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What this movie gleefully presupposes is: The presumptuously titled Captain Underpants: When the boys snap their fingers, Krupp loses his toupee, attitude and clothing to become their own comic book creation: Krupp finds earnestness and confidence as the near-nude crimefighter enamored with his own made-up legend. The movie looks very different from what you may expect from Dreamworks animation: It may be in the gutter, but Captain Underpants is as buoyant a film as the studio has made in years.

Matthew Robbins Old people and aliens partner to fight gentrification for the crowd-pleasing win! Na Hong-jin The U. You may not leave the film scared, but you will leave it scarred, which is by far a more substantive response than naked fear. The brilliance of this Antonio Campos drama is that it tries to answer that question while still respecting the enormity and unknowability of such a violent, tragic act.

Rebecca Hall is momentous as Christine, a deeply unhappy woman whose ambition has never matched her talent, and the actress is incredibly sympathetic in the part. John Scheinfeld Those old and new to John Coltrane will find something to appreciate in this vivid, albeit effusive, tribute to the jazz legend. Filmmaker John Scheinfeld dips in and out of the music—too much so, it turns out, and with too little insight into the specifics of his gifts. Still, the overarching salvation Trane found in music resonates with such joy.

Martin Luther King Jr. Cornel West describes Coltrane as a thermostat, not a thermometer, of the times, an instrument personified that adapted rather than just measured. In its best moments, Chasing Trane succeeds in that as well. It is, so help me, a satisfyingly complete story, and I had no idea until I watched the film how refreshing that concept would be. Our protagonist is Jyn Erso Felicity Jones , a plucky young woman whose brilliant scientist father Mads Mikkelsen has been controlled throughout her life by the Empire and coerced into designing superweapons of the moon-sized, planet-killing variety.

What Rogue One is, most accurately, is what it was sold as all along: All this Abbasi captures in heightened hand-held glory, demonstrating with the willing, nuanced performances of his non-professional cast a finely tuned familiarity with more than the people and places of rural Arkansas, but with their everyday struggles with stupidity.

The result is a tense, effective thriller that goes out of its way to highlight two strong actors in an unfettered celebration of their craft. This is nothing new for Flanagan, whose recent output in the horror genre has been commendable. Or is the director drawn to stories that reflect the struggle of women to claim independence in their lives by shedding old scars or ghosts, be they literal or figurative? Still, if all Barras is trying to say is that human beings are essentially good—contrary to popular opinion at the moment—then that should be enough.

I Called Him Morgan Director: Documentarian Kasper Collin—who previously made My Name Is Albert Ayler, also about a jazz musician—looks at the difficult, abbreviated life of trumpeter Lee Morgan, who was shot dead in the winter of in New York. Throughout the film, you feel the slow, grim pull of inevitable tragedy set against a lush visual palette. And then there are the interview subjects and the milieu. Collin understands that his film is about people, not art, but his deft storytelling—and the endless sadness that comes from his tale—flexes its own nimbleness and beauty.

Keith Maitland The University of Texas clock tower shooting ought to be a footnote in American history and not a reference point for contemporary national woes. It was 50 years ago this past August that Charles Whitman ascended the university tower with a cache of guns, killed three people inside, and went on to kill another 11 plus an unborn baby over the course of an hour and a half. Back in those days, a public act of violence on this level was an anomaly piercing the veil of our sense of security.

Young people trek out into the wilderness for fun and recreation, young people incur the wrath of hostile forces, young people get dead, easy as you please. XX stands apart from other horror films because it invites its audience to feel a range of emotions aside from just fright.

Vincent, in her filmmaking debut. XX is a horror movie spoken with the voices of women, a necessary notice that women are revolutionizing the genre as much as men. Jake Kasdan Although Walk Hard: Regardless of what category the film falls into, Walk Hard does not really tow the fine line of being clever so much as it provides a fun and absurd romp with heaps of laughs. Looking something like Johnny Cash crossed with Tom Waits, Cox has multiple addictions, wives and musical phases. Aspiring to a level beyond greatness after he accidentally kills his brother by splitting him in half with a machete when they are young boys growing up in Alabama, Cox is compelled to compensate for the loss of his brother, leading to a life of excess and indulgence.

