of comparability for writer-director Chris Chan Lee’s surreal neo-noir “Silent River” is David Lynch, provided that its plot has a lot in frequent with the likes of “Lost Highway,” “Mulholland Drive” and “Twin Peaks” — together with doppelgängers, parallel realities and a personality who’s extra an automaton than a person. However Lee brings his personal tone and elegance to the piece that retains it from being spinoff.
West Liang performs Elliot, a determined man within the technique of dropping his enterprise and his spouse when he checks right into a near-empty resort underneath a weird-looking sky. There he meets Greta (Amy Tsang), who appears to be like precisely like his spouse and is touring with a robotic named P2 (Max Faugno) who resembles Greta’s late husband. Lee constructions the movie like a thriller, which provides it a pointy hook within the early going however results in an inevitable letdown within the last stretch when the solutions show much less attention-grabbing than the questions. Nonetheless, there’s a powerful sense of displacement in “Silent River,” which captures the eerie otherworldliness of liminal areas like resorts, the place every little thing looks like a barely off-kilter model of actuality.
‘Silent River.’ Not rated. 2 hours, 1 minute. Accessible on VOD
The primary 20 minutes of the monster film “The Lair” is a number of the finest work the veteran horror/fantasy filmmaker Neil Marshall has ever carried out. With virtually no dialogue, Marshall units up the movie’s story in a single lengthy motion sequence, which sees Royale Air Drive fighter pilot Kate Sinclair (performed by Charlotte Kirk, who additionally co-wrote the script) getting shot down in a distant a part of Afghanistan, the place she stumbles throughout an underground bunker containing mutated beasts. As soon as she will get rescued by an eclectic band of troopers — with a mixture of races and genders, principally conforming to broad stereotypes — “The Lair” grinds to a halt for some time, as every new forged member will get an introduction. Marshall recovers nicely within the movie’s again half, although, which options loads of two-fisted fight scenes and gory splatter, laced with darkish humor. “The Lair” doesn’t end as spectacularly because it begins; however that simply means it’s a great style image and never a terrific one.
‘The Lair.’ Not rated. 1 hour, 37 minutes. Accessible on VOD; enjoying theatrically, Laemmle Noho 7, North Hollywood
Regardless of its thick layer of social commentary, the British thriller “Hunted” is ostensibly an old style “Most Dangerous Game” riff, just like dozens of survivalist chase motion pictures launched over the previous 100 years. Often known as “Hounded” (a greater title), the movie follows a band of thieves who get baited right into a heist at a distant nation property the place the snooty Woman Redwick (Samantha Bond) and her household captures and hunts them, after lecturing their prey in regards to the ethical decline of the working class. In comparison with the controversial human-hunting image “The Hunt,” “Hunted” is much less incendiary and fewer formidable, with nothing particularly revelatory to say in regards to the rich’s sense of entitlement. However director Tommy Boulding and screenwriters Ray Bogdanovich and Dean Strains do ship a lean, efficient motion movie, with numerous taking pictures, stabbing and intelligent traps. It’s excellent for anybody who enjoys the sound of tortured screams in a bucolic English countryside.
‘Hunted.’ R, for violence and language. 1 hour, 34 minutes. Accessible on VOD
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“Barbarian” is among the 12 months’s finest horror movies: a persistently sly and witty thriller that it’s finest to know as little as doable about earlier than watching. Written and directed by Zach Cregger, the film begins because the story of a enterprise traveler (Georgina Campbell) who books a sketchy rental property in a crumbling Detroit neighborhood; however the instructions the plot takes from there are each unattainable to foretell and sometimes intensely horrifying. Accessible on VOD
Accessible now on DVD and Blu-ray
“The Invitation” is a contemporary reimagining of outdated European vampire legends, with Nathalie Emmanuel enjoying an unusual American named Evie who learns she has a genetic connection to an aristocratic — and spooky — English household who desires to satisfy her. A visit crammed with journey and romance — together with a passionate fling with a good-looking lord (Thomas Doherty) — takes a darkish flip as soon as Evie discovers her hosts’ grim plans. Sony