Review: 'Ghostlight' is a deeply felt drama about a family working through grief, with art and Shakespeare as their guides

Family drama takes a Shakespearean turn in “Ghostlight,” an emotionally raw drama about a family on the verge of falling apart — and finding a connection through grief and the Bard.

Dan Mueller (Keith Kupferer) is a construction worker who’s barely making it through his day on a street crew in a Chicago suburb. All we know is that things are hard at home for Dan and his wife, Sharon (Tara Mallen), in part because their daughter, Daisy (Katherine Mallen Kupferer), is lashing out at school again and could face expulsion. (By the way, Kupferer and Mallen are married in real life, and young Katherine, who also played a supporting role in “Are You There, God? It’s Me, Margaret,” is their daughter.)

The script — by Kelly O’Sullivan, who co-directed with her significant other, Alex Thompson — gives details in measured doses. We figure out fairly early that Daisy had an older brother, who is no longer in the picture, and that nobody, least of all Dan, wants to talk about it. Hence the family tension that’s hitting a boiling point.

Almost by accident, Dan finds a release valve. There’s an old playhouse near the street construction site, and he walks in to find a group of community-theater actors in a read-through of their next production: Shakespeare’s “Romeo & Juliet.” Dan’s not familiar with the play — he asks Daisy about it, and she recites the “in fair Verona” opening from memory — but he’s intrigued with the group dynamics of the actors and their no-nonsense director, Lenora (Hanna Dworkin). 

Dan keeps coming to rehearsals, befriending the other actors — particularly Rita (played by Dolly De Leon, from “Triangle of Sadness”), a former New York professional actor who teaches Dan the joys of letting go and pretending to be someone else for a couple of hours. Dan starts to like that feeling, though as he learns more about the fate of Shakespeare’s star-crossed lovers, the play starts hitting close to home.

Once you get past the plot mechanics of O’Sullivan’s script, which can be a little too on-the-nose, the strength of the story’s emotional pull cannot be denied. Following Dan’s path to understanding his grief and his guilt — at his family’s tragic loss and how that hole continues to gnaw at Dan, Sharon and Daisy — leads to a deeply felt and quietly powerful catharsis. “Ghostlight” captures the unique way that art can lead to healing and connection, both for a man’s family and the created “family” of a theater troupe.

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‘Ghostlight’

★★★1/2

Opens Friday, June 21, in theaters. Rated R for language. Running time: 111 minutes.

Review: 'Tuesday' is a hauntingly beautiful and darkly absurd story of a mother and daughter facing death, with a heartbreaking performance by Julia Louis-Dreyfus

Profoundly touching, darkly comic and sometimes just weird, writer-director Diana O. Pusic’s debut feature “Tuesday” is a sharply realized and heartbreaking story of humankind’s inability to accept the one thing that is coming for each of us: Death.

In Pusic’s mad vision, Death is depicted as a bird — a mangy parrot, its orange feathers turned black by the muck and mire through which it moves through its existence. It hears the cacophony of voices of the creatures around it, and zeroes in on those who are close to death. Sometimes the bird grows to massive size, sometimes it shrinks to where it fits in the corner of a person’s eye. A person who sees it may plead for their life, but when it passes its wing over the person, that person dies and the bird moves on.

Except that’s not what happens when the Death bird comes to call on Tuesday (Lola Petticrew), a paraplegic 15-year-old girl living in London. Tuesday, left in her garden by her nurse, Billie (Leah Harvey), doesn’t cry out or plead for her life, and instead calms herself and does something unexpected: She tells Death a joke. (A pretty good one, actually.)

Then she takes the bird inside to take a bath, to wash off all the grime. In return, Death reveals that it can speak (with the guttural voice of Arziné Kene), and offers Tuesday enough time to break the news of her imminent death to her mother, Zora (Julia Louis-Dreyfus) — who has been walking around London, not suspecting that the weird behavior she’s witnessing may connect back to Tuesday’s afternoon with Death.

