Frat brothers Grayson (Matt Cornett) and Tyler (Ramon Reed), are desperate to fulfill their court-ordered community service, so they pretend to be Christian counselors at Burning Bush, a Christian youth camp, in Bad Counselors. Chris Klein plays Pastor Tom, the camp's leader. Director Chris Dowling and his screenwriters, Taylor Grabowsky, Ryan Gunnarson, and Dexter Masland have made a funny, witty and heartfelt fish-out-of-water comedy. The plot doesn't waste any of the audience's time as it dives right into the incident that leads to Grayson and Tyler getting charged with public intoxication and sentenced to 120 hours of community service before they come up with the idea to become Christian camp counselors. Although Grayson and Tyler have flaws, they actually have some traits that make them likable and even somewhat relatable, especially when it comes their experiences at the summer camp. The humor ranges from offbeat humor to awkward humor to sight gags without going over-the-top, being mean-spirited or resorting to low brow humor to provide the laughs. So, kudos to the filmmakers for avoiding the low-hanging fruit.

      To be fair, the ending can be seen from a mile away and there aren't any big surprises in terms of the plot, but that's forgivable because the film remains consistently entertaining, funny and delightful without becoming dull, tedious, dumb or losing any steam like too many modern comedies tend to do. It also helps that Matt Cornett, Ramon Reed, Chris Klein and the rest of the ensemble cast give lively performances with great comedic timing. At a running time of 1 hour and 40 minutes, it opens in select theaters nationwide via Fathom Entertainment.  

      Brunello: The Gracious Visionary is a well-shot, illuminating and heartfelt biodoc about Italian fashion designer Brunello Cucinelli. Through talking-head interviews with Cucinelli himself, Director Giuseppe Tornatore captures his warmth, intelligence, and humility. His wife, Federica, daughters, Camilla and Carolina, are among the other talking heads along with Oprah Winfrey and Patrick Dempsey. Brunello: The Gracious Visionary covers a lot of ground as it delves into Cucinelli's childhood, his love of the card game Scopa, and his young adulthood when he was a party animal before he gave up his partying days, developed a passion for designing cashmere sweaters before founding his luxury fashion house, Brunello Cucinelli that now sells more than just sweaters. Cucinelli comes across as a deep person who loves philosophy and channels that love of philosophy in his "humanistic capitalist" approach to running his company. His factories are built with that philosophy in mind as well because they have large windows that allow for natural light to shine through and give his many workers an opportunity to look at the weather outside, so they're not in a cramped, dehumanizing environment. It's heartwarming to hear from him that he doesn't want to be the richest person in the cemetery, so he uses a portion of his profits for philanthropic endeavors. Even during the pandemic, he didn't let go of his employees and didn't lower their salaries either.

      There are some dramatic reenactments from Cucinelli's childhood that make the enliven the film while making it feel less dry and conventional To be fair, some of the it veers toward hagiography. Cucinelli seems so calm and relaxed during his interviews, so it would've been interesting to know how he channels his anger--everyone gets angry, but at least Tornatore delves a little bit into his rocky relationship with his father which helps to humanize him. At a running time of 2 hours, it opens at Angelika Film Center via Blue Fox Entertainment.

Number of times I checked my watch: 1

      In a futuristic metropolis, Elle (Sophie Thatcher) searching for her father, Johnny Thunders (Dougray Scott), while crossing paths with Private K (Charles Melton) who's searching for his abducted daughter in Her Private Hell. Writer/director Nicolas Winding Refn and co-writer Esti Giordani have made a surreal and visually stunning, but exhausting, tedious, overlong and emotionally hollow sci-fi thriller. Just as expected from a NWR film, the production design, lighting and camerawork stand out the most while providing plenty of eye candy with many scenes that feel dreamlike.

      Unfortunately, none of the beats land because it's hard for the audience to engage with the convoluted plot and the underwritten, forgettable characters. The dialogue often sounds stale without enough wit or levity, and the very little suspense found during the first 10 minutes quickly wanes while turning the film into a lethargic slog with excessive style over substance. If it were campy and more bonkers, it would've been a fun guilty pleasure instead of a boring guilty displeasure. At a running time of 1 hour and 50 minutes, it opens in select theaters nationwide via NEON.

