'Coming 2 America': Film Review

Proving every bit as charmless and frenetic as its 2018 CG-animated predecessor, Peter Rabbit 2: The Runaway once again goes about chaotically tossing bunny droppings over the perfectly fertile ground that is the Beatrix Potter source material.

“America has demonstrated its greatness time and time and time again,” proclaims ACLU attorney Jeffery Robinson from a stage early in the new documentary Who We Are: A Chronicle of Racism in America, “and America is one of the most racist countries on the face of this earth.” When he continues, “those two things are not mutually exclusive,” the audience erupts in applause.

In the fall of 2015, a 16-year-old girl named Shakara was removed from her math class by school officer Ben Fields with such force that footage of the incident went viral. “Are you gonna come with me, or am I gonna make you?” asks Fields in a video, before flipping over Shakara’s desk with her in it, landing the teenager on her back with the desk overturned above her.

Surprise player Bob Odenkirk enters the middle-aged action hero game in Nobody, Ilya Naishuller's John Wick-y take on the protect-my-family picture. Taking itself much less seriously than the Taken series and its predecessors, it's a wish-fulfillment romp just as ludicrous as any of them but more fun than most.

A curious footnote in pre-World War II British history fails to provide adequate fuel for a gripping espionage thriller in Six Minutes to Midnight, a disappointingly conventional passion project for genderfluid comic Eddie Izzard, inspired by childhood visits to the local museum at Bexhill-on-Sea.

Also Read: 'Tom Petty, Somewhere You Feel Free' Film Review: Ragged Documentary Fits the Man and the MusicSaviano, who wrote a 2016 book about Clark with the same title, and Whitfield use an array of techniques in the film, some of which help tell the story and some of which keep us off balance.

Watch Video: 'Nobody' Teaser: Bob Odenkirk Is a Suburban Dad Who Breaks Bad - Very BadOdenkirk stars as Hutch Mansell, whose thuddingly repetitive routine (captured brilliantly by editors Evan Schiff and William Yeh) involves making coffee in the morning, rolling the trash can to the curb just late enough to miss pick-up, taking the bus to his job as an accountant at a metal works owned by his father-in-law (Michael Ironside), coming home and sleeping with a wall of pillows separating him and

Wakanda, there was Zamunda.

Not long into I'm Your Man, Dan Stevens' character, a genial android named Tom, arranges a perfectly contrived combination of romantic clichés for his would-be partner, Alma. The rose petals are "artfully" strewn, the candles flicker, and flutes of bubbly are ready for sipping beside the bubble-filled tub.

There’s a brief shot early on in Georgian filmmaker Alexandre Koberidze’s wondrous romance and Berlinale competition entry What Do We See When We Look at the Sky? (Ras vkhedavt, rodesac cas vukurebt?) that might seem to illustrate something quite mundane. The male protagonist’s soccer practice session has ended.

Watch Video: 'Coming 2 America' Trailer: Meet King Akeem's Long-Lost Son ... and Baby MamaEddie Murphy returns as Akeem, prince of the mythical nation of Zamunda, who has lived for 30 years in wedded bliss with his beloved Lisa (Shari Headley).

Toward the end of Tina, the revealing documentary tribute by Dan Lindsay and T.J. Martin for HBO, Tina Turner is seen in an extended concert clip performing the Beatles' "Help" as a decelerated ballad — intimate, melancholy and full of feeling.

Opening with a very real-looking hardcore sex tape, and climaxing with a deranged orgy featuring super-sized dildos, Romanian writer-director Radu Jude's latest taboo-busting polemical comedy is refreshingly untroubled by tasteful restraint. Shot during COVID lockdown last summer, with cast and crew all wearing anti-viral masks, the snappily titled Bad Luck Banging or Loony Porn is a scattershot attack on sexual hysteria and political hypocrisy in an era of online slut-shaming.

Most cop movies — and most movies in general — spend the first reel setting up a story that usually kicks off after an “inciting incident,” to quote various screenwriting manuals, which takes place within the first ten or 15 minutes. For the rest of the film, we then watch how that incident unravels and affects the lives of all those involved.

Hungary’s most recent contribution to the implacable flow of war films pouring out of Eastern Europe is a far cry from the Russian tank operas and spectacular disaster films like Battle of Leningrad. Denes Nagy’s sensitive first featureNatural Light (Termeszetes feny), bowing in Berlin competition, is the opposite of these: a slow starter high on atmosphere but low on action, whose horrific main event takes place discreetly off-screen.

ever do nothing nice and easy,” she said in a sultry snarl. “We always do it nice and rough.”“Tina,” the documentary about Turner that premiered at the 2021 Berlin International Film Festival, has moments where it tries to be nice and easy, sliding over difficult portions in Turner’s life in an attempt to find a celebratory tone.

The premise of Netflix's new teen drama Moxie— of a present-day 11th-grader taking inspiration from her mom’s Riot Grrrl memorabilia to make her school more hospitable for girls through an anonymous feminist zine — is at once wholly plausible and a transparent Gen X fantasy of its cultural relevance to Gen Z.

The underseen but arresting 2016 documentary feature Peter and the Farm is a warts-and-all portrait of a flinty Vermont loner and his volatile relationship to the land that has consumed him for more than three decades. Its director, Tony Stone, now blurs the line between nonfiction and narrative filmmaking to depict another solitary man inseparable from his natural environment in Ted K, a piercing psychological probe into the domestic terrorist known as the Unabomber.

Three bright, talented young people in their 20s struggle to find their place in a rotten society, scarred by Germany’s defeat in World War I and menaced by the rising tide of Nazism, in Fabian — Going to the Dogs (Fabian oder Der Gang vor die Hunde.) This second screen adaptation of Erich Kastner’s now classic 1931 novel (the first was directed by Wolf Gremm in 1980) marks a stylistically daring attempt to capture the zeitgeist by director Dominik Graf, who returns to Berlin competition where