For the sake of spoilers, I will not describe what happens when Zora gets home, or the aftermath — except to say that it’s bizarre, funny in an offbeat way, absurdist, gut-wrenching and, even with the fantastical elements previously described, completely relatable. Zora, like any parent, would do anything to keep her daughter from what she sees as harm — and in this movie, “anything” turns out to be a wider range of actions than most stories would allow to unfold.

Pusic, a Croatian-born director based in London, launches this odd scenario and follows its many permutations to their logical, whimsical and tragic conclusions. Her visuals are charmingly inventive, particularly in the computer animation and puppetry that brings the shabby and terrifying old bird to life.

Louis-Dreyfus’ performance is a revelation, which is a weird thing to say about a 63-year-old actor who has been on our screens for nearly 40 years and has 11 Emmys to her name. Because of the story’s fantastical and absurd elements, the role requires someone with Louis-Dreyfus’ comic timing and ability to keep a straight face through the oddest moments. But while she’s doing that, Louis-Dreyfus is also finding a new gear, tapping into Zora’s fierce protectiveness and the awareness that preventing Zora’s death will be impossible — and the attempt ends up putting mother and daughter through hell.

The highest praise I can give “Tuesday” is this: For the first time in I can’t remember when, I could not at any moment predict what would happen next — and anything I might have imagined was outdone by what Pusic did instead. 

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‘Tuesday’

★★★★

Opens Friday, June 14, at theaters around Utah. Rated R for language. Running time: 111 minutes.

Review: 'Inside Out 2' takes us back inside the mind of a girl, this time dealing — through humor and heart — with the anxiety and other emotions of being a teenager.

It’s been nine years since Pixar released “Inside Out,” one of the studio’s most intelligent and heartwarming titles — and it’s an achievement that the sequel, “Inside Out 2,” manages to come even close to the original’s wit and insight into the mind of a girl.

The first movie was set inside the mind of Riley, a generally happy adolescent girl from Minnesota who has to deal with the culture shock of her family’s move to San Francisco. The five major emotions in Riley’s mind — Joy, Sadness, Fear, Anger and Disgust — navigate these changes, explore the different aspects of Riley’s imagination and dreamscape, and share the realization that memories can be more than one emotion at a time.

Fans of the first movie that in the final reel, a new button was installed on the console in Riley’s brain — an alarm for something called “puberty.” In the new movie, that alarm goes off.

Riley has turned 13, and is still generally happy — a condition guarded over by Joy (voiced by Amy Poehler), who is sort of in charge in the headquarters of Riley’s mind. But when work crews come through HQ making adjustments, something seems to be off with the controls, because Riley is overemotional, no matter which of the quintet is at the helm. (The other voices here are Lewis Black and Phyllis Smith returning as Anger and Sadness, and new cast members Tony Hale as Fear and Liza Lapira as Disgust.)

The five are surprised to learn that there are more emotions moving in: Anxiety (voiced by Maya Hawke), Envy (voiced by Ayo Edibiri), Embarrassment (voiced by Pruitt Taylor Vince) and Ennui (voiced by Adele Exarchopoulos). And they’re ready to take over operating Riley’s emotional reactions just as she’s heading to a three-day hockey training camp that she thinks will decide her high-school future.

I don’t want to say much more about what happens after that — in part because Disney asked critics not to, but mainly because director Kelsey Mann (a veteran Pixar story artist) and writers Dave Holstein and Meg LeFauve create some clever takes on the many changes happening in this teen girl’s mind. And those ideas are visualized with humor and sublime animation.

The most fascinating part of “Inside Out 2” is the observation that Riley’s mind is too complex to be easily categorized, and that having one emotion — whether it’s anxiety or even joy — dominate over the others isn’t healthy in the long run. That may be a heady message to convey to the kids that Disney is targeting, but it’s one that their parents might find handy to remember later.

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‘Inside Out 2’

★★★1/2

Opens Friday, June 14, in theaters everywhere. Rated PG for some thematic elements. Running time: 96 minutes.

Review: 'Kidnapped' is a harrowing historical drama, putting a human face to the cruelty of religious bigotry

Italian director Marco Bellocchio’s “Kidnapped” (“Rapito”) depicts a gut-wrenching piece of history that some consider pivotal in the creation of modern Italy, though mostly forgotten — but it’s power comes from how it centers nation-shaking events around the plight of a little boy.

