Writer/director Alex Garland likes to present audiences with extinction level disaster, from the zombie apocalypse “28 Days Later” to the investigate-the-anomaly “Annihilation” and the AI-can- outsmart-us “Ex Machina.” In all of them, though, the story is not the causes or consequences of the unconquerable threats; it is us, and the way we respond to them. There is no zombie as terrifying in “28 Days Later” as the humans who betray one another.

“Civil War” is not about the issues or personalities that caused three states to declare war on the rest of the US. We learn in the first moments that two of the states are, in today’s politics, majority far-right Texas and Florida and far-left California (with strong opposite-leaning parts of the states), so there are no easy conclusions to draw. This movie is about the journalists covering the war by bringing cameras into the battles, being present as proxy, never making themselves part of the story by inserting themselves into even the most disturbing and potentially preventable carnage. The most important comment in the film, from a veteran war photographer to a 23-year-old newcomer is, “We record so other people ask.”

We will see, though, that other people do not seem to be asking. Both the veteran, Lee (Kirsten Dunst) and the newcomer, Jessie (Cailee Spaeny of “Priscilla”) are daughters of farmers they describe as pretending nothing is happening. Four journalists are trying to drive from the battleground in New York City to Washington D.C. to interview the President (Nick Offerman). They cannot take the highway that was the direct route because it has been destroyed. As they drive via back western Pennsylvania and West Virginia, they see shoot-outs and desolation, except for one small town that appears to be untouched by the war. It even has charming shops carrying items like party dresses no one has any more reason to buy. The store clerk explains that they prefer to pretend the war is not happening. As they leave, Lee sees that they are not in complete denial; there are snipers on the roofs.

The other two journalists are adrenalin junkie Joel (Wagner Moura, Pablo Escobar in “Narcos”), and elder statesman and mentor Sammy (the always-great Stephen McKinley Henderson of “Fences” and “Lady Bird”). If you get confused as they travel about who is on which side, that is the point. When they try to interview a soldier who is in the middle of a skirmish, he impatiently summarizes the situation as shooting and being shot at. Jesse Plemons has a brief scene as a terrifying figure who, though wearing a uniform, does not seem aligned with any side except his own sense of who is an authentic American.

Significantly, we never see anyone at a news organization receiving the images they send, much less a subscriber reading a news story. We are told that in Washington they are shooting journalists.

As Jessie points out, Lee’s career began with an image she took when she was still in college, a viral photograph of the “Antifa Massacre” (no indication of whether they were the killers or the victims). And she shares a name with legendary WWII photojournalist Lee Miller. Lee has a steely reserve, tempered with numbness, when photographing the most dire, dangerous, and disturbing situations. But she retains some empathy, even tenderness for Jessie, perhaps because she sees something of herself. She both wants to help her and protect her, understanding that she cannot do both.

Jessie insists on using an old camera, with film, not digital, perhaps a tribute to Lee Miller. She even carries a travel developing kit, keeping the fluid in a vial under her shirt so it stays warm. But Lee is there to tell the story, and Jessie is more like Joel, to feel the rush.

The final scenes, an attack on Washington DC, are horrifying. We’ve seen the iconic structures blown up in movies before, but the intensity and devastation of this film are unprecedented. This builds on the carefully chosen details we have already seen, a high school football field converted to a refugee center run by an international humanitarian aid group, a mass grave, those snipers on the roofs.

Garland’s words from a Daily Beast interview are the best conclusion to a discussion of the film: “More and more news organizations have become dominated by bias, so this is a throwback to an older form of journalism, which is reporting. Then, the film is attempting to function like a reporter. It’s about reporters, and it’s trying to be like a reporter itself.”

Parents should know that this movie includes intense and disturbing wartime violence with many characters injured and killed, some torture, murder, and many graphic and disturbing images including dead bodies and a mass grave). Characters use very strong language, smoke marijuana, and drink alcohol.

Family discussion: Should journalists ever intervene in the situations they are covering? What journalists do you trust and why? How are Sammy, Lee, Joel, and Jessie different in their reasons and approaches?

If you like this, try: Garland’s other films and “The Year of Living Dangerously”

We knew Dev Patel was a talented and charismatic actor, and it turns out he is also an audacious, imaginative, and very impressive filmmaker with an exceptional gift for cinematic storytelling. If a movie’s biggest problem is that it has too many ideas, that’s a good problem to have. “Monkey Man” is clearly a passion project from someone who has absorbed the best of what movies have to offer and added some new thoughts of his own. In one scene near the end, as Patel’s character (not given a name in the film and listed as Kid in the credits) enters a room where there is a mirrored mobile. We get glimpses of him through the reflective disks. It adds to the tension of the scene and it is visually stunning.

