Ada: My Mother the Architect is an captivating, well-edited and illuminating documentary biopic about Ada Karmi-Melamede, an Israeli architect who deserves to be better known. She designed the Supreme Court building in Jerusalem as well as the Life Sciences Building at Ben Gurion University. Director Yael Melamede, Ada's daughter, captures her warmth, intelligence, sense of humor, charisma and personality through her candid interviews with her. You'll learn about Ada's childhood, how and why she became an architect, her relationship with her ex-husband, why she moved back to Israel after raising her children in the US, and the way her mind works when she designs buildings. Ada: My Mother the Architect provides the audience with a lot of valuable insights, but it presents them compellingly without feeling dry or academic.

      Yael Melamede is lucky to have such an interesting, brilliant and articulate mother who shows signs of introspection and critical thinking, two very important tools in life. Her choice to show Ada from two different angles simultaneously during the interviews adds some visual flair that makes the documentary refreshingly unconventional, at least in terms of its style. It also offers plenty of substance thanks to Yael's thoughtful questions which leads to thoughtful answers from her mother. She's a wonderful interviewer. A truly great documentary should find the right balance between entertaining the audience and provoking them emotionally as well as intellectually. Fortunately, Ada: My Mother the Architect manages to find that balance from start to finish. You don't have to be into architecture to enjoy it. At a running time of only 1 hour and 21 minutes, it opens at Angelika Film Center.  

 

       After leaving her fiancé at the altar, Aya (Nina Mélo) moves from the Ivory Coast to Guangzhou, China where she lands a job at a tea export shop and romances its owner, Cai (Chang Han), an older man who's stuck in a stale marriage with Ying (Wu Ke-xi) in Black Tea. She also befriends  Chai's son, Li-Ben (Michael Chang). The screenplay by writer/director Eli Craig and co-writer Kessen Fatoumata Tall is meandering, lethargic and undercooked. The plot has too many underdeveloped subplots lacking emotional depth, so the filmmakers don't take their ideas anywhere interesting or profound. The first act feels rushed as Aya refuses to marry her fiancé. Why? It turns out that he cheated on her, but the audience doesn't learn that until later on, so they're not quite on the same page as Aya right away. Suddenly, she's in China and visiting a tea export shop where she accepts a job at---it helps that she's friendly with the owner and his son. What does Cai see in her? What does she see in him? Before you know it, they're in love, but doesn't Aya know better than to romance a married man who's technically cheating on his wife?  

      Nina Mélo and Chang Han lack palpable chemistry, so the beats don't quite land when they're together or when they're apart. The dialogue ranges from stilted to cheesy to on-the-nose without much in terms of wit or comic relief. Does the audience really need a cheesy scene where Cai explains the metaphor of the title to Aya? Black Tea has very little to say about love, friendship, yearning, intercultural relationships, loneliness, compassion or emotional pain. It's beautifully shot and well-acted, but ultimately less than the sum of its parts and leaves the audience at an emotional distance from its characters. At a running time of 1 hour and 51 minutes, which feels more like, it opens at Quad Cinema via Cohen Media Group.  

Number of times I checked my watch: 3




 

      After the death of her mother, Quinn (Katie Douglas), a teenager, moves to a quiant rural town with her father, Dr. Maybrook (Aaron Abrams), and befriend Ronnie (Verity Marks) and Janet (Cassandra Potenza), but a killer clown soon terrorizes them in  Clown in a Cornfield. The screenplay by writer/director Eli Craig and co-writer Carter Blanchard doesn't earn any points for originality, but there's nothing inherently wrong with a film that's very derivative or one that follows a conventional formula for comedic horror thrillers as long it it follows that formula well enough. Fortunately, Clown in a Cornfield delivers the goods when it comes to dark humor and gory kills, some of which try to push the envelope. The prologue makes the literal meaning of the title very clear and provides the audience with a little taste of the mayhem to come. The plot doesn't take itself too seriously and isn't afraid to be a little bonkers and campy at times. It's more along the lines of Heart Eyes' tone, so if you enjoyed that horror comedy, you'll enjoy this one, too. Just don't expect anything more than a mindless B-movie that's wildly entertaining, wickedly funny and delightfully tongue-in-cheek. At a running time of 1 hour and 36 minutes, it opens in select theaters nationwide via RLJE Films and Shudder.  

