Author: Amy Diaz

Amy Diaz is the executive editor and writes about movies and compiles the Kiddie Pool column. Reach her at adiaz@hippopress.com.

Marcel the Shell with Shoes On (PG)

Marcel the Shell with Shoes On (PG)

Jenny Slate and Dean Fleischer-Camp bring the shoe-wearing shell of their early 2010s short films to a feature-length story with Marcel the Shell with Shoes On.

Seashells Marcel (voice of Slate) and Nana Connie (voice of Isabella Rossellini) live in a house that is now an AirBnB but was once the home of a couple. When the couple separated, the man quickly packed, dumping the contents of his sock drawer into his suitcase — the sock drawer unfortunately having been the safe room for Marcel’s family of shells and other small googly-eyed items. Marcel shows off the innovations he and Connie have made now that they live in the house by themselves to Dean, a documentary maker who has moved in after his own breakup. The videos they shoot of the sweet Marcel and his kind grandmother earn Marcel internet fame, for better (Connie’s hero Lesley Stahl wants to interview them) and worse (people showing up at the house to take selfies). It also introduces the idea that this fame may help Marcel track down his lost community.

Relationships, grief, change, family — yes, Marcel is a soft-voiced lo-fi craft project, but this movie goes to some deep places and has him (in a way that is both simple but very well-developed) deal with some big issues. And it’s fun, full of charming visuals of shell-sized Marcel traveling via tennis ball and Connie sleeping, grand dame style, in a makeup compact inside a jewelry box. Short and sweet (without end credits, the movie clocks in at less than 90 minutes) Marcel is a thorough delight. A

Rated PG for some suggestive material and thematic elements, according to the MPA on filmratings.com. Directed by Dean Fleischer-Camp with a screenplay by Dean Fleischer-Camp, Elisabeth Holm, Nick Paley and Jenny Slate, Marcel the Shell with Shoes On is an hour and 30 minutes long and is distributed by A24 in theaters and for purchase via VOD.

Prey (R)

The Predator franchise gets a fun new entry with Prey, which takes us to a Predator’s hunting trip to Earth in 1719 in the northern Great Plains.

When Naru (Amber Midthunder), a young Comanche woman who is a good tracker and has solid healing skills but really wants to be a hunter, first sees what we know is a Predator spaceship, she takes it as a sign that she’s ready to prove herself on a hunt. In this particular case, she and the young men from her tribe, including her brother Taabe (Dakota Beavers), are hunting a mountain lion. But Naru quickly becomes convinced that something else is out there in the forests and grasslands, something bigger than a bear and with the ability to skin a snake. Naru has to convince the dismissive boys that she is worthy of being with them and that she knows what she’s talking about when she measures footprints and estimates the size of the being that must have made them.

Midthunder is often carrying scenes on her own, making squinting into the woods or tensing at a light rustle suspenseful enough to keep your attention glued to the screen. She does an excellent job of making Naru a believable person — both capable and scared, eager to prove herself and occasionally uncertain. We can believe that Naru, who might not have the alien’s strength and size but does have knowledge of the field of play, can put up a real fight against the Predator. I found myself thinking that this movie, with its mountain lion hunt and its introduction of the boorish (but well-armed) French traders who have started to invade the land, could have been a cracking thriller even without the Predator aspect, but the folding of Predator lore into a more Earth-bound story works. It has vibes of the highly enjoyable 2004 Alien Vs Predator, with a game-sees-game aspect to the human-Predator faceoff. A

Rated R for strong bloody violence, according to the MPA on filmratings.com. Directed by Dan Trachtenberg and written by Patrick Aison, Prey is an hour and 39 minutes long and is distributed by 20th Century Studios via Hulu.

Featured photo: Marcel the Shell with Shoes On.

Three Thousand Years of Longing (R)

Three Thousand Years of Longing (R)

Tilda Swinton and Idris Elba tell each other stories in Three Thousand Years of Longing, a vividly realized bittersweet fairy tale for grown-ups.

Literature professor Alithea (Swinton), who describes herself as content in life and alone by choice, travels to Istanbul to talk narratives with other academic literature types. Stories and mythology aren’t just a professional pursuit for her; early on we see her spot otherworldly beings in the airport and lecture hall and later we learn that she had a long childhood friendship with a boy who wasn’t quite there but also was something more than imaginary.

