A zombie franchise rises from the dead.
‘28 Years Later’
Directed by Danny Boyle, this sequel follows a family of survivors as they fight off monstrous infected flesh-eaters on a verdant British island.
From our review:
[The islanders] seem committed to the heroic romance of their own struggle, as Boyle suggests by inserting snippets from Kipling’s poem “Boots” as well as images of marching boys and clips from Laurence Olivier’s film of “Henry V.” These nods at a past that’s by turns historic and romantically mythic, feed an undercurrent of tension that Boyle builds on, one kill at a time.
In theaters. Read the full review.
These aliens are all too familiar.
‘Elio’
A young orphan gets whisked away to an alien planet in this animated film directed by Madeline Sharafian and Domee Shi.
From our review:
Feelings are shared, if largely for the viewers; minor family issues are raised (and resolved); clichés and contrivances pile up. Before long, the fleetingly liberated child and the filmmakers’ imaginative playfulness are boxed up, and the whole thing turns into yet another superhero adventure.
In theaters. Read the full review.
Critic’s Pick
An empathetic portrait of dementia.
‘Familiar Touch’
After her son (H. Jon Benjamin) moves her to an assisted living facility, Ruth (Kathleen Chalfant), who has dementia, struggles to adapt to her new life in this drama directed by Sarah Friedland.
From our review:
“Familiar Touch,” which sees Chalfant acting alongside the real inhabitants of an assisted living community, is a series of naturalistic vignettes that showcase Ruth’s struggle to maintain her identity in the face of a new life that she believes poses a threat to her sense of dignity.
In theaters. Read the full review.
Critic’s Pick
Fighting beasts with beats.
‘KPop Demon Hunters’
A K-pop girl group faces off against a demonic boy band in this animated film directed by Maggie Kang and Chris Appelhans.
From our review:
The action sequences are fluid and immersive, the art is frequently striking and the music (catchy, if formulaic earworms) is a properly wielded and dynamic storytelling tool. And as for the cheesy girl group vs. boy band story, Kang and Appelhans have a sly sense of humor about it all, too
Watch on Netflix. Read the full review.
An unhappy marriage of genres.
‘Bride Hard’
Rebel Wilson stars as a bridesmaid and undercover agent at a wedding crashed by a team of mercenaries in this action rom-com directed by Simon West.
From our review:
A smorgasbord of unconvincing danger and semi-schmaltzy lessons in friendship, “Bride Hard” is rarely as funny as it could be. Opportunities for satirical digs go mostly unplumbed, although you might note that a key prop is a Civil War cannon. You might also note a glaring continuity gaffe in the final sequence, an apt reminder not to give any of this a second thought.
In theaters. Read the full review.
Critic’s Pick
Newly restored and constantly charming.
‘Shanghai Blues’
In this newly restored comedy directed by Tsui Hark, a man and a woman meet while sheltering under a bridge during an air raid and vow to reunite after the war.
From our review:
“Blues,” playing now in a 40th anniversary restoration, is a constant charmer. Watching it is a buoyant experience even when the humor is a bit tasteless, including a bit involving mistaken sex partners during a blackout. Tsui’s affection for his characters rings as clear as his love for screwball comedy antecedents.
In theaters. Read the full review.
A movie about acting saved by its actors.
‘Everything’s Going to be Great’
A young boy who talks to the ghosts of famous people eagerly follows the thespian dreams of his father (Bryan Cranston) in this dramedy directed by Jon S. Baird.
From our review:
By turns heartfelt and, especially in the ghost tête-à-têtes, irksome, the movie is helped substantially by its cast, especially Cranston, who brings a welcome sincerity to a quixotic, potentially cloying character.
In theaters. Read the full review.
Coming-of-age, ages apart.
‘The Queen of My Dreams’
This dual coming-of-age tale directed by Fawzia Mirza follows Mariam, and her daughter, Azra, as they tackle adolescence in vastly different times and places.
From our review:
In granting equal screen time to the two women, the film shows how their lives expand and contract. Scenes of Mariam’s life in Pakistan buzz with 1960s Bollywood energy, a stark contrast to her staid middle age in Canada. The juxtaposition of the lifestyles builds a nostalgic mood and gestures at a generation of women transformed by societal pressures and familial anxieties.
In theaters. Read the full review.
Compiled by Kellina Moore.
The post 8 New Movies Our Critics Are Talking About This Week appeared first on New York Times.
