100 Best Movies on Roku Channel Right Now

Filmmaking is a difficult thing. And there are countless filmmakers—the directors of this film included—who have strong ideas and just need the right time and support to have their vision realized. But there’s no other way around it: Colonials was not ready to leave the pre-production phase, much less ready to be released on streaming. Non-existent production values, embarrassing visuals, unfinished sound design that leaves most of the actors muffled and unintelligible, incoherent world building, dumb action, and terrible performances—there really isn’t anything worth checking out here. That the film has the gall to tease a potential sequel feels cruel.

About My Father is clearly intended to be a cringe comedy a la Meet the Parents (it even features Robert De Niro as another grumpy dad), but it stretches the concept of “funny” so thin that the memory of that scene in which a cat pees on the contents of a smashed urn will feel like dizzying comic heights in comparison. The premise — an Italian-American man struggles to win the acceptance of his WASPish in-laws — might have made sense 100 years ago, but today, it strikes as farfetched. Even without that weak foundation, much of About My Father has a shaky grasp on what makes a movie work. The screenplay feels like the product of crudely stitching together several over-manufactured set-pieces, with the result being an almost total lack of fluidity and characters who often contradict themselves.

The film starts out on its worst foot: star–co-writer Sebastian Maniscalco lays the voiceover on thick, while Sebastian’s brash Sicilian father Salvo (De Niro) is so unceasingly negative that it turns a presence that should be great into one that’s only grating. Though it does find something of a footing as a saccharine family drama in its back half, it’s much too little, too late.

The suggestion that life gets better if only you stand up for yourself is a helpful one. After all, self-confidence is something young kids could use a lot more of. But it’s also not true, and for Sid to instantly get his dream life once he starts applying himself just doesn’t ring true. Things unfold a little too smoothly and conveniently in this movie, making it less of an actual coming-of-age journey (which is complicated and messy) and more of a young boy’s simpleminded fantasy (that is, idealistic and egotistic). I just don’t buy that Sid, a kid who has been shy and avoidant all his life, gains all the wisdom, courage, and charisma of a hero overnight. And it certainly doesn’t help that everyone in his high school looks like they’ve long graduated from college. Ultimately, Sid is Dead lacks the authenticity to stand out from the wealth of excellent teen dramas we’ve been spoiled with in recent years. 

Stories of forbidden love are captivating, because in the face of a lover, in the face of one’s opposite, one cannot help but be challenged, hopefully for the better. This is not what happened here. Out in the Dark is a film debut that takes this idea in the Middle East, with two gay lovers coming from Palestine and Israel. It’s an intriguing idea, and had it been more nuanced, Israeli director Michael Mayer would have created a daring first feature, but the film clearly comes from a limited Israeli perspective, with no Palestinians casted or working behind the scenes. While the film may be sympathetic to hypothetical LGBTQ+ people in Palestine, Out in the Dark doesn’t have the guts to question why they’ve been persecuted in the first place.

In a time where the Metaverse feels more and more a looming presence, hoping to crown our complex realities with its utopian promise, it’s only natural to expect a film set precisely there. Director L.E. Staiman took a chance with Love Virtually, but his attempt to make a zany, absurdist rom-com (riffing off the title of your aunt’s annual Christmas rewatch) simply fails. The premise sees a few couples on the brink of breaking up reconnect with the help of VR headsets, challenging each other’s commitment, or cheating with each other (without knowing it of course). A rather funny gambit gets sucked into a vortex of dullness when the characters speak, their dialogues irksome to the point of second-hand embarrassment. Instead of exploring the possibilities of VR relations through an ironic lens, the film seems to not even care enough to look for the genuine comedic potential of the Metaverse as a concept-turned-space. Even the three separate references to Timothée Chalamet don’t make a difference to how surprisingly retrograde and somehow banal all of this feels.

It is one of those movies in which you cannot separate fun from sincerity and poetry from pain. 100 Girls is a good teen movie, and those are becoming very rare. The beauty and diversity of the other students is presented through the eyes of a romantic young man, with their own particularities, contradictions, hopes, secrets and desires. While the main character is trying to find who he think is the love of his life, we discover with him, and thanks to his comments (with a delicious sense of humor), we also catch the complexity of each character. The film has the amazing skill to see the beauty in each one of the characters, both girls and boys. Hope you will enjoy!

Editor Note: This movie has low ratings, A Good Movie to Watch exceptionally adds low-rated movies when reviewers show passion about the suggestion. Our rationale is that if they firmly consider it a good movie, others are likely to share the same opinion. 

A fascinating kernel of certainty is padded out with giddy speculation in this documentary about a pair of unlikely art thieves. The facts are as such: 32 years after a $160 million painting by abstract artist Willem de Kooning was crudely cut from its frame in an Arizona gallery, a trio of small-town antique dealers discovered it in Jerry and Rita Alter’s estate sale. The Thief Collector is less interested in the painting itself  — in fact, it’s openly dismissive about its artistic value — and more curious about how it fell into the hands of the mysterious couple, who frequently took exotic trips around the world despite their modest teacher incomes.

There are certainly intriguing questions raised by the Alters’ possession of the painting and compelling evidence that places them as the thieves, but this documentary can’t offer any convincing original theses of its own. It does try, by suggesting that the short stories Jerry wrote — about more thefts and gorier crimes — were thinly disguised autobiographical recollections, but it finds nothing to back these theories up except for a few loosely relevant anecdotes from relatives. With too many what-ifs to go on, it all makes for an intriguing but ultimately unsatisfying deep dive.

Sweetwater has a precious story in its hands, along with a sparkling cast of tried-and-true actors and a generous budget that allows them to go all in with the movie’s 1950s setting. But the parts are far greater than the sum here, because all together, Sweetwater is a mess. It promises to be a biopic about Clifton but fractures into many other things. During its duller parts, it’s a white savior story about basketball owners, and during its more vibrant parts, it’s a snapshot of the Harlem Globetrotters during their humble beginnings. The basketball matches themselves are playful and exciting to watch, but for every game, there is an overdramatic scene that cranks up the notch on sappy music and predictable dialogues. Often, it also feels like director Martin Guigui went to the Green Book School of Anti-prejudice, given his extremely elementary portrayal of racism and his preference for the white characters over the Black characters. Sweetwater isn’t watchable, but it’s a shame that the star of the film had to share the spotlight with less interesting personalities. 

If it takes your girlfriend dying before you’re able to open up to her, you’re probably not acting like a good significant other, especially when she moved all the way across the Atlantic Ocean to live with you. It’s hard to root for If Only’s leading man with such a rough start, but there’s a certain charm to the story that makes the movie watchable, the sweet reminder to cherish the people in your life while they’re still here to be cherished. While the schedule of Ian’s repeated day is kinda ridiculous, the lines are a bit cheesy, and the plot is a bit too predictable for a premise that can be made much more fantastic, If Only won’t disappoint viewers just looking for a cute romance.

Based on true events. One of the most controversial and talked-about films at the 2012 Sundance Film Festival. While the story unfolds you can’t help but question if real people could blindly follow instructions, and the sad answer is yes. The story of Sandra (Ann Dowd), an overworked manager at a fast food restaurant, who receives a call from a police officer accusing one of her employees, a teenage girl named Becky (Dreama Walker), of stealing from a customer. Taking the officer at his word, Sandra detains Becky, setting into motion a nightmarish scenario that quickly spirals out of control.