Perhaps this makes her the perfect person to unleash a djinn when she cleans a small bottle she has purchased as a souvenir. The Djinn (Elba), who is at first giant but makes himself more Elba-sized to better blend in with humans, is desperate for her to make three wishes. Three wishes will free him from being tethered to the bottle and this realm and he will be able to return to the land of the djinn. But Alithea is well aware of the monkey’s paw-like effect of making wishes. It never works out, not in any story, she tells him. I’m not that kind of djinn, he tries to convince her. In the process of arguing with each other over the wisdom of making wishes and how it can be done without leading to disaster, the Djinn tells Alithea his story, which starts during his long-ago infatuation with his half-djinn cousin Sheba (Aamito Lagum), his imprisonment in a bottle and the times when he attempted to be released.

Alithea meanwhile explains her life as a person who is “solitary by nature” and how it has led her to look for emotional connection through stories.

Well past the halfway point of this movie I realized that most of the present-day action takes place in a hotel with robe-clad Swinton and Elba just talking to each other. I mean, just on its face, there are worse things in the world than Swinton and Elba just hanging out. But I also liked how their conversation about the nature of stories weaves in and out of these sumptuously lovely flashbacks to the Queen of Sheba’s palace and the court of Suleiman the Magnificent. It’s the tart note that brings balance to the richness of the fairy tale-inflected historical settings and magical visuals.

Three Thousand Years of Longing feels like the sort of movie where if I picked apart the story (particularly its final third) I’m not entirely certain it would all make sense but as a whole it hangs together so nicely and is such a pleasure (at times a sort of melancholy pleasure) to sit through that I’m also not inclined to pick it apart. It’s beautiful, sweetly nerdy (one person’s heartfelt desire is to, basically, know more STEM) and has a kind of mature kindness.

Or, if that sounds “blah,” it has shimmery magic, the delightful Swinton telling off some racist neighbors and an otherworldly Idris Elba. And, with spiritual cousin Everything Everywhere All At Once, it proves that badass fantasy can revolve around the emotions and adventures of middle-aged ladies. B+

Rated R for sexual content, graphic nudity and brief violence, according to the MPA on filmratings. Directed by George Miller and written by George Miller & August Gore (based on an A.S. Byatt short story called “The Djinn in the Nightingale’s Eye,” Three Thousand Years of Longing is an hour and 48 minutes long and distributed by Metro-Goldwyn-Mayer Pictures.

Featured photo: Three Thousand Years of Longing.

Manchester International Film Festival

The Manchester International Film Festival brings shorts, documentaries, feature films, cult faves and a search for Adam Sandler to the Rex Theatre (23 Amherst St. in Manchester) Friday, Aug. 12, through Sunday, Aug. 14. A ticket for a one-day pass costs $20 or get a weekend pass for $50. See palacetheatre.org/film.

In last week’s (Aug. 4) issue of the Hippo, we talked to festival organizers about how the event came together and to some of the filmmakers about their entries. Find the e-edition of the issue at hippopress.com; the story starts on page 10.

In addition to the films, see a star of stage and screen live in person at “An Evening with John Lithgow” at the Palace Theatre (80 Hanover St. in Manchester; palacetheatre.org) on Saturday, Aug. 13, at 7:30 p.m. Tickets for the John Lithgow event, which start at $50 (and are separate from the Saturday pass purchased by itself), include a pass to all festival events.

Screenings on the schedule include these:

Friday, Aug. 12

• Sherlock Jr. (1924) a silent film directed by Buster Keaton with live musical accompaniment by Jeff Rapsis at 5:45 p.m.

• Slap Shot (1977) the ice hockey movie starring Paul Newman, screening with live comedic commentary from comedian Jimmy Dunn, Roadkill from Greg and the Morning Buzz and retired NHL Referee Mark Riley at 7:30 p.m.

Saturday, Aug. 13

• Shrek (2001) at noon (with $5 tickets)

• Finding Sandler (2022) a documentary about a director who passed up having a drink with Adam Sandler back in 1998 and decides to fix that mistake. 6:30 p.m.

• An American Werewolf in London (1981) 9:05 p.m.

Sunday, Aug. 14

• Love Is Strange (2014) which stars John Lithgow, Alfred Molina and Marisa Tomei. 1 p.m.

