I’ll say it until I’m blue in the face – one of the best things about Netflix is the international flavor they bring to their streaming library. New movies from nearly every corner of the world routinely premiere on their platform. Of course some of their choices are better than others. But they do provide an avenue to filmmakers from around the globe to get their movies to wider audiences. And that’s a kind of exposure the film industry has long needed.

A prime example is the gritty French-language action thriller “AKA”. It comes from director Morgan S. Dalibert who also co-writes the script alongside the film’s star Alban Lenoir. In the film Lenoir plays a lethal black ops asset named Adam Franco (at least that’s one of his many identities). He works on behalf of the French government, doing their dirtiest of jobs outside of the public’s eye (a terrifically shot opening sequence gives us a taste of the kind of work he does).

Adam is contacted by his government handler Kruger (Thibault de Montalembert) who briefs him on a deadly hotel bombing in Paris. It was carried out under the command of a Sudanese warlord and former French ally named Moktar Al Tayeb (Kevin Layne). The government has received intel that Al Tayeb he has an even bigger attack planned and they need Adam to help them stop it.

Since they have no idea where Al Tayeb is, Kruger tasks Adam with infiltrating the operation of a powerful drug runner named Victor Pastore (Eric Cantona) who has a close relationship with the terrorist. The not-so-simple job consists of working his way up the ranks and earning Pastore’s trust so that he can find where Al Tayeb is hiding. It gets even more complicated after Adam takes a liking to Pastore’s neglected young son Jonathan (Noé Chabbat).

As the complications mount Dalibert does a good job of keeping the story focused and moving forward at a steady pace. What’s surprising is that he and Lenoir spend a lot of time developing their characters. It’s not especially deep, but we get a good sense of everyone’s position, perspective, and personality. And it all unfolds with a reasonably satisfying amount of suspense. We know Adam is going to make his way up the ladder and that he’ll eventually have to fight. But Dalibert builds and maintains some good tension.

Along the way things are spiced up with several well done action scenes that really lean on Lenoir’s tough-as-nails presence. His look, build, and pure physicality make him an easy sell. Yet there’s something about him that makes his character feel like more than just a meathead. Lenoir brings an internal complexity to Adam that I wish was explored more. Still I like what we get both with the character and the movie as a whole. It turns out to be yet another good international grab for Netflix. “AKA” is streaming now.

VERDICT – 3.5 STARS

Kelly Fremon Craig surprised many with her 2016 feature film debut “The Edge of Seventeen”. The film was a smart, sincere, and funny hit that won over critics and audiences. Now she’s back with “Are You There God? It’s me, Margaret.”, a big screen adaptation of Judy Blume’s award-winning 1970 middle-grade novel of the same name. And what a delightful sophomore effort it is.

As she did before, Craig once again shows an impeccable grasp of her craft both as a writer and a director. It’s abundantly clear through her handling of characters, the pacing of her storytelling, her keen instincts with the camera, her management of tone, and her clear-eyed understanding of her material. She may be only two movies in, but Craig is already a treasure.

This faithful adaptation of Blume’s beloved novel is full of warmth, feeling, and well-placed laughs. It’s also clear-eyed and honest in its examination of a young girl’s quest for self-discovery. Thankfully Craig doesn’t pander to more modern expectations or feel some need to drastically overhaul the source material. But she doesn’t cut corners either. She stays true to the spirit of the book while also creating something pertinent for today. The result is a film that’s sure to resonate with women of all ages.

Much like she did with “The Edge of Seventeen”, Craig amasses an outstanding cast. With “Are You There God?” it all begins with her star, Abby Ryder Fortson. After being dropped by Marvel Studios following two really good “Ant-Man” movie performances (a blessing in disguise), Fortson landed the role of Margaret which she takes on with effervescence and charm. At the same time she also deftly captures a young girl’s awkwardness and angst with a wide-eyed authenticity. It’s tricky material yet Fortson never misses a step. She’s great.

