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His every move and expression is a gut punch. What keeps us invested in Cameron’s plight, though, is Ali. Too bad, the screenplay raises intriguing modern concerns about tampering with the natural rhythms of life, but then just grazes over them. “Swan Song ” is less interested in science than the tear jerking, a task it performs with diligence. It’s an intriguing premise that doesn’t always capitalize on its promise. How? By having a replicant taking his place and never revealing his health condition. In writer/director Benjamin Cleary’s grave, futuristic drama, terminally ill Cameron (Oakland native Mahershala Ali) gets presented with a groundbreaking opportunity that could spare his unsuspecting wife (Naomie Harris) and son (Dax Rey) from grief and loss. “Swan Song”: The ethical conundrums raised over scientific advancements make juicy fodder for sci-fi. Details: 3½ stars available now on Netflix. “God” is lovely, poetic and bursting with love, tears, hope and pain. He also found a terrific young actor to play the football-loving, sexually curious Fabietto - his alter ego - a sweet kid who learns that life can be absolutely joyous and very unkind. Sorrentino shifts from comedy to tragedy in an instant - just as life does - and it’s a powerful change. “God” is all the better for it, robust, alive and populated with a rich group of colorful eccentrics, including a grouchy grandma who wears her beloved fur coat even when it’s sizzling outside. “The Hand of God”: While Kenneth Branagh went the more romanticized nostalgic route in reflecting his youthful past (“Belfast”), Oscar-winning director Paolo Sorrentino’s storytelling is messier and more passionate in this tragic-comic remembrance of his pivotal late teen years. Details: 3½ stars out of 4 in theaters Dec. That’s a good thing since del Toro leaves us with a satisfying but cruel parable on greed and comeuppance. As in the novel, there’s not one compassionate soul worth saving in this entire depraved bunch.
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Stanton, though, meets his match in a wicked psychiatrist (Blanchett, putting the fatale in the femme). He falls (sort of) for a sideshow attraction (Mara) and they venture to swindle the rich in New York. He flees a crime and a jagged past by joining a carnival where he proceeds to filch the tricks of the trade from those around him. Cooper excels as Stanton, a slithery opportunist whose looks do him countless favors but whose smarts land him in trouble. With a cast to die for - Bradley Cooper, Cate Blanchett, Richard Jenkins, Rooney Mara, Toni Collette and more - del Toro’s ‘30s- and ’40s-era noir deep plunge is an atmospheric beauty, a sensory experience of supreme technical and period-appropriate polish. “Nightmare Alley”: Hucksters, creeps, sociopaths and a few murderers inflict terrible harm on each other in Guillermo del Toro’s hypnotic adaptation of William Lindsay Gresham’s 1946 novel about a traveling carnival from hell. Meanwhile, other highlights this week include the diabolical film noir “Nightmare Alley,” the anti-hero dark comedy “Red Rocket” with an outstanding Simon Rex, a Mahershala Ali tearjerker and two dynamite Netflix releases: “The Lost Daughter” and “The Hand of God.” Ticket sales are off the charts for Tom Holland’s return in “Spider-Man: Far From Home,” opening Dec. It’s looking like Peter Parker might help give the box office the jolt it needs, after last week’s listless opening for “West Side Story.” New movies: 'Nightmare Alley' is beautifully depraved Close Menu