• Haute Couture (2021) a French film, presented in partnership with the New Hampshire Jewish Film Festival. 3 p.m.

Find a longer list featuring films including the shorts on the schedule in the story from Aug. 4 and more specifics on times at the Palace’s event website.

Featured photo: Love is Strange.

Bullet Train (R)

Brad Pitt helms a pretty good collection of supporting players and fun cameos in the bafflingly flat Bullet Train.

I see what you want to be doing here, Bullet Train, maybe even what you think you are doing. Director David Leitch also directed Fast & Furious Presents: Hobbs & Shaw, which is a masterpiece of a certain kind of film-making, and is an uncredited director on John Wick, which is another one of cinema’s greatest super-fun, eat-it-up-with-a-spoon franchises. I feel like that sorta-dumb-but-excellent sweet spot is where Bullet Train wants to be. And should be, by all rights, with its cast, its many action scenes that take place on a speeding train, its regular diversion into caper and its Japanese candy wrapper visual aesthetic, but it just doesn’t get there.

Ladybug (Brad Pitt) — that’s a code name — is an ambivalent criminal directed by his handler (Sandra Bullock, largely just as a voice) to steal a sleek metallic briefcase on a bullet train traveling from Tokyo to Kyoto. Easy job on a snazzy train — except an assortment of other sketchy characters have been hired to watch the briefcase or take someone out or otherwise cause trouble on the train. These not-just-bystanders include the affable brothers Lemon (Brian Tyree Henry) and Tangerine (Aaron Taylor-Johnson), a too-shiny girl played by Joey King called The Prince, a rumpled mess (Andrew Koji) whose young son is in the hospital, a man called The Wolf (Bad Bunny) and a woman called The Hornet (Zazie Beetz). And some other people — many introduced with a title card and a backstory. Or we get to see their backstory later. You get some vengeance, some grudges, a nice mix of languages with stylish subtitles and some highjinks that blend overly complicated plan and dumb luck. And through it all, a kind of John Wick by way of Guy Ritchie violence is delivered in a way that is highly choreographed, extremely stylized and, like, not funny exactly but not without a sense of humor in that Fast & Furious/John Wick way.

Like I said, I should totally love this.

But I didn’t. The overall effect of Bullet Train reminded me a bit of how I felt about the recent Netflix movie The Gray Man, where it had the look and feel of the kind of movie it was trying to be without actually being that movie. This is the Paris Las Vegas hotel, the EPCOT Parabellum Pavilion version of a high-energy action romp; it is telling you, loudly, that that is what you are watching without ever really convincing you of it.

I can not overstate the strangeness of being so underwhelmed by a movie with such a strong cast. Pitt is such a great goofball, and here he gets to tap into those comic abilities. Henry is fun (despite this: Lemon has a whole affectation about how Thomas the Tank Engine explains how people are in the world and it is, er, tolerable but not as awesome as the movie thinks it is). Lemon feels lifted out of a (better) Guy Ritchie affair. I would be inclined to say “this movie needs more characters as developed and thought through as Lemon” except that I wonder if “more” is this movie’s problem. Maybe this movie needs, to borrow from Coco Chanel, to take a few assassins off before it leaves the house.

Some of the cameos — Beetz, for example, and a few I haven’t mentioned — are super fun, or at least they would be if the movie were having fun instead of “portraying a mandatory jolliness experience,” which is how it feels like the “fun” is being given to us here. I wanted to like this movie more, I will probably watch it again when it winds up on some streaming service or some TNT Saturday afternoon lineup (which is how I went from “meh” to “woo-hoo!” on the 2017 Guy Ritchie take on King Arthur). But at first viewing, at least, all that speed and flash fizzled far more than it crackled. C+

Rated R for strong and bloody violence, pervasive language and brief sexuality, according to the MPA at filmratings.com. Directed by David Leitch with a screenplay by Zak Olkewicz, Bullet Train is two hours and six minutes long and distributed in theaters by Columbia Pictures.

Featured photo: Bullet Train.

At the Sofaplex 22/08/04

Honor Society (TV-MA)

Angourie Rice, Gaten Matarazzo.

Also Christopher Mitz-Plasse, Armani Jackson and Kerry Butler.