Like most films of its ilk, Walk Hard may go too over-the-top to prove itself, but there is something charming about it, underscored by its genuine love of music and affinity for musicians. Unlike Let the Right One In, The Transfiguration may not be a vampire movie at all, but a movie about a lonesome kid with an unhealthy fixation on gothic legends. Nothing at home happens with action-packed aplomb though the director sets up tense red herrings to lure the audience into a sense of unease , and yet the stakes are painfully real.

James Wan Let it be known: James Wan is, in any fair estimation, an above average director of horror films at the very least. The progenitor of big money series such as Saw and Insidious has a knack for crafting populist horror that still carries a streak of his own artistic identity, a Spielbergian gift for what speaks to the multiplex audience without entirely sacrificing characterization.

Reminding me of the experience of first seeing Paranormal Activity in a crowded multiplex, The Conjuring has a way of subverting when and where you expect the scares to arrive. Its intensity, effects work and unrelenting nature set it several tiers above the PG horror against which it was primarily competing.

It was simply too frightening to deny, and that is worthy of respect. Jafar Panahi In the seven-plus years since Iranian director Jafar Panahi was sentenced by government authorities to a year ban from filmmaking in his homeland, the acclaimed auteur has turned inward—and kept making movies.

The film lays out its conceit in its opening moments. Taking place over the course of a day, Taxi consists of his interactions with these different people, some of whom recognize him. Episodic and off-the-cuff, the minute film initially feels like a lark, a renowned filmmaker spending a little time with everyday folks. But the trickery is less about deceiving the audience than it is about creating an environment in which Panahi can most clearly articulate his grief and anger.

In some ways, Taxi improves upon his two previous films by cobbling together their strongest tendencies—the direct, likable presence of the director himself in This Is Not a Film and the creative license and hall-of-mirrors quality that informed Closed Curtain. Patrick Brice Creep was not a movie begging for a sequel. Two performers bare it all, both literally and figuratively: Creep 2 is one of the most surprising, emotionally resonant horror films in recent memory. Think of April and the Extraordinary World as an intense workout for your brain, during which the film shapes a surrogate Earth in the span of mere minutes and fires off salvos of detail, visual and aural alike, in the pursuit of recalibrating the past.

The inattentive and unimaginative need not apply. Good news for diligent viewing types, though: April and the Extraordinary World is pretty great, a compact exercise in world building without handholding that rewards a patient, observant audience.

April and the Extraordinary World reminds us of the aesthetic value of traditional animation and the necessity of human ingenuity, all without treating its audience like idiots. Abdellatif Kechiche Three-hour movies usually are the terrain of Westerns, period epics or sweeping, tragic romances. It hurts like real life, yet leaves you enraptured by its power.

Huppert is marvelous in the role: Robert Laing Tom Hiddleston wanders waste-strewn halls. The shooter never faced trial—it was ruled self-defense—and in the ensuing decades Ford and his family have wrestled with the injustice. This is true of slow-burn cinema of any stripe, but Kusama slow-burns to perfection. The key, it seems, to successful slow-burning in narrative fiction is the narrative rather than the actual slow-burn.

In the case of The Invitation, that involves a tale of deep and intimate heartache, the kind that none of us hopes to ever have to endure in our own lives. The film taps into a nightmare vein of real-life dread, of loss so profound and pervasive that it fundamentally changes who you are as a human being. Where we end is obviously best left unsaid, but The Invitation is remarkable neither for its ending nor for the direction we take to arrive at its ending.

Instead, it is remarkable for its foundation, for all of the substantive storytelling infrastructure that Kusama builds the film upon in the first place. Cinematographer Sean Price Williams captures Holmes and her excellent supporting cast through a combination of tight close-ups and long shots that lend the film an air of removed intimacy. Cinema lets us engage with difficult subject matter through a veneer of security.

But something like Heaven Knows What pierces that veil. By its very nature, it pushes the boundaries of our personal comfort.

