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| New movies to stream this week: ‘Extraction,’ ‘Driveways’ and more | New movies to stream this week: ‘Extraction,’ ‘Driveways’ and more |
| (about 16 hours later) | |
| In “Driveways,” Brian Dennehy plays Del, a widowed veteran whose days are defined by bingo games at the VFW and solo TV dinners. When a little boy named Cody (Lucas Jaye) shows up to help his mom clean out her sister’s house next door to Del, an unlikely friendship blossoms. This slight but well-observed drama was one of the last projects filmed by Dennehy, who died last week at 81. He couldn’t have chosen a more tender, elegiac note to go out on. Graced by a spiky, unsentimental performance by Hong Chau, who plays Cody’s overworked mom, “Driveways” is a film of modest but richly detailed pleasures, chief among them watching Dennehy bring his signature brand of barrel-chested gruffness to a man of achingly few words. When, late in the story, Del opens up, it’s as if an ancient oak tree were throwing all its acorns at once, in one final gesture of generosity and grace. Unrated. Available April 24 via streaming at theavalon.org, afisilver.afi.com, cinemaartstheatre.com and themiracletheatre.com. Contains brief strong language and smoking. 84 minutes. | In “Driveways,” Brian Dennehy plays Del, a widowed veteran whose days are defined by bingo games at the VFW and solo TV dinners. When a little boy named Cody (Lucas Jaye) shows up to help his mom clean out her sister’s house next door to Del, an unlikely friendship blossoms. This slight but well-observed drama was one of the last projects filmed by Dennehy, who died last week at 81. He couldn’t have chosen a more tender, elegiac note to go out on. Graced by a spiky, unsentimental performance by Hong Chau, who plays Cody’s overworked mom, “Driveways” is a film of modest but richly detailed pleasures, chief among them watching Dennehy bring his signature brand of barrel-chested gruffness to a man of achingly few words. When, late in the story, Del opens up, it’s as if an ancient oak tree were throwing all its acorns at once, in one final gesture of generosity and grace. Unrated. Available April 24 via streaming at theavalon.org, afisilver.afi.com, cinemaartstheatre.com and themiracletheatre.com. Contains brief strong language and smoking. 84 minutes. |
| — Ann Hornaday | — Ann Hornaday |
| Brian Dennehy, gruff character actor and Tony-winning Broadway star, dies at 81 | Brian Dennehy, gruff character actor and Tony-winning Broadway star, dies at 81 |
| “Extraction” has a pretty good pedigree: It’s produced by brothers Anthony and Joe Russo (“Avengers: Endgame”), the latter of whom wrote the screenplay, based on “Ciudad,” a 2014 graphic novel the Russos co-wrote with Ande Parks. And although director Sam Hargrave is making his feature debut, his previous work as stunt coordinator for the Russos stands him in good stead here. It’s obvious that he knows his way around an action movie in this entertaining thriller, which stars Chris Hemsworth as a mercenary who takes on what looks like a simple job retrieving the kidnapped son of a drug lord, only to find it’s not so straightforward. Set mostly in and around the streets, markets, slums — and, in one scene, sewers — of Dhaka, Bangladesh, “Extraction” is a sterling piece of escapism, characterized by vivid, visceral mayhem and a nice rapport that develops between Hemsworth and his young charge (Rudhraksh Jaiswal). R. Available April 24 via Netflix streaming. Contains strong bloody violence throughout, coarse language and brief drug use. 117 minutes. | “Extraction” has a pretty good pedigree: It’s produced by brothers Anthony and Joe Russo (“Avengers: Endgame”), the latter of whom wrote the screenplay, based on “Ciudad,” a 2014 graphic novel the Russos co-wrote with Ande Parks. And although director Sam Hargrave is making his feature debut, his previous work as stunt coordinator for the Russos stands him in good stead here. It’s obvious that he knows his way around an action movie in this entertaining thriller, which stars Chris Hemsworth as a mercenary who takes on what looks like a simple job retrieving the kidnapped son of a drug lord, only to find it’s not so straightforward. Set mostly in and around the streets, markets, slums — and, in one scene, sewers — of Dhaka, Bangladesh, “Extraction” is a sterling piece of escapism, characterized by vivid, visceral mayhem and a nice rapport that develops between Hemsworth and his young charge (Rudhraksh Jaiswal). R. Available April 24 via Netflix streaming. Contains strong bloody violence throughout, coarse language and brief drug use. 117 minutes. |
