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      ‘Colette and Justin’ Review: The Colonized Speak Up

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      In a new documentary, a filmmaker turns his lens on his grandparents during a pivotal moment in the history of the Democratic Republic of Congo.In “Colette and Justin,” directed by Alain Kassanda, the French-Congolese filmmaker uncovers a tangled and pivotal era in Congolese history and the central role his grandfather had in the country’s path toward independence in 1960.The titular protagonists are Kassanda’s grandparents, Colette Mujinga and Justin Kassanda, both born and raised in Zaire, what is now the Democratic Republic of Congo, under Belgian rule. In the film, which relies heavily on photographs and footage created by the Belgians, Kassanda asks: “How do you make a film from the oppressor’s archives?” And his answer in the film both complicates and deepens our understanding of the way history is documented.Kassanda interweaves interviews with his grandparents and archival footage and images, often superimposing his own thoughts on colonization, migration and family. At one point, they watch clips from colonial propaganda that paints the local people as savages, scantily clad with bows and arrows, acting out tribal disputes with “witch doctors.” But as his grandparents point out, it was the Belgian film crew orchestrating these scenes. This interview technique reveals elements that might not have come up otherwise: the exclusion of women from French education, for instance, and the divisions the Belgian government manufactured between the Baluba and Lulua ethnic groups.Later, when the country achieved independence, Justin joined its nascent government as a senator and participated in a secession movement, leaving Kassanda to reconcile his respect for his grandfather with his admiration for the opposition leader, Patrice Lumumba, who became the country’s first prime minister. The result is a film both intimate and political; informative and profound. It highlights the deep and far-reaching wounds of colonization and offers a balm for its scars.Colette and JustinNot rated. In Lingala and French, with subtitles. Running time: 1 hour 29 minutes. In theaters. More

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      The Best Movies and TV Shows Streaming in October: ‘Loki,’ ‘Goosebumps’ and More

