Review: 'The Surfer' is a psychedelic psychological drama, and a showcase for Nicolas Cage's brand of weird

There are a lot of questions posed in director Lorcan Finnegan’s sun-baked psychological thriller “The Surfer” asks — about pride and family and toxic masculinity — but even more questions that are answered simply by saying, “It’s a Nicolas Cage movie.”

Cage plays the nameless protagonist, a businessman who aims to show his teen son (Finn Little) the Australian surfing bay where he first learned to ride a board. When they get to the beach, though, they’re harassed by a trio of snotty teens, and then threatened by some muscular locals, whose menacing mantra is “Don’t live here, don’t surf here.” The leader of this group, an alpha male guru named Scally (played by Julian McMahon, formerly of “Nip/Tuck”), delivers a calmly emasculating warning that Cage and son should bugger off.

Cage, though, doesn’t want to back down, and Finnegan and screenwriter Thomas Martin (on his first feature) gradually show us why. Cage is desperate to buy a house overlooking this bay, the house he grew up in before his father’s death. He’s leveraged his fortune, and jeopardized his job to close the sale. He’s also alienated his wife, now ex-wife, and his son in the process.

His character’s desperation and the merciless December sun (it’s near Christmas in the southern hemisphere) lead our protagonist to do some stupid things — like letting the battery on his Lexus die, or losing custody of his surfboard, phone and shoes. Everyone, from the carpark barista (Adam Sollis) to the local cop (Justin Rosniak), seems to be in on the conspiracy to send Cage’s character packing. And the longer he stays, the more he starts to resemble the poor homeless man (Nic Cassim) who blames Scally for his son’s disappearance.

Finnegan turns the plight of Cage’s character into a psychedelic journey through hell, often filmed with shimmering camera effects to approximate a bad acid trip. Of course, this is a perfect setting for Cage, an actor who delights in such an emotional wasteland and turns it into his sandbox. “The Surfer” is a showcase for the glories and excesses of Cage’s brand of acting.

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‘The Surfer’

★★★

Opens Friday, May 2, in theaters. Rated R for language, suicide, some violence, drug content and sexual material. Running time: 100 minutes.

Review: 'Bonjour Tristesse' is a luscious summertime drama, showing a 19-year-old's heartbreaking view of love and jealousy

The quietly brooding protagonist of the darkly romantic drama “Bonjour Tristesse” is — like author Françoise Sagan, who wrote the 1954 novel being adapted here — a 19-year-old woman. And writer-director Durga Chew-Bose shows, in sumptuous detail, why a woman that young isn’t the most reliable judge of emotional states, including her own.

Lily McInerny, a young actor to watch, plays Cécile, who’s enjoying a summer vacation at a seaside French villa with her father, Raymond (Claes Bang), and Raymond’s current girlfriend, Elsa (Nailia Harzoune), a vivacious dancer. Cécile’s mother died several years ago, and both Cécile and Raymond have felt the void in their lives ever since.

Raymond is an indulgent father, letting Cécile do pretty much anything she wants to do on this vacation. That includes neglecting her school work ahead of fall exams, and not interfering as Cécile enjoys her first sexual relationship, with Cyril (Aliocha Schneider), who’s about 22 and the son of their neighbor and friend, Nathalie (Nathalie Richard).

A couple weeks into this vacation, Raymond announces that they’ll be getting a visitor: Anne (Chloë Sevigny), a famous fashion designer and an old friend of Cécile’s mother from their college days. At first, Cécile is a little intimidated by Anne, who’s very composed and tough to read. It doesn’t take long for Cécile to become fascinated by Anne, who shows Cécile her sketchbook and shows an interest in Cécile’s creative side.

Then, outside a fancy party, Cécile learns a secret: That Anne and Raymond have fallen in love — or possibly fallen back in love, after decades apart. Soon Elsa is packing her bag, and Raymond is announcing that he and Anne are engaged. Cécile decides she doesn’t like this, and works out a plot to stop the wedding from happening — and the consequences of that decision fill the rest of this drama.

Chew-Bose makes an assured debut as writer and director, setting a languid pace that matches the rhythms of a romantic summer vacation, where things play out slowly and sometimes suddenly and unexpectedly all at once. This trajectory gives us moments where we just luxuriate on the rocky shore with Cécile and Cyril, or lounge in the villa with Raymond and Elsa, or sip wine on the patio with Raymond and Anne. Don’t mistake those moments as quiet or dull, because there’s so much emotion bubbling just under the surface.

