With the tried-and-tested music and lyrics of Brenda Russell, Allee Willis, and Stephen Bray, this film adaptation of the Color Purple musical was practically guaranteed to have power in its key moments. And with a cast that includes tremendous vocalists like Fantasia Barrino and Danielle Brooks (both of whom had previously played their respective characters on stage), the film's most important sections possess an energy and soul that allow its protagonist to dream of something beyond her dire personal circumstances. However, after a while, this movie begins to feel like it's only ever made up of isolated scenes without the proper build-up nor the right pacing to earn the movement from one episodic moment to the next. Even with the dynamite chemistry between cast and score, the film's odd staging and blocking constantly get in the way of what should be something incredibly emotional.

Genre: Drama, Music

Actor: Aba Arthur, Adetinpo Thomas, Aunjanue Ellis-Taylor, Charles Green, Chase Steven Anderson, Ciara, Colman Domingo, Corey Hawkins, Danielle Brooks, David Alan Grier, David Vaughn, Deon Cole, Elizabeth Marvel, Emana Rachelle, Fantasia Barrino, H.E.R., Halle Bailey, Jamaal Avery Jr., Jeffrey Marcus, John L. Adams, Jon Batiste, L. Warren Young, Louis Gossett Jr., MaCai Arrington Griffin, Phylicia Pearl Mpasi, Stephen Hill, Tamela Mann, Taraji P. Henson, Terrence J. Smith, Tiffany Elle Burgess, Whoopi Goldberg

Director: Blitz Bazawule

Rating: PG-13

Not to be confused with the old racist Disney movie, Song of the South is a carefully crafted historical epic based on the classic Vietnamese novel. Set in 1940s Vietnam, French colonial rule hangs over the main story, with the young An searching for his father after a tragic loss. It’s beautifully shot, capturing South Vietnam’s culture in ethereal countryscapes, blatantly nationalistic moments, and excellently choreographed fight sequences. Huynh Hao Khang also depicts An with a charm and charisma that makes his journey the most interesting to watch. However, his journey meanders halfway through, with each change in travel companion unsteadily shifting the tone of the film. Song of the South is an intriguing watch, but the structure, humor, and the CGI distracts from the poignancy of the original novel’s story.

Genre: Drama, Family, War

Actor: Công Ninh, Hồng Ánh, Mai Tài Phến, Trấn Thành, Tuấn Trần, Tuyền Mập

Director: Nguyễn Quang Dũng

The Teacher’s Lounge is one of those movies where a simple misunderstanding is blown out of proportion, so much so that it causes the fabric of a community to unravel into chaos. Aided by a precise score, it ticks like a timebomb, with every second filled with so much dread and anxiety you have to remind yourself to breathe. It’s an impeccable and taut thriller, but it also works as an allegory about modern-day surveillance and authority. Director İlker Çatak gives the Gen-Z students and their much older teachers a level field where they struggle for control, and the result is both bleak and funny. It’s often said that schools are a microcosm of the real world, but nowhere is that more apparent than here. 

Genre: Drama, Thriller

Actor: Anne-Kathrin Gummich, Antonia Luise Krämer, Eva Löbau, Katharina M. Schubert, Kathrin Wehlisch, Katinka Auberger, Leonard Stettnisch, Leonie Benesch, Lisa Marie Trense, Michael Klammer, Özgür Karadeniz, Rafael Stachowiak, Sarah Bauerett, Uygar Tamer

Director: İlker Çatak

Rating: PG-13

After the critical and commercial success of Concrete Utopia, it makes sense for Lotte Entertainment to turn it into a franchise. Badland Hunters is a more action-focused spinoff, with that dystopian world looking like a wild, wild Seoul and Ma Dong-seok as its lone ranger. Compared to its predecessor, the commentary is scant, the plot is thin, and the only thing that connects it is the apartment. But even with the B-movie mad scientist plot, long-time stunt coordinator Heo Myung-haeng makes his directorial debut wildly entertaining, with solid action that doesn’t depend too much on CGI. Human reptiles aside, Badland Hunters is just so fun to watch.

