Movies

Hot Thriller, Cool Romance‘The Thomas Crown Affair’ | YouTube, Amazon Prime Video, Google Play, iTunes, VuduMake sure you watch the 1968 version, not the 1999 remake. While the newer film is fine enough, the original is a textbook example of classic Hollywood at its sexiest. Steve McQueen plays a millionaire who robs banks for fun, and Faye Dunaway is the insurance investigator on his tail. There is something downright intoxicating about the two stars’ charisma, and their chemistry feels as inexorable as tectonic plates moving toward each other. When they engage in a game of chess — a real one, though the metaphorical aspect is also there — you might have to fan yourself. Michel Legrand’s alternately lush and driving score is a gem of its own. ELISABETH VINCENTELLIGet Rich, or Fall in Love Trying‘Atlantic City’ | YouTube, Amazon Prime, Google Play, Vudu, iTunes, HuluWhen Burt Lancaster and Susan Sarandon appeared in Louis Malle’s 1980 heartbreaker, he was almost twice her age. Yet after his rueful character, a small-time hood named Lou, takes a shine to Sally (Sarandon), a struggling oyster-bar waitress, their connection develops a melancholy magic. Blending romance and crime caper, Malle has crafted a dreamy, atmospheric study of a man, and a city, in decline, and Lancaster plays him with so much tattered heart that we easily understand Sally’s surrender to Lou’s quiet courtship. Watching him spy on her each night as she stands gloriously naked in her kitchen window, rubbing lemons on her skin to banish the odor of a job she detests, there is something innocent and inoffensive in his peeking. To him, she represents all he has lost — and all he might yet salvage. JEANNETTE CATSOULISWatch and Weep‘Brief Encounter’ | Amazon Prime Video, iTunesIt’s not a spoiler to say that the love affair in “Brief Encounter” does not last: The title is pretty clear on that point. Yet you will hope against hope that Laura (Celia Johnson) and Alec (Trevor Howard) somehow find a way to end up together. The enduring appeal of David Lean’s 1945 romantic masterpiece lies in the push and pull between two people’s mutual attraction and their sense of honor and duty. (They are both married to other people.) The film gently suggests the all-encompassing power of love with characters who maintain a stiff upper lip. Slight gestures and sideways glances resonate like deflagrations of unabashed desire in this context, and the effect is devastatingly emotional. ELISABETH VINCENTELLISweetheart Scares‘My Bloody Valentine’ | Shudder, Crackle, YouTube, Amazon Prime, Google Play, Vudu, iTunesThis Valentine’s Day, do like many horror fans do: Fire up the streaming service Shudder and snuggle up with your boo. Start with “My Bloody Valentine,” a 1981 Canadian slasher film about a mining town besieged on Valentine’s Day by a killer with a pickax. It’s gory and deranged, but also a strangely nostalgic slasher classic. Follow that with the new Shudder podcast “Horror Noire: Uncut,” a fascinating six-episode valentine to African-American film buffs’ love-hate romance with horror cinema, based on Shudder’s acclaimed 2019 documentary. The podcast is also available on Apple Podcasts and other platforms. ERIK PIEPENBURGSweet Bromance, Dude‘Dude, Where’s My Car?’ | YouTube, iTunes, Google Play, Vudu, Amazon Prime Video, Cinemax“Dude, where’s my car?” “Where’s your car, dude?” Were more romantic words ever spoken? Ashton Kutcher and Seann William Scott still make a dynamic couple in this 20-year-old stoner comedy that takes repetition to a place of absurdist enlightenment. The premise is simple: Two friends, Jesse and Chester, wake up and can’t remember the night before, including the whereabouts of said car. Yes, much of the laughs come from a puerile place, but there’s some genuine heart amid the gags. And the chemistry between these bros is palatable, from their shirtless tussle while trying to figure out what the new tattoos on their backs say to a one-upmanship showdown they have with Fabio that results in Jesse and Chester making out with each other. Sweet! MEKADO MURPHYI Have an Hour, and I Want to Swoon-Cry‘San Junipero’ (‘Black Mirror’ Season 3) | NetflixThe British series “Black Mirror” is famously bleak, but the Season 3 episode “San Junipero” has what passes as a happy ending in the show’s universe. Make no mistake, though: Tears will flow, prompted by a love that defies time, space, physical reality and even death itself. Mackenzie Davis’s shy, nerdy Yorkie finds herself pulled into the orbit of Gugu Mbatha-Raw’s extroverted, magnetic