In a different change of pace, this biopic focuses on John Lennon’s reckless adolescence and family life instead of his soon-to-be iconic music. It brings an epic rockstar many of us have known our entire lives down to a more relatable level. The young Aaron Taylor-Johnston gives a very angsty performance which feels a little over the top at times. Anne-Marie Duff does comes off too flirtatious for a newly formed mother-son relationship but Kristin Scott Thomas outshines them all with her steely demeanor.

A road trip movie with an unknown destination, Hit the Road plays with our expectations by avoiding any obvious questions we might have, and making us focus on the real important things. Informed by the censorship and persecution faced by critics of Iran’s government—including director Panah Panahi’s own filmmaker father, Jafar—the film places more focus on the very act of escape and what that can take from a family. And most importantly, through Panahi’s skillful direction of rural Iran’s varied, beautiful landscapes, he creates a conflicted relationship between character and setting, with entire emotional crescendos playing out just through a single shot of the environment. It’s one of the most underappreciated movies of the year.

This slow-burning drama is set in an Indigenous reservation in South Dakota, where Johnny is a teenager who dreams of moving to L.A. with his girlfriend. He would have to leave behind his little sister, who is just grappling with the recent loss of their father. 

Director Chloé Zhao (The Rider, Nomadland) worked with amateur actors whose lives mirror the characters, often adapting the script to the actors’ stories. She filmed 100 hours of footage that she then distilled into an hour and a half. 

The result is a film shot from the outside but which is grounded in local stories. And these stories are rough, sad, complex – but so important to listen to and understand. It’s an incredible feat to make an observational film that’s so grounded in reality – only a genius could: that’s Chloé Zhao, and this mature work is -somehow- her first feature film.

If you like: weird movies and / or Scandinavian mythology, this movie is for you. It’s about unusual looking border agent with super-human abilities (such as smelling fear and shame) who meets someone like her for the first time There is a big revelation in Border that I can’t share but while this movie was directed by an Iranian (Ali Abbasi), it’s deeply rooted in Swedish folklore. Themes of identity, gender, and otherness intersect through a thrilling script and beautifully-shot nature scenes.

If the sheer intensity of The Novice’s storytelling can at times feel like it’s trying too hard to be in-your-face—rather than authentically disturbed—the ambition of Laura Hadaway’s direction is still quite the spectacle to behold. Where some of the film’s relationships don’t come off as complex as they should be, Hadaway and her team more than makes up for with frantic editing, shallow camera focus, panicked strings as a musical score, and heavy breathing mixed deep into the sound design. There’s just something violent about how the movie is put together, as Alex (played by Isabelle Fuhrman) tears herself apart for seemingly no other reason than to prove to herself that she can do it.

Romantically pairing up AI with humans is hardly new, and I’m Your Man is aware of that. Instead of spending way too much time explaining the advanced tech that makes the perfect mate possible, the movie zeroes in on its charismatic leads Tom the robot (Dan Stevens) and Alma the indifferent academic (Maren Eggert). Tom is the curious, humanoid automaton who is designed to worship Alma, and Alma is the disillusioned human who is conflicted with the authenticity of her growing feelings for Tom. I’m Your Man is smart and empathetic enough to stay afloat amidst its swirling genres and ethical dilemmas, but it is mostly the chemistry between Tom and Alma that anchors it to the love story that it actually is. 

Possessor announces a visionary new voice in Brandon Cronenberg, and is one to watch for the concept alone, brilliantly melding science fiction and horror into one. Cronenberg’s direction is reminiscent of a cross between Christopher Nolan’s Inception and Jonathan Glazer’s Under The Skin, but has more than enough originality to stand well on its own. However, unfortunately, it is surprisingly slow at times, and is far from the mind-blowing gore fest that was promised, resulting in a well made but underwhelming experience. BUT, if you were in the mood for a trippy introspective sci-fi thriller and are able to keep your expectations tempered, this is well worth a watch

Galaxy Quest may be a parody of the sci-fi franchise, but it’s also a huge fan of it. It forgoes cynical takes for smart odes to the genre, all while retaining an endearing sense of humor about it. It’s silly and self-aware, and it has a lot of fun letting us know that they’re in on the joke. You can watch for the interesting premise, but you’ll stay for the laughs and the promise of a genuine thrill ride. Everyone is a blast to watch, but Sigourney Weaver and Sam Rockwell deserve special praise for being outright hilarious, elevating Galaxy Quest from B-movie to camp classic status. 

The disturbing conceit of a housewife swallowing inanimate objects may push some away, but those that can stomach it will find a searing exploration of patriarchal control over women’s bodies – an issue more relevant than ever in the US, as anti-choice zealots push closer to overturning abortion rights nationwide. 

An odd twist towards the end, and a tone-deaf bit about a Syrian refugee, make the film uneven. But, the edge of the seat suspense, sumptuously colorful cinematography, and Haley Bennet’s resonant performance make this worth seeing nonetheless. 

There is a great deal of disbelief to suspend with this film, arguably the weakest of Japanese animation director Makoto Shinkai’s oeuvre. It follows Hodaka, a broke high school student in Tokyo looking for a job. The story kicks off when he meets Hina, a cheerful girl who lives with her younger brother and has the power to control the weather.

Again, as with all of Shinkai’s work, it’s remarkably beautiful. Rainfall, skies, and cityscapes are eye candy here, probably more than in any piece of animation ever. But this has every high school romance trope elevated to an extreme level, like Shinkai’s best known film Your Name but on steroids—a teenage boy and cute girl fit together like pieces of a puzzle, a grand adventure starts, forces beyond their control threaten to separate them, and the standard anime couple seemingly never see each other again, until they dramatically meet years later.

For the sake of an against-all-odds romance, Weathering with You downplays its insane plot devices. It glosses over runaway kids wielding firearms, an underage girl almost going into sex work, and a climate disaster potentially displacing millions of people—all for a love story.