While most people were aware about the devastating atomic bombs dropped on Hiroshima and Nagasaki, less people knew about the continued nuclear testing during the Cold War that occurred on American soil. Downwind shines a light on this in the usual documentary fashion, but it’s an important discussion to have, as the state government deemed nuclear testing in a cheaper place more urgent than the lives of the native Americans living near the plantation, and as the death of one of Hollywood’s leading men unable to even change this. While it was interesting to hear from Hollywood stars, Downwind works best in discussion with the Shoshone Nation, who bore the brunt of the consequences of nuclear fallout.

“There is no ethical consumption under capitalism,” a famous socialist belief goes, but like many activists, Jo is trying to curb that. She marries her two conflicting passions, coffee and the environment, by establishing a vegan cafe that only serves plant-based drinks. If a customer so much as mentions dairy, they’re humiliated before being kicked out of the place. It’s both impressively assertive and gratingly obnoxious, which is something you could also say about the tone the entire film strikes. It’s well-meaning in its attempt to shed light on the ongoing climate crisis, but rather tone-deaf in trying to place the blame on everyday consumers rather than large-scale corporations. The editing choices, while meant to be cheeky, also go overboard with the cuts and colors, making it more annoying than anything else. Which is a shame, because apart from a noble cause, Coffee Wars also has a funny script and engaging performances going for it. It also gives us an insightful look into the highly competitive coffee tournaments being staged around the world. If only Coffee Wars let things brew for longer, maybe removed some elements and expanded others—specifically, dwell more on the contradiction of wanting to change a system while participating in it—then it would’ve been even more enjoyable and educational than it is. 

This is not what you are looking for if you are not into slow movies. It ambles along like the East-Texas drawls that populate it, taking its sweet time and letting the story gradually roll out. This true-story-based film is driven by a strong and witty performance from Jack Black –just not the Jack Black you know. A different kind of movie, Bernie is an entertaining mix of true crime and comedy.

Two months after its premiere in TIFF, Quiz Lady arrived on streaming this November. The comedy film has a sort-of buddy cop dynamic, with an anxiety-ridden, tightly-wound Awkwafina as Anne, and a chaotic Sandra Oh that lets loose with free-spirited Jenny. The film does take its time to get to the good part, and in certain scenes, it feels like it’s torn between the heartfelt and the humorous, but the leads’ acting smooths over some of the awkward writing. Quiz Lady still leads up to a fun watch, though better pacing and writing could have made this charming comedy a classic.

A fantastic return to form for disgraced actor Mel Gibson, Get the Gringo is proof that you can have all the controversy you want off-screen, and come back to make a great piece of film. Fast, entertaining and crazy, Get the Gringo is a wild tale of a crime gone bad and eventually, becomes a fish out of water story of the lone ‘gringo’ in a Mexican prison. Perhaps most unbelievably, the film even makes you go “ahh Mel Gibson”, and reminds you of his charm and talent. Nice comeback Mel.

Do you know those movies where you just look at the poster and you go “damn this will be good”? This is absolutely not one of those, but I promise, it’s still great. Warrior is surprisingly sophisticated for its genre, awesomely executed and what about the acting you say? Hardy and Edgerton are strong together (pun intended). Warrior is a movie filled with authentic emotions designed to give you hope that something unconventional can still come out of the genre.

Can you imagine Steve Martin in a serious role? If not, you seriously need to watch this movie! More plot twists than an Agatha Christie novel, so many that my son had to watch it again the minute it was over. Not a lot of special effects, but this is a seriously complex mystery drama that is incredibly (believe-it-or-not) family friendly, with absolutely minimal language or violence. No one is as they seem… I won’t even begin to try to explain why… just watch and wait to be stumped and stunned!

You know Anthony Hopkins as the evil Hannibal Lecter, but in this film he gives a warm and heartfelt performance portraying real life New Zealand motorcycle legend Burt Munro who set a land speed record in 1967 on a hand-built 1920 Indian. It’s a story of never giving up on your dream even in the face of ridicule and opposition. Hopkins’ performance turns what could have been just another schmaltzy formulaic story line into true gold. You’ll be cheering for Burt/Anthony by the end!

Shot as a single day, it tells the story of college professor George (Colin Firth) who, unable to cope with the death of his partner months prior, resolves to commit suicide. The movie is not all dark, however, there are moving, deeply human encounters as George moves through his last day. Fashion designer Tom Ford’s directorial debut and set in 1960s Los Angeles, it speaks powerfully of the colour-stripping effects of grief and loneliness. Fantastic performance also by Julianne Moore as Charley, an equally lonely and desperate character, but with a markedly different story. A Single Man is a gorgeous film in every sense of the word.

Summary: it’s a really unusual movie, especially for a star like Robin Williams. It’s almost an indie film actually. Robin Williams plays Lance Clayton, the father of a typical rude teenage boy Kyle Clayton (Daryl Sabara) wherein Sabara’s character meets an unusual demise, and out of embarrassment of the situation the father ghost-writes a suicide note from his son. This white lie leads to another and another and so on until his lies spread further than anticipated. The movie definitely earns points for making the film that was set out to be made. They wanted to make a dark comedy and a dark comedy was what they made. It’s even uncomfortable to watch at times. Between Lance’s love life and Kyle’s non-existent one there’s enough awkwardness that you feel like you can’t wait to get to the next scene just so this one can be over. All in all the actors did a truly fantastic job. Each character seemed well developed by the individual actor to the point where every gesture, line delivery, and awkward silence seemed too natural and organic. Additionally, the writing was exceptional for this movie, as no dialogue was ever wasted. Each and every little detail in each and every shot of each and every scene was very carefully designed to continually push the aesthetics, this film is a big success.

Definitely a film you will either love or hate, Sightseers is an extremely dark comedy on the verge of being a horror movie. And it’s British, with many elements of deep British culture. A couple go on their dream road trip in the countryside to suddenly find themselves killing strangers. Sightseers will feel almost like a very British version of True Romance. Again, it’s a unique film, but don’t get me wrong that does not make it hard to like – it’s really about if you like it, you will find it absolutely hilarious.

I was pleasantly surprised at how much I liked this film. I’ll be honest and say I did not really expect much given that it starred Jesse McCartney in the title role. Nevertheless, he managed to really surprise me. McCartney and Harnois have excellent chemistry as Keith and Natalie and you find yourself rooting for them to end up together. The film does a great job at building up their relationship and emotional connection, and it will definitely succeed in pulling at your heartstrings. If you enjoy films in the vein of A Walk to Remember, you should check this one out!

Robert Duvall…Bill Murray…need I say more? This popped up in my Netflix feed as a suggestion. Almost skipped over it, but my husband and I were up late and took a chance. WHOA! The acting is superb and what we thought would be a movie about revenge is unexpectedly about redemption. Robert Duvall is a hermit, looking forward to death. Bill Murray is a funeral home director looking for someone to bury. It’s subtle, very subtle, comical and heartbreaking. Y’all will love it.

Robyn Davidson decided to cross 1,700 miles in the Australian desert with four camels and her trusty dog, and this film recounts her real-life journey. In many ways this is a companion piece to Reese Witherspoon’s Wild, also released in theaters in 2014. While I enjoyed Wild, it went out of its way to make the protagonist’s journey understood to audiences. Tracks gives Robyn some light shading and backstory, but unlike Wild it almost focuses solely on her journey across the desert. And what a desert it is! The scenery is shot beautifully and we feel as though we are truly on this daring journey with her, traveling alien landscapes with little to depend on beyond our animal companions and our wits. We know the outcome (since this is a true story) but we are still thrilled to see how it unfolds. What does it all mean, and what was the journey’s purpose? Thankfully, in the end, the answer is left as enigmatic as the heroine herself.

