Dahomey – 7

A meditation/symposium on the subject of art repatriation, in this case from France’s Musee du Quai Branly to the Republic of Benin, not to be confused with the Kingdom of Benin from which the British looted art in 1897, five years after the French appropriated the objects at issue here from the Kingdom of Dahomey (renamed “Benin” in 1975). Director Mati Diop gives a voice to Object 26 then raises multiple issues through a discussion of university students. She offers no answers but expands our understanding with sympathetic portrayals of the Beninese people.

Blitz – 6

Steve McQueen is an admirable writer-director of historical race-based dramas, and this film. is no exception. Unfortunately, it is easier to admire than to connect with, as bland characters and an unfocused story don’t measure up to the special effects and crowd scenes of London in the blitz. Young George reenacts “Lassie Come Home,” but his increasingly improbable exploits sap emotion from his eventual reunion with Saoirse Ronan, whose side-story of official insensitivity or incompetence under wartime stress goes nowhere.

A Real Pain – 7.8

Writer/director/actor Jesse Eisenberg has crafted a charming short story of two cousins on a Holocaust tour of Poland, not a minute too long or too short. Unfortunately for one’s viewing pleasure, Kieran Culkin’s neurotic, or “unfiltered,” character is a real pain, albeit not the one alluded to in the film’s title (or is it?). Hearing Eisenberg interviewed by Roger Durling gave me additional appreciation for Eisenberg’s restraint in filming a concentration camp, his use of Chopin for the soundtrack, and his carefully calibrated mix of humor and anguish. This very “indie” film reinforced my theory that the film industry can survive, and thrive, with a new economic model. And blessedly, no one smoked a cigarette in the movie, just a little weed.

Road Diary: Bruce Springsteen & E Street Band – 7

I love Bruce, his band, his music, his performances, but there was nothing new in this documentary about his latest tour. I would have learned what his producer Jon Landau looked like if I hadn’t just had dinner with him last month in New York.

Oh, Mary!

The curtain opened and hilarity ensued. And ensued and ensued. Historical inaccuracy and period costumes added a patina to the comedy that made the farce engaging. The actors, especially Conrad Ricamora as “Mary’s Husband,” were so good and the action so bawdy that there wasn’t a moment or scene that wasn’t funny, but Cole Escola gave the performance of a lifetime, topped only by their after-show cabaret act. Oh, Mary!

Anora – 7.5

A directorial tour de force from Sean Baker, this tale of an erotic dancer caught up with a Russian oligarch’s son trafficked in extreme after extreme without losing touch with reality and very funny moments without descending to farce. It was, however, rather longer than necessary: the opening act of excess carried on well after we got the point and well before the looked-for conflict arose. Fine acting all around and good, gritty setting.

Conclave – 6.5

Visually sumptuous–those cardinals’ robes plus the Sistine Chapel!–but the story and characters never grabbed me. Ralph Fiennes was all anguish and emotion, making me long for Anthony Hopkins. John Lithgow, Stanley Tucci and comparable Italian and African(?) stars just made me wonder what they were doing at the Vatican. The plot, too, was cardboard thin, drama I couldn’t care about and an ending that was fun, but not particularly deserved. The idea that the cardinals were “sequestered” seemed to mean that Fiennes could look for the outside information he wanted, but not the rest.

Didi – 5.5

A well made movie about the awkward moments of ninth grade from the perspective of a first-generation Chinese immigrant. Unfortunately, the ninth grader at the center of everything, a surrogate for the director Sean Wang, is neither charming nor interesting, so the viewer emotional involvement is missing. And ninth grade, after all, holds only so much interest.

Janet Planet – 5.5

As with her (much better) plays, Annie Baker’s film debut consists of people talking, and figuring themselves out. Unfortunately, all they talk about is their relationships, none of which are that interesting. This is sort of an Inside Out 2 but with sort of grownups.

Inside Out 2 – 6

Our 7-year-old granddaughter said she enjoyed it, although the jokes were coming faster than we could easily catch. I think I liked the first film better, but that may be because the early teenage years just aren’t fun for anyone.