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      ‘Gunpowder Milkshake’ Review: The Ladies Who Punch

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      This neon-lit, female-led Netflix shoot-‘em-up tries way too hard to be cool.At one point in “Gunpowder Milkshake,” Navot Papushado’s slick, homage-heavy Netflix crime picture, Michelle Yeoh has a raucous fist fight with a Russian mobster that culminates in her strangling him to death with a length of steel chain. Now, this is important information, because Yeoh is one of the greatest screen martial artists of all time and, now at 58, is rarely afforded opportunities to pummel bad guys with gratuitous flair. Papushado lets her wreak carnage — alongside the great Angela Bassett, who wields a pair of claw hammers — and for that we can be grateful.I would have liked to have seen an entire movie about Yeoh and Bassett, who play the Librarians, assassins who operate a space that serves as both a sanctuary and an armory for others in the profession. The two are infinitely more interesting than the actual hero of the film, a young assassin named Sam (Karen Gillan) who finds herself embroiled in an elaborate kidnapping plot that involves a shadowy underground crime syndicate known as the Firm. Gillan, blithely quipping as she dispatches waves of anonymous henchmen, seems totally flat in comparison to the magnetic stars with whom she shares the screen.Papushado, who garnered acclaim as a co-director of the blackly comic thriller “Big Bad Wolves,” is clearly a movie buff, and “Gunpowder Milkshake” feels like a composite of cinephile-friendly references. The splashy, neon-hued aesthetic draws from Michael Mann’s “Thief” and Nicolas Winding Refn’s “Drive,” while the sprawling, complexly choreographed action sequences riff on the Hong Kong shoot-‘em-ups of the 1980s and ’90s, chiefly John Woo’s “The Killer” and Johnnie To’s “Running Out of Time.” Perhaps unavoidably, thanks to its real-time plotting and complicated underworld mythology, it feels strikingly similar to “John Wick.”The filmmaking favors the kinds of showy stylistic flourishes — slow motion dollies, split diopter shots — that, when used tastefully, can make action dazzle, as in the films of Brian De Palma. But Papushado’s flamboyance feels cocky and indiscriminate, as if he’s simply trying really hard to make every image seem cool. While this may guarantee the movie a long Twitter afterlife through GIFs and screenshots, it doesn’t make for particularly savvy or sophisticated cinema.Gunpowder MilkshakeRated R for graphic violence and some inappropriate language. Running time: 1 hour 54 minutes. Watch on Netflix. More

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      Paul Huntley, Hair Master of Broadway and Hollywood, Is Dead at 88

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      The many famous heads he worked on included those of Elizabeth Taylor and Carol Channing. Some actors requested him in their contracts.Paul Huntley, the hair stylist and wig designer who gave Carol Channing her expansive bouffant in “Hello, Dolly!,” Alan Cumming his plastered curl in “Cabaret” and Sutton Foster her golden bob in “Anything Goes,” died on Friday in London. He was 88. His death was confirmed by a friend, Liz Carboni, who said he had been hospitalized for a lung infection.Mr. Huntley left New York for London, his native city, in February, and made clear in an interview with The New York Times that his work on “Diana: The Musical,” which is to begin performances on Broadway in November, would be his last. The pandemic, he said, had dried up opportunities, and his fractured hip was hurting.In a 60-year career, Mr. Huntley styled hair and created wigs for more than 200 shows, including “The Elephant Man,” “Chicago” and “Cats.” He was so respected that Betty Buckley, Jessica Lange and others had contracts specifying that he would do their hair.