Movie Nation

Interns get to meet a volcano via their ranger supervisor in this travelogue with dramatic elements. The novelty in this scenic tale is the fact that it was shot with an erupting volcano — lava flows, the works — right behind the actors for many scenes.

The samples of dialogue suggest that maybe getting the shot and getting out of danger was a bigger priority than nailing the lines, or asking for quick re-writes of the clunkier ones.

In eptember, we’ll see if the trailer is teasing a better movie than this.

The laughs are cute and spare in the Swiss comedy “Golden Years,” a movie more interested in looking at what the novelist Tom Robbins said was the “ONLY” question in life worth asking — “How to make love stay.”

Are we entering an evolutionary change in the nature of marriage and “life partnership,” thanks to people living longer, with more access to more distractions — human and otherwise — even in life’s twilight?

“Will it go along like this until the end,” our frustrated heroine, Alice, asks her disinterested husband of 42 years, Peter? She can’t be the only one wondering this.

Peter (Stefan Kurt) retires, gets a pink balloon and a giant jug of cheap bourbon at the office and a congratulatory party at home. He seems all set to settle in to this new place in life.

But jazzercising free spirit Alice (Esther Gemsch) is more excited for the Mediterranean cruise their two adult children have bought for them. Peter wants to give it back, but Alice won’t hear of it.

Then their dear friend Magali (Elvira Plüss) dies in Alice’s arms on a hike. Alice is crushed. Peter is upset. And his solution for newly widowed Heinz’s (Ueli Jäggi) despair is to invite him on their “romantic” cruise.

Alice’s dismay is obvious from the first, and will only grow after they board and set sail. The fact that their children (Isabelle Barth and Martin Vischer) are in a troubled marriage and deep into a Tinder addiction respectively troubles her. And as Magali’s last words were for her to fetch “letters” from her nightstand, evidence of a years-long affair with in neighboring France gets Alice wondering about other ways to live the rest of her life.

Director Barbara Kulcsar takes her time setting up the contrasts — Peter’s life-extending exercise/vegetarian lifestyle vs. Alice’s “I’m only 65. I’m not 90 YET” (in German with English subtitles) fury at his disinterest — and takes more time pointing the picture in the direction we’ve known it would go from the moment we see the letters and that they have a French return address on them.

Our filmmakers tease the same sex lifestyle options and how attractive those might look to people whose sexual ardor has cooled, or is ripe for a “something different” revival.

“Golden Years” is a romantic comedy with questions and perhaps a very modern “answer” to that “Will it go on like this until the end?” challenge. But even though it’s well-acted, scenic and charming enough, perhaps finding a few more laughs should have been a higher priority.

Rating: 16+, adult themes and situations

Cast: Esther Gemsch, Stefan Kurt, Ueli Jäggi, Gundi Ellert and Elvira Plüss

Credits: Directed by Barbara Kulcsar, scripted by Petra Biondina Volpe. A Music Box release on Amazon Prime.

Running time: 1:32

A mercenary mission goes wrong, very wrong, in this Sept. 20 thriller from the director of “Assassin’s Bullet.”

Rhona Mitra also stars.

An Oscar-winner-adorned series coming to Apple TV+, “Disclaimer” is about journalistic unmasking of revered institutions. In addition to Oscar winners Cate Blanchett and Kevin Kline, Sacha Baron Cohen, Lesley Manville and Kodi Smit-McPhee also star in Alfonso Cuaron’s adaptation of a Renee Knight novel.

Oct. 11.

If you didn’t live through the ’70s, you can still pick up a pretty good idea of what the decade looked and felt like through the movies released and set then.

The working class grime, paranoia and diminished expectations wasn’t just a feature of urban thrillers such as “Three Days of the Condor.” You can feel it in “Alice Doesn’t Live Here Anymore” just as much as you can in “Mean Streets” or “One Flew Over the Cuckoo’s Nest.”

Looking back on all the grey-sky classics of the day, it could feel like the prevailing season was fall into winter, the mood of the nation was cynicism and a different breed of movie stars were our voices for that loss of faith.

You can hear paranoia in the overheard whispers captured on tape in “The Conversation,” and the distraction that thumping disco pumped into “Saturday Night Fever.”

But you can smell 1973 in “The Last Detail” — cheap stogeys and Schlitz, dank taxis running on leaded gas, smoke-filled rail cars and down-market brothels, simple burger-with-onion diner fare and sailors in salty pea coats, shivering on liberty between “orders” to board a new ship.

Hal Ashby’s film — a Robert Towne script adapted from Darryl Ponsican’s novel — is rightly regarded as one of the movies that made Jack Nicholson “JACK Nicholson.” The sarcastic cynic, amusing blowhard and bluff, even bullying everyman at war with his times and his station in life was a vital part of the Nicholson brand.

