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In doing so, it recognizes the jazzy spirit of Lee and Helen's doomed romance—and, also, the riffing-our-way-forward nature of life itself.

Such a geographic relocation, however, does little to alter Gray's fundamental artistic course, as his latest—about early 20th century British explorer Percy Fawcett's Charlie Hunnam repeated efforts to locate a lost South American civilization that he believed to be more advanced than any previously discovered—boasts his usual classical aesthetics and empathetic drama.

Energized by a hint of Apocalypse Now 's into-the-wild madness, this entrancing period piece is at once a grand adventure, a social critique about class and intolerance, and a nuanced character study about an individual caught between his love for—and desire to escape—his environment.

Led by Hunnam, Robert Pattinson, and Sienna Miller, it's also one of the finest-acted dramas of the year. Such orderliness is toppled by his relationship with a waitress, Alma newcomer Vicky Krieps , who soon becomes his model and his companion in his house, which he also shares with his severely no-nonsense sister-partner Cyril a transfixing Lesley Manville.

Bong Joon Ho's Okja is many things at once: a rollicking kid's fable about the bond between a young South Korean girl An Seo-hyun and her genetically enhanced super-pig named Okja ; a satiric critique of the corporate food industry; a wacko comedy about transcending cultural boundaries; and a fantastical adventure full of kidnappings and chases, buoyed by over-the-top performances from Tilda Swinton and Jake Gyllenhaal, and culminating with a Times Square spectacular and a Holocaust-esque trip to the slaughterhouse.

Most of all, however, it's the year's most exhilaratingly idiosyncratic work, indebted to the spirit of both Steven Spielberg and Hayao Miyazaki, and energized by the distinctive signature of its director.

Vacillating between mirthful, madcap and morose on a dime, Bong's latest—about the heroine trying to reunite with Okja after the animal is reclaimed by the conglomerate that created her—is both all over the place and yet assuredly coherent.

Whether viewed on a big screen or via Netflix its exclusive distributor , it's a wondrous whatsit unlike anything you've quite seen before.

Suspenseful and hilarious, despondent and optimistic, I Don't Feel at Home in This World Anymore is a masterful genre film, one that immerses itself in the small, painful indignities of everyday life, and then casts the battle against those wrongs as a serio-comic odyssey of sleuthing, heavy metal, and nunchakus.

After her house is burglarized, nurse Ruth Melanie Lynsky partners with her rat-tailed martial-arts-loving neighbor Tony Elijah Wood to recover her stolen belongings.

Their ensuing black-comedy adventure is grimy, bloody, and ridiculous, as director Macon Blair best known for his performances in Jeremy Saulnier's Blue Ruin and Green Room pitches his material as an absurdist neo-noir saga about combatting existential despair.

Courtesy of a great Lynsky performance that's equal parts miserable and furious, I Don't Feel at Home in This World Anymore which won the Grand Jury Prize at Sundance before premiering exclusively on Netflix finds humor and horror in the notion that "everyone is an asshole"—and then locates hope in the closing-note idea that, rather than worrying about them, life is best spent in the company of those precious few who aren't.

As strikingly unique as the Indiana buildings its characters visit, Columbus is a boy-meets-girl tale that cares less for romance than for the unlikely, intrinsic ties that bind seemingly disparate souls.

At a seaside home, Marjorie Lois Smith spends her final days conversing with a holographic projection that resembles her late husband Walter Jon Hamm , all as her daughter Tess Geena Davis and son-in-law Jon Tim Robbins cope with her failing health and their own personal and marital issues.

Christopher Nolan dispenses with the exposition in favor of immersive aesthetics with Dunkirk , a dramatic account of the WWII evacuation of Dunkirk, France's beaches in Fractured between three interwoven time frames and perspectives land, sea and air , and shot almost entirely in 70mm IMAX—which stands as the ideal format in which to see this overwhelmingly experiential work—Nolan's wartime tale cares little for character detail or contextual background.

Instead, it thrusts viewers into the chaos engulfing a variety of infantrymen including Fionn Whitehead and Harry Styles , commanders primarily, Kenneth Branagh , fighter pilots led by Tom Hardy , and civilian boatman notably, Mark Rylance , all of whose sacrifice, selfishness, cowardice, and heroism is thrown into sharp relief by Nolan's grand set pieces.

Through its towering scale, superb staging, and inventive structure, Dunkirk melds the micro and the macro with a formal daring that's breathtaking, along the way underscoring the unrivaled power of experiencing a truly epic film on a big screen.

Hell hath no fury like a woman oppressed, as is shockingly born out by William Oldroyd's phenomenal feature directing debut—an adaptation not of the Bard but, rather, of Nikolai Leskov's novel Lady Macbeth of the Mtsensk District.

In a breakout performance of coiled intensity and ruthless cunning, Florence Pugh is Katherine, a young woman sold into marriage to an older landowner Paul Hilton , whose nastiness is only surpassed by that of his domineering father Christopher Fairbank.

That union is rife with problems from the start, though despite the film's Shakespeare-referencing title, the path it wends is an original and horrifying one.

Suggesting a period piece version of a film noir saga as envisioned by Stanley Kubrick, this twisted feminist drama is rooted in contentious racial- and gender-warfare issues, employing a meticulous formalism to recount its cutthroat story about Katherine's at-any-cost attempts to attain liberation.

Like its protagonist, it's a film that's placid and refined on the outside, ferocious and pitiless on the inside.

Wormwood is assembled as a hallucinatory, psychologically penetrating collage and plays like a pulse-pounding thriller, a damning indictment of institutional malfeasance, and a chilling portrait of both self-destructive obsession and the elusiveness of truth.

