42 (PG-13) The legendary story of Jackie Robinson comes to the big screen. Unknown Chadwick Boseman stars as the color-barrier breaking baseball superstar. Harrison Ford gruffly appears as Brooklyn Dodgers executive Branch Rickey. The cast is good—Christopher Meloni, Lucas Black, Alan Tudyk and John C. McGinley—and writer-director Brian Helgeland has the potential to be great (see L.A. Confidential and Mystic River, which he wrote). However, Helgeland’s directorial efforts are only so-so (Payback, A Knight’s Tale and The Order).

ARGO (R) Ben Affleck’s career revival continues with Argo, earning Best Writing and Best Picture Award from the Academy, as well as a Golden Globe. Revealing the once classified story of how the CIA rescued six American hostages in the midst of the Iranian Revolution, Argo is both an intriguing modern history lesson and a compelling, old-fashioned Hollywood thriller. Affleck has collected one hell of a cast—John Goodman, Academy Award nominee Alan Arkin, Bryan Cranston, Kyle Chandler, Victor Garber, Scoot McNairy, Chris Messina and many more recognizable faces—but its greatness is a sum of all parts—directing, writing (by first-time scripter and newly minted Academy Award winner Chris Terrio) and acting.

THE CALL (R) Until a final act that is so predictably out of character for Halle Berry’s heroine, The Call knows exactly what it is; a pulpy genre thriller; and excels at its sole task of generating as much entertainment as possible via suspense. After feeling responsible for the death of a teenage girl, veteran 911 operator Jordan Turner (Berry) is reluctant to take another emergency call. But when another teenager, Casey Welson (Abigail Breslin), is kidnapped by the same nondescript white guy, Jordan makes it her mission to save this victim. Considering the leads interact via telephone for the majority of the movie, it was smart to cast a beautiful, if strangely bewigged, Academy Award winner and a cute, all grown up former child nominee. Couple those two talented actresses with the claustrophobia and helplessness of the central locations, and the audience is treated to a pretty gripping first two acts; the last act is not awful, just an uncreative, poor relation to its predecessors. Director Brad Anderson (Session 9, The Machinist, Transsiberian) gets as much tension as he can out of this script and should have his first bona fide hit to show for the effort. Answer this Call.

THE CROODS (PG) Despite its underwhelming trailers, The Croods stands out as one of the best non-Pixar animated family films released in the last few years. A family of cavemen—dad Grug (v. Nicolas Cage), mom Ugga (v. Catherine Keener), teen daughter Eep (v. Emma Stone), dumb son Thunk (v. Clarke Duke), feral baby Sandy and grandma (v. Cloris Leachman)—are forced on a cross-country road trip after their cave is destroyed by the impending “end of the world.” Fortunately, Eep meets Guy (v. Ryan Reynolds), whose developed brain filled with “ideas” might just help them all survive. Most cute family fun pics feel rehashed and overdone; The Croods does not. Its characters successfully, though unbelievably, combine the Flintstones with the Simpsons, and the voice acting, particularly by Cage, Stone and Reynolds sparkles. Cage was an inspired choice, for a role one would think is practically written for Kevin James. Most animated features, with their paint-by-numbers plot and rote, child-pleasing gags lose an adult’s attention within minutes of beginning. The Croods held my rapt attention for its entire entertaining run time and left me considering potential plots for its inevitable, disappointing sequel.

DJANGO UNCHAINED (R) Not many auteurs can take an academic cinematic exercise and turn it into one of the year’s most entertaining spectacles like Quentin Tarantino can in this Oscar winner for Best Original Screenplay. Slave Django (Jamie Foxx) is freed by dentist-turned-bounty hunter Dr. King Schultz (Best Supporting Actor Academy Award winner and Golden Globe nominee Christoph Waltz, the single greatest gift QT has given American movie audiences). Together the duo hunts bad guys and seeks Django’s wife, Broomhilda (Kerry Washington), who belongs to plantation owner Calvin Candie (Golden Globe nominee Leonardo DiCaprio). For a critically acclaimed award nominee, Django Unchained is an ultraviolent blast. Every bullet creates an unbelievable explosion of blood, and every actor gives a gleefully energetic performance. DiCaprio and Samuel L. Jackson have a particularly grand chemistry. Modern cinema’s biggest cinephile-cum-director again proves how great a genre film can be. QT continues to bring exploitation flicks from the grindhouse to the multiplex and the award shows. Few modern movies convey their creator’s delight as a QT film does; one knows he is making movies he wants to see, not movies to which he thinks audiences will flock. Sure, detractors will slam Django Unchained for its bloody violence and offensive language, but it’s most notable for a perfectly rare combination of art and entertainment.

