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An earlier version of this story incorrectly referred to the subject of the “What We Leave Behind” documentary as the director’s father. He is her grandfather. The story was correct.

The biggest beer race ever“Is a silly title for this Peter Farrelly film (” Green Book “), based on the true story of a merchant seaman from New York who, in 1967, brought a freighter to Vietnam just to spend three days on leave carrying a duffel bag full of American beer to his home-enlisted friends. Chickie Donohue’s (Zac Efron) fling was also stupid and dangerous, and at first the film has a creepy and ironic tone. (Maybe that wasn’t all That dangerous. One of the soldiers Chickie meets notes that “some people are too stupid to be killed” and Chickie, who appears to have a guardian angel looking after him, definitely fits the bill.) But he quickly gets an education, in that which turns out to be a complex story that is well above its title. Chickie, you see, believes in the war effort with an irritating naivety, but is ultimately disillusioned after meeting a cynical American photojournalist (Russell Crowe) and seeing firsthand that the internal chaos that characterizes the conflict is not what she imagined war for. to be. Yes, the protagonist is a numskull. But the film, like her hero, eventually matures into something with a greater appreciation of nuances. It doesn’t seem like it, but “The Greatest Beer Run Ever” turns out to be a story about moral ambiguity, truth and lies, PR and PTSD, and ultimately the meaning of friendship. A. Available on Apple TV Plus. Contains foul language and some war violence. 126 minutes. – MO

The recent canon of movies that reevaluate the maligned female pop stars of the 90s now has a galvanizing and thoughtful new addition. In “Nothing compares”, Director Kathryn Ferguson invites viewers to view Irish singer Sinéad O’Connor, not as a train wreck that needs saving, but as an incredibly brave avatar, an artist-activist who has come to both identities. honestly, through sensitivity and supernatural vocal range as well as deep wells of empathy and garden chutzpah. “Nothing Compares” opens with O’Connor at Madison Square Garden in 1992, when he stared at a hostile crowd at a Bob Dylan tribute concert, just days after he snatched a photo of Pope John Paul II from “Saturday Night Live,” a an act that made her an instant pariah. Ferguson then goes back to complete the biography leading up to that moment, with O’Connor herself recounting her violent childhood, her escape to punk-era England, her self-discovery through Rasta culture, life gay night, the aesthetic camaraderie and the birth of his son and his serenely self-sufficient insistence to always go his own way, regardless of the haters. With the scarcity of visual material from O’Connor’s youth, Ferguson is forced to rely on nebulous reenactments, and Prince’s estate sadly refused his request to license “Nothing Compares 2 U,” the song that made O’Connor a superstar. But the elements of O’Connor’s story – her courage, foresight, ultimate revenge, and that ethereal, burning voice of hers – take on irresistible cumulative power. TV-MA. Available on Showtime. Contains strong language and mature thematic elements. 95 minutes. – AH

Sinead O’Connor is still all in one piece

The horror film “The Devil’s Workshop”Stars Timothy Granaderos as an actor considered for the role of a demonologist in an upcoming film. To give himself an edge over the competition (Emile Hirsch), he enlisted the help of a devil lore expert (Radha Mitchell), who soon had him dredge his past and sacrifice a goat. R. Available upon request. It contains violence, strong language, drug use, some sexuality and nudity. 86 minutes.

Produced by Michael Shannon and Alyssa Milano, the documentary “From hood to screamIt follows Charles Booker’s 2020 Kentucky-wide campaign in the Democratic primary for the US Senate seat held by Mitch McConnell in Kentucky. Not classified. Available on request. 102 minutes.

Emily Watson stars in “Creatures of God”, A drama about a woman in an Irish fishing village who lies to protect her son (Paul Mescal) after being accused of sexual assault. According to Variety, the film “largely avoids didactic moralism in favor of a deeper and more painful examination of inner guilt, responsibility and compromised solidarity, although its touch in this sense may be lighter.” R. Available upon request; also opening at Landmark’s E Street Cinema. Contains strong language. 100 minutes.

From screenwriter and director Ana Lily Amirpour (“A Girl Comes Home Alone at Night” and “The Bad Batch”), “Mona Lisa and the blood moon”Tells the story of a troubled single mother (Kate Hudson) and an escaped mentally ill with supernatural powers (Jun Jong Seo) whose criminal rampage draws the attention of a detective (Craig Robinson). Paste magazine states that the film “highlights the director’s talent for building a vicious world through his playful use of lighting, soundtrack and character.” R. Available upon request. Contains strong language throughout, sexual material and a little bit of violence. 107 minutes.

Inspired by the characters of a 1960s horror sitcom, writer and director Rob Zombie “The Munsterstells the story of the courtship between the monstrous Herman Munster (Jeff Daniel Phillips) and a vampire named Lily (Sheri Moon Zombie, Rob’s wife). PG. Available on request. It contains macabre and evocative material, frightening images and foul language. 109 minutes.

Lea Thompson stars in “Ten tricks”Like a charming lady who decides, after years in the sex industry, that she wants to settle down and start a family. Not classified. Available on request. 88 minutes.

VespersIs a science fiction drama about a 13-year-old girl (Raffiella Chapman), who is trying to survive in a post-apocalyptic world. Variety calls it a “futuristic fairy tale with a surprising design”. R. Available upon request. 114 minutes.

Iliana Sosa’s documentary “What we leave behind”Centers on the cross-border life of the director’s grandfather, a Mexican who has spent his life going back and forth between his homeland and America, where his children live. The Austin Chronicle defines the film as an “intimate portrait of a family separated by distance but united in love”, TV-PG. Available on Netflix. In Spanish and English with subtitles. 70 minutes.



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