‘Gone in the Night’ Film Review: Winona Ryder Confronts the Passage of Time in a Thriller Packed with Twists

Jiji in ‘Kiki’s Delivery Service.” However, some of the supporting creatures seem far more generic; the porcine friends here almost look identical to those in the “Sing” franchise.Early on, while Sam and Bob are still on the human plane, there’s a chase scene a city just before sunset and just after rain. The detailed texture of the background surfaces, how the light reflects on the puddles of water, and the way the dreamy light of the sun right before it extinguishes washes over the chase, which also include multiple clever sight gags, demonstrating the top-notch digital artistry enlisted to render this film above average.Although “Luck” can’t reach the sophistication level of the best Pixar features, it stands as a far more accomplished effort from a technical standpoint and in the resonance of its story than the dime-a-dozen, talking-animal cash cows infested with vapid pop-culture references that have become the new standard in Hollywood animated releases.On the other hand, “Luck” falls into the ranks of a recurrent trope in modern American animation: It appears as though creators can engage with the supernatural or the life processes beyond our control only if they are depicted as corporations that must run smoothly, with a hierarchy where there’s a boss and employees that carry out labor.

Bullet trains seem great; why don’t we have them in the United States? Will I ever get to see Mount Fuji? I wonder what flavors of Kit Kats they sell on that train?These thoughts occurred because my brain refused to engage with this glib, terminally self-satisfied blood-and-bullets extravaganza, one that feels like it was plucked from what we might call the “Things to Do in Denver When You’re Dead” period of American cinema, when Quentin Tarantino’s first two features emboldened far too many young filmmakers to think that they, too, could make a zippy comedy with excessive gunplay, explicit gore, pop-culture references, needle drops, and a briefcase full of cash.Having programmed a film festival from 1995 to 1999, I was subjected to more bad “Reservoir Dogs” wannabes than the average filmgoer, which might explain why this new film turned me off early and never won me back. “Bullet Train” pretty much leaves no cliché of this subgenre unturned, from swoopy, self-conscious camera moves to a shootout scored to an innocuous hit single of the past.

Giallo influence but also to burst it open. The clever humor in the bright makeup tutorials Michele makes suddenly curdles into horror once we discover its true purpose.

th century, Ayoka Chenzira is not as well-known as she should be, nor has she made as many films as her talent warrants. But the ones she’s made remain impactful.

“The Swimmers”, a movie about two sisters fleeing Syria, will be the opening night gala presentation at the Toronto International Film Festival.

“DC’s League of Super-Pets” is a goofy, colorful throwback to those comic books of the 1950s and ’60s that allowed no costumed avenger to go un-sidekick-ed.While not as anarchic or outrageously hilarious as “Teen Titans GO! to the Movies,” this latest all-ages animated adventure from DC Comics and Warner Bros. nonetheless has — and offers — lots of fun with the four-legged counterparts of a Justice League that’s more “Super Friends” than Snyder Cut.We open on the final moments of the planet Krypton, where puppy Krypto (voiced by Dwayne Johnson) hops into baby Kal-El’s spacecraft to join him on his sojourn to Earth.

The only real problem with Thirteen Lives, an engrossing account of the rescue of 12 Thai boys and their coach from desperate straits when they become stranded in perilous caves during a monsoon, is that the same story was just recounted in the documentary The Rescue last fall. Yes, of course, big-budget feature films starring known actors can draw a lot more customers than do docs. But the fact that Ron Howard’s sometimes stirring new drama will only be in theaters for a week before it starts streaming August 5 will vastly diminish the number of people who might otherwise have experienced this stirring tale on the big screen, where it was clearly designed by Howard and his colleagues to be seen. Too bad, because it’s a fulsome film, both emotionally and as a production.

“The Horse in Motion.”)The soft-spoken, laconic OJ remains committed to the day-in, day-out labor of maintaining the ranch, while his brash sister has other show-business ambitions. With live animals increasingly phased out by CG, OJ finds himself having to sell horses to a neighboring Wild West–themed amusement park managed by former child star Jupe (Steven Yeun), who survived a traumatic incident that occurred during the shooting of a ’90s sitcom.That’s before OJ and Emmy come to realize that a UFO is hovering over the ranch, and they set out to make their fortune documenting it.

Sonderkommando or other prison work units, forced to help with the disposal of gas-chamber victims or aid in disinformation campaigns designed to deny their own torture. They hid their cameras under newspapers, inside latrines, or underground and often snuck them out through fellow members of the Resistance.Cognet contrasts the images with the present-day sites where they were taken, the film’s pointed silence broken only by birds or cars or even, jarringly, contemporary tourists taking their own pictures.The SS did its best to hide the truth of the camps, creating reams of propaganda and destroying as much evidence as possible.

The results of the departure are less impressive in Williams’’ case, but there’s still a notable maturity to “The Sea Beast” that could have clashed with the mostly sanitized storytelling that currently dominates Disney. Sailors drink their pints and bleed when injured.But though one can appreciate Williams’ and Benjamin’s interest in crafting a philosophically layered fable, there’s a righteousness to the message of “You must change!” that blindsides the adult characters.

are meant to live in the real world. The icy lens of cinematographer Eric Gautier (“Ash Is Purest White’) ensures that Jean and Sara do not embody the Paris of your dreams but of their mundane routines. They have to remember to carry their COVID-era masks everywhere, and it’s usually rainy or gray as Sara heads to her radio job interviewing guests on a range of social ills.