“He put wigs on my head for every show except ‘Les Miz’ in London. He was the master,” the actress Patti LuPone said. “When I put on a Paul Huntley wig, I never felt anything but my character.”The costume designer William Ivey Long called him “by far the premier hair designer on the planet, hands down.”Mr. Huntley tried a wig on Sutton Foster in 2002 for her role in “Thoroughly Modern Millie,” for which he sought to evoke New York City in 1922 with bangs, spit curls and finger waves.Sara Krulwich/The New York TimesMr. Huntley’s output was prodigious, and he typically worked on several shows at once. In 2014 alone, he turned out 48 wigs for “Bullets Over Broadway” and more than 60 wigs and facial pieces for the Shakespeare Theater Company’s two-part “Henry IV” in Washington.In 2002, when he designed the hair for the Broadway musical “Thoroughly Modern Millie,” he also worked on “Morning’s at Seven,” “Hairspray” and the Off Broadway comedy “Helen.”For the show “Diana” — a version of which, filmed without an audience during the pandemic, is scheduled to premiere on Netflix on Oct. 1 — he created four wigs for the actress Jeanna de Waal to portray how the style of the Princess of Wales changed over time, from mousy ingenuousness to windswept sophistication.Paul Huntley was born on July 2, 1933, in Greater London, one of five children of a military man and a homemaker. He was fascinated at an early age by his mother’s movie magazines. After leaving school, he tried to find an apprenticeship in the film industry, but the flooded post-World War II job market had no space for him, so he enrolled at an acting school in London.He ended up helping with hair design for school productions and in the 1950s, after two years of military service, became an apprentice at Wig Creations, a large London theatrical company. He went on to become the main designer, working with the likes of Vivien Leigh, Marlene Dietrich and Laurence Olivier.Mr. Huntley helped construct the signature braids worn by Elizabeth Taylor in the 1963 movie “Cleopatra.” Ms. Taylor introduced him to the director Mike Nichols, who a decade later enlisted Mr. Huntley to do hair for his Broadway production of “Uncle Vanya” at Circle in the Square. He eventually became the go-to designer for plays and musicals, including “The Real Thing,” “The Heidi Chronicles” and “Crazy for You.” More

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      'Black Widow' a Hit in Theaters and Streaming on Disney+

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      There has been a lot of hand-wringing about the demise of movie theaters over the past year and a half, and for good reason. Most were closed for at least a few months during the height of the pandemic. Companies like the Walt Disney Company, NBCUniversal, WarnerMedia and Viacom have started to prioritize streaming for their films, in part to bolster subscriber interest in their own Netflix-style platforms.Over the weekend came evidence that, at least for the biggest franchise films and with a carefully calibrated pricing strategy, theatrical distribution and streaming can coexist.At least for now.“Black Widow,” a long-delayed Marvel movie, collected about $80 million in the United States and Canada from Thursday night to Sunday for Disney. Overseas, the superhero movie sold an additional $78 million in tickets. That means that, in total, roughly 17 million people went to see the movie in a theater, according to Rich Greenfield, a founder of the LightShed Partners research firm. After giving theater owners their cut of ticket sales, Disney cleared about $98 million over the weekend, Mr. Greenfield calculated.Disney also made “Black Widow” available on its Disney+ streaming service, which has more than 100 million subscribers worldwide. Subscribers could instantly watch the film (and have permanent access to it) for a $30 surcharge. Disney said on Sunday that Disney+ generated about $60 million from “Black Widow” orders over the weekend. Mr. Greenfield said that figure equated to about two million transactions and about $48 million in revenue for Disney after streaming partners had taken their cut. (The benefit to Disney in the form of new subscribers to Disney+ is unknown; subscriptions cost $8 a month.)There are several takeaways. “Imagine being a theater owner and realizing studios need you less and less everyday,” Mr. Greenfield wrote on Twitter. “Leverage is shifting rapidly in the streaming era toward the studios.”On the other hand, the fact that 17 million people decided to leave their bubbles and go sit with strangers in a theater — amid rising coronavirus infections, the result of the Delta variant — when they could just push a button in their living rooms is nothing to sneeze at. For now, theatrical distribution remains a major revenue generator and cannot be ignored if studios want to make money on big-budget spectacles.“This is an extremely impressive theatrical opening,” David A. Gross, who runs Franchise Entertainment Research, a movie consultancy, said in an email. “Certainly the figure would be higher if every theater were open, if there were zero concern with Covid and if there weren’t a streaming option. For now, those impediments make the ‘Black Widow’ opening all the more impressive.” More