And, like I said before, keep your eyes on McInerny, who’s stunning as the mercurial young Cécile. “Bonjour Tristesse” is only McInerny’s second movie — the first was the 2022 Sundance Film Festival drama “Palm Trees and Power Lines,” where she played a teen being groomed by a much older man — and she perfectly embodies the unbridled confidence and inner doubts of a teen who thinks they know everything and finds out tragically that they don’t. 

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‘Bonjour Tristesse’

★★★

Opens Friday, May 2, at the Broadway Centre Cinemas. Rated R for some sexuality. Running time: 110 minutes; in English and in French with subtitles.

Review: 'Thunderbolts*' gives a necessary jolt of emotion and psychological menace to the Marvel Cinematic Universe.

With “Thunderbolts*,” the Marvel Cinematic Universe dives into some intriguing and ultimately fulfilling new territory — mixing the psychological and the surreal with the usual superhero stuff, making for the most unpredictable and character driven MCU entry in a long while.

Of course, what it says on the box isn’t quite so promising. We’ve been told we’re getting a showdown of some of the MCU’s most hardened anti-heroes — selfish loners with tactical experience and a sarcastic streak. In other words, Marvel’s version of DC Comics’ “Suicide Squad.”

But Marvel’s brain trust — and director Jake Schreier (“Paper Towns”) — has something else on their collective minds, with a storyline that explores what it means to be a superhero. Sometimes, it takes someone who’s nobody’s idea of a hero. As the movie’s ostensible villain, corrupt CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus), says at one point, “there are bad guys and there are worse guys.”

Valentina, who’s in the middle of her own impeachment hearing, is busy trying to erase the evidence of her shadow operations in the CIA, and her previous career in a corporation doing some nasty medical experiments. She has a few paid operatives doing her dirty work — and the first we see is Yelena Belova (Florence Pugh), the former Russian super-spy and undercover “sister” of Scarlett Johansson’s late Natasha Romonoff. (A rewatch of “Black Widow” might be helpful if you don’t remember all the characters.)

When Yelena tells Valentina she wants out, Valentina gets her to agree to one last job — taking out a rival baddie in an underground bunker. Once inside, Yelena finds that while she’s targeting Ava Starr, aka Ghost (Hannah John-Kamen), who can phase through walls, she’s also the target of John Walker (Wyatt Russell), who had a short-lived stint as Captain America. Then there’s a fourth, Antonia Dreykov, alias Taskmaster (Olga Kurylenko), one of Yelena’s classmates in the Russian assassin school, who’s pursued by Ghost and pursuing Walker.

After a few minutes of beating each other up, they realize that they’ve been set up by Valentina. “We’re the evidence, and this is the shredder,” Yelena says. But there’s someone else in the room that no one, least of all Valentina, suspects: A somewhat dazed civilian who identifies himself as Bob (played by Lewis Pullman).

Two other characters we know also play important roles here. One is Alexei Shostakov (David Harbour), once the Red Guardian, the Soviet version of Captain America, and Yelena’s pretend father. The other is the former Winter Soldier, Bucky Barnes (Sebastian Stan), a freshman congressman struggling to work within the system to take down Valentina — and working to convince Valentina’s morally conflicted assistant (Geraldine Viswanathan) to testify against her boss.

That’s as much information as you need going into “Thunderbolts*,” which makes everything clear — even that hard-to-type asterisk — in due course. What’s fascinating, as Schreier navigates a compelling script by Eric Pearson and Joanna Calo, is how much tension can be built up by not knowing how a character is going to act in a stressful situation, something that’s never an issue when Cap or Thor is the main player. 

It helps that the MCU has hired some solid actors in these not-so-heroic characters. Harbour and Stan are good at playing bad-asses with underlying charms, and Louis-Dreyfus shows the gap between her conniving character in “Veep” and a manipulative supervillain is a small one. But Pugh is the most compelling member of the cast, revealing in Yelena a sensitive heart in spite of the many shocks that her deadly profession has delivered to it.

The least interesting part of “Thunderbolts*” is the post-credit scene that ties an engrossing standalone movie to the rest of the MCU timeline. Such scenes, and nearly every MCU movie has one, take away the goodwill the movie has gathered from its audience, and reminds you that it’s all about commerce. Don’t think about this movie any more, those post-credit scenes tell us, and get ready for the next product off the assembly line — which, in this case, is “The Fantastic Four: First Steps” on July 25.