ESPAÑA EN CORTO: SPANISH SHORT FILM FESTIVAL (NR) The first annual España En Corto, a film festival started by UGA students, features more than a handful of award winning Spanish shorts from up and coming filmmakers. The two night festival, Apr. 9 & 10, will feature 5 to 6 shorts a night. Each night will include introductions and discussions led by Dr. Richard Neupert of the University of Georgia’s Film Studies Program and Catherine Simpson from the Department of Romance Languages at UGA.

• EVIL DEAD (R) The remake of Sam Raimi’s cult classic is more important for what it represents—an R-rated gorefest released into mainstream multiplexes—than what it is: an above average horror movie. Picking up some time A.A. (After Ash; see Ash’s car rusting away behind the cabin), 2013’s Evil Dead puts five new young people (including Jane Levy, Shiloh Fernandez and Lou Taylor Pucci) through the horrific, maddening, limb-threatening paces. When will young people learn not to read from a book bound in human skin? What Evil Dead gets right is the massive amounts of blood poured upon its actors. Director Fede Alvarez also shows (borrows) the stylistic imagination of a young Raimi. Still, the importance of Bruce Campbell’s Ash was underestimated. The new victims don’t generate any connection with the audience. Evil Dead also lacks a tonal identity. Does it want to be fun or discomfortingly intense? It’s neither. (I’d like to see Diablo Cody’s original version for its distinctive tone, if nothing else.) Gorehounds (like me) are going to see Evil Dead no matter what, but if the droves of teenage horror fans show up, a new generation of horror movies that deliver the gory goods we want can begin. 

G.I. JOE: RETALIATION (PG-13) G.I. Joe: Retaliation is everything that G.I. Joe: The Rise of Cobra was not. The second Joe movie is also the movie for which my inner child has been waiting since 1987. Mostly ignoring Stephen Sommers’ 2009 misfire, this franchise reboot introduces three new lead Joes: Roadblock (Dwayne Johnson), Lady Jaye (Adrianne Palicki) and my childhood favorite, Flint (D.J. Cotrona); Duke (Channing Tatum) and Snake Eyes (Ray Park) are pretty much the only other Joes to reenlist for the sequel. Featured Cobra players—Zartan, who appears as the President (Jonathan Pryce) for almost the entire movie, Storm Shadow (Byung-hun Lee) and Firefly (Ray Stevenson)—plot to break Cobra Commander, much improved from the first movie, from a super-secret prison. (Sadly, no love is shown for Destro in this prison break.) But the plot is inconsequential. G.I. Joe blows stuff up real good. Director Jon M. Chu (Step Up 2 and 3) proves as proficient filming action stunts as kinetic choreography. The mountainside ninja battle is an exciting sequence that could’ve been ripped right from the popular 80s cartoon. G.I. Joe: Retaliation has just the right amount of stupid smarts (and Bruce Willis) to be a nostalgic blast of action.

HANSEL & GRETEL: WITCH HUNTERS (R) Wondering how Hansel & Gretel: Witch Hunters made it to theaters is a far more interesting way to spend the action fairy tale’s sub-90-minute runtime. The fabled origin of Hansel and Gretel is well-known. Two kids are left alone in the forest and stumble upon a witch’s candy house; the kids kill the witch. Dead Snow’s Tommy Wirkola imagines what happens next, as Hansel and Gretel (Jeremy Renner and Gemma Arterton) grow up to be traveling hunters of deadly witches. Apparently, the biggest, baddest witch (Famke Janssen) is hatching a plot that requires Gretel, due to a not-so-surprising mid-film reveal. Renner deserves better starring roles than this, or the ones in The Avengers and The Bourne Legacy. He needs a role to highlight his dry delivery and superheroics. Arterton’s pretty and British, but her Gretel is an interchangeable part that could have been played by many a former Bond girl. Wirkola also seems to have some difficulties with tone, shifting from mean and callous to slapstick in seconds. Perhaps the presence of Will Ferrell and Adam McKay as producers pushed the movie to be funnier than it needed. Hansel & Gretel will be forgotten soon.

