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      ‘Zombies 3’ Review: Take Me to Your Cheerleader

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      In the final installment of this Disney trilogy, the arrival of aliens alters our high school heroes’ quests for college — and social — acceptance.In “Zombies 3,” directed by Paul Hoen, an interspecies utopia faces an alien invasion. Like the franchise’s previous allegories for marginalized experiences — the zombies of “Zombies” and werewolves of “Zombies 2” share hardships with Black and Indigenous Americans, respectively — this one is dubious at best.Zed (Milo Manheim) hopes to become the first zombie to go to college, while his girlfriend, Addison (Meg Donnelly), is eager to lead her cheer squad to victory. But Zed’s college dreams and the cheer championship are thrown into chaos when aliens descend upon their peaceful town.“These aliens are here to take what’s ours,” laments Addison’s vapid cousin, Bucky (Trevor Tordjman). That’s right — the aliens represent undocumented immigrants! Having apparently learned nothing in the last two movies, the citizens must learn to accept another group of outsiders.This is not your mother’s Disney Channel, and thank god. All of the “Zombies” movies are brimming with camp delights, as though the crew watched “But I’m a Cheerleader” while dropping acid. This is particularly true for “Zombies 3.” The sets and costumes are awash in pastel pinks, blues and greens. One pivotal conversation ends with a woman ripping off her wig. RuPaul Charles even voices the aliens’ mother ship.But while “Zombies 3” offers a gonzo aesthetic and radio-ready pop songs, it clumsily tackles social issues. The movie features a nonbinary character, the alien A-Spen, played by Terry Hu. While it’s nice to finally see queer characters in this extremely flamboyant franchise, A-Spen’s introduction raises more questions than it answers. Why is the only character to claim a nonbinary identity an alien? Why would aliens have a gender binary in the first place?If you watch this with your favorite young people, be warned: There’s a lot more here than just 90 minutes of silliness.Zombies 3Not rated. Running time: 1 hour 30 minutes. Watch on Disney+. More

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      ‘From Where They Stood’ Review: Auschwitz, as Seen by Prisoners

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      Christophe Cognet’s documentary pores over photographs, some of them clandestine, taken by prisoners, inside the Nazi concentration camp.Christophe Cognet’s “From Where They Stood” scrutinizes an astonishing record of the Holocaust: photographs secretly taken by prisoners within Auschwitz-Birkenau and other concentration camps. Cognet’s analytical documentary adopts the stance of an investigating historian to explicate the pictures, which were made and smuggled out at mortal risk.Unlike many documentaries about the Holocaust, this film hinges on still images rather than archival footage or interviews with survivors. Cognet joins scholars to pore over these pictures and their silent testaments; in one clutch of images, women displaying wounds on their legs are revealed to be subjects of Nazi medical experiments. Other portraits catch people in eerily calm-looking repose.But the clandestine pictures known as the Sonderkommando photographs carry the gravest weight of all. These ghostly images depict nude women on the way to the gas chamber and, afterward, corpses left in the open air (both scenes overseen by the cremation prisoner workers known as the Sonderkommando). Shot from a significant distance, apparently through holes in the gas chambers, these figures are small and not greatly defined, but no less devastating.Cognet (who also made a documentary about artworks created in the camps) visits camp sites to re-create the precise positions and sightlines of the photographers and their subjects. His film can feel overly cerebral—a bit like being plunged into a seminar—and the text cards do a lot of explanatory heavy lifting. But Cognet’s forensic approach does insist on memorializing these events in an important, physically specific way and, intentionally or not, queasily anticipates a world without any living eyewitnesses to these horrors.From Where They StoodNot rated. In French, Polish and German, with subtitles. Running time: 1 hour 55 minutes. In theaters. More

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      ‘Gabby Giffords Won’t Back Down’ Review: A New Mission

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      This documentary from the directors of “RBG” offers a window into the life of the former Democratic congresswoman Gabrielle Giffords after she survived a bullet wound to the head.In 2011, Gabrielle Giffords, then a Democratic congresswoman, was hosting a public meet-and-greet outside a Safeway supermarket in Arizona when a gunman opened fire into the gathering, killing six people and wounding many more. Giffords suffered a bullet to the head that shattered her skull and wreaked havoc on the left side of her brain. She now struggles with aphasia, a condition that interferes with the expression of language.The documentary “Gabby Giffords Won’t Back Down” offers a sentimental tour of the former congresswoman’s recovery process and her efforts to prevent gun violence in the years following the shooting. The film also provides a window into Giffords’s marriage to Senator Mark Kelly, a former space shuttle pilot with NASA. Kelly was a pillar of support for Giffords during her rehabilitation, and in 2020 he picked up the thread of her work in politics when he won a special election to represent Arizona in the Senate.Gun control is an urgent issue, and the directors Betsy West and Julie Cohen (“RBG”) scored big time with a frank talking-head interview with former President Barack Obama, who discusses the nation’s need for gun safety laws. At the same time, the film is not shy about positioning Giffords’s advocacy work alongside an assessment of her views on firearms more broadly, including that she and her husband are gun owners.But by and large, this is a human interest story. We begin amid painful home video clips of Giffords in the hospital following the attack. We end with triumphant footage of her and Kelly giving speeches onstage. Even during more analytic or crusading sections, the documentary’s mood never strays from inspirational.Gabby Giffords Won’t Back DownRated PG-13. The horrors of gun violence. Running time: 1 hour 35 minutes. In theaters. More

