{"id":270,"date":"2026-06-05T15:34:26","date_gmt":"2026-06-05T15:34:26","guid":{"rendered":"https:\/\/cambridgemovinghub.com\/?p=270"},"modified":"2026-06-05T15:34:26","modified_gmt":"2026-06-05T15:34:26","slug":"four-new-films-explore-war-gender-and-crime-true-and-comedic","status":"publish","type":"post","link":"https:\/\/cambridgemovinghub.com\/?p=270","title":{"rendered":"Four new films explore war, gender, and crime true and comedic"},"content":{"rendered":"<div>\n<h2>\u201cPressure\u201d<\/h2>\n<div>\n<p><span>\u2b50<\/span><span>\u2b50<\/span><span>\u2b50<\/span><\/p>\n<p><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span>Rating: 3 out of 4.<\/span><\/div>\n<p>Who knew that the timing of D-Day was much ado about dueling meteorologists? Obviously, David Haig, whose play about this little-known chapter of the war gets the big-screen treatment in the capable hands of Anthony Maras (the deft thriller, \u201cHotel Mumbai\u201d) \u2014 and Haig, who co-wrote the screenplay. The setting is the Southwick House \u2014 a sprawling mansion in England \u2014 some 72 hours before the planned invasion that would change the course of history. General Dwight D. \u201cIke\u201d Eisenhower (Brendan Fraser) tries to hone the fine details of the landing with the other commanders, including British general Bernard Montgomery and his U.S. counterpart, Omar Bradley. The big question is the weather.<\/p>\n<p>Read more <a href=\"https:\/\/cambridgemovinghub.com\/?p=268\">The undead can be funny, new production proves<\/a><\/p>\n<p>Churchill recommends his chief weather guy, Scottish meteorologist Group Captain James Stagg (Andrew Scott, stoic and complex), who gets posted above Ike\u2019s weather guy, Irving Krick (Chris Messina, Michael Jordan\u2019s brash agent in \u201cAir\u201d) \u2014 and that\u2019s where the rub comes. Krick, who notched great success in the North Africa campaigns, lives by almanacs and historical trends, while Stagg works from real-time data and tracks the current conditions. Two different methods, two different calls drive Ike and the command team bonkers with just two days until the launch. Stagg predicts 10-foot waves that would blow the landing force off course.<\/p>\n<p>History books chronicle how it all plays out, but Maras and the inspired ensemble reenact it to a deeply compelling effect. Scott and Fraser, a long way from \u201cMummy\u201d (1999)\u2014 anchor the film, with Damian Lewis stealing scenes as Montgomery, both anxious and devilishly cheeky. Kerry Condon makes Kay Summersby, Ike\u2019s indispensable aide, feel essential, her warmth and resolve a counterweight to the chaos around her. Backstories about a failed earlier attempt, led by Ike, that got a lot of young men killed, and the bombing of the hospital where Stagg\u2019s pregnant wife is convalescing, lend human depth. Some of the best insights of \u201cPressure\u201d are the stark contrast between the British stiff upper lip and American maverick arrogance. The title is a play on weather pressure, the decision to go or not, and the weight of the world. Towards the end, the film shows some ancillary staging of the landing (the 82nd anniversary is nigh), but nothing that will end up in conversations with \u201cSaving Private Ryan\u201d (1998) or \u201cThe Longest Day\u201d (1962). <strong>\u2014 Tom Meek<\/strong><\/p>\n<p><strong><em>Playing at Apple Cinemas Cambridge and AMC Assembly Row 12<\/em><\/strong><\/p>\n<h2>\u201cThe Breadwinner\u201d<\/h2>\n<div>\n<p><span>\u2b50<\/span><span>\u2b50<\/span><\/p>\n<p><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span>Rating: 2 out of 4.<\/span><\/div>\n<p>Nate Bargatze, the water-meter reader from Tennessee who parlayed his aw-shucks charm into national comedy renown, makes his big-screen debut in this gender-role-reversal romp. As we\u2019ve learned from his Netflix standup specials, Bargatze\u2019s self-deprecating humor is dry with a side of edgy, steeped in the banality of everyday life. That droll effect works well on stage, but on screen, it becomes part of the miasma in this slack \u201cMr. Mom\u201d (Michael Keaton, 1983) rehash. Bargatze plays Nate Wilcox, the top Toyota car salesman in Nashville, whose wife Katie (Mandy Moore) stays at home with their three rambunctious daughters (Stella Grace Fitzgerald, Birdie Borria and Charlotte Ann Tucker). To keep it all moving smoothly, she straps a color-coded calendar that looks like a military command center to the refrigerator.