Action, love, death and rebellion. This week, you can have a taste of each.
Here is our overview.
“Andor season 2”: You realize that you are looking at something special when, after having finished the 11th episode of a series in 12 games, you delay in difficulty this last episode because you really don’t want it to end.
The last season of Disney + of the famous series “Snape One: A Star Wars” is something to savor like that, an example of worldwide multi -faceted construction which underlines the importance of the arcs of complex characters and formidable writing. It is bunk with intrigue and full of complex rebel acts and is relevant for disturbing disorders and times today. The showrunner Tony Gilroy redefines an overwhelmed, often raised “Star Wars” universe, which has produced off-procurement as well as rats. This production focused on the character traces Cassian Andor (Diego Luna) and his transformation of a selfish and capricious thief to a major actor of the rebel alliance.
In season 2, Andor becomes more rooted in the cause, seeking to reverse the secret machinations of the Galactic Empire as they approach the storm to make this death star. Hue! Hiking! These fascists do not stop at anything, even undressing a planet of its critical resources while subjecting its inhabitants to something unfathomable.
Season 2 brings back the secret movements of failure rebels while spying up and informing the high places – Senator Mon Mothma (Geneviève O’Reilly) and the antiquity dealer Luthen Rael (Stellan Skarsgård) – but he also keeps an eye on the bad with the power and the wicked Scarl in each scene, and deserves an appointment to the Emmy to be Diabolique), his pseudo-pétit-Ami malleable Syril Karn (Kyle Soller) and the director Orson Krennic (Ben Mendelsohn, the human version of a Cobra).
There are many others in the distribution, including the mechanic and owner of Scrapyard Bix (Adria Arjona) who fights with big changes this season with the help of Cassian.
Why “Andor” remains a cut above the other entries of the Empire “Star Wars” is that it values dialogue and characterization as much as it makes suspense and special effects. But it also deals with the reality of sacrifice and rebellion. The characters die here, and not only the bad guys. While this season jumps forward in the years since Gilroy has deposited by making a multi-season series, he never feels rushed or truncated. Admittedly, this gives even more complexity to “Rogue One”. What strength this series has really been. Details: 4 out of 4 stars; Three episodes fall every week from April 22 on Disney +.
https://www.youtube.com/watch?v=AE4WXT70AUM
“The accountant 2”: The best moments of this tangy suite of surprise success in 2016 do not relate to action scenes, although they are exciting and everything. Rather, it is the joke and the quarrel between the distant brothers Christian Wolff, (Ben Affleck), a brilliant medico-legal accountant incognito with autism, and Brax (Jon Bernthal), an arrogant killer who likes to strut in his black boxer briefs, who energizes the director Gavin O’Connor entertaining the guilty pleasure. Although the story of the brothers was explored during the first outing, it doesn’t matter if you lack this context. You will get the essentials of various interactions such as when Christian and Brax return beers at the top of his Airstream, then bind and fight in a western Country bar. The two come together after Christian found himself by the deputy director of the American Treasury Marybeth Medina (Cynthia Addai-Robinson) to investigate the murder of the treasure agent Ray King (JK Simmons). The two try to complete how a family photo is in the carnage and what role a mysterious woman (Daniella Pinela d’Oakland) on the crime scene plays there. Meanwhile, a team from Techie Whiz Kids is once again working on their special computer magic (another strong point) in a hidden institution and presents luddite adults. Affleck does an excellent job (a matchmaking event is a highlight), but what makes “the accountant 2” better as he should be is Bernthal, a naughty charmer who can speak calmly, with just a trace of threat, even if he was responsible for a bunch of bloody corpses. He bounces the more impassive Affleck as a real actor and it is then that “accountant 2” hits his figures, even exceeds them. Details: 3 stars; Open April 25 in theaters.
