Fitz (Jim Caviezel), an ex-Green Beret living a quiet life in Wyoming, takes matters into his own hands with his advanced weapon technology when a greedy corporation sends their corrupt law enforcement officers to seize his and his neighbors' land to take control of their water in Ghost Soldier. Director William Eubank and screenwriter Chris Papasadero have made a lean, thrilling and mindlessly entertaining B-action movie. The screenplay wastes no time with any filler as it introduces Fitz, the villains, their motivations which, soon enough, leads to Fitz coming out of retirement and putting his life on the line to defend his land.

      Fortunately, there are no bad laughs nor does the plot get too confusing, so screenwriter Chris Papasadero has a decent handle on exposition without over-explaining. That said, there are no nuances, many supporting characters like the local sheriff (Olivia Thirlby) remain underdeveloped, and there are no big surprises to be found here. However, there are small surprises like the lack of shaky-cam, the lack of schmaltz, and there's no reliance on excessive gore to entertain the audience. Moreover, there are a few tender scenes between Fitz and a young boy who both grieve the loss of a loved one. More scenes with them together would've added more emotional depth. It's also worth mentioning that a scene involving a fire shows a survivor coughing as he walks out of the building. Characters in action movies rarely cough during a fire in action movies, so that's a minor achievement.  

       To enjoy the film requires suspension of disbelief because the plot abandons logic early on and there are more than a handful of contrivances. To be fair, though, not every action movie has to be logical. As Hitchock once wisely observed, "logic is dull." Ghost Soldier compensates for that lack of logic with a little bit of imagination when it comes to the advanced weapons that Fitz uses and other inventions like some sort of a covering that can make him and anyone else under it invisible. Ultimately, Ghost Soldier is the kind of mindless slice of entertainment that The Cannon Group used to release back in the 80s starring charismatic actors like Chuck Norris. Fortunately, Jim Caviezel has just enough palpable charisma to provide gravitas to his leading role and to make Ghost Soldier a captivating action thriller. At an ideal running time of 1 hour and 30 minutes Ghost Soldier opens nationwide via Columbia Pictures.  

      Irwin Pearl (Miles Teller), an engineer with a wife, Hester (Scarlett Johansson), and two young sons, Irwin (Miles Teller) and Scott (Gavin Goudey), witnesses a crime being committed at the Gowanus Canal and, soon enough, gets into trouble with the Russian mafia while putting his family's lives in jeopardy in Paper Tiger. Adam Driver plays his brother, Gary, an ex-cop. Writer/director James Gray has woven a lethargic, unfocused, contrived and undercooked crime drama with a great ensemble cast. The premise alone sounds like it could be suspenseful and intriguing. Unfortunately, the modicum of suspenseful scenes are ephemeral, e.g. a scene at Irvin's home with Hitchcockian suspense when Hester hears an intruder in the middle of the night.

    The semi-autobiographical screenplay fails to develop any of the characters beyond the surface level, so they don't feel like they're fully fleshed-out, complex human beings. The tone and perspectives often shift which makes the film feel like it's 5 movies all at once. It doesn't work as a crime thriller, as a portrait of a dysfunctional marriage, as a character study or as a drama about fathers and sons or brothers. Hester, the most interesting character because she puts up with a lot of bullshit and toxicity, has too few scenes and deserves more which would have provided the film with more depth. It's unfortunate that Gray treats the characters like plot devices and that the by-the-numbers screenplay's wheels can be felt turning from start to finish. If it were more unflinching, honest and took its time to design a window into the characters' heart, mind and soul, it could've been a much more powerful, heartfelt and engaging film.

      The cinematography, production design and the charisma of its terrific ensemble cast are among Paper Tiger's few strengths that make it watchable and not a total mess. The actors try their best to rise above the shallow screenplay, but don't often succeed. Moreover, Scarlett Johansson gives a hammy performance, particularly during an explosive scene where she does a lot of yelling at Irwin. There are also pacing issues with the first act moving slowly before picking up the pace, then slowing down and then picking up the pace again during an ending that feels rushed with an unearned attempt at uplift. At a running time of 1 hour and 54 minutes, Paper Tiger opens at Angelika Film Center and AMC Lincoln Square via NEON.

