The 100 Must-Watch Movies You Haven’t Yet Seen

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.

Not many teenagers experience the life of a celebrity singer, so it’s easy to fantasize over how that life would go. It’s precisely the appeal of Violetta, one of the few forays Disney Channel made outside of America, which somewhat plays out like Hannah Montana without the double life shenanigans. Tini: The New Life of Violetta is the final film to cap off the show, and like plenty of teenybopper series, it has the cheesy miscommunications and cliche conflicts hastily strung together with aesthetic music videos and randomly arranged dance numbers supposedly in the name of finding yourself and living your life, etc. etc. But, while it isn’t the most original or romantic summer teen movie, Tini: The New Life of Violetta still manages to be a sweet send-off for the Latino fans that grew up watching the show, and one that gently eases Tini’s move from cute teenybopper sitcom lead to Argentinian pop star.

Pain Hustlers is based on a 2018 New York Times article of the same name exposing a drug company that marketed a fentanyl-based drug. Zanna, the on-screen pharmaceutical start-up, is modelled after Insys: the actual company who pushed a fentanyl-based spray for pain management with the help of sales reps who particularly appeal to a certain male gaze. A DIY scheme of bribing doctors through “speaker programs”—or recurring, debaucherous parties—gets Zanna off the ground, catapulting stripper-turned-manager Liza Drake (Emily Blunt) to a much-yearned financial stability. Together with the coked-up COO (magnificently played by Chris Evans), Liza puts her street smart potential to work; she goes all in, until it all crashes and burns. It’s cynical how predictable the plot of such a film can be, mainly because the only character development we see is in Liza’s sudden moral spark at the sight of drug abuses and overdoses. Pain Hustlers tries really hard to build a hero, tear her down, and then rehabilitate her status, but to what end? The film ends up using the fentanyl crisis as a narrative drive, a highly dubious move when you’re supposed to be spreading awareness. 

It’s not easy to talk about dysfunctional families, especially when that family is your own. Talking about the reprehensible parenting, but also the love, the understanding behind their neglect, and the few moments when they actually had your back, can be a hard balancing act, which makes Jeannette Walls’ memoir The Glass Castle a challenging one to adapt in film. Because of this, its Hollywood adaptation does have a disjointed tone to it. Woody Harrelson’s Rex initially charms us and his children with his dreams and stories, and time proves his other side, though Jeannette and the audience are asked to forgive him too. It’s not an easy thing, and the ending they reached doesn’t feel totally earned. But it’s still a touching adaptation that captures Walls’ family, warts and all, one that’s buoyed up by the strength of its cast.

Being bitten by a zombie is quite troublesome, but more so if you happen not to turn completely into the creature, keeping human sanity while still trying not to succumb to the creature’s hunger. While this premise isn’t totally original, we haven’t seen this in a steampunk version of Japan, where their successful industrial revolution and urbanification has been halted due to the zombies, named as Kabane here. It’s an interesting end to the alternate history franchise, made much more exciting with bloody fight scenes and intriguing reimaginings of the country, but viewers new to the franchise would be going in blind, and would likely be puzzled with the inconsistency and pacing.

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.

Electrick Children is the debut film for director Rebecca Thomas and one of the most unique and visually stunning films I’ve seen in a while. This gem is about a teenager born and raised in a religious community who believes she has been impregnated with the son of God from a cassette tape she listened to. She decides to run away to neighboring Las Vegas in search of the real father, “the man who sings on the cassette tape.” Heavy stuff, man. Electrick Children is one of those films you see once and it stays with you. It deals with teenagers so delicately and accurately, depicting the butterflies, the excitement, the romance, the heartbreak, the trials and tribulations of this age and beyond. Its cinematography is hypnotizing and its soundtrack is divine (listen to Top of the Hill by Conduits on repeat and it’ll start to have an impact on your life.) Its plot is completely fresh and is able to grab and keep your attention from the first second until the very end. Watching this film made me want to go back in time and fall in love all over again. It made me feel lusty and gave me butterflies and made my heart flutter unlike any other film I’ve seen. You can’t pass this one up.

In “The Way”, an American doctor, Tom (Martin Sheen), travels to Spain to identify the remains of his deceased son (Emilio Estevez, also writer/director) who has died while traveling “El Camino de Santiago”, the famous pilgrimage across Northern Spain. Once there, Tom unexpectedly finds himself inspired to continue his son’s journey, sprinkling his ashes along the lengthy expedition to the Cathedral of Santiago de Compostela in Galicia, home to the shrine of the apostle St. James the Great. Along the way Tom gains several unlikely traveling companions: a Dutchman (Yorick van Wageningen), a Canadian (Deborah Kara Unger) and an Irishman (James Nesbitt), each of whom has his/her own personal reasons for making the pilgrimage, with each adding various degrees of drama and humor to the proceedings as well. A touching and inspiring film marred a bit by some unnecessarily roughly-hewn characterizations, but overall a pleasant experience with a warm feeling of adventure and camaraderie throughout.

This  exploration of the complex and loving relationship between a mother and her son will take you through a variety of emotions: it’s uplifting, disturbing, provocative, sad, and hopeful. We don’t get many of these middle-class-budget films anymore, and this one might be one of the category’s best.

A kidnapped girl (Brie Larson) has a son after being raped by her abductor. She tries to provide a “normal” environment for the kid in the room where they’re being held captive until they can escape. Brie Larson won an Oscar for Best Actress in Room, so make sure to also check out Short Term 12, an equally impressive performance by her in an equally amazing movie.

