In The Balconettes, three roommates, Ruby (Souheila Yacoub), Nicole (Sanda Codreanu), and Élise (Noémie Merlant) hang out on their apartment's balcony during a heat wave. When Ruby accidentally kills their neighbor, Magnani (Lucas Bravo), they help her to cover up the crime. Writer/director Noémie Merlant and co-writer Céline Sciamma have made a clunky and tonally uneven dark comedy. The premise alone sounds like it could at least be a compelling crime thriller, but that's not what it turns out to be in execution. Instead, Merlant and Sciamma combine drama, comedy and sci-fi elements with a screenplay that's low on wit, suspense and poignancy. It's not afraid to go bonkers and to shock the audience, but, concurrently, it seems like it's trying to be unconventional and to push the envelope. The comedic beats often fall flat, unfortunately, and characters remain undeveloped and not very interesting, so it's hard to care about anyone on screen. For a much smarter, funnier and more witty dark comedy with a more sensitive screenplay, see Misericordia, Shallow Grave, Arsenic and Old Lace or The Trouble with Harry. At a running time of 1 hour and 45 minutes, The Balconettes opens at IFC Center.  

 

      In Dongji Rescue, Abi (Zhu Yilong), a Chinese fisherman on the Japanese-controlled island of Dongji, embarks on a life-threatening mission to rescue British POWs on a sinking Japanese ship off the coast. He must also rescue his brother, Adang (Wu Lei), who has been taken hostage by the Japanese army. Director Guan H and co-director/writer Fei Zhenxiang,and co-writers Chen Shu, Dong Runnian and Zhang Ji, have made a well-produced, slick and action-packed war film that's mostly shallow and pedestrian. Despite four screenwriters and being based on a true story, the screenplay, set in 1942, rarely has a scene that rings true or that feels genuinely heartfelt. The plot just seems to be going through the motions without allowing the scenes or the characters to breathe, so-to-speak. Most unfortunately, the screenwriters neglect to provide enough of a window into the heart, mind and soul of Abi, Adang or any of the British POWs. There's plenty of great underwater cinematography and well-choreographed action scenes that provide some Spectacle. However, a truly great film finds the right balance between Truth and Spectacle, a feat which Dongji Rescue doesn't accomplish effectively. The brief clips during the end credits showing the real-life POW soldiers talking about how they're thankful for being rescued are the highlights. Dead to Rights is a much more powerful, haunting and emotionally resonating war film. At a running time of 2 hours and 13 minutes, Dongji Rescue opens in select theaters nationwide via Well Go USA.  

Number of times I checked my watch: 2

      anessa Shepherd (Elizabeth Vermilyea) has strange visions of The Abaddon Hotel and sees a therapist, Dr. Farrell (Felicia Curry), while trying to unravel her dark, traumatic past in Hell House LLC: Lineage. The screenplay by writer/director Stephen Cognetti suffers from a meandering plot that's dull, unimaginative and unscary. Previous installments of the Hell House franchise have used found footage as the method of telling the narrative; this final installment opts for a conventional approach without found footage. That would've been fine if the film would've worked effectively as a psychological suspense thriller or horror thriller. Unfortunately, it doesn't. There scares are far and few between, the exposition feels lazy, the editing feels choppy, the dialogue sounds stilted and the performances are mediocre at best. Even on a purely aesthetic level, the production values don't add much style or atmosphere to compensate for the lack of substance. If you're new to the franchise, you might be a little lost and confused at times while wondering what makes any of these characters or their backstories worth caring about to begin with. At a running time of 1 hour and 48 minutes, Hell House LLC: Lineage opens in select theaters nationwide.

Number of times I checked my watch: 3




 

      Honey O'Donahue (Margaret Qualley), a private detective in a small town, investigates the mysterious death of a woman which might have something to do with the Reverend Drew Devlin (Chris Evans), the leader of a cult, in Honey Don't!. Writer/director Ethan Coen co-writer Tricia Cooke have made a painfully unfunny, vapid and asinine dark comedy with a plot that's increasingly silly and preposterous. Chris Evans gives an over-the-top performance in a role that's just as cartoonish as Margaret Qualley's role as the detective. Honey comes across as mean-spirited, annoying and unpleasant---much unlike Marge from Fargo. She's like nails on a chalkboard. As the plot progresses, it actually becomes less interesting with many attempts at humor that fall flat. The third act feels lazy, rushed and unsatisfying with too many plot holes and undercooked subplots. At a running time of 1 hour and 29 minutes, Honey Don't! opens nationwide via Focus Features.  

