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      ‘Gigi & Nate’ Review: A Tender Bond

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      A young man with quadriplegia and his helper monkey pair up in this overstuffed feel-good drama.As far as by-the-book, feel-good dramas go, “Gigi & Nate” has a fail-safe formula, designed to jerk tears and warm hearts. The film tells the true story of an 18-year-old who becomes a quadriplegic after contracting meningitis from a lake swim. Unable to eat, sleep or do everyday tasks without help and crushing pain, the Nashville-based Nate (Charlie Rowe) struggles with despondence until Gigi, a capuchin monkey, transforms his life.Yet the tender bond between the titular pair gets short shrift in Nick Hamm’s bloated movie, stuffed as it is with subplots, characters and contrivances. After an overlong prologue shows Nate frolicking in the water on the Fourth of July with his siblings and friends, the film jumps cursorily through several years of his life with quadriplegia before he acquires Gigi.The film’s aggressively unsubtle score notwithstanding, Gigi’s effect on Nate is touching. Once she warms to him, she operates his phone, flips through the pages of the books as he reads and helps him with physical therapy, imbuing him with a renewed zest for life. There are also some high jinks involving Nate’s quippy, vodka-swigging grandma (a thankless turn by Diane Ladd) and a college party where Gigi goes viral.These antics earn the ire of local animal rights activists, who show up to Nate’s house in ape masks and pelt the walls with fake blood. As the battle between these cartoon villains and Nate goes to court, the writing becomes painfully platitudinous, skating around the real controversies surrounding the domestication of intelligent primates. Rather than offer insight into the difficult choices facing disabled people, “Gigi & Nate” opts for mawkish wish fulfillment, undercutting the film’s powerful emotional core.Gigi & NateRated PG-13 for scenes featuring seizures. Running time: 1 hour 54 minutes. In theaters. More

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      ‘Peter Von Kant’ Review: Fassbinder and Friends

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      The prolific French director François Ozon puts a metatextual spin on “The Bitter Tears of Petra von Kant,” the classic German tale of amour fou.With “Peter Von Kant,” the prolific French director François Ozon pays homage to one of his most enduring influences, the New German Cinema icon Rainer Werner Fassbinder, nearly 20 films after first adapting a Fassbinder play with his early feature, “Water Drops on Burning Rocks” (2000).The film puts a metatextual spin on the classic Fassbinder play-turned-movie “The Bitter Tears of Petra von Kant,” a menage-à-trois melodrama about a fashion designer, her assistant and her muse, largely inspired by Fassbinder’s own tempestuous affairs of the heart. Ozon makes these parallels literal, placing a doppelgänger of the renegade director — complete with a mustache, a portly physique and a few of his signature statement pieces like his leather vest and white suit — in the title role.The filmmaker Peter Von Kant (Denis Ménochet) spends his days barking orders at his tight-lipped, gangly number two, Karl (Stefan Crepon), until, one day, Sidonie (Isabelle Adjani), the aging diva whose career he helped start, drops by with her latest boy toy, Amir (Khalil Gharbia). Instantly smitten with the younger man, Peter fast-tracks their romance by casting Amir in his new film and giving him a set of keys.Modeled after the North African actor El Hedi ben Salem (Fassbinder’s lover and the star of his masterpiece “Ali: Fear Eats the Soul”), Amir, a gin and tonic-guzzling libertine, drives Peter wild with jealousy, unfolding a series of cruel power plays and spittly shouting matches until the couple hit their breaking point.Admittedly, there’s a baked-in appeal to such an adoring resurrection of the man and the myth, through the prism of one of his most beloved works (the casting of a Fassbinder collaborator, Hanna Schygulla, as Peter’s mom, doesn’t hurt).But there’s a mocking air to Ozon’s chamber-piece histrionics, in part because Ménochet plays Peter like a self-pitying ham, oohed and aahed at with every breakdown. Fassbinder’s work finds a kind of truth in the artifice of emotionally plumped-up dramas, but Ozon’s often tedious tragicomedy never hits such a stride, trusting that the material will automatically confer greatness; instead, “Peter” comes off like top-shelf fan-fiction.Peter Von KantNot rated. In French and German, with subtitles. Running time: 1 hour 25 minutes. In theaters. More

