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The British playwright Alan Bennett once remarked that people are more interesting when they are trying to be good than when they are being bad. That's certainly true of Menashe, a recently widowed Orthodox Jew struggling to raise his young son alone in a Hasidic enclave of Borough Park, Brooklyn. Though he can be a religious dogmatist when it comes to others, Menashe errs abundantly himself and complains routinely in Rodney Dangerfield mode, which sounds funnier in Yiddish.

"Why choose to be unhappy?"

Gabrielle (Marion Cotillard), the protagonist of From the Land of the Moon, addresses that question to the man who's agreed to marry her. But it might just as well be directed to Gabrielle herself, or to veteran French writer-director Nicole Garcia, because both sink into sorrow as if it were a feather bed.

Set in the days leading up to the fall of the Berlin Wall, Atomic Blonde takes place in an underworld where the Cold War is over but the conflict continues, like the throbbing of a vestigial limb. In that respect—and perhaps that respect only—it belongs to the tradition of post-war thrillers like Carol Reed's The Third Man or Andrzej Wajda's Ashes and Diamonds, where danger and intrigue exist where they shouldn't and the players involved are enmeshed in self-doubt and crippling mission drift.

In a bucolic valley nestled in Romania's Carpathian mountains, herds of sheep graze the hillsides. Then, suddenly, all hell breaks loose.

Volleys of live artillery fire thunder across a wide hollow. Stryker fighting vehicles charge down a hillside as troops in camouflage brandish automatic rifles as they scramble through tall grasses.

Copyright 2017 90.5 WESA. To see more, visit 90.5 WESA.

Copyright 2017 Kansas Public Radio. To see more, visit Kansas Public Radio.

Copyright 2017 NPR. To see more, visit http://www.npr.org/.

Copyright 2017 NPR. To see more, visit http://www.npr.org/.

Copyright 2017 NPR. To see more, visit http://www.npr.org/.

Copyright 2017 KUOW. To see more, visit KUOW.

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