Number of times I checked my watch: 3




 

       Matthew (Théodore Pellerin), a worker at a clothing store, becomes obsessed with a famous singer, Oliver (Archie Madekwe), after becoming a part of his entourage in Lurker. The screenplay by writer/director Alex Russell doesn't have anything new or surprising to say about fame or stans for that matter, but it's nonetheless an honest and heartfelt psychological thriller.  Any guess how Matthew will react when Oliver inevitably stops allowing him to join his crew during a tour? Given that Matthew comes across as lonely, emotionally needy, immature and insecure, it should come as no surprise that he doesn't take rejection easily. He and Oliver are both narcissists who treat others like objects thereby dehumanizing them. Neither of them shows any signs of introspection or innate growth. Lurker manages to be a much more engrossing and less clunky drama than the undercooked and contrived Hurry Up Tomorrow which charts similar territory. It's elevated by Théodore Pellerin's raw, captivating, nuanced and charismatic performance. He breathes life into his role and gives the best performance of his career. At a running time of 1 hour and 41 minutes, Lurker opens at Regal Union Square and AMC Lincoln Square via MUBI.  

Number of times I checked my watch: 1




 

      Amir (Kareem Rahma) and Olivia (Mary Neely) bond while traveling together through New York City to collect cash that they're both owed in Or Something. Director Jeffrey Scotti Schroeder and co-writers Kareem Rahma and Mary Neely have made a sweet and tender drama that doesn't try to be anything more than a gently engrossing and authentic slice-of-life. Not much happens in terms of plot and there aren't any villains, car chases, stabbing, zombies or lots of exposition. The filmmakers, much like Richard Linklater and Andrew Bujalski, have a good ear for dialogue that sounds natural without any stiltedness or heavy-handedness. They trust the audience's emotions, intelligence, imagination and patience, and find the Spectacle within the film's Truths. It's no easy feat to find Spectacle and emotional depth within the more mundane aspects of life.

      Amir and Olivia don't always gets along and sometimes seem like they're not compatible together, but that's what makes their interactions feel so real. The dynamics of their blossoming relationship are fascinating, especially because of how they evolve throughout the film. Moreover, the raw performances by Kareem Rahma and Mary Neely help to ground the film even further in authenticity so that you'll think you're watching a documentary. Kudos to the filmmakers for showing restraint by not allowing Or Something to overstay its welcome. At a brief running time of 1 hour and 20 minutes, Or Something opens at Quad Cinema via Factory 25.  

Number of times I checked my watch: 1




 

       During the Vietnam War, Ryan (Ryan Kwanten) leads a platoon that General Amadeus (Jeremy Piven) sends to Vietnam to search for another platoon that's gone missing in Primitive War. Little do they know that they're about to encounter dinosaurs. Writer/director Luke Sparke has made a thrilling, action-packed B-movie movie that blows Jurassic World Rebirth out of the water. The screenplay wastes no time with padding by jumping right into an intense action scene that sets up the main plot. Unlike in Jurassic World Rebirth, the dinosaurs arrive to battle the humans within the first 30 minutes, and the film doesn't hold back on the graphic violence either. Moreover, the performances are decent enough, although, to be fair, don't expect to be emotionally engrossed or to care about any of the soldiers for that matter. That's forgivable because, ultimately, Primitive War is a loud and proud B-movie. The CGI and cinematography are solid without any scenes where the use of green-screen looks obvious. Most importantly, though, writer/director Luke Sparke finds a consistent tone that isn't all over the place. There are brief moments of levity, but they don't feel forced or lead to tonal unevenness, a very common problem in most blockbusters these days. Be sure to stay through the end credits for amusing mockumentary Vietnam War footage of dinosaurs. At a running time of 2 hours and 15 minutes, Primitive War opens nationwide via Fathom Entertainment.  

Number of times I checked my watch: 1




 

       Relay. Ash (Riz Ahmed), a fixer, uses a relay service to communicate with his client, Sarah  (Lily James), a scientist who wants to blow the whistle on the biotech corporation that she worked for. She has evidence that one of their products is highly carcinogenic. Sam Worthington and Willa Fitzgerald play the corporate mercenaries who attempt to silence her. Despite a premise that sounds like it could be a taut thriller, Relay comes up short in terms of suspense and intrigue. The screenplay by Justin Piasecki just goes through the motions until a twist that can be seen from a mile away. The cinematography is decent and Riz Ahmed does his best to breathe life into his role, but he's undermined by a shallow screenplay that treats his character as a plot device. The same can be said for the other characters. Alan J. Pakula would've probably made a much more intelligent and psychologically gripping thriller out of this plot. Or perhaps Tony Scott would've turned it into an exhilarating action-packed thriller like Enemy of the State. Then there's All the President's Men, Erin Brokovitch and The Insider. All of those films are far superior to Relay which is often inert, contrived and ultimately forgettable much like The Amateur. At a running time of 1 hour and 52 minutes, Relay opens nationwide via Bleecker Street.  