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      Here’s the best of what’s coming to Amazon, Max, Apple TV+ and others.Every month, streaming services add movies and TV shows to its library. Here are our picks for some of October’s most promising new titles. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)New to Amazon Prime Video‘Totally Killer’Starts streaming: Oct. 6The offbeat horror-comedy “Totally Killer” is a 1980s-style slasher film with a science-fiction twist. Kiernan Shipka stars as Jamie, a rebellious teenager who has lived her whole life in a small town that was the site of an infamous string of unsolved murders in 1987. When the masked killer — or perhaps a copycat — reappears and slays Jamie’s mother, Pam (Julie Bowen), Jamie travels back in time to 1987 to stop the original spree. While trying to figure out the identity of a knife-wielding maniac, the heroine handles the culture-clash of being a 2020s high school kid stranded in a clique-dominated, politically incorrect era.Also arriving:Oct. 3“Make Me Scream”Oct. 6“Desperately Seeking Soulmate: Escaping Twin Flames Universe”Oct. 10“Mr. Dressup: The Magic of Make-Believe”Oct. 11“Awareness”“The Greatest Show Never Made”Oct. 13“The Burial”“Everybody Loves Diamonds”Oct. 20“Bosch: Legacy” Season 2“Upload” Season 3Oct. 24“Hot Potato: The Story of the Wiggles”“Zainab Johnson: Hijabs Off”Oct. 26“Sebastian Fitzek’s Therapy”Oct. 27“The Girl Who Killed Her Parents: The Confession”Brie Larson in “Lessons in Chemistry.”Apple TV+New to Apple TV+‘Lessons in Chemistry’Starts streaming: Oct. 13Based on a Bonnie Garmus novel, this mini-series stars Brie Larson as Elizabeth Zott, a talented chemist who struggles to be taken seriously in the sexist 1950s scientific community. When her brazen defiance of her lab’s rules — coupled with an unwillingness to be subservient and girlie — gets her fired, Elizabeth reinvents herself as the host of a science-focused TV cooking show. “Lessons in Chemistry” covers a decade in the heroine’s life, balancing her rise to fame with her early struggles, while also following her brilliant, eccentric colleague and love interest Calvin Evans (Lewis Pullman). A combination of “Mad Men” and “Julia” — with a little bit of “Oppenheimer” mixed in — the series is a portrait of smart, independent people bucking the conformity of their times.Also arriving:Oct. 20“The Pigeon Tunnel”“Shape Island: Creepy Cave Crawl”Oct. 27“The Enfield Poltergeist”“Curses!” Season 1New to Disney+‘Loki’ Season 2Starts streaming: Oct. 5The Marvel Cinematic Universe has lately been all about the multiverse, with movies and TV series offering alternate versions of the classic Marvel characters living in parallel realities. Season 1 of “Loki” got that ball rolling, with a creative and mind-bending story about the roguish Norse deity running afoul of the timeline watchdogs in the Time Variance Authority. For Season 2, Tom Hiddleston returns as Loki and Owen Wilson is back as the frequently flustered TVA agent Mobius M. Mobius. Because of the proliferation of new multiverses unleashed in the Season 1 finale, many of the show’s characters find themselves subtly altered and stuck in other worlds, necessitating another trip through time, space and dimensions for these unlikely heroes.Also arriving:Oct. 2“Mickey and Friends Trick or Treats”Oct. 11“4EVER”Oct. 13“Goosebumps” Season 1Oct. 25“Primal Survivor: Extreme African Safari”Oct. 27“LEGO Marvel Avengers: Code Red”Zack Morris in “Goosebumps.”David Astorga/DisneyNew to Hulu‘Goosebumps’ Season 1Starts streaming: Oct. 13R.L. Stine’s perennially popular “Goosebumps” young adult horror novels get a new television adaptation, although unlike the original 1990s anthology TV series, this latest version (available on Hulu and Disney+) features concepts from Stine’s books inserted into a larger serialized story, with a single cast. Justin Long plays Nathan Bratt, the new high school English teacher in a quaint small town, as well as the new owner of a spooky old house that the local teenagers like to use for their parties. Before Mr. Bratt chases the kids away from their annual Halloween bash, five of them encounter haunted objects that change their lives and put the community in danger.Also arriving:Oct. 1“Ash vs. Evil Dead” Season 1-3“Crazy Fun Park”“Stephen King’s Rose Red”Oct. 2“Appendage”“Fright Crewe” Season 1Oct. 5“The Boogeyman”Oct. 6“Bobi Wine: The People’s President”“Undead Unlock”Oct. 9“The Mill”Oct. 10“Moonlighting” Seasons 1-5Oct. 11“Nada” Season 1Oct. 12“Monster Inside: America’s Most Extreme Haunted House”Oct. 13“Nocebo”Oct. 14“Empire of Light”Oct. 15“Slotherhouse”Oct. 18“Living for the Dead” Season 1Oct. 20“Cobweb”Oct. 26“American Horror Stories” Season 3Oct. 27“Explorer: Lake of Fire”“Shoresy” Season 2Rhys Darby in Season 1 of “Our Flag Means Death.”HBO MaxNew to Max‘Our Flag Means Death’ Season 2Starts streaming: Oct. 5The first season of “Our Flag Means Death” arrived without a lot of fanfare. Initially, the show looked to be just a mild-mannered pirate parody, about a ship full of misfit outlaws led by the inept captain Stede Bonnet (Rhys Darby). But as the season rolled on — and as Stede’s rivalry and romance with the notorious Blackbeard (Taika Waititi) became more central to the plot — the series’ creator David Jenkins began focusing more on piracy as a haven for people who yearn to live outside the mainstream. Season 1 ended on a cliffhanger, with Stede’s crew stranded on a deserted island and Blackbeard determined to get back to being mean. Fans have been eager ever since to learn how these twists will affect one of TV’s sweetest love stories.