THE HOST (PG-13) What Stephenie Meyer’s Twilight novels did to horror, she does to science fiction in The Host. (Twilight was horror without the horror; The Host is science fiction without those pesky tropes particular to science fiction.) Alien invaders have conquered Earth. Most of humanity has had their bodies taken over by an extraterrestrial tenant. (How do you know if someone’s possessed? Their icy blue Fahey eyes.) When the invaders implant a soul named Wanderer into the body of Melanie Styder (Saoirse Ronan), Melanie fights back, eventually convincing/leading Wanderer to Melanie’s human family and friends, a group of desert-living rebels led by William Hurt. Once there, Wanda, as the humans call her, falls for one boy, while Melanie continues to love Jared (Max Irons). You knew Meyer would work her love triangle (or in this case, love rectangle?) into the plot somewhere. Writer-director Andrew Niccol has had varying levels of success in the science fiction (his peak seems more and more to have been his first feature, Gattaca), and The Host’s flaws don’t belong so much to him as to Meyer. Niccol only had so much flimsy material with which to work; his resulting film feels empty, sparsely populated and worst, boring.

• JURASSIC PARK 3D (PG-13) Some movies are made to be watched dozens upon hundreds of times at home on TV; Jurassic Park is not one of those movies. It deserves, nay, requires being seen in a theater, on a big screen, accompanied by booming theatrical sound. One thing JP does not require is 3D; a 2D theatrical screening of Steven Spielberg’s last classic blockbuster will suffice. This 20-year-old, effects-laden, dino-disaster pic, based on Michael Crichton’s giddy sci-fi adventure, has aged much better than your last home viewing experience has you remembering it. The first moment Drs. Alan Grant (Sam Neill), Ellie Sattler (Laura Dern) and Ian Malcolm (the always entertaining Jeff Goldblum) see a dinosaur can still thrill, even after the intervening years and improved effects. (A hefty chunk of that credit goes to John Williams’ score, which stands alongside his greatest works.) If you’ve got a kid or a younger sibling that has never seen Jurassic Park, take them on a visit to John Hammond’s magically dangerous kingdom, courtesy of the wonderful cinematic imagination of Steven Spielberg. Or see it on your own and relive the memories of that glorious summer afternoon in 1993 when dinosaurs again ruled the Earth.

LIFE OF PI (PG) Having last thought of Yann Martel’s novel when I read it nearly 10 years ago, the ineffective trailers for Ang Lee’s adaptation failed to remind me of how wonderful and energetic Pi Patel’s life had been. I recalled a shipwreck, a lifeboat and a Bengal tiger named Richard Parker. The imaginatively conceived and beautifully told work of art created by Brokeback Mountain Oscar winner Lee, who certainly deserved the award he received this year for Best Director, reminded me of the many, small joys that add up to make the life of Pi. Do not let the underwhelming previews deprive you of one of the year’s most moving, most artistic films of the year. The opening anecdote relating the origin of Pi’s name conjures up the modern fairy tale magic of past crowd-pleasers Amelie and Hugo. Newcomer Suraj Sharma, stranded for lengthy sequences with nothing but a tiger for a costar, and the ever-excellent Irrfan Khan (most recently seen in The Amazing Spider-Man) deliver delicate performances.

MAMA (PG-13) As much of a horror movie fan as yours truly is, the ghostly stories often favored by Spanish filmmakers are not my subgenre of choice. In Mama, produced by Guillermo del Toro and based on a short expanded by writer-director Andrés Muschietti, two young girls are found in a cabin, where they have lived alone for five years. Unfortunately, when Annabel and Lucas (Academy Award nominee Jessica Chastain and Nicolaj Coster-Waldau) get Victoria and Lily home, they discover the two girls were not alone in the woods, and they’ve brought their rather angry “Mama” with them. The buildup is slow and foreboding, but the final act asks far too much of its CGI creature, whose overly digital appearance elicits more giggles than screams. When coupled with Don’t Be Afraid of the Dark, Mama sucks a bit more wind out of del Toro’s producing sails; so long as summer’s Pacific Rim doesn’t dim his writing-directing luster, everything should be okay.

