Review: ‘Beauty’ on Netflix, an ‘Out of Sight’ makeover and more


The musical drama “Beauty” should’ve been a smash. Director Andrew Dosunmu is renowned for his visually putting images this kind of as “Mother of George,” which offer extreme, expressionistic takes on alienation. Screenwriter and co-producer Lena Waithe is acclaimed for her function on the Tv collection “Master of None” and “The Chi.” The film has a grabby premise, frivolously fictionalizing the story of the pre-fame Whitney Houston, in this article named Splendor (Gracie Marie Bradley). The cast features Niecy Nash as the singer’s compassionate mom, Giancarlo Esposito as her domineering father and Sharon Stone as the manager who needs her to be blander — which means “whiter.”

But the movie’s Tribeca Film Festival premiere arrived and went devoid of considerably excitement, and now the film is dropping on Netflix with even fewer fanfare. On the day it premiered on streaming, “Beauty” did not even have a Wikipedia page. It’s hugely unusual for a venture with this many huge names to garner so very little focus. And it is unlucky, also, since while “Beauty” doesn’t genuinely operate, it does fall short in exciting techniques.

Waithe’s edition of Houston’s tale — in which a phenomenally proficient, easily marketable singer is secretly possessing a lesbian affair with her personal assistant — is suffused with private emotion, coming from an overtly gay Black girl who herself has had to hustle to make it in present small business. But Waithe way too generally pares the tale down to archetypes in means that clumsily remember mid-20th century progressive theater. Beauty’s bickering brothers are named Cain and Abel, for example, and Stone’s character is identified as “Colonizer.”

Dosunmu has a several standout times of staging, including a haunting scene wherever Splendor watches both of those Judy Garland and Patti LaBelle sing “Somewhere Around the Rainbow” and ponders which kind of performer she really should be. But this semi-real story is eventually also sketchy to have nearly anything productive to say about Houston, mainstream good results or staying in the closet. On paper, this movie is truly a thing. Onscreen, it lacks dimension.

‘Beauty.’ R, for language and drug use. 1 hour, 35 minutes. Readily available on Netflix.

A man in a red cap stands in front of a line of schoolchildren in uniform.

A scene from the documentary “Accepted.”

(Greenwich Leisure)


In November of 2018, the New York Situations released a tale about T.M. Landry Higher education Preparatory, an unaccredited Louisiana personal school that experienced gotten a large amount of constructive nationwide press for landing underprivileged teenagers in Ivy League faculties but which, in accordance to the newspaper, experienced been faking transcripts and abusing college students. Documentary filmmaker Dan Chen and his crew started out interviewing Landry little ones — along with the school’s charismatic co-founder Mike Landry — in advance of the scandal broke, intending to comply with a handful of seniors by means of graduation. As an alternative, his film “Accepted” went a distinct way.

The production’s unusual situation plainly had an influence on what “Accepted” grew to become — and not usually for the much better. The tale that emerged midshoot demands additional investigative rigor instead than a unfastened assortment of interviews and slice-of-lifetime scenes. Nonetheless, “Accepted” is remarkably impacting, many thanks to the way Chen is effective his way back again to what his doc is seriously about.

The Landry children who had their higher education goals yanked absent by the Situations exposé aren’t frauds. They’re good and lively kids who felt they essential an institution like Landry to enable them make the sort of connections that loaded pupils usually get pleasure from. By focusing on the collateral problems of the scandal, “Accepted” takes on the complete damaged school admissions technique, arguing that the obsession with “elite” universities may perhaps be an obstacle to a excellent education and learning.

‘Accepted.’ Not rated. 1 hour, 32 minutes. In constrained release, together with the Laemmle Monica Film Heart, Santa Monica also available on VOD.

A woman and two men in spacesuits bathed in red light in the movie "Rubikon."

George Blagden, from left, Julia Franz Richter and Mark Ivanir in the movie “Rubikon.”

(Philipp Brozsek / IFC Midnight)


Director Leni Lauritsch’s debut attribute movie, “Rubikon,” is a science fiction drama tackling big problems in a scaled-down way, putting three people aboard a space station and allowing them talk it out. Julia Franz Richter plays Hannah, a soldier on an environmentally devastated foreseeable future Earth, where the rich stay in sealed bubbles and the armies operate for businesses. She and rich kid Gavin (George Blagden) stop by an orbiting science lab exactly where Dimitri (Mark Ivanir) is experimenting with lifestyle-sustaining algae-centered ecosystems. There, all a few steer clear of the harmful cloud under that wipes out most of the planet’s population.

