Based on the novel by Y/A author M. T. Anderson, “Landscape With Invisible Hand” (MGM) is a sci-fi comedy that features clever effects and more than a few laughs, but never achieves its full potential.
Screen Queen
Adapted from the graphic novel by Adrian Tomine (who also wrote the screenplay), “Shortcomings” (Sony Pictures Classics) is actor Randall Park’s directorial debut. The movie is a kind of Asian-American “Annie Hall” in the way it looks at modern love and artistic snobbery. It’s also reminiscent of “Barbie” in the way it takes well-deserved jabs at masculinity.
The movies “Keep The Lights On” (2012), “Love Is Strange” (2014), and “Little Men” (2016), comprise what queer filmmaker Ira Sachs has called his New York real estate trilogy. Beginning in 2019, with the Portugal-set “Frankie” (starring Isabelle Huppert), Sachs has shifted his settings overseas. His new film, “Passages” (Mubi), is set in Paris.
Writer/director Jennifer Reeder’s 2017 “Signature Move” is one of the funniest and sweetest lesbian romcoms you’ll ever see. Her new queer body-horror movie “Perpetrator” (IFC/Shudder), as inventive as it is derivative, is sure to be despised by “Barbie” movie-hating Christian nationalists who will go nuts over the female empowerment message. Too bad for them.
In Jeff L. Lieberman’s informative and reverent doc “Bella!” (Re-Emerging Films), there are many fascinating and enlightening things to learn about the late, progressive politician Bella Abzug. But perhaps the most shocking is that she was never before the subject of a documentary, that is, until now.
Like its lead character, novelist Leon (Thomas Schubert), writer/director Christian Petzold’s “Afire” (Sideshow/Janus Films) is a lot to handle. Thoroughly unlikeable and completely self-absorbed, Leon is the kind of character that might make some viewers give up on him less than halfway through the movie. But, don’t do that. Even though he doesn’t necessarily become easier to take, there is something of a payoff if you stick with him.
“Birth/Rebirth” (IFC/Shudder), the feature-length debut from Laura Moss (who also co-wrote the screenplay), puts a distinctively female spin on the reanimator concept. We watch as an unlikely bond develops between a socially awkward pathologist name Rose (Marin Ireland) and OB nurse Celie (Judy Reyes), all in the name of love and science.
“The Pod Generation” (Roadside Attractions) is a good example of a high-concept movie that runs out of juice just as it’s about to say something profound. It wants to be edgy but it’s dull. It also can’t decide if it’s meant to be funny or serious and ends up being neither.
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