That scene, like much of the film, is intensely violent, with very graphic and disturbing images and sounds. The plot can be summed up with one word, the simplest and most immediately powerful of all storylines: revenge.

We first see Kid losing a brutal fight in an underground club run by the sleazy impresario Tiger (Sharlto Copley), who pays a “blood bonus” for gore. Both Tiger and the audience are there for the gore, the more brutal the better. The fighters wear masks that cover their heads. Kid’s is a monkey.

Over the course of the film, we see why the monkey is meaningful to Kid. It goes back to the myths his adored and adoring mother told him about Lord Hanuman, the Hindu monkey god. Kid and his mother lived in an edenic, garden-like community, a sharp contrast in the flashbacks with the gritty reality of the urban setting in present day. It was destroyed in an ethnic cleansing and his mother was raped and murdered. His one purpose is to get close enough to the people involved to destroy them. We know, from experience stories of revenge, that it will not happen quickly and that he must learn some lessons before that can happen.

Patel draws from the myth of Hanuman but also from the history of cinema. The reflective disks I mentioned are a creative variation on the iconic mirror scene in “The Lady from Shanghai.” The “John Wick” series is cheekily called out as Kid looks over an assortment of guns, but it is reflected throughout the film in the bravura staging of fight scenes (bathrooms and kitchens are always good locations, and a giant fish tank is a nice touch) and in a big chase through the city streets. We might catch inspiration from the Bourne films and the stylishness of “Drive” and “Baby Driver” as well. But Patel does not copy or imitate. He learns.

This is very much his own story and even the smallest details reflect his singular vision. Someone should write an entire essay about his musical choices, exceptionally well-chosen. On example is in a very intense fight scene, where we might expect an energetic score; he goes in the opposite direction, a much more vivid reflection of his character’s mood and mode. And Patel is, as ever, a magnetic performer, his lanky body always elegant and graceful, which gives the fight scenes a balletic quality.

The editing is exceptionally dynamic but never kaleidoscopic or distracting. It is always in service of the story, pulling us forward into what is happening. Here and there, Patel is so intent on making sure we understand, he tells us more than we need; pulling a newspaper out of the garbage and putting food for a dog onto the page with a photo of one of the people he is chasing, picking a name from a bottle of bleach, a trans woman character explaining their identification with a statue representing both male and female gods. But the film’s evident passion and sincerity hold our affection, as does his introduction of endearing characters who care for Kid. Patel has called this “an anthem for the underdogs, the voiceless and the marginalized.” The action may be dazzling, but it is the heart that will stay with you.

Parents should know that this film is extremely violent, with graphic and disturbing images and sounds. Characters are injured and killed. A woman is raped and other women are trafficked. There are scenes of prostitution including nudity and explicit sexual situations. Characters drink, smoke, and use drugs and very strong language.

Family discussion: Why doesn’t the character have a name? What inspires him about the story of Hanuman? What does he learn from his time with the people in the temple?

If you like this, try: The “John Wick” series, “Polite Society,” and “Drive”

“We sat up late into the night talking about how we could change the world.” That was the origin of the Homeless World Cup. Mel Young and Harald Schmied attended an international meeting of editors, founders, and directors of street newspapers, staffed by people who were unhoused. They wanted to create an opportunity for other unhoused people to have the same opportunity to attend an international event devoted to showing their best. What could unite the world more than a Homeless World Cup of “the beautiful game” of football, the “universal language,” except, of course, when the US insists on calling it soccer.

So this is a based-on-a-true-story underdog sports team story, with touching lessons about teamwork and sportsmanship. It has extra resonance because it shows us unhoused people are individuals, and without being preachy, the film reminds us that some people in that category are damaged, have mental illness or addiction issues. Some made bad choices and some just had very bad luck. Some have just been away from regular human interaction for so long they have forgotten the basics. But with a goal and team, they have purpose. “The miracle is respect,” one of the game’s organizers says.

This film has a ton of heart, lively sports action, beautiful scenery, and the true MVP every time we see him, Bill Nighy as Mal, the coach of the English team.

