With the powerful duo of queer aesthetics and rock n roll, Hedwig and the Angry Inch questions the duality between genders, lovers, and everything in between. Like the 1998 stage musical, the film follows the titular Hedwig and her band as they navigate the music scene for fame and love. The adaptation gives justice to their performances, giving the vibe of 70s glam rock music videos. The film is not without its flaws. Hedwig’s relationship with the younger Tommy Gnosis remains controversial. However, while Hedwig may not be a perfect representation of the trans experience– after all, she only chooses gender reassignment purely to leave East Germany– this cult film still remains a landmark for queer representation.

Genre: Comedy, Drama, Music

Actor: Alan Mandell, Alberta Watson, Andrea Martin, Ben Mayer-Goodman, Ermes Blarasin, Gene Pyrz, John Cameron Mitchell, Karen Hines, Maggie Moore, Mary Krohnert, Maurice Dean Wint, Michael Aronov, Michael Pitt, Michael Stevens, Miriam Shor, Rob Campbell, Rosie O'Donnell, Sook-Yin Lee, Stephen Trask, Taylor Abrahamse, Thérèse DePrez

Director: John Cameron Mitchell

Before he was Jim Morrison, Iceman, or Batman, Val Kilmer made his big screen debut as Nick Rivers, the doltish American rock 'n' roll idol who is unwittingly embroiled in an East German underground resistance plot in Top Secret!. Skewering everything from WWII romances and Cold War spy thrillers to ‘60s popstar musicals, this delightfully silly spoof from the team behind Airplane! is jampacked with sight gags, double entendres, and multi-layered setpieces delivered at such a manic pace that you’ll need several rewatches to exhaust all of its comedy. Its lowbrow style means that some jokes are undoubtedly dated, but there’s a lot of timeless wit on display here, including zinging one-liners, tongue-in-cheek lampooning of cinematic clichés, and slapstick gags in the vein of masters of the form like Jacques Tati and Buster Keaton. Top Secret! is blessedly under no illusions as to what we want from a movie like this, so the fact that there’s no comprehensible plot in sight only adds to the enjoyment here.

Genre: Comedy, Drama

Actor: Andrew Hawkins, Billy J. Mitchell, Billy Mitchell, Burton Zucker, Charlotte Zucker, Chas Bryer, Christopher Villiers, Dimitri Andreas, Eddie Powell, Eddie Tagoe, Gertan Klauber, Harry Ditson, Ian McNeice, Janos Kurucz, Jeremy Kemp, Jim Carter, John J. Carney, John Sharp, Lee Sheward, Louise Yaffe, Lucy Gutteridge, Mac McDonald, Marcus Powell, Michael Gough, Nancy Abrahams, Nicola Wright, Omar Sharif, Orla Pederson, Peter Cushing, Richard Bonehill, Richard Mayes, Steve Ubels, Susan Breslau, Sydney Arnold, Tristram Jellinek, Val Kilmer, Warren Clarke

Director: David Zucker, Jerry Zucker, Jim Abrahams

Rating: PG

Following the success of the Zom 100 manga and anime, Netflix quickly followed suit with a live-action film, which begs the question: why? Why bother, when the freshly released series is barely a month old and already a vibrant interpretation of the comic book it was based from? Why bother, when you’re not going to bring anything new to the table? The film, more than anything, feels like a rushed cash grab that hopes to capitalize on its predecessors’ success. The premise is clever and relatable—after years of living like a zombie, a jaded employee regains a lust for life when an outbreak threatens to kill him—but the film milks it to death, so much so that by the ending, when the characters finally reach this conclusion, they can’t help but seem slow for spelling out what we’ve already known from the start. The film also looks drab and dreary, a far cry from the series’ experimental wonders. Instead of multi-colored blood bursting with every kill, we simply get metallic confetti in the movie. Instead of dynamic action, we get barely believable stunts that seem more awkward than awe-inspiring. Zom 100: Bucket List of the Dead isn’t bad per se, but it doesn’t look so good next to its much-better counterparts on TV and in print.

Genre: Action, Comedy, Drama, Horror

Actor: Akari Hayami, Daiki Miyagi, Doronzu Ishimoto, Eiji Akaso, Jin Hisa, Kazuki Kitamura, Kenta Satoi, Kurumi Nakata, Mai Shiraishi, Mayo Kawasaki, Miwako Kakei, Mukau Nakamura, Reira Arai, Seijun Nobukawa, Shota Taniguchi, Shuntaro Yanagi, Tani Tehito, Yo Takahashi, Yui Ichikawa

Director: Yusuke Ishida

Rating: R, TV-MA

The visceral pain at the center of this adaptation from period drama powerhouse Merchant-Ivory comes not from fading or unrequited love but unrealized affection. Try as he might to repress his feelings, devoted butler Mr. Stevens (Anthony Hopkins) can’t stifle the blossoming attachment he shares with housemaid Miss Kenton (Emma Thompson). And yet, at every opportunity she gives him to do something about it, he balks, squandering the potential for something truly beautiful — something that actually belongs to them, not their aristocratic employer.

