Movie Review

On this week’s show, Dan Webster, Nathan Weinbender, and Mary Pat Treuthart discuss an event they attended on Monday called Screen Unseen. They also talk about a documentary, “Richland,” that is playing at the Magic Lantern, and Nathan regales us with his reaction to the movie “Monkey Man.”

“Shōgun” is an updated adaptation of James Clavell’s 1975 novel about an Englishman stranded in Japan, Dan Webster says in his review.

In “Problemista,” his first film as writer-director, comedian Julio Torres skewers the American dream in a story of a young immigrant’s quest for a work visa. Nathan Weinbender says this quirky comedy is an earnest, if imperfect, first look at a new filmmaker’s singular vision.

On this week’s show, Dan Webster, Nathan Weinbender, and Mary Pat Treuthart delve into their respective personal libraries of favorite films and share what we like to call buried, or forgotten, cinematic treasures.

“Love Lies Bleeding” is violent, lurid and full of shocking twists. It’s also disarmingly weird in a way that, Nathan Weinbender says, will either thrill you or annoy you.

On this week’s show, Dan Webster, Nathan Weinbender, and Mary Pat Treuthart discuss two films that defy standard critical summation. The first is Doug Liman’s re-envisioning of the 1989 movie “Road House,” and the second is Rose Glass’ neo-noir “Love Lies Bleeding.”

Doug Liman’s “Road House” remake gives new meaning to the term “guilty pleasure,” Dan Webster says in his review.

On this week’s show, Dan Webster, Nathan Weinbender, and Mary Pat Treuthart discuss a pair of films that were mentioned during the recent Oscars broadcast. One, “20 Days in Mariupol,” was named Best Documentary Feature, while the other, “Io Capitano,” was one of the nominees for Best International Feature Film.

Ripped from the headlines, Oscar-nominated “Io Capitano” will tear at your movie-fan heart, Dan Webster says in his review.

“Argylle” has a huge cast, a massive marketing campaign and a plot full of twists and turns. It’s also a soulless hunk of CGI-smeared dreck. Nathan Weinbender says that this caper comedy from the director of the “Kingsman” movies, now on V.O.D., is D.O.A.