In 1980s Dublin, a young Irish catholic-school boy, whose family is facing financial problems starts his own band with the sole objective of impressing a mysterious femme fatale. The film takes you on a beautiful and witty journey through the band’s path to success and our protagonist’s quest in conquering his love all to the rhythm of some of the biggest 80’s pop-rock hits and the band’s own original soundtrack. Without a doubt this film is the long awaited passion project of filmmaker John Carney (Once, Begin Again).

A beautiful coming-of-age story that is mixed with one of the best depictions of a mother character in movie history both make Lady Bird an absolutely exquisite film. Its slice-of-life story taps into the universal issues, dreams, and frustrations that almost every small-town kid has faced; and it manages to do all of this without feeling forced or cliché. This is because of the attention and care that were given to it but also because of how tightly it’s based on the life of its writer / director Greta Gerwig. A wonderful movie.

Testament of Youth isn’t totally unique. Plenty of period dramas, even those that are true to life, have a similar approach of capturing the loveliness of a teenage summer vacation to better juxtapose the ugliness of war and how terrible it is to put young adults through it at a time when they should be exploring their lives. But it’s not terribly made– the film gets better as it goes, Max Richter’s excellent score is captivating, and there’s a certain novelty of watching the fresh faces of some of Britain’s biggest actors, even if their better known works have eclipsed this film. Testament of Youth may not be as devastating as war films like Atonement, but it’s a fairly decent watch, if you’re specifically craving for a period drama you haven’t watched before.

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.

Rarely do we get to see the human body in its natural state in public, mostly limited to nude beaches, but it’s understandably so– beyond the usual social norms, there’s a vulnerability in doing so, a vulnerability that is sometimes taken advantage of. Stranger by the Lake captures the beauty of that vulnerability, with stunning shots that elevate the explicit scenes from being pornographic, but crucially, the film also captures its dangers, namely the increasingly self-destructive risks Franck takes that leads him to a dangerous man. The line between lust and aggression blurs in this film, and understandably, some may take this film to be sex-negative, but Stranger by the Lake is an intriguing slow burn towards its inevitable conclusion.

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.

Three guys in their twenties love wine and women but feel incomplete because they are still virgins. Under the guise of a wine tour they embark on a journey to Spain hoping to have their first sexual experience. Unlike most sex romp comedies, this one explores deeper territory: Jozef is blind, Philip is paralyzed from the neck down and Lars is in a wheelchair with a brain tumor. Despite these difficulties, the three protagonists are determined to have their experience and complete this rite of passage.

The brain behind this movie is one of the most legendary British screenwriters of all time: Richard Curtis. While he is beyond famous in the UK for founding the Comic Relief charity as well as co-writing some of the most iconic and biting comedy that have since become national treasures, like the legendary Not the Nine O’Clock News, Spitting Image, and Blackadder, he his best-known in the rest of the world for penning the seminal romcoms of the 90s and nascent 00s, including Four Weddings, Love Actually, and Bridget Jones. About Time is roughly in that same ballpark, combining affecting, sentimental warmth with an unlikely sci-fi premise. When Tim Lake (Domhnall Gleeson) turns 21, his father (Bill Nighy) reveals that all the men from his family can travel through time. They cannot, however, change history, only themselves. Lake uses his powers to achieve a happiness in life that he always wanted. However, time travel does not shield him from confronting essential human issues. If you’re the kind of person who would enjoy a pleasurable romcom with a time-travel element, get on it. This is classic Richard Curtis and, in this genre, he’s the best there is.

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.

Ida, the 2015 Academy Award for Best Foreign Language Film, is a stark black & white drama set in the early 60’s about a young Polish nun-to-be and her bawdy Aunt Wanda searching for the truth behind her family’s demise at the hands of the Nazis. What initially comes off as a painfully slow sleep-inducer pretty quickly evolves into a touching and lively contrast between the two lead characters; one virtuous and pure, the other boorish and hedonistic. Their journey is equal parts amusing, insightful and heartbreaking, with Ida’s personal exploration of self playing out as a remarkably humanistic affair. The cinematography by Lukasz Za and Ryszard Lenczewski is particularly striking, each shot a work of art in it’s own right. Logging in at just 82 minutes, the entire story whizzes by in a flash. The kind of film that will stay with you long after you’ve watched it.

I loved this movie. It starts a bit weird but gets so good. In a parallel world where human frequencies determine luck, love, and destiny, Zak, a young college student, must overcome science in order to love Marie, who emits a different frequency than his own. In an attempt to make their love a reality, Zak experiments on the laws of nature, putting in danger the cosmic equilibrium of fate and everything he holds dear. This unique and experimental drama blends science fiction and romance to create a futuristic tale where love, science, and fate collide.

A slow-burning spy thriller set within the British intelligence service during the height of the Cold War, this complex drama is highlighted by Gary Oldman’s acutely understated performance. As a high level agent brought out of retirement to ferret out a mole within the MI5, he exudes intensity and intellect with unerring precision. The story itself is exceptionally complicated and yet highly engaging. I felt that casting and corresponding screen time made it clear whom the mole would turn out to be…but you may disagree.

A light and simple feel-good movie with great performances from an impressive cast. Ewan McGregor plays the country’s best fisheries expert who is approached by a consultant (Emily Blunt) to help bring the sport of fly-fishing to a desert in the Middle-East, a place at the peak of tensions. The Prime Minister’s office, with the help of the media, try to then bring this story to the public as a show of something good happening in the region. It’s a quirky movie with a beautiful love story and a few interesting ideas on the current state of journalism. Both leads are absolutely charming together.

Lion is the award-sweeping movie based on the true story of a kid in India who gets lost in a train and suddenly finds himself thousands of kilometers away from home. 25 years later, after being adopted by an Australian couple, he embarks on a journey through his memory and across continents to reconnect with his lost family. Dev Patel plays Saroo, and Nicole Kidman plays his Australian adoptive mother. Two truly amazing performances that will transport you to the time and place of the events, as well as its emotions spanning tear-jerking moments and pure joy. An uplifting, meaningful, and beautiful movie.