<\/p>\n<p>Katie, in her limited spare time, invents gadgets like the \u201cStar Minder\u201d \u2014 a playful organizational toy \u2014 which gets a shot on \u201cShark Tank.\u201d The proposed deal with shark Lori Greiner is contingent upon Nate stepping away from the Camrys and running the household, so Katie can go to South Korea to mass-produce her gizmo. The other sharks, all men, pass because they think Nate, who appears on stage with a donut stuffed in his mouth, is a liability. While Katie\u2019s away, there will be a large hole in the roof, a dead horse in the backyard, and endless spaghetti pouring from the cupboard \u2014 feeble gags that never quite land.<\/p>\n<p>SSNLer Colin Jost and his perfect hair does bolster the humor as another stay-at-home dad who has turf issues with the moms. So does Kumail Nanjiani \u2014 who steals nearly every scene he\u2019s in, playing Nate\u2019s rival salesman with puckish energy and pulsating pecs. Given this gender flip and the new comedy \u201cLadies First,\u201d men clearly need to do better when it comes to the opposite sex \u2014 and so should movies about them. <strong>\u2014 Tom Meek<\/strong><\/p>\n<p>Read more <a href=\"https:\/\/cambridgemovinghub.com\/?p=266\">Massachusetts\u2019s slow adoption of EV chargers through federal program is \u2018mystifying\u2019 to transit advocates<\/a><\/p>\n<p><em><strong>Playing at Apple Cinemas Cambridge and AMC Assembly Row 12<\/strong><\/em><\/p>\n<h2>\u201cThe Crash\u201d <\/h2>\n<div>\n<p><span>\u2b50<\/span><span>\u2b50<\/span><\/p>\n<p><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span>Rating: 2 out of 4.<\/span><\/div>\n<p>Netflix has long had a two-pronged approach to generating low-effort, low-cost content: foreign thrillers dubbed in English and formulaic true-crime documentaries that the streaming giant seems to crank out with increasing celerity. \u201cThe Crash\u201d embodies the cookie-cutter documentary format \u2014 misdirection, late twists, and plenty of handwaving. The title references a car driven by an Ohio high schooler, Mackenzie Shirilla, that crashes into a commercial building at nearly 100 mph. The impact killed her two passengers \u2014 Shirilla\u2019s boyfriend, Dominic Russo, and friend, Davion Flanagan. Shirilla survives. What looks to be a joy ride gone wrong after a night of partying becomes something darker as homicide detectives analyze forensic evidence and delve into Shirilla and Russo\u2019s turbulent relationship. The parents of the three and the prosecutor \u2014 who calls this the most significant case he\u2019s ever tried \u2014 all chime in.<\/p>\n<p>There\u2019s little surprising here, though the Flanagans\u2019 compassion and love in adopting Flanagan and his sister from foster care is admirable, making their pain and grief palpable. What\u2019s most compelling is the meticulous reconstruction of the crash by state police experts using footage, analytics, AI, and more. The question hangs in the air: Was it all a tragic miscue, or did Shirilla crash the car with malice? The answer\u2019s an internet search away, yet still, the film hypes it up as if the viewer is waiting for the big reveal. The manipulation is visible from the start \u2014 you can practically see the filmmakers deciding when to flip each card. <strong>\u2014 Tom Meek<\/strong><\/p>\n<p><strong><em>Streaming on Netflix.<\/em><\/strong><\/p>\n<h2>\u201cThe Last One for the Road\u201d <\/h2>\n<div>\n<p><span>\u2b50<\/span><span>\u2b50<\/span><span>\u2b50<\/span><\/p>\n<p><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span><span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><br \/>\n<span><br \/>\n<svg>\n<\/svg><br \/>\n<\/span><\/span><span>Rating: 2.5 out of 4.