“Shang-Chi and the Legend of the 10 Rings” (dir.– “Hale County This Morning, This Evening” (11/1) That alone would be enough to keep most people busy through Thanksgiving, but Criterion Channel subscribers are also being treated to a roster of Elia Kazan favorites (just when it seemed like we could stop thinking about “A Face in the Crowd” on a daily basis…), a slew of movies about the thrill-a-minute world of newspaper journalism (“His Girl Friday” being just the tip of the iceberg), and a program of films about female friendship that invites subscribers to revisit some of the platform’s most popular titles, from canonized masterpieces à la “Céline and Julie Go Boating” to the more recent likes of Dan Sallitt’s micro-budget home run “Fourteen.” The Channel also represents the newer side of things with essential shorts from “Time” director Garrett Bradley, RaMell Ross’ immense “Hale County This Morning, This Evening,” all five hours of Ryusuke Hamaguchi’s “Happy Hour,” and a whole lot more. While the 31-film Robert Mitchum series “Playing it Cool” follows its star far beyond the genre that made him famous, it’s still absolutely loaded with shadowy classics that range from popular favorites (“Night of the Hunter”) to lesser-known gems (Don Siegel’s short and twisty “The Big Steal”). ![]() ![]() We start with a 12-film series that collects some of the shadowiest movies from the glory days of 20th-Century Fox, including Samuel Fuller’s nuclear “Pickup on South Street,” Nunnally Johnson’s star-studded 1954 mystery thriller “Black Widow” (in which Ginger Rogers plays a murder suspect), and Edmund Goulding’s electrifying “Nightmare Alley,” adapted from the same bleak-as-hell book that inspired Guillermo del Toro’s new movie. The Criterion Channel can always be counted on to deliver the goods come Noirvember, and it doesn’t disappoint this year. In a sweet little film that’s long on bittersweet feeling and refreshingly short on contrived twists, that’s one thing this critic never saw coming. He nevertheless (or directly because of that) delivers a heartfelt and consistently hilarious performance that elevates Jeff alongside the likes of Gort, R2-D2, and Fritz Lang’s Maschinemensch in the pantheon of cinema’s greatest full metal characters. Louis to San Francisco - is voiced and motion-captured by king weirdo Caleb Landry Jones, an actor who’s always seemed more alien than android. ![]() No, the strange part is that Finch’s creation - a sentient, Hertzfeldian 9-foot can opener who dubs himself “Jeff” after his AI formatting is interrupted by the superstorm that sends this story on a road trip from St. Here, Tom Hanks plays a dying engineer named Finch Weinberg who builds a robot to care for his rescue dog once he’s gone. Case in point: At a time when feature-length sci-fi is dominated by franchise spectacle, someone made a tender, quiet, and terrifically affecting post-apocalyptic drama. Even now, after surviving for more than 100 years and almost as many supposed deaths, the movies are still full of surprises.
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