Number of times I checked my watch: 1

      In Friendship, Craig (Tim Robinson) lives in a suburban home with his wife, Tami (Kate Mara), and son, Steven (Jack Dylan Grazer). He struggles to befriend his new neighbor, Austin (Paul Rudd). Writer/director Andrew DeYoung understands the concept that comedy often derives from tragedy. Craig comes across as a self-centered, emotionally immature, emotionally needy and very insecure man who's stuck in a loveless marriage and doesn't have any good friends. He's also creepy and lacks the concept of boundaries. What did his wife even see in him to begin with? He's annoying to be around and a pretty bad role model, even when he's spending time with his son at the mall. Friendship is mostly a series of attempts at cringe comedy ranging from sight gags and awkwardly funny dialogue. It's often mean-spirited which makes it harder to laugh at. One minute Craig burglarizes Austin's home, the next he's explaining to the cops how his wife has gone missing in the sewage system. Before you know it, he's paying $100 to a drug dealer/ store clerk (Billy Bryk) to get high by licking a toad. The blend of off-kilter comedy and drama feels somewhat reminiscent of the tone found in Alexander Payne's Election and Ari Aster's Beau is Afraid. To be fair, the humor here becomes somewhat repetitive after a while, though.

      The systemic issue of Friendship is that Craig has no arc as a character. He doesn't learn anything or change, and he lacks introspection. That doesn't excuse the screenplay for failing to delve deeper into the source of Craig's insecurities. Was he not loved enough as a child? What was his relationship like with his mother and father? Without that must-needed arc, Friendship misses the opportunity to become an interesting character study. Instead, it's more like an SNL skit that overstays its welcome. If you want a more funny, witty and wise comedy about friendship that also stars Paul Rudd, see I Love You, Man. At a running time of 1 hour and 37 minutes, Friendship is wickedly funny and audacious, but shallow and tedious with a consistently unpleasant protagonist who's like nails on a chalkboard. It opens in select theaters before expanding nationwide on May 23rd, 2025 via A24.

Number of times I checked my watch: 2




 

      Juliet Capulet (Clara Rugaard) has a forbidden romance with Romeo Montague (Jamie Ward) which they hide from their families, Lady Capulet (Rebel Wilson), Lord Capulet (Rupert Everett), and Lord Montague (Jason Isaacs) in Juliet & Romeo. The screenplay by writer/director Timothy Scott Bogart is a very loose re-imagining of the beloved Shakespeare play Romeo & Juliet tragedy. Bogart changes the tone, the ending, the dialogue and the personality of the characters while adding musical numbers with pop music. What ensues is a cringe-inducing, shallow and overlong musical that butchers the classic story and almost turns it into a parody. Clara Rugaard and Jamie Ward give decent performances  although they lack chemistry together. Some of the supporting cast members, like Derek Jacobi  as Friar Lawrence, add a morsel of gravitas. Rebel Wilson is miscast, though. The costume and set designs are stylish and impressive, but the musical numbers are underwhelming and very rarely exhilarating. Sure, Juliet & Romeo is a very upbeat and lively version of Romeo & Juliet, but why fix it if it ain't broken? William Shakespeare is rolling in his grave. At a lengthy running time of 2 hours and 2 minutes, it opens in theaters nationwide via Briarcliff Entertainment.  

Number of times I checked my watch: 4




 

      Lilly Ledbetter (Patricia Clarkson), a factory supervisor at Goodyear, fights a legal battle against Goodyear for equal pay in Lilly. Based on a true story, the screenplay by writer/director Rachel Feldman and co-writer Adam Prince is by-the-numbers, heavy-handed and clunky with stilted, on-the-nose dialogue and choppy editing. However, it's empowering and uplifting thanks to its inspirational and timely story about someone who fearlessly stands up for their rights and for truth, justice and, above all, democracy. Lilly is cut from the same cloth as Norma in Norma Rae, but the film doesn't quite reach the emotional heights of that classic film.  John Benjamin Hickey plays Lilly's husband, Charles, but doesn't get much of a chance to shine. Moreover, the clips of Ruth Bader Ginsberg talking about Lilly are poorly integrated into the film and feel distracting. The filmmakers are lucky to have the always-reliable Patricia Clarkson in the lead because she anchors Lilly with her warm, tender and emotionally honest performance. She manages to breathe much-needed life into her role despite the shallow screenplay. At a running time of 1 hour and 33 minutes, it opens at Quad Cinema via Blue Harbor Entertainment.  