One of the best, twistiest con movies in recent memory. Seasoned con artist Marcos takes young Juan under his wing after witnessing him pull a bill-switching scam in a deli. Soon Juan is learning the game and the two are roped into trying to pull off the largest scam in Marcos’ storied career, the selling of a set of incredibly rare stamps (the “nine queens” of the title). Along the way they will have to deal with a rotating cast of schemers, thieves, crooks — and Marcos’ estranged sister. A superior little crime thriller, this one will have you guessing right up until the end.

A documentary that reveals just how insane the men that compete in the MotoGP are. It follows Valentino Rossi, one of the best riders of all-time if not the best, in a very pivotal season for him, 2010-2011. An in depth look into his competitiveness but also his passion for the sport and for the machines in it, it’s the kind of portrait that will make you feel you know the subject in person. And when it’s not focused on Rossi, it becomes a a real-life thrill fest of bike-mounted cameras of riders going at it at 200+mph.  A must-watch for gear-heads and uninitiated fans alike that plays with the idea that “if you want to win it all…you have to risk it all”.

On par with the best documentaries of the 21st Century thus far, “Requiem for the American Dream” is an essential viewing for the discerning viewer in search of a more complete understanding of how American society has evolved to such a dramatic point of polarization, and how both politics and big business have played a role in this process. In his introductory remarks to the film, celebrated intellectual and linguistics professor Noam Chomsky expounds: “Inequality has highly negative consequences on society as a whole, because the very fact of inequality has a corrosive, harmful effect on democracy.” Chomsky spells out his perspective regarding the modern political machine and the downfall of democracy, with a keen eye to the historical decisions and influences that have sabotaged the “common good” and shaped America’s current political, financial and social landscape.

This is a great movie to watch on say a Sunday. The story of three homeless people who find a newborn baby while foraging through trash on Christmas eve and decide to care for the baby and track down its parents. Middle-aged Gin, aging Hana and teenage runaway Miyuki form a makeshift family haunted by its members’ past and troubled by their present. As expected, Satoshi Kon (who also directed Paprika) delivers a beautifully animated story with unique characters and unique dynamics. The result is a very humane and moving animation, not to be missed by both Kon fans and those willing to be introduced to his style.

A cynical down-on-his-luck Seoul taxi driver is hired by a German journalist to go to another town called Gwangju. What seemed like an easy and overcompensated journey at first takes him into the heart of a city under siege by the military. This is in fact the student uprising that will be a very important event in South Korean history, known as 1980 Guangju Democratic Uprising. Both the journalist and the taxi driver confront life-threatening situations as they find themselves at the center of the movement. A true-story-based movie, it’s a heartfelt and entertaining political drama about one of the bleakest chapters of modern Korean history. In 2018 it was the country’s official submission to the Oscars.

A peculiar Western that might not please everyone if it wasn’t for its main star, Kurt Russel. It’s a mix between classic western material, a horror flick, and a fantasy movie. Yes, it’s a lot. And not only that, it can be slow at times. However, in those perks it also finds a lot of originality in a saturated genre, and one more time: Kurt Russel. He’s amazing as can be expected, playing the sheriff of a quiet town that gets struck by sudden disappearances. The suspect is a faraway tribe known for its cannibalism practices, the movie follows the sheriff as he leads an expedition to save a disappearing woman.

Richard Wershe, Jr. was arrested for carrying eight kilos of cocaine in 1988, when he was just 17. He went on to become one of Michigan’s longest-serving non-violent juvenile drug offenders, dubbed by the press as White Boy Rick. His fate was sealed by Michigan law that had just been passed, which stated that anyone found with more than 650 grams of drugs had to be sentenced to mandatory life. 

Featuring interviews with drug lords, journalists, as well as Rick’s mother and attorney, this documentary — along with the follow-up Hollywood biopic, White Boy Rick, starring Matthew McConaughey— provides an insightful account into his tragic story. 

Weird: The Al Yankovic Story is a parody of a parody, a multilayered confection of silliness that befits the musician it celebrates. It’s the origin story of Weird Al Yankovic (Daniel Radcliffe) but with the surreal and satirical levels cranked up to a hundred. It’s easy to get lost then, in the movie’s freewheeling giddiness, but Radcliffe has a way of grounding the ultra-heightened comedy with his conviction and charm. The movie also doubles as a who’s who in the 1980s music and comedy scene, and the unlikely pairings it brings together keep you entertained and nostalgic for a simpler, weirder time.

Always follows the story of Jeong-hwa and Cheol-min, both very different individuals who are gentle in their own way. The story starts off by demonstrating how different the leads are in terms of their personality and their outlook on life. The plot can be a little predictable and cliche in some moments, but Always is not a complicated movie—though in addition to being a romance, it also includes some surprising violence that may intensify your viewing experience. Still, Always is about the two leads’ struggle against fate as they try to survive their tough situations, with strong chemistry between the lead actors from start to finish.

Escape from Mogadishu follows diplomats from the North and South Korean embassies as they put aside their differences and work together to escape from an outbreak of civil war in Mogadishu, Somalia. Director Ryoo Seung-wan provides thrilling, high-budget action, especially intense car chases and suspenseful escape scenes that pump you with adrenaline and leave you on the edge of your seat. However, the Somali side of the story leaves much to be desired. Only existing to kill or be killed, the depiction of the Somalians is distasteful, and the country it’s set in seen as nothing more than a senseless warzone.

It’s in crafting a political thriller where Ryoo strikes a chord, following the tradition of South Korean films and dramas that question the current South/North relations. It’s also the aspect that pushed this film to win awards, given that it’s based on a true story from the 1991 civil war in Somalia, albeit with blockbuster flair. Sure, it’s a highly fictionalized story, but the political tensions and heightened atmosphere make good entertainment. And, as with all Korean thrillers, you’ll have to get on a certain wavelength of melodrama to be fully on board with the bonkers yet emotional escape.

It might not teach you the basics of cricket but Fire in Babylon uses the sport as an entertaining entry point into the discrimination faced by Caribbean peoples around the 1970s. The footage we see of actual cricket games is kept to the simplest elements, but what ultimately leaves a stronger impression are the lively testimonials from the documentary’s many talking heads, injecting this historical account with a generous amount of personality. From the hip West Indian soundtrack to the unabashed pride that fuels every anecdote, this feels like a film that’s genuinely being told by its characters, and not from an outsider’s point of view.

When it comes to being a drama with a cohesive and understandable message, Swing Kids falters, and doesn’t make it clear whether or not the film advocates for either pro-capitalist or pro-communist ideas– understandably so, considering how to this day, the peninsula remains split in part due to foreign intervention. The film is a bit too long, and struggles to juggle multiple tones, being a violent war drama, slapstick comedy, and fun tap-dancing musical all at once. But, when the film revels in dance and celebrates the connections made through it, the film shines, creating an incredible sonic soundscape composed entirely of rhythmic taps and sweeping brass, with the five leads dancing in pure joy. Swing Kids is not perfect, but it has heart and it recognizes the waste and tragedy of the human side that is lost due to war.

