It’s been quite the busy year for Idris Elba. Back in April he voiced a key character in “Sonic the Hedgehog 2”. He co-stars in George Miller’s fever-dream fantasy “Three Thousand Years of Longing” which is set to open next week. And later this year he has “Luther” coming out, a feature film continuation of his popular BBC television series.

And then there’s “Beast”, a survival thriller with plenty of B-movie flavor that sees Elba protecting his two daughters from a ferocious man-eating lion. In many ways it’s a throwback to the many man-versus-beast movies that would pop up on the shelves of my favorite video rental store back in 1980s. But our fascination with these types of movies existed well before that. And while maybe not as prevalent today (with the exception of the endless parade of shark movies), this ‘genre’ has never really gone away. Birds, piranha, alligators, wolves, a Kodiak bear, a wild boar, a rabid St. Bernard, even snakes on a plane – mankind has often found itself at odds (often by their own doing) with our planet’s wildlife.

“Beast” sees Elba teaming with Icelandic director Baltasar Kormákur. They’re working from a screenplay by Ryan Engle which is based on a story by Jaime Primak Sullivan. Speaking of the story, it’s light in terms of depth and pretty basic when it comes to plot development. But that’s okay for a movie as straightforward as “Beast”. All it needs to do is set the stage, give us characters we care about, and then keep us firmly planted on the edges of our seats. Kormákur hits every one of those marks.

“Beast” is a feral, rip-roaring nail-biter (bad puns absolutely intended) that’s all about giving its audience a taut, immersive experience. There is a touching family dynamic that’s built upon themes of loss, resentment, guilt, and reconciliation. But let’s be honest, most people who go see “Beast” are there to watch Idris Elba go one-on-one with a rabid CGI lion.

Elba plays recently widowed Dr. Nate Samuels who’s taking his two daughters, Mere (Iyana Halley) and Norah (Leah Sava Jeffries), on a trip to South Africa to the place where he and their late mom first met. This is an important trip for this struggling family who are not only burdened by grief but also old wounds from their family’s past (which are brought to light within the first act). The three are well written and they possess a good family chemistry, dysfunction and all. Their relationships feel organic in large part thanks to the performances. The sturdy and reliable Elba is as good as always, but so are the two young actresses, Halley and Jeffries.

When they arrive they’re met by Martin (Sharlto Copley), a close family friend who works at a wildlife reserve protecting animals from poachers. After settling in and getting some rest, Martin takes Nate and the two girls on a safari to the far ends of the reserve. But when they stop to visit a local village they make a grisly discovery. Everyone is dead – savagely ripped to shreds by what looks like a lion attack. Realizing how out of the ordinary it is for a lion to attack in such a way and fearing the predator is nearby, Martin gets Nate and the girls back to their truck. But they don’t get far before running headfirst into the bloodthirsty man-eater.

And that pretty much sets up the tension for the entire film. Marooned, with no communication, and with an angry lion on the prowl, Nate must protect his girls and find a way to get them to safety. Along the way there are some unexpected encounters highlighted by several vicious and gnarly attack scenes. And as usual for movies like this, the characters give us a few of those head-scratching moments that have you internally yelling “Close the door!” or “Don’t go out there!”.

Narratively, there is an effort by the story to give purpose to the lion’s attacks which makes it more than just ‘a killer lion killing people’ tale. Visually, the movie looks pretty great, from arid sun-parched surroundings to the digitally animated cats. Kormákur and Oscar-winning DP Philippe Rousselot shoot the film with a visceral style that features numerous long takes and tight tracking shots. It gives certain scenes bite (sorry, I couldn’t resist) and adds to the suspense.

Clocking in at a lean 90 minutes, “Beast” doesn’t outstay its welcome, wrapping up pretty predictably but in a satisfying way. Overall, it’s a movie with a simple premise that’s executed very well technically and narratively. Just know what you’re going in for and don’t expect a ton more than that. Kormákur certainly understands what kind of movie he’s making, And he delivers just the kind of fun B-movie entertainment I was hoping for. “Beast” opens today in theaters.

VERDICT – 4 STARS

How’s that for an attention-getting title? “Baby Assassins” sounds wacky, and to be honest it kinda is. But it’s the seeded eccentricities that makes this gleefully violent and proudly silly Japanese action-comedy click. Much like its title, the very premise of the film borders on absurdity. But this is a very self-aware movie and there’s never a sense it’s taking itself too seriously. In fact, there’s a lightheartedness ingrained both in the story and the storytelling that would normally clash with a tale about two deadly contract killers.

But hats off to writer and director Yugo Sakamoto who makes this teen Odd Couple genre mashup far more entertaining than it might sound. There are several pieces that factor into the film’s success: the two fabulous lead performances and their perky chemistry, the wily script, the genuinely funny laughs, and the bursts of exciting (and sometimes brutal) action. It all gels in this breezy off-beat jaunt that plays much differently than the bulk of hitman/assassin movies we get these days.

Chisato (Akari Takaishi) and Mahiro (Saori Izawa) are high-schoolers who are all prepped to graduate. They’re also employed and they happen to be really good at their “main job”. As the title gives away, the two are highly trained assassins who work for a tightly managed secret outfit ran by a mystery man named Mr. Tasaka. As part of company policy, once out of school the two are required to move in together and get part-time jobs. It’s all to provide cover for their true vocation.

And this is where the humor really kicks in. Neither Chisato or Mahiro are good at keeping jobs, and much of the fun is watching them try and fail miserably to fit into the everyday work force. It’s not for lack of effort. They are just awkwardly out of their element and easily frustrated. It leads to several fun scenes featuring botched interviews, some rather violent daydreaming on the job, and some amusing clashes with bosses.

Then there is their relationship. Your enjoyment of “Baby Assassins” may hinge on how much you like hanging out with the two lead characters considering their quirky friendship is the centerpiece of the film. A few hiccups aside, when it comes to killing, Chisato and Mahiro work together like a (fairly) well-oiled machine. But when it comes to personality, they couldn’t be more different. Chisato is the jaunty gregarious type who loves talking almost as much as her machine gun. Mahiro is detached and socially awkward; a soft-spoken sociopath who would rather mutter to herself that speak to anyone else. Polar opposites but a sparkling pair in large part thanks to the effortlessly organic chemistry between Takaishi and Izawa.

And of course there’s the action which isn’t as plentiful as you might think, but it comes in furious (and exhilarating) bursts. They’re wonderfully arranged by veteran fight choreographer Kensuke Sonomura and culminate in a rousing climax after the girls get sideways with a Yakuza boss (Yasukaze Motomiya) and his two psychotic kids (Akitani Mone and Satoshi Uekiya). While both leads are incredibly proficient in the action scenes, it’s Izawa whose stuntwoman background comes out in a jaw-dropping and brilliantly shot one-on-one fight sequence near the end.

So as you can tell, “Baby Assassins” has plenty of pieces that could easily be at odds with each other. But Sakamoto’s savvy direction and whip-smart script pulls everything together in a way that obliterated my expectations. While it may be a bit rough around the edges and its budget restraints occasionally show, the movie is still bursting with personality and energy. Those who are more action-minded may be taken back by the playful tone and casual pacing. But fear not, the final 15 minutes doles out just the kind of satisfying action-fueled payoff we’ve been anticipating.

VERDICT – 4 STARS