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      ‘Kaepernick & America’ Review: A Narrative

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      A documentary examines race in football via Colin Kaepernick’s career.In the past, when people talked about football heroes, both collegiate and professional, they meant white men. When the game became more integrated, after World War II, a racist myth among some fans held that Black players were good for muscle, while strategic thinking was the domain of white quarterbacks and coaches.The rise of the Black quarterback has proved, among other things, revelatory. In the documentary “Kaepernick & America,” the directors Ross Hockrow and Tommy Walker spend a good amount of time showing how excited football fans were when Colin Kaepernick, the biracial quarterback for the San Francisco 49ers, was winning games and acting cheerful.Of course, even then there were the irascible white sports commentators like Colin Cowherd, who suggested that Kaepernick’s voluminous tattoos were a little too “street,” and that his post-touchdown bicep kiss was a sign that he wasn’t a “grown-up.” One wonders whether Cowherd ever objected to the white N.F.L. player Mark Gastineau’s sack dances.The movie really turns over a rock once Kaepernick chooses the gesture of taking a knee during the national anthem at games, as a protest against racial injustice and police brutality. The worms revealed include David Portnoy, the founder of the media company Barstool Sports, calling Kaepernick “an ISIS guy” and the entirely, even blindingly white cheerleader for the extreme right, Tomi Lahren, screeching to Kaepernick, “Aren’t you half white?” Even the clips from mainstream sources reveal a media high on its own supply of frenzied delusional nationalism. Eventually Kaepernick’s conscience gets him blackballed, and he remains without a team today.The verbal analysis here isn’t always profound — one interviewee trots out the banal phrase “the conversation we should be having” — but the narrative as presented in archival footage (Kaepernick did not sit for an interview for this film) is exemplary. The sports journalist Steve Wyche sums things bluntly: “We haven’t made much progress in this country.”Kaepernick & AmericaNot rated. Running time: 1 hour 22 minutes. Rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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      ‘Waiting for Bojangles’ Review: Endless Love

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      Set in Paris in the 1960s, the film tells the story of two irrepressible lovers, and their young son, whose tale turns tragic.Régis Roinsard’s “Waiting for Bojangles,” based on the novel by Olivier Bourdeaut, is a film so unabashedly romantic that it could only be French. It tells the story of two boundless, irrepressible lovers, Georges (Romain Duris) and Camile (Virginie Efira), and the life they share in Paris in the 1960s with their young son, Gary (Solan Machado-Graner).Their home, brimming with warmth, is crowded nightly with friends and family, like a madcap salon fueled by cocktails and lively conversation. Their tale eventually becomes tragic, however, as Georges and Camile’s relationship is strained by Camile’s battle with mental illness. But the film’s vision of a life of immeasurable joy and passion — one lived solely for love, without limits or qualifications — is beautiful and, for this critic and helpless romantic, powerfully intoxicating.The infectious brio at the heart of “Bojangles” is a testament to the performances of the ensemble cast, but especially Duris and Efira, whose chemistry is magnetic. Duris, as Georges, is introduced as a carefree mechanic posing as a worldly socialite at a party on the coast — a role he embodies with effortless charisma — when he meets Camille, downing glass after glass of Champagne and dancing wildly. One instantly roots for them.Now, the exuberant, sentimental esprit of “Bojangles,” from its impassioned sex scenes to its moments of tender longing, puts it in constant jeopardy of seeming maudlin or, worse, a little corny. But it’s an admirable problem. If you commit to romance, seeming corny is a risk you have to take.Waiting for BojanglesNot rated. In French, with subtitles. Running time: 2 hours and 4 minutes. More

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      ‘McEnroe’ Review: Regrets, He’s Had a Few