If there’s one obvious thing that keeps Kano from becoming great, it’s the fact that it takes a little over three hours just to get through. It certainly can be trimmed down by a lot, but going through the three hours isn’t too bad of a time, seeing as it celebrates the real life Taiwanese baseball team through a feel-good, if a bit familiar, underdog story of a small island team winning against some of Japan’s best high school rosters. The film shines when it focuses on baseball– It feels like you’re actually in the stands of the arena, with the matches moving the plot forward and realistically hammering home the love of the sport. That being said, the backstory of the characters plays out in a melodramatic fashion, and while it does depict some of the racism the team faced, the film seems to be reluctant on commenting on the immediate parallels to Japan’s colonization of Taiwan. For better or worse, Kano prioritizes the sport to the detriment of every other plotline.

Given more reliable communication and transport systems, modern medicine, urbanization, and much more relaxed boundaries between social classes, the concept of the one that got away is not as romantic as it used to be. But it’s what makes historical romance hold much more emotional stakes– people can be brave, push past their fear, and do everything right, but be stopped due to circumstances beyond their control. A Summer Story seemed to be in line with that direction, going through familiar pastoral romantic routes for a love across social strata, and it does it fairly well, with slightly more novel scenes like sheep shearing that adds to the current understanding of the time. Sadly, the third act disappoints. Perhaps the ending is much more realistic given their respective positions, but nonetheless A Summer Story disappoints with the choices that the protagonist has made. We don’t even get the satisfaction of seeing them have to live with it.

This movie is based on a true story and is about the longest mafia trial in American history.  Jack Dinorscio, played by Vin Diesel, is a mobster who refuses to get a lawyer and decides to defend himself in court. This is a great funny, feel-good and heartwarming movie. It is in my opinion by far the best performance Vin Diesel has given and it is therefore very sad how poorly this movie did when it first came out and how underrated it still is. I therefore urge everybody to watch this movie and see Vin Diesel give his all to this role.

Despite a name that sounds like a cheap horror flick from the 80’s, Chopper is in fact an ‘autobiographical’ account of Australian robber, kidnapper and all round crazy bastard Mark ‘Chopper’ Read. But don’t think this will be some bog-standard, by-the-numbers, ‘crime doesn’t pay’ movie of the week, instead this film revels in gleeful pitch-black humor, wonderfully shot but not gratuitous, scenes of cold violence and a wonderful lead actor, Eric Bana, (in the role that got his foot firmly through the Hollywood door) who dominates every single frame he is in. At a lean 90 minutes long, you have no excuse not to watch this wonderful gem of a film.

Set in the 1930’s English Countryside, the story of the eccentric Mortmain family is told from the daughter Cassandra’s point of view. Her father, a once acclaimed and famous writer has written nothing in years, leading the family into bankruptcy. Themes such as first love and financial troubles are explored from Cassandra’s comic and intelligent point of view. A classic and a must-see.

Though it starts off somewhat slow, I was delightfully surprised at how much I loved this movie. A 28-year-old man ventures through Europe with a buddy, ending in Copenhagen, where he hopes to contact the last of his family. There he enlists a local girl to help him. An interesting relationship unfolds as they take a captivating journey through Copenhagen in search of William’s grandfather. The tag line of the movie is “When the girl of your dreams is half your age, it’s time to grow up” and William really does have to grow up when he’s faced with his own personal tumult.
The girl is played by Frederikke Dahl Hansen, who gives an exceptional natural performance, which adds even more to the abundance of charm in this film.

I didn’t know anything about the movie before watching it (this was my husband’s pick for ‘one of us picks something that the other knows nothing about’ night). It is Korean, sweet, funny, touching, unique, odd, poignant. I think the fact I knew nothing about the movie when I watched made it even more enjoyable so I hesitate to write more details in this review! Since watching it I have read that an American remake may be in the works, so I would recommend watching it before there is too much info out there about what is destined to be a less charming and successful version

Sometimes it’s hard to relate to foreign movies because of the different cultures, languages and actors. But Miracle in Cell No. 7 transcended the language barriers for me and delivered one of the most touching stories I have ever seen. It’s a Korean film about the intricate yet simple love story between a mentally challenged father and his daughter. When the father is wrongly accused of a crime he did not commit and is sent to prison, his personable character eventually causes the prisoners around him to help reunite him with his daughter in prison. Warning: many tissues will be needed.

The Wave is a movie about manipulation, National Socialism and the authoritarian development at a German school. The well-liked teacher Rainer Wenger presents a social experiment to his students which quickly expands to a much larger scale. His experiment, named “Die Welle” (the wave), is part of a project week at the school about different forms of governments. During his pedagogical approach to the topic Wenger goes through an alarming process, which is fascinating to observe as a viewer. The screenplay is based on a Californian experiment “The Third Wave” from 1967 and its novel from 1981 which became a classic piece of literature in German-speaking countries such as Germany, Austria and Switzerland.

This movie is a wild ride, literally, since it mostly takes place on a bus driving really fast. It’s about one Russian-American social worker who gets hung-up between helping his community driving a group of elderly Russians to a funeral or helping the people he’s hired to help.

In its essence, Give Me Liberty is a comedy where the chaos doesn’t stop escalating, but thanks to impeccable character work and excellent acting, it’s a relevant and poignant movie. You will find yourself in the same position as the social worker, trying to decide who needs his help more.

Madeleine (Embeth Davidtz) runs a high-brow art gallery in Chicago and has to take a trip to North Carolina to meet with an artist she wants to sign. She uses this opportunity to also meet her husband’s family, who is originally from there.

She is introduced into the small world of rural North Carolina, personified in Ashley (Amy Adams), the wife of her husband’s brother. Ashley is a wide-eyed but good-hearted person who has never left her town and who is in a bad relationship but pregnant with her first child. 

Ashley is the true main character of this movie (even if all Adams accolades were for ‘best supporting’ awards). Her joyfulness, her pregnancy, and her interactions with Madeliene are studied closely in this subtle but touching family drama.

This original comedy-drama is about a young man on the autism spectrum called Luke. Propelled by a scandalous grandpa with no filters, Luke decides that what he needs in his life is to lose his virginity.

His dysfunctional family setting, which includes a mother who left him and a neurotic step-mother, makes his search more difficult but more also pressing. Luke decides he first has to get a job, and with a world that doesn’t expect much from him, his unbreakable determination is a joy to watch.

An indigenous language is dying, and the last two people who speak it have not spoken to each other in 50 years. In this calm drama from Mexico, linguists are sent to try to get them to talk so they can document the language. 

The story goes that two men have stopped talking because they fell in love with the same woman, so there is a romance wrapped neatly within the linguistic story. What truly steals the show, however, is the breathtaking nature in which it’s all set – the stunning region of Chiapas.

From early footage of country-folk threshing their crops to blissed-out clubbers at a rave, there is a mesmerizing, insistent sense of rhythm and motion to Arcadia. Director Paul Wright has curated an astonishing array of archive material for this feature-length video montage examining the British and their sometimes uneasy relationship with the land.

Cut together in loosely chronological order, the footage is enigmatic, seductive, and disturbing, set to a haunting soundtrack from Adrian Utley of Portishead and Will Gregory of Goldfrapp. Watching Arcadia is hypnotic, like wading into the uncertain waters of time with a head full of shrooms. And that’s definitely a good thing.

