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Buenos Aires, Federal District, Argentina. In a past life, this would be a standard B-movie shoot-’em-up. Scorsese’s talent for aligning the audience with a single character’s obsession pays off brilliantly as Shutter Island unfolds, and potent single-scene turns by Jackie Earle Haley and Patricia Clarkson draw it further into the darkness. Ofelia arrives at the wedding accompanied by her partner, Andrés, both live isolated in the middle of the Amazon jungle. [A.A. Dowd], The winning new teen romp Superbad was written by Evan Goldberg and Judd Apatow’s protégé Seth Rogen, and directed by The Daytrippers’ Greg Mottola, but it still feels like the concluding film in Apatow’s trilogy of raunchy, big-hearted, improvisation-heavy comedies about man-children torn between the pleasures of eternal adolescence and the relentless pull of adult responsibility. “Come and get me out of here.” That’s more or less how Rachel (Kathryn Hahn) and Richard (Paul Giamatti) feel in Tamara Jenkins’ long-awaited third feature, which explores in minute, often excruciating detail this infertile couple’s Herculean efforts to either conceive or adopt a child. Harold Meyerowitz (Dustin Hoffman) is like a Tenenbaum kid in dotage, half-ignoring his successful but non-glamorous children, and Baumbach captures both the affection and the unpleasant reality of dealing with a middling-at-best parent whose frail humanity remains in full view. But as we witness throughout this vibrant documentary, the journey isn’t exactly for the faint of heart and can be an upward climb for even the most time-tested of legends among us. [Jesse Hassenger], A title card at the outset reads, in full, “The Witch: A New-England Folktale.” Technically, in fact, it’s The VVitch, with two capital V’s (more or less interchangeable with the letter “U” for centuries) instead of the modern “W.” These details matter, because Robert Eggers’ singularly creepy debut derives much of its power from stringent period accuracy. As days go by, Laura crosses out the days on a calendar, revealing her secret past to her lover. Lucía and Ofelia, two sisters, finally meet after 7 years at Lucia's wedding. Streaming libraries expand and contract. Directed by Armand Mastroianni. Gerwig cradles Lady Bird’s story like a delicate baby robin, allowing the tension between her characters to arise organically and daring to make them refreshingly, well, ordinary. [Keith Phipps], Though still grimly hilarious, Armando Iannucci’s historical farce The Death Of Stalin adopts a more serious tone than his TV series Veep and The Thick Of It. And that’s no accident, since the Italian director’s beatific third feature (which took the Best Screenplay award at Cannes, alongside Jafar Panahi’s 3 Faces) fully evokes a sense of temporal dislocation—a feeling of being unstuck from the flow of history—and in doing so, clarifies our very relationship to modernity. To some extent, The Duchess recalls Sofia Coppola’s Marie Antoinette, in that it’s about bed-hopping and courtly ritual during a time of revolution. Click the title at the top of each slide for some in-depth coverage from The A.V. And if the person objects to Marla and Fran selling their house and draining their bank account? Awakened from a curse, Sleeping Beauty marvels at the wonders of the new century. Recent additions to the genre have devised some clever justifications for keeping the characters planted, ranging from financial incentive to house arrest to the explanation that the haunters will simply follow the haunted to their new digs. They’re not fit to make their own decisions. Dramatizing the eventful decade between two upsets that won Ali heavyweight titles—his first encounter with Sonny Liston in 1964 and the Rumble In The Jungle with George Foreman in 1974—the film employs an episodic structure that focuses on key phases of his development, showing him as a brash young fighter, a spokesman for Black Power, a legal martyr for his refusal to be drafted for Vietnam, and an international icon. The sisters are again pushed by the wishes of others. [Ignatiy Vishnevetsky], “I’m too cynical to be an artist,” muses a character at around the midpoint of Nocturnal Animals, the second feature by the fashion designer Tom Ford, perhaps winking to the audience of this arch and self-conscious film. And as such, any film about Moore’s life that didn’t include wall-to-wall dirty jokes would be a disservice to his foul-mouthed legacy. [A.A. Dowd], Whether it’s a responsible choice to turn a real-life disaster into a stunning special effect—or to depict the natives of Thailand as “obstacles,” as opposed to people who’ve just had their own lives upended—is worth debating further. The film unfolds entirely within the frame lines of a teenage girl’s laptop