Kelly. The story jumps around the space-time continuum but is mostly set in 1987 America — if only, you may suspect, so it could put Belinda Carlisle’s “Heaven Is a Place on Earth” and Robbie Nevil’s “C’est la Vie” to memorable use. While technology tends to be a nihilistic force in the series, it comes to the aid of love in “San Junipero.” Imagine that. ELISABETH VINCENTELLILove From Beyond the Grave‘Atlantics’ | NetflixIn Mati Diop’s feature debut, two lovers, Ada (Mama Sané) and Souleiman (Ibrahima Traoré), are separated by forces beyond their control. Although Ada is betrothed to a wealthy man, Omar (Babacar Sylla), her affections remain with Souleiman, a suave but less prosperous suitor who leaves their coastal town in Senegal in hopes of finding steady work in Spain. Strange things begin to happen back in Senegal after Souleiman is feared dead, including a mysterious fire that disrupts Ada’s wedding celebration. Diop and the cinematographer Claire Mathon (who also worked on “Portrait of a Lady on Fire,” back in theaters this week) frame Ada and Souleiman’s enduring love as an epic romance, a passion that reverberates through Fatima Al Qadiri’s haunting score. MONICA CASTILLOLove at Work‘Eames: The Architect and the Painter’ | Amazon Prime, YouTube, Google Play Movies & TV, iTunesIt all started with a chair. When Charles Eames met Ray Kaiser, they were both at the height of their fields (architecture for him, abstract art for her). In his love letters, he dreamed of a future together. He destroyed her letters. After all, he was married, with a daughter. Yet their connection sparked a professional partnership that helped define design and consumer culture. The film paints the picture of a love rooted in work and a shared joy in making things. Which is to say it manages to make the business of furniture and experimental filmmaking seem terribly romantic. Charles and Ray, who eventually married, are seen smiling together in archival photos from the 1940s, ’50s and beyond, look like a pair of delightful, delighted oddballs, fussing over designs that would eventually make their way into homes across the country. Their bond flourishes as they find success, is buffeted by industry criticism, the era’s sexism, and even infidelity. Still, they forged ahead, leaving their mark on just about everything they touched. #Goals. KWAME OPAMLove Triangle: What Could Go Wrong?‘Broadcast News’ | Amazon, iTunes, Vudu, YouTube, Google PlayOne of the great love-triangle movies of all time, James L. Brooks’s comedy-drama (set in the world of network television news) finds Holly Hunter, in her breakthrough role, as a high-strung producer torn between two potential partners: Albert Brooks (as a reporter with a great mind but no physical spark) and William Hurt (as the hotshot new anchor with a killer bod and an empty head). They’re all playing recognizable types, and dig the expected laughs out of those personalities (and their interpersonal dynamics). But Brooks’s witty, sophisticated screenplay doesn’t treat them like stock characters; these people are all both likable and deeply flawed, and the film’s refreshing lack of clear choices makes Hunter’s romantic predicament all the more poignant. JASON BAILEYBollywood Romance‘Jodhaa Akbar’ | NetflixSome love stories end in weddings; others begin with one. In the Bollywood historical romance “Jodhaa Akbar,” the Mughal emperor Akbar marries the Hindu princess Jodhaa as part of a peace arrangement with the king of a rival province. Jodhaa resents being used as a political pawn and forced into a stranger’s home, but Akbar’s acceptance of her independence and religion slowly wins her over. Aishwarya Rai Bachchan and Hrithik Roshan are resplendently charismatic as the lead royals: the scene in which, armed with swords, they duel it out to resolve a lover’s quarrel is one of the sexiest moments ever committed to screen. The director Sanjay Leela Bhansali’s knack for swooning romance and political intrigue — and the stunningly designed set — make the film worth every minute of its three-and-a-half-hour run time. DEVIKA GIRISHAn Ever-After That’s Actually Dreamy‘The Thin Man’ | YouTube, Amazon Prime Video, iTunes, Google Play, VuduWho ever said marriage killed romance? Not Nick and Nora Charles, for whom life is a euphoric succession of dry martinis and drier banter, seasoned with a little detective action here and there. The first (and best) in what would become a successful franchise, “The Thin Man” (1934) is Hollywood screwball comedy at its most sophisticated: Everybody looks great in evening wear, cracks wise, and downs staggering amounts of alcohol while keeping their wits about them. But the key to the movie’s enduring appeal is its portrayal of an enviably liberated modern couple, played by William Powell and Myrna Loy. Partners in crime-solving and sly sex appeal, Nick and Nora don’t just love each other — they absolutely delight in each other’s company. ELISABETH VINCENTELLIWhy Fight Destiny?