| — Michael O'Sullivan | — Michael O'Sullivan |
| The 19th-century Australian outlaw and folk hero Ned Kelly is given a punk makeover in “True History of the Kelly Gang,” a visually striking but dramatically inert biopic from filmmaker Justin Kurzel (“Macbeth”) that is neither very true nor historical. Fresh off “1917,” actor George MacKay makes for an intense, slightly demented antihero, and the screenplay, which Shaun Grant adapted from Peter Carey’s Booker Prize-winning novel about Kelly, keeps hammering away at the theme of destiny. “Be the man who you were meant to be,” Ned’s mother — played by Essie Davis, who is married to the director — tells him. At another point, Ned’s nemesis in law enforcement (Nicholas Hoult) says, “You’re not the man who you pretend to be.” In the end, we don’t come away with a clear picture of Kelly, giving the lie to what one character calls “a story with telling.” R. Available April 24 on various streaming platforms. Contains strong violence throughout, bloody images, pervasive crude language, sexuality and some nudity. 124 minutes. | The 19th-century Australian outlaw and folk hero Ned Kelly is given a punk makeover in “True History of the Kelly Gang,” a visually striking but dramatically inert biopic from filmmaker Justin Kurzel (“Macbeth”) that is neither very true nor historical. Fresh off “1917,” actor George MacKay makes for an intense, slightly demented antihero, and the screenplay, which Shaun Grant adapted from Peter Carey’s Booker Prize-winning novel about Kelly, keeps hammering away at the theme of destiny. “Be the man who you were meant to be,” Ned’s mother — played by Essie Davis, who is married to the director — tells him. At another point, Ned’s nemesis in law enforcement (Nicholas Hoult) says, “You’re not the man who you pretend to be.” In the end, we don’t come away with a clear picture of Kelly, giving the lie to what one character calls “a story with telling.” R. Available April 24 on various streaming platforms. Contains strong violence throughout, bloody images, pervasive crude language, sexuality and some nudity. 124 minutes. |
| — M.O. | — M.O. |
| The documentary “Circus of Books” is really two movies in one. The first is a quirky history of a now-defunct book-and-gay-pornography emporium that operated two branches in the Los Angeles area for many years before the Internet killed it. That part looks at the shops’ role as gathering spaces during the gay liberation movement and AIDS crisis, offering a simultaneous portrait of the business’s unlikely owners: Barry and Karen Mason, a nice middle-class Jewish couple who fell into their jobs almost accidentally, before becoming known as champions of tolerance. Directed by the Masons’ daughter Rachel Mason, “Circus” is also a bit of a family history as well, looking back at her mother’s initially negative reaction when one of her two sons came as gay. Both narratives are fascinating, but Karen’s journey toward aligning her politics with her personal life is the more inspirational one. TV-MA. Available via Netflix streaming. Contains sexual images and language and some nudity. 86 minutes. | The documentary “Circus of Books” is really two movies in one. The first is a quirky history of a now-defunct book-and-gay-pornography emporium that operated two branches in the Los Angeles area for many years before the Internet killed it. That part looks at the shops’ role as gathering spaces during the gay liberation movement and AIDS crisis, offering a simultaneous portrait of the business’s unlikely owners: Barry and Karen Mason, a nice middle-class Jewish couple who fell into their jobs almost accidentally, before becoming known as champions of tolerance. Directed by the Masons’ daughter Rachel Mason, “Circus” is also a bit of a family history as well, looking back at her mother’s initially negative reaction when one of her two sons came as gay. Both narratives are fascinating, but Karen’s journey toward aligning her politics with her personal life is the more inspirational one. TV-MA. Available via Netflix streaming. Contains sexual images and language and some nudity. 86 minutes. |
| — M.O. | — M.O. |