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      In this documentary about his life and career, the tennis player John McEnroe, known for his temper, doesn’t bother trying to apologize for his behavior.John McEnroe knows it’s too late to apologize. In “McEnroe,” a new documentary chronicling his meteoric rise in the world of tennis, the champion who still holds more titles than any other male player certainly expresses regret over his past behavior, both on the court and off. In the contemporary interviews that frame the documentary, written and directed by Barney Douglas, McEnroe is wise enough to know a “sorry” won’t cut it.There’s also the question of what he needs to apologize for in the first place, which the movie asks by implication. Yes, he behaved boorishly. By the same token, the patronizing, condescending tone directed toward him from many reporters at news conferences during his career arguably invited his contempt. And the overblown reaction to his bad temper was often risible. “You can see in him what society has done to us,” one self-important sports commentator intones in an audio clip.“Tennis is a lonely game,” Bjorn Borg, McEnroe’s friend and legendary rival, says in a new interview. It’s telling that the cool, calm, collected Borg and the volatile McEnroe were, and remain, the closest of friends. When speaking of each other, they talk more of their similarities than their differences.There’s a lot more here for tennis fans than you get in average sports documentaries. In archival footage and interviews, it’s easy to see why McEnroe’s approach was one of the most astonishing in the sport. His biggest problem, he insists, is that he turned pro before he learned how to control his temper. Recalling his middle-class upbringing and supportive family life when he was young, he expresses some befuddlement, wondering just where all the anger he let out on the court actually originated.In the movie’s frame, McEnroe walks around environments that figure in his past: late night New York, an empty tennis stadium. At one point, he answers a ringing pay phone, and a voice from long ago responds. This becomes a little goofy in the end but ultimately doesn’t detract from an awe-inspiring narrative.McEnroeNot rated. Running time: 1 hour 44 minutes. Watch on Showtime. More

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      ‘Saloum’ Review: A Paranormal Showdown in the Desert

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      A team of African mercenaries encounters supernatural foes in this fable-like adventure.Revenge, trauma, child exploitation and environmental degradation — all of these, to one extent or another, undergird the feverish momentum of “Saloum,” a picture that proceeds with more visual brio than narrative clarity.And that’s before we even encounter the story’s supernatural elements. Skipping blithely across genres — for simplicity’s sake, let’s call it a paranormal adventure — the movie opens in 2003, in the middle of a military coup in Guinea-Bissau, West Africa. Under cover of the chaos, three infamous mercenaries known collectively as Bangui’s Hyenas (robustly played by Yann Gael, Roger Sallah and Mentor Ba) abscond with a Mexican drug lord (Renaud Farah) and his gold bullion. En route to Dakar, Senegal, their plane comes to grief, forcing them to land in the remote Saloum region to repair and refuel.Posing as innocent travelers, the men arrive at a coastal vacation camp run by the suspiciously magnanimous Omar (Bruno Henry), who dispenses chores to his guests in lieu of rent. The environmental boon of some of these tasks — planting mangroves to stabilize the coastline; fighting poachers who fish with explosives and destroy the ecosystem — is touched on only lightly, but they add gravity and texture to a screenplay, by the movie’s Congolese director, Jean Luc Herbulot, that’s often skittishly unfocused. References to the region’s history and ancestral myths whoosh past, the emphasis always on eyes over ears, action over explanation. This is a movie that’s constantly exhorting us to keep up.Occasionally, things slow to allow the resort’s other guests to pose particular threats. There’s a police captain who might be tailing the mercenaries, and a mysterious woman (a wonderful Evelyne Ily Juhen) who can neither hear nor speak. Her bold exchanges with the Hyenas, conducted entirely in sign language, are every bit as creative as the whirling clouds of evil that are eventually unleashed. These dark dervishes, seemingly comprised solely of dirt and leaves and primal malice, are ingeniously symbolic, as if the land itself were rising to avenge past crimes.Punctuated by Gregory Corandi’s gliding, God’s-eye shots of meringue-colored desert and placid shoreline, “Saloum” has the extravagance of fable and folklore. The plot is ludicrously jam-packed, but the pace is fleet and the dialogue has wit and a carefree bounce — right up to the moment when our Hyenas realize their greatest danger could come from one of their own.SaloumNot rated. Running time: 1 hour 24 minutes. In theaters. More

