2000 Meters to Andriivka is a spellbinding, haunting and powerful protest against war. Director Mstyslav Chernov follows a Ukrainian platoon as they embark on a 2,000 meter trek through Ukraine to Andriivka, a Russian-occupied village. There are no talking-head interviews, no background info about the soldier nor any voice-over narration. Chernov merely has the camera observing the platoon in the war from their point of view. He doesn't even waste any time because he throws the audience right into the platoon's journey from the very beginning. It's unflinching and at times even emotionally devastating with footage of injured soldiers, so 2000 Meters to Andriivka isn't for the faint of heart. Kudos to the director for not sugar-coating anything and for creating an immersive experience that shows the Russo-Ukrainian War in all of its ugliness. You might even forget that you're watching a documentary because it's as rousing and harrowing as the intense battle scenes in classic war films like Saving Private Ryan and All Quiet on the Western Front. At 1 hour and 51 minutes, 2000 Meters to Andriivka opens at Film Forum via PBS Distribution.

 

       When his beloved dog park gets taken away, AJ (AJ Thompson) battles the town's mayor (Crystal Cossette Knight) to get it back in AJ Goes to the Dog Park. Writer/director Toby Jones (no, not the British actor!) has made a zany, silly and unconventional, but exhausting and repetitive comedy that's only intermittently funny. It's not as brilliant, witty or hilarious as Hundreds of Beavers or the recent comedic satire The Wilde Girls. Jones goes for a campy tone that occasionally works, but often feels forced. There are plenty of sight gags that are amusing albeit none of them will make you laugh until it hurts. Perhaps AJ Goes to the Dog Park would've worked better as a short because even at 1 hour and 19 minutes, it stretches its plot too thinly and overstays its welcome. It opens at select theaters nationwide via Dopppelgänger Releasing.  

Number of times I checked my watch: 3

      In Diciannove, 19-year-old Leonardo (Manfredi Marini) leaves his hometown, Palermo, to to study at a business school in London while partying with is sister, Arianna (Vittoria Planeta) and her friend, Grazia (Dana Giuliano). Soon enough, he decides that he wants to study literature instead, so he transfers to the University of Siena, but isn't happy there. Writer/director Giovanni Tortorici has made a mildly engaging coming-of-age film that's just as meandering as its protagonist. He's insecure, confused and hasn't figured out what he truly wants to do with his life. He comes across as intelligent, yet emotionally immature. That makes him an interesting and complex character who's not always likable, but he's not unpleasant to be around either.

      There are no villains here or any car chases, gun fights or anything else added to make the film more cinematic. That's a double-edged sword. On the one hand, it means that Tortorici understands that the emotional struggles of Leonardo could be cinematic enough---in other words, there's the possibility of Spectacle to be within its Truth. On the other hand, Tortorici doesn't consistently find that Spectacle within the Truth because there's not enough evidence of Leonardo's innate growth as a young man nor of his introspection, a very important tool in life. There are hints of it, but not enough to allow the audience to truly get to know him or to get a true sense of his character arc. Mandredi Marini breathes life into his role with a raw, natural performance that grounds the film in authenticity and humanity. At a running time of 1 hour and 49 minutes, Diciannove opens at Angelika Film Center via Oscilloscope Laboratories. It would be a great double feature with Parthenope.

Number of times I checked my watch: 2




 

       Mister Fantastic (Pedro Pascal), his wife, Storm (Vanessa Kirby), Human Torch (Joseph Quinn) and The Thing (Ebon Moss-Bachrach) must save the world from their nemesis, Silver Surfer (Julia Garner) and Galactus (Ralph Ineson), in Fantastic Four: First Steps.  Despite a screenplay written by four screenwriters, namely, Josh Friedman, Eric Pearson, Jeff Kaplan and Ian Springer, the plot doesn't have much in terms of imagination that makes it stand out from any other run-of-the-mill superhero movie. What does the villain Galactus want to do? To destroy Earth, of course. What will the Fantastic Four decide when Galactus gives them an ultimatum: either give him Storm's baby or he'll continue his plans of destruction. What does he plan on doing with Storm's baby? That's an important expositional question that remains unexplained. The systemic issue with The Fantastic Four: First Steps is that it doesn't feel fun, surprising or exhilarating. The funniest character, Mole Man (Paul Waulter Hauser), gets barely any screen time to provide much-need comic relief. Hopefully in the next film, Paul Waulter Hauser will have a bigger role because he's like a breath of fresh air here. There are also some moments that aim for poignancy that either fall flat or feel maudlin.