The Remains is partly told in flashbacks to the period leading up to the Second World War. From his stately home, Stevens’ master Lord Darlington and his peers play at international relations and try to avoid another war by pandering to the Nazis, but find they’re woefully under-equipped to decide the fate of Europe in this changing world. One of the many brilliant things about The Remains is the way this political drama doubles the devastation of Stevens’ die-hard commitment to his job — because now, he’s sacrificing his one chance at love for something that won’t even survive the decade. Sublime filmmaking and performances turn Stevens’ every minute choice into a pillar of profound tragedy, giving us a maddeningly heartwrenching life lesson for the ages.

Genre: Drama, Romance

Actor: Abigail Hopkins, Anthony Hopkins, Ben Chaplin, Brigitte Kahn, Caroline Hunt, Christopher Brown, Christopher Reeve, Emma Thompson, Hugh Grant, Ian Redford, James Fox, Jeffry Wickham, Jo Kendall, John Haycraft, John Savident, Lena Headey, Michael Lonsdale, Miles Richardson, Patrick Godfrey, Paul Copley, Paula Jacobs, Peter Cellier, Peter Eyre, Peter Halliday, Peter Vaughan, Pip Torrens, Rupert Vansittart, Steven Beard, Terence Bayler, Tim Pigott-Smith, Tony Aitken, Wolf Kahler

Director: James Ivory

Rating: PG

Ashkal takes an audaciously hybrid approach to genre: it’s part-noir, part-supernatural thriller, and full political allegory. The investigation at the center of this slow-burn Tunisian police procedural is a gripping one, as burnt naked bodies keep turning up in abandoned construction sites in Tunis with no trace of a struggle or even a combustible on them. In post-revolution Tunisia, the deaths are an uncomfortable reminder of recent history: it was a young Tunisian man’s self-immolation that sparked the Arab Spring, after all.

The revolution’s complicated legacy looms over the film, as we watch the country’s Truth and Dignity Commission begin its work of uncovering the former government’s corruption and abuses. Ashkal’s two protagonists — the young Fatma (Fatma Oussaifi) and her more seasoned police partner Batal (Mohamed Grayaa) — find themselves on opposite sides of that political divide, he having been implicated in the abuses of power that are now being investigated by Fatma’s father. There are fascinating elements at play here, and the results of Ashkal’s ambitious genre experiment are mostly inspired. Much of the film’s energies are spent on building a paranoid atmosphere — efforts that can, at times, frustratingly slacken the tension — but its fantastical touches tauten things up enough to make it a haunting political commentary in the end.

Genre: Drama, Thriller

Actor: Aymen Ben Hmida, Mohamed Grayaâ

Director: Youssef Chebbi

Stories like Il Mare and Your Name/Kimi no Na Wa work because, unlike other romances, the conflict is understandably difficult. After all, how the heck can anyone fight against time and space? Love You Long Time takes a stab at the unique time-bending premise, with one main difference: the movie’s main lovers can talk to each other directly through an old pair of two-way radios. There’s no need for the two to depend on physical letters or texts. This difference is interesting – immediately, it allows Director JP Habac to play with cinematography, editing, and acting, to make us fall in love with the couple. Split between 2018 and 2022, the film makes meaningful points about the past and present, the years lost to the pandemic, and separation. However, without spoiling anything, the film’s third-act plot twists don’t land as well as they could have. Having them back to back made the plot nearly incomprehensible, and sadly, doesn’t resolve the conflict driving the film.

Genre: Drama, Romance

Actor: Ana Abad-Santos, Arlene Muhlach, Carlo Aquino, Meanne Espinosa, Patrick Quiroz

Director: Jaime P. Habac Jr.

Bad Lieutenant is no misnomer: Harvey Keitel’s policeman really is one of NYPD’s worst. Already corrupt, abrasive, and abusive at the film’s outset, the movie chronicles his coked-out descent into total depravity after he’s called to investigate a heinous crime amid rapidly worsening personal circumstances. The brilliance of Bad Lieutenant is therefore a counterintuitive one: as awful as the Lieutenant is, we can’t help but feel emotionally involved because, in Keitel’s bravura performance, we can see the glint of pain — and thus of a person — within.

Always one for provocation, director Abel Ferrara pushes our empathy to — and maybe even beyond — its natural limits, only to break with the film’s hitherto unrelenting grit and dangle the glinting possibility of transcendent redemption in front of us. Anyone familiar with Catholic guilt cinema (movies like Martin Scorsese’s Who’s That Knocking At My Door and Mean Streets) will instantly recognize the same undercurrent running through Bad Lieutenant — even if Ferrara takes the idea of juxtaposing the profane with the sacred to the extreme here.

Genre: Crime, Drama

Actor: Bianca Hunter, Bo Dietl, Bob Murphy, Brian McElroy, Dana Dee, Darryl Strawberry, Ed Kovens, Eddie Daniels, Frank Adonis, Frankie Acciarito, Frankie Thorn, G. Elvis Phillips, Gene Canfield, Harvey Keitel, Heather Bracken, Iraida Polanco, Jaime Sánchez, John Steven Jones, Larry Mullane, Leonard L. Thomas, Minnie Gentry, Nicholas De Cegli, Paul Calderon, Paul Hipp, Peggy Gormley, Penelope Allen, Phil Neilson, Robin Burrows, Stella Keitel, Stephen Chen, Victor Argo, Victoria Bastel, Vincent Laresca, Zoë Lund

Director: Abel Ferrara