Esteros revolves around the childhood friends Matías and Jerónimo, who reach adolescence and experience sexual attraction to each other before being separated by circumstance. When they meet again ten years later, they explore their long-repressed feelings for each other. 

This moving and emotionally satisfying love story is shot against the backdrop of the Argentinian countryside whose glories are beautifully captured throughout the movie. The performance of the two leads is excellent and the chemistry between them is almost palpable. 

This documentary is about the life of New York rapper Nas around the time of the release of his first album, Illmatic.

It spans a quick and summarized 74 minutes and, while embellished by the direction of street artist One9, it remains a great snippet of recent American history. Nas’s album was a reflection of many realities that characterized his upbringing, while the movie serves to further explore those very realities.

Acclaimed director Johnnie To and many stars from the hit series Infernal Affairs reunite for this stylish action drama about a gangster who leads a quiet life but whose murder is suddenly ordered.

When two hitmen arrive to take him out, they discover a second pair of mobsters assigned to protect him. All five men being childhood friends, they end up sharing a meal before deciding where their loyalties lie.

A great score, a gorgeous setting in 90s Macau, and great action sequences make Exiled the perfect summer night thriller.

This quirky 1988 adventure drama is newly available on Amazon Prime. It’s the classic that never was, the story of a rundown gas station motel in the Southern US where a lonely West German lady called Jasmin Munchgstettner ends up by accident.

The owner of the operation, a short-tempered woman by the name of Brenda, doesn’t really take to Jasmin. However, the longer the West German guest stays at the motel, the more a friendship forms between the two.

When a group of percussionists illegally carry out a city-wide performance act, it’s up to policeman Amadeus Warnebring to stop them. The musical fugitives perform on stolen objects and disrupt public spaces, but Warnebring has his own reasons to pursue them so determinedly: he’s tone-deaf for one and born into a family of snobby musical geniuses for another, making this case all the more meaningful and consequential to him.

Sound of Noise is more than reminiscent of Stomp, what with its playful symphonies subsisting on random borrowed objects, but it is livened up with the suspense of a caper, the dry wit of a Swedish comedy, and the abundant charms of a light romance.

Fourteen-year-old Segundo dreams of being just like his father Noé, a revered tableau artist in their small Peruvian town. The teenage apprentice follows Noé’s every move and instruction, that is until one day, he discovers a shocking truth about Noé’s identity. Hurt, angered, and incredibly confused, Segundo starts detaching from his family, as well as from the life he thought he’d wanted to live. 

Retablo is a slow but vibrant film, set in Peruvian locales and spoken in the country’s indigenous tongue, Quechua. Its limited dialogue smartly reflects the people’s own silence when it comes to sex and gender ideas, although the movements themselves—from traditional parties to teenage fights—have a lot to say about masculinity, conservatism, and the dangers of their excess. Retablo might be a difficult watch for some, but it’s just as necessary and enlightening.

Stereotypically made to look like one-note villains in many other films, the kinds of characters who lead Land and Freedom are rightfully depicted as people acting out of a desire for something constructive and good. Through director Ken Loach’s trademark approach to no-frills storytelling, the complex ideologies motivating each of these factions against the common enemy (and against each other) are laid out with crystal clarity. In fact, the most exciting confrontations in the film aren’t the skirmishes between the fascists and the revolutionary militias, but the debates held between allies, as they figure out the next best steps forward for every liberated person involved.

The Witch hardly reinvents the thriller wheel. In fact, part of the fun in watching it is calling out the cliches. Cold-blooded villain? Check. Antihero who defies death? Check. Senseless, bloody killings for minutes on end? Check, check, check. The Witch has everything you’d expect from an action movie, and yet, the viewing experience is all the better for it. 

By trimming all the unnecessary fat and zeroing in on the action, director Park Hoon-jung delivers a no-nonsense, no-holds-barred film that could hold a candle to the John Wick franchise. Like those films, the movements here are sharp and the gore relentless. The only difference is that The Witch is led by a teenage girl—seemingly flimsy but deliciously deranged, Kim-Dami is magnetic in her breakout role as the titular witch Ja-yoon. It’s also a bit like Stranger Things in that sense, but comparisons aside, The Witch stands out as a razor-edged entry into the genre. 

Even those who aren’t baseball aficionados should find something interesting and human in this straightforward, brainy documentary Fastball looks at the titular type of pitch not just from a place of scientific curiosity but as a symbolic goal that players all over the world chase after. Through many clear-eyed discussions and testimonials, we begin to see how a large part of the sport has been structured around the idea of understanding speed—and how some careers have been made or broken by trying to catch up with the greats. But in the end, Fastball takes a surprisingly subjective position on the matter; instead of definitively stating who’s the fastest on earth, it affirms that everyone has their own legends they look up to, pushing them to be greater.

Sincere and direct, Ana Rocha de Sousa’s debut feature is a tragic portrayal of an immigrant family in the United Kingdom. Known best abroad for her role in Love Actually, Lúcia Moniz shines as devoted mother Bela, who, along with Jota (Ruben Garcia) struggles to keep their family together. The couple and their three children, including the deaf middle child Lu (Sophia Myles), come under the scrutiny of social services, especially after the unexplained bruises. While at times heavy-handed, the film raises important questions on family separation and social services, especially with their limitations with children with disabilities.

More shooting and spectacle than story, Sisu is a stunningly shot and unapologetically gory action film set at the tail end of World War II in Finland. It follows former commando turned prospector Aatami (nicknamed “Koschei” or immortal by the Russians) as he retrieves his stolen gold from the Nazis who’ve occupied and pillaged the nearby town.  

Not much happens in the way of plot, but what it lacks in that department it more than makes up for in action, which easily matches the likes of John Wick. In fact, Aatami is a kind of John Wick with his undefeatable killer moves and trusty dog pal—a reprieve of cute in a sea of endless carnage. But in the long list of grindhouse movies, Sisu distinguishes itself as astutely patriotic. Of course, it’s hard not to root for anyone going against Nazis, but Sisu compels you to its side in subtle but powerful ways. 

You’ll be reminded of John Wick, Mad Max, and many a Tarantino film watching Sisu, but you’ll be struck by the film’s singular hero, a stand-in for a nation unwilling to give up in the face of oppression. 

In Suncoast, writer-director Laura Chinn takes the personal tragedy of losing her brother to cancer and weaves it into something meaningful. The film is a sensitive meditation on death and grief, but it isn’t all grim. It’s also a coming-of-age story, one that focuses on Doris (Nico Parker), a version of Chinn’s younger self aching for normal teen experiences. The film is at its best when it zeroes in on Doris’ interiority and examines the duality of having to deal with so much death while still wanting to live a vibrant life. The surprising friendship that blooms between her and the popular kids as she chases after this life is one of the best depictions of authentic teen dynamics in recent memory. But the film is at its weakest when it tries to be something it’s not—that is, your usual tear-jerker indie fare that’s rife with lessons from a magical stranger (in this case played genially, but unnecessarily, by Woody Harrelson) and grievances from a grief-stricken mother (played powerfully by Laura Linney). To be sure, Harrelson and Linney (especially) deliver top-notch performances, but they feel shoehorned in an otherwise pitch-perfect film about a girl finding her place in the real world.