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What this movie gleefully presupposes is: The presumptuously titled Captain Underpants: When the boys snap their fingers, Krupp loses his toupee, attitude and clothing to become their own comic book creation: Krupp finds earnestness and confidence as the near-nude crimefighter enamored with his own made-up legend.

The movie looks very different from what you may expect from Dreamworks animation: It may be in the gutter, but Captain Underpants is as buoyant a film as the studio has made in years.

Matthew Robbins Old people and aliens partner to fight gentrification for the crowd-pleasing win! Na Hong-jin The U. You may not leave the film scared, but you will leave it scarred, which is by far a more substantive response than naked fear. The brilliance of this Antonio Campos drama is that it tries to answer that question while still respecting the enormity and unknowability of such a violent, tragic act.

Rebecca Hall is momentous as Christine, a deeply unhappy woman whose ambition has never matched her talent, and the actress is incredibly sympathetic in the part. John Scheinfeld Those old and new to John Coltrane will find something to appreciate in this vivid, albeit effusive, tribute to the jazz legend. Filmmaker John Scheinfeld dips in and out of the music—too much so, it turns out, and with too little insight into the specifics of his gifts.

Still, the overarching salvation Trane found in music resonates with such joy. Martin Luther King Jr. Cornel West describes Coltrane as a thermostat, not a thermometer, of the times, an instrument personified that adapted rather than just measured. In its best moments, Chasing Trane succeeds in that as well. It is, so help me, a satisfyingly complete story, and I had no idea until I watched the film how refreshing that concept would be.

Our protagonist is Jyn Erso Felicity Jones , a plucky young woman whose brilliant scientist father Mads Mikkelsen has been controlled throughout her life by the Empire and coerced into designing superweapons of the moon-sized, planet-killing variety. What Rogue One is, most accurately, is what it was sold as all along: All this Abbasi captures in heightened hand-held glory, demonstrating with the willing, nuanced performances of his non-professional cast a finely tuned familiarity with more than the people and places of rural Arkansas, but with their everyday struggles with stupidity.

The result is a tense, effective thriller that goes out of its way to highlight two strong actors in an unfettered celebration of their craft. This is nothing new for Flanagan, whose recent output in the horror genre has been commendable. Or is the director drawn to stories that reflect the struggle of women to claim independence in their lives by shedding old scars or ghosts, be they literal or figurative?

Still, if all Barras is trying to say is that human beings are essentially good—contrary to popular opinion at the moment—then that should be enough. I Called Him Morgan Director: Documentarian Kasper Collin—who previously made My Name Is Albert Ayler, also about a jazz musician—looks at the difficult, abbreviated life of trumpeter Lee Morgan, who was shot dead in the winter of in New York.

Throughout the film, you feel the slow, grim pull of inevitable tragedy set against a lush visual palette. And then there are the interview subjects and the milieu. Collin understands that his film is about people, not art, but his deft storytelling—and the endless sadness that comes from his tale—flexes its own nimbleness and beauty.

Keith Maitland The University of Texas clock tower shooting ought to be a footnote in American history and not a reference point for contemporary national woes.

It was 50 years ago this past August that Charles Whitman ascended the university tower with a cache of guns, killed three people inside, and went on to kill another 11 plus an unborn baby over the course of an hour and a half.

Back in those days, a public act of violence on this level was an anomaly piercing the veil of our sense of security. Young people trek out into the wilderness for fun and recreation, young people incur the wrath of hostile forces, young people get dead, easy as you please.

XX stands apart from other horror films because it invites its audience to feel a range of emotions aside from just fright. Vincent, in her filmmaking debut. XX is a horror movie spoken with the voices of women, a necessary notice that women are revolutionizing the genre as much as men.

Jake Kasdan Although Walk Hard: Regardless of what category the film falls into, Walk Hard does not really tow the fine line of being clever so much as it provides a fun and absurd romp with heaps of laughs. Looking something like Johnny Cash crossed with Tom Waits, Cox has multiple addictions, wives and musical phases.