       Two strengths help to keep the movie afloat, though. Firstly, the talented ensemble cast who try their best to make the most out of the stilted, shallow dialogue. Vanessa Kirby and Pedro Pascal both ooze with charisma. Secondly, the stunning CGI effects and production design provide some spectacle and eye candy. Fortunately, director Matt Shakman shows signs of restraint by keeping the running time slightly under 2 hours including end credits.   At  only 1 hour and 54 minutes, Fantastic Four: First Steps is a visually stunning spectacle with a terrific ensemble cast, but it's tonally uneven while low on imagination, palpable thrills and excitement. It opens nationwide via Walt Disney Pictures. Please be sure to stay through the end credits for a mid-credits scene and brief stinger.  

Number of times I checked my watch: 2

      In Folktales, co-directors Heidi Ewing and Rachel Grady follow three teenagers, Romaine, Hege and Bjørn, at Pasvik Folk High School, in the Arctic region of Norway. The students learn how to survive on their own in the wilderness while battling the elements and to build their confidence. There are a few heartwarming and illuminating moments in this documentary, but they're ephemeral. Ewing and Grady don't allow the audience to get to know her subjects enough beyond the basics or beneath the surface. One of them, Bjørn, is a shy teenager who gets to bond with a husky dog that's shy as well. He gradually learns how to break his shyness thanks to the activities that he goes through at the Arctic folk school. What has he and the other teens truly learned, though, and how do they plan on applying their valuable lessons to their life once they leave the school? What about other essential and valuable skills to attain such as introspection? How do these teens feel about global warming? The directors don't ask them enough profound questions. The teachers' speeches at the end with their kernels of wisdom feel preachy, oversimplified and a bit cheesy.

      A truly great documentary finds the right balance between entertaining the audience and provoking them emotionally as well as intellectually. It also transcends its documentary form and feels more like a narrative. Unfortunately, Folktales doesn't accomplish either of those two feats. At 1 hour and 46 minutes, it's well-shot and intermittently heartfelt, but underwhelming and somewhat shallow. Folktales opens at IFC Center via Magnolia Pictures.

Number of times I checked my watch: 3




 

       Max (Pete Davidson), a troubled, delinquent young man, does community service as a janitor at a retirement center where strange events occur in The Home. If Opus, A Cure for Wellness and The Rule of Jenny Pen had a baby, it would look something like this. The screenplay by writer/director James DeMonaco and co-writer Adam Cantor has an interesting premise, but with very poor execution. What could've been a terrifying, provocative and gripping psychological horror thriller turns into an increasingly inane, unintentionally funny and clunky mess. Pete Davidson is miscast, unfortunately. He gives a very mediocre performance that fails to breathe life into to the role of Max or to add much-needed emotional depth. There are some gory scenes and one that will make audiences squeamish because it involves a close-up of an eye getting injected. So, the film's visual effects are solid. If only the same could be said about the lazy screenplay and the third act that suddenly kicks the narrative's momentum up a notch into bonkers territory for the last 10 minutes or so, but by then it's too little, too late.At 1 hour and 35 minutes, which feels more like 2 hours, The Home opens at select theaters nationwide via Lionsgate and Roadside Attractions  

Number of times I checked my watch: 4




 

