A look at the life of Anton Yelchin

Even if you're not a fan of the late Anton Yelchin, who died in 2016, you may find something of interest in Love, Antosha, a documentary about the young actor's too-brief life. Yelchin was 27 when his Jeep Grand Cherokee rolled down his driveway, a freak occurrence that resulted in his suffocation when his car trapped him against a fence. Despite his youth, Yelchin boasted a heavy resume; he’d been acting since he was a kid — with relatively few breaks. He appeared in a staggering 69 films. Director Garret Price's documentary paints a portrait of a young man of varied interests and with acting chops that seemed universally admired by those who worked with him. There are no nay-sayers in Price’s look at Yelchin which includes interviews with his parents, with friends, and with fellow actors: Chris Pine, Kristen Stewart, and Zachary Quinto among them. Although he suffered from cystic fibrosis, Yelchin didn’t allow the illness to slow his roll. When he wasn’t acting, Yelchin thought about directing, took photos of Los Angeles’ seamier side, wrote, and worked as a musician. Some of Yelchin’s writings are read by Nicolas Cage. In sum, Love, Antosha explores the life of a serious young actor who may not have lived long, but who left colleagues and friends with indelible memories. He also left little doubt that any moment of his short life remained unlived.

A Star Trek that emphasizes speed

Director Justin Lin takes over the reins from J.J. Abrams and as Star Trek continues to explore the final frontier.

Toward the end of Star Trek Beyond, Captain James T. Kirk tells his principal adversary that change is a necessary component of life. It's difficult to say more without plunging into spoiler terrain, but it's worth pointing out that Kirk could have been directing his remark to the Star Trek faithful. Expect a few changes.

The biggest change in Star Trek Beyond involves the person at the helm. Justin Lin takes over from J.J. Abrams, who remains as a producer. It should surprise no one that Lin, best known for Fast & Furious movies, gravitates toward action. He loads (perhaps even overloads) Beyond with noise, flying debris, and over-edited battle sequences.

At the same time, Lin makes sure that the characters are well-served. Kirk (Chris Pine) begins the movie with a case of space fatigue. He's not sure he wants to continue as Captain of the Enterprise.

Spock (Zachary Quinto) also contemplates a life change. As a result, his relationship with Lieutenant Uhura (Zoe Saldana) has hit a snag.

The rest of the crew remains reliably familiar: Sulu (John Cho), Chekov (Anton Yelchin) and Scotty (Simon Pegg) all do their part.

You've probably read that this episode reveals that Sulu is gay with a husband and child, information Lin presents in an off-handed way that suggests we're in a version of the future in which sexual orientation has ceased being a talking point.

Lin wisely includes references to the original Mr. Spock, perhaps to acknowledge the actor who played him. Leonard Nimoy died last year.Star Trek Beyond, by the way, is dedicated to both Nimoy and Yelchin, who was killed in a freak auto accident earlier this year.

New additions also can be found. Besides the reptilian-looking Krall (Idris Elba) -- the villain of the piece -- we meet Jaylah (Sofia Boutella). She's an alien woman who joins the Star Trek team in its effort to prevent the destruction of Yorktown, a massive Federation space station that Lin explores with swooping, dizzying camera moves.

The screenplay by Pegg and Doug Jung seems based on something we might call "the speed principle." Move quickly and few will notice plot holes or fret about the fact that a rescue oriented story wears a bit thin.

But sci-fi precision never has never been Star Trek's strong suit. Ethical questions usually take precedence. Although such questions are raised, they now seem to peek out from behind the movie's many action set pieces.

Put another way, Beyond isn't the most contemplative version of Star Trek, although it has its compensations: A couple of moments involving old-fashioned rock music should bring a smile to most faces.

At a Wednesday night showing -- the movie began at 10 p.m. -- the crowd seemed especially to enjoy the interchanges between Spock and Bones (a scene-stealing Karl Urban). Such scenes wisely reiterate or poke fun at the recognizable traits that define Star Trek characters: Spock's deadpan commitment to logic or Bones' sniping humor, for example.

So back to the beginning. This edition attempts to reprise what's familiar about the series while also giving it new energy. Change, but not so much that we forget that we're watching a Star Trek movie.

I'm not a fanboy, so I don't know how Star Trek stalwarts will receive this new edition. In my estimation, Beyond whizzes by without damaging the franchise, while also providing a couple of inspired bits and firing retro rockets of nostalgia in ways that feel like true expressions of affection.

Lin even finds a way to work a motorcycle into the story, but don't fret Star Trek purists: Lin hasn't propelled Fast & Furious's Vin Diesel into the final frontier. Some things remain sacred.

Enter this 'Green Room' at your peril

Some reviewers have deemed director Jeremy Saulnier's viscerally charged Green Room a masterwork of tension and gore, and just as many have praised Patrick Stewart's performance as a snarling neo-Nazi guru who doesn't hesitate to mutilate his enemies -- or have his skin-head minions do it for him. The premise: A financially strapped punk band called the Ain't Rights finds itself playing at a private club in the backwoods of Oregon. It doesn't take long before the band (Anton Yeltsin), Callum Turner, Joe Cole) and Alia Sawkat) understands that it's in way over its head. After realizing that there has been a murder on the premises, the band wants out; the punks and their leader won't allow any possible witnesses to their crime escape. The band is joined by a fellow prisoner (Imogen Poots), something of an independent spirit in this leather-clad hell. There's gore aplenty on the menu, and Saulnier (Blue Ruin) serves it up with grim relish. Sure there's menace here, and pervasive fear inspired by thugs who seem to have created a terrifying world of their own. But Saulnier's stylistic abilities are used to ill effect the more we see of the movie's collection of vicious dogs, box cutters, pistols and other instruments of torture. The movie's motto might be: If it can severed or slashed, by all means do it. Does showing gruesome violence with style make it less revolting? It didn't for me.