Late one night in 1858, a marshal and two gendarmes arrive at the home of the Mortara family in Bologna, Italy. The marshal (Bruno Cariello) informs the family’s patriarch, Salomone Mortara (Fausto Russo Alesi), and his wife, Marianna (Barbara Ronchi), who are Jewish, that their 6-year-old son Edgardo (played at this age by Enea Sala) is to be taken away from his family. 

Little Edgardo has committed no crime. The marshal is doing this under the authority of the Catholic Church — which is the law in this part of Italy — because the Grand Inquistitor, Monsignor Feletti (Fabrizio Gifuni), has been told that Edgardo was baptized as a baby, and therefore must be raised as a Christian. Salomone tries to plead his case to Feletti, but the priest is unmoved. 

Feletti tells Salomone that little Edgardo will likely stay in Bologna, and that his family can occasionally visit him. This is a lie — the first of many told by various priests — as Edgardo is immediately put on a boat for Rome, where he is put in a Catholic orphanage and made to attend Mass every morning and learn Christian prayers in Latin. 

Pope Pius IX (Paolo Pierobon) takes personal interest in Edgardo’s case, which becomes an international incident — as Jewish advocates across Europe and even in America decry the cruel taking of a boy away from his parents over a dubious claim of baptism. (In Boston, the Pope is told, a theater group performed a skit in which His Holiness is held down and forcibly circumcised —  a thought that shows up in the Pope’s nightmare.) Pius remains unmoved, even when told that one of the Church’s biggest supporters, France’s Napoleon III, is displeased with Edgardo’s kidnapping. Pius’ reply: “I am the Pope. I answer only to God.”

Though Bellocchio (who directed the 2019 Mafia drama “The Traitor”) and co-screenwriter Susanna Nicchiarelli dig into the political furor caused by Edgardo’s case. Among other things, depicting Edgardo’s older brother Riccardo (Samuele Teneggi) as one of the rebels who represent the unified Italy that aims to break the Pope’s stranglehold on the country’s laws. Riccardo soon encounters the adult Edgardo (Leonardo Maltese) as he embarks on his career as a priest.

The movie’s more resonant moments come when Bellocchio depicts how this Jewish family — separated by bigotry and rigid adherence to Catholic doctrine — is made to suffer as part of this religious power grab. “Kidnapped” illustrates, with the emotional force of grand opera, the cruelty inflicted by people claiming in God’s name that they know what’s best.

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‘Kidnapped” (“Rapito”)

★★★1/2

Opens Friday, June 7, at the Broadway Centre Cinemas (Salt Lake City). Not rated, but probably PG-13 for language and situations with a child in peril. Running time: 133 minutes; in Italian, Hebrew and Latin, with subtitles. 

Review: 'Bad Boys: Ride or Die' aims to give Will Smith some career rehab, in an incoherent action movie that veers unsteadily from raging action to broad comedy

It’s hard to think of anyone who needs or particularly wants a fourth movie in the “Bad Boys” franchise who didn’t work on it. 

Topping that list is one of the stars, Will Smith, on the first step at rehabilitating the career he literally slapped away on the night he won an Oscar. Also in need of a hit is the directing team of Adil & Bilali, whose last movie was Warner Bros.’ shelved-for-tax-purposes “Batgirl” movie.

But are there fans clamoring for the fourth installment of a franchise that, at 29, is older than the movie’s target audience? Particularly one that’s this tonally unbalanced, careening from unfocused mayhem and scattershot humor? Only the box office knows.

The movie begins with Smith’s Mike Lowrey and his longtime Miami PD partner, Marcus Burnett (Martin Lawrence), racing in Mike’s Porsche to an important appointment — one interrupted by quick stop at a convenience store, where the two cops interfere with a robbery. Soon we see what they were rushing toward: Mike’s wedding to Christine (Melanie Liburd), who, we’re told, was Mike’s physical therapist after getting shot in the last movie, 2020’s “Bad Boys For Life.”

