The set starts off rather harmless, as Koy puts over New York as a racially diverse island, and other wholesome sentiments marinated with cussing. He makes a genuine effort to directly connect with his audience, like he’s really lubing them up for something big, but nothing ever comes of it. He just corners his audience into laughing and tells them that laughing is good, and in fairness it kind of works. After a cult-y opening salvo, we get the rest of the Jo Koy staples: the cartoon voices, the patronizing, some questionable stuff. He settles nicely into age-related topics like chronic pains and back-in-the-day diatribes, where his timing and material really come together, and see the performance through to an admittedly abrupt end.

Genre: Comedy

Actor: Jo Koy

Director: Shannon Hartman

Rating: R

While surpassed by the masterpiece Tár, Todd Field already garnered critical acclaim by his first feature debut In The Bedroom all the way back in 2001. The story is a familiar revenge drama that we might have heard from stories from small towns, but the way Field captures it is fascinating, with its challenging, layered dialogue, and the juxtaposed young and old love hinting at both couples’ insecurities, jealousy, and possessiveness, particularly with regards to the potential college graduate Frank has. It’s slow-paced, haunting, and Tom Wilkinson and Sissy Spacek share a sense of heartbreaking intimacy only true couples can wield against each other. In The Bedroom showed us Todd Field’s brilliant filmmaking that we hope to see more soon.

Genre: Drama, Thriller

Actor: Celia Weston, Daran Norris, Erin Barksdale, Frank T. Wells, Justin Ashforth, Karen Allen, Kevin Chapman, Marisa Tomei, Nick Stahl, Ronald Russell, Sissy Spacek, Tom Wilkinson, Veronica Cartwright, William Mapother, William Wise

Director: Todd Field

Rating: R

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.

Genre: Action, Crime, Thriller

Actor: Bae Jin-ah, Cho Jin-woong, Choi Gwi-hwa, Geum Gwang-san, Ha Jun, Heo Dong-won, Heo Sung-tae, Hong Gi-jun, Jeong In-gi, Jeong In-kyeom, Jin Sun-kyu, Jo Jae-yun, Kim Koo-taek, Kim Sung-kyu, Lee Kyu-ho, Lim Hyung-jun, Ma Dong-seok, Min Kyung-jin, Min Moo-je, Park Ji-hwan, Uhm Ji-sung, Ye Jung-hwa, Yoo Ji-yeon, Yoon Byung-hee, Yoon Joo, Yoon Kye-sang

Director: Kang Yun-sung

Renowned British director Ken Loach’s signature traits are present in The Old Oak: simple, humanistic, and unapologetically hopeful. But this time, we see things unfold through the eyes of Turner’s TJ and Ebla Mari’s Yara, whose endearing friendship anchors the film. They prove that seemingly conflicting things can coexist, like workers’ and immigrants’ rights, local and newcomer needs, old and new ideals. Loach hones in on his characters’ rich and specific lives so that his message doesn’t come across like an advocacy poster, but a richly woven tapestry filled with beautiful and complex meanings. Because it tackles heavy themes, The Old Oak might sound like it’d be heavy to watch, but as in most of the director’s work, you’ll no sooner be uplifted by an outpouring of hope and love.

Genre: Drama

Actor: Chris McGlade, Claire Rodgerson, Col Tait, Dave Turner, Debbie Honeywood, Ebla Mari, Lorenzo McGovern Zaini, Neil Leiper, Rhys Mcgowan, Rob Kirtley, Trevor Fox

Director: Ken Loach

The film starts with an atmosphere of almost peaceful defeat. We see a rather stealthy Godzilla, but it doesn’t last long until we’re back to regular programming with the metal-chewing monster. Time spent without Godzilla is spent on people trying to be heroes, armed with admirable optimism. The many scenes of wreckage turn this into a very human story about shared trauma. Godzilla vs other kaiju is usually an easy sell, but Godzilla vs people is a hard story to root for, just because of how unbalanced it gets. But the film finds a way to make it work—the final battle is epic, packed with a lot of heart and preparation.

Genre: Action, Horror, Science Fiction

Actor: Akio Nakadai, Eisuke Sasai, Etsuji Harada, Gohshuu, Hidemasa Mase, Hidetaka Yoshioka, Hirotaka Akatsuma, Hiroyuki Toritani, Ippei Sasaki, Keisuke Fujita, Kenji Anan, Kenji Mizuhashi, Kentaro Furuyama, Kisuke Iida, Kiyomi Aratani, Kota Kawabata, Kunihiro Suda, Kuranosuke Sasaki, Mami Tokuda, Masataka Matsubara, Michael Arias, Miki Mirai, Minami Hamabe, Mio Tanaka, Munetaka Aoki, Ozuno Nakamura, Ryunosuke Kamiki, Saki Nakatani, Sakura Andô, Saori, Seiji Okuda, Sentarou Kusakabe, Shinsuke Kasai, Sho Nishigaki, Shohei Abe, Shoji Omiya, Shota Taniguchi, Takato Yonemoto, Takumi Matsui, Tetsu Hirahara, Tetsunori Akira, Touta Tawaragi, Yosuke Minokawa, Yuji Komatsu, Yuki Takao, Yuki Yamada, Yukio Tsukamoto, Yuya Endo

Director: Takashi Yamazaki

Rating: PG-13

When it comes to films depicting America’s history of racism, many white produced films tend to be centered on a white savior. At best, this is just patting each other on the back for actions done a generation or two ago. At worst, it tends to be outright historical revisionism. The difference between these and The Long Walk is that, while clearly made for a white audience, the film doesn’t crown Sissy Spacek’s character as a messiah, but her choice to help the boycott anyway is a message worth depicting, even if it’s small, even if it isn’t the typical, single-handed salvation Hollywood is used to doling out. While the white narrator adds unnecessary distance, and while it would have been better to see more of Whoopi Goldberg in the non-comic role of Odessa Cotter, The Long Walk cares about the everyday, and that’s what makes it mostly work.