Tagging “Are You There…” as a coming-of-age story seems like a disservice. It’s that and so much more. Much like Blume’s book, Craig’s film looks at growing up through an 11-year-old’s eyes. But it’s also about her deeper relationships with those within her small yet intimate family circle. Margaret is hands-down the story’s protagonist. But much of what makes the film great involves the wonderful collection of supporting characters, specifically Margaret’s mother Barbara (a sublime Rachel McAdams – more on her in a second).

Set in 1970, we first meet 11-year-old Margaret returning home from a fun-filled summer at Camp Minnewaska. But back home she’s broadsided with some surprising news. Her father Herb (a delightful Benny Safdie) has gotten a promotion and their family is moving to New Jersey. Anxious about leaving her friends, her school, and her loving yet aggressively opinionated grandmother Sylvia (Kathy Bates), Margaret reaches out to God, offering up awkwardly sweet petitions like “Please stop this move from happening” or “Please don’t let New Jersey be too horrible.”

Religion played a significant role in Blume’s book and does so in Craig’s film. Margaret lives in an interfaith household – her mother is Christian, her father is Jewish. But Barbara and Herb made a decision to let Margaret figure it out for herself. Her faith-finding journey not only reveals a young girl’s confusion and frustration, but it also unveils some long-standing family tensions which Craig handles with tenderness, empathy, and candor.

But just as much time is put into sorting through the highs, the lows, and the unknowns of girlhood. The story spans one year as Margaret adjusts to a new neighborhood, a new school, and new people. She’s befriended by the snotty and gossipy Nancy (a fantastic Elle Graham) whose lacerating slights are as hilarious as they are insulting (“I live in the bigger house up the street,” she utters without a thought.). Together with pals Gretchen (Katherine Kupferer) and Janie (Amari Price), the four form a secret girls-only club and have hilariously earnest discussions about such topics as cute boys, wearing bras, and getting their periods. Of course everything is perception for these young girls on the cusp of womanhood. They don’t really know what they’re wishing for and that’s what makes their conversations so endearing.

Through it all Margaret keeps conversing with God, wrestling with faith, and sorting through an array of conflicting feelings. Sweet visits with her grandmother bring back the warm comforts of the way things used to be. At the same time she’s growing impatient with her body in her rush to become a woman. It’s such a wonderfully chaotic representation of the whirlwind emotions girls can experience at that stage of their life.

Back to McAdams, is it too early to start my Best Supporting Actress campaign? She gives an award-worthy turn that I was connected to from her very first scene. Perfectly calibrated, she plays more than just a prototypical movie mom who slips in from time to time to offer motherly support. Barbara is a loving parent who McAdams captures with warmth and grace. She’s also suppressing her own vulnerability and insecurities for the sake of supporting her family – something that plays out in a thoughtful compelling side story. It’s a great character and an even better performance.

“Are You There God?…” is a joy-filled straight-shooting feature brimming with heart, humor, honesty, and a broad appeal that makes it a must-see for ANY audience. It never condescends to its younger viewers. It never comes across as mawkish or contrived. And it completely earns its big emotional payoff. It’s energized by the star-making performance from Abby Ryder Fortson and grounded by some of Rachel McAdams’ best work to date. And it all coalesces under the care and craftsmanship of Kelly Fremon Craig, a relatively new filmmaker who has already cemented herself as one of our most exciting voices. “Are You There God? It’s Me, Margaret?” Opens in theaters Friday.

VERDICT – 4.5 STARS

Out of the many Star Wars streaming shows Disney has put out, I’m not sure any have been as well received as the first season of “Andor”. The amount of love it has gotten from both fans and critics has been surprising and (in some cases) suspicious. While some like pretty much anything Star Wars related, there are those who are put out with the franchise and like “Andor” simply because it bucks traditional Star Wars trends. Cynical nonsense aside, what matters most is “Andor” is good – legitimately good and among the best of the franchise’s streaming series.