This movie is a complete no-brainer.

It follows two assistants in busy New York City, both of them overworked and underpaid. They come up with a plan to set up their bosses (Set it Up) so that when their bosses finally take some personal time together, they could too. In a lot of ways, it’s the perfect argument to anyone who says that the rom-com genre is dead. It’s light, it’s easy, and it’s entertaining.

At the same time, there is a heartwarming vibe that’s not too cliché, and a couple of well-known actors — Lucy Liu and Taye Diggs — that help carry the plot. Don’t expect to be mind-blown but this film will leave you feeling content.

This is a slightly weird and not so slightly quirky movie to be avoided by anyone with a low tolerance to the weird or quirky. Greta Gerwig (Lady Bird, Frances Ha) and Noah Baumbach (The Squid and the Whale, also Frances Ha) write the story, while Gerwig plays a lead role. Two girls, one a New Yorker and the other having just arrived in New York for a writing program, get in touch because their parents will marry. The writer is fascinated by the personality of the New Yorker and follows her everywhere to understand her more, and eventually write about her. Mistress America is their journey through friendship and through New York. Stick around the first 40 minutes or so, because the second half of this 82-minute movie is hilarious.

Watch this if you like weird movies. And don’t be fooled by the first half, which serves just to set Jesse Eisenberg’s character and the monotone life he leads. It’s the calm before the storm, during which that character is attacked by a violent gang and decides to take self-defense classes in an unusual club. This is a movie about modern manhood and how it can lead to some pretty strange situations. Great performance from Eisenberg as usual.

A poetic and peculiar movie from Senegal about a girl who is forced to marry a wealthy businessman instead of her love interest. The latter, a poor construction worker, embarks on a risky journey across the sea to Europe. The story takes a supernatural turn thereafter, one that is unlike anything seen before in stories around immigration, but one which makes sense. Still, the excellent acting and the long takes that immerse you in what life is like in Senegal, both in and out of the margins of society, are the reasons to watch here. Atlantics’ characters are believable and will capture your interest throughout the usual and unusual parts of the movie. They provide rare insight into narratives that most of us have never been exposed to.

Shot almost entirely in one take and on a tiny budget, and yet the central performance in this movie is still better than most big-budget dramas I’ve seen this year.

Two indigenous women, one upper-class and the other impoverished, meet on the day that the rich one gets an IUD and the other one, pregnant, finds herself kicked out of her home. They spend a few hours together: they talk, they take cabs, walk, etc; and you as a viewer, follow them throughout their intimate yet difficult moments.

If you like subtle movies that showcase how people live and interact with one another, beyond plot-obsessiveness, this is for you.

An uplifting and inspiring movie with Felicity Jones and Armie Hammer. Jones stars as Supreme Court Justice Associate Ruth Bader Ginsburg in this biopic centered around her hallmark case against sex-based discrimination. While it doesn’t feel like it truly conveys the power of Ginsburg’s story, her determination, or all the odds that were stacked against her, it serves as a mellowed-down preview of her remarkable story. Watch this if you’re in need of a good dose of inspiration.

A funny, feel-good French movie about a man who joins a synchronized swim team to get over his depression. Comprised only of other middle-aged men, they decide they want to compete for the world championship. Sounds like an unlikely story? It’s actually based on a real-life documentary from Sweden called Men Who Swim. If you get French humor, this will make you laugh (a lot), and if not, you’ll surely enjoy the easygoing tone of Sink or Swim.

A thrilling French movie about a nuclear submarine division that is confronted with a world-ending scenario.

One sonar agent is at the center of the story, his exceptional hearing capabilities are the main resource of the submarine commanders he works for (one of whom is played by the masterful Reda Kateb).

Wolf’s Call tries very hard to be a Hollywood movie, but even if it serves as a reminder that countries like France don’t have to always make arthouse films to be noticed, the visual effects and the writing fall short of that big-budget feel.

Still, if you’re looking for a fun movie that’s full of surprises, solid acting, and a great heroism tale, you’ll love this.

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.

This funny and charming movie is about a Palestinian slacker named Salam who works on a famous Israeli soap opera. Each day, he has to pass a tough Israeli checkpoint to get to work and in an attempt to make things easier for himself, he agrees to change the ending of the soap opera to please the officer in charge of the checkpoint. At the same time, a temperamental French actress and his Palestinian love interest wish for opposite endings to the show. Stuck between love and politics, Salam has to navigate a complex situation to please all sides. There are a lot of hummus jokes.

A biopic is only as big as the personality at its center, and what a personality Pavarotti had. The Opera singer that crossed into the mainstream from his humble upbringings in Modena, Italy, exuded happiness and had a great outlook on life. And even as the attention he would eventually attract takes its tole, he’s able to maintain his positivity and his dedication to his art. This documentary on his life and his work will be even more interesting to you if like me you didn’t know who Pavarotti was, or the impact he’s had.

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.

This slow romance is set in a Seoul bakery during the 1990s. A boy fresh out of juvenile detention and a part-time employee fall for each other while working there. For a while, their existence is joyful and quiet as they sell bread and bond.

However, the Asian financial crisis of 1997 forces the bakery to close. This makes them seek different jobs away from each other.

As a romance, Tune in for Love is not original but it doesn’t need to. It’s just easy and enjoyable.

