Review: 'Mutt' is an eye-opening, gut-wrenching look at a day in the life of a trans man, sensitively played by newcomer Lio Mehiel

The New York drama “Mutt,” writer-director Vuk Lungulov-Klotz’s strong and tender feature debut, shows us an intensely busy 24 hours in the life of a young trans man — and it’s the actor in the center, newcomer Lio Mehiel, who makes you want to stay through the night.

Mehiel plays Feña, who on this day is stressed that his father, Pablo (Alejandro Goic), is flying up from Chile for a visit. Feña hasn’t seen his father in two years — and Pablo has never seen his son, because he hasn’t seen Feña since he transitioned.

As if that weren’t stressful enough, Feña learns that the person from whom he was going to borrow a car, to go pick his dad at the Newark airport, has flaked. At the same time, Feña learns that his ex-boyfriend, John (Cole Doman), is back in town — and, yes, the last time John saw Feña, it was before his transition. Also during the day, Feña’s 14-year-old half-sister, Zoe (MiMi Ryder), shows up, trying to avoid their mom, whose abuse forced the pre-transition Feña to move out.

Through this day, Lungulov-Klotz (a trans man himself) shows the daily frustrations Feña must deal with as a recently transitioned person, such as a bank teller who calls him “ma’am” or a pharmacist who calls him “sir” but doesn’t understand why a guy needs to buy a Plan B pill.

Feña brushes back the indignities with a resigned air, though he will put someone in their place if necessary — like the woman (Sarah Herrman) who is fascinated by Feña’s top surgery and then blurts out the rude question of whether he’s had surgery below the belt. “No, and don’t ever ask that,” Feña replies. Jenny counters, “Don’t you want to be a full man?,” to which Feña responds, “I don’t need a dick for that.” (Considering the number of men in the world with functional penises who aren’t full men, Feña makes a good point.)

Mehiel was given a special jury prize for acting at this year’s Sundance Film Festival, and damn if they didn’t earn it. Mehiel plays with a wealth of complicated emotions — confronting three figures from Feña’s past in his new body — across their expressive face, holding it all the pain and defiance within their tense jawline. It’s an impressive performance in a tightly wound and unexpectedly deep movie.

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’Mutt’

★★★1/2

Opens Friday, September 1, at the Broadway Centre Cinemas (Salt Lake City). Not rated, but probably R for sexual content and language. Running time: 87 minutes.

Review: 'Between Two Worlds' finds strong drama in the hardships of French women laboring at minimum wage

Director Emmanuel Carrére’s gritty drama “Between Two Worlds” is on the same mission as Chloe Zhao’s “Nomadland” — to let viewers catch a glimpse of a struggling working class on whose labor, and invisibility, an entire economy is built.

If Carrére doesn’t succeed to the degree that Zhao did, it’s largely because of how differently the movies go about what they do.

In “Nomadland,” the lives of people living in their vehicles and traveling from one seasonal job to another — harvesting sweet potatoes one month, routing Amazon packages the next — worked in large part because star Frances McDormand portrayed and embodied someone on the inside of this system.

In “Between Two Worlds” — which, like “Nomadland,” is based on a nonfiction book (in this case, Florence Aubenas’ 2011 book “Le Quai de Ouistreham”) — this world of French laborers is seen from the outside. Juliette Binoche plays Marianne Winckler, who we first meet as just another person looking for work in Caen, the city on France’s north coast. She follows some other would-be workers, and quickly tags along with some women working on cleaning crews. 

The hardest gig, but also the most lucrative, is on the team that cleans the passenger ferry that goes between Caen’s port, Ouistreham, to Portsmouth, England. The team must clean bathrooms and make beds in 230 rooms during the ferry’s 90-mintue stopover, before passengers board to cross the English Channel.

Before landing the job, though, a caseworker at the employment office takes Marianne aside and asks what she’s doing there. The caseworker, Lucie (Aude Ruyter), recognizes Marianne, not as a day laborer but as a successful author. Marianne tells the caseworker that she’s gone undercover, so she can understand the “employment crisis” by living it. Lucie doesn’t rat her out, but admonishes her that “the people who come here can’t stop when they’re bored.”