OBLIVION (PG-13) Tom Cruise’s latest movie is a pre-summer, sci-fi, potential blockbuster. After an alien invasion devastated the Earth, few people remain to mine the last planet’s remaining resources. One of the last people on the planet, Jack Harper (Cruise), discovers everything might not be as it seems after finding a 22-year-old woman and a 102-year-old insurgency leader, Malcolm Beech (Morgan Freeman). Tron: Legacy’s Joseph Kosinski directs this sci-fi actioner that kind of reminds me of the popular videogame, Mass Effect. With Olga Kurylenko, Nikolaj Coster-Waldau (“Game of Thrones”’ Jamie Lannister) and Melissa Leo.

OLYMPUS HAS FALLEN (R) Olympus Has Fallen feels like a relic from the bygone era of the 1980s, where audiences were satisfied by old-fashioned, bloody action movies wherein stone-faced heroes faced off against despicable bad guys without obfuscating their violent exploits with frenetic camerawork. Too bad director Antoine Fuqua’s latest flick isn’t the new Die Hard, as this Gerard Butler-saves-the-president actioner easily bests John McClane’s latest misfire. Disgraced Secret Service Agent Mike Banning (Butler, who needs to stick to action movies) is the only person in America who can save the President (Aaron Eckhart) after North Korean terrorists take over the White House. The movie relies quite heavily on Butler’s manliness. Luckily, no one is more badass than the Scot best known as 300’s King Leonidas (when he’s not wooing Katherine Heigl or Jessica Biel). The supporting cast keeps up better than usual, which should not surprise considering the presence of Morgan Freeman (as the Speaker of the House), Melissa Leo, Angela Bassett, Robert Forster, Dylan McDermott, Radha Mitchell and Cole Hauser. With a franchise-worthy new hero and a well-choreographed, well-shot focus on physical conflict, Olympus Has Fallen kicks butt better than the muscular bulk of recent action movies.

ON THE ROAD (R) Has it really been almost 10 years since Walter Salles' wonderful Che Guevara biopic, The Motorcycle Diaries? Salles, who also directed Central Station, brings Jack Kerouac's seminal novel to the big screen, and sadly, most of the buzz revolves around Twilight's Kristen Stewart's nude scene. Everyone should be more excited to see Sal Paradise (Sam Riley, Control's Ian Curtis), Dean Moriarty (Garrett Hedlund) and Marylou (Stewart) cross the country and meet a cast of characters played by Amy Adams, Viggo Mortensen, Steve Buscemi, Kirsten Dunst, Elisabeth Moss, Terrence Howard and more. (Ciné)

OZ THE GREAT AND POWERFUL (PG) First and foremost, Sam Raimi’s The Wizard of Oz prequel is no Wizard; it’s not even Return to Oz, the very dark, very underrated 1985 sequel. Disney’s latest family blockbuster reveals the wizard’s own cyclonic entry to Oz. Carnival magician and con man Oscar Diggs (James Franco, whose performance is nothing if not inconsistent) meets three witches—Theodora (Mila Kunis), Evanora (Rachel Weisz) and Glinda (Michelle Williams)—who believe him to be the great wizard whose appearance in Oz was prophesied. In the void left by the recently deceased king, Oscar must determine which witches are wicked and which are good. Raimi trots out his usual visual wizardry, and Oz is as successful as his first Spider-Man entry once it gets going. The middle act gets a bit logy as the good people of Oz prepare for battle via sewing montages. The climax is filled with whiz-band special effects, used effectively, and ties in well with the classic film being emulated. I just wish Raimi had chosen to make his Wicked Witch via makeup, like the original’s Margaret Hamilton, as opposed to CGI. Oz won’t make anyone forget the original, but it doesn’t shame its memory either.

QUARTET (PG-13) In his directorial debut, Dustin Hoffman fashions a delightful trifle filled with deliciously British performances from Maggie Smith, Tom Courtenay, Billy Connolly, Pauline Collins, Michael Gambon and more. At Beecham House, a home for retired musicians, plans are afoot for a gala to celebrate Verdi’s birthday. Drama arrives in the form of an aging diva, Jean Horton, who is also the ex-wife of another resident (Courtenay). Smith is her usually grand self (and as her actual age, not older, for once!). It’s wonderful to see Courtenay and Collins as featured players. Renowned scene stealer Connolly is up to his old tricks as aged horndog Wilf. Hoffman unfussily directs Oscar winner Ronald Harwood’s play with an actor’s generosity for his actors. Anyone who enjoyed their stay at The Best Exotic Marigold Hotel should also enjoy the performances of Quartet.

