Movie Review

On this week’s show, Dan Webster, Nathan Weinbender, and Mary Pat Treuthart discuss Alex Garland’s latest film "Civil War," which stars the likes of Kirsten Dunst and Cailee Spaeney as photojournalists covering what is a second American war between the states and the federal government. After that, they move on to the film “La Chimera,” which is playing at the Magic Lantern Theatre.

“Civil War” is an intense, yet empty, study of photojournalism and a potential American future, Dan Webster says in his review.

The Oscar-nominated actor Dev Patel steps behind the camera for the first time with the bloody, pulpy thriller “Monkey Man.” It follows a standard revenge movie plot, but Nathan Weinbender says it stands apart with its mayhem and its sense of righteous anger.

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.