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      William Smith, Action Star Known for His Onscreen Brawls, Dies at 88

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      In addition to his Hollywood legacy, the Missouri native was also a bodybuilder, a champion discus thrower and a published poet.William Smith, an actor known for his portrayals of villains and his onscreen movie brawls, died on Monday in Woodland Hills, Calif. He was 88.Mr. Smith’s wife, Joanne Cervelli Smith, said he died at the Motion Picture and Television Fund’s Country House and Hospital. She did not specify the cause.While Mr. Smith was best known for his roles in action movies like “Any Which Way You Can” (1980), and television shows including “Laredo,” “Rich Man, Poor Man” and “Hawaii Five-O,” the real action came from his offscreen life.He was a polyglot, a bodybuilder, a champion discus thrower and an Air Force pilot during the Korean War, according to his website.Mr. Smith had more than 300 acting credits listed on IMDb from 1954 to 2020. He did many of his own stunts, and sometimes those scenes got heated. He was throwing punches with Rod Taylor for the 1970 film “Darker Than Amber” when the two began fighting each other for real. Both walked away with broken bones.“Now that was a good fight,” Mr. Smith recalled in a 2010 interview with BZ Film.The Columbia, Mo., native solidified his Hollywood status after tussling onscreen with actors like Clint Eastwood, Nick Nolte and Yul Brynner. In the 1980s, the 6-foot-2 actor earned roles in Francis Ford Coppola’s “The Outsiders,” (1983) and in “Conan the Barbarian” (1982), for which he was cast as the father of Conan, who was played by Arnold Schwarzenegger.His last role was in “Irresistible,” a 2020 film directed by Jon Stewart.In “Rich Man, Poor Man,” he played the dangerous and eccentric character Anthony Falconetti, which he would later reprise in a follow-up to the series, “Rich Man, Poor Man Book II.”Mr. Smith, who was born on March 24, 1933, grew up on a cattle ranch in Missouri owned by his parents, William Emmett Smith and Emily Richards Smith. At the ranch, he would develop a love and admiration for horses and the classic Western lifestyle, according to his website.His family later moved to Southern California, and Mr. Smith immediately began to seek work in films, finding jobs as a child performer and later as a studio extra.Ms. Smith said in a phone interview on Sunday that besides the tough guy roles that made her husband a star onscreen, he had a compassionate side as well. “He’s definitely tough as nails but he had the heart of a poet,” she said.In 2009, Mr. Smith published a book of poetry, “The Poetic Works of William Smith.”The place to find Mr. Smith, even as an older man, was the gym, Ms. Smith said. Young actors often would talk to him between workout sets, and he would share advice, sometimes inviting them to his home to discuss upcoming auditions.In addition to his wife, Mr. Smith is survived by his son, William E. Smith III, and his daughter, Sherri Anne Cervelli.Alyssa Lukpat contributed reporting. More

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      ‘Black Widow’ Star David Harbour Loves Being a Big-Screen Loser

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      The actor talks about his roles as a failed superhero in the new Marvel blockbuster and as a milquetoast accountant in Steven Soderbergh’s “No Sudden Move.”This article contains spoilers for the films “Black Widow” and “No Sudden Move.”It’s never a particularly good time to be a loser, but it’s an excellent moment to be David Harbour, who embodies misbegotten characters so fully in his latest movies.Harbour, who may be best known as the reluctantly heroic police chief Jim Hopper on Netflix’s “Stranger Things,” can currently be seen in “Black Widow,” the Marvel movie directed by Cate Shortland that opened over the weekend. In it, he plays Alexei, a Russian super-soldier who formerly led a thrilling life as the costumed champion Red Guardian. Now confined to a wintry prison where he has become feral and overweight, all he