‘Crossing Delancey’ | Amazon, iTunes, Vudu, YouTube, Google PlayOpposites attract, in spite of all attempts to stifle said attraction, in this bewitching 1988 romantic comedy from the director Joan Micklin Silver. Amy Irving stars as Izzy, a downtown woman who’s moved uptown and fancies herself a sophisticate. So she dismisses her grandmother’s attempt to find her a husband via a matchmaker — especially when the suitor is the neighborhood pickle vendor (Peter Riegert). “I don’t live down here, I live uptown,” she assures him, and refuses to admit her obvious attraction, because of the backward step a romance with him seems to represent. Susan Sandler’s complex screenplay (based on her play) hits the expected will-they-or-won’t-they rom-com beats, but underscores them with complicated dynamics of cultural assimilation; the result is an sparkling, dizzy New York romance in the “Moonstruck” tradition. JASON BAILEYRom-Com, French Style‘Heartbreaker’ | YouTube, Google Play, iTunes, Amazon Prime VideoThis French charmer may remind you of the romantic-caper style that flourished in Hollywood from the late 1950s to the mid-60s. It is so sneakily funny and charming that it can shoulder such references as “To Catch a Thief,” whose Riviera setting this 2010 film echoes. Alex (Romain Duris) has a very special profession: Anxious friends and parents pay him to break up mismatched couples by seducing the woman. Things go south after Alex is hired to wreck the impending nuptials of Juliette (Vanessa Paradis) and Jonathan (a pre-“Walking Dead” Andrew Lincoln), and he finds himself actually drawn to his target. As with the best rom-coms, the romance feels ineluctable, no matter how hard the two leads fight it — but what fun it is to watch Duris and Paradis spar. ELISABETH VINCENTELLIBad Romance‘The Souvenir’ | YouTube, Google Play, Vudu, Amazon Prime VideoThe best rule of love is to love yourself. It’s a lesson that the film student Julie (Honor Swinton Byrne) learns the hard way as she falls under the spell of a dashing and charming older man, Anthony (Tom Burke). He’s not quite what he seems: As his drug addiction gradually strains the relationship, they engage in a vicious cycle of breakups and reconciliations. As much as this movie is about a bad romance, it’s also about what happens after Julie walks away. Based on her own youthful heartache, the director Joanna Hogg reimagines her experience in a gorgeous work of art, one that wrestles with the messy feelings of a toxic love affair. MONICA CASTILLOA Time for Sportsmance‘Bull Durham’ | YouTube, Google Play, Amazon Prime Video, iTunes, Vudu, Hulu‘Tin Cup’ | YouTube, Amazon Prime Video, iTunes, Google Play, VuduWith two sportsmance classics under their belt, the director Ron Shelton and his star, Kevin Costner, are the rightful masters of this subgenre. In “Bull Durham” (1988), Costner portrays a woeful Minor Leaguer courting baseball-crazy Susan Sarandon; in “Tin Cup” (1996), his self-sabotaging golfer becomes entangled with a psychologist played by Rene Russo. What’s great about these movies is that they show adults figuring things out, rather than, as has been the case with too many recent rom-coms, leaving characters stuck in arrested development. While the sports action can feel a little hokey — but then, that’s exactly how we like sports action — the human element has a wonderfully genuine lived-in quality. And, in “Bull Durham,” when Costner’s Crash lists “long, slow, deep, soft, wet kisses that last three days” as one of the things he believes in — well, game over. ELISABETH VINCENTELLILove and Other Existential Puzzles‘Phoenix’ | Criterion Channel, YouTube, Amazon Prime Video, iTunes, Google Play‘Transit’ | Vudu, YouTube, Google Play, Amazon Prime VideoIn “Phoenix,” by the German director Christian Petzold, a Holocaust survivor, Nelly, is recruited by her husband — who fails to recognize her after her facial reconstruction surgery — to pretend to be his “dead” wife so he can obtain her inheritance. Nelly, clinging to the charade of the love that she’s lost forever, plays along with his “Vertigo”-esque scheme even after his betrayals become slowly evident. Keep the tissues handy for Petzold’s “Transit,” about a Jewish refugee in Marseilles who is mistaken for and then starts impersonating a dead writer, and becomes enamored with the writer’s wife. Shot in a seductive, minimalist style, both movies (strange doppelgängers of each other) beautifully capture the tragic desire to become someone else — someone new — through love. DEVIKA GIRISH More

