'Henchmen': Film Review

Perhaps there’ll come a time a few years from now, once the bludgeoning monotony of pandemic confinement has (hopefully) become a fading memory, when the claustrophobic agitation of Doug Liman's smugly self-satisfied heist thingamajig, Locked Down, could be vaguely amusing. Or not.

Class as much as gender constraints obscured the achievements of 19th century English paleontologist Mary Anning, magnificently played by Kate Winslet in Francis Lee's slow-burn elemental love story Ammonite. And class barriers continue to marginalize the work of Ralph Fiennes' self-taught archeologist Basil Brown almost a century later in The Dig.

Watch Video: 'Locked Down' Trailer: Anne Hathaway and Chiwetel Ejiofor Steal a Diamond to Pass Time in COVIDAn utter coincidence happens: Paxton gets rehired to drive goods from London department stores out to storage in the countryside, while Linda is tasked by her superior (Ben Stiller) with taking a diamond that her company has had on display at Harrod’s and shipping it to New York, where its unsavory buyer will keep it locked away in a vault.

Going a step or two beyond the usual worries over what will happen once armies let military robots make trigger-pulling decisions for themselves, Mikael Hafstrom's Outside the Wire introduces multiple kinds of robo-warrior but is still most worried about the here-and-now issue of "collateral damage" in combat.

Kevin Macdonald has sensational nonfiction material in The Mauritanian, based on the best-selling memoir Guantánamo Diary by Mohamedou Ould Slahi, who spent 14 years incarcerated at the U.S. Naval Base in Cuba without ever being charged with a crime.

Watch Video: Jodie Foster Defends Accused 9/11 Terrorist in 'The Mauritanian' TrailerThere’s a moment in which “The Mauritanian” flirts with complicated subject matter, namely by suggesting that even if Mohamedou (played by Rahim) is guilty of being one of the main architects of 9/11, he’s still entitled to legal representation and due process.

Liam Neeson continues the Charles Bronson phase of his lengthy career with Robert Lorenz's action thriller representing the actor's second starring effort in three months. Arriving shortly on the heels of Honest Thief, The Marksman is the sort of solid, unassuming programmer that Bronson pumped out with regularity in the '70s and '80s.

The landscape may be frozen but emotions run red hot in The Last Ones, Estonia's official Oscar submission in the Best International Film category. Centered around a remote mining community in Finnish Lapland, deep inside the Arctic Circle, writer-director Veiko Ounpuu's bleak depiction of dead-end lives and desperate choices combines serious intentions, arresting visuals and gritty performances from a mostly Finnish cast.

A deeply disappointing follow-up to her promising 2015 short Kiss Kiss Fingerbang, Gillian Wallace Horvat's I Blame Society is a first feature that points out many of its faults as it goes, as if to transmute them into satirical jabs at an uncertain object.

A trip into the museum world that's far more fun than his last — a grueling, four-hour look at the troubled renovation of Amsterdam's Rijksmuseum — Oeke Hoogendijk's My Rembrandt speaks with some of the very few people to whom that phrase applies. Not just directors of institutions, but, for instance, an ordinary Joe (okay, one of Europe's leading landowners) who happens to have a Rembrandt hanging over his fireplace.

You have to feel a little bit sorry for Gary Dourdan. The veteran actor, best known for his role on the hit CBS procedural CSI: Crime Scene Investigation, has been given a plum starring role in the new action thriller Redemption Day.

Don't be fooled by the marketing materials. Yes, Charlie Sheen, George Clooney and Laura Dern do appear in the long unseen Grizzly II: Revenge.

The affinity for urban street culture that informed Ramin Bahrani's early New York indies, Man Push Cart and Chop Shop, is all over the writer-director's mordant adaptation for Netflix of Aravind Adiga's 2008 Booker Prize winner, The White Tiger. An immersive plunge into the chasm separating the servant class from the rich in contemporary India, the drama observes corruption at the highest and lowest levels with its tale of innocence lost and tables turned.

Watch Video: 'The White Tiger' Trailer: An Indian Servant Won't Wait for a 'Slumdog Millionaire' RescueHe realizes that his only ticket out is to get a job as a driver for Ashok (Rajkummar Rao), the U.S.-educated son of the town’s landlord.

An advocacy drama that doesn't forget it needs to tell an interesting story in order to win viewers over, Alexandre Franchi's Happy Face sometimes risks going too far in its tale of a support group for disfigured people: Though Franchi and cowriter Joelle Bourjolly have thought their metaphors through, they might have picked, say, either Cervantes or Dungeons & Dragons as a window into the trials of those who feel like monsters.

World War II cartoons Warner Bros. produced for the Air Force about the mythical “gremlins” that were thought to be the source of aircraft malfunction, we follow Captain Maude Garrett (Chloë Grace Moretz) as she hops onto a B-17 bomber at the last minute, carrying with her a leather case containing what she says is classified cargo.

A movie can have the best intentions in the world and still not quite hit the mark. Such is the case with Ron Vignone's heartland-set drama about a woman attempting to pick up the pieces of her life after serious missteps relating to her previously undiagnosed bipolar disorder.

Most parents think it's a big deal to take their kids to Disney World or Universal Studios for some family bonding. Sorry, but Robert Rodriguez has you all beat.

Also Read: 'Sylvie's Love' Review: Tessa Thompson Pursues Love and Career in Swoon-Worthy Period RomanceCassie’s avoidance routine is interrupted by the arrival of an old classmate, Ryan (Bo Burnham), who professes a longtime crush on her and asks her out. Inadvertently, his presence also brings up painful memories for Cassie, which are slowly revealed to be a traumatic event that led to the end of her dreams of becoming a doctor.

Anyone who's ever resorted to sex in an attempt to heal a fractured relationship will find something to relate to in married filmmakers Sarah Portelli and Ivan Malekin's anthology-style drama set in a variety of international locales.