You’d be forgiven if you glanced at the monotonous western “Tornado” and decided that it’s a handsome genre exercise. The movie, which was shot in Scotland and set in 1790s Britain, follows a handful of laconic characters as they chase after each other for the usual formulaic reasons: gold and revenge. Writer/director John Maclean (“Slow West”) reteams with director of photography Robbie Ryan (“Poor Things”) for a typically attractive collaboration, which makes “Tornado” easy enough on the eyes. That helps considerably whenever the action lets up in this dialogue-light chase movie. 

Substantive themes are hinted at throughout, though they’re most clearly (and bluntly) articulated in the movie’s load-bearing dialogue between the title heroine (Kōki), a samurai-sword-wielding teenager, and her father Fujin (Takehiro Hira), a traveling puppeteer. By contrast, Tim Roth and “Slow Horses” star Jack Lowden, playing a father/son duo of scruffy bandits, don’t say much that sticks in one’s mind. 

“Tornado” also features a number of eye-popping images thanks to the filmmakers’ emphatic use of forced perspective. The movie may not deliver enough of what its creators offer, but to paraphrase the great Bugs Bunny during a rare self-justifying apology: So it’s mechanical!

Maclean’s latest—his first feature in ten years—begins mid-chase. The title character flees from vicious robber Sugarman (Roth) and his gang, whose members have Dick Tracy-esque names like Squid Lips (Jack Morris) and Lazy Legs (Douglass Russell). Sugarman’s looking for Tornado and a cache of gold; Sugarman’s son, Little Sugar (Lowden), mostly skulks about and looks for opportunities to prove himself. He finds one in Tornado, though he mostly hangs back and lets his dad and his associates go first. 

Meanwhile, Tornado tries to resume her uneasy day-to-day routine with her father, whose home-spun wisdom falls on deaf ears. Admittedly, it’s hard to take seriously folksy dialogue like, “Learn patience. Know when to move and when to wait.” This might have been more endearing coming from the Teenage Mutant Ninja Turtles’ talking rat mentor Splinter. It’s less impressive coming from a major supporting character who seems to speak for Maclean, like when Fujin, speaking in character as one of his marionettes during a puppet show, explains why we never really learn why Sugarman and his group do what they do since they’re motivated by “the most evil of all reasons—no reason at all.”

Tornado, the daughter of a Japanese man and an absent European mother, only has a little more on her mind. Sugarman’s pursuit triggers her fight-or-flight instincts, and she has no time for her life-lesson-dispensing father. Tornado also happens to live in changing times, when immigrants are still treated like curious anomalies, and swords will soon be replaced with guns. A number of other qualities and storytelling values remain constant, as Maclean suggests when Fujin explains that puppet show audiences “always cheer when evil is winning.” It’s hard not to agree with Tornado when she snarks back: “Because good is boring.”

Then again, Maclean’s right to emphasize the ScottishBritish countryside, both as an eye-catching backdrop and contextualizing environment, since it often dwarfs his human characters and makes them look small or absurd. Many times, the deep focus of any given static camera setup establishes how far the characters have traveled to get from one in-between place to the next. Other times, it serves to show how close together the characters actually are, since they’re just over there, one straight, semi-symmetrical line of sight apart from each other. So it’s very easy to catch a melancholy mood and therefore to appreciate the movie’s sobering atmosphere, even if we’re still stuck watching sketchy characters trudge after and chip away at each other.

There’s also an unusual tonal clash at the heart of “Tornado,” and it’s as apparent as the movie’s suggestive title: Kōki’s young heroine doesn’t simply represent one identity or mood, as a later line of dialogue explains. Maclean’s dramedy likewise features antic comedy, as in an early pratfall involving weak floorboards and a large, heavy named Kitten (Rory McCann), as well as suggestive images of an indifferent, but stunning autumnal landscape. The lighting and the editing in this movie are appealing enough to make you want to get lost in each carefully composed frame. The wispy dialogue, variable tone, and creeping pace make it harder to care.  

Maclean’s execution frequently makes up for his distracting habit of both over- and underthinking certain key concepts. He and his collaborators still know how to achieve the effects they set out to. So your enjoyment of “Tornado” depends on how much you want to root for thinly drawn characters who don’t look strong enough to carry an entire movie. They can and they can’t, depending on how patient you’re feeling.

At the beginning of “Mountainhead,” written and directed by Jesse Armstrong of “Succession” fame and premiering Saturday on HBO, three multibillionaire tech bros make their way by private plane, helicopter and SUV caravan to join a fourth in a big modernist house on an isolated, snowy mountaintop for a weekend of poker and drugs — “no deals, no meals, no high heels.” One might wish for an avalanche, were there anything higher to fall on them.