Number of times I checked my watch: 3




 

      The police hire ex-police officer Wong Tak-Chung (Jackie Chan) to assemble a surveillance team to hunt down Fu Lung-Sang  (Tony Leung Ka-Fai), an elusive criminal whose gang has stolen cryptocurrency in The Shadow's Edge. Wong's team includes He Qiuguo (Zhang Zifeng). Writer/director Larry Yang has made one of the most suspenseful, intriguing and exhilarating crime thrillers since Infernal Affairs. The plot sounds simple and straightforward, but it actually becomes more complex and surprising as it progresses because He Fu Lung-Sang, who's nicknamed Shadow, turns out to be a very cunning, skilled and compelling criminal as are his gang of thieves who include twin brothers, Hei Wong (Ci Sha) and Hei Mong (Ci Sha).  Wong is just as cunning, though, and it's both fun and exciting to watch them try to outsmart each other like De Niro and Pacino in Heat. He Quiguo has a heartfelt backstory that humanizes her which won't be revealed here, but it also makes the relationship between her and Wong more interesting. Moreover, writer/director Larry Yang knows how to incorporate just the right amount of exposition.

       Since the audience already knows from the beginning who's responsible for the cryptocurrency theft, the suspense comes from the anticipation of if, when and how Wong will successfully find and catch Shadow. The action sequences and stunts are well-choreographed, the violence is gory without being excessive, the comic relief provides effective levity, and the pace moves briskly enough so that there are no dull moments. The well-cast Tony Leung Ka-Fai and Jackie Chan bring palpable charisma to their roles. Please be sure to stay through the end credits for outtakes and for additional key scenes. At a running time of 2 hours and 21 minutes, The Shadow's Edge opens in select theaters nationwide via CMC Pictures.  

Number of times I checked my watch: 1

      Lauren (Sophie Turner), an actress, seeks refuge in an isolated cabin after a scandal involving hackers who steal her private photos and circulate them on social media in Trust. Little does she know that she'll be fighting for her life when burglars enter the cabin hoping to steal some money. Director Carlson Young and screenwriter Gigi Levangie have made a dull, uninspired and inane suspense thriller. It could've been a lean, mean and mindlessly entertaining B-movie if it had more palpable suspense, a more focused screenplay, and thrilling action scenes. . Sure, the dialogue often sounds stilted and clunky, but that's the least of the film's issues. Unfortunately, the suspense and thrills are ephemeral, and characters are nothing more than underwritten plot devices. The cinematography and set designs don't do much to elevate the film above mediocrity, and the same can be said about the performances of Sophie Turner and, in a supporting role, Katey Sagal. Perhaps if Trust didn't try to take itself so seriously and added some much needed dark comedy and campiness, it would've been a fun guilty pleasure. At a running time of 1 hour and 30 minutes, which feels more like 2 hours, it opens in select theaters nationwide via Republic Pictures.

Number of times I checked my watch: 3




 

       Unseen Innocence is a heartfelt, illuminating and enraging documentary about  Lionel Raymond Williams, a.k.a. Ray Ray, a black man who was wrongfully convicted of murdering actor Sal Mineo back in 1976. Director Letitia McIntosh films Omar Gooding interviewing Ray Ray about his memories of how he ended up being framed for the murder.  He served a total of 23 years and 9 months in prison before he was released from jail on parole in 1990. To this very day, he has yet to be exonerated. According to eye-witnesses, a white man, not a black man, fled the scene of the crime, so could he be found guilty beyond a reasonable doubt with flimsy evidence? It probably has something to do with the fact that  an all-white jury convicted him. Unseen Innocence could've been even more enraging if it were to further explore its themes of injustice in the American justice system. He's one among many people who served time for crimes that they didn't commit. He has the right to be indignant about his wrongful conviction, so how does he deal with that anger? However, by focusing on Ray Ray's own perspective, it allows him to bravely and generously bare his heart, mind and soul in front of the camera which makes for an emotionally engrossing experience. He's clearly been through a lot and has managed to perservere while grasping the wisdom behind Pablo Neruda's poem, "They can cut all of the flowers, but they can't stop the spring from coming."

      Fundamentally, Unseen Innocence is about truth, justice and, above all, democracy in a country with a very dysfunctional democracy. On a side note, I once asked a judge who's a friend of the family how she feels about the possibility that she's sending someone innocent to prison, and she candidly and introspectively admitted that it's something that she thinks about all the time and that keeps her up at night sometimes. I wonder how many other judges are that introspective or how the judge who sent Ray Ray to prison feels about that fact that he's actually innocent. At a running time of 1 hour and 17 minutes, Unseen Innocence opens at Village East by Angelika. It would be an interesting double feature with the documentary After Innocence. 

Number of times I checked my watch: 1