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      10 New Movies Our Critics Are Talking About This Week

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      Whether you’re a casual moviegoer or an avid buff, our reviewers think these films are worth knowing about.Critic’s PickA wordless cartoon to love.The happy dog-robot pair in the animated film “Robot Dreams.”Arcadia Motion Pictures, Lokiz Films, Noodles Production, Les Films du Worso‘Robot Dreams’A dog and his robot friend explore 1980s New York in this wordless cartoon written and directed by Pablo Berger and adapted from the graphic novel of the same name.From our review:It’s marvelous how the film is able to sketch so much soul from such simple lines. The characters are drawn bluntly, just as they are in the book. Yet Berger, directing his first animated feature (but not his first silent film), already boasts the creativity of a master. He frames images from inside a grimy microwave, or looking up from the bottom of a candy bowl as it’s being filled with jelly beans. One dizzying shot comes from the point of view of a snowman who’s popped off his own head and hurled it like a bowling ball.In theaters. Read the full review.Critic’s PickThe sulking dead.Renate Reinsve in “Handling the Undead.”Pal Ulvik Rokseth/Sundance Institute, via Neon‘Handling the Undead’After the dead are spontaneously reanimated, three families wrestle with the personal ramifications.From our review:Director Thea Hvistendahl wisely takes her time getting to any real action. Instead, with a slow-moving camera and plenty of filtered sunlight, she conjures a dreamlike state, the sense of hanging between planes of existence that tends to accompany those who grieve. There are times when the film veers too near the maudlin for comfort, but it always finds its way back to something spare and meaningful. What would you do, the story gently asks, if your fondest and most impossible wish was granted, and you realized it wasn’t at all what you’d hoped it would be?In theaters. Read the full review.Swimming with the clichés.Daisy Ridley as the real-life competitive swimmer Trudy Ederle in “Young Woman and the Sea.”Vladisav Lepoev/Disney‘Young Woman and the Sea’This Disney drama is inspired by the true story of Trudy Ederle (played by Daisy Ridley), who in 1926 battled sexism and became the first woman to swim across the English Channel.From our review:This is one of those movies that proves, when they’ve got a mind to, they can still make them like they used to. Which is to say, its production values are top-notch, the cast uniformly competent or better (Ridley is particularly winning), and the filmmaking language — the director here is Joachim Ronning, whose last at-bat with Disney was the 2019 critical misfire “Maleficent: Mistress of Evil” — is meticulously calculated to deliver a rousing climax and an appropriately heartwarming coda. It’s also rather rich in cliché.In theaters. Read the full review.Critic’s PickJessica Lange, stealing the show.Jessica Lange in “The Great Lillian Hall,” with Jesse Williams, standing behind her, reflected in the mirror.HBOWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How Stop-Motion Yetis Emerged From Film Hibernation

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      “The Primevals,” a movie in the lineage of “Jason and the Argonauts,” was filmed 30 years ago. It has finally been released.Movies like “Dune: Part Two” and “Challengers” arrived in theaters later than expected because of last year’s actors’ strike, and Hollywood experienced significant production setbacks during the coronavirus pandemic.But “The Primevals,” about a group of researchers who discover gigantic yetis and other prehistoric creatures, made those movie delays look minuscule when it was released in theaters in March.It was filmed in 1994.The live-action movie, which was delayed because of funding woes and then the death of its director, David Allen, incorporates a stop-motion animation technique in which puppets are painstakingly photographed and brought to life through a series of frames, as with a children’s flipbook. The retro look conjures up an earlier era of filmmaking, before computer-generated imagery took over visual effects.“It’s like an archaeological find,” said Juliet Mills, who plays one of the movie’s researchers. “It’s like entering a time machine watching this film.”Mills and the other actors had doubted that the movie would ever reach theaters. Even before Allen died, the film’s development had been plagued by outsize expectations and financial challenges.David Allen, left, and Chris Endicott working behind the scenes on “The Primevals.” Allen conceived the movie in the 1970s and began directing it in the 1990s.Full Moon FeaturesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      When the Stage Harnesses the Power of the Movies