Genre: Drama, History

Actor: Afemo Omilami, Chelcie Ross, Cherene Snow, Dan Butler, Dwight Schultz, Dylan Baker, Erika Alexander, Graham Timbes, Haynes Brooke, Jason Weaver, Kevin Thigpen, Lexi Randall, Mary Steenburgen, Nancy Moore Atchison, Norman Matlock, Philip Sterling, Rebecca Wackler, Richard Habersham, Schuyler Fisk, Sissy Spacek, Ving Rhames, Whoopi Goldberg

Director: Richard Pearce

Rating: PG

With Netflix producing countless true crime documentaries, you’d be forgiven for dismissing How to Rob a Bank as usual, forgettable fare. But the documentary ever so slightly curbs cliches by focusing on a theme—in this case Hollywood, in honor of Scurlock’s pseudonym and love of movies—without losing sight of the bigger picture. Which is to say, directors Seth Porges and Stephen Robert Morse go all in the movie theme without giving way to cheesiness, mostly by honing in on Scurlock’s favorite films like Heat and Point Blank and effectively replicating the thrill of those action classics. It uses fine, storyboard-like illustrations that are mostly entertaining and nostalgic but occasionally quite beautiful, and borrows the same synth soundtrack from the said films. But it even though it initially sets Scurlock as the anti-hero, a Robin Hood of the times, its sympathies lie with the victims, the traumatized bank tellers and goers. It’s a smartly made and engaging film, complete with the quintessential shootouts and elaborate heists, and it thankfully doesn’t let the talking heads do all the work.

Genre: Crime, Documentary

Actor: Chezca Vega, Gavin Langelo, Jordan Burtchett, Kurt Ostlund, Lesley Mirza, Scott Patey, Tristan McKinnon

Director: Seth Porges, Stephen Robert Morse

Rating: R

In modern day Europe, demonic possession seems to be a thing of the past, something most likely to be attributed to mental illness, and something that can be dealt with through modern medicine, not exorcism. Still, exorcisms are conducted in certain areas in the continent, and some instances don’t go the way they should. Inspired on the real life Tanacu exorcism, Beyond the Hills doesn’t depict the event through a horror or melodramatic lens– instead the film is stoic, naturalistic, with long single takes that linger uncomfortably and repetitively. As Alina pleads to Voichița to help her, to choose her and their bond, Voichița grapples with wanting the modern yet isolating freedom she knows Alina has found elsewhere, while still wanting the refuge religious tradition has granted her, but also has made her dependent on. It does take a while to reach its conclusion, but Beyond the Hills is a deeply unsettling and striking movie to watch.

Genre: Drama, Romance

Actor: Adrian Acuta, Alina Berzunteanu, Călin Chirilă, Cătălina Harabagiu, Cosmina Stratan, Cristina Flutur, Cristina Mihailescu, Dana Tapalagă, Dionisie Vitcu, Doru Ana, Gheorghe Ifrim, Ion Sapdaru, Katia Pascariu, Liliana Mocanu, Tania Popa, Teodor Corban, Valeriu Andriuță

Director: Cristian Mungiu

The Western had its heyday in the 60s, but the decades have proven that there’s still stories from the deserts that we haven’t heard yet, and gems that twist the genre on its head. The Proposition is a unique Western, being from the East, in Australia where the Brits have started to form colonies. As the British Empire builds society, and the police start to enforce the King’s justice, writer Nick Cave and director John Hillcoat crafts a bloody tale, where promises between men are betrayed for the State, where vengeance can only be met through brutality, and where the line between civility and savagery is drawn and moved by the will of an angry majority. The Proposition is quite violent, but it’s performed well, scored by a moody, moving soundtrack, and it surprisingly contemplates Australia’s bloody past.

Genre: Action, Adventure, Crime, Drama, Thriller, Western

Actor: Bogdan Koca, Boris Brkic, Bryan Probets, Danny Huston, David Gulpilil, David Vallon, David Wenham, Emily Watson, Gary Waddell, Guy Pearce, Iain Gardiner, Jeremy Madrona, John Hurt, Leah Purcell, Mick Roughan, Noah Taylor, Oliver Ackland, Ralph Cotterill, Ray Winstone, Richard Wilson, Robert Morgan, Tom Budge, Tom E. Lewis

Director: John Hillcoat

Rating: R

Heart Attack is a romantic comedy, but instead of the hijinks being caused by the usual dating, miscommunication, and wooing, Yoon’s struggle here is to finally get a hold of his overbearing schedule and figure out how to relax and recover from burnout, and it’s all inspired by wanting to impress his doctor Imm. It’s funny, but it’s also all too real. Writer-director Nawapol Thamrongrattanarit recreates the overwhelming frenzy to complete a job through a magnificent jazz soundscape and Sunny Suwanmethanon’s internalized monologue, and it’s such an effective cinematic translation that the moments of rest, the moments where Yoon and Imm finally take a break feels like a relief. Heart Attack works precisely because it empathizes and understands the experience of workers in today’s gig economy.

Genre: Comedy, Drama, Romance

Actor: Adisorn Trisirikasem, Banjong Pisanthanakun, Chatcharin Saetan, Chonlasit Upanigkit, Davika Hoorne, Morakot Liu, Natda Chawawanid, Nottapon Boonprakob, Sunny Suwanmethanon, Surattanavee Suviporn, Thanapob Leeratanakachorn, Torpong Chantabubpha, Violette Wautier

Director: Nawapol Thamrongrattanarit