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The action flick “Bullet Proof” centers on an unnamed protagonist (James C. Clayton, who also directed): a thief who has stolen money from a sadistic mob boss (Vinnie Jones of “Snatch”), only to find the gangster’s pregnant wife (Lina Lecompte) hiding in the getaway car he uses to elude the posse of violent thugs and bounty hunters now in hot pursuit. R. Available on demand. Contains violence. 92 minutes.
The co-writing and co-directing duo of Terrence Martin and Dominique Braun, who are married in real life, play T.J. and Domi, a troubled married couple seeking to rekindle the spark in their relationship by taking a sailing trip together, in “Get Away If You Can.” But when Domi decides to explore a deserted island, against her husband’s wishes, they reach a breaking point. Ed Harris also stars, in flashbacks, as T.J.’s angry, chauvinistic father. Unrated. Available on demand. 90 minutes.
Much of the indie horror film “Glorious” takes place inside a remote rest stop bathroom, where the film’s protagonist (Ryan Kwanten of “True Blood”) finds himself locked in with a mysterious stranger (J.K. Simmons) speaking to him from an adjacent stall. According to Collider, Simmons has a blast “without relying on hamming it up, playing his character as a strange force of both horror and humor to Kwanten’s straight man.” Unrated. Available on Shudder. 80 minutes.
Emile Hirsch and Kate Bosworth play Mikey and Kate in “The Immaculate Room,” a thriller about a couple who agree to participate in a psychological experiment with a potential $5 million paycheck — if they can survive 50 days isolated in a minimalist white room. According to Collider, “The problem is [filmmaker Mukunda Michael] Dewil doesn’t give them (or the audience) enough to hang on to. Kate and Mikey’s backstories are necessarily hazily sketched, and their dynamic ahead of their confinement is similarly left unexplored. That means their breakdowns as they begin to go stir crazy feel rather arbitrary. Instead of illuminating something about them — or the human experience, even — they come off as acting exercises.” R. Available on demand. Contains some drug use and nudity. 88 minutes.
From Ava DuVernay’s Array releasing — the company that brought you “Residue” — “Learn to Swim” is a romantic drama, set in the world of contemporary jazz, about the bumpy relationship between a deeply private saxophone player (Thomas Antony Olajide) and a vivacious singer (Emma Ferreira). Unrated. Available on Netflix. 90 minutes.
Based on Australian writer Henry Lawson’s 1892 short story “The Drover’s Wife,” “The Legend of Molly Johnson” marks the filmmaking debut of writer, director and star Leah Purcell, who previously wrote and starred in an acclaimed 2016 play based on the same story (before also adapting it as a novel). Purcell plays the title character, who, with her husband away tending sheep, finds herself confronted by a shackled Aboriginal convict (Rob Collins) on the run from the law — and bigotry. Purcell, according to Variety, “is brutally specific while defining her 19th-century world and expressing her concerns. At the same time, however, she repeatedly emphasizes — sometimes too insistently, but more often eloquently — the enduring wisdom of William Faulkner’s much-quoted observation that the past is never dead, it’s not even past.” Unrated. Available on demand. 109 minutes.
On the eve of her college graduation, and after a casual hookup, a young woman (Lili Reinhart) considers the different paths her life might take as she awaits the results of a pregnancy test in “Look Both Ways.” Also starring Luke Wilson. TV-14. Available on Netflix. 111 minutes.
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