Rice has the energy of an unstoppable assassin as Honor, a high school senior who is laser focused on getting into Harvard. She has constructed an entire Tracy Flick-meets-all-the-Gossip Girls personality to help her excel and stay on track, getting As in everything and engaging in all the requisite clubs and activities. All she needs now is that little extra nudge, the recommendation from guidance counselor Mr. Calvin (Mitz-Plasse, really pouring on the sleaze) to his contact at Harvard to help Honor’s application stand out. Honor thinks she has it in the bag but then she finds out she’s only one of his top four candidates for the Harvard prize. The others are Victorian-gothy weirdo Kennedy (Amy Keum), the handsome and popular Travis (Jackson) and the nerdy loner Michael (Matarazzo). Honor decides that she needs to take these competitors down by diverting their attention away from their grades. She is able to pull Travis and Kennedy into a school play but with Michael she decides to be more direct and hopes to flirt him into grade-depressing confusion. He proves to be a harder mark than the others but Honor is dedicated to her cause.

When a girl who clearly thinks of herself as a teen throat-cutter who will achieve her goals is talking directly to camera about the awfulness of her hometown and the fakiness of the people she’s surrounded by it isn’t exactly a surprise that “Harvard” turns out to be the friends we made along the way. But Honor Society does this in a way that I wasn’t completely expecting, one that is actually sweeter and more optimistic than you usually get from a teen movie that sets itself up as having an acerbic heart and a conventional collection of story points. And Rice is able to carry all of this very well. She manages to make Honor feel like something approaching a real person — a heightened version of one who is maybe three notches too self-aware for her age, but still somebody who has some layers to her personality. Honor Society maybe isn’t a teen movie for the ages but it is a surprising light and fun little treat. B Available on Paramount+.

The Gray Man (R)

Ryan Gosling, Chris Evans.

Also Billy Bob Thornton, Ana de Armas, a little bit of Alfre Woodard and Regé-Jean Page, who, if this is what he declined to appear in Bridgerton for, should maybe rethink his career choices.

Ryan Gosling is Sierra Six, sort of a Jason Bourne-y, James Bond-ish super-secret CIA assassin type who joined up because it was the alternative to remaining in prison. After nearly 20 years of professional assassin work, he shows signs of not being 100 percent on Team Merciless Killers. During a mission to take out, as station chief Carmichael (Page) describes, a bad guy holding a bad thing, Six declines to take a complicated shot because a kid is nearby. Instead, he causes a whole to-do, with the fighting and the guys breaking through windows and whatnot, and when he finally faces the guy he was sent to kill, the guy tells Six that: he, the soon-to-be-dead guy, is Sierra Four (Callan Mulvey); if Six is here to kill Four someone is probably getting ready to kill Six, and he has proof, hidden in a USB hidden in a necklace (which Four gives to Six), that Carmichael is himself a bad guy.

Six may not know what to believe but he believes enough to not tell mission co-worker Dani (de Armas) about the necklace, which he quickly sends to a safe location. Then he goes on the run, knowing full well that Carmichael will come after him. For help escaping, he turns to Fitzroy (Thornton), the man who recruited him and ran the Sierra program for a while. But Carmichael knows that’s where he’ll turn for help and hires Lloyd Hansen (Evans), a professional psychopath, to put pressure on Fitzroy to get Six. Lloyd will achieve this both with traditional torture, fingernail pulling and the like, and with the psychological torture of taking Fitzroy’s young niece, Claire (Julia Butters), hostage.

“I get it, you’re glib,” Thornton’s character says at the beginning of the movie to Gosling. It’s meant to introduce us to Six but it also sums up the whole movie. The tough guy with a dryly delivered wisecrack is the gas this movie runs on. The engine is a “playing spy” vibe that includes frequent use of jargon-y terms like “wheels up” and “the asset” and “alpha team.” It all has the general appearance and flavor of a spy-vs.-spy action movie without truly being satisfying, the way a frozen personal pizza has the general appearance and flavor of pizza without at all satisfying a pizza craving. The movie is full of international locales and decent-to-good actors delivering their grim and grimly humorous lines and lots and lots of shoot-’em-up scenes and kicky-punchy scenes but everything feels about an inch deep in terms of having a story and characters we really care about to hang this all on.