| You might not be in the mood these days for a movie packed with gruesome death scenes that (mostly) take place within the confines of a single apartment. But if you can get past a few minutes of torture porn and a steady stream of blood, “Why Don’t You Just Die!,” a gore-fest from Russian writer-director Kirill Sokolov, is a moderately compelling drama. Much of the thriller consists of young thug Matvey (Aleksandr Kuznetsov) and middle-aged police detective Andrei (Vitaly Khalev) attacking each other with a dizzying array of conventional and unconventional weapons, from a hammer to a shotgun to a TV set. But as the title suggests, Matvey, after being subjected to increasingly cartoonish violence — and the excruciating use with a power drill — simply won’t die. The filmmaker has a master’s degree in physics, and he puts it to good use in his feature debut, carefully observing the way blood drips and spurts, and designing extravagant experiments that suggest a live-action Wile E. Coyote episode directed by Quentin Tarantino. As frantic, and frankly headache-inducing, as all this savagery is, the punishing fight scenes eventually give way to moments of introspection from Andrei’s broken family, whose deepest wounds lie well below the surface. Which kind of makes “Why Don’t You Just Die!” a Chekhov play for fans of extreme horror. Unrated. Available on various streaming platforms. Contains inordinate amounts of extremely unsettling graphic violence. In Russian with subtitles. 95 minutes. | You might not be in the mood these days for a movie packed with gruesome death scenes that (mostly) take place within the confines of a single apartment. But if you can get past a few minutes of torture porn and a steady stream of blood, “Why Don’t You Just Die!,” a gore-fest from Russian writer-director Kirill Sokolov, is a moderately compelling drama. Much of the thriller consists of young thug Matvey (Aleksandr Kuznetsov) and middle-aged police detective Andrei (Vitaly Khalev) attacking each other with a dizzying array of conventional and unconventional weapons, from a hammer to a shotgun to a TV set. But as the title suggests, Matvey, after being subjected to increasingly cartoonish violence — and the excruciating use with a power drill — simply won’t die. The filmmaker has a master’s degree in physics, and he puts it to good use in his feature debut, carefully observing the way blood drips and spurts, and designing extravagant experiments that suggest a live-action Wile E. Coyote episode directed by Quentin Tarantino. As frantic, and frankly headache-inducing, as all this savagery is, the punishing fight scenes eventually give way to moments of introspection from Andrei’s broken family, whose deepest wounds lie well below the surface. Which kind of makes “Why Don’t You Just Die!” a Chekhov play for fans of extreme horror. Unrated. Available on various streaming platforms. Contains inordinate amounts of extremely unsettling graphic violence. In Russian with subtitles. 95 minutes. |
| — Pat Padua | — Pat Padua |
| Anyone lucky enough to have seen the exhibition “Hilma af Klint: Paintings for the Future” at the Guggenheim last year knows the thrill of encountering the Swedish painter’s work firsthand. With “Beyond the Visible: Hilma af Klimt,” Halina Dyrschka’s incisive documentary, the rest of us now get a chance to witness the vibrant, cosmically-inclined images created by an intellectual and artistic pioneer. Recounting af Klint’s early days as the daughter of an aristocratic naval family and gifted art student, “Beyond the Visible” makes a convincing case that af Klint invented abstract painting long before such nominal groundbreakers as Kandinsky and Malevich. Like the recent film “Be Natural: The Untold Story of Alice Guy-Blache,” Dyrschka’s movie tells a revealing and infuriating story about how women’s work gets erased and marginalized by the men who write the histories. But aside from a much-needed correction of the record, the best reason to watch “Beyond the Visible” is simply to see af Klint’s breathtaking paintings — ecstatic concoctions of spirals, coils and biomorphic shapes that evoke the scientific and philosophical questions that consumed her. Unrated. Available April 24 via streaming at cinemaartstheatre.com. Contains noting objectionable. In English, German and Swedish with subtitles. 