Number of times I checked my watch: 3

      During the Gilded Age of New York, Katherine (Katie Vincent) gets more than she bargained for at a dinner party she's hosting when she announces that she's divorcing her husband, Peter (Jared Canfield), in Plucked. Co-writers/directors Usher Morgan and Katie Vincent have made a wickedly funny, gripping and honest portrait of a dysfunctional marriage with shades of Yorgos Lanthimos and Martin McDonagh. They do a great job of incorporating exposition by introducing the characters during the first act before ratcheting up the tension after Katherine's declaration of divorce. It's easy to understand why she would want to divorce Peter because he seems emotionally immature and she has clearly fallen out of love with him. She's far from perfect either, as it turns out, and the lengths she goes to free herself from him will surprise you. The witty, razor sharp dialogue elevates Plucked well above B-movie territory and mediocrity. Moreover, the filmmakers deftly blend dark comedy, drama, suspense and a sprinkle of horror without tonal unevenness. Genre-bending films are no easy task, so it's a testament to the filmmakers' skills that they display such a great command of tone from start to finish. Plucked never loses steam like many films tend to do.

      Katie Vincent is very well-cast as Katherine and sinks her teeth into the role with conviction. Jared Canfield and the supporting cast also get the chance to shine. Everything from the set design, costume design and use of music enrich the film's style while also providing it with some substance concurrently. The pace moves at just the right speed without being too slow or too fast. Plucked is essentially Downton Abbey meets The War of the Roses and on par with the final story in the anthology film Wild Tales. At a running time of 1 hour and 50 minutes, Plucked opens in select theaters nationwide via Dark Passage Films. It would pair well with the acerbically funny and bittersweet Wild Horse Nine.

Number of times I checked my watch: 1

      Kelly (Kelsey Bascom), a young woman on the verge of turning 25, deals with how her type 1 diabetes affects her work and personal life in Quarter. Brooke Shields plays her gynecologist, Dr. Wright, Eric Roberts plays Dr. Miller, Raven-Symoné plays Dr. Anderson who tries to convince her to get an insulin pump. Writer/director Kelsey Bascom and co-director Arnon Manor have made a funny, witty and breezy coming-of-age dramedy that also serves as an illuminating glimpse of what it's like to live with type 1 diabetes.

      Quarter's screenplay has on-the-nose dialogue and some cringe-inducing, awkward scenes, e.g. one with Kelly's mother, Ali (Ali Wentworth) and father, Jim (Breckin Meyer), who sit down with her to admit that they smoke pot and even briefly discuss their sex lives with her. Her parents clearly don't understand the concept of healthy boundaries between parent and child. Kelly struggles to meet someone who respects and understands her diabetes both at work and in the dating world. One of her dates, Brian (Nick Creegan) ruins the mood when he asks her if she's diabetic because she ate too much sugar as a child. In flashbacks, her classmates at school mock when they find out that she's injecting insulin. Kids can be mean, but there's no excuse for bullying someone. Clearly, Kelly has been through a lot of emotional abuse and put up with a lot. It's empowering to watch how she stands up for herself, especially to Brian the guy she went out on a date with who's also her coworker---hopefully she'll learn never to date someone at work.

      To be fair, the screenplay's major weakness is whenever Kelly breaks the fourth wall by talking directly to the audience. That works fine in films like Alfie and Shirley Valentine, but here there's not much of a reason for it and it feels like a lazy way to find out what Kelly is thinking and feeling. That said, Kelsey Bascon brings plenty of charisma and emotional truth to her role. There are some cheesy and contrived scenes but those are forgivable flaws. Quarter's major strength is how it uses humor to hook the audience and enlighten them about an autoimmune condition that deserves to be better understood and de-stigmatized. Also, it passes the Bechdel test which can't be said for many coming-of-age films these days. At an ideal running time of 1 hour and 36 minutes, Quarter opens at Cinema Village.

Number of times I checked my watch: 2




 


 

      Sisi (Chi Hua Lee-Secci), an undocumented Chinese immigrant, struggles to make ends in Queens, New York, in Queen(s). She finds a place to live with other undocumented female immigrants and befriends one of the women, Zhang (Dana Byrne). Writer/director Anup Kurian has made a bittersweet, warm, tender and understated slice-of-life with shades of Ken Loach. It's not as unflinching or emotionally devastating as a Ken Loach film like Ladybird Ladybird, but it remains grounded in authenticity and humanism, a truly special effect that has more intrinsic value than movies with big Spectacles. Kurian should be commended for finding the Spectacle within the film's many truths. There's not much exposition about Sisi's life back in China except for some basic information, through brief flashbacks, that her life back then wasn't easy. The screenplay wisely avoids any heavy-handedness, melodrama or schmaltz even as it focuses into the blossing friendship between Sisi and Zhang.