Genre: Action, Drama, Science Fiction

Actor: Ahn Ji-hye, Ahn Seong-bong, Hong Yi-joo, Jang Young-nam, Jeong Gi-seop, Jung Young-ju, Kim Young-sun, Lee Han-joo, Lee Hee-jun, Lee Jun-young, Ma Dong-seok, Park Hyo-joon, Park Ji-hoon, Roh Jeong-eui, Seong Byeong-suk

Director: Heo Myeong-haeng

Rating: R

At two hours and nearly 30 minutes, Stonewalling is quite long. The third film from spouses Ryuji Otsuka and Huang Ji takes place in slow, slice-of-life moments, centered around a female lead that mostly doesn’t actively make choices for her own life, so it can feel frustrating to watch. But as the film unfolds, Lynn’s passivity turns out to be the tragically familiar surrender of today’s working class. Lynn tries to make choices to pay out her mother’s debt, to ensure that she’s not indebted herself, through jobs that commodify her youth, her beauty, and even her body, but each move consequently limits her next options. She tries to bargain for other solutions, but it turns out these solutions were never there in the first place. All she can do is quietly adapt, with each failed promise culminating into a baby’s cry.

Genre: Drama

Actor: Cui Chu, Huang Xiaoxiong, Liu Long, Xiao Zilong, Yao Honggui

Director: Huang Ji, Ryuji Otsuka

Painfully intimate and told with very, very little dialogue, All Dirt Roads Taste of Salt resembles the experience of flipping through a photo book and pausing to admire every page. Which is to say that this is a film that requires not only one's complete attention but—like many other arthouse dramas—a willingness to sit with the mundane until it reveals something more profound. The nearly silent nature of its storytelling can be a little awkward, given how lifelike the rest of the movie is, but one should hopefully get used to the idea that this is an attempt to represent something closer to memory than reality. Whether or not the experience sticks or strikes an emotional chord, it's all beautifully put together, with lush cinematography, impeccably detailed sound design, and thoughtful sequencing of one image after another.

Genre: Drama

Actor: Charleen McClure, Chris Chalk, Kaylee Nicole Johnson, Moses Ingram, Reginald Helms Jr., Sheila Atim, Zainab Jah

Director: Raven Jackson

Rating: PG

To call Going to Mars a somewhat shapeless documentary isn't a criticism. If anything, its flexibility of structure feels entirely appropriate for the woman at its center, who doesn't necessarily defy categorization so much as she remains on the pulse of history as it continues to shift in unexpected ways. Nikki Giovanni is a person who knows who she is and knows that she stands for the essential dignity of Black people, and it's inspiring to see how she not only remains hopeful and articulate through every critical moment, but that she insists on being ambitious for what Black people deserve to achieve in the future. As her son tells her at a speaking engagement, Giovanni doesn't just dream of going to space; she feels that it is her people's imperative to be there.

Directors Joe Brewster and Michèle Stephenson tell her (still ongoing) life story in a strikingly impressionistic way—cleverly playing with archival footage, but more importantly having Giovanni's candid words blending seamlessly into her poetry. This is a credit to how connected to the milieu Giovanni's work actually is, of course, but the film does a very good job defining her as someone who can bring beauty and grace out of every experience.

Genre: Documentary

Actor: Kai Giovanni, Nikki Giovanni, Novella Nelson, Taraji P. Henson, Thomas Giovanni, Touré Neblett, Virginia Fowler

Director: Joe Brewster, Michèle Stephenson

The sooner you adjust your expectations for Nomad—and realize that this isn't a travel documentary but Werner Herzog's own wonderfully offbeat way of remembering his dear friend—the better. Any uneven moments in this film's construction are smoothed over by the sheer authenticity of what Herzog puts on screen, from his own distinctive narration, to gorgeous excerpts from Bruce Chatwin's writings, to the sounds and images that make up the strange worlds that both men were fascinated in. No mysteries are solved here, but just being closer to the strange and surreal becomes a way for Herzog to come to terms with the strangest and most surreal of life's realities: death.

Genre: Documentary

Actor: Bruce Chatwin, Elizabeth Chatwin, Karin Eberhard, Marcus Wheeler, Michael Liddle Pula, Nicholas Shakespeare, Petronella Vaarzon-Morel, Stefan Glowacz, Werner Herzog

Director: Werner Herzog

Rating: PG

It would be easy to define Rose Plays Julie as a cross between Promising Young Woman and Killing Eve, but this psychological thriller turns the camp factor down to zero and makes even just the act of watching somebody else an existential experience. Directors Joe Lawlor and Christine Molloy treat this story with stone-cold intensity (perhaps to a fault), transforming their title character from a confused girl to somebody who relishes the power they have to disrupt other people's lives through her mere existence. There's something eerie about it that crawls under your skin if you let it, like a ghost story told among the living.

