CBS announced this week that it is reviving its “CSI” franchise with “CSI: Vegas,” with William Petersen and Jorja Fox returning to their roles from the original series. “CSI” aired from 2000-2015 and spawned three spinoffs (“Miami,” “New York,” “Cyber”), though in some ways it feels as if it spawned 9,000 spinoffs.
Have a safe and happy weekend.
This weekend I have … 3 minutes, and I want something darling
Everybody wants to party on “Pui Pui Molcar.”Netflix
This Japanese import has no dialogue — just the squeaks and gurgles you would expect from the creatures at the show’s center, who are a hybrid of guinea pig and car. They are adorable and ridiculous, sweating and weeping their way through uncomfortable parking lots and festive but clandestine parties, outrunning zombies, avoiding traffic jams. In addition to its ecstatic cuteness, “Pui Pui Molcar” has a distinctive aesthetic that’s big on texture and often feels exactly like a child’s playtime tableau. If you follow multiple animals on Instagram, have ever saved an eraser that was too kawaii to use, or if you just enjoy impishness, watch this.
Cristin Milioti stars as Hazel, who after 10 years of marriage to a tech mogul realizes she wants out of the artificiality and constant surveillance of their relationship. More specifically, she wants to remove the chip he just implanted in her brain. The show’s themes are bleak, and in the episodes made available to critics, it lacks some of the zest and characters of the novel on which it is based. But the show is still an intriguing and warped, bouncy comedy. (Alissa Nutting, who wrote the book, is among the show’s writers and producers.) HBO Max just released the first three episodes; three more will be released Thursday, and the final two come out on April 15. (Read the full review here.)
As is true of a lot of shows that debuted in the 1990s, not every aspect of “King of the Hill” has aged well. But much of it has, particularly its overall tenderness, its desire to see the best in its characters. And because there are 258 episodes, this loving abundance extends to the viewer, too. The show’s restrained visual palette belies its emotional perceptiveness and complexity, how richly it invests in its world of small-town Texas and how well it understands families. As a bonus, it’s full of helpful guidance: “In beauty school, as in life, you only get one head.”
Mary Twala Mhlongo in “This Is Not a Burial, It’s a Resurrection.”Dekanalog
It’s a week for full-scale battles on the biggest of stages, from “Godzilla vs. Kong” to “Roe v. Wade” to Adam Neumann vs. a mountain of venture capital (“WeWork: Or the Making and Breaking of a $47 Billion Unicorn”). But adventurous viewers are advised to seek out this week’s Critic’s Picks, which include Lesotho’s first-ever Oscars submission (“This Is Not a Burial, It’s a Resurrection”) and an experimental treatment of contemporary Indigenous life (“Malni — Towards the Ocean, Towards the Shore”).
Some independent films are available via “virtual cinemas,” which share the rental fees between distributors and theaters. Unless otherwise noted, other titles can generally be rented on the usual platforms, including Amazon, Apple TV, Google Play, Vudu and YouTube. SCOTT TOBIAS
Directed by Ricky Staub and adapted from G. Neri’s young adult novel “Ghetto Cowboy,” this picture offers a standard shot-at-redemption story, complete with temptation in the form of Cole’s renewed connection with an old friend who’s involved in drug dealing. But the movie’s convincing accretion of detail and its affectionate fictionalization of an actual subculture are disarming. — Glenn Kenny (Read the full review here.)
The debut feature from the Ho-Chunk artist and filmmaker Sky Hopinka isn’t too concerned with whether we fully understand the traditions and rituals it entrancingly commits to screen. It refreshingly centers the Native perspective and beckons audiences onto its wavelength by tapping into something more intuitive, the stuff of dreams. — Beatrice Loayza (Read the full review here.)
The film’s press announcement drops the word “cryptic,” but after a year of global loss from Covid-19, the need to mourn the dead properly couldn’t feel more immediate and recognizable. — Nicolas Rapold (Read the full review here.)
‘WeWork: Or the Making and Breaking of a $47 Billion Unicorn’ (Hulu only)
On why what now looks like a tenuous, bluster-based business model would appeal to Wall Street, the director, Jed Rothstein, spends less time than he should. Instead, the movie relays a fast-paced, entertaining saga of WeWork’s relentless self-selling and what it portrays as a cultlike corporate atmosphere. — Ben Kenigsberg (Read the full review here.)
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