      Kris (Kris Collins) and Celina (Celina Myers), and their videographer, Jay (Jay Christopher-Meyer) travel to an abandoned house to investigate paranormal activity in House on Eden. Writer/director Kris Collins has made an uninspired, unscary and painfully dull "found footage" movie that offers nothing that's new, surprising or even mildly entertaining. Everything from the lazy, tedious and wafer-thin plot to the over-reliance on nauseating shaky cam and the underdeveloped characters makes for a very underwhelming experience with no redeeming qualities. Horror fans looking for something even remotely terrifying will be sorely disappointed. Watching paint dry might be more entertaining. The upcoming horror film Together is a protest against these kind of pointless, bland and forgettable movies. At 1 hour and 18 minutes, which feels more like 2 hours, House on Eden opens at select theaters nationwide via RLJE Films and Shudder.  

Number of times I checked my watch: 6

      Hank (Brandon Routh), a high school science teacher, teams up with one of his students, Grace (Malina Pauli Weissman), to defeat mysterious aliens called the "ick" that invade their town Ick. Staci (Mena Suvari), Grace's mother and his ex-girlfriend from his high school days as a football player, also joins them. Oh, and he may or may not be Grace's biological father, so he takes a paternity test. The screenplay by writer/director Joseph Kahn and his co-writers, Dan Koontz and Samuel Laskey juggles disaster elements, horror, sci-fi, comedy, and drama without tonal unevenness. It lacks enough world-building, though, leaves too many questions about the "ick" unanswered, and the ending feels rushed. Moreover, the subplot involving Hank and his potential biological daughter, Grace, seems unnecessary and distracting. The visual effects are pretty impressive for a non-Hollywood blockbuster, though, and the brisk pacing helps to prevent scenes from dragging. To be fair, Ick feels uninspired, unimaginative, shallow, overstuffed and undercooked, but that doesn't stop it from being a purely fun B-movie that's exhilarating, funny and crowd-pleasing. At a running time of 1 hour and 32 minutes, Ick opens nationwide via Fathom Entertainment.

Number of times I checked my watch: 2

      Monk in Pieces is a fascinating, illuminating and heartfelt documentary biopic about Meredith Monk, a composer, vocalist, director and choreographer. Co-directors Billy Shebar and David C. Roberts deftly blend together contemporary interviews with Monk and her peers, archival interviews and archival footage of her performances. You'll learn about her childhood when she was diagnosed with strabismus and picked on by her classmates. You'll also learn about how her performance art received harsh criticism, i.e. by a pithy New York Times critic who claimed that it made her cats want to bite each other. Nonetheless, Monk didn't cave into criticism and continued to perform her bold and unconventional vocalizations. During her interviews, she comes across as articulate, perceptive, intelligent, emotionally mature and, most importantly, introspective. She astutely observes that her vocalizations are primal. Some of them are very odd, for instance, a song involving chattering teeth---to be fair, I wonder how those performance artists avoid damaging their teeth from all of the teeth chattering, though. Clearly, Monk isn't afraid to be different, innovative and original. She even inspires other artists like Björk, and musician/filmmaker David Byrne who collaborated with her on the song Road Song for the opening scene of his movie, True Stories.

      Kudos to co-directors Billy Sheber and David C. Roberts for allowing Monk to talk about some of her emotional pain and heartbreak when her partner, Mieke, died in 2002. She speaks very wisely and candidly about how her death affected her. Filming Monk sitting down to talk in the kitchen of her apartment provides the film with a sense of intimacy as if you, the audience, were warmly invited to join her there as her good friend. Fortunately, Monk in Pieces isn't a hagiographic; it's a warts-and-all documentary biopic that finds the right balance between entertaining the audience and provoking them emotionally as well as intellectually. At 1 hour and 34 minutes, it opens at IFC Center nationwide via Kino Lorber and Zeitgeist Films.

