‘THE ACCIDENTAL GETAWAY DRIVER’: In 2016, three men escaped from an Orange County jail, and then, out of options, called a cab. The driver who showed up was an elderly Vietnamese man, Long Mã, a divorced war veteran, whom they kidnapped and held hostage during a weeklong ordeal, the escapees and their captive evading arrest by hiding out in Southern California motel rooms. Mã’s experience was elaborated in a 2017 GQ article by Paul Kix, “The Accidental Get Away Driver,” which described the unique bond he formed with Bac Duong, one of his kidnappers, a Vietnamese national, and the terror he experienced at the hands of Hossein Nayeri, the ringleader. This wild story has now been brought to the screen by co-writer and director Sing J. Lee, in a lyrical and meditative adaptation that focuses on mood and feeling, rather than action-oriented suspense. “The Accidental Getaway Driver” seeks not to elucidate the facts of this true-crime tale, but rather to imagine Mã’s state of mind during it, which is emotionally evocative but hinders the viewing experience as the film grinds to a halt for meandering asides. The performances are moving, but it does feel like the film loses steam under its own conceit, despite the wealth and narrative richness of the material at hand. 1:42. 2 1/2 stars. — Katie Walsh, Tribune News Service

‘LAST BREATH’: There’s an enduring appeal to the survival thriller. Stories of daring adventure, freak accidents and the sheer endurance required to survive are reminders of the resilience of the human spirit. But in “Last Breath,” a new film based on the true story of a 2012 diving accident in the North Sea, the humanity of the story is subtly pitched against something more threatening to life itself: mechanized automation. “Last Breath” is directed by Alex Parkinson, who co- directed the 2019 documentary of the same name about the same event. In 2012, a team of saturation divers in the North Sea, off the coast of Scotland, were repairing underground oil rigging when one of the diver’s “umbilical” cables snapped in rough weather, stranding him on the seabed, 300 feet underwater, with only a few minutes of backup oxygen. This sturdy, solid thriller underscores that at their core, survival stories are always stories of humanity’s best, and the impossible things we can achieve when we work together. 1:33. 3 stars. — Katie Walsh

‘THE MONKEY’: Oz Perkins’ latest film, “The Monkey,” based on a Stephen King short story, is about how siblings might handle generational trauma, family curses and the horrid randomness of death. “The Monkey” is a horrific fable in King’s signature style in that children endure terrifying events in the state of Maine, and a sense of unyielding sadness is streaked throughout this tale (Perkins balances that sorrow with dry humor). Twin brothers Hal and Bill (played as children by Christian Convery; Theo James as adults) find a wind-up toy monkey in the effects of their long-lost pilot father, who has abandoned them and their mother, Lois (Tatiana Maslany). Bill winds up the monkey, it plays its drum, and then very, very bad things start happening, such as their babysitter dropping dead before their eyes. In an attempt to direct the monkey’s ire at his bullying brother, Hal turns the monkey’s key; soon they are orphans, living with their Aunt Ida and Uncle Chip (Perkins — he saves the worst death for his own character). The true curse of winding the monkey is that you’ll never be harmed, it’s just everyone around you who will, resulting in a life of isolation and loneliness; a secretive cloud of shame hanging over Hal and Bill in adulthood. The message is clear: “Everybody dies,” as Lois tells her boys, and that’s something we have to learn to live with. Generational trauma can be contained if it is acknowledged. The randomness of death is not something anyone can control. Executed with panache, “The Monkey” is a droll and stylish expression of these sentiments, yet there is still something about this gory fable that feels a bit like an exercise, rather than an epic. It’s too glib to fully penetrate, but sometimes, all you can do is laugh in the face of death. 1:38. 3 stars. — Katie Walsh

‘PADDINGTON IN PERU’: Two is the sweet spot for this trilogy of movies based on the beloved books by Michael Bond about a Peruvian British bear in a blue overcoat and red hat. “Paddington 2” is the high point of the series, hailed by many as a masterpiece, so the third film, “Paddington in Peru,” was always going to be a bit of a letdown. Director Paul King has been replaced by Dougal Wilson, making his feature film debut (though King has a screen story credit), and co-star Sally Hawkins has been replaced by Emily Mortimer as Mary, the matriarch of Paddington’s English family, the Browns. “Paddington in Peru” remains a charming, heartfelt and beautifully designed film, and the trilogy is still a gold standard in children’s entertainment, foregrounding themes of family and fun. But there’s just something about “Paddington in Peru” that doesn’t quite connect. It’s still touching in its story of acceptance from found family and birth family. It’s still amusing, with a childlike innocence and purity of heart that appeals to kids and adults. It still pays homage to film history in a way that will delight cinephiles. But having seen the heights of “Paddington 2,” this third installment could only pale in comparison. 1:46. 2 1/2 stars. — Katie Walsh

‘THE UNBREAKABLE BOY’: First, the good news about “The Unbreakable Boy,” a family drama based on the memoir by Scott LaRette: Star Zachary Levi is acting his age. After a few high-profile childlike roles in the past few years in the “Shazam” movies, and “Harold and the Purple Crayon,” it’s a relief to see him as an adult. The film is also a belated confirmation of co-star Meghann Fahy’s absolutely bulletproof star power. Shot in winter 2020, the film was originally slated for release in March 2022. Why it has been aging on a shelf at Lionsgate is a mystery, but the faith-based film finally hits theaters with the story of the LaRette family and their specific, if not unique, challenges about raising a child, Austin (Jacob Laval), born with both autism and a genetic brittle bone disease. The real struggle here is trying to connect with this film beyond a wan appreciation that a father finally learned how to love his son for who he is. Good for them, I guess? 1:49. 1 1/2 stars. — Katie Walsh

RATINGS: The movies listed are rated according to the following key: 4 stars, excellent; 3 stars, good; 2 stars, fair; 1 star, poor.