‘The Gilded Age’ Season 2Starts streaming: Oct. 29The “Downton Abbey” creator Julian Fellowes brings his uncommon knack for energetic historical melodrama to “The Gilded Age,” a lavishly decorated and irresistibly entertaining look at high society in 1880s New York City. Carrie Coon is superb as a shrewd social climber, married to a nouveau-riche tycoon (Morgan Spector) whose ruthless business tactics irritate the old money types. The rest of the cast includes Louisa Jacobson as a restless young woman living with her eccentric, judgmental aunts (Christine Baranski and Cynthia Nixon) and Denée Benton as an aspiring writer defying the era’s racist biases. Season 2 will continue Fellowes’s fascination with a pivotal era in American culture, when the upper-crust considered whether an ascendant democracy should still be following Europe’s unwritten rules of etiquette.Also arriving:Oct. 1“The Ringleader: The Case of the Bling Ring”Oct. 8“Last Stop Larrimah”Oct. 12“Doom Patrol” Season 4Oct. 19“Peter and the Wolf”“Scavengers Reign”Oct. 22“AKA Mr. Chow”Oct. 23“30 Coins” Season 2Jack Cutmore-Scott, left, as Freddy Crane and Kelsey Grammer as Frasier Crane in “Frasier.”Paramount+New to Paramount+ with Showtime‘The Caine Mutiny Court-Martial’Starts streaming: Oct. 6The final film from William Friedkin is both an adaptation of Herman Wouk’s provocative 1953 play “The Caine Mutiny Court-Martial” (updated to modern times by Friedkin, who wrote the screenplay) and a summation of the director’s career-long fascination with the line between legal authority and raw power, as seen in his classic films “The French Connection” and “To Live and Die in L.A.” Jason Clarke plays Lieutenant Barney Greenwald, a Navy lawyer defending Lt. Stephen Maryk, who defied orders and relieved his commanding officer Lt. Cmdr. Phillip Queeg (Kiefer Sutherland) of duty during a storm. Though mostly confined to one courtroom set, the movie is a thrilling actors’ showcase; and as with the play, it toys with the audience’s sympathies, raising questions about how justice is properly served in a case involving the rigid military chain of command.‘Frasier’ Season 1Starts streaming: Oct. 12Kelsey Grammer returns to his most famous role, in a sequel series that surrounds the fussy psychiatrist Frasier Crane with a mostly new cast of characters. Crane moves back to Boston from Seattle and gets involved in the lives of his son, Freddy (Jack Cutmore-Scott), and his nephew, David (Anders Keith). Freddy has turned out a lot like Frasier’s father, Martin — rugged and unpretentious — while David has the same dry wit and nervous energy as Frasier’s brother, Niles. Like the old “Frasier,” this new one traffics in farce, with the comedy driven by misunderstandings and personality clashes.‘Fellow Travelers’Starts streaming: Oct. 27This historical romance tells a story that stretches from the 1950s to the ’80s, tracing a love affair between two political consultants whose lives are affected by the changing times. Matt Bomer plays Hawkins Fuller, a savvy, politically flexible congressional aide who has a fling with Tim Laughlin (Jonathan Bailey), a right-wing speechwriter who admires Joseph McCarthy. Their relationship stretches across decades, through the more permissive ’60s and ’70s and into the conservative revival of the Reagan era. Adapted by the Oscar-nominated “Philadelphia” screenwriter Ron Nyswaner from a Thomas Mallon novel, “Fellow Travelers” is dotted with real-life historical figures and explicitly erotic sex scenes, illustrating how basic human needs can be undone by political expediency.Also arriving:Oct. 5“Bargain”“Monster High 2”Oct. 6“Pet Sematary: Bloodlines”Oct. 10“Painkiller: The Tylenol Murders”Oct. 16“Vindicta”Oct. 17“Crush”Oct. 24“Milli Vanilli”New to Peacock‘John Carpenter’s Suburban Screams’Starts streaming: Oct. 13The influential genre filmmaker and composer John Carpenter lends his name, his music and — for one episode — his directing talents to this hybrid anthology series, which combines true crime and horror. Each episode is anchored by interviews with ordinary people who experienced something extraordinary, encountering real evil in the form of the creeps, the killers and the unexplained phenomena in their seemingly placid neighborhoods. The interviews provide the basic details for these tales; and then the bulk of each “Suburban Screams” episode consists of lengthy re-enactments that have the look and feel of an ’80s slasher movie, as though Carpenter’s “Halloween” were a documentary.Also arriving:Oct. 12“Superbuns” Season 1Oct. 19“Wolf Like Me” Season 2Oct. 20“Ruby Gillman, Teenage Kraken”Oct. 24“Krishnas: Gurus. Karma. Murder.”Oct. 27“Five Nights at Freddy’s”“L’il Stompers” Season 1 More