This extremely unusual movie about the life of legendary Chilean filmmaker Alejandro Jodorowsky (as in Jodorowsky’s Dune) was financed by an Indiegogo campaign, giving his already unusual style full freedom. There are cardboard trains, ninjas, and disturbing sex scenes. It all serves to tell his life of growing up in a bohemian neighborhood in Santiago, Chile, going against his family, becoming a poet, and joining the Chilean avant-guard movement. Jodorowsky, now 91 years old, went on a 23 year hiatus before making this movie and its prequel, The Dance of Reality, both about his life.

If you like movies without plot, you’ll love Korean master Hong Sang-soo’s work in Grass. Sang-soo likes to write the script for his characters and not the other way around: he hires actors, then writes a script that would fit them every morning of the shoot.

The result is a personal movie that feels improvised and experimental, despite being quite simple: it’s about a small café and a woman who observes the interactions of the guests.

With his dad in jail and mom lost to a drug overdose, Michael lives a lonely life with his grandpa in Dublin.

A minor drug bust sends him to jail for three months and implicates his grand-father with a gang.

Michael Inside uses this brief period of incarceration to offer commentary on the Irish underclass, both inside prisons and out. It’s a tough watch that aims for realism and doesn’t miss.

Based on the novel of the same name, The Guernsey Literary and Potato Peel Pie Society is as comforting as the title suggests. It’s a pleasure to meet the society—getting to know each character feels like getting to know some welcoming neighbors. Despite their trauma from the German occupation of the British island, these club members remain their bookish albeit secretive selves. Lily James is just doe-eyed and charming enough to make us care about the book club, the same way her character Juliet does. The streamlined plot still keeps the intrigue and comfort of the original novel. And while its romance doesn’t quite take off, the real gem of the film is the earnest assertion that family can be best found in terrible times.

Charming and easy to watch, The Painting is a simple morality tale with unique animation. The film is set in an abandoned painting, whose subjects are actually conscious, living beings. They have three distinct social classes: the Toupins (fully painted), Pafinis (lacking some colors), and the Reufs (sketches). Tired of the discrimination and wanting everyone to be fully painted, three of these beings leave the painting in search of the artist. While the lesson is seemingly simple, the film delves into some existential themes and makes them easy to understand for the younger audience. The film celebrates creating one’s self in an absurd world, rather than passively accepting other people’s definitions. But what stands out most about this film are the designs. Inspired by modernist art, director Jean-François Laguionie created colorful and distinct characters whose faces diverge from the usual bug-eyed Disney/Pixar style. If you’re looking for a different animated film, this might be a good start.

The Best Exotic Marigold Hotel invites us to an earnest meditation on old age and change. The film centers on a group of British retirees traveling to the titular hotel in India, in hopes of a good retirement. The group cast is an excellent choice: prominent names from British movies and television line the cast, and it’s a pleasure to see them act alongside each other with equal screen time and their own detailed plotlines. Their plotlines inspire empathy towards different struggles that the elderly face: finding love again, dealing with accumulated debt, and handling loss. All of these are tough, but especially when you feel your time has run out. The best of these plotlines are the ones that acknowledge loss but still persist through accepting changing circumstances and actively going for one’s desires.

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.

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.

In certain heartbreaking instances, children are separated from their parents by the State, supposedly in hopes of finding them a better home. But for plenty of British and commonwealth orphans, the government process is, at worst, systematically designed to separate families to support the Kingdom’s colonies. While the film isn’t really focused on the details and the rationale behind the program, Oranges and Sunshine is much more concerned with the fact that it happened– that it has harmed hundreds of thousands of children for hundred years, and that it only took someone who cared enough to pay attention for things to actually change. It’s a decent depiction of Margaret Humphreys’ work, and it does a great job in promoting the Child Migrants Trust.

When adapting a novel, sometimes the book is too long to fit into a whole feature, so filmmakers would create a multi-part film series, or they would cut down just enough to fit a feature length runtime without sacrificing the main points of the novel. Coming Home is a love story where a devoted couple still commit to their bond despite imprisonment, distance, and even failing memory, and in Zhang Yimou’s hands, the direction, structure, and execution definitely tug at the heartstrings. However, this is only the last part of Geling Yan’s original novel The Criminal Lu Yanshi. Zhang may have only been moved by the devotion Yan’s grandparents held for each other, and, to be fair, this devotion is quite moving. However, curiosity remains for the beginning of Lu’s journey– the whole reason and purpose Lu chose to act in ways that warranted his arrest.

Why a bar in the middle of the Belgian countryside is named Texas, we aren’t given an explanation. But North Sea Texas has a bit of the Southern small town charm that marked plenty of old American indies, with its retro neighborhood, lovers next door, and a more grounded approach to romance compared to its European neighbors of the time. The surrounding drama is a bit convoluted and, well, melodramatic, with a love triangle involving Pim’s mom, as well as a funeral, but there’s a sweet simplicity to the way Pim and Gino’s romance unfolds. North Sea Texas doesn’t reinvent the genre, but it’s just a nice coming-of-age story that refreshingly doesn’t have to deal with discrimination.

The divorce of one’s parents can be difficult, but more so when that relationship is messy and emotionally fraught. And when the parent one ends up living with turns out to be homophobic, it’s so much harder to accept the possibility of not being straight. Stephen Dunn’s film feature debut Closet Monster is centered around this experience, one inspired by Dunn growing up in Canada, and while the symbolism is on the nose, the emotions feel real, maybe even too real. On top of the fear of not being accepted, there’s the resentment of being left behind, the disdain towards the adults who should know better, and the fear of becoming exactly like them. Closet Monster doesn’t shy away from these difficult feelings, even when it does so through the whimsical way Oscar imagines talking to his pet hamster.

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.