Without question, “Andor” was quite the gamble for Kathleen Kennedy and the heads at Disney. The character for which the show is named, Cassian Andor (exceptionally played by Diego Luna), first appeared in the 2016 film “Rogue One: A Star Wars Story”. He was hardly a top-tier player in the ‘galaxy far, far away’, so a lot of people were surprised to see him getting his own dedicated streaming series. But like every show thus far, his series doesn’t have a singular focus. It’s not wrapped up in following one character alone. It is just as interested in broadening our understanding of the greater Star Wars universe.

“Andor” certainly gives us a a better picture of Cassian by showing his life leading up to the events of “Rogue One”. But it’s just interested in the tumultuous galaxy around him. Creator and showrunner Tony Gilroy takes us to new places, introduces us to new characters, and offers up new perspectives during the volatile time between “Episode III: Revenge of the Sith” and “Episode IV: A New Hope”. It’s a time when the evil Empire was tightening its grip on planets and peoples. It’s also the time where we see the genesis of a young rebellion. It’s an interesting period made even more compelling thanks to Gilroy’s incredible vision.

“Oppression breeds rebellion.” It’s a line that gets to heart on “Andor”. Gilroy gives us a clear-eyed view of what drives people to rise up and revolt. Poverty, oppression, subjugation – they’re just some of the things we see that plants the first seeds of rebellion. The series also puts a heavy emphasis on the chasm between the ‘haves’ and the ‘have-nots’; between those reaping the benefits of the Empire’s aggression and those being crushed by it. There are fascinating dynamics of all kinds scattered throughout its twelve episodes.

“Andor” starts slow and deliberate and the first couple of episodes may try the patience of those looking for a more traditional Star Wars experience. But from the very start, Gilroy is working towards something and he takes his time getting there. He doesn’t gloss over his world. He wants us to feel a part of it. And he doesn’t just introduce characters. He gives them depth which helps us understand their place in his world. Those are signatures of good storytelling, and they prove to be the backbone of the entire series.

Much of the show’s story is a chain reaction of events leading to its many pieces coming together in a combustible season-ending episode. Early on we spend time with Cassian who’s forced to go on the run after killing two antagonizing security guards on the industrial planet of Morlana One. It catches the attention of Syril Karn (Kyle Soller), an overambitious Deputy Inspector for a corporate trade conglomerate called Preox-Morlana. While Cassian heads to his home planet of Ferrix to cook up an alibi, Syril disobeys the direct order of his superior and begins an aggressive investigation into the two deaths.

Elsewhere we’re introduced to the Imperial Security Bureau, the Empire’s secret police and intelligence agency that’s in the same vein as the KGB and Gestapo. It’s headed by Major Partagaz (an outstanding Anton Lesser) who reports directly to Emperor Palpatine. Rising fast within the ISB ranks is a motivated young supervisor Lieutenant Dedra Meero (Denise Gough). Her keen instincts lead her to suspect that recent heists of Imperial weaponry might be a coordinated effort, potentially by a fledgling rebellion. Convincing her superiors won’t be easy.

Another key player is Senator Mon Mothma (wonderfully played by a returning Genevieve O’Reilly). She works on the political frontlines on the capital planet of Coruscant, slowing down the Emperor’s intensifying power grab the best she can without exposing her opposition to the Empire. Behind the scenes she’s secretly funding the growing rebel efforts, a task that is growing more difficult and that’s even harder to hide.

Then you have the mysterious Luthen Rael, played by the beguiling Stellan Skarsgård. Luthen is a fierce underground orchestrator of the new Rebel Alliance who secretly masquerades as an flamboyant dealer of fine antiquities on Coruscant. He takes a special interest in Cassian, yet throughout the series we never quite know what to make of him. He’s a fascinating presence.