With a forest home destroyed, leaving an adorable cat spirit child displaced, The Legend of Hei seemed like a Studio Ghibli-esque tale, at least in themes, child protagonist, and fantasy flying. There’s charming moments where Hei appreciates the day-to-day– moments where he diligently learns his powers, enjoys the simple human pleasures present in the modern world, and of course, feels at home in the stunning natural spirit places. However, it’s not quite Ghibli as there are plenty of wuxia-inspired fight scenes, with as many flying kicks involved. That being said, there is a pro-peace message here, that at face value, is probably a good message for children, but this film’s peace comes without clear details about Hei’s displacement, or the general condition of the spirit world at large. The Legend of Hei’s charming animation is lovely, but this push for peace could have been more meaningful if it also considered justice.

While adoption doesn’t have the same stigma as it did back in the day, it doesn’t mean that the process is worry-free. There’s still a host of issues surrounding the process, plenty of which have been depicted in film. So, it’s no surprise that True Mothers holds more or less the same themes we’ve seen before, but where some films focus on mining the melodrama, filmmaker Naomi Kawase’s writing is much more restrained, keeping its take as naturalistic and detail-oriented as possible, and thus, demystifying the process. The slow pace may not be to everyone’s taste, but True Mothers is a thoughtful, sensitive portrayal of Japan’s adoption system today.

When we love a person, most of us are convinced that we love them for their personality, and if we truly love them, love would remain even if their beauty fades away. The Beauty Inside, a Korean remake of the 2012 American interactive Internet series, challenges this notion. As Woo-jin’s body changes regularly, he’s unable to live a normal life because of a lack of a consistent appearance, a lack of a visual reference point that allows him to be recognized by the people he loves. While more can be explored with the premise’s metaphysical elements, and Woo-jin’s characterization is mostly a neutral, blank canvas, The Beauty Inside is still a sweet, feel-good romance that makes the impossible feel wonderfully possible.

When it comes to films depicting America’s history of racism, many white produced films tend to be centered on a white savior. At best, this is just patting each other on the back for actions done a generation or two ago. At worst, it tends to be outright historical revisionism. The difference between these and The Long Walk is that, while clearly made for a white audience, the film doesn’t crown Sissy Spacek’s character as a messiah, but her choice to help the boycott anyway is a message worth depicting, even if it’s small, even if it isn’t the typical, single-handed salvation Hollywood is used to doling out. While the white narrator adds unnecessary distance, and while it would have been better to see more of Whoopi Goldberg in the non-comic role of Odessa Cotter, The Long Walk cares about the everyday, and that’s what makes it mostly work.

In this day and age, it thankfully has become less risky to come out as gay, due to the struggle of many LGBTQ+ people from the past. However, this struggle was hard won– while gay people were persecuted in the Nazi regime, it was only until decades later people started to discuss it, and one reason why research and education about it increased was due to the play Bent, depicted in film in 1997. The screen version admittedly falters compared to the West End original, with static staging and focus on the dialogue over action, but the performances are fairly decent, with an unexpected collection of cast members that maximize each moment they’re in. It’s quite depressing, and sometimes heavy handed, but Bent is a needed perspective.

There are plenty of LGBT stories made in film, but not all of them have to end in tragedy– some, especially in recent years, are relatively sweet, lighthearted, and merely focused on the simple experience of a first love. Boys has the classic coming-of-age romance moments we’re familiar with, such as the first kiss, training camps, and after school fair dates, and even though it’s just made for television, it’s beautifully captured, including that stunning overhead lake shot where Sieger and Marc swim together. If you’re craving for a sweet and easy LGBT romance without the heartache, or if you’re new to watching LGBT films altogether, Boys is a decent entry-level movie to start with.

While the police haven’t been getting a good rep in recent years, there were times when cops actually got the job done, and went after the gangs that we individuals can’t. Kang Yun-seong’s narrative feature debut is based on the real-life Yanbian Heuksapa Incident, and what’s interesting is that along with having Ma Dong-seok deliver some of the finest and most entertaining fight scenes, there’s a sense that these cops actually care about people, like when Seok-do urges his boss to be gentle towards their team after having to stay in the office longer, or when he reaches out and works directly with the community. The Outlaws doesn’t transform the genre, but it’s well-written, well-choreographed, and held together through the strength of Ma Dong-seok’s charisma (and arms). It’s no wonder director Kang and Don Lee managed to transform this into a sprawling franchise, something to be akin to Korea’s Fast & Furious.

In another country, you can forge a completely different life from the one you had in your hometown. For closeted LGBTQ+ individuals, moving to a more tolerant society allows you to explore facets of your sexuality that wasn’t possible previously. In Goodbye Mother, first generation immigrant Nau Van is confronted with the secrets he hid from his hometown, the secret that isn’t a secret in America. The conflict plays out in a familiar fashion, going through plenty of the usual experiences that coming out entails, but, while these are familiar, Goodbye Mother tugs at the reality Asian immigrants experience, and does so in a sweet and empathetic way.

While Hollywood still makes some films in this genre, there are less historical epics being released, in part due to cost, but also in part due to having had so many, ever since the start of the medium. However, there are some historical events that we rarely see on film, and one of them is The Great Battle. Set before the formation of a united Korea, the film is a classic standoff against a larger army, that has all the swordfighting and armies we’ve come to expect, but it’s also grounded by the dynamic between a young warrior sent to assassinate, and the hardened, brilliant commander whose leadership kept the troops protected. While there are moments that definitely eludes historical accuracy, and there are some subplots that distract from the main conflict, The Great Battle is a fairly entertaining historical epic to watch, especially when focused on the action-packed clashes and the spectacular warfare.

There are people in life that have a one of a kind voice that you can’t help but listen to, as they provide different perspectives that challenge your own in compelling ways. The Whole Wide World tries to capture the fairly elusive pulp fiction writer Robert E. Howard, but through the perspective of the one love he once had, Novalyne Price. It’s a unique perspective, one that contrasts the choices the real life couple made that diverged their paths– pursuing the road less travelled over what’s socially expected– and director Dan Ireland crafts some pulp-like moments, especially with the rousing score and the excellent performances. That being said, Ireland does play it safe with his debut, as The Whole Wide World leaves things as vague as Howard did in his relationship with Price.

While writing the classic novel Oliver Twist, Charles Dickens was also writing Nicholas Nickleby, with volumes released every month. His third novel was adapted in 2002 in a film adaptation that smooths out Dickens’ elaborate plot, with beautiful sets and costumes, and the classic good vs evil themes the classic novelist is known for. There’s a bit of a mismatch with Charlie Hunnam as the titular protagonist, but the rest of the cast slips into their characters well, most notably Christopher Plummer as the incredibly stingy uncle Ralph, and Jamie Bell, whose rendition of Smike makes his dynamic with Nickleby compelling. Nicholas Nickleby isn’t the most transformative adaptation, but it’s one that still works, especially for young viewers wanting a simplified plot for their book reports.

Adults and kids can be friends, but there’s obviously a line that shouldn’t be crossed. This line is why most people would look at a friendship like this and automatically assume terrible things, but Lawn Dogs depicts one such connection in such a way that it’s clear how easy and disproportionate these assumptions are made for marginalized and less powerful people, over the affluent sociopaths that can and have gotten away with the accusations they lobby against others. The fairy tale ending, and of course, the disgusting behavior done by the rich guys, might turn some viewers off from the movie, but there’s also something genuine with the way screenwriter Naomi Wallace depicts a girl with a literally different heart who just wants to befriend someone real.

