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Heller (Rami Malek) is an a codebreaker and analyst for the CIA, but, when his wife (Rachel Brosnahan) is killed by a group of international terrorists in London, the desire to trade his desk jockey job for field operative to settle the score becomes real. Unsupported by his superiors, finding a way to bring the group down will take every trick in the book to outsmart them all, but at what cost? Written by Ken Nolan, Gary Spinelli, and Robert Littell and Directed by James Hawes this perfectly milquetoast thriller works like a paint by numbers script of Mr. Robot crossed with Jason Bourne, which is to say cyber espionage with timid wit in the face of dichotomic spy action, bullet dodging and car chasing has never been so right down the fairway, until now. In fact there’s something to be said for a good ol’ late 90’s spy/tech/thriller, it’s just too bad that the boundaries weren’t pushed further, the “surprises” weren’t better concealed, and the archetypes so predictable. Further, starting with a lag in Act I, while character building, the overall story doesn’t hook us to invest heavily or sufficiently in the characters. Instead we’re left to let the dirge roll out and overstay its welcome, coming in at two hours and three minutes of runtime, a swifter editor’s knife could have improved the pacing and urgency to drive the film forward. The Amateur is rated PG-13.

When an eccentric but benign habitant of Wallis Island, Charles (Tim Key), manages to book his favorite musical act McGwyer Mortimer, to play an exclusive show on the island it would seem his dreams have come true. But, for artists Herb McGwyer (Tom Basden) and Nell Mortimer (Carey Mulligan) the booking may prove to be too much for their respective hearts and minds considering the two have been separated for years. Now with thousands of British pounds on the line each must attempt to put aside their differences in order to play the gig, but is it all too much, and what’s truly motivating all involved? Written by Tom Basden and Tim Key and Directed by James Griffiths, this entirely endearing British comedy lobs a nonstop barrage of dad joke quality one liners from stem to stern bringing the overall comedic water temperature to a roiling simmer with occasional boils. But the film’s heart is what counts in this soul searching gem for tortured artists and those who let a certain special catch get away. For all of its witty dialogue, the film’s strongest moments come with complete silence and vulnerability to provide a surprisingly emotional journey for the viewer; reminding us that not all films need to have massive budgets, special effects, and big names attached in order to leave a lasting impression. Rather, the power of this smaller budget gem is in its overall spirit, essence, and honest storytelling ability to make it the winner you didn’t see coming. Worth the hour and forty minutes of your time, The Ballad of Wallis Island is rated PG-13.

Elliot (Paul Rudd) is Legal council to a pharmaceutical CEO, Odell (Richard E. Grant), who’s health is in steady decline. So, when a weekend visit at Odell’s family estate is scheduled to discuss succession and legal matters it would appear everything is on the up and up. But, prior to their arrival, Elliot and his daughter Ridley (Jenna Ortega) have had the unfortunate and tragic experience of accidentally hitting a unicorn standing in the road with their rental car; but, killing the magical beast could have ramifications much worse than either would have imagined. Following the tales and tapestries uncovered from medieval times, Ridley and Elliot find themselves caught up in a wrestle between the magical and the entitled, a crisis that can only be solved with entrails and blood, hold on to your hat, the unicorn retribution is about to begin.Written and Directed by Alex Scharfman this dark comedy doesn’t aim to innovate the concepts surrounding the classic monster revenge genre; but instead plays out in straightforward and expected fashion yet having a blast all the while. Quick witted jabs and gags keep the chuckles bubbling as the splatter fest rolls on, albeit, we’re not talking full on knee slapper or awards for most creative death sequences, but the basic premise is fun and the ensemble carries the weight well. In particular the underplayed and common man conscience of Anthony Carrigan’s Griff, the family butler/servant, steals much of the show with his balanced doe eyed seething rage, well done. Plus with a runtime of one hour and forty seven minutes, welcomes are pushed but not overstayed. Looking for your offbeat counter-programming to March madness, Death of a Unicorn might just fit the bill, rated R.