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      Adaptations of films will be a factor at the Tonys this year. Surprisingly the best of these shows are not always the most faithful.A passing glance at this year’s Tony nominations might trick a glancer into thinking the wrong artistic medium has crept onto the list. Among the nominees are “The Notebook,” “The Outsiders” and “Days of Wine and Roses,” based on three movies: a 2004 Nicholas Sparks romance, a 1983 coming-of-age crime drama directed by Francis Ford Coppola and a 1962 Blake Edwards melodrama about alcoholism. (They were, in turn, based on best-selling novels and a TV play.)It’s not that movie adaptations are uncommon in theater — a number of mega-budget shows have been driven by silver-screen nostalgia, whether it’s “Back to the Future” and “Aladdin” or that stalwart of the Broadway economy, “The Lion King.” Splashy musicals, in particular, often come from recognizable cinematic sources: There’s “Mean Girls,” “Moulin Rouge,” “Kinky Boots” and many more. Not all of them are hits, as “American Psycho,” “Almost Famous” and “New York, New York” prove.Given how much theater relies on visitors buying tickets to an experience they know they’ll enjoy, it makes sense. Though there’s plenty of artistry on display in these productions, blockbuster adaptations can feel, to financiers, like slam dunks, safer bets than original material. The same nostalgia that drives sequels and reboots in cinema is at play: We know audiences like it, so let’s give them some more.But intellectual property that’s bankable isn’t everything, and increasingly, interesting theater comes from movie sources hailing from left field. “Teeth,” for instance, a musical by Michael R. Jackson and Anna K. Jacobs, made a bloody, buzzy Off Broadway splash this winter at Playwrights Horizons; it’s based on a 2008 indie horror classic about a young woman with vagina dentata. Over at St. Ann’s in Brooklyn, Tobias Menzies starred in “The Hunt,” adapted by David Farr from Thomas Vinterberg’s 2013 Norwegian thriller.“Teeth” made a splash Off Broadway this year, even though the source material wasn’t widely known.Jeenah Moon for The New York TimesJess Weixler starred in the 2008 indie horror movie on which the show is based. LionsgateWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘The Dead Don’t Hurt’ Review: A Foursquare Western From Viggo Mortensen

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      Mortensen gives his film a nested, at times unnecessarily complicated structure, but with performances this good, it’s hard to mind much.In making an honest go at reviving the movie western, Viggo Mortensen — who directed, wrote and stars in “The Dead Don’t Hurt,” in addition to composing its score — delivers a few different westerns in one.Not counting a deathbed prologue, the film initially seems to be staking out a claim in the law-and-order corner of the genre. Mortensen, as a bereaved sheriff named Holger Olsen, appears skeptical when a town dullard stands accused of six murders and apparently claimed not to remember any of them. The local courthouse — a makeshift affair cobbled together in the saloon — is not the most forgiving place for the wrongfully accused, or for anyone. (At one point, in lieu of slamming a gavel to call for order, the judge fires a gun upward twice, then glances toward the ceiling to make sure it won’t cave in.)We’ve already seen the killer. Weston Jeffries (Solly McLeod), the entitled and vicious son of the area’s leading rancher, Alfred Jeffries (Garret Dillahunt), is introduced mid-spree: He is first seen emerging from the saloon and casually shooting two people in a single take before the title card appears, dangling above a corpse.But before “The Dead Don’t Hurt” can become a film about a good sheriff’s efforts to correct a miscarriage of justice, it flashes back to tell the story of another character, Vivienne Le Coudy (played as an adult by Vicky Krieps). A brisker, more classically mounted western might have kept her offscreen, relegating her to the sheriff’s back story.Painting on a bigger canvas, Mortensen gives his film a nested, at times unnecessarily complicated structure. (Vivienne’s French Canadian childhood gets somewhat superfluous flashbacks of its own.) Once the grown Vivienne meets Olsen — she prefers calling him by his last name — they set out to build a life together. Olsen is an able carpenter; Vivienne has a knack for shooting fowl. She cleans up his dusty, drab parcel of land and inspires him to add some greenery.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Young Woman and the Sea’ Review: Fighting Sexism and Rough Waters