Mal sees Vinny (Micheal Ward, a standout in “Empire of Light”) playing with a soccer ball in a park and offers him a chance to go to the Homeless World Cup in Rome as a part of the England team. Vinny insists that he is not homeless and is insulted for being thought to be. But the chance to play, to have something to be proud of to share with his young daughter, is too much to resist, and he finds himself on a plane with Mal and the rest of the team. The other players include Nathan (Callum Scott Howells), Aldar (Robin Nazari), and Cal (Kit Young). As we might expect, we learn something about the backstories of the team and the players learn something about teams. In this case, since the rules of the Homeless World Cup allow members of one country’s team to substitute on another, the team is soccer in the largest sense and the entire unhoused community.

It is touching to see the team checking into the modest hotel and seeing it as luxurious. “Is it okay to use the shower?” one asks, almost unable to believe. The fierce commitment of the players is touching, too, but not as touching as one team’s reminding their coach that for them, winning means being a part of something and seeing the beauty of The Eternal City. The small audience in the bleachers is almost superfluous. The players are the fans, bringing as much enthusiasm as a cheering crowd filling an arena.

The idea of “winning,” like the idea of “team” is constantly enlarged. The beats of the story are specific and meaningful. The members of the team may not have a place to live but the team is their home. Don’t let Neflix cut off the credits, as the scenes of the real Homeless World Cup participants are wonderful.

“A dash of panache, please.” “True champions show their worth in defeat” “Everyone has a reason for being here.” the name of that miracle is respect Not homeless England is their home. priests in cassocks playing with s soccer ball, scenery

Parents should know that this film includes some strong language, brief non-sexual rear nudity, and references to drug addiction, gambling addiction, and child neglect.

Family discussion: What made Vinny change his mind about the team? About acknowledging that he was homeless? Why does the World Cup mean so much to the players?

If you like this, try: “Greenfingers” and the documentary, “Kicking It.”

Remember, they’re not monsters; they’re titans. Earth has become accustomed to living with gigantic beasts, and even allows Godzilla to sleep in Rome’s Coliseum, curled up like a puppy on a dog bed, after a hard day’s work protecting the Eternal City from bad titans. Godzilla’s nemesis from the last movie, King Kong, is safely unreachable in Hollow Earth, a pristine world of exotic creatures, with a few human scientists to study and monitor, led by double PhD Ilene Andrews (Rebecca Hall). The human encampment is so large and complex there is even a school for the children of the people working there. Andrews has adopted the mute girl with the telepathic connection to the giant ape, Jia (Kaylee Hottle).

Something is wrong. Jia is having disturbing visions, creating drawings that track the anomalies showing up in the scientists’ instruments. Andrews asks conspiracy podcaster Bernie Hayes (Brian Tyree Henry) to come to Hollow Earth to help. Trapper (Dan Stevens), Andrews’ classmate and former love interest, now a freewheeling veterinarian dentist to the Titans, arrives in Hollow Earth to replace Kong’s infected tooth. We know Trapper is a free spirit because (1) his name is Trapper, (2) he replaces the tooth while hanging from a helicopter AND ENJOYING IT (one of the highlights of the film), and (3) he wears a Hawaiian shirt over a hipster t-shirt and leather cord necklaces.

That is about all you need to know about the humans in the story, except that Jia has one other connection with Kong. They are both believed to be the last of their kind. That will turn out not to be the case.

There are a lot of titans in “Godzilla x Kong.” It’s like the “Avengers: Endgame” of gigantic beasts and I admit I got lost in trying to remember who was on which side. I suspect the titans did, too. And there are so many of them and they all have different powers, you need a spreadsheet. It’s getting to be kind of like Pokemon, if Pickachu was the size of a skyscraper and could breath atomic radiation.

Let’s face it. The humans are here for (1) scale, so that when Kong holds out his hand to Jia, her hand goes only partway around his fingertip, (2) exposition, to say things like, “Something down there is calling for help,” and “You’re going to think I’m completely insane,” and use words like “anomaly” and “intensity increased,” (3) looking worried or afraid (poor Jia is stuck with one anxious eyebrow expression through the whole movie, and (4) running from various dangers. Or, not be able to escape. Just like you never want to be the character in a horror movie saying, “I’ll be right back,” you do not want to be the one in the monster movie saying, “I’m the one in charge, so everyone has to do what I say.” Oh, another purpose for the humans — (5) being the chosen one from the ancient prophesy.

The monsters/titans are here to fight, and let’s face it, we’re here to see them fight. Creature designer Jared Krichevsky and the talented crew of designers and CGI experts have created titans that are true to the spirit of the classics but take advantage of the capabilities of current technology. I’m a fan of Kong’s roundhouse punches, especially with his augmented mechanical arm. And there is a titan that breathes ice, a sea serpent, and one I won’t spoil except to say it’s in the classic Kaija top ten. I admit I got a bit confused by the overwhelming number of creatures in the various locations (Rio seems to be there just for reason (6): to wear bikinis), and did not always remember who was on who’s side, but the fight scenes are as much fun as the fans could hope for.