Our guide to film series and special screenings happening this weekend and in the week ahead. All our movie reviews are at nytimes.com/reviews/movies.CANADA NOW 2020 at IFC Center (Feb. 13-16). This traveling showcase brings several of the past year’s notable films from Canada to the United States for the first time. Sophie Deraspe’s “Antigone” (on Saturday) puts a very loose spin on Sophocles with a narrative that concerns an Algerian teenager (Nahéma Ricci) in Montreal; it won the prize for best Canadian feature at the Toronto International Film Festival in September. “One Day in the Life of Noah Piugattuk,” from the indigenous filmmaker Zacharias Kunuk (“The Fast Runner”), centers on an Inuit man (Apayata Kotierk) who is pressed to relocate from Baffin Island by the Canadian government.212-924-7771, ifccenter.com[embedded content]‘L’INNOCENTE’ at Film Forum (Feb. 14-20). This final feature by Luchino Visconti is not necessarily one of the most celebrated films from the director of “The Leopard” and “Rocco and His Brothers,” but it is one of his most lush and delirious. Giancarlo Giannini plays a heartless aristocrat whose own dalliances (Jennifer O’Neill plays his mistress) are complicated when his wife (Laura Antonelli) becomes pregnant with another man’s child — a situation that rekindles his love for her, or at least his sense of possessiveness.212-727-8110, filmforum.orgLONG WEEKEND OF LOVE at BAM Rose Cinemas (Feb. 14-17). Is it possible to pack 18 years of romance into one weekend — or a single day? BAM will find out when it shows the films of Richard Linklater’s “Before” trilogy (made from 1995 to 2013) sequentially on Sunday. You might argue that it helps to have some distance between viewings of each installment, because the lovers Céline (Julie Delpy) and Jesse (Ethan Hawke) themselves are dealing with the passage of time and the slippage of memory. Still, each one is a superb movie. On Valentine’s Day proper, the series features “The Philadelphia Story” and the lesbian-cinema landmark “Desert Hearts,” and on Saturday, it hosts a 20th-anniversary screening of “Love & Basketball.”718-636-4100, bam.org[Read about the events that our other critics have chosen for the week ahead.]NEIGHBORING SCENES: NEW LATIN AMERICAN CINEMA at Film at Lincoln Center (Feb. 14-18). Eleven Latin American countries are represented in this survey of recent exports. The director Pablo Larraín (“Jackie”) returns to his native Chile with “Ema” (on Sunday), a tonally seesawing portrait of a dancer (Mariana Di Girolamo) and her choreographer husband (Gael García Bernal), who have returned the boy they adopted. “Let It Burn” (on Saturday), a Brazilian documentary, observes the downtrodden residents of a hostel in São Paulo.212-875-5601, filmlinc.orgTELEVISION MOVIES: BIG PICTURES ON THE SMALL SCREEN at the Museum of Modern Art (Feb. 19-28). Streaming platforms may have muddied the waters when it comes to differentiating between movies and television, but those have waters have been muddied before. MoMA has assembled a collection of films that were actually made to air on television, although some enjoyed runs at cinemas in other countries. The series opens with Lillian Gish in “The Trip to Bountiful” (showing on Wednesday and Feb. 23), which was a television play before it was a theatrical play, and continues with work by noted auteurs, including Rainer Werner Fassbinder’s “Fear of Fear” (on Feb. 21 and 26), with Margit Carstensen as an unraveling housewife; Roberto Rossellini’s René Descartes biography “Cartesius” (on Feb. 22 and 27); and Mike Leigh’s “Meantime” (on Feb. 22 and 28), a response to the Thatcher era, with Tim Roth.212-708-9400, moma.org More