93 minutes. | Anyone lucky enough to have seen the exhibition “Hilma af Klint: Paintings for the Future” at the Guggenheim last year knows the thrill of encountering the Swedish painter’s work firsthand. With “Beyond the Visible: Hilma af Klimt,” Halina Dyrschka’s incisive documentary, the rest of us now get a chance to witness the vibrant, cosmically-inclined images created by an intellectual and artistic pioneer. Recounting af Klint’s early days as the daughter of an aristocratic naval family and gifted art student, “Beyond the Visible” makes a convincing case that af Klint invented abstract painting long before such nominal groundbreakers as Kandinsky and Malevich. Like the recent film “Be Natural: The Untold Story of Alice Guy-Blache,” Dyrschka’s movie tells a revealing and infuriating story about how women’s work gets erased and marginalized by the men who write the histories. But aside from a much-needed correction of the record, the best reason to watch “Beyond the Visible” is simply to see af Klint’s breathtaking paintings — ecstatic concoctions of spirals, coils and biomorphic shapes that evoke the scientific and philosophical questions that consumed her. Unrated. Available April 24 via streaming at cinemaartstheatre.com. Contains noting objectionable. In English, German and Swedish with subtitles. 93 minutes. |
| — A.H. | — A.H. |
| Hilma af Klimt: The Woman Who Painted the Future | Hilma af Klimt: The Woman Who Painted the Future |
| Capitalizing on the interest in Netflix’s “Tiger King,” the cult classic “Roar” — a 1981 oddity starring Tippi Hedren, her daughter Melanie Griffith and a menagerie of untrained lions, tigers and other wild cats — is returning to streaming platforms. Make no mistake: This story of a naturalist (writer-director Noel Marshall, who was married to Hedren) who lives with dozens of big cats — several of whom are said to have attacked the cast and crew during filming — is by no means a well-made movie. But it is a fun watch, despite the seemingly improvised dialogue, thin, incoherent plot and bad acting, which veers from the stiffly awkward to what looks like genuine terror. It’s been called the most dangerous movie ever made, and, with a budget of $17 million, the most expensive home movie ever made. Both claims are equally well justified. PG. Available April 24 via streaming at afisilver.afi.com. Contains some bloody images and scenes of violence. 102 minutes. | Capitalizing on the interest in Netflix’s “Tiger King,” the cult classic “Roar” — a 1981 oddity starring Tippi Hedren, her daughter Melanie Griffith and a menagerie of untrained lions, tigers and other wild cats — is returning to streaming platforms. Make no mistake: This story of a naturalist (writer-director Noel Marshall, who was married to Hedren) who lives with dozens of big cats — several of whom are said to have attacked the cast and crew during filming — is by no means a well-made movie. But it is a fun watch, despite the seemingly improvised dialogue, thin, incoherent plot and bad acting, which veers from the stiffly awkward to what looks like genuine terror. It’s been called the most dangerous movie ever made, and, with a budget of $17 million, the most expensive home movie ever made. Both claims are equally well justified. PG. Available April 24 via streaming at afisilver.afi.com. Contains some bloody images and scenes of violence. 102 minutes. |
| — M.O. | — M.O. |
| What to know about ‘Tiger King,’ the shocking Netflix series that has captivated the Internet | What to know about ‘Tiger King,’ the shocking Netflix series that has captivated the Internet |
| “Robert the Bruce” is a historical drama about the titular medieval Scottish king, played by Angus Macfadyen, who had the same role in “Braveheart.” The Guardian calls this “sort-of-but-not-quite sequel” to the 1995 Oscar-winner a “thoughtful, well-meaning crack at historical drama.” Unrated. Available April 24 on various streaming platforms. Contains some strong language and sporadic graphic violence. 124 minutes. | “Robert the Bruce” is a historical drama about the titular medieval Scottish king, played by Angus Macfadyen, who had the same role in “Braveheart.” The Guardian calls this “sort-of-but-not-quite sequel” to the 1995 Oscar-winner a “thoughtful, well-meaning crack at historical drama.” Unrated. Available April 24 on various streaming platforms. Contains some strong language and sporadic graphic violence. 124 minutes. |
| In “Braking for Whales,” Tom Felton (“Harry Potter’s” Draco Malfoy) and Tammin Sursok play estranged sibling who agree to an absurd request: disposing of their late mother’s ashes inside the body of a whale. Unrated. Available April 24 via various streaming platforms. 103 minutes. | In “Braking for Whales,” Tom Felton (“Harry Potter’s” Draco Malfoy) and Tammin Sursok play estranged sibling who agree to an absurd request: disposing of their late mother’s ashes inside the body of a whale. Unrated. Available April 24 via various streaming platforms. 103 minutes. |