SCARY MOVIE V (NR) Ugh. Fifth time does not look like the charm; the trailer for Scary Movie V made this year’s earlier release, A Haunted House, look like Caddyshack. A couple (Simon Rex and Ashley Tisdale) with a newborn use home surveillance and paranormal experts (including Katt Williams and Leo DiCaprio lookalike Ben Cornish) to suss out the terrifying happenings in their home. Get ready for topical celebrity cameos from Charlie Sheen, Lindsey Lohan, Mike Tyson and more.

SILVER LININGS PLAYBOOK (R) David O. Russell’s dram-rom-com and multiple Academy Award nominee does everything but disappoint. Pat (Academy Award nominee Bradley Cooper) has just been released from a state mental hospital after a violent incident involving his estranged wife and another man. Maybe too soon after coming home, Pat meets Tiffany (Academy Award and Golden Globe winner Jennifer Lawrence), who lost it after the death of her husband. Instead of exacerbating each other’s unhealthy flaws, the relationship between these two cracked souls heals both, much to the surprise of everyone, including Pat’s parents (dual Oscar nominees Robert De Niro and Animal Kingdom’s Jacki Weaver). Besides I Heart Huckabees (which deserves reevaluation) and Russell’s infamous tirade, The Fighter, the filmmaker has one of the strongest filmographies of any of the acclaimed auteurs first discovered in the 1990s. Silver Linings Playbook has an awkward edge—you keep waiting for Pat and Tiffany’s house of cards to collapse—that makes even the smallest successes so much sweeter. Russell’s fiery demeanor and beautiful writing certainly ignites his actors; Cooper and Lawrence give two of the year’s most generous and honest performances. Silver Linings Playbook should not be missed. (Ciné)

SMART HOUSE (NR) 1999. This Disney Channel Original Movie should fill the same nostalgia void for which the channel’s upcoming “Girl Meets World” is aiming. (I, for one, am a huge “Boy Meets World” fan and cannot wait.) Ben Cooper (Ryan Merriman) wins a computerized home manned by a cyborg maid named PAT (Katey Sagal). When Ben’s widowed dad (Kevin Kilner) shows interest in the house’s creator, Ben monkeys with PAT’s programming. He just doesn’t get the results he expected. This telepic is directed by none other than “Reading Rainbow”’s Levar “Geordi La Forge” Burton.

SPRING BREAKERS (R) Harmony Korine is a challenging filmmaker. His first script, Kids, became Larry Clarke’s latest cinematic controversy in 1995; then Korine started directing his own critically divisive films like Gummo and Julien Donkey-Boy. His newest film has met with, again, divided critical acclaim and bigger box office glory thanks to the headline grabbing casting of Disney teen queens Selena Gomez and Vanessa Hudgens as half of this bikini-clad criminal quartet. Broke college students Faith (Gomez), Brit (Ashley Benson), Candy (Hudgens) and Cotty (the director’s wife Rachel Korine) rob a fast food joint to fund their spring break trip to Florida. In St. Pete, the revelers get arrested and involved with local rapper and drug dealer, Alien (James Franco in cornrows and grill), who has beef with a former buddy (Gucci Mane). Korine has described his film as hyperreality, a good word for this oddity that viciously whips from gritty realism to vivid fever dream. The bloody, neon climax, scored by Drive’s Cliff Martinez and Skrillex, calls to mind the violently surreal hit indie videogame, Hotline Miami. Whether or not Korine has anything important to say about this hedonistic rite of passage, what he does say is wickedly stylized and superiorly captivating.

TO THE WONDER (R) Terence Malick’s already back! A director notorious for the long waits between his artistically acclaimed, not necessarily popular films returns with a new film directly on the heels of 2011’s Tree of Life. Gorgeous Mont Saint-Michel plays a central role in this romantic drama about Marina (Olga Kurylenko) and Neil (Ben Affleck). After returning to Oklahoma from France, problems arise as Marina befriends another exile, a priest (Javier Bardem), and Neil reconnects with an old friend (Rachel McAdams).