      Queen(s) is also elevated by Chi Hua Lee-Secci and Dana Byrne's heartfelt and nuanced performances. You can feel the bond of their friendship the more time they spend together which makes the film even more engrossing. Moreover, it's worth mentioning the exquisite cinematography and the leisurely pace. Kudos to writer/director Anup Kurian for trusting the audience's patience, emotions, imagination and intelligence. At a running time of 2 hours, Queen(s) opens at Kew Gardens Cinemas.  

Number of times I checked my watch: 2  

      Celeste's guardian robot must learn how to live on its own when Celeste, a young astronaut it has guarded since her childhood, goes on her first mission into space for six months in Space Cadet. Director Kid Koala and screenwriter Mylène Chollet have made a tender, warm, wise and heartfelt animated film that explores the meaning and importance of friendship, loneliness, grief and following one's dream. All of those are aspects of life that adults will be able to relate to, but children will also recognize them or at least will be compelled to discuss them with their parents. In terms of its plot, tone and sense of humor, Space Cadet remains sweet and tender without being cloying, without pandering to children and without scaring them either. Its themes feel somewhat darker than the ones found in an average animated film, but loneliness and grief are handled in a way that's gentle and understated without feeling sugar-coated.

      Moreover, there's no dialogue which makes the film even more extraordinary and unconventional. Images and body language speak louder than words. If you liked the silent first half of Wall-E, you'll also like Space Cadet. What happens to Celeste and her robot won't be spoiled here, but please be prepared for an exhilarating emotional journey with terrific CGI-animation. It's one of the most moving and profound animated films since Up, Robot Dreams and Wall-E. At an ideal running time of 1 hour and 21 minutes, Space Cadet opens nationwide via Viva Kids.

Number of times I checked my watch: 1

      TheyDream is a well-edited, engrossing and candid documentary about the history of director William David Caballero's Puertorican-American family throughout the course of 20 years. Caballero combines home videos and audio recordings with 2D, 3D and stop-motion animation to tell his family's story. It's not an easy story because it involves grief, particularly how his mother, Milly, copes with the death of her mother, Isolina, and how his father dealt with the aftermath of his diabetes diagnosis.

      Like with every documentary about a filmmaker's private family life, e.g. Doug Block's, 51 Birch Street, there's a voyeuristic aspect to watching TheyDream. However, that feel dissipates thanks to the very creative use of animation which makes the film feel more cinematic. Caballero should be commended for his emotional maturity, emotional generosity and courage as he looks back at painful moments from the past. Prepare for an invigorating, enlightening and genuinely heartfelt emotional journey, so this isn't a dry and dull documentary. At a running time of 1 hour and 31 minutes TheyDream opens at AMC Empire 25.

Number of times I checked my watch: 1




 


 

      Winifred Notty (Maika Monroe), a young governess, exhibits psychopathic behavior after she arrives at the Gothic manor of the Pounds family to tutor their children, Andrew (Jacobi Jupe) and Drusilla (Evie Templeton), in Victorian Psycho. Jason Isaacs and Ruth Wilson play their mother and father, and Thomasin McKenzie plays Ms. Lamb, a nurse. Director Zachary Wigon and screenwriter Virginia Feito have made an atmospheric, but uninspired, shallow, unscary and tedious slice of gothic horror that takes too long to get to the meat of its story which involves a major plot twist. The twist, which won't be spoiled here, is handled in a way that makes it feel tacked-on and contrived, especially because of the very weak, lazy exposition where two characters just stand in a room while stating the on-the-nose exposition. Besides that twist, there are no surprises here because, from the get-go, it's obvious that something's wrong with Winifred and that the shit will hit the fan eventually---so, it's not a matter of if, but a matter of when. Unfortunately, the attempts of levity in the form of dark and absurd comedy don't quite land, e.g. how Winifred's last name sounds like "naughty" every time she or someone else says it.  

      Horror fans will be pleased on a superficial level that there's plenty of blood and guts during the second half of the film albeit nothing that pushes the envelope. The production design, use of lighting and cinematography provide some style, but not enough to compensate for the lack of substance. The performances are fine without anyone managing to rise above the vapid screenplay. Victorian Psycho is an unimaginative, unpleasant and mindless B-movie that's low on palpable scares and ultimately less than the sum of its parts. At a running time of 1 hour and 42 minutes, which feels more like 3 hours, Victorian Psycho opens nationwide via Bleecker Street.  

Number of times I checked my watch: 4