Well, OK, there’s one character I didn’t really “care” about but enjoyed watching on screen and that’s Evans’ Lloyd. Chris Evans seems to be having an absolute blast with his ridiculous mustache and his even more ridiculous haircut and his general “Wheee, I get to be a jerk! Wheee!” sensibility. He is also glib but he brings a kind of sparkle to it that makes it, while no more substantial, highly watchable.

Look, if you haven’t already, you’re probably going to watch The Gray Man — it’s an Anthony and Joe Russo-directed film, it’s on Netflix, it will fill about two hours of your “what should we watch” time and ask nothing of you. Is that a great recommendation for a movie? No — but as filler entertainment it works just fine. C Available on Netflix.

Mr. Malcolm’s List (PG )

Freida Pinto, Zawe Ashton.

Also Sope Dirisu as the titular Mr. Jeremy Malcolm, Oliver Jackson-Cohen as Lord Cassidy and Theo James as Capt. Henry Ossory.

Julia (Ashton) and Selina (Pinto) are school buddies now both in their marrying years in Regency-era London. After many seasons on the marriage market, Julia thinks she’s finally found her match with the handsome and wealthy Mr. Malcolm. But then he ghosts her in a way that ends up depicted in a tabloid caricature and she’s hurt and humiliated. When she learns why, she nearly glows with rage: she did not meet the specifications on Mr. Malcolm’s list of qualities a wife must have. You see, Mr. Malcolm, in addition to being rich and handsome, is also sort of the worst. He has a list of impossibly high standards and extraordinary qualifications a woman must have — no tacky relatives, skill at playing music, forgiving nature, etc.

Julia decides that what Malcolm needs is to feel the same humiliation and rejection she does so she gets kind Selina, eager to leave her family’s country home after dodging an unwanted proposal multiple times, to come to London. With the help of Lord Cassidy — Julia’s cousin and Malcolm’s friend — Julia tries to mold Selina into Malcolm’s idea of the perfect woman in hopes that he will fall for her and then Julia can get Selina to viciously dump him.

Selina is very “meh” on this plan and halfheartedly allows it to happen around her. She seems just happy to be in London and eventually finds she genuinely likes Malcolm. She also likes Capt. Ossory, a relative of a woman Selina used to work for, who befriends her and starts hanging around with the group that is Julia, Cassidy, Selina, Malcolm and some other relatives.

Selina is a genuinely nice person; Julia, Cassidy and Ossory are goofy but interesting, and then there’s Malcolm, who is just unpleasant. And here’s the problem with this rom-com. I don’t really want Selina to be saddled with Malcolm, handsome though he is, and they’re the couple we’re supposed to be rooting for. I mean, sure, it turns out he’s got all this inner emotional awkwardness, blah blah blah, but that doesn’t retroactively make his character more appealing. This movie (which is based on a novel) has notes of Bridgerton and Jane Austen tales but you don’t get the sharpness, the comedy or the swoony romance that either of those two Regency-love-story providers offers. C+ Available for rent or purchase.

The Sea Beast (PG)

Voices of Karl Urban, Jared Harris.

A brave band of sea-beast hunters can be heroes but still be wrong — such is the message of The Sea Beast, driven home with increasing frequency as this animated movie goes along.

A vaguely pirate-y looking crew are part of a long tradition that takes to the seas and hunts the giant (very colorful) beasts that live in the oceans. Captain Crow (voice of Harris) has long sought to take down a large red beast with his ship the Inevitable. He plans to do just that and then hand command over to long-time crew member Jacob Holland (voice of Urban). But if they don’t catch the red beast there will be nothing to hand over. The king (voice of Jim Carter) and queen (voice of Doon Mackichan) have decided that instead of paying these hunters to catch beasts, they will use the navy to hunt down beasts in giant (and Crow says unseaworthy) cannon-studded ships.

The Inevitable is in a race with one such ship is in a race to find the red beast when they discover a stowaway: Maisie (voice of Zaris-Angel Hator), an orphan full of tales of the sea and the heroics of hunters, like her late parents. Because Jacob had talked to her a bit when the ship was in port, he feels responsible for this child during a beast attack. Maisie and Jacob wind up overboard and face to face with a beast. Perhaps because Maisie had just cut the ropes tying the beast to the ship so the flailing beast wouldn’t pull the ship under, the sea beast doesn’t eat them like little snacks. Later, when Maisie and Jacob find themselves washed up on an island full of similar giant sea creatures, they start to wonder if all they know about sea beasts and their war on humans really constitutes the whole story.