Aside from a scene wherever Hannah is on a spacewalk and sees the lights going out on Earth, “Rubikon” does not have a whole lot of standard style “action.” Lauritsch and her co-screenwriter, Jessica Lind — and their really superior forged — as an alternative emphasize the interaction concerning this effectively-which means trio, who all have diverse ideas about regardless of whether they should really head again home to join the survivors or remain in room the place their technology can keep them alive. The dialogue-weighty scenario robs the film of some tension, but the discussions are typically fairly remarkable as these 3 debate what they owe to what remains of humanity, in a society that long back stopped caring about anybody who couldn’t pay for a harmless position to stay.

‘Rubikon.’ Not rated. 1 hour, 50 minutes. In minimal release, together with the Laemmle Glendale also available on VOD.

‘The Passenger’

There are echoes of John Carpenter’s “The Thing” and “Big Trouble in Little China” in the Spanish horror-comedy “The Passenger,” a fashionable first aspect from co-directors Raúl Cerezo and Fernando González Gómez. Penned by Luis Sánchez-Polack, the movie stars Ramiro Blas as Blasco, a blustery ride-share driver who tests the nerves of his a few most current travellers as he drives the ladies by the countryside, all though boasting chauvinistically about his bygone times as a matador and rock star. Then Blasco’s van smashes into a stranger in the darkness, and before long the driver and his fares become bonded in their fight in opposition to what turns out to be a condition-shifting alien.

The filmmakers are very resourceful. Whilst they shot “The Passenger” primarily in and around a person defeat-up previous camper in the middle of nowhere, their movie is nevertheless suspenseful and funny, with a couple of excellent jolts and gore results to fulfill fright fans. But the serious vital to this picture’s results is the character element. Blasco in unique is no common horror hero — or target, for that make a difference. He’s a fast-conversing eccentric, at times irritating and occasionally noble — like somebody who walked out of a Pedro Almodóvar film and ran smack into a monster film.

‘The Passenger.’ In Spanish with English subtitles. Not rated. 1 hour, 30 minutes. Available on VOD.

‘Sniper: The White Raven’

The revenge thriller “Sniper: The White Raven” is simplistic but stirring: the tale of a Ukrainian hippie who trains to grow to be a deadly killer immediately after invading Russian forces eliminate his spouse. Director and co-author Marian Bushan requires time to set up the idyllic everyday living of the ecology-minded smaller-city physics trainer Mykola (Pavlo Aldoshyn) ahead of a senseless act of violence upends it. Just after that, “Sniper” follows a standard “raw recruit will get whipped into shape” plot as Mykola joins the army and learns to coexist with troopers — whilst also impressing his superiors with his intelligence and determination. Bushan employs various styles throughout the movie, revealing a knack for dynamic action that his additional small-important first 50 %-hour doesn’t propose. He provides the products for any person on the lookout for an rigorous war movie — but he doesn’t let the shooting get started till every person understands the stakes.

‘Sniper: The White Raven.’ In Ukrainian with English subtitles. R, for violence, bloody photographs, language and some sexuality/nudity. 2 hrs. In minimal theatrical launch also out there on VOD.

Also on streaming and VOD

“Endangered” covers the fragile point out of journalism all-around the environment as citizens ever more get facts from sketchy internet resources that vilify standard media. Administrators Heidi Ewing and Rachel Grady profile 4 reporters (doing the job in Mexico, Brazil and the U.S.) over the program of one particular year, capturing their escalating worry that big parts of the public now rely on authoritarians, pundits and conspiracy theorists a lot more than the absolutely free push. Available on HBO Max

“The Sword and the Dragon” (also recognised as “Ilya Muromets”) is a traditional Soviet-period fantasy film, directed by Aleksandr Ptushko in the mid-1950s and then reedited and redubbed in marketplaces close to the globe. Newly restored in 4K, the movie seems breathtaking and feels epic, telling a twisty story from Russian folklore about a knight who battles invading armies, traitors, demons and fire-respiration monsters to guard his land and family members. Readily available on VOD.

Offered now on DVD and Blu-ray

“Out of Sight” is a occupation emphasize for the prolific director Steven Soderbergh: a slick adaptation of an Elmore Leonard novel about a veteran thief (George Clooney) who flirts and matches wits with a U.S. marshal (Jennifer Lopez). The new 4K UHD version captures the movie’s delicate nuances of shade and also includes prior versions’ great specific functions — which include a enjoyable commentary keep track of by Soderbergh and screenwriter Scott Frank. KL Studio Classics