Number of times I checked my watch: 2

      Marcella is a captivating, illuminating and mouth-watering documentary biopic on the legendary Italian chef and cookbook author, Marcella Hazan. Director Peter Miller combines archival footage, photographs and interviews with Marcella's family and colleagues to inform the audience about Marcella's childhood, how she found a passion for cooking, and how she rose to fame in the world of Italian cooking. You'll learn about her relationship with her husband, Victor, how he has supported her career throughout the years, and what made her so iconic in the culinary arts. Audiences get to pleasure to briefly watch others cook some of Marcella's succulent dishes, so you'll also learn about some of her recipes and might feel inspired to try them on your own. Those scenes provide a welcome break from all of the talking heads. Peter Miller should be commended for assembling a lot of information about Marcella in a way that feels cinematic and engaging without feeling dull, dry and academic. That's also a testament to the solid editing that moves the film along at just the right pace. Just don't watch Marcella on an empty stomach. It would be a wonderful double feature with Julie Cohen's documentary Julia about Julia Child. At a running time of 1 hour and 38 minutes, Marcella opens at Quad Cinema via Greenwich Entertainment.

Number of times I checked my watch: 4




 

      In Nonnas, Joe Scaravella (Vince Vaughn)  opens Enoteca Maria, an Italian restaurant with grandmothers or "nonnas" working as chefs in honor of his grandmother and mother who recently died. The nonnas he hires include  Gia (Susan Sarandon), Roberta (Lorriane Bracco), Antonella (Brenda Vaccaro) and Teresa (Talia Shire). Linda Cardellini plays Olivia, his love interest whom he used to have a crush on during his childhood.  Director Stephen Chbosky and screenwriter Liz Maccie have made a lighthearted and uplifting crowd-pleaser that avoids becoming cloying. It's wise, honest and empowering without being preachy or heavy-handed. Besides the cooking scenes which should make all foodies rejoice, one of the best scenes is when Gia explains to the other nonnas at her hair salon that beauty comes from inner strength, not one's physical appearance. That's a profound aphorism that's a reflection of Gia's emotional maturity and depth. Bravo to the filmmakers for allowing Susan Sarandon, Loraine Bracco, Brenda Vaccaro and Talia Shire the chance to shine with joie de vivre. It's also refreshing to see Vince Vaugh playing against type in a more serious role for change.

       Fortunately, Nonnas remains focused on Joe's struggles to open the restaurant and on the camaraderie of the nonnas. With a less sensitive screenplay, there would've been a cheesy subplot involving a romance between Joe and Olivia. Sure, the plot is predictable, formulaic and the ending can be seen from a mile away, but so what? There's nothing inherently wrong with that. Nonnas is ultimately a warm, wise and wonderful delight that will nourish your heart, mind and soul. It's the cinematic equivalent of comfort food. At a lengthy running time of 1 hour and 51 minutes, it opens at The Paris and on Netflix.  

Number of times I checked my watch: 1




 

       In Shadow Force, Isaac (Omar Sy) and Kyra (Kerry Washington) go on the run from a special forces group called Shadow Force that they used to be members of before they became a couple and had a child, Ky (Jahleel Kamara). Their only hope to survive is to kill the leader of Shadow Force, Jack (Mark Strong), with the help of government agents, Auntie Clanter (Da'Vine Joy Randolph) and Marcus (Method Man). Writer/director Joe Carnahan and co-writer Leon Chills have made an uninspired, convoluted and bland action thriller that fails to deliver enough palpable thrills and suspense despite its fine ensemble cast. The stilted and clunky dialogue would've been forgivable if the action scenes were at least remotely exciting or if the plot didn't take itself so seriously. Jack makes for a boring and forgettable villain while Isaac and Kerry aren't very believable as a couple. The best scenes are the ones with Auntie Clanter and Marcus, although they're too brief. There's nothing exceptional about the cinematography, the editing or the set design, so there's not much visual style to compensate for the lack of substance. Omar Sy's help to keep Shadow Force mildly engaging. He deserves better material, though, to fully showcase his charisma like he did in The Intouchables. At a running time of 1 hour and 37 minutes, Shadow Force opens nationwide via Lionsgate.  