That fear of being found out, and the guilt that she’s doing some kind of “poverty chic” act, is what drives Marianne and the movie’s narrative for much of the way. Fortunately, that less-than-interesting plot is pushed aside for the more intriguing stories of the women Marianne meets — including Marilou (Léa Carne), who dreams of leaving Caen with her boyfriend someday; Cédric (Didier Pupin), an older man who’s a hopeless romantic; and most especially Chrystèle (Hélène Lambert), a foul-mouthed single mom who soon becomes Marianne’s best friend on the job.

Carrére, co-writing the script with Hélène Devynck, spends too much time and attention concerned about whether Marianne’s cover will be blown. But when the focus is on the women she works with — all played by nonprofessional actors — the movie rises to another level, focusing on the daily struggles and momentary triumphs of these workers who don’t have the luxury of zipping back to Paris when the job is done.

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‘Between Two Worlds’

★★★

Opens Friday, September 1, at the Broadway Centre Cinemas (Salt Lake City). Rated R for language. Running time: 106 minutes; in French, with subtitles.

Review: 'Gran Turismo' is a sports drama filled with glitz and advertising, with David Harbour as its emotional engine

Somewhere amid the automobile-shaped billboards whizzing around in “Gran Turismo,” burning the Nissan and PlayStation logos into the viewer’s retinas, there’s a well-constructed inspirational sports drama and a half-decent video game movie.

Director Neill Blomkamp (“District 9,” “Chappie”) starts by informing us that the Japanese game designer Kazunori Yamauchi had a dream to create the most realistic racing simulator ever made — and the result was “Gran Turismo.” Millions, we’re told, play the simulator around the world.

It’s that market that Danny Moore (Orlando Bloom), a marketing executive at Nissan’s UK division, wants to tap into. His proposal to the suits from Tokyo: Find the best “Gran Turismo” players from around the world, and train them to race with real cars on real tracks for Nissan’s racing team. Improbably, the bosses give Danny’s pitch the green light.

An online competition helps Danny find the best GT racers around the world. The one the movie focuses on is Jann Mardenborough (Archie Madekwe), a teen in Cardiff, Wales, whose dreams of becoming a race driver are laughed off by his father, Steve (Djimon Hounsou), an ex-footballer who is focused on his older son Coby (Daniel Puig), an up-and-coming soccer player. (Jann’s mum is played by Geri Halliwell Horner, if case you’re wondering what happens to ex-Spice Girls: They are saddled with thankless roles in male-dominated movies.)

While Danny assembles the 10 best GT racers and brings them to Nissan’s training camp, he has to find a coach who can turn these chair-bound gamers into real drivers. The reluctant coach is Jack Salter (David Harbour), who pours cold water on Danny’s and the young racers’ hopes. 

Of course, what comes next is the requisite training montage, somewhere between “Remember the Titans” and “An Officer and a Gentleman,” with the field of 10 winnowed down to five in short order. Jann barely makes the cut, but is more determined to show Jack, his dad, and the world that he’s got what it takes to race.

Blomkamp takes the tag-teamed script — written by Jason Hall (“American Sniper”) and Zach Baylin (“King Richard”), with story credit to Hall and Alex Tse — and creates a lucid, fast-paced story that hits all the right buttons of the underdog sports story. He also incorporates the mechanics of the Gran Turismo game, like the way the graphics hover over Jann’s car to show us his position in the race.

The chief joy derived in “Gran Turismo,” — aside from the delight Blomkamp shows in editing together tight racing sequences — is watching Harbour tear through all the gruff-but-lovable coaching cliches and find the battered, vulnerable heart within. For all the forced product placement and corporate sucking up, Harbour gives the movie a few dollops of genuine humanity.

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‘Gran Turismo’

★★★

Opens Friday, August 25, in theaters everywhere. Rated PG-13 for intense action and some strong language. Running time: 135 minutes.

Review: 'The Hill' is an inspirational sports movie at its most shamelessly manipulative, but still emotionally effective

The sports drama “The Hill” tells the true story of a baseball phenom who could hit the ball harder than anything — and the movie handles its emotional beats the same way, swinging for the fences and landing with the subtlety of a baseball hitting a windshield.

