KASU

Justin Chang

The characters in the films of Samuel Maoz are all trapped in one way or another. His 2009 drama, Lebanon, was a blistering critique of Israel's 1982 invasion of its northern neighbor and an impressively sustained exercise in confinement: It unfolded entirely inside a tank, forcing us to see the devastation of war from the limited vantage of four young troops.

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TERRY GROSS, HOST:

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DAVID BIANCULLI, HOST:

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DAVE DAVIES, HOST:

Copyright 2017 Fresh Air. To see more, visit Fresh Air.

TERRY GROSS, HOST:

Copyright 2017 Fresh Air. To see more, visit Fresh Air.

TERRY GROSS, HOST:

Copyright 2017 Fresh Air. To see more, visit Fresh Air.

DAVE DAVIES, HOST:

Copyright 2017 Fresh Air. To see more, visit Fresh Air.

DAVID BIANCULLI, HOST:

Copyright 2017 Fresh Air. To see more, visit Fresh Air.

DAVE DAVIES, HOST:

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DAVE DAVIES, HOST:

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DAVID BIANCULLI, HOST:

In recent years, the British heartthrob Robert Pattinson has gone out of his way to prove that there is life after Twilight. After years spent playing a shimmery, chivalrous vampire, he went all dark and dystopian in art-house chillers like The Rover and Cosmopolis, and he recently popped up in a terrific supporting role in The Lost City of Z. But Pattinson has never undergone a transformation as revelatory as the one he pulls off in Good Time, a nerve-rattling new thriller from the sibling directors Josh and Benny Safdie.

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