Palmer may not be treading new ground, but it does tackle relevant themes with impressive sensitivity. With Palmer (Justin Timberlake), it reveals the stigma that haunts ex-convicts well after they’ve redeemed themselves. And with Sam (a charming Ryder Allen), it brings to light the heartbreaking and often dangerous bigotry queer children face. These are heavy issues, but Palmer takes them on with the utmost care and compassion. Though it reads cheesy at times, the sweetness is a welcome note considering the more tragic turns narratives like this tend to take. Empathetic and hopeful, Palmer is a pleasant enough film about second chances and found families.

Joel Coen’s minimalist vision of the Scottish play emphasizes that these monstrous acts of hubris and violence are carried out not because of madness or magical prophecy, but out of the rational yet selfish decisions made by grown adults. It’s a distinctly character-focused interpretation of Shakespeare that should be insightful for students and fans alike, as Denzel Washington and Frances McDormand lend more sedate performances to what have become two of the grandest characters in theater history. The Tragedy of Macbeth weaken the impact of some of Shakespeare’s most famous soliloquies due to the film’s more hurried runtime, but it makes for a great tribute nonetheless. Come for the stunningly lit black-and-white sets, stay for the gleefully creepy performance by Kathryn Hunter as the three witches.

Primarily, Cha Cha Real Smooth follows Andrew (Cooper Raiff) as he figures out what to do with his life post-college. But peripherally, it’s also about love, friendship, coming of age, and parenthood. Sometimes the movie wobbles under the weight of all it wants to be and you start to wonder whether it would benefit from a leaner script and a tighter focus. 

But ultimately, Cha Cha Real Smooth is endearing and a breeze to watch. Andrew is relatable as a know-it-all who doesn’t actually know it all, and Domino (Dakota Johnson) is moving as a young mother consumed by both her envy and love for Andrew. Despite its occasional unevenness, the film’s big emotional heart triumphs, and sometimes that’s the best that you can hope for in a story about one’s 20s.

Revolutionaries come in many forms. Some prefer to rally in the streets, while others, like the businessman Bernard Garrett, championed race equality in his field of finance. Discreetly and rather dangerously, he purchased buildings and offered loans to his fellow Black men at a time when they were denied these rights and more. It was an ingenious plan hatched at a precarious time, and the film captures how Garrett (Anthony Mackie) managed to pull it off (for the most part). 

The Banker doesn’t get as thrilling as it could be, but it is fueled by a smart script that unapologetically gets to the nitty-gritty math of it all, as well as engaging performances by Mackie, Samuel L. Jackson, and Nicholas Hoult. The film effectively revives Garrett’s inspiring story for a modern audience, turning it into an important piece of American history that won’t soon be forgotten. 

Directed by Todd Haynes (I’m Not There, Carol), The Velvet Underground takes an avant-garde approach to tell the story of the 1960s rock band. Like their music, nothing about this documentary is linear and expected. Screens are split to show two different things at once, seemingly unrelated clips are stitched to create a patchwork of feelings, and strobes of light flash multiple times onscreen. It’s like an art installation come to life.

The film is dynamic and dazzling, infused with the same underground atmosphere as their early performances. If you’re looking to know more about the band, this film might not be for you. But if you’re looking to experience the band, to feel and see and hear what it was like to catch them at their peak, then this is for you.

Who knew that behind the puzzle Tetris lies a political thriller of a backstory that is just as fun and challenging as the game itself? Tetris, the film, is a playful telling of the game behind the game, a surprising account of the otherwise unbelievable events that had to happen in making Tetris available to the masses. 

Between the 8-bit editing, the immensely likable lead, and the cat-and-mouse chase between heroes and villains, there is much to like about the movie. You put it on out of curiosity (how the hell does a brick game have this much back story?) but you stay for the intrigue, the playfulness, and the irresistible urge to see who wins the race.

Beastie Boys Story, a live documentary that runs for two hours and consists entirely of two speakers presenting a PowerPoint onstage, shouldn’t be as enjoyable and enthralling as it is, but with the help of director Spike Jonze, remaining band members Mike D and Adam Horovitz pull off the impossible and draw in a rapt crowd by chronicling how the iconic hip-hop group came to be.

Told with intimate detail and blithe humor, Beastie Boys Story has the easygoing charm of a dear friend recounting the good old days with you. Mike D and Adam Horovitz are skilled storytellers, and with Jonze operating the technicals to a tee backstage, everything comes together in a satisfyingly smooth and utterly watchable take. You don’t have to know much (if anything at all) about the Beastie Boys to enjoy this documentary, and whatever your opinion is of them beforehand, you’ll leave this film knowing a bit more about the creative process, necessary growth, and unbelievable luck all artists go through.

There’s a scene early in the documentary when present-day Michael J. Fox, who famously suffers from Parkinson’s Disease, swaggers along a street and greets a fan, only to stumble at that very moment and have people surround him with concern. Instead of giving into their pity or pretending nothing happened, he cooly tells the fan, “It was so nice meeting you, you knocked me off of my feet!” 

This brief moment tells you all you need to know about the ‘80s icon—Fox refuses to be a victim. Still is his brilliant and admirable attempt at telling his well-known story on his own terms. It covers everything from his childhood and early work in Hollywood to his life-changing roles in Family Ties, Teen Wolf, and most memorably, Back to the Future. It also sheds light on Fox’s life as a husband, father, and Parkinson’s sufferer. Director Davis Guggenheim (An Inconvenient Truth) does a genius job of using faceless reenactments and cuts from films and TV shows to accompany Fox’s narration, which pumps the film with a dynamism that matches Fox’s resilient spirit. 

Urgent, clever, and exciting, Still is one of the rare celebrity biographies that serves a higher purpose than just recounting a famous person’s life. Anyone who understands the importance of constantly moving and evolving will appreciate this film’s existence. 

Set in 1650 against the backdrop of the English colonization of Ireland, Wolfwalkers follows the story of Robyn, a young apprentice hunter who arrives in Ireland with her father to wipe out the last wolf pack. Completing the “Irish Folklore Trilogy,” Tomm Moore’s film is a tale of sisterhood, friendship, and acceptance told with phenomenal artistry. Beautifully animated, with warm autumn colors and refined attention to detail, the film is beyond pleasing to the eye. The outstanding voice work from Honor Kneafsey and Eva Whittaker, along with a well-written and emotionally compelling story, make Wolfwalkers a unique animation experience for young viewers and adults alike. 

What starts out as as a summer camp of teenage boys not taking anything seriously grows into a rousing portrait of their hopes and dreams for the future. You wouldn’t expect a documentary like this—shot like a reality TV show—to carry so much weight, but Boys State knows how to unearth the values that drive each of its incredibly well-rounded characters. So by the time these young men have assembled their mock governments and are casting their votes, it feels like the spirit of an entire generation is on the line. This is powerful, entertaining, and ultimately tear-jerking filmmaking that shows us how much work we still have to do and how much hope there still is.