‘Without Getting Killed or Caught’ Film Review: Lyrical Documentary Captures Songwriting Legend Guy Clark

Sergio De La Pava's PEN prize-winning debut novel, A Naked Singularity, is a messy, maximalist slab of stream-of-consciousness prose in which the main storyline is a perfect crime, wrapped in digressions on countless subjects, among them astrophysics, philosophy, boxing and the deeply flawed American justice system.

If Thunder Force will be remembered for anything, it might be this bizarro footnote: The movie marks the second time, after The Shape of Water, that a character played by Octavia Spencer learns her best friend has had life-changing sex with a fish-man. Which makes it sound a lot more interesting than it is.

Parker Millsap, "Be Here Instead” (Okrahoma Records/Thirty Tigers)Parker Millsap begins his new album ready to roll, playfully exploring the flexible verb on a song titled “Rolling."Equally elastic is Millsap's musical approach throughout “Be Here Instead,” his first album in three years and a departure for the Oklahoma-born singer-songwriter.

Writer-director Neil Burger's visually alluring but dramatically underpowered sci-fi thriller about an interplanetary mission blitzed by a hormonal explosion, Voyagers, is basically Lord of the Flies in space. Or Passengers without hypersleep pods.

A married couple endure a particularly horrific form of relationship therapy in the new thriller directed by Chris Lofing and Travis Cluff, the team responsible for the surprise low-budget horror hit The Gallows. Cannily exploiting #MeToo themes and the opportunities for cinematic mayhem provided by technology-driven smart homes, Held proves an uncommonly thoughtful and provocative suspenser.

Dead children, democracy being crushed, senseless Nazi atrocities —there's not much happiness in this year's collection of Oscar-nominated short documentaries, unless you count the man who actually survived racism and homelessness to become a proud, successful grandpa. Each of these long "shorts" finds protagonists to root for; some contain seeds of hope; all boast polish and relevance that make them awards-ready.

Imprisonment, in many senses of the word, is at the center of each of the five nominees for this year's live-action short film Oscar, which is not to say they're a homogenous bunch: Though all have political undercurrents and speak to present-tense issues, their moods and styles vary enough that their one big (mostly) common theme —cops, and how they wield power —stands out only because we've already been thinking about it every day for what feels like forever.

A couple of truly daring visions spice up the expected fare in this year's crop of Academy-honored animated shorts — one of which would be as at home in an art gallery as in the theaters, which, pandemic be damned, will still showcase nominees as a big-screen event. Each candidate has something to offer, including those non-nominees that have been added (as "highly recommended") to stretch the program's running time to feature length.

Just in time for Easter, The Unholy offers up satanic counter-programming to sate the appetites of the religious horror faithful. Almost a decade after getting drawn into a dybbuk haunting in The Possession, Jeffrey Dean Morgan reteams with Sam Raimi's Ghost House Pictures, this time switching from Jewish folklore to Catholic demonology in a tale that tills the soil of Massachusetts for its history of charred witches.

Watch Video: 'The Unholy' Trailer Offers Sinister Horror Take on Faith-Based FilmsHis careless act unleashes the spirt, which possesses Alice (first-timer Cricket Brown), the deaf and mute niece of Father Hagan (William Sadler), whose church is adjacent to the tree.

It takes expert stylistic precision to successfully craft a dark comedy about religious fanatics endeavoring to assassinate a celebrated atheist. Filmmaker Harry Michell doesn't quite stick the landing in his sophomore feature, aiming for a complex mixture of comic irreverence and sensitive character study.

The cast of Godzilla vs. Kong shows commendable inclusivity for a major studio movie.

Owen Gleiberman Chief Film Critic“The Oxy Kingpins” is a documentary that feels like it could be a Martin Scorsese movie. It’s “The Wolf of Wall Street” meets “The Insider” — the story of a scurrilous illegal business, and one of the hotshot thrill junkies who rode it to riches, and how that business connects up to a much larger corporate racket.

Forget red states vs. blue states, liberals vs.

Earlier this week, WeWork, the office-share company, announced that it had lost $3.2 billion in 2020. For WeWork, that was good news: Its losses were down from $3.5 billion the previous year, when its megalomaniacal co-founder, Adam Neumann, was ousted as CEO.

Also Read: 'Nobody' Film Review: Bob Odenkirk Blows His Stack and His Cover in Delirious Shoot 'Em Up“Shoplifters,” though, doesn’t have the vitality of those films; it’s an ensemble coming-of-age film whose characters struggle to get beyond the first Smiths song that serves as a chapter title, “Heaven Knows I’m Miserable Now.” And while its best moments do testify to the way the right song can make sense of the world, it mostly uses the music as a backdrop for jumbled teen coming-of-age

Irresistibly likable musical Best Summer Ever offers the wholesome tale of Sage and Tony, two teenagers in love, winningly played by Shannon DeVido and Ricky Wilson Jr. respectively.