Artists take what’s intimate and personal and transform it into art, but, especially for those who became famous for their work, it can feel challenging to tackle certain subjects, profit from it, and make it part and parcel of your artistic identity, especially when it stems from personal trauma. Things Behind the Sun depicts a rock singer who became famous on her song about rape. It’s a tad harrowing, and the flashbacks get rather graphic, but through focusing primarily on Sherry’s journey and not forcing forgiveness between the characters, Things Behind the Sun is able to capture what it means to survive the horrible, to confront it again, and to actually heal.

When thinking about buying something, it’s easy to only think about price and quality, but with many investigations around the world about inhumane labor practices, it’s no wonder that more people would like to look at the companies they’re buying from, or at least buy secondhand when possible. One such investigation is depicted in Letter from Masanjia. While it starts first at the discovery of the letter in Oregon, the true story continues on the other side of the world, through the difficult experiences Sun Yi and his fellow detainees were forced to go through when the Falun Gong movement grew greater in number than the Chinese Communist Party. It’s a harrowing tale, with certain sequences being animated due to a natural lack of footage, and it’s one that needed to be made.

Blood Tea and Red String is cryptic as hell. There’s no dialogue, the film was in production for around 13 years, and the stop-motion animated rats and bat-crow creatures fight over a stuffed human-like doll and her bird-bodied child, spilling some tea and sewing her together with help from frog priests and a spider woman that keeps spinning her web. Whether the film is an allegory for class struggle and the inherent destructiveness of art, or is a straightforward Alice-in-Wonderland-esque fairytale with goth and medieval motifs is up to the viewer, but either way, the symbolism of Blood Tea and Red String is interesting enough to watch and try to make your own conclusions.

Much like its monster, Brotherhood of the Wolf is quite a hard movie to pin down. It’s an unscary French creature feature but it’s a rather refreshing period drama romance, made much more action-packed courtesy of a randomly placed, supposedly Iroquois, talented martial artist. Yet somehow, it works. Perhaps it works because it was released ahead of many other early aughts action horror films, and perhaps, at CGI’s infancy, it’s a bit easier to suspend disbelief over the wolf, but the wacky experimentation writer-director Christophe Gans brings in depicting this historical beast is just so entertaining to watch. Brotherhood of the Wolf is just pure bonkers.

While cable television didn’t have the same prestige as movies for decades, nevertheless the format garnered some influence, even then, with generations of viewers and filmmakers growing up in the medium. Dark Shadows is one such influential television show, and its journey from middling soap opera to groundbreaking drama is depicted in Master of Dark Shadows. Viewers totally unfamiliar with the 60s-70s program might only appreciate the film for its slice of media history, as the documentary takes a rather ordinary, interview-focused approach, but Master of Dark Shadows is clearly a tribute to Dan Curtis, the man behind the midday monsters, and the legions of fans it inadvertently garnered.

When artists or musical bands make films, it’s usually a tour documentary or a biopic of some sort, where fans can go in depth with their music, their background, or anything that would explain what makes their music so great. When Talking Heads’ lead vocalist David Byrne made a film, it wasn’t about his hometown in Maryland or his birthplace in Scotland at all– Instead, it was about True Stories, compiling a series of vignettes in a fictional North Texan town. It’s a strange choice, but Byrne manages to capture the bizarre in ordinary small town America, that can get a bit surreal, but nonetheless holds a weird charm that’s excellently scored by the band. True Stories came out of nowhere, but it’s a decent watch.

What would it take to push you to kill? Thankfully, for the general public, modern everyday life would not likely push you to (so far), but in certain circumstances, people might be surprised at the lengths they’re willing to go to for their loved ones. Brawl in Cell Block 99 depicts a man pushed into those circumstances, and thus director S. Craig Zahler takes this to extremely violent ends, with blood gushing and bones crushing all to save his family. Plotwise, Brawl in Cell Block 99 would be typical prison film fare, but fans of Vince Vaughn would appreciate his performance here.

The choice between practicality and passion is the subject of many a drama, but A Thousand Times Good Night depicts that passion stemming from a different place. Rather than pure expression, or creativity, director Erik Poppe depicts the passion of his former profession of photojournalism stemming from social importance– not just status, but in possibly changing the course of history. The semi-autobiographical story clearly has an understanding of the craft, and with her moving performance, Juliette Binoche proves to be an effective proxy, as her character takes risks her family find it hard to tolerate, and as continually choosing those risks, also entails influencing your family to make that same sacrifice. Some viewers might not agree with these choices, but nevertheless A Thousand Times Good Night is a palpable character study of someone whose career is personally interlinked with their advocacy, their identity, and their philosophy of what the world should prioritize.

What is it about the 2000s-10s that inspired many films about sick and dying kids? Perhaps the worldwide child mortality rate has dropped low enough that storytellers feel it’s the right time to talk about it, but regardless of the reason, they have the same familiar plotline– the diagnosis, the acting out, and finally, resolving whatever relationship the film is centered on in order to make things right. Death of a Superhero added animation representing the lead’s artistic outlet, but really, it’s still the same plot, graffiti’d on occasion. Still, the usual beats work because the film doesn’t try to manipulate huge melodramatic moments made to make the viewers cry. Instead, like the protagonist, it tries to keep things realistic, and maybe have some fun along the way. Death of a Superhero mostly pulls it off with its excellent cast.

One of the worst aspects of war in general is that it always interferes with the hopes and dreams of the people that are living through it. The Road Dance depicts a small Scottish village in World War I, and a woman whose plan had been interfered with. It’s a bleak story, one that’s been inspired from an anecdote passed down through generations, but while the film doesn’t claim to be accurate, it does depict a tragedy that is difficult to talk about with sensitivity and the rare compassion that was granted sporadically to real life survivors. Writer-director Richie Adams softens some of the dark parts from John MacKay’s original novel, and while some of the plot veers a tad too much to melodrama, the three leading women– Hermione Corfield, Morven Christie, and Ali Fumiko Whitney– depict the central family with grace amidst the stunning landscape of the Outer Hebrides. The Road Dance can be triggering, but it’s worth watching for people that love period dramas.

Like many films about beloved pets, your enjoyment of A Street Cat Named Bob depends on how much you love the titular animal. As such, cat people would delight in how cute the actual true-to-life ginger feline looks on screen, while dog people would disapprove at the gruff way dogs are portrayed here. But for viewers who don’t have a preference for either animal, A Street Cat Named Bob might go through fairly cliché feel good moments, but it’s somewhat justified given the way it depicts that real human-pet relationship not as just a cute thing, but as a lifeline, as a crucial redirection of love and care that couldn’t have been given to by one’s self, and a connection that was necessary. A Street Cat Named Bob is familiar feel-good stuff, but it’s sincere and cute enough to still be enjoyable.

The Music of Chance is about a poker game with unusual consequences. It seemed at first, just like a straightforward cautionary tale about gambling, and to a certain extent, it is. But the circumstances that the protagonists find themselves in– the Ship of Theseus in the form of a brick wall and the Sisyphean nature of their debt– makes the film more existential and absurdist than a cautionary tale usually is. Mandy Patinkin and James Spader bounce off of each other with great characterization, and the difference in their characters’ approaches is captivating to watch, easily recalling the way we approach our own lives.