The hero of our story is Rickey Hill, who we encounter as a headstrong teenage prospect (played by Colin Ford) before flashing back to his childhood in east Texas, sometime in the early ‘60s. Little Rickey (Jesse Berry) can hit a rock with a stick very far — and, when given the chance to swing a real bat, knocks the ball into the next field over.

However, Rickey has two impediments that make his baseball prospects limited. One is that he wears braces on his legs, because of a degenerative spine disorder he suffered since birth. The other is his father, James Hill (Dennis Quaid), a Baptist minister who has determined that his younger son’s destiny is to preach the Lord’s word, not play a game. 

Rickey’s mother, Helen (Joelle Carter), and Helen’s crotchety mom, Lillian (Bonnie Bedelia), believe in Rickey. So does his older brother, Robby (Mason Gillett). So does Gracie (Mile Harris), a girl his age who calls Rickey “my boyfriend” — and whose heart is broken when the Hill family is forced to move when the congregants throw James out of their church.

Flash-forward to the ‘70s, and Ford’s Rickey is a star player for his high-school team, and attracting interest from scouts and sportswriters. One such writer brings along his intern – a now-grown Gracie (Siena Bjornerud), who has continued to love Rickey from afar.

Rickey seems on a trajectory toward fulfilling his baseball dreams, until a freak injury tears up his ankle. The doctor looks at the ankle, but also sees Rickey has “the spine of a 60-year-old man,” and tells him he may recover enough to walk, but not play baseball again. Rickey is determined to beat those odds, and be fit enough to try out for an assembly of baseball scouts, led by the legendary scout Red Murff (played by Scott Glenn, giving us a reunion of “The Right Stuff,” 40 years later).

The screenwriters here are Angelo Pizzo, who wrote the sports dramas “Rudy” and “Hoosiers,” and the late Scott Marshall Smith, who wrote the biographical dramas “Men of Honor” and “When the Game Stands Tall.” With that much inspirational DNA, the story here can’t help but elicit an emotional response. The tears are not so much jerked as forcibly yanked from the audience’s eyes.

The shameless manipulation director Jeff Celentano builds up hits its apex in the final scene, a pivotal baseball game where Rickey must prove his skills or forever kiss his baseball dreams goodbye — all while the announcer (played by Hall of Fame pitcher and analyst John Smoltz) drums the importance of every swing into the audience’s heads. “The Hill,” ultimately hits with power, but without finesse.

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‘The Hill’

★★1/2

Opens Friday, August 25, in theaters. Rated PG for thematic content, language, and smoking throughout. Running time: 126 minutes.

Review: 'What Comes Around' is a cautionary thriller about dating in the internet age — until it takes a sharp turn into something creepy

It’s nearly impossible to talk about what goes wrong in “What Comes Around,” because the problem is a twist that doesn’t work — and I’m not going to give it away, even though it’s why director Amy Redford’s intimate thriller goes off the rails.

Redford and screenwriter Scott Organ, who adapts his play “The Thing With Feathers,” start with Anna (Grace Van Dien), a high-school girl who’s spending a lot of time on her computer and on FaceTime, talking to a guy she met online. That guy, Eric (Kyle Gallner), charms Anna with his appreciation of Emily Dickinson and his brooding charm. 

Anna doesn’t tell her mom, Beth (Summer Phoenix), at first. Mom’s preoccupied anyway, since she’s freshly sporting an engagement ring from her boyfriend, Tim (Jesse Garcia), who’s the town’s assistant police chief.

But when Eric tells Anna that he wants to see her in person — and Anna sees on FaceTime that he’s saying that while standing on her front porch — telling Beth becomes a necessity. And when Beth gets one look at Eric, her response is unvarnished: “Get the hell out of my house.”

Everything I’ve described so far is in the trailer. And it all happens before the sharp turn Organ’s script takes right into a ditch.

The sharp turn is, on one level, lurid and creepy. It’s also a narrative dead-end, a “check, please” moment from which the sharpest screenwriter would find hard to recover.

Redford — directing her second movie, after the 2008 cancer drama “The Guitar” — constructs a tight, claustrophobic thriller, getting strong performances from Van Dien (“Stranger Things”) and Phoenix (“SLC Punk!”) as a daughter and mother learning hard truths about each other. She also gets a lot of solid visuals on a fast timeline, filming in 16 days in Park City, Utah, with mostly local crews. 

