In The Liberation, Rita (Carrie Coon), an assistant bank manager who lives with her husband, Reuben (Tracy Letts), and two daughters, Jo (Odessa Young) and Ella (Bella Ramsey), joins a mysterious all-women's commune led by Ricki (Lily James) while dealing with the trauma as a Holocaust survivor.  Writer/director Guy Nattiv and co-writer Noa Berman-Herzberg have made a spellbinding, engrossing and provocative psychological thriller that also serves as a character study of a woman who tries to find spiritual fulfillment while putting her own life and the relationship with her family in jeopardy. Her daughters desperately try to rescue her from the cult-like commune. The screenplay, based on the experiences of Nattiv's grandmother and set in 1982, does an effective job of designing a window into Rita's heart, mind and soul before she joins the commune and after she joins it.

      There's a particularly powerful scene with her husband trying to confront her about his feelings regarding her joining the commune. What happens to her and whether or not her children succeed at rescuing her won't be spoiled here. That said, The Liberation veers toward dark territory and psychological horror---not quite to the extent of Midsommar, but it comes close while leaving most of the horror elements within the imagination of the audience. Nattiv and Berman-Herzberg should be commended for balancing the heavy subject matter with a sprinkle of comic relief without leading to tonal unevenness or clunkiness. They find just the right balance between Truth and Spectacle while also finding the Spectacle within the film's harsh truths.  

      The excquisite cinematography, graininess and use of color adds warmth and visual poetry to the film, and will also make you feel like you're watching an actual film print. It's also worth mentioning the stylish opening credits sequence, particularly the interesting title card drop. Moreover, Carrie Coon, one of the best actresses of our time, gives an emotionally generous, tour de force performance that anchors the film in genuine poignancy while opening the window into Rita's heart, mind and soul for the audience to peer through.

      In a post-screening Q&A, Nattiv hit the nail on the head when he compared her to Gena Rowlands. Her performance feels just as raw and unflinching as Rowland's performance in A Woman Under the Influence which would probably be an interesting double feature with The Liberation. It would also pair well with The Nest, a psychological thriller/drama that deserves more attention, especially for Carrie Coon's equally strong performance. At a running time of 2 hours and 4 minutes, The Liberation opens November 6th, 2026 for a one-week Oscar-qualifying run at Regal Union Square before reopening in select theaters on January 8th, 2027 and then nationwide on January 15th, 2027 via Bleecker Street.  

      In Wild Horse Nine, two CIA agents, Chris (John Malkovich) and his partner, Lee (Sam Rockwell), get more than they bargained for when they go on a secret mission in Easter Island before the 1973 Chilean coup d'état. Steve Buscemi plays MJ, their VIA bureau chief, Tom Waits plays Jim, Chris's brother, and Parker Posey shows up as Marge, Lee's wife. Writer/director Martin McDonagh has made an acerbically funny, provocative, irreverent and bittersweet dark comedy with just the right amount of melancholy. It's on par with In Bruges, so it might as well have been called In Easter Island. If you love In Bruges, you'll also love Wild Horse Nine perhaps even more so. Just as expected, the characters are all unlikable and unpleasant to be around. However, they're not caricatures or one-note, and they even have a few somewhat redeeming qualities that make them every so slightly more likable. This is the kind of film that becomes increasingly deep, dark and complex as the plot progresses.

      McDonagh has a great handle on exposition which never feels clunky even though the audience learns a lot about Chris and Lee as well as their personalities within the first 15 minutes, e.g. that Chris has terminal cancer. It would be best to watch Wild Horse Nine knowing as little about the plot beforehand so that its many surprises land when they do, especially during the third act. Expect plenty of witty and quotable lines including a conversation about cheese and democracy which will be remembered for many years to come. That aforementioned scene has to be seen to be believed because it's so absurd and hilarious.

      Wild Horse Nine actually has a warm, beating heart beneath its surface despite its often mean-spirited humor. That's a testament to the heartfelt performances by Sam Rockwell and John Malkovich, who sinks his teeth into one of his most complex roles since Dangerous Liaisons. Mark my words: his role as Chris will become iconic. Steve Buscemi makes the most out of his supporting role. The cinematography, editing, pacing and use of music are all superb. Don't be surprised if Wild Horse Nine will be nominated for Best Picture, Best Director, Best Screenplay and Best Actor awards for both Sam Rockwell and John Malkovich. At a running time of 1 hour and 57 minutes, Wild Horse Nine opens November 6th, 2026 nationwide via Searchlight Pictures.