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      Daisy Ridley plays Gertrude Ederle, who persuades her father to pay for swim lessons, and then goes on to be a pioneer.In a brassy set piece from the 1952 classic “Singin’ in the Rain,” its star, Gene Kelly, impersonates a newbie hoofer seeking fame on the Great White Way. “Gotta dance!” he exclaims to anyone he meets. In “Young Woman and the Sea,” Trudy Ederle is fond of singing the 1921 hit “Ain’t We Got Fun.” First loudly, with a ukulele, to convince her early-20th-century immigrant dad to spring for swimming lessons; later, softly, to herself as she prepares to become the first woman to swim across the English Channel. It’s her way of proclaiming “Gotta swim!”The real-life Gertrude Ederle was so utterly compelled that she put her hearing, already damaged by a childhood bout with the measles, at serious risk with her immersions. Based on a biography by Glenn Stout that contains some pretty provocative and reasonably well-supported theories about the ups and downs of her career, this Disney movie runs with those theories hard. Ederle, played by Daisy Ridley, runs up against not just the garden variety sexism of her time, but some male sponsors and coaches who actively sabotage her sporting efforts.This is one of those movies that proves, when they’ve got a mind to, they can still make them like they used to. Which is to say, its production values are top-notch, the cast uniformly competent or better (Ridley is particularly winning), and the filmmaking language — the director here is Joachim Ronning, whose last at bat with Disney was the 2019 critical misfire “Maleficent: Mistress of Evil” — is meticulously calculated to deliver a rousing climax and an appropriately heartwarming coda.It’s also rather rich in cliché. When Trudy is tempted to give up her sport, three angelic little girls show up as if on cue and one tells her, “It’s because of you I was allowed to swim.”Young Woman and the SeaRated PG for intense swimming maybe. Running time: 2 hours 9 minutes. In theaters. More

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      ‘The Young Wife’ Review: A Spiraling Bride

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      A beleaguered bride spirals on her wedding day in Tayarisha Poe’s stylish but overly familiar comedy-drama.In Tayarisha Poe’s “The Young Wife,” a wedding party plays out like a psychedelic fever dream. The camera keens and swoops, birdlike, around the guests — who are decked out in neon eye shadow and bright pastel-colored outfits — and a synth-heavy score lends the whole affair a hint of the uncanny.But beneath these quirks, Poe’s dramedy tells a tale as old as time (or at least as old as “Runaway Bride”): of a woman who has cold feet before marriage.Celestina (Kiersey Clemons) is a burned-out corporate lackey who has quit her job in a fit of rage days before tying the knot with River (Leon Bridges), a lawyer-turned-cupcake-baker. She hasn’t yet broken the news to her relatives and friends, whom she has gathered in a family home in the countryside for what she insists is a party, not a wedding. As she waits for her fiancé, who is delayed by inclement weather, to arrive, her guests buzz around her like candy-colored flies, pestering her.Her soon-to-be sisters-in-law can’t stop talking about pregnancy and children; her best friend is aghast when she discovers that Celestina has given up a lucrative career; her imperious mother disapproves of the marriage; and her fiancé’s sick grandmother, played by a purple-haired Michaela Watkins, begrudgingly lugs around an oxygen tank and tries to convince Celestina to help euthanize her.The film’s cacophony of voices, and a spotlight that roves across the party guests, creates a storm of light, color and sound in the midst of which Celestina ponders existential questions. Does she want to be a “wife,” with all the baggage that implies? Was it worth it to quit her corporate job in search of an elusive peace?These are familiar, even hackneyed themes, which make the film’s relentless theatrics feel gratuitous and somewhat exhausting. Style overpowers substance, though Poe’s fantastic eye for composition and Clemons’s vivacious screen presence are undeniable.The Young WifeRated R for talk of death, weed and capitalism’s disappointments. Running time: 1 hour 37 minutes. In theaters and available to rent or buy on most major platforms. More