It’s almost enough to overcome the pothole in the middle of Organ’s script — but almost doesn’t count.

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‘What Comes Around’

★★1/2

Opens Friday, August 25, at the Broadway Centre Cinemas (Salt Lake City). Not rated, but probably R for sexual dialogue and language. Running time: 85 minutes.

Review: 'Blue Beetle' is a bumpy superhero ride, but star Xolo Maridueña is a charming pick to build a franchise on

The latest installment of the DC movie world, “Blue Beetle,” is a wild ride, if sometimes bumpy and lacking a sense that director Angel Manuel Soto is fully in control.

In Palmera City — which is to Miami what Gotham City is to New York — Jaime Reyes (Xolo Maridueña) has just returned from graduating college, and finds that the family business is faltering and his parents (Damián Alcázar and Elpidia Carrillo) may lose their house in the Edge Keys neighborhood to development from the super-greedy Kord Industries. It’s Jaime’s odd fate that the only job he can get is on the cleaning crew, along with his sister Milagro (Melissa Escobedo), in the mansion of the company’s CEO, Victoria Kord (Susan Sarandon).

Jaime loses the job when he witnesses an argument between Victoria and her niece, Jenny Kord (Bruna Marquezine), who despises how her aunt has turned the company toward weapons manufacturing — something Jenny’s long-missing father Ted hated. Jenny runs into Jaime later, and promises to get him a job with some part of Kord Industries away from Victoria’s notice.

When Jaime shows up at Kord’s HQ, a very nervous Jenny hands Jaime a box and tells him to “guard it with your life,” but don’t look inside. Once he gets home, though, the family wants to take a look — and they find a large gold-and-blue scarab. When the object comes to life, suddenly it takes over Jaime’s body, and turns him into a reluctant superhero who can fly to space, absorb bullets harmlessly, and can consult with his onboard AI, Khaji-Da (voiced by singer Becky G), to produce any weapon imaginable. 

The battle lines are quickly drawn, with Victoria and her super-soldier henchman Carapax (Raoul Max Trujillo) on one side, and Jaime, his family — including his nana (Adriana Barraza, from “Babel”) and conspiracy-minded inventor uncle, Rudy (George Lopez) and Jenny on the other.

Director Soto — who broke out with the 2020 Sundance hit “Charm City Kings” — keeps the action fast and the humor light. He’s found a charismatic leading may in Maridueña, who handles both the wild thrill of learning his powers and the righteous fury when the final act kicks in. If there’s a weak link in the cast, it’s Sarandon, reduced to standard-issue supervillain cliches.

There’s a moment in “Blue Beetle” where Jaime has to wait for Khaji-Da to reboot the super suit — an apt metaphor for DC fans cooling their heels waiting for producers James Gunn and Peter Safran to do what they will with the revamped DC movie universe. If there’s a second movie, and that’s a big if, there’s a lot in Maridueña’s performance and the celebration of “la familia” that can be built on. 

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‘Blue Beetle’

★★★

Opens Friday, August 18, in theaters everywhere. Rated PG-13 for sequences of action and violence, language, and some suggestive references. Running time: 127 minutes.

Review: 'Strays' puts R-rated words in the mouths of talking dogs — and that's the only trick it knows

It’s clear from the beginning what “Strays” is trying to do — to spoof heartwarming animal movies, but with the human voices superimposed on dogs saying the most profane things possible. And though it sometimes succeeds in provoking laughs, that doesn’t happen often enough to compensate for all the cringing a viewer will do the rest of the time.

The hero and, for a time, the main narrator of this story is Reggie (voiced by Will Ferrell), a perky little terrier mutt who thinks his human, Doug (Will Forte), is the best human a dog could have. We, as outside observers, know otherwise — that Doug is a perpetually masturbating stoner who hates dogs, and kept Reggie only because his girlfriend wanted to have the dog during their breakup. Reggie delights in playing fetch with Doug, not realizing that Doug keeps driving further and further from home to ditch Reggie.