TYLER PERRY’S TEMPTATION (PG-13) Is it possible for a filmmaker to “jump the shark?” If so, Tyler Perry’s Temptation might be that point for Atlanta’s multi-hyphenate filmmaker. He cast Kim Kardashian, for goodness’ sake. And wait for Brandy’s climactic reveal. It’s the sort of melodramatic gem that could turn this dreck into popular camp were it less dull. A marriage counselor, Judith (Jurnee Smollett-Bell), who feels neglected by her nice guy, pharmacist husband, Brice (Lance Gross), waltzes off with a handsome, ripped billionaire, Harley (Robbie Jones), after he offers her the good life of shopping, drugs, sex, etc. By the time Judith’s religious mother (Ella Joyce) wanders in to preach at her daughter (and the audience), it’s too late. Old Judith done let the devil in. Remember that post-Basic Instinct period of the early-to-mid '90s when a new erotic thriller was coming out each week? Well, imagine one of those Basic rip-offs minus all the risqué, headline-making sexuality; substitute a sermon instead, and you’ve got Temptation. Unfortunately, Perry seems too caught up in making easy box office cash to worry that much about reinforcing stereotypes. He’s probably got another hit, but at what cost? Not enough to outweigh his millions upon millions of benefits.

WARM BODIES (PG-13) Having witnessed many a zombie apocalypse, I can say with complete assuredness that Warm Bodies is not your usual end of the world via the flesh-eating living dead flick. This zomrom stars X-Men: First Class’ Nicholas Hoult (poised for a big year with March’s Jack the Giant Slayer) as R, who is not your typical zombie. Blessed (or cursed) with a rather rich inner life, R still munches brains but he’s conflicted about it, especially after meeting Julie (Teresa Palmer, Take Me Tonight). She kickstarts his heart, starting a chain reaction amongst all the corpses (the survivors’ term for zombies), except for the too far gone Boneys. Working from Isaac Marion’s oddly delightful premise, filmmaker Jonathan Levine, who’s on quite a roll (he’s 4-for-4 in my book) after 50/50, whips up a still horrific, mostly romantic early Valentine for adventurous couples and soft-hearted horror fans. Levine retains his spot on the young filmmaker’s to watch list (that maybe only I am keeping). Not wasting Rob Corddry, as R’s BLDF (Best Living Dead Friend), and John Malkovich, as Julie’s overbearing, military father, is another of the film’s boons. Ignore the mawkish CW-meets-Twilight marketing and enjoy some rare bloody romance/heartfelt horror.

WRECK-IT RALPH (PG) 2012 was a good year for animation, including Brave, Frankenweenie, ParaNorman and now Wreck-It Ralph. In Disney's latest, Wreck-It Ralph (v. John C. Reilly), the bad guy from popular arcade game Fix-It Felix Jr., decides he wants to be a good guy. Leaving the safety of his own regenerating world, Ralph enters a Halo-ish first-person shooter named Hero's Duty in search of a medal. Too bad Ralph is better at wrecking things than fixing them. This cute, inventive cartoon boasts several creative game worlds like the cavity-friendly candyland of Sugar Rush and a treasure trove of Easter eggs for lifelong and newer gamers. Director Rich Moore definitely learned a thing or two from his time working on the inside joke-heavy worlds of Matt Groening, "The Simpsons" and "Futurama." The voicework by Reilly, Sarah Silverman, Jack McBrayer, Jane Lynch, Alan Tudyk, Mindy Kaling and more is top-notch, but one expects that level of competence from a high-profile animated feature. It's the plentiful heart and laughter Wreck-It Ralph offers viewers of all ages, gamer or not, that sets it apart.

ZERO DARK THIRTY (R) Academy Award winner Kathryn Bigelow and her Oscar winning collaborator, screenwriter Mark Boal, follow up The Hurt Locker with this controversial, excellently crafted military thriller documenting the decade-long search for Osama bin Laden. Despite everyone (I hope) in the audience knowing how the story ends, Bigelow and Boal ratchet up the tension for over two and a half hours, as near misses and further attacks make the search, conducted by the ferociously single-minded screen proxy Maya (Best Actress nominee Jessica Chastain), that much more desperate. The controversial torture scenes, mostly contained in the first act, are tough to watch but factually necessary. The film ends with its well-earned climax, SEAL Team Six’s daring nighttime raid, a rare action sequence that thrills and also chills with verisimilitude.