Parents should know that this film includes extensive and sometimes graphic creature violence, injuries and deaths of a human and many monster characters, and brief strong language. Audience members may be concerned over racial stereotypes, with the one Black main character relegated to comic relief for being terrified and the stereotypical portrayal of the indigenous people.

Family discussion: Why does Dr. Andrews trust Bernie Hayes? What does Jia learn from meeting other members of her culture? Why are there apparently no female giant apes?

If you like this, try: “Godzilla Minus One,” the original 1954 “Godzilla,” and the 2005 “King Kong”

The latest installment of the now four-decades-long saga of the intrepid, firehouse-based, three-generation funny, scary, and then funny again and then scary/funny crew who capture ghosts is much better than the wobbly reboot, with plenty to delight both long-time fans and newcomers. Those who love the original 1984 will be happy to see the more-than-cameos returns of original stars Bill Murray, Dan Aykroyd, Ernie Hudson, and Annie Potts. Walter Peck, the mean-spirited non-believer from the EPA in the first film, is now the mayor, played once again by William Atherton. And some of the ghosts from the original are back, too, including tiny little Stay-Puff guys. And yes, there will be slime.

And, yay, they’re back in New York City! The contrast between the gritty, cynical, material reality of the city and the supernatural images is an essential element of this franchise.

Gary (Rudd) is no longer an unhappy single science teacher; he is happily in a warm, loving, supportive relationship with Callie Spengler (Coon) the daughter of the character played by the late Harold Ramis in the first film, and they are full-time ghostbusters, back in that firehouse, still very cool with the firehouse pole and the tricked-out hearse vehicle. Rudd and Coon have an easy chemistry that adds a quiet counterbalance to the wilder elements of the story.

The kids are older. Trevor (“Stranger Things'” Finn Wolfhard) keeps reminding Gary and Callie that he is 18, but they are not ready to make him a full part of the group. And brainiac Phoebe (McKenna Grace) is still the one who is on top of all the science and engineering but still only 15. Mean mayor Peck threatens Gary and Callie with prosecution for violation of child labor and neglect laws if they allow her to participate in ghost-busting. Gary cares about Trevor and Phoebe but has not figured out how best to relate to them. He wants them to like him so much that he is not comfortable taking on more of a parental role.

The other two young characters just happen to have found their way from Oklahoma to New York City so they can stay in the story. Lucky (a charming Celeste O’Connor) is working at a ghost-investigating lab funded by now-billionaire Winston Zeddemore (Hudson). And Podcast (Logan Kim) is working for OG ghostbuster Ray (Aykroyd), who now runs a curio shop that’s a kind of “Antiques Roadshow” for artifacts containing spirits and demons.

One of those items is a sphere brought to the shop by a low-level slacker named Nadeem Razmaadi (a very funny Kumail Nanjiani) in a box of items from his late grandmother. Like the fast-deteriorating ghost containment and storage unit in the fire station, the sphere has kept inside a terrifying spirit who kills people with ice. You know where this is going.

There will be consultation with experts, including Murray returning as Peter Venkman and New York Public Library expert in ancient languages Hubert Wartzki (Patton Oswalt). There will be confrontations with ghosts we’ve met before and new ones, including a swamp dragon and a lonely teenage chess champion named Melody (Emily Alyn Lind), who bonds with Phoebe when she is feeling abandoned by being told she has to wait three years before she can go back to work.

As the title suggests, and as the Robert Frost poem at the beginning of the movie underscores, this movie’s villain controls ice, which juts out from the ground like spiky frozen stalagmites. The ghosts and special effect and action are all entertaining, the humor keeps things bouncing along, the fan service is ample but not intrusive, and, well, ghost-bustin’ makes me feel good.

Parents should know that this movie has extended and sometimes disturbing supernatural peril, horror, and violence. There are some graphic images and jump scares. Characters use some strong language and there is some crude humor. A character makes a reference her family dying in a fire.

Family discussion: Why was it hard for Gary to be firm with Trevor and Phoebe? What did Phoebe like about Melody? Do you think there are ghosts like the ones in the film? What do you think is the meaning of the famous Robert Frost poem at the beginning of the movie?

If you like this try: the other “Ghostbuster” films, especially the original and the 2016 version with female ghostbusters played by Kristen Wiig, Melissa McCarthy, and Kate McKinnon, and a very, very funny Chris Hemsworth.