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Reviews of movies showing in theaters or streaming online
‘ARTHUR THE KING’: Move over Messi — there’s a new canine thespian in town. Ukai, the Australian shepherd/ border collie/ bouvier mix who stars opposite Mark Wahlberg in the new film “Arthur the King,” undertakes a performance that is more physically rigorous, if not dramatically suspenseful, than the one delivered by the French border collie who appeared in the Oscar-winning film “Anatomy of a Fall.” But dog movies, and dogs in movies, aren’t just having a moment, they’ve been an important part of cinema since the silent era — and an easy hack to access audience’s heartstrings. Not that Arthur’s tale needed much hacking to start with. This inspirational film is based on a true story, originally a quirky human interest sports news item about an Ecuadorian stray dog who bonded with a team of Swedish adventure racers in the middle of a grueling six-day trek, following them to the finish line, and eventually back to Sweden with racer Mikael Lindnord. The story became a media sensation, spawning a memoir and several other books by Lindnord, and a short ESPN documentary, as well as a dog rescue foundation. 1:47. 2 ½ stars. — Katie Walsh, Tribune News Service
For starters, I can’t believe director Denis Villeneuve pulled off the big scene in “Dune: Part Two” in which Timothée Chalamet learns to ride the world’s largest pool noodle. True, the story of “Dune” offers some built-in possibilities for success with such a potentially ridiculous scene.
This continuation of the 2021 “Dune” is the sandiest
‘DUNE: PART TWO’:
movie since “Lawrence of Arabia.” This means whirlwinds and sandstorms worthy of Frank Herbert’s massive hunk of trippy science-fiction lit, which in turn means lots of dramatic visual texture — all the better to disguise as well as complement the sequel’s extraordinarily sophisticated blend of digital and practical design elements. Now: Is “Dune: Part Two” my thing? Does the bloody fall of House Atreides and the vengeful rise of messiah-in-training Paul Atreides, played by Chalamet; the battle for domination over the spice harvesting business on the desert planet Arrakis; and the machinations of the emperor of the universe (Christopher Walken, but of course we knew that already) and his daughter Princess Irulan (Florence Pugh) amount to a hill of beans in this crazy world? And what about the political and romantic alliance between Paul and Chani, the fierce Fremen warrior fighting for her people? Chani is again played by Zendaya, who actually has things to do and say in
“Dune: Part Two.” Javier Bardem returns too, with an expanded presence, as Fremen leader Stilgar, heading the revolt against the invading Harkonnen. With a different filmmaker I’d say no, not my space jam. But director and co-writer Villeneuve uses the screen to imagine technological and otherworldly amazements, and treat them matter-of-factly. A movie can strip source material for parts, and its own needs, and still capture its essence. 2:46. 3 stars.
— Michael Phillips, Chicago Tribune
Eight years have flown, inched along or both, depending on your pandemic experience, since “Kung Fu Panda 3.” In “Panda 4,” screenwriters Jonathan Aibel and Glenn Berger return, working with co-writer Darren Lemke and co-directors Mike Mitchell and Stephanie Stine. In “Panda 4,” Po (voiced by Jack Black) is enjoying fame, relative fortune and unlimited dumplings at this stage of his Dragon Warrior tenure. Straight off, mentor Shifu
‘KUNG FU PANDA 4’:
(Dustin Hoffman returning for exasperated vocal mutterings) relays the news that Po must now appoint the next Dragon Warrior, so Po can transition into a quieter role he does not want: steward and protector of the Valley of Peace, armed with the Staff of Wisdom. Also starring Ian McShane, Viola Davis and Awkwafina, “Panda 4” feels more akin to one of the “Ice Age” movies, laden with occasionally funny but constantly nattering snark and meanness so that you don’t really buy the sincere bits. But the jokes have a way of arriving like jokes, and sounding like jokes, but not quite being jokes. 1:34. 2 ½ stars. — Michael Phillips
‘ONE LIFE’: The cinematic image of children boarding trains in World War
II is typically a traumatic one. But in “One Life,” directed by James Hawes, it is a wildly, blindly hopeful image, as children board trains in Prague, bound for England, escaping dire conditions in refugee camps and the encroaching Nazi occupation, seemingly just steps away. “One Life” is the story of Sir Nicholas “Nicky” Winton, a British stockbroker and humanitarian, who in 1939, helped to arrange the escape of 669 children from Czechoslovakia. Written by Lucinda Coxon and Nick Drake, the film is based on a book by Winton’s daughter, Barbara Winton, “If It’s Not Impossible … The Life of
Sir Nicholas Winton.” The film weaves together two periods in Winton’s life, 50 years apart. Sir Anthony Hopkins plays Winton in 1987, enjoying a life of peaceful retirement with his wife, Grete (Lena Olin), in Maidenhead. Johnny Flynn plays Winton five decades earlier, a stern and quiet young man, the son of German Jewish immigrants who converted to Christianity and changed their last name in order to assimilate in England. Concerned with reports from occupied Sudetenland, he takes a leave from his banking job and meets a friend in Prague in order to assist with the refugee efforts. 1:54. 3 stars. — Katie Walsh
‘ORDINARY ANGELS’: In “Ordinary Angels,” directed by Jon Gunn, the director of 2017’s “The Case for Christ” and producer of 2023’s “Jesus Revolution,” it’s faith in humanity that comes to the fore, although a church parking lot does play a pivotal role in this adaptation of the true story of Michelle Schmitt, who was once known as the “Snow Baby of Louisville.” But before we get to the snow, we’ve got to get to know hairdresser Sharon Stevens, played by Hilary Swank. The hairdresser wrote a memoir titled “Ordinary Angels” about her life and Michelle. Kelly Fremon Craig and Meg Tilly wrote the screenplay. Michelle’s incredible journey offers the climax of the movie, but it’s Sharon’s redemption tale that offers the dramatic arc of the film. Where “Ordinary Angels” stumbles is taking one unique human interest story from 1994 — in which Louisville rallied around Michelle to help get her to an awaiting liver transplant during a raging blizzard — and making it instead the story of one woman, Sharon. The character’s motivations don’t gel, and no amount of Swank moxie can make it work. The true story is an inspiring tale of community care and aid, the kind of thing that feels rare and rarely celebrated these days, but as usual, real life is more affecting, more nuanced and, yes, stranger than fiction. This may be a tale of “Ordinary Angels,” but unfortunately, the film itself is far from extraordinary. 1:57. 2 stars.
Walsh
RATINGS: The movies listed are rated according to the following key: 4 stars, excellent; 3 stars, good; 2 stars, fair; 1 star, poor.