Venis (Cory Michael Smith), the world’s richest man — imagine Musk, Bezos and Zuckerberg put in a blender, as perhaps you have — commands a social media site with, wait for it, four billion subscribers, and has just released new “content tools” that allow for super high-res “unfalsifiable deep fakes.” As a result, the sectarian world is going up in flames. Jeff (Ramy Youssef), a rival who had poached members of Venis’ team, has an AI algorithm capable of filtering out the bad information which Venis, closing the digital barn door after the cow is out, wants to acquire; but Jeff, for reasons of profit, power and/or ego, is not going to let it go.

Randall (Steve Carell), their gray-haired guru — they call him “Papa Bear,” though Jeff also dubs him “Dark Money Gandalf” — controls a lot of international infrastructure, including military. Preoccupied with his mortality — told by his latest oncologist that his cancer is incurable, he responds, “You are not a very intelligent person” — he’s hoping to upload his consciousness to the grid, a possibility Venis assures him is only five years off as long as he can get his hands on Jeff’s AI. The relatively inoffensive Hugo (Jason Schwartzman), whose house it is, hopes to expand the meditation app he created, into a lifestyle super app — offering “posture correction, therapy and a brand new color” — with his friends’ investment of “a b-nut,” i.e., a billion dollars. They call him “Souper,” for “soup kitchen,” because he is worth only $521 million. He’s the runt of the litter, and the comedy relief.

For no given reason, they call themselves the Brewsters — perhaps just so they can crow “cock-a-doodle-brew.” They are full of themselves — “The great thing about me,” says Randall, “is that I know everyone and do everything” — and basically insecure.

They rewrite their fundamental nihilism into the belief that their business is good for mankind, whatever the actual human cost. “You’re always going to get some people dead,” Randall says. “Nothing means anything,” Venis says, “and everything’s funny and cool.” (But he does miss his mother and, in a particularly creepy interlude, his baby is brought up the mountain for an uncomfortable minute.) In the only scene to take them out of the house, the four travel to the crest of a mountain, where Hugo writes each man’s net worth in lipstick on his chest, they don hierarchical headgear and shout, “Mountain god accelerator legacy manifestation!” into the valley below, each adding a wish. It is, seemingly, something they have done before.

Randall name-checks philosophers — Hegel, Kant, Nietzsche, Plato, Marcus Aurelius — he misunderstands to his advantage and drops references to the Catiline Conspiracy and the Battle of Actium to make base actions sound important and dignified. He calls the president a “simpleton” — one assumes Armstrong is reflecting on the current one — but for all their power, money and influence, they all lack wisdom. And if recent years have taught us anything, it’s that these things are not mutually exclusive.

Venis thinks the violence engulfing the globe, which cannot touch him, may prove cathartic; Randall is “excited about these atrocities.” They discuss taking over “failing nations” to “show them how it’s done.” (In perhaps the film’s funniest line, Hugo, who has been working on his house, muses, “I don’t know if I want to run Argentina on my own — not on the back of a major construction project.”) They trade in gobbledygook phrases like “AI dooming and decelerationist alarmism,” “compound distillation effect” and “bootstrap to a corporate monarchy, cyber-state it to the singularity, eat the chaos,” which for all I know is just Armstrong quoting things people of this sort have actually said. It seems possible.

As the only one with a sense of humor and a semblance of perspective, Jeff is the most sympathetic of this toxic crew. He tracks the worsening world situation with some empathetic concern, but even though he holds the key to end the madness, he does not seem in a hurry to turn it. (Mostly he is concerned with his girlfriend, who is in Mexico, not so much because of the unrest, but because he fears she’s having sex.) Still, he stands a little apart, to his peril.

The first half of the film proceeds essentially as a play for four characters. Apart from Hugo’s asking for “help with the cold cuts” or inquiring whether everyone’s cool with reusing plates, there is a scarcely a line in which people talk like people; it is all theatrical declaration. To some extent it fits the coldness of the quartet — they hug and hoot and occasionally express a droplet of emotion, but the friendship on which they insist is competitive, transactional and illusory. They are not good company, but for those of us less than impressed by the whole “move fast and break things” thing, or not willing to bow down before ChatGPT and OpenAI or the actual tech billionaires deforming the world, there is some fun in watching them fall apart. In some ways, “Mountainhead” (rhymes with “Fountainhead”) feels as much a public service as an entertainment. So thanks for that, Jesse Armstrong.

When, in the farcical, action-oriented second half, some attempt to execute a … plot, they bumble and argue and push each other to the front. It is an old kind of movie comedy, and works pretty much as intended.

KARATE KID: LEGENDS is about a young Chinese martial arts prodigy who gets help from his teacher in Beijing and from Mister Miyagi’s prize karate student, Daniel. Li Fong and his mother relocate from Beijing to New York City for an important hospital job. Li attracts unwanted attention from a local karate champion, the ex-boyfriend of a girl Li’s befriended. Li secretly helps the girl’s father, an ex-boxer running a local pizza parlor, train for some boxing matches, to earn extra money to save his business. However, the father’s seriously injured when an opponent cheats. Li feels he owes him something. So, he enters a citywide karate tournament for a $50,000 cash prize.