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      ‘The Deer King’ Review: Medicine, Family and Empire

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      A series of Japanese fantasy novels is the basis for this tenderly wrought and brilliantly animated adventure movie.Based on a series of fantasy books by the Japanese author Nahoko Uehashi, the animated film “The Deer King” opens on a chain gang of enslaved people forced to labor in a salt mine. While they and their captors sleep, a pack of wolves enter the mine, biting hundreds and passing on a deadly disease. A pair of humans manage to get out alive: Van (Shinichi Tsutsumi), a former soldier, and Yuna (Hisui Kimura), an orphaned toddler. The two escape to the countryside, only to find themselves thrust into an effort to discover a cure for the disease that killed the others. The movie, directed by Masashi Ando and Masayuki Miyaji, follows Van’s tender relationship with Yuna and the lengths he will go to protect her, even as he finds nefarious forces stacked against him.The mysterious illness only infects and kills the Zol people, who a decade earlier invaded the nation of Aquafa, leading many to believe that the disease is the result of a curse that protects Aquafa. Concerned that his people’s hold in the region could slip should the disease spread, the Zol emperor sends Hohsalle (Ryoma Takeuchi), a medical doctor, to find a cure. Van, whose blood Hohsalle believes can help those infected, lands in the center of two seemingly opposing forces: spirituality and modern medicine.The film is tenderly wrought and brilliantly animated, with transitions that emphasize the communion between the land and the human body. Its final moments don’t quite stick the landing, but the characters all have clear motivations, and the political themes are distinctly woven in throughout but do not overpower the film; they become secondary to the depictions of the natural world and the characters’ relationships.The Deer KingRated R for violence. In Japanese, with subtitles. Running time: 2 hours. In theaters. More

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      Kevin Spacey Pleads Not Guilty to Sexual Assault

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      The Oscar-winning actor will face a trial in June 2023 — a rare example of a celebrity #MeToo case reaching that stage in Britain.LONDON — Kevin Spacey, the Oscar and Tony Award-winning actor, pleaded not guilty to charges of sexual assault on Thursday, British prosecutors said.In a short hearing at the Old Bailey, one of London’s grandest courthouses, Mr. Spacey, 62, confirmed his name and address — he is appearing as Kevin Spacey Fowler — before pleading not guilty to all charges, according to the BBC and other news agencies.The actor’s appearance was largely procedural. During the hearing, the presiding judge scheduled a three-to-four week trial that will not start until June 6, 2023; the British judicial system is struggling to deal with a severe backlog.Mr. Spacey is facing four charges of sexual assault in the case, as well as one of causing a person to engage in penetrative sexual activity without their consent, which involved the penetration of a man’s mouth with a penis. The five offenses involve three male accusers, and are said to have occurred between March 2005 and April 2013, a time when Mr. Spacey was the artistic director of the Old Vic theater in London.Mr. Spacey was expected to plead not guilty to the charges, following an earlier court appearance in London. At that hearing last month, Patrick Gibbs, Mr. Spacey’s legal representative, said the actor denied all the charges and was determined to “establish his innocence.”Mr. Spacey, who won Academy Awards for his performances in “The Usual Suspects” and “American Beauty,” is free to work and travel before the trial, having been granted unconditional bail.Since the #MeToo movement spread worldwide in 2017, Mr. Spacey, who is also well known for having starred in the “House of Cards” series on Netflix, is one of the few high-profile celebrities accused of sexual assault to have faced a trial. More

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      ‘Earwig’ Review: Danse Macabre

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      The latest trip down the rabbit hole by the French director Lucile Hadzihalilovic follows a young girl with teeth made of ice and her cadaverous caretaker.Near the beginning of “Earwig,” the latest trip down the darkest of rabbit holes by the French director Lucile Hadzihalilovic, a 10-year-old girl admires a landscape painting, seated before it in an image similar to the famous scene from “Poltergeist.” Fascinated, she runs her fingers over the rough canvas and its vibrant colors; it’s a moment not unlike the experience of watching the film, which can feel like being hypnotized by disturbingly palpable still lifes from the unconscious realm.Set somewhere in midcentury Europe (though everything feels as if it were ripped out of a 19th-century Gothic novella), “Earwig” takes place mostly indoors, between the jaundiced, windowless walls of a near-empty dwelling. The girl, Mia (Romane Hemelaers), has teeth made of ice, which are melted down and remolded each day by Albert (Paul Hilton), a cadaverous man whose unseen and menacing overlords croak cryptic orders to him over the phone.Like in her past films, Hadzihalilovic explores the psychic tensions of a cloistered, ritualized existence — this time taking on the point of view of an adult (Albert) to create a loose drama around the event of Mia’s release. One day, the bosses tell Albert that he will no longer serve as the girl’s warden, upending his womblike routine and sending him into a macabre frenzy complete with visions of what may be his long-dead wife, broken-bottle bloodshed and a jarring suicide attempt at the lake. These events are woven together by a twinkling uncanny score and blurred lights that function like title cards.Hadzihalilovic is an expert conjurer of other worlds, and “Earwig” unearths a startlingly seductive array of visual and sonic textures that don’t quite add up to much more than a powerful mood. There’s no big revelatory payoff, even though there’s the semblance of (or the attempt at) one — best to let this one simply wash over you should you choose to sip the magic tea.EarwigNot rated. Running time: 1 hour 54 minutes. In theaters. More