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‘Thunderbolts*’

★★★1/2

Opens Friday, May 2, in theaters everywhere. Rated PG-13 for strong violence, language, thematic elements, and some suggestive and drug references. Running time: 126 minutes.

Review: 'The Accountant 2' gives Ben Affleck his action-star franchise, and all it cost him was any sense of coherence

The people in Hollywood who get worked up about A.I. replacing screenwriters should relax for a minute — because the brutal action sequel “The Accountant 2” proves, hack writers have been churning out formulaic crap like this before computers were invented.

In case you don’t remember — and I didn’t until I looked up my review from 2016 — this franchise centers on Christian Wolff, an accountant who has something called acquired savant syndrome (don’t Google the acronym), which gives him uncanny abilities to crunch numbers and outsmart algorithms. He’s also socially awkward, to the point where one might suspect he’s on the autism spectrum. (In the first movie, the script mentions autism, but no one does here, which may be an indication of how much more medical science knows about autism.) 

You may also remember, though I didn’t, that in the first movie a Treasury Department agent (J.K. Simmons) and his protege (Cynthia Addai-Robinson) were on Wolff’s trail — which crosses paths with an assassin, Brax (Jon Bernthal), who turns out to be Wolff’s brother. 

It would help to remember those details, because it might have given viewers a chance at understanding the sequel’s emotional stakes — something director Gavin O’Connor and screenwriter Bill Dubuque, both returning from the first film, neglect to do throughout this movie.

In the opening sequence, Simmons’ Ray King is retired from the government but occasionally taking cases as a private investigator. For his current case, trying to locate a missing Salvadoran couple and their child, he asks for help from Anaïs (Daniella Pineda), a contract killer. Before he gets far, a gang of gunmen start shooting, and King ends up dead, making Simmons the luckiest man in this movie. 

King’s last act is to write a note on his arm: “Find the Accountant.” King’s old protege, Agent Marybeth Medina, is shown this message and understands what it means. Medina has moved her way up in the ranks at Treasury — though, it’s mentioned, she’s gotten tips from the mysterious network that supports Wolff’s endeavors. That network was a mystery held until the end of the first movie, and seeing it regularly in the sequel spoils the fun.

Agent Medina gets in touch with Wolff, who’s still living in an Airstream trailer with a small arsenal in the back. Wolff helps Medina sort through the clues King left behind, and gets some information about who Anaïs is — though Wolff’s methods, such as beating up suspects and having his network hack people’s computers undetected, go against her straight-arrow law enforcement sensibilities.

When the trail becomes littered with a few dead bodies, Wolff calls him some help from Brax, who’s still working as a hitman. The brothers haven’t spoken in years, which means Dubuque gets to load up on sibling distrust wrapped in action-movie bickering.

If you thought the first movie, with its arcane dive into math intercut with random bursts of gunplay, was nonsensical, you haven’t seen anything yet. “The Accountant 2” is breathtaking in the randomness of its plot points, which would start to make sense only if the filmmakers are trying to set up Wolff and his shadow network of savants as their own “X-Men” cohort.

The only reason I can see for “The Accountant 2” existing is that Affleck, who’s one of the movie’s producers, decided he wanted his own version of the “John Wick” franchise — and this mishmash based on his 2016 movie was the best option available. The problem with this sequel, one that a good accountant like Wolff would find shameful, is that nothing adds up.

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‘The Accountant 2’

★★

Opens Friday, April 25, in theaters everywhere. Rated R for strong violence, and language throughout. Running time: 125 minutes.

Review: 'The Legend of Ochi' brings a modern fantasy tale to vivid life, with puppetry and Helena Zengel's luminous performance

Folklore and fantasy intertwine beautifully in “The Legend of Ochi,” an eccentric and wonder-filled children’s adventure that grown-ups may come to appreciate even more than their kids.

Writer-director Isaiah Saxton, making a sure-footed feature debut, starts on a remote island in Carpathia, where teen girl Yuri (Helena Zengel) has grown up in a house full of boys – all trainees in the hunting squad maintained by her father, Maxim (Willem Dafoe). Maxim trains the boys to hunt down the elusive and fear-inducing creatures called Ochi, which live in hiding on the island.

One day, Yuri discovers that a baby Ochi has hidden in her knapsack and come home with her. In her bedroom, Yuri soon discovers that Ochi aren’t the terrifying creatures Maxim has taught her they are. So she decides to strike out on her own, to return the baby Ochi to its tribe. To do that, she needs help — from her estranged mom, Dasha (Emily Watson), who lives in a cabin far up into the mountains.