Number of times I checked my watch: 5




 

     A Life Illuminated is a mesmerizing, captivating, profound and inspirational biodoc about Dr. Edith Widder, a marine biologist and oceanographer who has studying bioluminescence within the deep blue sea.  Director Tasha Van Zandt combines archival and contemporary footage of Dr. Widder and her crew members diving in search of capturing bioluminescence. Dr. Widder explains what makes her so passionate about that particular field of study and what makes it much more than meets the eye. She comes across as brave, intelligent, determined, curious, compassionate, articulate and a critical thinker which makes her a fascinating subject.  The mere sights of Dr. Widder and her team discovering bioluminescence and the sense of wonder that they express upon making those discoveries elevate the film tremendously.  

       Director Tasha Van Zandt also includes a little background information about Dr. Widder without prying too much on her private life; the focus remains on her work as a marine biologist and oceanographer, so this isn't a thorough biopic. That's forgivable, though, because the film offers a lot of food for thought while keeping the audience engaged. This isn't the kind of doc that feels dry or too academic, so it's accessible to teenagers who have even slightly interested in science. If you ever thought that science might be boring, you might reconsider that while watching this extraordinary documentary which will transport you into a world beneath the sea level that has remained mostly unexplored. At a running time of 1 hour and 40 minutes, A Life Illuminated opens at DCTV's Firehouse Cinema. It would be an interesting double feature with the recent doc Underland.  

Number of times I checked my watch: 1




 

      Ena (Ena Alvarado) visits the Venezuelan home of her father, Iganicio (Ignacio Alvardo), a former bookstore owner, and her grandmother (Adela Alvarado), who's suffering from memory loss, in Lost Chapters. Meanwhile, she and her father search for a rare book. Writer/director Lorena Alvarado has made a light and breezy, but often dull and undercooked drama that moves at a snail's pace. Very little happens when it comes to the meandering, and the same can be said for the underdeveloped characters who remain at a cold distance from the audience.

      The performances are natural, though, and cinematography is fine, but nothing exceptional that stands out enough to engage the audience---although, on a positive note, the naturalism does make the film seem like a documentary at times. The systemic issue is that Alvarado fails to find the Spectacle among the films Truths. The Portuguese drama Found Memories accomplishes that feat more effectively with more poignancy. Lost Chapters ultimately says nothing profound about memory, family or happiness, so it leaves the audience hungry for much-needed emotional and intellectual depth. At a running time of 1 hour and 7 minutes, which feels more like 2 hours, it opens at IFC Center via Several Futures.  

Number of times I checked my watch: 4

      John (Alan Ritchson), an ex-con, seeks revenge against the gangsters who framed him for a crime that he didn't commit in Motor City. Shailene Woodley plays Sophia, the girlfriend whom he tries to win back after getting released from prison, and Ben Foster plays Reynolds, a ruthless gangster who's his nemesis. Director Potsy Ponciroli and screenwriter Chad St. John have made a gritty, visually stylish and action-packed, but uninspired and tedious action thriller set in 1970s Detroit. The only aspect that makes this somewhat somewhat refreshing is its concept of virtually no dialogue with the exception of a few lines.

      Unfortunately, that concept comes with diminishing returns around the thirty minute mark and seems like a tacked-on gimmick rather than something that has internal logic or some sort of a purpose other than trying to be different. That concept works better in John Woo's action thriller Silent Night which has a protagonist who lost his voice, so it makes sense why the film remains mostly dialogue-free. The action sequences are decent with some impressive stunt work and visual effects, but nothing that even comes close to wildly entertaining guilty pleasures like The Furious or John Wick. At a running time of 1 hour and 43 minutes, it opens nationwide via Independent Film Company.

Number of times I checked my watch: 2




 

      Pinocchio (Jack Art Gray) wants to be human and to kill everything that's bad including anyone who bullies his human friend, a young boy named James (Cameron Bell), in Pinocchio Unstrung. The length he goes to become human involves taking the organs of his victims. Richard Brake plays Geppetto, and Robert Englund plays Cricket who guides Pinocchio through his murder spree. Writer/director Rhys Frake-Waterfield has made a wildly entertaining, bold and gory slice of horror that's destined to become a cult classic. It's fun, irreverent and unflinching with plenty of over-the-top, squirm-inducing violence. However, it also has a suspenseful and surprisingly complex narrative with a beating heart under its surface along with compelling characters. James, for instance, has to deal with bullies, so you'll be able to relate to him if you've ever been bullied. Pinocchio seems like he's cut from the same cloth as Chucky because he'll stop at nothing to kill anyone who hurts James, but he's also different because he begins to develop somewhat of a moral conscience when he questions whether or not he should be killing people.

