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Reviews of movies showing in theaters or streaming online
‘BOB MARLEY: ONE LOVE’: How can you contain the meaning of Bob Marley in a single biopic? The pioneering reggae artist’s life was all too short, but his music has persisted infinitely, reaching far beyond the Blue Mountains of his native Jamaica, and he continues to be a global icon and a posthumous ambassador for Rastafarian culture 40 years after his death. But the man himself has been abstracted into an image for sale, a mere signifier adorning a dorm room poster, his songs of peace and freedom the dutiful standards of beach bar cover bands across the globe. Is it possible to tell the story of his life in a way that feels truthfully human? These are the questions with which one wrestles in contending with the new biopic from director Reinaldo Marcus Green, “Bob Marley: One Love.” But unfortunately, the film itself does not undertake these complex matters. Although the film promises to tell a culturally and politically specific story, what could have been daring is ultimately trite, relying on familiar music biopic tropes. It’s a shame, because at the center is a bravura performance from Kingsley Ben-Adir as Marley. 1:44. 2 stars. ‘DUNE: PART TWO’: 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 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. ‘KUNG FU PANDA 4’: 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 (“Shrek 4,” “Alvin and the Chipmunks 3”) 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 (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
‘LOVE LIES BLEEDING’: The first time we glimpse Jackie (Katy O’Brian) on screen in “Love Lies Bleeding,” it is not particularly auspicious. But we haven’t yet seen Jackie through the eyes of Lou (Kristen Stewart), and that’s the only gaze that matters in this film. When Lou — the manager at a muscle-head gym — catches sight of Jackie prowling among the weight machines, skin gleaming, her powerfully muscular body reflected in the mirror, almost glowing, it’s like director Rose Glass is letting us in on a lusty little secret. It’s 1989 in an anonymous Southwestern town, and Jackie is only drifting through on her way to a bodybuilding competition in Las Vegas. She’s seemingly dropped from the galaxies like one of the shooting stars that streaks across the vast night sky, and even in the desolate gym parking lot, their chemistry is supernova explosive. But the reality of life in this small, rough town has an insistent, inevitable darkness. There’s Lou’s battered sister Beth (Jena Malone) and her philandering, abusive husband JJ (Dave
Franco). There’s the FBI agents who would really like to talk to Lou about her estranged father, Lou Sr.
(Ed Harris), who owns the gun range where Jackie has picked up a few waitressing shifts. There’s Daisy (Anna Baryshnikov), a ditzy, nagging townie, who pops up, keening for attention, at the worst times. There are too many connections and coincidences swirling around them, and as Lou and Jackie collide, sexually, there looms a bloodier collision on the horizon: sheer ominousness telegraphed in Lou’s red-drenched flashbacks. 1:44. 3 ½ 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 young 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 Oscar winner Hilary Swank. She wrote a memoir titled “Ordinary
Angels” about her life and about Michelle, and Kelly Fremon Craig and Meg Tilly wrote the screenplay. Little Michelle’s incredible journey offers the climax of the movie, but it’s Sharon’s redemption tale that offers the dramatic arc of the feature film. Where “Ordinary Angels” stumbles is taking one unique human interest story from 1994 — in which Louisville rallied around Michelle Schmitt 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 mutual 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. — Katie Walsh
RATINGS:
The movies listed are rated according to the following key: 4 stars, excellent; 3 stars, good; 2 stars, fair; 1 star, poor.