can do is reminisce about good old days that may not have happened as he remembers them. That is, until his rescue by Natasha Romanoff (Scarlett Johansson) and Yelena Belova (Florence Pugh), the spies he raised as his own daughters.Alexei is the latest in a series of strangely compelling deadbeats for Harbour. He also appears in Steven Soderbergh’s new HBO Max thriller, “No Sudden Move,” as Matt Wertz, a milquetoast accountant drawn into a criminal enterprise that’s well out of his league.And these are precisely the kinds of characters that Harbour loves to play. As he explained in an interview on Thursday: “Winners are great, and we like them, rah-rah. But to me, the beauty of human beings is in the flesh and the failures. We’re all frail.”Having performed over the years in Broadway productions of “Glengarry Glen Ross” and “The Coast of Utopia” as well as in films like “Brokeback Mountain” and “Revolutionary Road,” Harbour called his current renaissance “another step in a very even-keeled, slow trajectory, which I like.”Now 46 years old and married to the pop singer Lily Allen, Harbour said he was happier to have found success at this stage of his life. If he’d had this much attention as a younger man, Harbour said: “Oh God, that would be miserable. It took me so long to cultivate an artistic voice. If I had people judging me so early about whether or not they liked what I did, I wouldn’t be able to survive that.”Speaking via video from New Orleans, Harbour talked further about the making of “Black Widow” and “No Sudden Move,” his offbeat influences and the comfort of working with Soderbergh during a pandemic. These are edited excerpts from that conversation.Harbour with Scarlett Johansson, left, and Florence Pugh in “Black Widow.”Jay Maidment/Marvel/DisneyIs there a story behind how you were cast in “Black Widow”?It’s oddly pedestrian. I have friends who tested for “Guardians of the Galaxy,” who talked about a top-secret lair and getting sides [dialogue pages] and then they burn them. My agent said Cate Shortland wants to meet you for a movie she’s doing. He didn’t even know what it was about. I sat down with her, and she said, “I’m doing this ‘Black Widow’ movie for Marvel with Scarlett Johansson.” And then she proceeded to pitch my character as this dude who’s big and violent with tattoos and gold teeth and also needs you to like his jokes. She pitched me these incredible contradictions, and we talked about all these family dramedies with desperate people — movies like “The Savages” and Ricky Gervais on “The Office.” And I was like, hell yes, on so many levels.Please, elaborate on the Ricky Gervais connection.It’s just that he’s so desperately insecure, and that insecurity manifests itself in boastfulness. I love people like this. He now has such deep regret and emotional guilt, but he can’t feel any of those things. So all he does is exist on his sociopathic charm and his need for validation. Someone like Hopper [in “Stranger Things”] has guilt, but it’s so internal, whereas he’s loud in every way. Smelly and sweaty and big and hairy. So cringey, as the kids say.Is it flattering to be told by a director that she sees you as this person?I have such an odd ego. I am always flattered, and then I look back years later and I go, what were you flattered by? I’m sort of an outcast myself. Growing up, I was, certainly. And I’ve always wanted to act because I wanted people to feel less alone. Even when I’d play villains, people would say, “There was a way that you humanized the experience so that we understood someone, as opposed to judging them.” So that’s what flatters me — you’re using me as an artist to understand this deeply troubled and confusing individual that a less capable person would make a mockery of. I maybe proceed to do both. But I can hopefully give you some understanding of him.Had you ever worked with Johansson, Pugh or Rachel Weisz, who play the other members of your makeshift family?I had never even met them. But then we had rehearsals for about two weeks, which is rare on a movie this size, and we really did take on those family dynamics, right from the get-go. I did feel like Rachel was the woman I was meant to be with — no offense to Lily Allen, because she is the actual person I was meant to be with — but it did feel like Melina and Red Guardian had something beautiful. Scarlett felt like the oldest child; I started to see her as rigid in a certain way, and