He’d been a dopey grown-ass-dropout in “Easy Rider,” a pianist from privilege who rejects that upbringing in “Five Easy Pieces,” the stable and responsible sibling of “The King of Marvin Gardens” and a sexual revolutionary who doesn’t know there’s a war on in “Carnal Knowlege.”

In this sentimental service comedy that plays as tragedy, he’s a Naval chief petty officer all but adrift on the land — waiting for a ship –in a Vietnam War era film that barely mentions Vietnam.

What’s striking about “The Last Detail” 50 years later isn’t the “service comedy” tropes — boozing up New York and chasing skirts on “liberty” (leave), a near meltdown in a D.C. bar and a brawl with Marines — but the easy camraderie that’s been one of Nicholson’s gifts.

He’d play loners, Lotharios, amusingly manipulative jerks, brooding artists and head-cases. But for his era, he came to embody an idea of a man among men, a hale fellow of sorts. He settles into this Naval milieu, a CPO assigned to the company of two strangers, as easily as he mastered the fox in the mental ward henhouse of “One Flew Over the Cuckoo’s Nest,” the veteran detective/cock-of-the-walk of “Chinatown” or a horse thief trying to stay alive in “The Missouri Breaks.”

Ensembles just formed around Nicholson, and larger-than-life or not, in his best pictures, there’s plenty of room for others to shine in his magnanimous company.

Buddusky is just one of the petty officers assigned to wear the SP (shore patrol) arm band and side-arm required to escort a sailor who has been convicted of a crime to Portsmouth Naval Prison in Maine. His partner “chaser” on this “s–t detail” is Mulhall. And once Buddosky gets past his teasing mispronunciations — “Mulehead…Mule House” — they’re practically old shipmates, each at ease in their shared rank and not thrilled about their shared duty and shared contempt for “The Old Man” in charge of their corner of Naval Station Norfolk (Va.).

That’s significant because the Navy was just a couple of decades into true integration. And while the bluff Master at Arms (Clifton James, who played a good ol’boy sheriff in a couple of James Bond films of the day) might default to putting Buddusky in charge, he barely acts like it, always treating the more sensible, by-the-book and Black Mulhall (Otis Young) as an equal, with the odd “shine” joke never meant to jab.

In a different era, Young — terrific, testy, droll and wholly empathatic — might have enjoyed a much bigger career based on this performance.

“I don’t know what I would’a done without the Navy,” the Louisana native Mulhall declares. We, like Buddusky, get it. Getting out of Louisiana was the thing the service offered.

Young holds his own with Nicholson, and the “star” shares the spotlight like a movie icon just now realizing he’s made it and feeling generous.

Randy Quaid benefits from this as well. As the 18 year-old pathological shoplifter facing eight years in the brig, Quaid leans into tall, wide-eyed and dumb so hard it’s no wonder that first Buddusky and then Mulhall soften towards him and decide to make this last few days of freedom memorable.

They’ll stretch a two-day trip to the fully-allotted five they’re allowed to get Meadows from Norfolk to Richmond, Washington, New York, Boston and then Portsmouth.

They’ll have the luxury of missing a train or a bus, holing up in cheap per diem hotels, drinking Schlitz from a can and PBR out of the old fat bottles, watching black and white movies on TV and taking their sweet time.

“Is your word worth anything,” Buddusky wants to know of the kid? Can he take off the handcuffs, treat him like a shipmate and not embarass him in transit? Maybe. Maybe not.

But as Buddusky’s efforts to give this boy a taste of the world before he’s locked out of it for eight years extend to threatening a D.C. barman  reluctant to serve Mulhall who will flatly NOT serve an underage sailor, and finding Meadows “a woman,” Mulhall recognizes the threat to both their careers, long time service be damned.

“I consider myself in jeopardy with you, man, understand? In jeopardy. This ain’t no farewell party an’ he ain’t retirin’. Understand? He’s a prisoner an’ we’re takin’ ‘im to the jailhouse. An’ you have a tendency to forget that. You’re a menace, man.” 

How much of a menace and just how much “jeopardy” is what “The Last Detail” is about.

Director Ashby had “Harold & Maude” behind him, “Shampoo” and “Being There” ahead of him, as well as drug addiction that would kill him and seriously damage his reputation. Some of us learned the hard way not to mention his name in front of “Jinxed” star Bette Midler.

The upper class fustiness Ashby upended in “Harold & Maude,” the gauche and shallow sexual commerce of Hollywood of “Shampoo” and the hollow gravitas of the old men running Washington of “Being There” is joined by a post-60s “Detail” America where the youth are into chanting cults (“SNL” legend Gilda Radner and “Carrie/Dressed to Kill/Blowout” star Nancy Allen among them), hippies quizzing servicemen about Vietnam and a working class that, in or out of uniform, could be cohesive or at odds if the wrong buttons are punched.