Dyanne Thorne, who starred in one of the most notorious sexploitation movies of the 1970s, “Ilsa: She Wolf of the SS” — a head-spinning mix of Nazi fetishism, sadism and female empowerment that is still talked about by grindhouse film aficionados as well as by more serious scholars — died on Jan. 28 in Las Vegas. She was 83.Her husband, Howard Maurer, said the cause was pancreatic cancer.Ms. Thorne began in show business as a singer and comedian before veering into risqué movies like “Sin in the Suburbs” (1964) and a version of “Pinocchio” decidedly not for children (1971).The release of “Ilsa,” though, in 1975, elevated her to an entirely different level of fame, at least among moviegoers of a certain stripe. The film and her character, a Nazi doctor with a taste for sex and torture, became cultural touchstones of sorts, inspiring, among other things, songs by several rock bands.The movie, directed by Don Edmonds, begins with Ms. Thorne’s character having sex with a prisoner and then presiding over his castration, her frequent punishment for those who do not satisfy her. “This was the sweetest actor in the world that they castrated,” Ms. Thorne told the website Horror Cult Films in 2011.Ilsa also conducts medical experiments on female prisoners, hoping to show that women can tolerate pain better than men and should therefore be allowed to serve in combat.The movie, shot in nine days on the studio set once used by the prisoner-of-war sitcom “Hogan’s Heroes,” became an unexpected hit, catching on overseas as well as in certain markets in the United States, including New York, when it had a long run in a then-seedy Times Square.“To our surprise, ‘Ilsa’ went through the roof,” John Dunning, a founder of Cinépix Film Properties, the production and distribution company behind the film, wrote in his memoir, “You’re Not Dead Until You’re Forgotten” (2014, with Bill Brownstein), adding, “It played more than a year in Brussels alone.”The whip-wielding Ilsa was so popular that, even though she died at the end of the movie, she was brought back for “Ilsa: Harem Keeper of the Oil Sheiks” (1976) and “Ilsa, the Tigress of Siberia” (1977). (Ms. Thorne also starred in another film released in 1977 under various titles — “Ilsa: The Wicked Warden,” “Wanda: The Wicked Warden” — that is sometimes regarded as a sequel and sometimes not.)Mr. Maurer said in a phone interview that Ms. Thorne, whom he married shortly after the first “Ilsa” movie was released, was simultaneously in demand and untouchable because of the reaction to “She Wolf.” He ended up representing her in negotiations for the sequels because no agent would, he said.Her interests outside of acting included, perhaps incongruously, the ministry. She was an adherent of Science of Mind, a religious movement established in the 1920s by Ernest Holmes, and was an ordained nondenominational minister, Mr. Maurer said.The two of them had a wedding business in Las Vegas, with Ms. Thorne generally writing the ceremonies and Mr. Maurer, a musician, providing music. Some clients would opt for an “Ilsa wedding.”“She would do it in costume, in some of the things she wore in the films that we still had,” Mr. Maurer said (though never, he added, with any swastikas). “She would put in little nuances from the films that every fan recognized. Sometimes she’d use the whip. It was all done tongue in cheek.”She did her last Ilsa wedding in November.She was born Dorothy Ann Seib on Oct. 14, 1936, in Park Ridge, N.J., to Henry and Dorothy (Conklin) Seib. She was raised largely by her mother, who held various jobs, including seamstress and jeweler, Mr. Maurer said. She took courses at New York University and studied acting, including with the teacher Uta Hagen, he said.The theater was her first interest. She was a “Casino Cutie” in the original cast of “This Was Burlesque,” a revue that opened at the Casino East Theater in Manhattan in 1962 and ran for more than 1,000 performances before transferring to Broadway in 1965 (although by then Ms. Thorne was no longer in the cast).She also appeared in skits on Jack Paar’s variety show and similar TV programs in the early and mid-1960s.Mr. Maurer said a happenstance of wardrobe helped Ms. Thorne win the “Ilsa” role. She had a part-time job as a chauffeur at the time and arrived at the audition straight from a driving shift wearing her uniform.“She walked inside in this chauffeur’s jacket and jodhpur pants,” he said, “and one of the guys said, ‘That’s her!’”The movie was loosely inspired by the life of Ilse Koch, the sadistic wife of the commandant of two concentration camps, Sachsenhausen and then Buchenwald.The movie won Ms. Thorne so many fans that some were still lining up to chat with her at autograph conventions years later. Vincent Canby, however, the courtly film critic for The New York Times, was not one of them.When he saw the movie, or at least part of it, in 1975 for an article that carried the headline “Now for a Look at Some Really Bad Movies,” among the things he didn’t care for was her attempt at a German accent.“At the point I walked out of the theater,” Mr. Canby wrote, “she was having an argument on the telephone with a superior officer whom she repeatedly addressed as ‘Hair Gain-hay-ral.’” More