As it progresses the show expands even further. We spend more time on Ferrix where those close to Cassian, including his old flame Bix Caleen (Adria Arjona) and adopted mother Maarva (Fiona Shaw), do their best to evade the suspicious Empire. We go on a heist with Cassian and a group of rebels on the planet Aldhani. Lead by Vel Sartha (Faye Marsay), the mission’s target is an Imperial garrison that houses the bankroll for an entire sector. There’s even a prison storyline where we’re introduced to Kino Loy, played by the indomitable Andy Serkis.

There’s just so much to explore, experience, and unpack in the twelve episodes of “Andor”. While it’s visually captivating on many different levels, it’s really the writing that sets the series apart. The team of Tony Gilroy, his brother Dan Gilroy, Stephen Schiff, and Beau Willimon handle the script duties. Admittedly, as a longtime fan I do like a little more action in my Star Wars. That said, the show’s intense focus on character is both exhilarating and rewarding. And while there may be less action, every episode offers lovers of Star Wars mythology and world-building (like me) so much to chew on.

I could write another ten paragraphs on “Andor”. There’s that much to dig into. What was expected to be a revealing series about a main character from “Rogue One” turned out to be so much more. We definitely do get a clearer picture and better understanding of Cassian Andor. He’s our conduit into the story and the connecting tissue that brings all the show’s moving parts together. But we also see the trials, tribulations, and tragedies of a young rebellion. We see how the growing Empire spreads its power and how people are pushed to point of fighting back. We see oppressive strategies, overzealous ambition, and lust for power. But we also see resilience, heroism, self-sacrifice, and a love for freedom. The clashing ideals and the characters behind them are the meat and potatoes of “Andor” Season 1. Now bring on Season 2.

VERDICT – 4.5 STARS

Ben Affleck hops back into the director’s chair and re-teams with his longtime best friend Matt Damon to share the origin story of Nike’s lucrative Air Jordan basketball shoeline. The appropriately titled “Air” marks the fifth time Affleck has stepped behind the camera and the first time since 2016’s “Live By Night”. While that movie wasn’t exactly well received, it (as with each of his directorial efforts) showed off Affleck’s keen instincts as a filmmaker.

Originally slated to premiere on Amazon’s Prime Video streaming service, Amazon Studios made an exciting move and gave “Air” and exclusive theatrical release. Not a bad decision considering how much people love sports movies. But “Air” isn’t your run-of-the-mill sports movie. It’s more of a corporate story than anything else, but one inseparable from the game of basketball and the from the man many people believe is the greatest player of all-time – Michael Jordan.

“Air” is a biographical sports drama but with a sharp sense of humor. There are some big laughs scattered throughout its rather meaty two-hour runtime. But there’s also heart, some unexpected charm, and a crowd-pleasing feel-good component that’s sure to win people over. There’s some great dialogue (written by Alex Convery) and some terrific on-screen chemistry that’s energized by top-notch performances from an all-around superb cast. And it’s all brought together and ushered along by Affleck’s keen direction.

But while its story is easy to get into and it has no trouble holding your attention, it is weirdly contained. What I mean is, “Air” never really goes beyond the corporate aspect of the story. The signing of Michael Jordan by Nike had a major impact on sports marketing, players, and the culture moving forward. But outside of a brief speech, one phone call, and some post-movie script, there is scarcely any context and these broader implications are mostly unexplored. It’s a narrative choice and there’s nothing wrong with a film having such a laser focus. But so much ripe material is left on the vine.

Another effect (or consequence, depending on how you look at it) of the story’s self-restriction involves the characters. They’re actually really good at fleshing out their corporate world and revealing the corporate processes that led to Nike securing Michael Jordan. As mentioned, there’s some great office chemistry as key players laugh, argue, and wrangle. But unless you already know about the real-life people behind these characters, you won’t know much about them after seeing the film. They’re kept in such a tight box that we don’t get to know any of them outside of their jobs.