Of course, as a serialized medium with plenty of volumes, it isn’t easy to condense manga into movies. Many a title have let down fans before, especially with the notorious live action curse. But there are some films that capture the energy and excitement of the original, and one such film is Kingdom. Not to be confused with the Korean Netflix show, the Japanese film is a thrilling depiction of the Chinese history-inspired story, with excellent choreography, elaborate sets and costumes, and all the battle scenes expected from the adaptation. It’s not particularly deep, and they really brush over Shin’s loss in favor of much more swordfighting, but it’s not bad if all you’re looking for is epic action in historical dressing.

For the longest time, women dedicated their lives to the family. So, after a divorce and after the kids grow up, it can be hard to imagine what happens after. Some choose to remain single, but for many women, it can feel like the start of another life totally lived for one’s self. Gloria was, then, one of the few depictions of a woman at this time, but writer-director Sebastián Lelio depicts this slice of life as is– without over-sentimentality, but with honesty; without pretentiousness, but with a calm and even direction. The slow, naturalistic approach might not be to everyone’s taste, but Gloria is a charming character study, made much more real with Paulina García’s excellent performance.

It’s not easy to turn away from organized crime. On top of having to reckon with what you’ve done and what reparations you have to make for the survivors, you also have to deal with everyone out to kill you. This is a familiar premise, of course, but writer-director Timo Tjahjanto takes it as an excuse to create some of the bloodiest and most action-packed sequences ever created, all stitched together in The Night Comes for Us. It’s a fairly thin martial arts crime thriller, but it’s wildly entertaining. With every skull crushed and gallons of blood spurted, Tjahjanto goes nuts with his ever creative, violent spectacles that action fans must watch, if they can stomach the gore.

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.

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.

With the difference between our day-to-day selves and our darker desires, it’s hard to say which side is the real slice of one’s identity, given that there are certain compromises we have to make in existing in society. Cold Fish takes a wildly violent and explicit approach to this, with a seemingly innocent favor spiralling into a toxic co-dependence between tropical fish sellers Yukio and Nobuyuki, and it’s a harrowing depiction of how quiet, unassuming men can be pushed into evil deeds because of passivity, whether that’s being taken advantage of, or being unwilling to speak against it. And of course, with Sion Sono at the helm, it’s painted and etched with all the gore and taboo he’s well known for.

Why do we cling to the people that we love, but who clearly don’t treat us well? It’s a common question in romance films, one that often leads to a conclusion that people shouldn’t feel shackled to partners that don’t treat them right, but sometimes other films seem to shame these unfortunate lovers for making the wrong choice. My King doesn’t do that. Sure, Georgio can seem like an obvious asshole (he is), but writer-director Maïwenn makes clear that the same things that make him erratic– his spontaneity, his enjoyment of life, and his open acceptance– which Vincent Cassel superbly embodies, are also the same things that attracted Tony in the first place. And as Tony recovers her knee, the careful interstitching between her time at the center and her romance with Georgio visually parallels the physical and emotional wounds in an interesting way. Mon Roi is familiar romance stuff, but it’s the approach that makes the film work.

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.

New York’s hottest club was Studio 54. It has everything– the lights, the exclusivity, the drugs, the tax evasion legal issues that brought its founders to jail… But in all seriousness, the documentary about the notorious studio-turned-disco already has an interesting story to tell, and while it’s done with the usual Netflix flair, but director Matt Tyrnauer keeps focus on the actual club, rather than the notoriety surrounding it, by interviewing the crew behind Studio 54 rather than the famous celebrities, and thankfully, former studio owner and one half of the duo Ian Schrager finally opened up to talk about the whirlwind success he went through nearly half a century ago. The documentary may be a bit more tame than the real life club, but Studio 54 is a long overdue documentary that’s refreshingly candid, if a bit more calmer than expected.

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.

While homosexuality has gotten more acceptance now, exclusion still happens, more so if said queer person isn’t white. Carmen and Lola depicts two women who fall in love, and it takes on a familiar secret relationship storyline we’ve seen in other queer films, but rather than just take the familiar plot, make the leads Romani, and call it a day, the film instead focuses on how the things that keeps them apart are the very same mechanisms that the community created for their people to survive. It’s fitting that director Arantxa Echevarría depicts this through naturalistic shots and casting non-professional actors, because it makes Carmen y Lola a much more honest depiction of what it means to love in an intolerant community.

It’s not easy to watch Kazakhstani drama Ayka, but that’s sort of the point. It’s a miserable life. Even as she’s still bleeding from her pregnancy, and the snow piles on during a terribly cold day in Moscow, she still has to scramble for work to pay off debt back home, and her pay isn’t guaranteed simply because her visa expired. Director Sergey Dvortsevoy depicts this with no flourishes, simply having a camera follow behind Samal Yeslyamova as she portrays Ayka’s life side by side richer customers, but there’s no denying how tense the approach ends up being, since the stakes are made clear for her everyday: it’s either work or die, and Ayka barely says a word because the people around her can shift her fate for the worse, if she’s not careful. Ayka isn’t an easy watch, but it makes it clear how hard to live this life is, especially due to the central performance that makes this film.

Is Australia’s The Sapphires better than America’s Dreamgirls? Well, in terms of the films about these girl groups, it’s a bit of a challenge to compare considering historical inaccuracy. Nevertheless, writer Tony Briggs tells his family’s story with finesse, taking the real life narrative to tell us a surprisingly multilayered story of Aboriginal Australia in the 70s, of singers inspired by soul across the Pacific, and of a family torn apart by forced adoptions and state-sanctioned separation of white-passing mixed-race children. There are times when it stumbles into the usual biopic traps, and some of the inaccuracies do detract focus from the central ladies, but The Sapphires still works with its sweet, wholehearted characters, and the way they present their songs.

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.

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.