      Above all, Pinocchio Unstrung boasts a great command of tone as it blends horror, drama, suspense and tongue-in-cheek humor with a sprinkle of campiness. At times, the plot feels dumb, but not so dumb that you'll feel like you're losing brain cells. It's also worth mentioning the impressive practical effects and use of animatronics. Prepare for one of the most terrifying, engrossing and wickedly funny horror films since Child's Play. Please be sure to stay through the end credits for some behind-the-scenes clips. At a running time of 1 hour and 22 minutes, it opens in select theaters nationwide via Viva Pictures.  

Number of times I checked my watch: 1

      Nino (Hasan Akil) and Yasmina (Mounia Akl) bump into each other literally in a car accident during their young adulthood and realize that they're each other's childhood sweetheart in A Sad and Beautiful World. Alex Choueiry and Mohamad Farhat play their younger versions, respectively. Writer/director Cyril Aris and co-writer Bane Fakih have made a tender, sweeping and bittersweet love story set in Beirut. The plot doesn't ignore the conflicts taking place around the two lovers in Lebanon nor how they affect their relationship. Aris and Fakih should be commended for having a great command of exposition. They don't give everything away regarding how Nino and Yasmina were separated during their childhood, but rather gradually reveal the truth through flashbacks. Now that they're adults, Nino owns a restaurant while hoping to marry Yasmina and start a family with her. That's easier said than done because of the turmoil going on in Lebanon which endangers their lives. Fortunately, the sensitive screenplay avoids schmaltz, melodrama, heavy-handedness and clunkiness, even during the many flashbacks.

      Kudos to the filmmakers for not sugar-coating Nino and Yasmina's romance and for treating the audience as intelligent, emotionally mature adults while trusting their emotions and intelligence. Moreover, Hasan Akil and Mounia Akl have palpable chemistry together which helps the audience to care about Nino and Yasmina's relationship and to want them to be together. Their emotionally convincing performances ground the film in a humanism, a truly special effect that's sorely lacking in Hollywood today, even with films with 10 times the budget or more (yes, I'm looking at you, The Odyssey). It's also worth mentioning that exquisite cinematography which occasionally adds some visual poetry, so, unlike The Odyssey, A Sad and Beautiful World is the kind of film that appeals to the audience's heart, mind and soul while find Spectacle within its many Truths. At a running time of 1 hour and 50 minutes, it opens at Quad Cinema via Watermelon Pictures.

Number of times I checked my watch:1

      Otone (Haruka Ayase) and her husband, Kensuke (Daigo Yamamoto), agree to raise a young humanoid robot, Kakeru (Kuwaki Rimu), who's modeled after their son who died 7 years earlier in Sheep in the Box. Writer/director Hirokazu Koreeda has made a mildly engrossing, but undercooked, clunky and heavy-handed sci-fi drama. It's yet another seemingly intriguing and compelling concept that's poorly executed while biting off more than it could chew. Koreeada knows where to take ideas from, but not where to take those ideas to. Koreeada over-explains too much without trusting the audience's intelligence or imagination enough. Case-in-point, a lengthy scene where Otone reads The Little Prince to Kakeru in case you wondered where the film's title comes from and its significance to the story. The film barely scratches its universal and relatable topic of grief, though, which makes it an often shallow experience.

      . There's a lot going on inside of Otone and Kensuke in terms of their complex emotions, so it's a shame that the screenplay doesn't do an adequate enough job of opening the window into their heart, mind and soul. How does Otone, who works as an architect, feel about the fact that Kakeru turns out to be a genius when it comes to architecture and other things? Does she really want such a superhuman son? Unfortunately, it's difficult to get a sense of what she's thinking or what's going on inside of her that could lead to overcoming her grief. On top of that, the pace moves too slowly at first and then too quickly during the rushed third act which leads to an uneven pace. It's never a good sign when you can feel the weight of a film's running time. If Koreead were to show more restraint, it would've made Sheep in the Box more engaging. The results feel just as disappointing as Alexander Payne's Downsizing which similarly takes a nosedive around the hour mark and never recovers. At a running time of 2 hours and 6 minutes, Sheep in the Box opens at select theaters nationwide via NEON. It would be an interesting double feature with the slighter better After Yang.

Number of times I checked my watch: 4