Image © Disney
Moana 2
Moana 2
Moana 2
(In Theaters Wed. Nov. 27)
The animated adventures of Moana, a young woman of royal descent, are drawn from Polynesian culture. Moana’s gift is her magical connection to the ocean. In this sequel, Moana’s ancestors tell her to free the hidden island of Motufetu, cursed by the god Nalo. As in the first film, Moana (voice of Auli’i Cravalho), is joined on her quest by Maui, a shape-shifting demigod entoned by Dwayne Johnson. Alan Tudyk fills the role of her birdbrained sidekick Heihei. The story sends Moana, Maui and Heihei to battle and outwit powerful beasts and repressive gods. Originally intended as a series on Disney+, the concept was promoted to a feature film. Once again, the screenplay includes songs that blend Disney tunes and lyrics with Polynesian rhythms. (Lisa Miller)
Queer
(In Theaters Wed. No. 27)
Director Luca Guadagnino adapts William S. Burroughs’ early confessional novel from the mid-1950s (published in 1985). Having escaped to Mexico City, 40-ish William Lee (Daniel Craig) grapples with heroin addiction and homosexual impulses. He frequents Ship Ahoy, a gay bar where he’s smitten with young Eugene (Drew Starkey). Lee’s friend Joe, (a nearly unrecognizable Jason Schwartzman, wearing a roly-poly bodysuit and beard), encourages Lee to tell Eugene his feelings. Lee refuses, electing that what will be should unfold organically. After the men finally become lovers, Lee entices Eugene to come with him to Ecuador in search of the hallucinogen yage (pronounced yah-hey). Helped by a pistol-packing botanist (Lesley Manville), they sample the yage and one another. Lee’s journey into the pursuit of love becomes a beguiling, poetic journey set against an anachronistic soundtrack that includes selections from Nirvana and Prince. (Lisa Miller)
The Threat
(Arrow Video Blu-ray)
The credits sweep by, fast as Tokyo traffic. Japanese director Kinji Fukasaku’s 1966 film is noir in lustrous black and white, with stylish camera angles, disconcerting closeups, moments of quiet tension and a sharp jazz score. Visually and sonically acute, The Threat concerns a house invasion by a pair of escaped criminals. Their leader is articulate and organized, his sidekick is a dumb agent of chaos. “Kids are smarter than adults these days,” the lead crook says, pointing to greater grasp of the situation by the couple’s boy—it’s because they watch so many crime shows on TV. The plot grows more complicated as the husband is forced to implicate himself in their next crime. (David Luhrssen)