screen, its characters squeezed into the tiny boxes of a group video chat, its protagonist toggling frantically between various browsers as her evening web time becomes an online nightmare. The idea of carving out a space at the largest music event of the year—one that is not-so-secretly consumed by a predominately white audience—to unabashedly celebrate black culture might ring as too ambitious of an undertaking for most to seriously entertain. Nine years later, as Facebook’s true (and truly alarming) potential to undermine democracy is finally under discussion, it seems the real question is whether the movie was harsh enough. [Ignatiy Vishnevetsky], Steven Soderbergh’s filmography is dotted with portraits of people who are very good at what they do professionally, from Brad Pitt’s constantly eating con artist in the Ocean’s franchise to Gina Carano’s thigh-smothering operative in Haywire. Algorithms are imperfect. During the climactic Hair Show competition, stylists battle in flamboyant production numbers that take showmanship to comic extremes, from a fuzzily conceived bar scene involving an aquarium and underwater hair-styling to a dizzy spectacle involving more or less an entire marching band. Granted, Bonnie (Faye Dunaway) is stark naked, and Clyde (Warren Beatty) is trying to steal her mother’s car, so they each have an extra reason for wry amusement. How High Flying Bird dismantles that makes it one of Soderbergh’s most urgent films in years. Starring Sam Neill as the cantankerous adult, the film plays a bit like Jurassic Park minus Lex and dinosaurs, mining humor from the incongruity of its odd-couple pairing and basic fish-out-of-water elements, plus some Flight Of The Conchord-ish wit. This movie isn’t as snappy as his collaborations with Greta Gerwig, but it’s very funny and beautifully acted, particularly by a career-best Adam Sandler as a stay-at-home dad who dotes on his smart teenage daughter. Rest assured, there is very little chance you have. “Big Nick” O’Brien (Gerard Butler, looking like he just ate Russell Crowe), the gruff and loud boss of a major crimes squad in the Los Angeles County Sheriff’s Department, stuffs a dead guard’s donut into his mouth as he looks over the scene hours later. Lucia, strong and territorial, feels powerful although there is something she can not control: the desire of her husband. But you know what you can always rely on? [Mike D’Angelo], This exemplary low-budget noir that benefits from director Mike Hodges’ steely malevolence and bone-dry sense of humor. In Noah Baumbach’s most complete picture to date, the stalwart indie filmmaker combines the vivid slice-of-life vignettes of Frances Ha with the unflinching self-examination of The Squid And The Whale. Meyerowitz, loosely structured as a series of short stories, bears some superficial resemblance to the films of Baumbach’s pal Wes Anderson, particularly The Royal Tenenbaums, but it inverts the family dynamics of a ne’er-do-well father parenting stunted child geniuses. The car disappears into the darkness. That fact is such a given that it’s often preemptively held against the genre. At best, Paranormal Activity makes the banal and commonplace deeply unsettling. The movie moves as fast as its protagonist, enjoying the “confidence” part of the con game, and how a mere kid is able to use what he’s learned from episodes of Dr. Kildare and Perry Mason to project an air of authority. It’s seen from above when Batman glides from building to building, and from below as the Joker skulks through streets that the residents deserted in panic. [Mike D’Angelo], Winter On Fire: Ukraine’s Fight For Freedom represents a new breed of documentary that reflects this major upheaval. (Speaking of transitions, the film was also the first to feature a full score from Nine Inch Nails’ Trent Reznor.) These streaming statistics are based on the official trending or the most popular movies on VOD. Nightcrawler gave him a chance to make a lasting impression, and he takes full, fanatical advantage. Smigel ditches most of the usual Sandler hangers-on, keeps the best ones (Rock, Dratch, Buscemi), and makes a movie rooted in the specifics of suburban Long Island, rather than the latest Happy Madison-favored resort. (2017). Only in the film’s final few minutes does the title character even call himself Barack—and then only in his head, reading a letter to his absent father. [Mike D’Angelo], Fusing the themes of a classic Hong Kong action movie with the mayhem of a modern Indonesian martial-arts flick and enough gore to satisfy fans of extreme, midnight-circuit horror, Timo Tjahjanto’s The Night Comes For Us takes “heroic bloodshed” to a new level of indescribable, gut-splattered ickiness. [Charles Bramesco], While every one of Can’t Hardly Wait’s characters can be defined by two or three