“Hirants”: David Cronenberg remains as daring and pioneer as ever at 82. Need evidence? Discover his latest surrealist Cube Rubik who covers his favorite subjects – death, technology and, of course, sex. Again, it gives a naughty and bizarre experience, a head travel that let me confuse its end. The bizarre is indeed the Roming terrains of Cronenberg and this time, it channels strangeness towards sorrow and mortality. His main character is Dapper Karsh (Vincent Cassell), creator of serious software which provides the bereaved seat in improvement to decompose the decomposition of their loved ones, now locked in a shroud. Ick is right. The vandals hit the keys on the well-maintained terrain that Karsh oversees and the cheeky acceleration accelerates a dormant paranoia inside him which is almost in line with the alarm bell that sounds inside his sister-in-law of conspiracy Terry (Diane Kruger). Both, with the former unstable but technical intelligent of Terry (Guy Pearce, Getting All Twitchy) are still in BECCA mourning (also played by Kruger), who died of cancer. The solemn but sexy portrait of Cronenberg of the stages of sorrow (he wrote it following the death of his own wife) illustrates the lengths that we are going to try to preserve the deceased and how desperately we are looking for answers to personal questions that haunt us and often escape us. This gives you the impression of being in a dreamy runaway state and is bordered by dark humor flashes – a sequence of blind dates is vintage and completely macabre Cronenberg. Kruger juggles the two roles like the pro that it is while Cassell gives off a cool calm that denies the turmoil inside. Better than anything that is how Cronenberg “The Shrouds” is par excellence. As we are lucky to have this border shooter by always thinking of the films as daring and provocative. Details: 3½ stars; Open April 25 in AMC Mercado, Santa Clara; The Roxie, San Francisco, the Cinemark Century Daly City.
“On fast horses”: In the sexy shakedown of the director Daniel Minahan of the mythical and long Western and long Western “values” in the saddle, the repression and the secret meetings end in the lives of two attractive people (Daisy Edgar-Jones and Jacob Elordi) attached to a veteran of the Korean war (Will Poulter) who wants to direct this insulted and white dream in California Suburban. The adaptation of Minahan and Savonneuse (in the right way) of the novel by Shannon Pufahl draws three moving performances from his tracks, but also includes a striking of Diego Calva (“Babylon”) as a cheat detector in Las Vegas who gets hot with Julius de Drift-About, the brother of the attachment) “Poulter)” More front Lee (Poulter). Julius landed in Vegas and was pulled from the hard heart while counting Henry (Calva), and these scenes are very sensual. Muriel and Julius understand and recognize themselves true identities while Lee remains without any idea. Both also realize that they can only be at certain times and in certain places, even if Muriel has not yet explored her hidden feelings. The captivating drama, magnificent to see by Minahan, was somewhat rejected for his style of narration at the old school. But it is in a way the whole point here because it plays and spoils with these tropes by giving them a queer sensitivity. In its calm but rebellious way, “on swift horses” even refuses to succumb to the tragedy, an easy outcome and offers its characters the possibility of leaving in a sufficiently promising sunset towards hope. Don’t miss him. Details: 3½ stars; in theaters on April 25.
“Yadang: The Snitch”: Three adversaries swallow their disgust for each other so that they can face a prosecutor crazy about power and a rich boring revelers with a huge drug habit. Expect to get a little cervical boost from this South Korean action full of action, which has been so quickly and furious that you cannot help but be sucking in its whirlwind chaos. Sub-Garçon that stimulating Kang-Suoo (Kang Ha-less of “Squid Game 2”) associates the ambitious prosecutor Kuoo Gkwan-Hee (Yoo Hae-Jin) while they are targeting drug runners to achieve the glory of the media and the political highlight. Kang-suoo acts as a broker, a go-blah of criminals and the detective of drugs of law oh blood (park hae-joon) catches more than a puff on this subject after her path crosses with an actress (chae won-been) who celebrates with the sound fishing with the peak (Ryu kyung-so). Director Hwang Byeong-Gug stinks a breathtaking scene at the top of another as a broker, the actress and the detective will design a recovery system that could all collapse. It is an explosion of hyperactive action with a real killer final. Details: 3 stars; Open April 26 at the Cinemark Century Daly City 20, AMC Mercado 20, Santa Clara and Cinemark Century Union Landing 25, Union City.
“Viet and Nam”: The second transcendent characteristic of Truong Minh Quý often feels like you fall asleep and that you woke up inside one of the evocative poems of Ocean Vuong or an Apichatpong Weerasethakul film. Apparently, this is a love story on two minors and lovers of male coal (Duy Bao Dinh Dao and Pham Thanh Hai) with a – Nam (HAI) – preparing to separate from the other and to move to the United States. Time is 2001 and the east setting in North Vietnam, decades after the split of the country and the bloody war. Speaking of this war, he masks the film in spectral and metaphorical forms, especially when Nam travels with his mother (Nguyen Thi Nga) and the Viet near the place where his father disappeared in action. The experience of looking at “Viet and Nam” is equivalent to a dream when she rushes and wanders over time and takes place on the intimate desires and the evils of the two men who want to be whole together. Although I hope that Quote would have spent a little more time developing the character of Viet, it is undeniable that his immersive film borders pure visual poetry, and this is largely due to the amazing cinematography of his son Doan. Details: 3½ stars; Open April 25 at Roxie in San Francisco.
Contact Randy Myers to soitsrandy@gmail.com.
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