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      ‘Shadows in the City’ Review: A Sleazy Slice of 1980s No Wave

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      The director Ari M. Roussimoff’s black-and-white homage to the downtown crowd gets a raw screening at the Museum of Modern Art before its restoration.The visual artist and performer Ari M. Roussimoff and his camera crew — including the cinematographer and director Ellen Kuras — crept about the lower depths of 1980s Manhattan, Brooklyn and Queens shooting an underground horror movie in 16-millimeter black-and-white film. The thing he assembled, “Shadows in the City” (1991), is an astonishing and often queasiness-inducing curio of No Wave cinema.This week the Museum of Modern Art is displaying its collection’s print — with the scruffy look and distorted audio — before its restoration. Aficionados of late-20th-century New York City scuzz may want to check it out in its raw form, which runs until Oct. 11. After all, it’s a movie for which too much cleanup may be inapt.The movie’s very loose story follows Paul (Craig Smith), who wanders around the city mourning several deaths in his family, soliciting prostitutes and contemplating suicide. From Times Square, he visits Lower Manhattan, and the West and East sides. There’s a terrifying biker bar in the meatpacking district, and some possibly undead high jinks for him in Alphabet City.The cast is replete with avant-garde artists. Taylor Mead, the wise fool of microbudget classics by Ron Rice and one of Andy Warhol’s regulars, is here a skid row wet brain. The documentarian Emile de Antonio plays a mage. The “Flaming Creatures” auteur Jack Smith is “the spirit of death.” And Nick Zedd, Joe Coleman and Kembra Pfahler represent the younger side of No Wave.The story, such as it is, borrows from both the experimental short film “Scorpio Rising” and the classic B-movie “Carnival of Souls.” (Bruce Byron, who appeared in “Scorpio,” also has a role here.) But the movie is mainly driven by a nightmare anti-logic that spews forth gnarly imagery pitched between the art house and the grindhouse. An end credit shows a dedication to Forrest J. Ackerman, the editor of the horror fan magazine Famous Monsters of Filmland. The movie could be alternately titled “Famous Monsters Go Downtown.”Shadows in the CityNot rated. Running time: 1 hour 41 minutes. In theaters. More

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      Two Cult Classics Restored and Brimming With Chaotic Life

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      Timothy Carey’s erratically brilliant “The World’s Greatest Sinner” and Emilio Fernández’s redemption melodrama “Victims of Sin” finally come to big screens.“Why can’t I be a god?” wonders Clarence Hilliard, the insurance salesman turned aspiring dictator in “The World’s Greatest Sinner.” Like a grenade slowly rolling around a room, Timothy Carey’s erratically brilliant, thoroughly independent 1962 film tracks Clarence’s rise from family man to rock’n’roller to megalomaniac politician. Along with Emilio Fernández’s “Victims of Sin,” from 1951, it’s one of two outstanding, larger-than-life restorations that are receiving theatrical premieres this week.Clarence (Carey) is introduced as an oddball dad with a devout wife and children — until he tosses away life’s script. Clarence wants more. He takes up street-corner preaching, perhaps inspired by a voice-over narrator who sounds like Satan, a few drinks in. Hungry for attention, he starts a rock band and gyrates for crowds, sparking a riot. (The music is courtesy of a young Frank Zappa.) Now going by God Hilliard, he organizes a movement called the Eternal Man’s Party to run for president.Carey was a genuine wild-card who could make his Method contemporaries look tame. (Stanley Kubrick tried to harness Carey’s unique bearish volatility, casting him in “Paths of Glory” and “The Killing” as a condemned soldier and a gunman.) Doubling as the director, Carey stokes the off-kilter mood with heady camera angles and looming shadows, lingering on Clarence as he goes berserk. But Carey’s reckless fool sure sounds astute on the danger of underestimating tyrants early on: “If they believed in what I was doing, they’d try to stop me. That’s what makes it so easy.”Emilio Fernández’s “Victims of Sin” also goes full throttle with an engrossing redemption melodrama about a nightclub dancer who raises an abandoned baby. Ninón Sevilla, the Cuban-born star of musical rumberas films, plays our heroine, Violeta, with irresistible verve. She wows audiences with her moves, then fights to save the infant that a co-worker was strong-armed into leaving behind.Ninón Sevilla in “Victims of Sin.”Janus FilmsFernández’s lustrously shot Mexico City film is partly a tale of two nightclubs. Violeta dazzles audiences at Cabaret Changó, where the mix of mambos and more is bumping. But a zoot-suited gangster named Rodolfo (Rodolfo Acosta) holds sway, and other women must work as private dancers. Pushed into the streets for her defiance, Violeta struggles to take care of her adopted child, until she is taken in by the decent owner of a nightclub by train tracks, Santiago (Tito Junco).Kindness and cruelty are forever at war in Fernández’s world, as Violeta nobly raises her child; the hard-luck plot sometimes bursts with the moody poetry of alley views and bridge vistas (thanks to the cinematographer, the great Gabriel Figueroa). Onstage there’s a mini-anthology of music by Pérez Prado, Pedro Vargas and Rita Montaner (who charms with a spicy number called “Ay José”). But there’s music, too, in the movie’s melodrama, swooping low with Violeta’s travails before making us hope that our spirits will be lifted again.The World’s Greatest SinnerNot rated. Running time: 1 hour 17 minutes. In theaters.Victims of SinNot rated. Running time: 1 hour 30 minutes. In theaters. More