That being said, Affleck does a terrific job of sucking us into the fast-moving wheel-and-deal story of a shoe company in need of a big score. It’s 1984 and Nike is far from being the powerhouse it is today. In fact, they were trailing both Converse and Adidas in total market share. Nike was strong when it came to running shoes, but they were lagging behind in basketball. They desperately needed a big name to wear their shoes.

Coming off an annual loss, the pressure was on to energize the struggling basketball division. Enter Sonny Vaccaro (Matt Damon), Nike’s basketball talent scout. Sonny is a little reckless and he’s a gambler by nature, but he knows basketball. He and the marketing team have $250,000 to spend recruiting three young players from this year’s crop of NBA rookies. Names like Barkley and Stockton are on the board. But Sonny locks onto one name – the third pick in the 1984 NBA draft, Michael Jordan. The problem is, Jordan already has his heart set on signing with Adidas.

But Sonny believes in Jordan and crafts a go-for-broke plan. He recommends using their entire $250,000 on one player – an unproven kid from Wilmington, North Carolina who has yet to play a second in the NBA. First he’ll have to convince CEO Phil Knight (Affleck) to go along. Phil was once a risk-taker who went from selling sneakers out of the back of his Plymouth Valiant to co-founding the Oregon-based Nike, Inc. But now he’s beholden to a board of directors after the company went public. Getting him onboard won’t be easy.

Another hurdle is Jordan’s agent David Falk (an overcooked portrayal played by Chris Messina). Falk doesn’t think Nike is a serious player and he already has strong verbal offers from Nike’s competitors. So Sonny takes a gamble. He bypasses Michael’s agent and goes straight to his parents, Deloris (Viola Davis) and James (played by Davis’ real-life husband Julius Tennon), making his case for building a shoeline around their superstar-to-be son.

It’s no surprise that the movie reshapes some of the real-life events and leaves out several details of the true story. But we still get the gist of it, and Affleck makes sure we have fun in the process. The performances are a big reason why. They’re terrific from top to bottom (I haven’t even talked about Jason Bateman as VP of Marketing Rob Strasser and Chris Tucker as Nike executive Howard White – both are great). They all fit nicely with the questionable hair, Members Only jackets, and 80s needle drops. And while the movie certainly could’ve been more, what we get is still pretty enjoyable. “Air” is now showing in theaters ahead of its Prime Video release.

VERDICT – 3.5 STARS

“Acidman” is built around a rather familiar father-daughter story. But director Alex Lehmann uses two stellar lead performances to infuse his modest yet genuinely heartfelt story with warmth and pathos. Co-written by Lehmann and Chris Dowling, “Acidman” premiered at the 2022 Tribeca Film Festival and is now set for its official release. Fans of intimate indies will certainly want to check this one out.

This earnest and thoughtful two-hander is driven by the sublime duo of Dianna Agron and Thomas Haden Church. Agron plays Maggie, a young woman who tracks and then travels 2,000 miles to check on her estranged father Lloyd (Church). She also has some important news to share – news that she’s struggling to come to grips with. In her mind she feels that reconnecting with her father will in some way give her clarity she desperately needs.

Lloyd (flawlessly played by Church) is a former engineer turned conspiracy theorist who lives alone with his German short-haired pointer named Migo way up in the mountains in the middle of nowhere. These days he spends his time shooting video of what he believes are UFOs and working on ways to communicate with the extraterrestrial visitors during their “interplanetary drive-bys“. His unusual beliefs have led to him being dubbed “Acidman” by some local delinquents from the nearest town.

Most of what we learn about both Maggie and Lloyd comes through their conversations and interactions with each other. As father and daughter attempt to reconnect it provides us with a clearer picture of their lives, their emotions, and (in some cases) their motivations. We learn that Lloyd also has a son named Bucky; that there’s some tension between Maggie and her husband Ben, and that Maggie is worried about her father’s health – a concern that proves justified the more time we spend with them.