KARATE KID: LEGENDS has a complex plot leading up to the tournament. So, it lacks the dramatic power of the original 1984 KARATE KID movie. However, it does star Jackie Chan as the kung fu teacher and Ralph Macchio as the original Karate Kid. So, KARATE KID: LEGENDS is fairly entertaining. It has a pro-family worldview extolling honor, fair play and perseverance. However, there’s strong fight scenes and brief foul language.

(BB, CapCap, FR, L, VV, N, M):

Dominant Worldview and Other Worldview Content/Elements:

Strong pro-family worldview with strong pro-capitalist elements stresses honor, perseverance, fair play, helping others, and sticking together in times of trouble, a scene shows a wall that seems like a small shrine to a beloved teacher and mother lights a candle by a small photo of her late older son;

Foul Language:

One “s” word, four “a” words, one crude insult, and one OMG profanity;

Violence:

Strong martial arts and boxing violence and three scenes of people fighting on the street includes punching, kicking, flips, a boxing match, a karate tournament, martial arts training, training to box, and a sucker punch on a subway;

Sex:

No sex, but there’s two or three mentions about teenagers having boyfriends;

Nudity:

Upper male nudity during a boxing match and while in training;

Alcohol Use:

No alcohol use, but a mention about a dead man enjoying rice wine;

Smoking and/or Drug Use and Abuse:

No smoking or drugs and,

Miscellaneous Immorality:

Villains cheat, such as throwing an illegal boxing punch or sucker punching another teenage boy on the subway when he’s not looking, father of teenage protagonist’s new girlfriend owes money to loan sharks for his pizza restaurant.

In KARATE KID: LEGENDS, a teenage kung fu prodigy from China named Li in New York City needs help from Mister Miyagi’s prize student, Daniel, and Miyagi’s kung fu friend in Beijing, who used to teach Li and his late brother, to win the prize money in a citywide karate tournament to help out the father of Li’s new girlfriend. KARATE KID: LEGENDS has a complex plot structure, so it doesn’t reach the dramatic heights of the classic, original 1984 movie, but it’s an entertaining, pro-family action movie about honor, fair play and perseverance, with lots of martial arts fighting and some foul language, which merit caution for older children and younger teenagers.

Teenage kung fu prodigy Li Fong and his mother, a surgeon, relocate from Beijing to New York City when she gets an important hospital job. Li’s brother died after he and Li had a run-in with a kung fu opponent and his buddies after a tournament. Li feels he let his brother down during the fatal altercation.

Li promised his mother to stop kung fu training and fighting for tournaments. However, in New York, he attracts unwanted attention from a local karate champion who happens to be the ex-boyfriend of Mia, a girl Li has befriended. Also, Li secretly helps the girl’s father, an ex-boxer with a local pizza parlor, train for some boxing matches to earn extra money to pay off a loan shark.

During the first boxing match, however, the father’s opponent throws an illegal punch and puts the father into a coma. Once again, Li feels he let somebody down, Mia as well as her father.

Li feels he owes them something. So, he decides to enter a citywide karate tournament with a $50,000 cash prize. His chances of winning look bleak. However, he gets help in training from his kung fu teacher in Beijing, Mr. Han, who enlists the help of Daniel LaRusso, the prize karate student of the late Mister Miyagi. One of Miyagi’s ancestors and one of Han’s trained together in martial arts long ago.

KARATE KID: LEGENDS has a complex plot structure leading up to the tournament. So, it lacks the dramatic power of the original KARATE KID movie, which was released 41 years ago. However, it does star Jack Chan as the kung fu teacher and Ralph Macchio as Daniel, the original Karate Kid. Macchio has become popular on Netflix recreating his role as Daniel in the hit TV series COBRA KAI. Also, Ben Wang makes a charismatic martial arts fighter in the movie as Li Fong. The movie has a good supporting cast beyond that. So, KARATE KID: LEGENDS is fairly entertaining. It also has some humor. For example, there’s a funny “jacket on, jacket off” routine that mimics the “wax on, wax off” jokes in the original KARATE KID.

KARATE KID: LEGENDS has a pro-family worldview that also stresses honor, perseverance and sticking together in times of trouble. The movie’s dialogue describes Han’s martial arts family and Mr. Miyagi’s martial arts family, which includes Daniel, as two branches coming from one tree. That’s also the kind of relationship the movie’s teenage protagonist, Li, establishes with his girlfriend, Mia, and her father. Finally, the plot revolves around helping a small businessman keeping his successful family business open and thriving.

Of course, there’s plenty of martial arts fighting in KARATE KID: LEGENDS, as well as the boxing match that sends the girl’s father to the hospital. KARATE KID: LEGENDS also has some brief foul language, which is mostly light. Finally, two scenes show light commemorative Buddhist shrines to Mr. Miyagi and to Li’s brother. So, MOVIEGUIDE® advises caution for older children and young teenagers.