I started to poke fun at her rigidity. And Florence really felt like the baby of the family; I just wanted to coddle her and make her laugh.Which did you film first: the prologue scenes where your character is neat and trim, or the main sequences where he has gone to seed?I had grown the beard and the hair for “Stranger Things,” and I was like, “Let’s use the weight.” So I started eating even more. I got up to 280 pounds, and I loved it. I said to the first A.D. [assistant director], “Listen, we have to shoot the flashback stuff at the end, so that by the time we shoot the flashback, I’ll lose the weight and I’ll be thin.” And he was like, “You’ll never be thin.” [Laughs.] I was like, “Yes I will, man.” And I lost like 60 pounds through the shooting. The first stuff we shot was at the prison, so that belly that’s coming at you, that’s all real belly. And then as we shot, I started to lose weight. I was just hungry a lot of the shoot.”I’m the anti-Tom Cruise” when it comes to stunts, said Harbour, with his four-month-old puppy.Akasha Rabut for The New York TimesYou’re a recently married man — how was all of this physical transformation playing at home?[Dryly] It’s a true testament to my undeniable charisma when I say that my wife met me at 280 pounds with this beard and this hair. We went on a date at the Wolseley [restaurant] in London, and she really fell for me at my worst, physically and hair-wise. So as the thing went on, I started losing the weight and working out. And she honestly has some mixed feelings about it. Which is a good place to be in a relationship. It’s really good to start the relationship from that part, as opposed to being the young, handsome buck and watching yourself degenerate over the years.Did you get to do many of your own stunts on the film?They really want you to do it. They’re very encouraging. But I’m the anti-Tom Cruise when it comes to this stuff. I do not want to fly the helicopter. I want Alexei to be a production of eight different people. I’m the face. I’m very happy to put the stunt people in. But I do my own arm-wrestling. I wouldn’t let anyone else arm-wrestle for me.Your best-known characters now are men who, underneath their exterior shabbiness, possess at least the potential to redeem themselves. How did this come to be your particular turf?That’s what I love about Alexei and what I love about Hopper. It comes from my view of Walter Matthau. In “The Taking of Pelham One Two Three,” you have this schlubby leading man and you put him against Robert Shaw, who’s like the most bad-ass Brit in the world. You think he’s never going to take this guy. But there’s something about his American heart that we want to love, and I love embodying that. Once Hopper rolled around, it was like, swing for the fences. Give him the dad bod and let him smoke cigarettes, have him be a total mess.Just a few years ago, you were playing a lot of intimidating bruisers and flat-out villains. How did you pivot from that?It was very interesting to be perceived as a villain. There were heavies, but then I was cast as true, dangerous psychopaths, too. There’s something about the mental freedom of the psychopath that I can embrace in a certain way. It really was [the casting director] Carmen Cuba on “Stranger Things” who was like, “I know this guy’s been the villain and he’s been fifth and sixth on the call sheets for a long time, but I think he’s the Harrison Ford.” No one had seen that before. I always blamed it on the jawline or the brow, whatever it was. It really takes a sophisticated eye to go, it doesn’t matter whether he has a double chin. His heart is there.Harbour as a milquetoast accountant opposite Amy Seimetz in the new Steven Soderbergh crime drama, “No Sudden Move.”Claudette Barius/Warner Bros.How did you get your part in “No Sudden Move”?It got shut down during Covid, so they refashioned it and put that movie back together. A couple people couldn’t do it so a couple replaced them, and I was one of them. Steven Soderbergh’s process is very simple: He sent me the script. Would you like to do this? Yes, very much. And then I met him on the first day.Going by only the screenplay, what was your read on the character?Matt lives in a prison of his own making. The tragedy of Matt is that he can’t be who he is, and he’s been living this lie for a long time. There is a carrot that gets dangled in front of him, and as one of the characters says in the movie, he had