Biopics usually try to capture the entirety of a life, but on occasion, they try to capture that life in a snippet, in a short period of time that could encapsulate what the subject did and what they stood for. One such film that does this is Marshall. It’s not a bad idea to depict the first African-American Supreme Court justice through one of his numerous civil rights cases. It’s a straightforward way to depict his brilliance while also capturing the tangible stakes of every case he took on, and Chadwick Boseman captured that charisma through his excellent performance. That being said, given Marshall’s legacy, it feels disappointing to see his landmark cases only tacked on as a postscript epilogue. While a juicier case could have better captured the man, Marshall nonetheless works because of its performances.

A comedy (!) that follows James (Benedict Cumberbatch) a man terminal cancer who knows that he doesn’t have long to live, so he goes on a journey with his closest friends, Bill (Adam Robertson), Davy (Tom Burke) and Miles (JJ Field), to Barafundle Bay in Wales. The journey itself is funny and the characters have many issues to sort out, some lighter than others, but the film is by no means completely lighthearted, so if you aren’t prepared for some tears with your laughter, maybe look elsewhere!

This is a revelation of a movie for its simplicity in handling a pretty serious and dark subject. It’s the story of a generally immature and newly unemployed stand-up comic in New York and her unplanned pregnancy with a man that was supposed to be a fling, and it’s surprisingly funny and yet rather touching. I can’t think of many actresses who would’ve fit the bill quite like Jenny Slate. Not only is she hilarious, but her treatment of a generally sensitive issue from the honest, crass point of view of a down-on-life, New York-er leaves you drowning in empathy for her. I recommend this for anyone looking to cuddle up, have a few little clever laughs and feel all tingly in the chest-al area.

This is a movie with which you can easily connect. I have never experienced such deep connection and feelings towards characters. Seven friends get together for a dinner, and they decide to share every text message, email, and phone call they receive. The difference we all have to some degree between our public selves and private lives is the same one that comes out and threatens the balance between these long time friends.
The film may feel a bit claustrophobic for some but that same feeling allows you to laugh, to shiver, and to even feel the deepest sorrow alongside the characters. For me this is a must watch.

Nostalgia for the Light is a documentary about Atacama desert and the two activities that go on there: astronomers in ALMA space observatory examine the sky, and the relatives of murdered people dig the ground hoping to find their loved ones. The way the director compares these seemingly totally different topics (searching the sky and searching the sand) is pure poetry. It’s a serious, but not depressing nor boring movie. All the interviewed people are amazingly relevant and have great insight. They made me feel like I want to get to know them personally. If you’re looking for a detailed “for dummies” introduction about Chile, ALMA observatory or Pinochet’s concentration camps, this movie is not for you. It’s for viewers who want to learn to appreciate the beauty of life and history, and the surprising parallels they sometimes offer us.

The Centre Will Not Hold explores the life of the famous Joan Didion – professional observer and cultural spectator. The film gives only a small window into the complexity of her mind and the space in which she processes and understands the world, which stems from her capacity to sit above everything that is happening around her and just observe. From writing for Vogue, to war journalism, to her famous novels – from watching a child do acid, to reporting on the first gulf war – Didion is as prolific as she is insightful and majestic in her writing. Throughout the documentary she gives her first hand perspectives on love, relationships, motherhood, and grief – beautifully articulating it as “a place we do not know unless we’ve been there.” A beautiful woman, and an incredible film.

An electrifying portrayal of a girl growing up in a poor Paris suburb. This coming-of-age story follows Marieme, a girl struggling in high-school who learns that she will be rerouted out of academia and onto a track where she will learn a trade. Frustrated by the news and fearful of an abusive elder brother, she finds solace in a gang of girls from her neighborhood. Initially she decides against joining them but does so at the prospect of pursuing a crush. Her new friends take her into the center of Paris and to a more violent and crime-driven lifestyle. An undeniably grim movie, Girlhood compensates with an amazing character study – themes of identity and adolescent need for belonging are at the center of a type of a story that rarely ever gets any attention.

This twisted movie is actually two movies, the credits even roll in between. The first half is gorgeous: talented dancers get together for a party and perform beautiful contemporary dance sequences. They introduce themselves through their audition tapes to join the dance group, but also through conversations at the party. The second half is less fun. It turns out someone had laced the sangria they’ve been drinking with a psychedelic drug. Not for the faint of heart or anyone who didn’t like director Gaspar Noé’s past movies (Enter the Void, I Stand Alone, etc).

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.

The 1980s were not a great time to be of Pakistani descent in the UK. Hate crimes are at an all-time high and the economy is suffering. Plus, there is really no good era to be a misunderstood teenager. Javed is both those things in this coming-of-age comedy based on a true story. Javed finds solace in the music of one Bruce Springsteen, relating to his themes of small-city blues and the dreams of escaping them.

All of this makes Blinded By The Light a charming movie about a lot of unpleasantness, and while it tries to be too many things (a commentary on race, a musical, a coming of age story, etc), it succeeds where it matters: to treat the story with care and intelligence.

A quiet movie about an unpredictable convict who gets enrolled in a wild mustang taming program. These initiatives, common around the country, offer fascinating parallels: both the horses and the inmates are emprisoned, both innately fight against their condition but are actively being made to comply. The central performance by Matthias Schoenaerts is nothing short of a masterpiece. He doesn’t speak much and you almost don’t want him to: everything else he does communicates so much more than words. Watching this movie just for him is reason enough.

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?

This Swedish movie is the story of Astrid Lindgren, one of the most translated children book writers of all time. Her work of over 100 books includes Pippi Longstocking and The Brothers Lionheart.

Away from the quiet existence of the characters she would later create, Astrid had a turbulent life. Her troubles start when she falls for the editor of the paper she worked at when she was young, a man 30 years her senior. This results in an unwanted pregnancy and Astrid is pushed to immigrate.