At the wedding reception, Marcus has a heart attack and has a near-death experience — one featuring Marcus and Mike’s old boss, Capt. Howard (Joe Pantoliano), who was killed off in the last movie. Howard tells Marcus that it’s not his time, and when he revives, Marcus feels both a zen-like calm and a belief that he can’t be killed.

Of course, someone wants Marcus and Mike dead — they always do in these movies — but first they have to be made to suffer. The mystery bad guy, introduced initially only as McGrath (played by Eric Dane), arranges to have $20 million in drug cartel money wired into Capt. Howard’s old bank account. This leads Mike and Marcus’ current boss, Capt. Rita Secada (Paola Nuñez), and the U.S. attorney, Lockwood (Ioan Gruffudd), to suspect Howard was corrupt. Mike and Marcus refuse to accept this, and work to convince everyone, including Howard’s daughter, Judy (Rhea Seehorn), a U.S. marshal, that he was honest.

They get help in this pursuit by Howard himself, through a series of messages he recorded before his death. This provides the cops a trail to follow, if they can do so while McGrath is busy setting Mike and Marcus up to look like dirty cops themselves. Soon, the only people our heroes can trust are two young Miami cops, Kelly (Vanessa Hudgens) and Dorn (Alexander Ludwig), and Mike’s assassin son, Armando (Jacob Scipio), all characters we met in the last movie. Meanwhile, every law officer wants to apprehend them and every street criminal wants the $5 million bounty put on their heads.

The directors, Adil El Arbi and Bilali Fallah, try to have it both ways. They want the thunderous action and explosions of the previous films, as well as the macho, jokey byplay between Smith and Lawrence, lawmen so cool they sing their own theme song — and, yes, that song pops up a lot, including one cover version that’s actually, in context, pretty funny. 

The humor, though, is often at odds with the stakes the script, by Chris Bremner and Will Beall, tries to lay out.  That includes some off-putting brief appearances by Tiffany Haddish and DJ Khaled (the latter reprising his role from the last movie), and the apparently obligatory cameo from Michael Bay, who directed the first two movies back in 1995 and 2003, respectively.

The question for “Bad Boys: Ride or Die” is whether Smith and Lawrence can apply their charms, as leading men or comic foils, to make us care for our heroes as they slide through their 50s. Lawrence had some funny moments, and Smith can still pour on the charisma when It’s asked of him. They’re not enough to save this mess of a movie, though. 

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‘Bad Boys: Ride or Die’

★★

Opens Friday, June 7, at theaters everywhere. Rated R for strong violence, language throughout and some sexual references. Running time: 115 minutes.

Review: 'Young Woman and the Sea' gives Daisy Ridley a chance to shine, playing a real sports hero of another era

As old-fashioned inspirational sports stories go, “Young Woman and the Sea” goes pretty well — a charming, if undemanding, story of a lone athlete battling the currents, the long odds and a society that has to be shown the value of a female hero.

Daisy Ridley, our current leading Jedi, stars as Trudy Ederle — who made world headlines 98 years ago by becoming (spoiler alert!) the first woman to successfully swim across the English Channel. It was a feat that a Jazz Age world marveled at, and 20 years later was still worthy of discussion. (It earned a mention in the 1944 horse drama “National Velvet.”) 

The movie starts in 1914, with 9-year-old Trudy (played by Olive Abercrombie), the younger daughter of German immigrants Henry (Kim Bodnia), a butcher, and Gertrud (Jeanette Hain), who brought in money with her sewing. Trudy suffers a bout of the measles, getting so sick that the doctor predicts her death, but rallies back to health. 

Shortly thereafter, when Mom insists her older daughter, Meg (played by Lilly Aspell as a young girl), learns to swim, Trudy isn’t allowed into the pool, for fear that she could spread measles to the other kids. Instead, Trudy and Meg — portrayed as young adults by Ridley and Tilda Cobham-Hervey (who played Helen Reddy in the 2019 biopic “I Am Woman”) — challenge each other by swimming around the pier at Coney Island. 