When Reggie is left in the big, bad city, he still thinks Doug is just playing fetch with him. It takes a tenacious Boston terrier, named Bug (voiced by Jamie Foxx), to explain to Reggie that he’s been abandoned — and he’s now a stray. Bug proceeds to show Reggie the joys of living independently, like being able to claim anything you pee on. Reggie also meets Bug’s dog-park friends: Hunter (voiced by Randall Park), a Great Dane who continues to wear a cone to calm his nerves, and Maggie (voiced by Isla Fisher), an Australian Shepherd with a bloodhound’s sense of smell.

Reggie, finally realizing how poorly he was treated, resolves to find his way back home with a mission to destroy the thing Doug loves most: His willy. Bug, Hunter and Maggie agree to join Reggie on the road.

So these four dogs are on a quest, like “Homeward Bound: The Incredible Journey,” if the voice actors were allowed to say words that would make Walt Disney’s ears bleed. The gags target the tropes of the talking-dog genre — like the all-wise “narrator dog” (think “The Art of Racing in the Rain” and others) — or the dog-centered view of the world. (Example: Bug offers his theory on why humans obsessively bag up their dogs’ poop.)

Many of the jokes are about poop or about humping things, and it feels like director Josh Greenbaum (who made the far superior “Barb and Star Go to Vista Del Mar”) and writer Dan Perrault came up with “an R-rated talking dog movie” and thought that was enough.

The weird thing about “Strays” is that the few really good jokes aren’t reliant on poop or penises or profanity, but good solid dog humor — like when Maggie tries to tell a knock-knock joke, but her companions instinctively start barking after the first knock. Those jokes are themselves strays, lost and in need of a good home.

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‘Strays’

★★

Opens Friday, August 18, in theaters everywhere. Rated R for pervasive language, crude and sexual content, and drug use. Running time: 93 minutes.

Review: 'Aliens Abducted My Parents...," made in Utah, is a teen comedy with warmth and heart

Restoring one’s faith in family-friendly movies, the made-in-Utah teen comedy “Aliens Abducted My Parents and Now I Feel Kinda Left Out” is as funny and as charming as its very long title.

Itsy Levan (played by Emma Tremblay) is decidedly unhappy about her parents’ decision to leave the big city for the small town of Pebble Falls. While Mom (Hailey Smith) and Dad (Matt Biedel) are busy renovating their new fixer-upper house and dreaming of being the next Chip and Joanna Gaines, Itsy tries to avoid her bratty younger brother, Evan (Kenneth Cummins), and fit in at her new high school.

When the school’s queen bee, Heather (Landry Townsend), tells Itsy there’s a high school journalism contest that could send her to study in New York, Itsy jumps at the chance. The prompt for the contest is to write about the weirdest thing in one’s hometown, and Heather has the perfect candidate in mind: Calvin Kipler (Jacob Buster), who comes to school in his own homemade space suit.

Itsy soon learns that Calvin is tracking the imminent arrival of Jesper’s Comet, which passes by Earth once every 10 years. The last time the comet passed, Calvin was six (and played, in flashback, by Cummins’ little brother Thomas), and his parents disappeared — and Calvin maintains they were taken by aliens. Calvin believes that when the comet returns, he will be reunited with his parents, and possibly join them on their interstellar travels.

Director Jake Van Wagoner, a veteran of BYUtv’s sketch-comedy series “Studio C,” and screenwriter Austin Everett put Itsy and Calvin through the expected teen comedy hoops — including a sweetly chaste romance and some serious moments involving Calvin’s parents (Will Forte and Elizabeth Mitchell).

What makes “Aliens Abducted My Parents…” transcend its predictable plot points is the humor level, neither dumbed down or too cynical, and the sincerely charming performances by Tremblay and Buster — two teen actors who could break out into bigger things.

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‘Aliens Abducted My Parents and Now I Feel Kinda Left Out’

★★★1/2

Opening Friday, August 18, at the Megaplex Valley Fair (West Valley City), Megaplex Legacy Crossing (Centerville), Megaplex at The District (South Jordan) and Megaplex Thanksgiving Point (Lehi). Not rated, but probably PG for some mild peril and thematic content. Running time: 87 minutes.

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This review originally appeared on this website on January 22, 2023, when the movie premiered at the 2023 Sundance Film Festival.