Again, this isn’t the first movie to deal with fractured families or lost souls. “Acidman” joins a long line of intimate character-driven dramas with similar interests. But the authenticity of its central relationship and the textured chemistry we witness draws us in. And there are enough variations to each of their personal journeys, as well as a compelling connecting tissue between father and daughter, that set it apart.

“Acidman” could have opened up its characters a bit more and gave a deeper insight into to what brought Maggie and Lloyd to the places they are now. But it’s hard to fuss too much about Lehmann’s choices. He shows good instincts in giving his two leads plenty of room to work. And he and Dowling put together a script that maintains a steady focus while packing some real feeling within its relatively small frame. “Acidman” is now showing in select theaters and on VOD.

VERDICT – 3.5 STARS

I’ve always had a soft spot for dense talky thrillers. When done well they highlight good screenwriting while giving actors the dramatic material to burrow deep into their characters. And when combined with the right director, able actors, and strong script, a simple conversation in a restaurant can be as tense and engrossing as any well-done nail-biting action sequence.

Based on the book by Olen Steinhauer, “All the Old Knives” delivers that kind of dialogue-heavy experience but with a strong romantic underpinning that sets it apart. Steinhauer, who also wrote the screenplay, teams with director Janus Metz and a lights-out cast to craft a heady and intelligent cloak-and-dagger mystery steeped in governmental intrigue, deep-rooted espionage, and betrayal.

The movie opens up in 2012 Vienna, with a room of stunned CIA agents getting word that hijackers have killed every passenger and crew member aboard Turkish Alliance flight 127. A shocking 120 men, woman, and children murdered inside the plane as it sat on the tarmac of Vienna’s international airport. The events of Flight 127 loom over the rest of the story like a dark ominous cloud.

Jump ahead eight years. Langley has reopened the investigation into flight 127 following the capture of a terrorist who was involved in the planning of the hijacking. He’s made a claim that the terrorists had help from inside the CIA’s Vienna station. CIA Chief Vick Wallinger (Laurence Fishburne), who was head of the CIA operation in Vienna, is tasked with combing over his old team to find out if they had a mole in their midst. He calls in case officer Henry Pelham (Chris Pine), a trusted agent who was also in Vienna eight years earlier. Vick sends Henry to discover the truth so they can finally close the books on Flight 127.

Before anything else, there are two former colleagues Henry will need to rule out first. Bill Compton (Jonathan Pryce), the Vienna station’s second in command now residing in London. And Celia Harrison (Thandiwe Newton), a wife and mother of two and Henry’s former lover. Both were key members of the Vienna team and both are potential suspects. From there the movie follows Henry’s meetings with Bill and Celia, hopping back and forth on the timeline as they each try and recall the events of that traumatic day.

The movie looks like a spy thriller, sounds like a spy thriller, and mostly plays like a spy thriller. But when it comes to mystery and truth-digging, it’s just as much about the core relationship between Pine’s Henry and Newton’s Celia. As the truth about Flight 127 is slowly unearthed, so are the details of their steamy romance which all but ended the day of the massacre. Metz and Steinhauer do a stellar job weaving together both threads of their story while bouncing back-and-forth from the past to present day. And pacing is everything in a slow-boil like this. “All the Old Knives” is definitely slow, but Pedersen keeps it at a steady boil.

Overall this is a fun and engrossing throwback thriller that’s a far cry from the more action-packed showy side of spy movies. It mines it’s tension from the emotions and intensity of its characters which lets the performances really shine. The cast sinks their teeth into this cerebral and tightly wound story which keeps us guessing right up to its solid payoff. It might not play as well for the more action-hungry crowd. But any fan of rich, layered, dialogue-driven thrillers will enjoy what “All the Old Knives” has to offer. “All the Old Knives” is streaming now on Amazon Prime.

VERDICT – 4 STARS