Crime films usually have cops chase down robbers, not become them. This quirk in Andre Stander’s life makes him the perfect subject for a biopic, as this life-changing career shift must have had a compelling motivation. It’s certainly a great reason to make awesome action sequences, daring escapes, and, of course, the swindling scenes. It’s fun to watch. However, as the plot progresses, and the crimes get bigger and bigger, the film ends up losing sight of its main character, paying more attention to the capers instead of the reason behind it, and whether or not that reason is true. Stander is a heist film that forgets it’s a biopic, but it’s more fun because of it.

If you’re craving for the fast-paced fights, hand-to-hand combat, and insane stunts of Hong Kong action cinema, you might enjoy Twilight of the Warriors: Walled In. This novel adaptation has a gangster storyline we’ve seen before, but the action? Impeccable. The action sequences are unrelenting with its underground fighter protagonist stumbling into a convoluted web of alliances and enemies, so every moment feels thrilling, even during the quieter moments. The choreography is flashy, the stunts are great, and it’s all performed by some of the best action stars across generations. Admittedly, the occasional CGI can be a bit distracting. Still, Twilight of the Warriors: Walled In is a welcome throwback to Hong Kong action flicks.

While the enemy of my enemy is my friend, the two leads in The Gangster, the Cop, the Devil are more like an uneasy alliance of rivals competing to hunt down a serial killer. This isn’t a new concept. Filmmakers all over the world are fond of putting together two opposite characters and making them butt heads. But in the hands of writer-director Lee Won-tae, a criminally powerful Ma Dong-seok and an intense Kim Mu-yeol still prove to be a compelling match to watch. The slick fight scenes, the brutal kills, and the intense chases all capture their dynamic performances in a stylish and moving way.

Beasts Clawing at Straws is so fun to watch. Most crime thriller fans would find the MacGuffin money, the dubious characters, and the nonlinear timeline familiar, but the way Kim Yong-hoon depicts the 2011 Japanese novel is pretty stylish and engaging. It takes a while to set up, though. As the film steadily introduces new plot threads, the first half can feel a bit confusing. However, by the midpoint, these threads all weave into a series of comedic pay-offs, bringing those who yearn for the cash to unexpectedly satisfying ends. While a bit uneven, Beasts Clawing at Straws is entertaining from start to finish.

Given that it’s a survival film, and Charlie is asked to bring Kanaalaq to the hospital, there’s a sense that The Snow Walker would be a white savior narrative, but in the tundra this time. To a certain extent, the film does play into the usual structure. The white pilot Charlie is practically helpless without modern tools, and so has to learn a bit of Inuit culture from Kanaalaq in the name of survival and becoming a better, non-racist person. So it’s genuinely surprising to see them get to know each other better. It’s great to see them delve into both of the personal histories that brought them together, and delve deep enough that they simply can’t be mere stereotypes. And it’s beautifully shot in gorgeous landscapes of the tundra. While unfortunately interrupted with moments of the people back home, The Snow Walker is a lovely twist to the survival drama.

Given how plenty of the issues mentioned still linger today, The Baader Meinhof Complex is hesitant to take a side and condemn or defend the group it depicts. That’s not necessarily a bad thing. Having some distance from the subject helps keep the accuracy of the events, which is already thrilling and controversial enough on its own. It’s what makes the film interesting. Rather than choose a side, Director Uli Edel and writer-producer Bernd Eichinger take their story to explore what it means to fight for one’s ideals in a modern world, raising more questions than providing conclusive answers. It’s this intricacy makes The Baader Meinhof Complex not an easy watch, but an intriguing one nonetheless.

A Canadian film with a title based off Cockney rhyming slang meaning “it’s all gone a bit wrong,” it’s All Gone Pete Tong is an offbeat and bleak comedy. Starring Paul Kaye as Frankie Wilde, a successful club DJ who begins to go deaf at the height of his fame. As news of his disability surfaces, he tries to record a new album, but is hampered by his drug habits and infighting. Quickly, the trappings of fame abandon him: the gigs in Ibiza, the money, the cocaine and his trophy wife. The film makes use of cameo interviews with famous DJs, and chugs along like a fantastic Behind the Music.

Never has evil been so darn fun to watch. Bridget (Linda Fiorentino) is such a captivating villainess, you’ll actually find yourself rooting for her at times in this noirish take on…, I don’t know what, but it involves drug money, double-crosses, lots of witty repartee and cat-and-mouse manipulation that will make your stomach hurt. The script is tight, the acting is all testosterone driven and crisp and you’ll hear some choice words come from nice guy Bill Pullman (as Bridget’s husband Clay) that you never imagined he could say. Peter Berg (Mike) is fantastic as the guy’s guy determined to earn his Alpha-dog badge by subduing the fierce and wickedly intelligent heroine, Bridget. Fiorentino won a BAFTA award for her performance and was nominated, along with Director John Dahl, for several others. The movie did not qualify under Academy rules for the Oscars, but it would have been a strong contender.

An earnest, simple documentary with an equally as simple premise: four friends travel to Guatemala for 8 weeks and try to live on one dollar a day each. What starts as an experiment for them quickly becomes an illustration of levels of poverty some of us will luckily never experience. More than 1.1 billion people (almost four times the population of the U.S.) do live on less than one dollar a day, and this film is a journey into their world. Other than making you realize the luxury you live in, this film will leave you wanting to do more for your fellow humans.

This is a slow but well-made movie about a Jehovah’s Witness family, directed by a former member of the organization.

The family is made of Alex, her mother, and her older sister. Alex follows her mother and her religious teachings with the utmost loyalty, especially as she refuses a blood transfusion that is crucial to her health. Her older sister starts showing signs of independence by lying to her friends about her family’s faith and dating a Muslim man.

Apostasy is about family bonds versus belief bonds. It’s not a movie that judges or preaches, rather it simply portrays the complex situations that structured religion creates.

This Danish film which was the country’s submission to the Oscars is about a delicate subject. A lawyer who specializes in defending children, and who is used to developing closeness with her clients including meeting with them in her home, starts having an affair with her teenage step-son.

There is inherent tension to this obviously very explicit plotline: how would a serious, non-erotic (or not-only-erotic) movie like this one portray such attraction. And of course, afterwards, what are the implications?

Logan Lerman (The Perks of Being a Wallflower) and John Hawkes (The Sessions) star in this easy road drama about a father who tries to rekindle with his son. After the mother passes away, they try to execute her dying wishes of spreading her ashes in her home country of Ireland. The son, Lerman’s character, is freshly released from jail and accepts to take the trip on the one condition that he never sees his father again. This premise makes for a fun mix between a family drama and an adventure movie. Both characters have a lot to discover in Ireland: about the country, each other, and themselves.

This drama from France and Canada is about Matthieu, a 33-year-old from Paris who never knew his father. One morning he gets a call to go to Montreal, where he is told his dad has passed away and where a funeral will take place.

To add to his confusion, upon arrival Matthieu is asked to conceal his identity from his step-mother and step-brothers.

A Kid is made as though the filmmaking styles from the countries it’s set in were mixed together. There are complicated family dynamics reminiscent of Xavier Dolan movies; and identity issues and comments on different compositions of families like the films of Mia Hansen-Løve.

A woman loses her phone on her way back to her countryside childhood home. Once there, she connects an old landline in hopes of finding her lost mobile, only to start receiving weird calls that seem to be from 20 years ago.

On the other side of the receiver is a girl who seems to be in danger. The Call is thrilling, sometimes scary, but also brilliantly shot, and its plot is so expertly woven. It’s a proper movie-night movie.