Genre: Drama, Thriller

Actor: Aidan Gillen, Alan Howley, Ann Skelly, Annabell Rickerby, Catherine Walker, Jack McEvoy, Joanne Crawford, Lochlann O'Mearáin, Orla Brady, Sadie Soverall

Director: Christine Molloy, Joe Lawlor

With the success of Killers of the Flower Moon, there’s a renewed interest in authentic and respectful depictions of Native American stories. Low budget supernatural horror might not be the best approach, considering its history of stereotyping, but The Windigo is a fairly sincere stab at reframing the genre. The wicked looking, titular creature pulls together plenty of the issues Native Americans currently face, such as forgotten culture, violence, and institutional negligence, but the film also surprisingly delves into past collective trauma some of these communities have experienced. The Windigo plays out the way you would expect a creature feature to be, but the film could have been so much more with better execution.

Genre: Horror, Thriller

Actor: Adam Shalzi, Brian Krause, Casey Camp-Horinek, Fivel Stewart, Griffin Powell-Arcand, Marco Fuller, Tatanka Means, Tonantzin Carmelo, Troy James

Director: Gabe Torres

We’re familiar with dick jokes from stand-up comedians, especially male stand-up, but Jacqueline Novak’s 90-minute show about the blow job feels completely new. Get on Your Knees feels like casual storytelling from someone experienced yet distant enough to be a cool authority on it (say, your best friend’s older sister’s best friend), but funnier. It’s like a gossip session about a first experience, except the breathless, dizzying stream of thought is peppered with philosophical thought and points out the absurdity around the language and common attitudes about sex. And as she does so, and as she talks about self-conscious fumbling and unanswered questions, she strides back and forth, in an easy, self-assured way, the way we’d like to feel going into the act.

Genre: Comedy

Actor: Jacqueline Novak

Director: Natasha Lyonne

Rating: R

As much as the Alabama-bred stand-up comic doesn't fit into the stereotype of someone with an online presence, Dusty Slay's comedy special can't help but feel like you're scrolling through the Twitter feed of someone's funny but incoherent (and most likely high) thoughts. There isn't much connective tissue to be found in Workin' Man, which doesn't necessarily weaken his jokes—many of which are actually these amusing, absurd observations on everyday life—but definitely makes all the little silences feel much longer, and leaves you looking for some sort of primary theme to really bring the show home. Still, the fact that a self-proclaimed stoner is actually this normal and unassuming (as opposed to a few other comics who can get dark and aggressive with their drug-related content) is pretty refreshing, all things considered.

Genre: Comedy

Actor: Dusty Slay

Rating: PG-13

Of all the Christmas-set films to have come out over the last couple of months that were, inexplicably, about grief and regret (you'd be surprised by how many there are), The Holdovers easily outdoes its contemporaries by being confident enough to just sit with its characters. Like the best of director Alexander Payne's other films, there are no melodramatic crescendos or overcomplicated metaphors; there are only flawed individuals going about their lives, occasionally noticing the things that bind them together. Payne's gentle touch means the characters (and the audience) aren't forced to "solve" their grief, but allowed to come to terms with it in their own way, with each other.

Payne evokes the film's 1970s setting through a muted color palette and analog—almost tactile—sound design, giving warmth to this New England despite all its snow and chilly interiors. It's understandable that these characters are similarly cold to each other on the surface at first, but they manage to thaw the ice simply by taking the chance to listen to each other's pain. It's the kind of film in which relationships develop so gradually, that you hardly notice until the end how much mutual respect has formed between them when they return from their dark nights of the soul back to their status quo.

Genre: Comedy, Drama

Actor: Alexander Cook, Andrew Garman, Bill Mootos, Brady Hepner, Carrie Preston, Carter Shimp, Cole Tristan Murphy, Colleen Clinton, Da'Vine Joy Randolph, Dakota Lustick, Dan Aid, Darby Lee-Stack, David J. Curtis, Dominic Sessa, Dustin Tucker, Gillian Vigman, Ian Dolley, Ian Lyons, Jim Kaplan, Joe Howell, Jonathan von Mering, Kelly AuCoin, Kevin Daigneault, Kevin Fennessy, Melissa McMeekin, Michael Malvesti, Michael Provost, Naheem Garcia, Oscar Wahlberg, Osmani Rodriguez, Pamela Jayne Morgan, Paul Giamatti, Rena Maliszewski, Stephen Thorne, Tate Donovan

Director: Alexander Payne

Rating: R