“Hi, I’m Cathy Yan, the director of ‘Birds of Prey.’ So we’re near the end of the movie. And this is the culminating, the final fight scene between the women and the gangs that Roman Sionis, played by Ewan McGregor, sends in to the funhouse, which is called the Booby Trap. Well, originally, it wasn’t a funhouse, actually. I believe, originally, it was a hotel. And they were supposed to fight their way down. But then, when I got together with our amazing production designer, KK Barrett, and our DP, Matthew Libatique, we kind of thought, wouldn’t it be more interesting to convey a location that felt like Harley Quinn’s mind on acid? Our actresses, they’re actually doing the majority of the stunts themselves. That was four to five months of brutal training. When we were in prep, the actors were training pretty much every day with our stunt team.” “Come on!” “Margot learned to roller skate for this movie because she ends up roller skating in a good portion of the movie. She learned to roller skate on a bank track for the derby scene. And then, obviously, she’s roller skating here. And for this moment, she is actually just roller skating. And she was so— she became so good that she was able to stop herself, which is actually the most difficult thing to do, while on a rotating carousel, which is infinitely harder than when you’re not on a rotating carousel. What was another big challenge that we only sort of realized on the day, too, was that because the background was so different, for continuity, whenever we started a take, we had to make sure that we started and ended at the same point. So the carousel became a sort of clock. And we had a number for each of the hands. And then each hand had to directly correlate with a point outside in the funhouse so that we were able to actually match up the backgrounds. If we didn’t do that, then it would have been a complete nightmare.” [MUSIC PLAYING] ”[SHOUTS] Ah. Wait.” More

Aardman Animations’ stop-motion process is labor-intensive and rigid, requiring comprehensive forethought and specificity of execution, so what’s perhaps most striking about their films is their freedom and playfulness. Their latest, “A Shaun the Sheep Movie: Farmageddon” (streaming on Netflix beginning Feb. 14) required months of backbreaking frame-by-frame animation, but it has a freewheeling, improvisational spirit, a looseness that results in a giddy comic energy.Shaun’s first big-screen vehicle, the 2015 “Shaun the Sheep Movie,” was an inspired comic contraption, sending the good-hearted sheep and his flock on a big city adventure. In “Farmageddon,” the adventure comes to them, via an alien child who crashes near their farm, the conclusion of an accidental joy ride to earth. While Shaun attempts to help the alien “Lu-La” get home, Farmer John sees a moneymaking opportunity, and attempts to court the U.F.O. tourist trade by turning his farm into a comically rinky-dink theme park.[embedded content]If the setup sounds reminiscent of “E.T.,” that’s purposeful; the directors Will Becher and Richard Phelan include numerous visual references to Spielberg’s classic. They also throw in winks in the directions of alien pop culture artifacts like “The X-Files,” “Doctor Who,” “2001: A Space Odyssey” and “Close Encounters of the Third Kind,” which should please sci-fi fans of all ages.But the most telling homage is a reference to Chaplin’s “Modern Times,” a reminder of Aardman’s true tradition. The “Shaun” films are entirely free of dialogue — the animals don’t talk, while the humans are only heard speaking gibberish — and in many ways, these shorts and features are carrying the baton of classic silent comedy.Shaun is a resourceful “little fellow” in the tradition of Chaplin, Keaton, and Lloyd, and his adventures are similarly well-constructed machines of gags, foils, everyday foibles, and comic exaggerations. As with those silent classics, the “Shaun” films boil down to their set pieces, and while none in the new film approach the Tati-esque perfection of the restaurant scene in “Shaun the Sheep Movie,” “Farmageddon” features plenty of inspired, boomeranging slapstick, executed with clockwork precision. It’s a very funny movie — and an endlessly, refreshingly cheerful one, which is just as rare.A Shaun the Sheep Movie: FarmageddonRated G. Running time: 1 hour 26 minutes. More