Then Meg is given a chance to compete for a women’s swim team — a rarity in the ‘20s — but the coach, Charlotte Epstein (Sian Clifford, from “Fleabag”), doesn’t think Trudy has the form to become a fast swimmer. As the viewers have already learned, telling Trudy she can’t is a sure-fire way of ensuring that she will. In short order, she’s breaking swimming records and earning a spot on the 1924 U.S Olympic team in Paris.

Meg, however, is not going on the journey. Instead, Meg is following the path her parents have set out for her — the only path available to women then, the movie tells us — by marrying the apprentice butcher her parents have selected for her. 

Preparing for the Olympics, Trudy learns that the head of the American governing body, James Sullivan (Glenn Fleshler) — who only reluctantly is approving a women’s team to compete in Paris — has chosen a male coach, Jabez Wolffe (Christopher Eccleston), to lead the women swimmers. But Wolffe is more concerned about preserving the women’s chastity on the voyage over than letting them train, so Trudy’s showing in Paris is less than expected.

After the Olympics, though, Trudy doesn’t want to quit swimming, and announces to her family that she will swim the English Channel. Again her obstacles are Sullivan’s chauvinism and Wolffe’s mule-headed thinking about the right way to swim the Channel — which he has attempted a dozen times. “How many successfully?” Trudy asks cheekily. Meanwhile, Trudy gains the respect of the veteran male swimmers who brave the Channel, including the eccentric William Burgess (Stephe Graham), the second man to successfully make the crossing.

Screenwriter Jeff Nathanson — a Disney pro who wrote the fifth “Pirates of the Caribbean” movie and the remake of “The Lion King” — adapts Glenn Stout’s biography of Ederle into the sort of square-jawed, one person against the system biopic that you thought Hollywood didn’t make any more. The stilted dialogue and melodramatic plotting feels like something out of another cinematic era, closer to Trudy’s 1926 than to our 2024.

The Norwegian director Joachim Rønning, has also come up through the Disney machine — he co-directed “Pirates of the Caribbean: Dead Men Tell No Tales” and directed “Maleficent: Mistress of Evil” — and hit the story rhythms reliably if not always subtly. Rønning’s work shines in the actual channel crossing, giving Ridley space to capture the physical and psychological strains of the endeavor. 

There will be an inevitable comparison between Ridley’s performance here and Annette Bening’s Oscar-nominated turn in “Nyad.” In the water, it’s about even. The difference is how each actor takes on the role on dry land — and Ridley is given less to work with playing the sweet-natured Trudy than Bening got with the more prickly Diana Nyad.

It would be easy to dismiss “Young Woman and the Sea” as a Disney-style piece of wholesome family entertainment, with the rough edges smoothed down for all-ages viewing. But in its best moments, focusing on Ridley’s Trudy and her determination and her family bonds, the movie comes out a winner.

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‘Young Woman and the Sea’

★★★

Opens Friday, May 31, in theaters. Rated PG for thematic elements, some language and partial nudity. Running time: 129 minutes.

Review: 'Robot Dreams' is a deceptively simple and wonderfully charming animated tale of friendship between a dog and his robot companion.

As a writer, it’s always a cop-out to say “words fail me” or that something is “indescribable” — that’s our job, after all — but it’s hard not to fall back on such language when reviewing the Spanish writer-director Pablo Berger’s “Robot Dreams,” a movie whose magic lives far beyond its synopsis. 

Berger, adapting American writer-illustrator Sara Varon’s graphic novel, starts with Dog, who lives a lonely life in a New York apartment sometime in the 1980s. One night, after microwaving his TV dinner, he turns on the TV and comes across an ad for the Amica 2000, a robot companion. 

Dog orders one, and soon the mail carrier — a bull, because this New York is populated with anthropomorphic animals — delivers a giant box. Dog opens it up and starts assembling the parts, and that’s how Robot becomes part of Dog’s life. The two spend a wonderful, fun-filled summer together, taking in everything New York has to offer, from Central Park to Coney Island. But as summer starts to turn into fall, one slight miscalculation causes Dog and Robot to be separated, with heartbreaking consequences.