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      ‘Queen of Glory’ Review: Back to the Bronx

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      In the writer-director Nana Mensah’s amusing and astute feature debut, a death forces a reckoning for a brainy young Ghanaian-American living in both worlds.Molecular neuro-oncologist Sarah Obeng is very smart. But in the subtle delight “Queen of Glory” — written and directed by its lead actor, Nana Mensah — the American daughter of Ghanaian parents can be foolish, too. Take her married boyfriend and university colleague, Lyle (Adam Leon): He’s simply not worthy.Sarah is organizing their relocation to his next job when she learns of her mother’s death. Now she must decamp from Manhattan’s Upper West Side to the Bronx to plan her mother’s funeral, deal with her father (Oberon K.A. Adjepong) and decide what to do with her mother’s home, her Christian bookstore and the store’s grateful employee, Pitt (Meeko Gattuso). Pitt especially gladdens as the former inmate with the face tattoos and creative side gig.The child of Ghanaian parents herself, Mensah traverses the polyglot turf well, infusing details with astute affection and understated laughs. Even the occasional slapstick proves more sweet than silly.Sarah’s return to the neighborhood of immigrant melding and cultural adjacency stirsher feelings of being an outsider but at the same time awakens her sense of community. Mensah pokes gentle fun at her heroine and treats the failings of some of the menfolk here with deadpan wit and little rancor.Ghanaian drums and dance set a sonic and visual motif that recurs, at once disruption and glue. With so much to do, Sarah has had little time for grief. When her reality, the drumming and the movie’s archival images of African gatherings finally converge, a mother, a motherland and a daughter get their emotional due.Queen of GloryNot rated. Running time: 1 hour 18 minutes. In theaters. More

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      ‘Persuasion’ Review: The Present Intrudes Into the Past

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      Dakota Johnson smirks her way through a Netflix adaptation of the rekindled romance in Jane Austen’s last novel, our critic writes.The great irony of this new, not-quite-modernized adaptation of Jane Austen’s final novel, “Persuasion,” is that it communicates its tense relationship to its 19th-century source material in a repressed, passive-aggressive manner — an approach oddly suited to Austen’s trenchant view of society. The film doesn’t take the creative leap to transpose the beloved story in the present day. Instead, in curiously excruciating fashion, the director, screenwriters, and star imply their discomfort with Georgian-era social norms from within the novel’s period setting.Both the film and the novel begin in the early 1800s, as the story’s heroine, Anne Elliot (Dakota Johnson), visits her sister Mary (Mia McKenna-Bruce) in the English countryside, after their father squandered the family savings. Anne is an unmarried woman who is fortunate to be respected — or, at least, perceived as useful — by her blue-blooded relations. But in direct addresses to the camera, Anne admits that she is haunted by the memory of a love affair she was persuaded to end with an enterprising but fortuneless sailor, Frederick Wentworth (Cosmo Jarvis).Now Anne is alone, and her regrets only grow when Wentworth returns to the country as a wealthy naval captain. He’s eager to find a wife, and if his sights are first set on Anne’s lively sister-in-law Louisa (Nia Towle), his attention always seems to wander back to Anne.For this story of rekindled romance, the film summons the handsome appointments expected for a big-budget period drama. There are extravagant mansions, brocaded costumes and magnificent vistas. But there is a crisis of contemporaneity at the heart of this pretty adaptation, and the trouble begins with its presentation of its heroine.Johnson, wearing smoky eye shadow and pink lipstick, displays the confident appeal of a celebrity sharing her secrets with the audience. Her smile reads as a smirk. The incongruous bravado of her performance is mirrored by the film’s script, written by Ron Bass and Alice Victoria Winslow, which peppers lines from the novel with meme-ish truisms like, “Now we are worse than exes. We’re friends.”The contrast between the modernized dialogue and Austen’s period-appropriate language only makes both styles seem more mannered. The story’s heroine, its dialogue and even its themes of regret and loneliness seem to be swallowed up by the need to maintain an appearance of contemporary cheek.For fans of Austen’s novel, it’s hard to imagine the director Carrie Cracknell’s version providing a sense of ease or escapism. Instead, the unbearable tension between past and present serves as a disarmingly naked window into the anxieties of current Hollywood filmmaking. Better to have the whole movie be a skeptical, uncertain affair than to risk presenting a pre-feminist heroine who lacks confidence.PersuasionRated PG. Running time: 1 hour 47 minutes. Watch on Netflix. More