words—the tortured geek (Charlie Korsmo), the misunderstood prom queen (Hewitt), the evil jock (Peter Facinelli), the doleful protagonist (Ethan Embry), the Janeane Garofalo type (Lauren Ambrose), the white homeboy (Seth Green), and more—it’s refreshingly fast-paced. Is Washington giving Hawke a crash course in the realities of his new beat, or simply revealing himself as a bad lieutenant of the worst kind? UNLIMITED TV SHOWS & MOVIES ... Watch all you want. But it’s very much a Western take on the kung fu movie, which was then a genre in its infancy. [Nathan Rabin], “This is my private life,” cries Danny Elfman in the Oingo Boingo song of the same name. To say where the plot goes would be unfair, but it involves a mysterious malady, an impossible choice, and a terrible reckoning. At a glance, he seems like the model man in uniform—a polite, soft-spoken war veteran, blessed with both the all-American good looks and aw-shucks charisma of Chris Evans’ heroic Steve Rogers. Ron Howard directed the film, but its auteur is undoubtedly playwright-screenwriter Peter Morgan (The Queen, The Deal, The Last King Of Scotland), who continues his ongoing exploration of the 20th century as filtered through crucial interpersonal relationships. The joy- and loveless life changes when her husband brings a friend home. To add another layer of ingenuity, Owen’s omniscient narration is taken from his completed novel, providing a witty and bemused running commentary on his own misfortune. “Call Me by Your Name” is set in 1983, so no one is staring into a smartphone. As is often the case, the symbol of innocence takes the form of a little girl: Joe Taslim is the dangerous killer who’ll stop at nothing to protect her; his The Raid co-star Iko Uwais is the former gangland partner sent to take him down. Netflix's vast library of shows and movies can be a little tricky to navigate so we've listed every single title streaming in our Netflix content catalogue. Newcomer Sasha Lane stars as Star, an impulsive teenager who abandons her abusive home life to sell magazines town to town and door to door with some misfits she meets dancing to Rihanna in the middle of Kmart, including rat-tailed heartthrob Jake (Shia LaBeouf). But if the film is novelistic in its sprawl, maybe sometimes to a fault, it’s written in poetry as well as prose. Sherlock Holmes' sister takes center stage in Netflix's Enola Holmes - and leaves plenty of room for a sequel. That aspect takes on fresh significance—a uniquely cruel irony—in George C. Wolfe’s new adaptation. We aren’t No. Donnie Yen has mostly stayed away, other than some smaller, more exploratory roles. Lucy is thinking of ending things, after all—something she tells us repeatedly through a running internal monologue that keeps getting stepped on by intrusions of chitchat. This is the writer-director’s take on the promise of American ideals, even more so than Django Unchained, for which it was originally intended as a sequel. [Allison Shoemaker], Andrea Arnold presents a dynamic vision of young, weird America in American Honey, a sprawling road movie that winds its way from wealthy suburban cul-de-sacs to poverty-stricken trailer parks on a cross-country trip. Where Project got a lot of mileage out of the archetypal campfire-story spookiness of the wilderness where its hapless filmmakers got lost, Paranormal Activity derives much of its power from juxtaposing supernatural otherworldliness with the mundanity of the apartment where its action takes place. The film initially resembles a close-up study of relationship strife and grief, but as it drifts forward in time, it turns into something both sweeping and unknowably intimate. In other words, it’s both a movie about young Scorsese and a movie that young Scorsese would have loved, while also bearing the distinct signature of the filmmaking world’s most passionate historian and preservationist. Shutter Island may initially seem like a nerve-jangling genre piece in the Cape Fear mold, but it’s more like Scorsese’s The Shining, a horror show where it’s sometimes hard to tell the haunted from those doing the haunting. Meanwhile, the car’s owner, Sheriff Kretzer (Kevin Bacon), has to scramble to recover it before anyone else with a badge learns that it’s been stolen. In a literal sense, the “monster” in A Monster Calls is an enormous fire-breathing tree-beast, with the voice of Liam Neeson, who comes at night to haunt a preteen boy named Conor O’Malley (played by Lewis MacDougall). [Noel Murray], In the broadest sense, Moonlight could be called a movie “about being black” or “about being gay” or even “about being raised in the drug-ravaged Liberty City neighborhood of Miami.” But writer-director Barry Jenkins treats identity as more of a prism than a lens in his adaptation of Tarell Alvin McCraney’s unproduced