There’s a quirky absurdity to Ashby’s best films balanced with a keen eye for humanity at that moment. His Woody Guthrie biopic “Bound for Glory” was a misfire, if sweet and well-intentioned. Some filmmakers aren’t great at period pieces or capturing larger than life figures and events.

Here, he’s just another top director of his era whose reputation is further burnished by capturing Nicholson at his peak.

The film’s jaunty, Naval anthem-laced Johnny Mandel score (“Anchor’s Aweigh,” etc.) belies the darkness of this odyssey. The weight of what they’re doing wears on Buddusky and Mulhall, and the actors playing them. They realize, as we do, that this harsh judgement has fallen upon a barely-shaving kid, somebody even viewers back then would have recognized as needing psychological help, not hard time under the thumb of Marine “grunts.”

The simmering sentimentality allows us to assume we’re about to meet the “Hooker with a Heart of Gold” when Carol Kane — in her first attention-grabbing role — shows up as the New York sex worker about to teach “the kid” about the birds and the bees.

But the jaded screenwriter Towne — best known for “Chinatown” — would never let the not-as-cynical Ashby get away with that, even if he gave Nicholson’s Buddusky the film’s most humanizing line for just this moment.

“They got feelings just like everybody else, kid.”

Rating: R, violence, nudity, sex, pot use and alcohol abuse, profanity

Cast: Jack Nicholson, Otis Young, Randy Quaid, Michael Moriarty, Clifton James and Carol Kane.

Credits: Directed by Hal Ashby, scripted by Robert Towne, based on a novel by Darryl Ponsican. A Columbia Pictures release on Tubi, Amazon, etc.

Running time: 1:44

Saban sent this “trailer,” which is actually a sample scene — “garage ambush.”

They’re probably in a rush, seeing as how “Duchess” is sneaking into release Friday.

Colm Meany is in the cast, Charlotte Kirk has the title role. Neil Marshall (“The Descent,””Centurion,” the 2019 “Hellboy”) directed and co-wrote the script with Kirk and another writer.

For anyone who’s wondered if the over-extended, over-exposed Kevin Hart has “stopped trying,” it’s worth catching up with “Me Time,” an earlier stop on his Netflix content train that’s back on the streamer.

It pairs up Mr. Buddy Picture (“Ride Along,” etc.) with Mark Wahlberg (“The Other Guys”), no stranger to the comedy genre himself. The farce was written and directed by John Hamburg, whose “buddy” credits go back to “Safe Men” (1998) and include ” I Love You Man.”

And it doesn’t work. It should have, but it doesn’t, despite Hart’s best efforts.

His many pratfalls, frantic in his over-reactions to everything that goes wrong for a stay-at-home-dad (“Housewife”) trying to motivate and raise two children, keep a high-flying architect wife (Regina Hall) happy, volunteer at school and catch up with his former bestie Huck (Wahlberg) during an epic “Big 44” birthday party built to resemble a near-actual-size Burning Man/Coachella Festival pretty much comes to naught.

“HuckCHELLA!”

Wahlberg goes as over-the-top as he thinks this comedy, which also throws in Jimmy O. Yang as a loan shark, a digital mountain lion and its cub, a babysitter who turns out to be a stripper and John Amos as a grumpy father-in-law, requires. No dice.

There’s barely a laugh in it, most of them provided by musical interludes –Hart, playing a guy who gave up his music dream, duets with Seal, and Hart, as a micro-managing school talent show organizer, keeps rejecting an elementary schooler who delivers increasingly heartbreaking versions of Leonard Cohen’s iconic “Halleluhah.”

But that’s it.

Ducking Huck’s “come celebrate with me” calls until his distracted wife insists he get some “me time,” stumbling into Huck and friends skinny-dipping, riding the Huck party bus into the desert with a gang of unfunny strangers, figuring out Huck’s money troubles — the hard way — and trying to “grow” through all this as his wife may be falling for a rich “tooth fairy” dental care guru (Luis Gerardo Méndez), trying to get revenge in the “chess match” with that very unfunny guru, almost none of it merits so much as a smirk.

And when you give your all to something that was probably never going to work thanks to the script, “stop trying” can’t help but cross your mind. If only Hart had taken this as a sign that he needs to stop taking every Netflix/Amazon Prime offer and focus on finding good projects and making them funnier instead of taking the cash and phoning it in.

Rating: R, substance abuse, nudity and profanity

Cast: Kevin Hart, Mark Wahlberg, Regina Hall, Jimmy O. Yang, Ilia Isorelýs Paulino, Anna Maria Horsford and John Amos

Credits: Scripted and directed by John Hamburg. A Netflix release.