Berger — best known for the surreal Snow White adaptation “Blancanieves” — smartly uses no dialogue, removing any language barrier. (Spanish actor Ivan Labanda is credited with the nonverbal vocal work for both Dog and Robot.) The clever, expressive animation does the emotional lifting, and makes it feel effortless.

Just because there’s no dialogue doesn’t mean the movie’s silent. The sound design captures the vibrant New York street life in all its exuberance. A lot of that city energy comes through music — particularly one needle drop that is just too delightful to spoil by revealing it here.

The deceptively simple animation captures Varon’s line drawings and the sunniest, happiest version of New York City possible, in service to a witty, charming story of friendship crossing boundaries of time and hardship. “Robot Dreams” is the summer jam you didn’t know you needed.

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‘Robot Dreams’

★★★1/2

Opens Friday, May 31, in select theaters. Not rated, but probably PG for mature themes. Running time: 102 minutes. 

Review: 'Furiosa: A Mad Max Story' is a masterpiece of rage, fire and octane, with Anya Taylor-Joy delivering a ferocious performance

In an era where creatures, machines and worlds can be pieced together with pixels, the tactile messiness of George Miller’s “Mad Max” movies — where the stunt driving and other outlandish tricks are, for the most part, happening in camera — is astonishing. 

In Miller’s new rendition, “Furiosa: A Mad Max Saga,” Miller takes a fascinating detour from the chronicles of Max, the one-time cop now driving across the wastelands of a post-apocalyptic hellscape — to focus on the most interesting character Miller has created: The hardened driver and freedom fighter, Furiosa, played by Charlize Theron in 2015’s “Mad Max: Fury Road.”

Furiosa’s story is told in chapters, the first showing her (played by Alyla Browne) as a young girl riding with her mother (Charlie Fraser), a sharpshooter racing to keep marauders from telling the warlord Dr. Dementus (Chris Hemsworth) the location of their “a place of abundance.” Ultimately, Furiosa is kidnapped by Dementus, beginning an odyssey where she has to be smart to see the next sunrise.

For awhile, we watch Furiosa as she’s traded around the wastelands, either with the blowhard Dementus and his scruffy biker minions or in The Citadel, led by the masked Immortal Joe (Lachy Hulme) and his boorish and dim sons, Rictus Erectus (Nathan Jones) and Scrotus (Josh Herman). Dementus controls Gastown, trading fuel for the food Joe’s laborers produce in The Citadel.

It’s nearly an hour before Miller shows us Furiosa as an adult — played by the movie’s star, Anya Taylor-Joy — and by then, she’s a hardened survivor, disguising herself as a young man so she can stay topside and spot opportunities to escape. Such a moment arrives, when Joe’s top driver, Praetorian Jack (Tom Burke), is assigned to drive a big rig with supplies on the ambush-prone road to Gastown, in what is the movie’s signature stunt sequence. 

The script, by Miller and Nico Lathouris, doesn’t move as swiftly as the one they wrote for “Fury Road,” but that’s a matter of function. This is an origin story, and must be told in fragments — a mosaic rather than an oil painting, where the pieces come together to create the striking portrait of a woman becoming a warrior in front of our eyes.

Taylor-Joy’s performance is breathtaking, bringing out Furiosa’s years of trauma and rage — and all the more impressive because she has sparse dialogue, and much of her emotion is conveyed in economical movement and those expressive eyes. The fact that Taylor-Joy doesn’t let Hemsworth, who’s quite good in the flashier and talkier villain role, steal the movie out from under her is a testament to her fierce talent.

In a George Miller movie, though, the other star is the world he has built — and, once again, the way Miller and his crew construct the movie’s chrome-plated road monsters, made to look cobbled together from spare parts but actually painstaking in every detail, nearly overloads the viewer’s eyes and brain. Between Miller’s world-building and Taylor-Joy’s ferocious performance, “Furiosa” delivers tons of entertainment and still makes the audience want to know what happens next.

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‘Furiosa: A Mad Max Saga’

★★★1/2

Opens Friday, May 24, at theaters everywhere. Rated R for sequences of strong violence, and grisly images. Running time: 148 minutes.