Meanwhile, Maxim, thinking that the Ochi have kidnapped Yuri, assembles his young hunters into a search party — with his most trusted protege, Petro (Finn Wolfhard), leading the way. What Maxim doesn’t realize is that Petro might be harboring a crush on Yuri.

Saxton spins the events in Ochi like a fairy tale, sometimes following the dream logic of folktale. He also tosses Yuri, and us, into the fray and lets us figure out the complex backstory of the Ochi as we go. Saxton undoubtedly wrote Tolkien-sized amounts of lore to make the Ochi story complete, but he’s smart enough not to show all of his homework.

Most spectacularly, Saxton deploys some master puppeteers to make the Ochi look realistic, both in their expressions and movement. Making these creatures interact with Zengel (who’s grown more talented since her breakout role opposite Tom Hanks in “News of the World”) is like witnessing magic in real time.

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‘The Legend of Ochi’

★★★1/2

Opens Friday, April 25, in theaters everywhere. Rated PG for violent content, a bloody image, smoking, thematic elements and some language. Running time: 96 minutes.

Review: 'The Shrouds' shows director David Cronenberg taking his body-horror game into some darkly humorous areas

There’s cool and there’s cold, and the always-cool director David Cronenberg veers too far into iceberg territory in his latest body-horror exploration of self-torturing humanity, “The Shrouds.”

Karsh, played by Vincent Cassel, is an inventor whose most recent creation was inspired by his grief at losing his wife, Becca (Diane Kruger), to a brutal illness. The invention, called a “shroud,” is wrapped around a corpse at burial, and provides loved ones a real-time 3-D video image of the deceased as they decompose in the ground. Cronenberg, who wrote and directed, creates some early dark comedy by having Karsh explain all this to a blind date (Jennifer Dale) in a restaurant that’s attached to the cemetery where Becca is laid to rest.

Karsh’s obsession with Becca’s slowly rotting body, and the technology he’s created to witness that process, is starting to wear on his brain and soul. He takes on an enigmatic client, Karoly Szabo (Vieslav Krystyan), who he sees only through video messages — getting his orders from Karoly’s beautiful wife, Soo-Min (Sandrine Holt). Karsh also deals with the growing paranoia of his engineer, Maury (Guy Pearce), and his latent feelings for Maury’s ex-wife, Terry, who’s also Becca’s sister (and also played by Kruger).

Cronenberg’s eye for luxurious detail is unparalleled, and he uses it here to surround Karsh with a well-appointed house that isolates him further from humanity. That isolation takes its toll, as Karsh has trouble distinguishing between dreams and memories, particularly as he recalls the progression of Becca’s eventually fatal illness.

Cronenberg’s penchant for pushing body horror from the disturbing to the surreal is still strong — though he seems to understand that Coralie Fargeat’s “The Substance” has hit the outer barrier of gross-out gore, so Cronenberg has to find a new direction to make his statement. The path he’s chosen in “The Shrouds” and “Crimes of the Future” before it, of detached dark humor, is promising but doesn’t deliver enough here.

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‘The Shrouds’

★★★

Opens Friday, April 25, at the Broadway Centre Cinemas. Rated R for strong sexual content, graphic nudity, language and some violent content. Running time: 120 minutes.

Review: 'Sinners' seamlessly blends Jim Crow cruelty with vampire fantasy, and serves up a double dose of Michael B. Jordan

If you’re going to use your movie to launch a fresh new vampire mythology, you’d better be smart about it — and writer-director Ryan Coogler is very smart about how he creates the lore in “Sinners,” and very cool in how he builds the characters who have to deal with it.

We’re in Mississippi in 1932, and we see a young Black man, Sammie (played by newcomer Miles Caton), entering the church where his father (Saul Williams) is the preacher. Sammie is scarred, clutching the neck of a broken guitar so tightly the strings are digging into his fingers. His father acts as if he knows his son has seen the devil. The movie then goes back one day, and we learn how right Sammie’s father is.

Here’s where we meet twin brothers, known as Smoke and Stack, returned home to Mississippi after some time making their fortunes up north in Chicago. The twins — both played by Michael B. Jordan, who’s appeared in all of Coogler’s movies (“Fruitvale Station,” “Creed” and the “Black Panther” films) — have a dream to open a juke joint, and they have the cash and a truckload of bootleg liquor to make it happen.

There are questions about where the twins got that loot, and who might be coming south to retrieve it. The movie also gives us some backstory about Stack’s tempestuous relationship with Mary (Hailie Steinfeld), a white woman, and Smoke’s past romance with Miss Annie (Wunmi Mosaku), who knows a thing or two about evil spirits and such.