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      Jessica Lange Portrays a Fading First Lady of the American Theater

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      Jessica Lange is ideally cast as a grande dame of the theater who is facing a reckoning in this well-crafted melodrama by Michael Cristofer.“The Great Lillian Hall” is not afraid to embrace its classicism; had it been made in the 1940s, it would have starred Bette Davis. Like many of the best golden-age melodramas, this HBO film fully commits to both unabashed emotion and a complicated female lead, a role filled by Jessica Lange with a finely tuned mix of showmanship and nuance.Lange’s Lillian Hall is a theater grande dame playing the charismatic matriarch in a Broadway revival of Chekhov’s “The Cherry Orchard.” She is on shaky ground, suffering from memory lapses that affect the rehearsals, but she stubbornly, proudly soldiers on. Even after some devastating news, Lillian keeps refining her performance, both in life and onstage. (What we glimpse of the production made me want to see Lange, who is currently starring in “Mother Play” on Broadway, actually tackle “The Cherry Orchard” next.)Besides its elegant handling of the parallels between Lillian’s character and her own life, the movie’s most interesting gambit is the way it breaks from the lazy habit of portraying stars as narcissistic, destructive monsters. Lillian certainly loves being the center of attention, and she can blithely wound her beleaguered daughter (Lily Rabe) and her dedicated personal assistant (Kathy Bates). But she is also capable of kindness and loyalty, along with a pleasurable wit. “I haven’t decided what age I am,” she tells her doctor (Keith Arthur Bolden), “but I’m not that old.”Even when she is at her most irritating, Lillian has a lock on the devotion of those around her. You may well join the fan club, too.The Great Lillian HallNot rated. Running time: 1 hour 50 minutes. Watch on Max. More

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      ‘In a Violent Nature’ Review: Killing Them Softly

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      Chris Nash’s ultraviolent horror movie is an unexpectedly serene, almost dreamlike meditation on a murderous psyche.There is a calm implacability to “In a Violent Nature” that’s deeply unsettling and particularly unpleasant. Yet I was also transfixed: Chris Nash’s direction is so persuasively bold — brazen, really — and bloodcurdlingly coolheaded that his unusual shocker is impossible to dismiss.Gathering routine genre elements — the masked predator, the luckless teenage victims, the cabin-in-the-woods setting — Nash subordinates them all to a mood of stunning serenity. In place of a shrieking, pounding soundtrack, there is only birdsong and crunching leaves as a hulking human shape known as Johnny (Ry Barrett) heaves itself from the earth and begins its leisurely rampage. Following behind, we see only what Johnny sees and hear what he hears, his appearance initially restricted to a scorched skull (at times encased in an ancient smoke helmet) and hands like raw meat.Less a man than a near-mythic entity, Johnny is as relentless as the industrial log splitter that silences the courageous park ranger (Reece Presley) who tries to stop him. A spartan plot involving an abusive childhood and a stolen locket provides Johnny’s motivation, but “In a Violent Nature” is more partial to atmosphere than narrative. The stirring forest floor, the wind-riffled surface of a lake, snatches of indistinct conversations — these are the threads that bind one horrific kill to another.Whether nauseatingly explicit or eerily suggestive, the murders shock less for their punishing particulars than for the dreamy languor with which they’re enacted and filmed. Johnny likes to take his time; and if his experiments are sometimes hard to watch, they are also at times uncommonly creative. Claiming inspiration (in the film’s press notes) from Terrence Malick and others, Nash has attempted an ambitious blend of art house and slaughterhouse whose rug-pulling ending will polarize, even as its moody logic prevails.In a Violent NatureNot rated. Running time: 1 hour 34 minutes. In theaters. More