Ghostbox Cowboy

If you could communicate with your deceased loved ones, would you?

Jimmy would—and Jimmy has. He’s invented a little box to do so, and is taking his talents to China in hopes of large-scale manufacturing his gift for the world.

It’s sad, and he seems to be on another wavelength. Everyone he meets takes advantage of this—because everyone he meets feels pressured by the demands of consumer culture. They all know: If you aren’t part of the system, you may be out of a job—and therefore out of a way to sustain your life.

It’s a trippy movie. Every aspect of the moviemaking provides us people, places, and things rooted in reality, but sopping with delusion. Themes like competition, hopelessness, and precarious living radiate out of each character.

Feeling bleak may not be your idea of fun. But what about watching an original, thought-provoking story, filled with characters trying to do their best in a crazy world?

To All the Boys I've Loved Before

Speak now or forever hold your peace? I’ll take the third option.

Like Lara Jean. Instead of telling people how she really feels, she writes letters—never to be sent, of course.

Of course. Once these letters (mysteriously) make their way into the world, what had felt like a sappy movie transforms. When all the boys you’ve loved before are at your door, funny things happen.

It’s not a likely story. You’ll see more group hugs and self-possessed teenagers here than you will in a lifetime. But it’s hard to roll your eyes when the rest makes you feel so good. You can sympathize with the hard stuff, and laugh at the light. Lara Jean playing her part to perfection helps.

Peppermint

Riley ain’t so sweet. In fact, she’s hell-bent on revenge. Looks like Diego and his gang messed with the wrong mom.

Fine. Everyone wants justice. But the tone here is way too dark. The “hero” does more harm than good, and the movie doesn’t explore whether it’s justified.

The twists are good enough to make us curious whether Riley will get satisfaction, but in the end, there’s little satisfying about this shootfest. Too bad. It’s a waste of good performances by each of the police crew, and action by our lead.

Andhadhun

Akash may be blind, but he’s always on the lookout. Somewhere out there is the key to better music. He’s sure of it.

Good intentions aren’t helping, though. In fact, they usually lead Akash into trouble. This is when the movie is at its best: Akash’s reactions are as cheeky and inventive as his predicaments.

It’s clever yes, and long. We meet many characters, some of whom are frustrating, and some of whom add nothing to the story. But isn’t that life? Long enough to be unexpected, funny, confusing, dangerous? And so this movie.

Lady J

There’s something about Lady J.

The Marquis is an infamous womanizer. Madame knows this, and isn’t falling for his charms. He does seem to be a gentleman, though. And patient and thoughtful…

Madame gets dumped, of course. And when she does, the gears start turning in a revenge machine as impressive as it is heartbreaking.

Warning: This is a French period piece with flowery dialogue about love and life; it can be hard to keep up with the subtitles, let alone the substance. But, the fancy reminds us that we’re in the past—which highlights how extraordinary Madame’s plan really is.

Careful use of color and superb acting by Madame oil the engine.