<\/span><\/div>\n<p>\u00a0The funniest deadpan joke in \u201cThe Last One for the Road,\u201d the new shaggy-dog comedy from Italian filmmaker Francesco Sossai, lies in its title. The film follows a pair of small-time crooks (Sergio Romano and Pierpaolo Capovilla) on a road trip, nominally to pick up a former partner-in-crime at the airport so that they can dig up long-buried treasure. But the pair are much more concerned with the stops along the way, carousing until dawn at dive bars and eventually picking up a new traveling companion, a mild-mannered student of architecture (Filippo Scotti, \u201cThe Hand of God\u201d). They justify their debauchery by insisting that each drink is \u201cthe last one,\u201d the ceremonial end to the nonsense before getting down to business. It\u2019s obvious, though, that they have no serious intention of letting the good times stop rolling. \u201cThe desire for the last one never goes away,\u201d one of them muses, \u201cbecause it\u2019s something that goes beyond thirst.\u201d<\/p>\n<p>Though \u201cLast One\u201d could roughly be described as a crime comedy, viewers looking for thrills in the vein of Quentin Tarantino or Guy Ritchie might find themselves losing patience. Sossai, like his characters, is far more interested in the journey; the treasure isn\u2019t mentioned until the second act, and it\u2019s forgotten long before the film ends. The point is simply to hang out with these two sozzled[2]\u00a0 buddies on their never-ending bender. Our heroes are nobody\u2019s idea of upstanding citizens, but they never pretend to be. Instead, they have resigned themselves to their shiftless existence, having as much fun as they possibly can in the gutters of society. (\u201cWe\u2019re too old to grow up!\u201d they proudly proclaim.) The film\u2019s low-key vibe and lackadaisical rhythm occasionally recall arthouse greats like Aki Kaurism\u00e4ki or Jim Jarmusch, right down to the drifting, feedback-drenched score by Italian guitarist Krano. Like its central road trip, \u201cLast One\u201d veers miles away from the point, but if you\u2019re on Sossai\u2019s cockeyed wavelength, it\u2019s worth sticking around for one more round. <strong>\u2014 Oscar Goff<\/strong><\/p>\n<p>Read more <a href=\"https:\/\/cambridgemovinghub.com\/?p=264\">Events this week: Pride, Shakespeare reinvented, &amp; Fresh Pond Day<\/a><\/p>\n<p><strong><em>At The Brattle Theatre<\/em><\/strong><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>\u201cPressure\u201d \u2b50\u2b50\u2b50 Rating: 3 out of 4. Who knew that the timing of D-Day was much ado about dueling meteorologists? Obviously, David Haig, whose play about this little-known chapter of the war gets the big-screen treatment in the capable hands of Anthony Maras (the deft thriller, \u201cHotel Mumbai\u201d) \u2014 and Haig, who co-wrote the screenplay. [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":269,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[70],"tags":[49,71,72,155],"class_list":["post-270","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-entertainment","tag-film","tag-movies","tag-reviews"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Four new films explore war, gender, and crime true and comedic - Cambridge Moving Hub<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cambridgemovinghub.com\/?p=270\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Four new films explore war, gender, and crime true and comedic - Cambridge Moving Hub\" \/>\n<meta property=\"og:description\" content=\"\u201cPressure\u201d \u2b50\u2b50\u2b50 Rating: 3 out of 4. Who knew that the timing of D-Day was much ado about dueling meteorologists? Obviously, David Haig, whose play about this little-known chapter of the war gets the big-screen treatment in the capable hands of Anthony Maras (the deft thriller, \u201cHotel Mumbai\u201d) \u2014 and Haig, who co-wrote the screenplay. 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Who knew that the timing of D-Day was much ado about dueling meteorologists? Obviously, David Haig, whose play about this little-known chapter of the war gets the big-screen treatment in the capable hands of Anthony Maras (the deft thriller, \u201cHotel Mumbai\u201d) \u2014 and Haig, who co-wrote the screenplay. 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