Running time: 1:41

The King of Kvetchers flies to Ireland to mix with Mr. “Fer Feck’s Sake” in this comedy about extended family, estranged family and the need to have a will.

That’s a fun pairing, any way you slice it.

Quiver has this Oct. 4 release, which also stars Jane Levy.

The German army earned its nickname “bloody Huns” in the opening weeks of World War I. Their atrocities — slaughtering civilians, razing villages and towns — in 1914 Flanders and Wallonia instantly marked them as new barbarians, modern Huns, and that stain lasted through two world wars.

“The Last Front” is a sturdy, sentimental, WWI story of a Flanders town in those early weeks.

A farmer sees his son and daughter shot down by invaders led by a drunken sociopath whose commanding officer indulges his blood lust, with only the mildest of reproaches.That commanding officer is the German lieutenant’s father.

No, it’s not a subtle film. Nor were the Germans, it’s worth remembering. But it’s handsomely mounted and well-acted, and reaches a fine if far-fetched action climax. Not that the climax is the first time we’ve thought “Well, this is a bit much.”

Iain Glen of “Game of Thrones” and “Operation Napoleon” is our hero farmer, Leonard, a man of the land still haunted by memories of his late wife, trying to keep their blond Adonis son Adrien (James Downie) from marrying above his station, as he did.

The fetching doctor’s daughter Louise (Sasha Luss) makes that quite the challenge. Fortunately, Leonard can count on younger daughter Joanna (Emma Dupont) to reveal how serious they are.

“If you love her you’ll let her go.”

But all that, and Louise’s family’s (Koen De Bouw, Caroline Stas) disapproval, tumbles into insignificance when the Germans pour into neutral Belgium as part of the Schlieffen Plan to flank the French and British and knock them out at the start of hostilities.

Among the “women and children” murderers, Lt. Laurentz Von Rauch (Joe Anderson of TV’s “Hannibal”) has to be one of the worst. A hot-tempered drunk, he initiates reprisals for every man in his company killed, often pulling the luger trigger himself.

He’s allowed to do this by his slow-to-act baronial commanding officer (Philippe Brenninkmeyer), the only father in the German army to let his son point his pistol at him during his drunken tirades.

Time and again we hear the baron make this or that threat, and never rein in the son who keeps insisting “I am NOT a monster!” The dead give-away that the son is a monster is his protest that he isn’t.

Every encounter with a Belgian is fraught with lots of luger-waving menace, none of it restrained by Kapitan Dad. That’s how the occupation of Leonard’s farm goes wrong. Laurenz seizes the younger daughter, the son fights him over this and both of Leonard’s children get shot.

It’s to first time feature director and co-writer Julien Hayet-Kerknawi’s credit that as much as his film depends on archetypes and a simple “revenge” plot, he doesn’t let it be limited by either of those. Leonard is more distraught than consumed with rage. He’s not a superhero, a super soldier or even a farmer with “special skills.” He’s not a particularly good shot, for instance.

But when the village priest (David Calder) entrusts Leonard with getting the townspeople across the French border, he must act. And as he does, vengeance enters into the story. And how.

The villainy here may be historically defensible, but that doesn’t mean it isn’t cinematically over-the-top. If our villain bothered to shave, he’d be pretty much twirling his mustache between deranged slaughters.

There are entirely too many pauses for poetic reveries for the picture to have the pace it needs. This was a chaotic, panic-stricken place and time, with the Germans in a rush to win the war before anybody gave a thought to digging a trench, the Belgians fighting back, the Allies struggling to respond to this mortal threat on their left flank and helpless civilians trapped in the middle.

The Germans become obsessed with “The Resistance,” as if they’re thinking one war ahead (nobody would have been using that term in the late summer of 1914).

And every time Father Von Rauch fails to stop his psychotic son, I was almost taken out of the picture.

But Glen is a magnificent presence who holds the melodramatic elements together, no matter how far-fetched they get. Anderson is perfectly loathsome as his opposite number, and the mad scramble of the action scenes work.

If you’re one of those film fans who will watch any movie about The Great War you’ll probably be more forgiving of “The Last Front,” which takes its title from a cumbersome aphorism about civilians in a war zone. But if you’re not and you roll your eyes at it, no one should argue that you have a point.

Rating: unrated, graphic violence, some profanity

Cast: Iain Glen, Sasha Luss, Joe Anderson, Philippe Brenninkmeyer, Koen De Bouw
Leander Vyvey, David Calder and James Downie

Credits: Directed by Julien Hayet-Kerknawi, scripted by Julien Hayet-Kerknawi and Kate Wood. An Enigma release.

Running time: 1:38

This Nora Fingscheidt film is based on Amy Lipsot’s poetic coming-through-the-other-side memoir.

Awards season, here we come!