play In Moonlight Black Boys Look Blue. But Under The Shadow cuts through all that noise, allowing its scared-witless protagonist to make a sensible break for it. The expert opinions and knowledgeable commentary of The A.V. [Katie Rife], The best animated film of 2019 is partly about a luckless, lonely young man falling in love, and partly about a severed hand that’s slowly crawling across a city filled with small-scaled dangers. The armed crew hits during the guards’ coffee stop at a donut shop. The core theme of E.T. Starting with Netflix's Malcolm & Marie.Written and directed by Euphoria creator Sam Levinson and made in the midst of our national nightmare, … (Hence the protagonist, an anti-heroic black bounty hunter who, in the movie’s post-Civil War setting, is about the age Django would be.) At this point, the two women haven’t so much as touched one another, much less voiced their attraction; both are models of Eisenhower-era propriety. Chosen despite a cattle call in which Benyamina looked at over 3,000 other young women, Amamra is so arrestingly alive onscreen that thoughts of nepotism seem ludicrous. Maybe not. [Ignatiy Vishnevetsky], With The Old Guard, Love & Basketball and Beyond The Lights director Gina Prince-Bythewood helms an action-fantasy hybrid that takes the beauty marks—and warts—of each genre and creates a sequel-starter for Netflix. Imagine my surprise, then, that Adam Sandler enlisted his old pal Robert Smigel to make his best broad comedy in at least a decade—a funny and sweetly grounded story about a couple of dads hitting assorted bumps in the lead-up to their kids’ wedding. Ia Shughliashvili stars as a middle-aged woman named Manana, who one day decides to move out of the crowded apartment she shares with her grown children, her inattentive husband, and assorted in-laws. Ofelia becomes calmer but more animal, primitive, free and dangerous. [Katie Rife], “Life can change in the blink of an eye” is one of those clichés that sounds more hyperbolic than it really is. It would’ve been easy for documentarian Joshua Weinstein to make Menashe into a melodrama about heroes and villains: the misunderstood free spirit versus the stodgy pillars of the community. [Noel Murray], The Hong Kong action movie Infernal Affairs has the sort of hook that would fill an arena in the rock world: Two police-academy graduates work as moles on opposite sides of the law—one as an undercover cop in the mob, the other as a gangster infiltrating the police department. [Caroline Siede], Georgian writer-director Nana Ekvtimishvili (In Bloom) brings a rare subtlety and sensitivity to this ironically titled domestic drama. (Wan gets bonus points for opening on the dead, fixed eyes of the world’s creepiest doll.) Is Kaufman assuring us or himself? [Mike D’Angelo], The best part of any imposter tale is the how-to: the step-by-step of how to get a fake I.D., and then how to parlay that I.D. She meets Arturo and the pair enter into an intense, violent sexual relationship. Those damn thumbnail images are always changing. [Lawrence Garcia], Opening with a diagnosis of cancer that’s soon revealed to be terminal, Paddleton more or less amounts to an hour and a half of slow-motion assisted suicide. When he returns from the war to his home in southeastern Ohio, Willard isn’t particularly religious. She falls in love with a famous architect who is working to restore the castle she once lived in, but finds... See full summary », Coming of age. So it’s marvelous to see Braga setting the big screen ablaze—speaking her native language, for once—in Aquarius, a Brazilian drama constructed entirely around her. But that doesn’t matter as much as how melancholy and uncomfortable an experience the movie is. He answered those questions with 1988’s musical comedy School Daze, a more broadly appealing but no less idiosyncratic movie. But it’s also a delirious, wildly entertaining implosion of unstable meta-text, filled with nonstop callbacks, withering bon mots, and thinly veiled send-ups of then-contemporary personalities, not to mention some of the most electric (and unabashedly libidinous) filmmaking of Welles’ legendary career. Meanwhile, the whole area is being very loosely policed by the corrupt Sheriff Lee Bodecker (Sebastian Stan), whose own sister Sandy (Riley Keough) is one half of a couple who get their kicks by seducing lonely travelers and then murdering them. No less than a Herculean act of reconstructive surgery, The Other Side Of The Wind tells an ostensibly familiar tale of protégé (Peter Bogdanovich’s Brooks Otterlake) surpassing mentor (John Huston’s Jake Hannaford), here in the context of ’70s-era Hollywood. It’s an exercise in pure unsettling atmosphere—one so off-kilter that it seems downright haunted itself. 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