Number of times I checked my watch: 1




 

        Iris (Molly Gordon) and Isaac (Logan Lerman) embark on a road trip to a farmhouse at an idyllic town for a weekend getaway in Oh, Hi. She ties him to their bed and holds him hostage because he won't commit to a relationship with her. The screenplay by writer/director Sophie Brooks begins with a witty and darkly comedic first act before quickly taking a nosedive into a contrived, undercooked, preposterous and shallow mess with no surprises. The plot doesn't go far dark enough nor does it delve deep enough into Iris and Isaac's relationship. Brooks also has a poor command of exposition because she includes a brief prologue that flashes forward to provide the audience with an unsubtle hint that Iris will do something bad during their getaway. Why give away even a hint of the dark turn that will arise? That means that the audience knows more than Iris and Isaac do before it happens. That also means that it's not very shocking or surprising when it happens. Once she ties him to the bed, the film becomes more like the inane and silly Teaching Mrs. Tingle rather than Misery. Not a single scene rings true. Moreover, the third act is weak, lazy and can be easily predicted from a mile away. Even Faithful starring Chazz Palminteri and Cher has more laughs, witty banter, quips and insights about relationships. At a running time of 1 hour and 34 minutes, Oh, Hi opens nationwide via Sony Pictures Classics.  

Number of times I checked my watch: 2




 

       In Shoshana, Shoshana Borochov (Irina Starshenbaum), a Jewish woman whose father co-founded a Zionist labor movement, falls in love with Tom Wilkin (Douglas Booth), a British officer, in 1930s Tel Aviv. Writer/director Michael Winterbottom and his co-writers, Laurence Coriat and Paul Viragh, have made a mildly engaging, pedestrian and underwhelming political thriller/romance. The screenplay just seems to be going through the motions with barely any palpable suspense, intrigue or, more importantly, chemistry between Irina Starshenbaum and Douglas Booth. Therefore, it's hard to care about Shoshan and Tom as a couple. There are some action sequences, but none of them invigorate the film or elevate it above mediocrity. The characters remain a cold distance from the audience which is disappointing because there's surely a lot of complex emotions going on inside of them, especially Shoshana and Tom.

      Why call the film Shoshana without providing a window into her heart, mind and soul? Also, there's not nearly enough levity, so the film suffers from being monotonous more often than not. Irina Starshenbaum gives a bland and often wooden performance although she's undermined by the screenplay that doesn't allow her to breathe much life into her role. At a running time of 2 hours, which feels more like 3 hours, Shoshana opens in select theaters nationwide via Greenwich Entertainment.  

Number of times I checked my watch: 4




 

       In Star People, Claire (Kat Cunning), a photographer, yearns to witness and capture a UFO called The Phoenix Lights that she had witnessed as a 10-year-old. After receiving a tip about the UFO sighting, she, her brother, Taylor (McCabe Slye), and her boyfriend, Justin (Connor Paolo), embark on a journey through the Arizona desert to find The Phoenix Lights during a heatwave while encountering obstacles along the way. Writer/director Adam Finberg has made one of the most tender, poignant and provocative sci-fi movies since Contact. It's best to go in cold because the plot has many surprises which enrich the film while making it more complex. 

      This isn't a B-movie like Watch the Skies because the screenplay actually takes its time to flesh out its characters and their relationships. It's not just going through the motions or bombarding the audience with actions and thrills. Finberg sees and treats them as fallible human beings which makes them more relatable. Claire wants to capture The Phoenix Lights, but, on a deeper level, she wants to make sense of the memories from her traumatic childhood. It's interesting to watch the dynamics between her brother, Taylor, evolve throughout the film. There's some suspense, but it's more restrained and slow-burning than the kind that's palpably intense.

      Kudos to Finberg for trusting the audience's imagination, intelligence, emotions and patience. The plot doesn't over-explain anything, so there are no issues with excessive exposition that plague too many films these days. Kat Cunning gives a heartfelt performance that provides emotional depth and authenticity much like Jodi Foster also accomplishes in Contact. At 1 hour and 43 minutes, it opens at Cinema Village via Blue Harbor Entertainment.  

Number of times I checked my watch: 1