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      ‘When Evil Lurks’ Review: These Demons Are Fast and Furious

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      Humans become bloodthirsty demons in a shockingly grisly new contagion horror film from Argentina.Evil strikes fast and mean in Demián Rugna’s punch-to-the-face new film.It begins as Argentina is facing a supernatural plague that turns people into bloodthirsty demons, a contagion that has Pedro (Ezequiel Rodríguez), his brother, Jimi (Demián Salomón), and their rural village on edge. When the brothers come across one of the infected — a man who’s turned into a putrid, drooling. horrifically obese monster — they manage to move him far out of town. But that only spreads the contagion and fear, forcing Pedro and Jimi and their families to flee.Into the picture comes an older woman (Silvina Sabater, wonderfully understated) who is one of the few who knows how to use a strange (and under-explained) device to kill off the creatures, and it’s her wily mother-protector resolve that drives the film’s frenzied final stretch. That is until Pedro makes an out-of-character decision that ends the otherwise smart story on a what-were-you-thinking note.Rugna’s film is at its most electric when it delivers jolts of stomach-churning violence to push the action forward and build its brutal world. A horrific scene involving a dog and a little girl happened so suddenly and gruesomely, I sat up and gasped out loud.If only Rugna’s script had more such explosive moments and fewer directionless loose ends, like Pedro’s undercooked relationships with his mother and his autistic son. Still, this is a dark and timely parable about what happens when trust — among community members, within families, between a government and its people — disintegrates.When Evil LurksNot rated. Running time: 1 hour 39 minutes. In theaters. More

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      ‘She Came to Me’ Review: A Sea of Troubles (the Romantic Kind)

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      A love-triangle comedy from Rebecca Miller, starring Peter Dinklage, Marisa Tomei and Anne Hathaway, gets an emotional boost from an unexpected source.There’s a scene in “She Came to Me,” the writer-director Rebecca Miller’s juggling act of a romantic comedy, that sounds like the setup of a joke: An opera composer and a tugboat skipper walk into a Brooklyn dive bar. The composer’s wife, a psychiatrist, is back at their brownstone. But for the blocked composer, Steven (Peter Dinklage), his wife, Patricia (Anne Hathaway), and his seafaring muse, Katrina (Marisa Tomei), what happens next is hardly a laughing matter.The unexpected liaison cures Steven’s writer’s block. It also provides an object for Katrina’s affection — or, rather, affliction. “I’m addicted to romance,” she tells Steven, revealing an anomaly in her otherwise independent personality. As for Patricia, she’s got her own compulsions. This is a romantic triangle that may recall the screwball of a Nancy Meyers rom-com.Buoyed by a score from Bryce Dessner of the rock band the National, an original Bruce Springsteen song and the expert performances of its all-in ensemble, the film also casts a luminous aura around a first love, that of two high schoolers, Julian (Evan Ellison) and Tereza (Harlow Jane). He’s Patricia’s son and Steven’s stepson; she’s the daughter of their housekeeper, Magdalena (Joanna Kulig in a soulful turn). Tereza’s stepfather, Trey (Brian d’Arcy James), is a persnickety Civil War re-enactor and a court reporter.The teenagers’ relationship hits serious snags, through no fault of their own. Age plays a part, but so does class and Julian’s race; he identifies as Black. Amid the roiling neuroses of the adults, the young beloveds provide the film with a surprising emotional ballast.She Came to MeRated R for salty language. Running time: 1 hour 42 minutes. In theaters. More

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      ‘Totally Killer’ Review: More Like Marty McDie