Number of times I checked my watch: 3




 

       Josh (Ben Foster) tries to prevent cars from crashing at a dangerous sharp corner near the new home that he just moved into with his Rachel (Cobie Smulders) and son in Sharp Corner. His concern soon turns into obsession and affects his job as well as his family life. Writer/director Jason Buxton has made a gripping, intelligent and heartfelt psychological thriller. The screenplay doesn't judge Josh nor does it ask the audience to; it merely asks audiences to follow Josh as he tries to make sense of tragedies unfolding in front of his own home. He becomes so fixated on the car crashes that's behind at work and risks losing his job, even though his boss happens to be a friend of his. Does he have any true friends, though? It seems like he's all alone at his quest to prevent the car crashes. Do they trigger some kind of memory from his childhood that makes him want to be hero? Sharp Corner isn't interested in spoon-feeding the audience, so the answer to that question, among others, remains up to interpretation.

      Kudos to writer/director Jason Buxton for seeing and treating Josh as a complex and flawed human being who has both likable and unlikable qualities. Josh has a lot going on inside of him emotionally which the screenplay isn't afraid to tap into. Ben Foster sinks his teeth into the role with conviction and gives one of the best performances of his career. Fortunately, Sharp Corner avoids tonal unevenness, unnecessary exposition, melodrama and going over-the-top. There are some elements of horror, but they're more understated and psychological because they rely on the audience's imagination, a very powerful tool.  At a running time of 1 hour and 50 minutes, Sharp Corner opens in select theaters and on VOD via Vertical. It would be an interesting double feature with The Surfer and Taxi Driver. 

Number of times I checked my watch: 1




 

       Swamp Dogg Gets His Pool Painted is a light, breezy and mildly engaging documentary biopic on Jerry Williams, Jr., a.k.a. Swamp Dogg, an R&B singer, songwriter and record producer. Co-directors Isaac Gale, Ryan Olson and David McMurry opt for a less conventional format by just filming Swamp Dogg as he hangs out with friends and colleagues by his pool which is in the process of getting painted. If you're looking for a straightforward documentary biopic that merely charts the rise to fame and career of its subject, you'll be disappointed. There's some archival footage, but, for the most part, the film lives up to its offbeat title by just going off the beaten path of most documentaries that just bombard the audience with talking-head interviews. Kudos to the directors for trying something different and more refreshing. Swamp Dogg Gets His Pool Painted isn't a warts-and-all or unflinching documentary, though. What stands out the most is that the directors capture his charisma, warmth, sense of humor and wit. So the audience basically gets a chance to spend time with Swamp Dogg "behind the curtain", so-to-speak. You'll learn a little about Swamp Dogg's music and his past, so this film is ultimately a fine introduction to a lesser known musician. At a running time of only 1 hour and 35 minutes, it opens at IFC Center via Magnolia Pictures.  

Number of times I checked my watch: 2




 

      In Watch the Skies, 16-year-old Denise (Inez Dahl Torhaug) believes that her missing father,  Uno (Oscar Töringe), has been abducted by aliens. She goes on a quest to find him with the help of a team of UFO investigators who her father used to be a part of, namely, Lennart Svahn (Jesper Barkselius), Töna (Isabelle Kyed), Mats (Mathias Lithner), Gunnar (Håkan Ehn) Karl (Niklas Kvarnbo Jönsson).  Writer/director Victor Danell and co-writer Jimmy Nivrén Olsson have made an exhilarating and thrilling sci-fi adventure. Like Contact, Watch the Skies remains grounded in humanity without bombarding the audience with visual effects. The visual effects that it does have are quite impressive, though. There are indeed action scenes, including an intense prologue, but they're far and few between.

      The filmmakers do an effective job at providing a personality for each of the UFO investigators, a quirky and eccentric bunch of people who are proud to be geeks. To be fair, there are some contrived scenes that rush through Denise's discoveries, i.e. when she determines the location of a UFO. Will Denise get the chance to see her father again? Has he really been abducted by aliens? The UFO team of investigators need hard proof. Their leader, Lennart, casts doubt on Denise's claims and gives her a tough time. Watch the Skies isn't as provocative or haunting Contact and doesn't have palpable suspense like in Close Encounters of the Third Kind, but it comes close. It's also the first movie to use a state-of-the-art AI program that dubs the Swedish actors' and actresses' voices while matching the movement of their lips with their voice. At a running time of 1 hour and 55 minutes, it opens in select theaters nationwide via XYZ Films.  

Number of times I checked my watch: 1