This Danish movie is about a failed 38-year-old bodybuilder who lives with his mom and has never left Denmark. In an expected move, and while telling his mom he’s going to Germany, he travels to Thailand in hopes of finding love.

It might at first seem like a disastrous storyline (of sex tourism), but that part of the movie is almost accidental. Teddy Bear is actually a sweet and likable story of a man who wants to break away from his domineering mother, and a journey of someone who starts growing up later in life.

With a particularly empowering tenderness and resilience, The Divine Order explores a glossed-over chapter in history wherein Swiss women could not vote until 1971. The hillside Swiss farming village in which Nora Ruckstuhl lives seems picture-perfect. But under the village’s close-knit and idyllic surface, change is stirring. When an emerging sense of autonomy pushes Nora to question her identity beyond being a complacent housewife, she publicly declares herself in favor of women’s suffrage and draws attention from both outspoken opponents and quiet supporters.

As Nora discovers herself—what she does and doesn’t like; what her body looks like; what pleasure feels like—she also uncovers a yearning for better, for more: who is she not just as a spouse and mother, but also as a friend, a member of a greater community, an independent woman?

Bryan Cranston, best known for his role as Walter White in the Breaking Bad series, stars as Robert Mazur, a federal agent, who goes undercover to infiltrate the trafficking network of Colombian drug kingpin Pablo Escobar. With the film based on Mazur’s memoir, Bryan Cranston gives an impressive lead performance that captures the intense distress that deep cover can bring. Besides Cranston, co-stars Benjamin Bratt, Diane Kruger, Amy Ryan, and an exceptional John Leguizamo are entirely persuasive and make the film experience enjoyable and intense. The Infiltrator is entertaining and maintains a good pace, with a great cast that makes it a true joy to watch, especially for those who enjoy stories based on real criminals. 

Albert Maysles’ penultimate film celebrates fashion icon Iris Apfel, who charms everyone with her quick wit, no-nonsense attitude, and love for the craft. There’s something brilliant in the way the movie starts not by rehashing facts about her, but with Apfel herself going through the process of choosing what to wear. She’s doesn’t just pick clothes; there’s a kind of careful consideration made with each item she chooses, that she remembers every detail about (from where she got them, to the culture and history behind them), and that she intentionally picks in the name of joy. While the documentary doesn’t dive too deep into Apfel’s life, the woman is just undeniably cool. Simply going through her processes and listening to her talk is already an inspiration.

The Cabin in the Woods came to be as Buffy The Vampire Slayer writers Drew Goddard and and Joss Whedon set themselves on a mission to upgrade the slasher genre. With this film, they wanted to satirize the way it slips into torture porn. In other words, they aspired to make a clever, punchy new classic. Amassing a 30 million dollar budget attests to their hopes: a massive backend of VFX work provided an elaborate film world, where different levels of ‘reality’ are at play. As six college students head into the woods to spend a debaucherous weekend undisturbed, a whole underground laboratory monitors their every move. It appears that a big operation is underway to trap the unsuspecting crowd into a curated murder scenario, straight out of a horror movie. Among the victims, we see Chris Hemsworth at the time his career was just taking off, so that’s history in the making for you.

Unfortunately, in its devotion to provocatively render some horror tropes irrelevant, The Cabin in the Woods cannot help but reinforce others. It still carries the whiff of the late 2000s’ misogyny in the way it portrays women and it certainly doesn’t try hard enough to disrupt the genre’s opposition to female sexuality. The characters of Dana (the virgin) and Jules (the experienced one) are sure to make you wince, as they’re written as flat as a piece of paper. So you say no to torture porn, but embrace misogyny…?

A smashing box office success and an Oscar nominee for Best Visual Effects, Ready Player One has already proven itself to be a smart and surprisingly adequate rendition of today’s techno-anxieties that underpin the use of VR in popular culture. Through its elaborate portrayal of a magnificent utopia—a world where you (your avatar) can be anything you want—the film acts as an antidote to what many would call the end of cinema. Fears about VR interfering with filmmaking and the potential dismantling of film worlds through that particular kind of “virtual realism” are countered by the ever-expanding possibilities of OASIS. Spielberg is anything but cynical here and even if the main characters, Wade and Art3mis, are teenagers who have been born in a world beyond salvation, there is still hope in their idealism. While they find themselves up against the CEO of an evil corporation called  that seeks to overthrow the OASIS, the battle is not as uneven as it seems. Even now, being the giant of sci-fi film that he is, Spielberg still believes in the youth, as he always has.

Being named after the genre, Wu xia, the title replaced in English as Dragon, would understandably follow its conventions with dramatic action in ancient China. The plot roughly follows a typical wuxia thread, where a hidden master is revealed, leading to plenty of exciting adventures, and they seek justice in order to return to a state of peace. But the way Dragon approaches this plot is exciting, as the film mixes in the investigation of a murder mystery, with a determined detective suspecting the master through his knowledge of the body, through an eclectic mix of forensics, medicine, and Qi acupuncture. And as the detective is consistently challenged by the former fighter, it’s clear how difficult it can be to master the body, especially after going through trauma and violence and self-doubt. The threads in the film are familiar, but Dragon understands what makes these threads work, and the way these are woven together makes for a good movie to watch.

When a woman that looks like the love of your life randomly shows up at an empty train station, but strangely has no memory of you, maybe you should try to confirm their identity first– doppelgangers do exist, after all. But aside from this detail, there’s a certain charm in the way Be With You unfolds, as the family gets a second chance to cherish a loved one, and as Woo-jin indulges in sharing their love story, a story that Woo-jin understandably doesn’t want to forget. Be With You doesn’t reinvent the entire genre, and it would inevitably be compared to the 2004 Japanese original, but this Korean remake does it so well, celebrating the way love transcends lifetimes.