the brass ring and he just let it go by. That’s the true tragedy of Matt Wertz. There’s some excitement that he may actually get to live a life, finally, after so much struggle. And he disappoints us. [Laughs.]Was this the first film you made during the pandemic?That was my first pandemic shoot. “Stranger Things” had come back for Season 4 in September, and they didn’t need me until January. And I freaked out. I love my wife and kids, but I also need to go to work, because I’ll lose my mind here, trying to home-school them. This job came to me, and I took it. We were in Detroit for two and a half, three months, sequestered in a hotel. But luckily it’s Soderbergh. He did “Contagion.” So all the C.D.C. guys that he worked with on that were there on set. We were talking about the vaccines. I would go to Soderbergh and be like, “When is this going to be over?” And he would be like, “Oh, sometime early next year, there’ll be vaccines.” I was like, “Which one?” He’s like, “Pfizer’s doing very well — two shots.” It was incredible. You’re making this movie and you’re finding out what’s actually happening at the C.D.C.Harbour on being asked to play losers: “I have such an odd ego. I am always flattered, and then I look back years later and I go, what were you flattered by?”Akasha Rabut for The New York TimesWhat are you permitted to say about the new season of “Stranger Things”?Ugh. I want to tell you something. I have my prepackaged answer, which is true, that it’s a super-exciting season. It’s gone to a whole other place. It started out, in Season 1, with this small-town police chief, and now it’s become this sprawling thing with a Russian prison and a monster. The brothers [series creators Matt and Ross Duffer] are big into video games, manga and anime, and we definitely play on that this season. We talked about “The Great Escape” and “Alien 3” as influences. In terms of Hopper, you get to see a lot of back story that you haven’t seen before, it’s only been hinted at. As opposed to this dad he’s become, eating chips and salsa and yelling at his teenage daughter, you’ll unearth some more of the warrior that he had been.Having now made a mega-budget Marvel movie, was there anything you could take from that experience into “Stranger Things”?I do a lot more stunts this season than I’ve ever done. And I — if I do say so myself — did some pretty impressive things. And that truly came from being humiliated on the set of “Black Widow,” being not able to do those things. There is an ego in me that’s growing. Hopefully by the time I’m 55, I’ll be hanging out of a helicopter as well, making my own version of “Mission: Impossible.” More

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      Cannes Film Festival: The Director of ‘Showgirls’ Takes on Lesbian Nuns

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      Paul Verhoeven defends “Benedetta,” which is based on a nonfiction book and set in the 17th century: “I don’t really understand how you can blaspheme about something that happened.”CANNES, France — Forgive them, Father, for they have sinned. Repeatedly! Creatively! And wait until you hear what they did with that Virgin Mary statuette.The bad girls I’m referring to are Benedetta and Bartolomea, two 17th-century lesbian nuns at the center of the new drama “Benedetta,” which debuted Friday at the Cannes Film Festival. It’s a delicious, sacrilegious provocation from Paul Verhoeven, the director of “Basic Instinct,” “Showgirls” and “Elle,” and at age 82, Verhoeven proves himself to be as frisky as ever.Based on the Judith C. Brown nonfiction book “Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy,” the film follows Benedetta (Virginie Efira), a young nun so convinced that she is the bride of Christ that she even dreams about a hunky, bare-chested Jesus flirting with her. And why wouldn’t he? Benedetta is a blond bombshell who looks less like a pious 17th-century nun and more like a Charlie’s Angel in disguise, and when the pretty peasant Bartolomea (Daphne Patakia) arrives at the convent, she starts making eyes at Benedetta, too.Nun-on-nun action ensues far faster than you might expect, given that this convent is lorded over by a strict mother superior (Charlotte Rampling) and Benedetta is prone to visions that end with the manifestation of stigmata. But as her religious ecstasy turns ever more orgasmic, Benedetta eventually finds a steamier, more earthbound way of chasing that