Stack recognizes Sammie’s guitar skills and immediately signs him to perform at the juke joint on opening night. Stack also cajoles an ancient bluesman, Delta Slim (Delroy Lindo), to play piano. It’s Annie who recognizes that Sammie is that rare talent who, according to the legends of several cultures, can cross into past and future — and, if he’s not careful, draw out demons. 

That’s where the vampires come in, though Coogler is patient enough to make them wait for their entrance, so we can let these characters fully inhabit this dark and dangerous place. In a place where the Klan hides in plain sight, vampires have to step up their game to be the most evil creatures around. If you go to “Sinners” because you saw vampires in the trailer, be patient and you will get what you came to see

One thing “Sinners” delivers is Jordan, clearly enjoying the double role as Smoke and Stack — one carefree and smiling, the other brooding and quick to violence, and both fascinating separately and together. Coogler also has a fun time showing off in the moments when the two Jordans share the screen, and sometimes a cigarette.

The other crucial element here is the music, which binds the story’s Jim Crow reality and vampire fantasy, and allows for a stunning cameo in the final scene. (Don’t leave when the credits start, or you’ll miss most of it.) 

There’s an astonishing scene midway through the movie, where young Sammie is wailing on the guitar and causing the time streams to come together — until the Mississippi locals are sharing the dance floor with west African drummers and modern breakdancers, a dose of magical realism that elevates “Sinners” into something as thought-provoking as it is entertaining.

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‘Sinners’

★★★1/2

Opens Friday, April 18, in theaters everywhere. Rated R for strong bloody violence, sexual content and language. Running time: 137 minutes.

Review: 'The Wedding Banquet' is a sparkling remake that builds on the 1993 original with a strong acting ensemble

Director Andrew Ahn does something slightly miraculous in “The Wedding Banquet,” by updating And Lee’s now-classic 1993 gay rom-com for our current moment while maintaining and even deepening its romantic spirit.

The original centered on a Chinese landlord in New York who agrees to marry a woman living in his apartment building so he can get a green card — because he’s not legally able to marry his American boyfriend. The situation spirals out of control when the man’s parents fly in to arrange a ridiculously elaborate wedding reception.

In this sprightly remake, a few details have changed. Min (Han Gi-Chan) is a Korean artist living in Seattle with his commitment-averse boyfriend, Chris (“Saturday Night Live’s” Bowen Yang). Min comes from money, but he is strenuously avoiding taking a job in his family’s conglomerate.

Min and Chris rent out the guest house of their friends, Lee (Lily Gladstone) and Angela (Kelly Marie Tran), whose friendship goes back to when Chris and Angela, still confused about their sexual identity, hooked up during freshman orientation in college. Lee and Angela want a baby, but Lee has just gone through a second unsuccessful round of IVF and they can’t afford a third one.

When Min’s grandmother (Youn Yuh-jung, the Oscar winner from “Minari”) warns Min that his student visa is going to run out, and that she wants him to return to Korea and work for their company, Min hits the panic button. Marrying Chris is not an option, because Min’s grandfather is homophobic and because Chris has already said not to Min’s past proposals. So Min he drops to one knee and asks Angela, offering to pay for Lee’s next round of IVF of treatments if Angela will go through with a green-card wedding. 

Among those who are shocked by this is Angela’s mom (Joan Chen), who has turned being an LGBTQ+ ally into a competitive sport.

The script — for which Ahn shares credit with James Schamus, who co-wrote Ang Lee’s 1993 version — finds room for screwball comedy, like when Min’s grandmother arrives unannounced in Seattle, and Lee, Angela and Chris have to scramble to “de-queer” the house. (There's also a “Star Wars” joke that Tran, an alumna of that franchise, must have had fun being a part of.) But Ahn, who has made such lovely slice-of-life dramas as “Spa Night” and “Driveways,” provides his actors with characters who are richly realized and more complete than those in a standard rom-com.

All of the main leads get their moments to shine — with special mention to Youn’s touching speech to Min near the end, Gladstone and Tran’s lovely interplay, and Yang’s ability to stretch beyond his well-established comic gifts to find some pathos in Chris’ indecision. Ahn has gathered a strong ensemble, each actor building on one another to create a delightful movie. 

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‘The Wedding Banquet’

★★★1/2

Opens Friday, April 18, in area theaters. Rated R for language and some sexual material/nudity. Running time: 103 minutes.