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      ‘Burial’ Review: Corpse Ride

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      The film, about a Russian intelligence officer’s covert mission at the end of World War II, begins on a suspenseful note, but the tension soon dissipates.“Burial” begins suspensefully enough. It opens in 1991 at the London home of a Russian Jewish woman, Anna (Harriet Walter), as she watches TV news of Mikhail S. Gorbachev’s resignation as the Soviet president.It’s quite the historic evening for a neo-Nazi (David Alexander) to break into Anna’s home. Fortunately, Anna gets the jump on him and cuffs him to a radiator. He thinks that Anna, while serving as a Russian officer at the end of World War II, covered up evidence that Hitler survived. She decides to tell him how wrong he is.The movie, from the writer-director Ben Parker, flashes back to Berlin in 1945 — and the tension dissipates. We learn that the young Anna, who was known then as Brana (Charlotte Vega), was part of a covert mission to carry a conspicuously coffin-shaped crate to Moscow. Parker intends for viewers to speculate about its contents, but the trailer reveals what’s fairly obvious — that it’s Hitler’s remains. Stalin needs to look his enemy in the eye, we’re told, and Brana wants the world to see that Hitler was mortal and a coward.The story is invented, and not particularly exciting as such. While die-hard German soldiers — armed, ridiculously, with hallucinogenic lichens — are eager to recapture the corpse and manufacture evidence that it’s a fake, the transport of a dead body is not exactly a “Wages of Fear” situation, and the murky nighttime visuals don’t help. Furthermore, the inconsistent linguistic choices — the Russian and German characters mostly stick to English, but the Poles sometimes speak Polish — only add to the muddle.BurialNot rated. Running time: 1 hour 35 minutes. In theaters and available to rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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      Charlbi Dean, Star of ‘Triangle of Sadness,’ Dies at 32

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      A South African-born actress and model, she had a breakout role in the satirical “Triangle of Sadness,” due in theaters in the fall.Charlbi Dean, an actress and model who plays a lead role in the film satire “Triangle of Sadness,” which won the top award at the Cannes Film Festival this year and will be released in the fall, died on Monday in Manhattan. She was 32.The death, in a hospital, was confirmed by a representative from her publicity agency. The cause was not given.“Triangle of Sadness,” an English-language satire of the ultrawealthy from the Swedish director Ruben Östlund, stars Ms. Dean and Harris Dickinson as models aboard a luxury cruise that goes awry. It took the Palme d’Or prize at Cannes and is scheduled to play at both the Toronto International Film Festival and the New York Film Festival in September. The independent studio Neon is expected to release the film to theaters on Oct. 7.The New York Times critic Manohla Dargis wrote that the film was a “blunt, ugly sendup of class politics” that “sharply divided critics.”In a promotional interview for the film, Ms. Dean welcomed such a polarized response.“Hopefully people will leave the theater wanting to talk about it and discuss it,” she said. “Those are my favorite films: the ones that get my mind going, piss me off a little, make me laugh and cry.”In a statement posted on Instagram, Mr. Östlund called Ms. Dean’s death “a shock and a tragedy.”“Charlbi had a care and sensitivity that lifted her colleagues and the entire film crew,” he wrote.Charlbi Dean Kriek was born on Feb. 5, 1990, in Cape Town, South Africa, to Johan Kriek and Joanne Muller. In 2008 and 2010, she appeared on the covers of the South African editions of GQ and Elle magazines.She appeared in her first feature film role in 2010, playing a popular boarding school student alongside Troye Sivan and John Cleese in the movie “Spud.” From 2018 to 2021 she portrayed Syonide — a villain with deadly marksmanship skills — in the CW Network superhero drama “Black Lightning.”She is survived by her parents; her brother, Alex Muller; and her fiancé, the South African actor and model Luke Volker. More