high. “Jesus gave me a new heart,” she tells Bartolomea, exposing one breast. “Feel it.” (Look, they did foreplay very differently in the 17th century.)Once their sexual relationship heats up, these nuns find their habits easy to take off but hard to break. Eventually, a statuette of the Virgin Mary is whittled into a sex toy and after Benedetta and Bartolomea, er, apply themselves to it, the audience at the Cannes press screening applauded the film’s blasphemous nerve. Verhoeven has always had a gift for making the ridiculous feel divine, and now the reverse holds true, too.Still, at the news conference for “Benedetta,” Verhoeven insisted the scene wasn’t blasphemous at all.“I don’t really understand how you can blaspheme about something that happened, even in 1625,” he said, offering up excerpts from Brown’s book. “You cannot change history, you cannot change things the happened, and I based it on things that happened.”Verhoeven with Efira, center, and another cast member, Clotilde Courau, at the Cannes premiere on Friday. Johanna Geron/ReutersPerhaps, but Verhoeven’s version still gives the truth a bit of a makeover, since Benedetta and Bartolomea always seem to be sporting eye makeup, foundation and lipstick. Though their faces are never nude, their bodies frequently are, and would it surprise you to learn that when these lithe nuns strip down, they’re as toned and well-manicured as a Playboy centerfold? In the convent, God may be watching, but Verhoeven’s gaze trumps all.If any viewers ding “Benedetta” for serving up religious commentary with a side of cheesecake, Verhoeven remained unbothered. “In general, when people have sex, they take their clothes off,” Verhoeven said matter-of-factly. “I’m stunned, basically, how we don’t want to look at the reality of life.”His actresses expressed no qualms about their sex scene. “Everything was very joyful when we stripped off our clothes,” Efira said, while Patakia told the news media that when Verhoeven is directing, “You forget you’re naked.”Still, they never lost sight of just how much they’d be required to push the envelope.“I remember reading the script to myself and thinking, ‘There is not a single normal scene,’” Patakia said. “There is always something destabilizing.” She added, “So, I immediately said yes.” More

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      Five Science-Fiction Movies to Stream Now

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      This month’s picks feature family-friendly superheroes, eerie phone calls (and eerier cab rides), alternative universes and a perilous trip to Mars.‘How I Became a Superhero’Stream it on Netflix.Like the series “Lupin,” also on Netflix, this engaging French movie delivers fleet-footed, family-friendly fare that does not talk down to its audience or look as if it’s surreptitiously hawking Happy Meal toys.Douglas Attal’s action comedy is set in a world where special abilities are common enough that a cop like Moreau (Pio Marmaï) is assigned to catch “super-criminals.” He does not look kindly on his new partner, Lieutenant Schaltzmann (Vimala Pons), who is not used to these unusual perps, and off we go with frenemy banter out of the “Lethal Weapon” playbook.The main plot involves a drug that can turn people into human flamethrowers, shooting fire from their hands, but the visual effects are so clunky that it feels as if it’s an afterthought. The movie is on much surer footing when it lets its terrific actors have fun. Marmaï and Pons, who are often associated with the young French auteur cinema, excel in a romantic-comedy register. But the best scenes involve the brilliant Belgian star Benoît Poelvoorde (“Keep an Eye Out”) as Monte Carlo, who used to fight villains with Leïla Bekhti’s Callista in the Pack Royal superteam. Nobody is likely to complain if these two get their own spinoff.