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Like in Punch-Drunk Love , Sandler does an earnest, endearingly damaged variation on his trademark goofy-exterior-masking-interior-rage persona as Danny, who along with half-brother Matthew Ben Stiller and half-sister Jean Elizabeth Marvel , has been thoroughly shaped—mostly for the worse—by his faded-artist father Dustin Hoffman.

Available to stream on Netflix. Director Osgood Perkins is the son of Norman Bates himself actor Anthony Perkins , but he proves to be a horror maestro in his own right with The Blackcoat's Daughter , a beguiling descent into dark, demonic places that's all the more chilling for refusing to chart a simple straight-and-narrow course.

In upstate New York, Kat Mad Men 's Kiernan Shipka is left by her parents to spend winter break at her boarding school alongside more popular Rose Lucy Boynton ; meanwhile, Joan Emma Roberts endeavors to hitchhike her way to the school, eventually nabbing a ride with a contentious couple James Remark and Lauren Holly.

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Lee Morgan was one of the mid-century jazz scene's brightest lights, until his life was cut tragically short when his wife Helen fatally gunned him down in a New York City nightclub on the snowy night of February 18, Using copious archival footage, newly recorded interviews with friends and collaborators, and, most illuminating of all, a tape-recorded interview with Helen made one month before her death, Kasper Collin's transfixing documentary I Called Him Morgan recounts this sad real-life saga as two separate stories—Lee's and Helen's—that eventually dovetailed, intertwined, and then combusted in horrific fashion.

Abandonment, drug abuse, and betrayal all factor into this sorrowful equation, as Collin assuredly conveys the messy stew of passion, need, ego, loneliness, and fury that eventually begat such a calamity.

In doing so, it recognizes the jazzy spirit of Lee and Helen's doomed romance—and, also, the riffing-our-way-forward nature of life itself.

Such a geographic relocation, however, does little to alter Gray's fundamental artistic course, as his latest—about early 20th century British explorer Percy Fawcett's Charlie Hunnam repeated efforts to locate a lost South American civilization that he believed to be more advanced than any previously discovered—boasts his usual classical aesthetics and empathetic drama.

Energized by a hint of Apocalypse Now 's into-the-wild madness, this entrancing period piece is at once a grand adventure, a social critique about class and intolerance, and a nuanced character study about an individual caught between his love for—and desire to escape—his environment.

Led by Hunnam, Robert Pattinson, and Sienna Miller, it's also one of the finest-acted dramas of the year. Such orderliness is toppled by his relationship with a waitress, Alma newcomer Vicky Krieps , who soon becomes his model and his companion in his house, which he also shares with his severely no-nonsense sister-partner Cyril a transfixing Lesley Manville.

Bong Joon Ho's Okja is many things at once: a rollicking kid's fable about the bond between a young South Korean girl An Seo-hyun and her genetically enhanced super-pig named Okja ; a satiric critique of the corporate food industry; a wacko comedy about transcending cultural boundaries; and a fantastical adventure full of kidnappings and chases, buoyed by over-the-top performances from Tilda Swinton and Jake Gyllenhaal, and culminating with a Times Square spectacular and a Holocaust-esque trip to the slaughterhouse.

Most of all, however, it's the year's most exhilaratingly idiosyncratic work, indebted to the spirit of both Steven Spielberg and Hayao Miyazaki, and energized by the distinctive signature of its director.

Vacillating between mirthful, madcap and morose on a dime, Bong's latest—about the heroine trying to reunite with Okja after the animal is reclaimed by the conglomerate that created her—is both all over the place and yet assuredly coherent.

Whether viewed on a big screen or via Netflix its exclusive distributor , it's a wondrous whatsit unlike anything you've quite seen before.

Suspenseful and hilarious, despondent and optimistic, I Don't Feel at Home in This World Anymore is a masterful genre film, one that immerses itself in the small, painful indignities of everyday life, and then casts the battle against those wrongs as a serio-comic odyssey of sleuthing, heavy metal, and nunchakus.

After her house is burglarized, nurse Ruth Melanie Lynsky partners with her rat-tailed martial-arts-loving neighbor Tony Elijah Wood to recover her stolen belongings.

Their ensuing black-comedy adventure is grimy, bloody, and ridiculous, as director Macon Blair best known for his performances in Jeremy Saulnier's Blue Ruin and Green Room pitches his material as an absurdist neo-noir saga about combatting existential despair.

Courtesy of a great Lynsky performance that's equal parts miserable and furious, I Don't Feel at Home in This World Anymore which won the Grand Jury Prize at Sundance before premiering exclusively on Netflix finds humor and horror in the notion that "everyone is an asshole"—and then locates hope in the closing-note idea that, rather than worrying about them, life is best spent in the company of those precious few who aren't.

As strikingly unique as the Indiana buildings its characters visit, Columbus is a boy-meets-girl tale that cares less for romance than for the unlikely, intrinsic ties that bind seemingly disparate souls.

At a seaside home, Marjorie Lois Smith spends her final days conversing with a holographic projection that resembles her late husband Walter Jon Hamm , all as her daughter Tess Geena Davis and son-in-law Jon Tim Robbins cope with her failing health and their own personal and marital issues.

Christopher Nolan dispenses with the exposition in favor of immersive aesthetics with Dunkirk , a dramatic account of the WWII evacuation of Dunkirk, France's beaches in Martial-Arts-Film Ninjafilm 8.

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Türkischer Abenteuerfilm im Mittelalter um den Kampf zwischen einem bösartigen König und den rebellischen gutmütigen Widersachern. Und alsbald kann Sauron seine Truppen und Gefolgsleute mobilisieren, um nach dem Ring zu suchen und die freien Königreiche anzugreifen. Die anderen Spielzeuge ächten daher Woody. Nun wurde der Bus nach mehreren Unfällen beseitigt.

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