| “The Queen’s Corgi” is a Belgian animated feature, made in English, about a Buckingham Palace dog who gets lost and must find his way back home. PG. Available via Amazon streaming. Contains thematic elements involving sexually suggestive material, rude humor, violence and some coarse language. 85 minutes. | “The Queen’s Corgi” is a Belgian animated feature, made in English, about a Buckingham Palace dog who gets lost and must find his way back home. PG. Available via Amazon streaming. Contains thematic elements involving sexually suggestive material, rude humor, violence and some coarse language. 85 minutes. |
| Based on a 2008 children’s book about four siblings who conspire to bring about the demise of their neglectful parents, “The Willoughbys” brings what Variety calls “a candy-coated palette and high-fructose energy to what might have been a gloomy Gothic affair in the Tim Burton or Charles Addams tradition.” PG. Available via Netflix streaming. Contains rude humor and some mature thematic eklements. 92 minutes. | Based on a 2008 children’s book about four siblings who conspire to bring about the demise of their neglectful parents, “The Willoughbys” brings what Variety calls “a candy-coated palette and high-fructose energy to what might have been a gloomy Gothic affair in the Tim Burton or Charles Addams tradition.” PG. Available via Netflix streaming. Contains rude humor and some mature thematic eklements. 92 minutes. |
| Made by a group of students at the University of Maryland, “My Brothers and Friends!” tells the story of a college student struggling with financial and mental hardship who finds solace in a fraternity and one of its enigmatic members. Unrated. Available April 23 via Amazon streaming. 90 minutes. | Made by a group of students at the University of Maryland, “My Brothers and Friends!” tells the story of a college student struggling with financial and mental hardship who finds solace in a fraternity and one of its enigmatic members. Unrated. Available April 23 via Amazon streaming. 90 minutes. |
| “2 Weeks in Lagos” is a faith-based Nigerian rom-com involving conflict between love at first sight and an arranged marriage. Unrated. Available April 24 via streaming at afisilver.afi.com. 115 minutes. | “2 Weeks in Lagos” is a faith-based Nigerian rom-com involving conflict between love at first sight and an arranged marriage. Unrated. Available April 24 via streaming at afisilver.afi.com. 115 minutes. |
| A tale of erotic obsession and, yes, a zombie, the French film “Zombi Child” is characterized by a “dreamy detachment,” according to the New York Times. It may be inconclusive, but that’s the source of power, the Times says, for a film “fueled by insinuation and fascination.” Unrated. Available April 24 via streaming at afisilver.afi.com. In French, Creole and English with subtitles. 103 minutes. | A tale of erotic obsession and, yes, a zombie, the French film “Zombi Child” is characterized by a “dreamy detachment,” according to the New York Times. It may be inconclusive, but that’s the source of power, the Times says, for a film “fueled by insinuation and fascination.” Unrated. Available April 24 via streaming at afisilver.afi.com. In French, Creole and English with subtitles. 103 minutes. |
| “To the Stars” is a black-and-white coming-of-age drama about two teenage outsiders set in 1960s Oklahoma. Screen Daily calls it “quietly moving.” Unrated. Available April 24 on various streaming platforms. Contains strong language and mature thematic elements. 111 minutes. | “To the Stars” is a black-and-white coming-of-age drama about two teenage outsiders set in 1960s Oklahoma. Screen Daily calls it “quietly moving.” Unrated. Available April 24 on various streaming platforms. Contains strong language and mature thematic elements. 111 minutes. |
| “Planet of the Humans” is a documentary by Jeff Gibbs about the failure of the environmental movement to halt climate change. Executive producer Michael Moore (“Bowling for Columbine”) has made it available for free on his YouTube channel. Unrated. Available via streaming at youtube.com/mmflint. 100 minutes. | |
| The Sundance-nominated documentary “Pahokee” follows four teenagers in a small, impoverished agricultural town in rural Florida during their senior year in high school. Variety called the film “lively and rousing.” Unrated. Available April 24 via streaming at themiracletheatre.com. 110 minutes. | The Sundance-nominated documentary “Pahokee” follows four teenagers in a small, impoverished agricultural town in rural Florida during their senior year in high school. Variety called the film “lively and rousing.” Unrated. Available April 24 via streaming at themiracletheatre.com. 110 minutes. |
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