‘The Call’Stream it on Netflix.Younger viewers may be perplexed by the odd object at the center of Lee Chung-hyun’s creepy hybrid of science-fiction, thriller and horror. It’s black and clunky, and you talk into it: Yes, that is a cordless phone, connected to a so-called landline. When Seo-yeon (Park Shin-hye) picks it up, Young-sook (the intense Jun Jong-seo) is on the other end. Both women are about the same age and, as it turns out, live in the same house. Except that Seo-yeon is calling from 2019 and Young-sook from 1999.In the rules governing this Korean movie’s internal logic, you can change both the future and the past, with each person’s present adjusting instantly, in front of their eyes. The bad news is that one of the people is a psychopath. Lee has a firm grasp on the aesthetics and shot framing — everything looks simultaneously gorgeous and unsettling — but more important, the events are easy to follow. There has been, in recent years, a fetishization of hypercomplex plotlines, as if any screenplay requiring an explanatory diagram is automatically granted depth. “The Call” has a clarity that has become rare in this type of storytelling; that makes the film only that much more powerful.‘The Fare’Stream it on Amazon Prime; buy it or rent it on Google Play, Vudu and YouTube.It seems impossible to put together one of these columns without including a time-loop movie: Not only can they be done on the cheap, but they have an addictive quality — the desire to keep coming back is baked in.In D.C. Hamilton’s “The Fare,” a cabby, Harris (Gino Anthony Pesi), picks up a passenger, Penny (Brinna Kelly, who also wrote the screenplay). When he resets the meter, their interaction repeats. He doesn’t realize what’s going on at first; she, on the other hand, has always been ahead of him.Warning bells have been ringing from the start, though: After all, Harris drives an old-fashioned Checker cab in the middle of a landscape so barren, it’s startling to hear the dispatcher mention streets.The film was shot mostly on a soundstage using rear projections, but these budget-minded constraints actually help create a dreamy mood, as if the action were happening in a chiaroscuro netherworld. Visual hat tips to old Hollywood movies and “The Twilight Zone” are an added benefit. (Hamilton is not as successful wringing uniformly solid performances from his cast.)Many such stories focus on the protagonists’ efforts to escape the temporal loop and don’t bother explaining how it came to be. But that aspect is key to “The Fare,” and the left-field reveal turns out to be surprisingly satisfying.‘Parallel’Stream it on Amazon Prime; buy or rent it on Apple TV, Google Play, Vudu and YouTube.One day, four friends discover that an old mirror in their shared house functions as a portal to alternate universes that duplicate ours, with at least one major difference: Time in those places passes much more slowly. This, for example, allows Noel (Martin Wallström from “Mr. Robot”) and Josh (Mark O’Brien) to beat a seemingly impossible deadline for an important business meeting. Leena (Georgia King) passes off artworks from a mirror universe as her own and finally lands a gallery exhibition. As for Devin (Aml Ameen), he keeps trying to find an alt-reality where his father is still alive.The buddies also get to have stoopid fun in mirror worlds without fear of consequences, since they can always retreat to the safety of their regular home — in those scenes, Isaac Ezban’s film feels as if it’s a “Goonies”-type lark, with mindless adults.But after one friend dies and the other three kidnap the mirror version, we enter a game of Whac-a-Mole as unruly paradoxes sprout up and the movie can’t keep them under control. One character’s ambition is revealed to be amorally destructive. Eventually we realize that the worm was in the apple: no need to go find trouble through a mirror when it’s been sitting right there all along.‘Stowaway’Stream it on Netflix.A scientist (Daniel Dae Kim) and a physician (Anna Kendrick) are on an exploratory journey to Mars under the leadership of their commander (Toni Collette, who gets to keep her Australian accent for a change). The entire mission is endangered when the crew discovers the title character (Shamier Anderson): There simply won’t be enough oxygen for four people.Joe Penna’s film is more concerned with practical matters and intimate human dilemmas than large-scale, interstellar whiz-bang. Life-or-death decisions must be made, and “Stowaway” brings up major issues: How do you evaluate a life’s worth? How do you rank a person’s value and decide who lives and who dies? These are tough questions, and the movie struggles when it needs to dig deeper — there is little chance anybody will mistake Penna for Andrei Tarkovsky. At the same time, “Stowaway” does not shy away from the consequences of actions, and Kendrick’s presence anchors the viewer: She is believable as a medical prodigy, while her Everywoman quality gives genuine poignancy to the doctor’s choices. More