I’d say that this movie isn’t for the youngest kids — there are lots of beasts, some extremely cute and some large and bitey. Scarier still are the humans, with their guns and swords and British-y imperialism. But for maybe 7 or 8 and up, there is a big of swashbuckling pirate-y adventure with vaguely “it’s OK to reevaluate your history” and “hey, not so much with the animal killing” messages, which feels like a nice balance to the (animated) humans fighting with weapons. Scenes on the ocean and on the beast island are particularly eye-catching with their bright colors and picture-book images. B- Available on Netflix.

DC League of Super-Pets (PG)

DC League of Super-Pets (PG)

A horse training family encounters Something at their desert ranch in Nope, the latest film from Jordan Peele.

Krypto, dog of Superman, must save the day when Supes and other human Justice League-ers are captured, in DC League of Super-Pets, a fun animated blend of animal antics and superhero in-jokes.

Superman (voice of John Krasinski) and Krypto (voice of Dwayne Johnson) are besties from all the way back on Superman’s home planet, when Krypto jumped in baby Kal-El’s spaceship as it was leaving an exploding Krypton. Now, as two superheroes and single dudes living in Metropolis, Krypto enjoys his spot at Superman’s No. 1 companion — and is extremely wary of Lois Lane (voice of Olivia Wilde) barging in on their buddy time. But Superman is planning to propose to Lois Lane and he thinks that finding Krypto a new animal friend might be the way to soften the blow of this life change.

At the pet rescue, dog Ace (voice of Kevin Hart) is constantly trying to escape and tries to comfort his fellow unlikely-to-be adopted animals — PB the pig (voice of Vanessa Bayer), Merton (voice of Natasha Lyonne) the elderly nearsighted turtle and Chip (voice of Diego Luna), a squirrel or something — by telling them about the farm upstate he’ll help them get to when he gets away. Superman doesn’t adopt any of these guys but hairless guinea pig Lulu (voice of Kate McKinnon) does wind up following Superman home. After this former Lex Luthor (voice of Marc Maron) test animal manages to snatch a bit of orange kryptonite (which gives superpowers to animals) and green kryptonite (which robs Superman of his powers), Lulu is able to defeat a Superman briefly confused by the cute, squeaky, world-domination-seeking Lulu.

Krypto eventually alerts the Justice League that Superman has been captured but by that point Lulu has activated her own team — fellow guinea pigs not initially psyched about leaving their exercise wheels and water bottles but interested in the variety of superpowers the orange kryptonite gives them. Luckily for Team Good Guys, the pet rescue animals accidentally got some powers of their own: PB can make herself giant or tiny, Merton still can’t see anything but is super fast, Chip can generate lightning from his paws and Ace is super strong and possibly invincible. Krypto, who ate a bit of green kryptonite hidden inside some delicious cheese and has now lost his powers until it, er, exits his system, turns to the rescue pets for help saving the Justice League, even as he worries about his changing place in Superman’s life.

The Ace-Krypto relationship is familiar to many a Hart-Johnson pairing — a combination of light antagonism, playful ribbing and genuine affection. And it works here, as it so often does. These two actors have solid buddy chemistry and it comes through even in cartoon form.

They helm a cast of solid voice work, the standout of which is probably McKinnon, just doing everything as a villain who is as desperate for Lex Luthor’s affection as she is for whatever her “world ruled by guinea pig” plans are.

And you don’t have to be a DC expert to enjoy some of the nice jabs and in-jokes — the “crisis of infinite guinea pigs” chyron on news coverage, the repeated observation that the addition of glasses does not an airtight secret identity make. Some of these jokes were funnier for me than they were for my kids, who were more excited by action, pratfalls and more visual silliness.

DC League of Super-Pets was overall a solid family film, heroically saving the day with two hours of air conditioning and acceptable entertainment to everybody. B

Rated PG for action, mild violence, language and rude humor, according to the MPA on filmratings.com. Directed by Jared Stern and Sam Levine with a screenplay by Jared Stern and John Whittington, DC League of Super-Pets is an hour and 46 minutes long and distributed in theaters by Warner Bros.

Featured photo: DC League of Super-Pets.

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