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      This teen slasher comedy with a time-traveling twist can’t muster up enough charisma to make its mash-up concept sing.“Totally Killer,” a time-travel teen slasher comedy, is quick to acknowledge itself as a mash-up of two 20th-century cultural touchstones. “Have you seen the movie ‘Back to the Future?’” Jamie (Kiernan Shipka), the movie’s teenage protagonist, asks a pair of cops, before later making an allusion to “Scream,” Wes Craven’s spooky-season classic. The somewhat gimmicky genre combination may have had the potential to be a winning combo, but “Totally Killer,” directed by Nahnatchka Khan, struggles to muster up enough charisma to stick the landing.After the Sweet Sixteen Killer, who murdered Jamie’s mother’s friends when her mother was a teenager, makes a sudden return on Halloween, Jamie is thrust into a time machine that sends her back to 1987, when the original killings took place. Posing as the new kid in town, Jamie becomes close with the teenage version of her mother (Olivia Holt), hoping to stop the killer before he begins his rampage.The fun premise can make for a passively enjoyable watch during a Halloween binge, but the film mostly feels like it’s just going through the motions. Its ‘80s throwback setting is short on color and life, and its slasher elements lack the choreographic or cinematic oomph to induce any terror, or even tension. Shipka is the unequivocal bright spot, naturally embodying the charm, emotion and wit that made this movie’s forebears shine in the first place.Totally KillerRated R for bloody violence, language, sexual material and teen substance use. Running time: 1 hour 46 minutes. Watch on Amazon Prime Video. More

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      ‘The Royal Hotel’ Review: Pulling Pints and Watching Their Backs

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      Two young women struggle to handle the obstreperous patrons of a remote Australian pub in this coolly calibrated thriller.We are barely 12 minutes into Kitty Green’s “The Royal Hotel” before the first C-word is dropped, but it isn’t gratuitous. The film’s language, dominated by the braying of obnoxious, bellies-to-the-bar boozehounds, is both spice and thickening agent in its pervasive mood of clammy menace. Our reward for enduring this relentless churn of apprehension is not the one we anticipate.Teasing expectations — to some viewers’ ultimate disappointment, no doubt — is much of what this keenly calibrated thriller is about, the familiarity of its setup raising our most bloodthirsty horror-movie hopes. Place two young, attractive female backpackers in a forlorn mining town somewhere in the Australian Outback; surround them with sex-starved, boorish miners; allow them no access to cell service or reliable transport. Their ensuing trials are a cyst that Green and her co-writer, Oscar Redding, take their sweet time to lance.Until then, we must gnaw our fingernails as Hanna and Liv (Julia Garner and Jessica Henwick, both terrific) refresh their finances by working as live-in bartenders in the titular establishment. The hotel’s dilapidation — to say nothing of its grubby, grabby, mostly male clientele — is a far cry from the yacht parties the women were recently enjoying in Sydney. The bar owner (an indispensable Hugo Weaving) is a raging alcoholic, yet his girlfriend (Ursula Yovich) seems kind and possibly protective. And while one regular (Daniel Henshall) is frankly terrifying, another (Toby Wallace) is so clean and cute that his off-color humor is easier to ignore. At what point should the women feel alarmed enough to leave?That question haunts every frame of a movie that persistently taunts us with the likelihood of male violence, its blasted landscapes and aura of desolation pumped relentlessly by Michael Latham’s brooding cinematography. Green, in her second collaboration with Garner (after the similarly themed — if significantly less raucous — “The Assistant” in 2020), is proving a cool chronicler of workplace abuse and the kind of harassment that disguises itself as harmless fun. Sometimes a woman’s only defense is to trust the pricking skin and spasming gut that warns her otherwise.Inspired by Pete Gleeson’s 2016 documentary about two Finnish backpackers, “Hotel Coolgardie,” “The Royal Hotel” is after something more subtle than pure horror. In its destabilizing presentation of men whose motivations appear to shift from scene to scene — the women’s fun-loving English predecessors seem genuinely sorry to leave — it places the audience on a knife edge. This, along with the general drunkenness and the bar’s oppressive gloom, can be exhausting; but Green, filming for the first time in her native Australia, displays such a sure hand with the movie’s tone that even her brief slips into genre cliché (like a surprise snake and a convenient storm) inflict minimal damage. Her overtly feminist climax, though, feels more problematic, a betrayal of the movie’s carefully drawn ambiguities and concern for its more vulnerable characters. Hanna and Liv were never looking for a fight; all they really wanted was to see some kangaroos.The Royal HotelRated R for female skin and men with a skinful. Running time: 1 hour 31 minutes. In theaters. More