When something like a World War happens, the generation that grew up at the time inevitably would be changed, and this change sticks to that generation, even if the ones that follow don’t immediately understand. The Last Suit is centered on this idea, but it does so through a relatively lighthearted and humorous way, as Abraham Bursztein goes on a cross-continental trip to see a childhood friend from the war, and meet people with different perspectives along the trip. With at least six different languages, two different timelines, and a compelling protagonist, The Last Suit is a new take on the Holocaust that might be a tad too sentimental for some viewers, but is a poignant reminder of the history that still haunts the world today.

Life can get tough if you move to another country. You have to adjust to the language, to the culture, and to the community you choose to move to, and that’s just if you decided to make the move intentionally. But some of these difficulties can be made much easier to bear with a good friend. Shun Li and the Poet is centered on a friendship between two immigrants in a Venetian island town, and although they come from other sides of the world, the kindnesses they share as strangers, and the intimacy they keep when they share more of their life stories, prove to be lovely. It might be a tad slow for some viewers, but the contemplation and celebration of their shared humanity makes for a lovely watch.

Before CCTV cameras and facial recognition, police had to do their surveillance manually, relying on disguises and, if they were lucky, photographic memory to hunt down bad guys and arrest them. Remaking Hong Kong action thriller Eye in the Sky, Cold Eyes followed one such surveillance team– a hardened captain with a rookie with photographic memory– and the two leads go through many of the beats familiar in many an action thriller, but nonetheless the action sequences are so exciting that the 2 hour runtime flies by. Cold Eyes may be a familiar investigation for most thriller fans, but the film conducts it rather well.

The grief in James White is palpable. It’s inspired by writer-director Josh Mond’s own experience of losing a parent, and it shows, especially through how personal this drama gets. It’s heart wrenchingly honest about its protagonist and how unprepared he was, not just in taking over his mother’s care, but in actually becoming an adult. At the same time, while presenting his worst sides, the film also acknowledges the way grief hangs over James, with everyone holding best intentions but not knowing what to do to help him. It’s because of this James White isn’t an easy watch, but it might prove cathartic for viewers going through similar loss.

Given the topic, there’s no surprise that Beauty and the Dogs is a harrowing watch. The gang rape itself is thankfully not depicted, but the journey to getting help– trying to get medical attention, going from station to station, and finally getting a report done in the very station the police perpetrators are parked in– is absolutely horrifying. Through nine long shots, writer-director Kaouther Ben Hania shows each step in real time. It’s a brilliant way to hone into the subtle details, such as the way the police protected each other, or when some took the accusation seriously, there were no measures to ensure Mariam’s safety. Beauty and the Dogs is not an easy watch, but it’s a necessary one to highlight the system’s deficiencies in addressing this crime.

It’s terrifying to imagine how someone innocent can unknowingly get linked to a crime. It’s a fear that drives many crime films including Paraguayan thriller 7 Boxes. While the basic idea is familiar, the film takes this trip to an unfamiliar location and executes it in a slick, stylish way, with respect to the hustle and bustle of the capital’s street market. Alongside the spectacular chase sequences, the film also allows each character to breathe, grounding the action with the sincere understanding of Victor’s hope for a better life. Some moments may seem a bit cliché, but 7 Boxes overall is a fast-paced and engaging movie that’s sure to delight thriller fans.

I Saw the Devil is a South Korean psychological thriller/horror film. IT IS NOT FOR THE FAINT OF HEART!!! It has a lot of blood and gore that could make even the strongest stomachs turn. A young woman is kidnapped from her car while waiting for a tow truck and the kidnapper murders her far from her car and scatters her body parts around. Her fiancé, a secret service agent of the National Intelligence Service, sets out to track down her murders and exact his revenge. If you’re looking for a thrill ride, look no further- but don’t say we didn’t warn you.

Based off the real life experiences of the film’s writer, Jack Asser, Starred Up is a gritty crime drama set within a violent offenses prison in the UK. The film’s name references a youthful offender who, by virtue of his crimes, is sent to an adult facility. The film hums along like a taut bit of wire, keeping the viewer on the edge of their seat as the enormity of the prison subculture is unfolded in front of them.  Unlike many other prison dramas, this film isn’t afraid to break cliches and explore new ground, and is populated with disturbingly real character studies, slices of dark and broken humanity.

Take this Waltz is a movie that wants you to have a problem with it. It’s about a woman (Michelle Williams, Blue Valentine) torn between her husband (played by Seth Rogan) and a new man who entered her life. It’s an emotional and honest account as well as a mature slice-of-life film that you will appreciate either if you are familiar with a similar situation in real life, or if you give the film a chance, which I recommend you do.

I don’t want to go too much into detail, but this film is an acting masterpiece. From start to finish it drags you into the characters’ life and really makes you feel for the main character. It shows you how hard it really is for the main character to struggle with what she’s going through. I hate being left in the dust to wonder like I was left after Tomboy and this film did it and it really gets on my nerves, but it is so good. A true masterpiece.

Without a shadow of a doubt, one of the most gripping thrillers in recent years. It starts in a morgue where a corpse of a deceased femme fatale goes missing. Her husband is the first person to be suspected as evidence starts pointing to him for killing his wife and hiding the body. He is called by the police to the crime scene to help with the investigation that is led by a shady detective. The film then takes you on a journey filled with reflections on marriage, deceit and the character’s urge to safeguard whats their own and the territories they are willing to cross to keep it. Drawing you into the atmosphere from the very start, it refuses to let you go out of it. All while maintaining a simple premise.