Operation Finale


Directed by Chris Weitz, this movie offers a Jewish perspective not often found in World War II films. It follows a group of Israeli Mossad agents 15 years after World War II as they covertly infiltrate Buenos Aires in order to capture a high-ranking Nazi (Ben Kingsley) who has thus far escaped justice. As they struggle to get him to sign written consent to be tried in Israel, the group’s passionate leader (Oscar Isaac) strikes up an unlikely, and respectful, relationship with the prisoner, showing that even enemies deserve respect and dignity. The film contains one instance of profanity and several crude terms as well as images of Holocaust and war violence. A-III; PG-13


Global Road

Gentle but bland tale of a teen motocross racer (Alex Neustaedter) who happens upon, tames and bonds with an experimental robotic war dog. With the help of the girl (Becky G) he would like to make his own, the lad tries to protect his mechanical pet from being recaptured, either by the military or by the ethically impoverished corporation that developed the high-tech creature. An overprivileged track competitor (Alex MacNicoll) with a sadistic streak and a fondness for flamethrowers poses yet another threat to the automated canine. Writer-director Oliver Daly’s feature debut, developed from his 2015 short “Miles,” offers viewers little more than the supposed exhilaration of watching the protagonist pop wheelies and fly aloft on his bike while his sidekick keeps pace. Though the screenplay momentarily plays a bit fast and loose with property rights, other objectionable elements are few and the main relationship chaste. Some nonlethal violence, an incident of benignly viewed petty theft, an unfinished crude term, a few crass words. A-II; PG



After becoming the first African-American police officer in Colorado Springs, Colorado, in the early 1970s, a rookie cop (John David Washington) is first assigned to infiltrate a lecture by ex-Black Panther Kwame Ture  born Stokely Carmichael (Corey Hawkins), then casually manages to contact the local Ku Klux Klan by phone, impersonating a potential member. As he falls for the militant head (Laura Harrier) of the student group that sponsored the Ture event, he and a Jewish fellow officer (Adam Driver) successfully carry on the masquerade with the Klan, even hoodwinking its then-leader, David Duke (Topher Grace). Director and co-writer Spike Lee has a field day with this richly ironic, fact-based mix of drama and comedy, adapted from the 2014 memoir “Black Klansman” by Ron Stallworth, though less self-indulgent editing and a subtler application of the film’s lessons to the contemporary political situation would have helped. Still, this is an effective and often entertaining look at the vicious racism lurking at the fringes of American life and perpetually aspiring to enter its mainstream. Brief but sometimes disturbing scenes of violence, mature themes, including racial animus, about a dozen profanities and half as many milder oaths, pervasive rough and crude language, frequent racial slurs, fleeting sexual references, an obscene gesture. A-III; R



This gritty but somewhat intriguing crime thriller with an overlay of science fiction finds an ex-con (Jack Reynor) on the run from the half-crazed head (James Franco) of a protection racket with his 14-year-old African-American adopted brother (Myles Truitt) in tow. Unbeknownst to his sibling, the youngster has accidentally acquired an alien firearm of tremendous destructive force, and the two are also being pursued by a pair of extraterrestrials who want the weapon back. In expanding their 2014 short “Bag Man” into their feature debut, brothers Jonathan and Josh Baker explore shades of right and wrong via a road trip through seamy swaths of Rust Belt and rural America. Grown viewers willing to tag along will find the innocence of Truitt’s character compared or contrasted with the ethical ambiguities that keep getting Reynor’s petty thief in trouble, the maternal instincts of a goodhearted stripper (Zoe Kravitz) they meet up with along the way and the certainties laid down for the lads by their strict working-class dad (Dennis Quaid) who serves as the film’s moral compass. It’s thoughtful fare, but not for everyone. Strong but bloodless violence, including gunplay and a beating, partial nudity in a strip club, at least one rough term, frequent crude and occasional crass language, an obscene gesture. L; PG-13

Lego DC Comics Super Heroes: Aquaman Rage of Atlantis

Warner Brothers Home Entertainment

Arch, colorful and free of gory violence and vulgarity, this animated straight-to-video adventure is what comics-based films should be, namely, fun. Far beneath the sea, an Atlantean troublemaker (voice of Trevor Devall) dethrones the titular hero, his half-brother (voice of Dee Bradley Baker), as King of the Seven Seas. Aided by another villain (voice of Jonathan Adams), the usurper acquires a powerful alien orb from an intergalactic bounty hunter (voice of Fred Tatasciore), and uses it to send a massive army to invade and conquer the surface world. While many of the jokes fall flat, the action sequences are exciting, the musical score sharp, the setting rendered in gorgeous colors and moral lessons are provided about self-sacrifice, forgiveness and environmental responsibility. A-I; Not rated by the Motion Picture Association of America.

USCCB Office for Film & Broadcasting


A-I – General patronage

A-II – Adults and adolescents

A-III – Adults

A-IV – Adults, with reservations

L – Limited adult audience

O – Morally offensive

Motion Picture Association of America ratings:

G – General audiences; all ages admitted

PG – Parental guidance suggested; some material may not be suitable for children

PG-13 – Parents are strongly cautioned to give special guidance for attendance of children under 13; some material may be inappropriate for young children

R – Restricted; under 17 requires accompanying parent or adult guardian

NC-17 – No one under 17 admitted