Aspiring to a level beyond greatness after he accidentally kills his brother by splitting him in half with a machete when they are young boys growing up in Alabama, Cox is compelled to compensate for the loss of his brother, leading to a life of excess and indulgence.

Like most films of its ilk, Walk Hard may go too over-the-top to prove itself, but there is something charming about it, underscored by its genuine love of music and affinity for musicians. Unlike Let the Right One In, The Transfiguration may not be a vampire movie at all, but a movie about a lonesome kid with an unhealthy fixation on gothic legends. Nothing at home happens with action-packed aplomb though the director sets up tense red herrings to lure the audience into a sense of unease , and yet the stakes are painfully real.

James Wan Let it be known: James Wan is, in any fair estimation, an above average director of horror films at the very least. The progenitor of big money series such as Saw and Insidious has a knack for crafting populist horror that still carries a streak of his own artistic identity, a Spielbergian gift for what speaks to the multiplex audience without entirely sacrificing characterization.

Reminding me of the experience of first seeing Paranormal Activity in a crowded multiplex, The Conjuring has a way of subverting when and where you expect the scares to arrive. Its intensity, effects work and unrelenting nature set it several tiers above the PG horror against which it was primarily competing.

It was simply too frightening to deny, and that is worthy of respect. Jafar Panahi In the seven-plus years since Iranian director Jafar Panahi was sentenced by government authorities to a year ban from filmmaking in his homeland, the acclaimed auteur has turned inward—and kept making movies.

The film lays out its conceit in its opening moments. Taking place over the course of a day, Taxi consists of his interactions with these different people, some of whom recognize him. Episodic and off-the-cuff, the minute film initially feels like a lark, a renowned filmmaker spending a little time with everyday folks.

But the trickery is less about deceiving the audience than it is about creating an environment in which Panahi can most clearly articulate his grief and anger. In some ways, Taxi improves upon his two previous films by cobbling together their strongest tendencies—the direct, likable presence of the director himself in This Is Not a Film and the creative license and hall-of-mirrors quality that informed Closed Curtain. Patrick Brice Creep was not a movie begging for a sequel. Two performers bare it all, both literally and figuratively: Creep 2 is one of the most surprising, emotionally resonant horror films in recent memory.

Think of April and the Extraordinary World as an intense workout for your brain, during which the film shapes a surrogate Earth in the span of mere minutes and fires off salvos of detail, visual and aural alike, in the pursuit of recalibrating the past. The inattentive and unimaginative need not apply. Good news for diligent viewing types, though: April and the Extraordinary World is pretty great, a compact exercise in world building without handholding that rewards a patient, observant audience.

April and the Extraordinary World reminds us of the aesthetic value of traditional animation and the necessity of human ingenuity, all without treating its audience like idiots. Abdellatif Kechiche Three-hour movies usually are the terrain of Westerns, period epics or sweeping, tragic romances. It hurts like real life, yet leaves you enraptured by its power. Huppert is marvelous in the role: Robert Laing Tom Hiddleston wanders waste-strewn halls. The shooter never faced trial—it was ruled self-defense—and in the ensuing decades Ford and his family have wrestled with the injustice.

This is true of slow-burn cinema of any stripe, but Kusama slow-burns to perfection. The key, it seems, to successful slow-burning in narrative fiction is the narrative rather than the actual slow-burn.

In the case of The Invitation, that involves a tale of deep and intimate heartache, the kind that none of us hopes to ever have to endure in our own lives. The film taps into a nightmare vein of real-life dread, of loss so profound and pervasive that it fundamentally changes who you are as a human being. Where we end is obviously best left unsaid, but The Invitation is remarkable neither for its ending nor for the direction we take to arrive at its ending. Instead, it is remarkable for its foundation, for all of the substantive storytelling infrastructure that Kusama builds the film upon in the first place.

Cinematographer Sean Price Williams captures Holmes and her excellent supporting cast through a combination of tight close-ups and long shots that lend the film an air of removed intimacy. Cinema lets us engage with difficult subject matter through a veneer of security.

But something like Heaven Knows What pierces that veil. By its very nature, it pushes the boundaries of our personal comfort.

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