Number of times I checked my watch: 0




 


 

      In Club Kid, Peter (Jordan Firstman) works as a gay party promoter in NYC. One day, his 10-year-old son, Arlo (Reggie Absolom), whom he didn't know that he had, arrives on his doorstep, and decides to take care of him. Cara Delevingne plays Sophie, Peter's former business partner who's also a party animal. Colleen Camp plays Evelyn, his neighbor who agrees to let his deadbeat friend, Nicky (Eldar Isgandarov), stay at her apartment. Diego Calva plays Oscar, Arlo's social worker who's also Peter's love interest. Writer/director Jordan Firstman has made a captivating, funny and genuinely heartfelt father-son story. Peter comes across as a hot mess who's trying his best to be a good father and to quit his partying lifestyle, a task that's easier said than done while living in the fast lane and even going to the extent of selling drugs. He's likable, though, despite his flaws. The scenes with him and Arlo bonding together are often sweet and tender without being cloying, and also quite hilarious, e.g. when Peter tries to find a shirt for Arlo to wear that doesn't have dirty humor on it. To be fair, his romance with Arlo's social worker, Oscar, feels somewhat contrived and makes the plot feel somewhat overstuffed, but that's a minor issue in an otherwise heartwarming, honest and engaging dramedy that sees and treats its characters as human beings, warts-and-all, without asking the audience to judge them.

      Jordan Firstman gives a natural and moving performance while handling the complexity of his role effectively. The stand-out, though, is the child actor Reggie Absolom who gives a breakthrough performance as Arlo. He's a very talented young actor, so hopefully Club Kid will put him on the map like About a Boy did for Nicholas Hoult. The cinematography, editing and use of music are all solid without becoming distracting or excessive. Please keep in mind that there's a lengthy club scene with stroboscopic lights that might make some audience members feel nauseous. At a running time of 2 hours and 2 minutes, Club Kid opens November 6th, 2026 in select theaters via A24. It's one of the best directorial debuts of the year.  

Number of times I checked my watch: 1  

      Sylvester Stallone (Anthony Ippolito), an aspiring actor, writes the screenplay for Rocky in just three days and refuses to allow any studio to produce it unless he stars as Rocky Balboa in I Play Rocky. AnnaSophia Robb plays Sasha, Stallone's wife, Matt Dillon plays his father, Frank, Tracy Letts plays Sandy Maddox, a United Artists executive, and Jay Duplass plays John G. Avildsen, Rocky's director. Director Peter Farrelly and screenwriter Peter Gamble have made a witty, funny and breezy biopic that's sugar-coated, but crowd-pleasing and enormously entertaining. The plot doesn't break any conventions when it comes to how it tells Stallone's rag to riches story nor does it have any nuances or subtleties. He meets Sasha, his co-worker, while working as an usher at an NYC movie theater. Before you know it, they're dating, moving in together and getting married. At one point, he even has to sell his beloved dog to a random stranger just to make ends meet.

      To be fair, the screenplay doesn't design enough of a window into Stallone's heart, mind and soul. Where does Stallone get his confidence, courage and intelligence from? It's hard to tell because his father doesn't seem like a great role model or parent which is quite evident during a dinner scene with him, his father and Sasha. I Play Rocky seems more concerned about keeping the tone light and just focusing on Stallone's determination to get Rocky produced with him as the star and, eventually, to finish filming Rocky on time. Everyone already knows the outcome, so don't expect any surprises or suspense here, but the ways that Avildsen and Stallone came up with ideas extemporaneously, e.g. how to shoot the iconic ending of Rocky with a limited budget, are quite interesting.

      Anthony Ippolito gives a breakthrough performance while bringing plenty of charisma to his role. It helps that he looks and sounds like a young Sylvester Stallone, so it's a note-perfect performance that provides the film's much-needed emotional depth. The entire ensemble cast is terrific, though, even those in the supporting roles like the always-reliable Tracy Letts. The pace moves at just the right speed without being too slow or too fast. The production design, use of music, and cinematography are also solid. If you're in the mood for a captivating and uplifting trip down memory lane, I Play Rocky will leave you satisfied. It will make you stand up and cheer. At a running time of 2 hours and 7 minutes, I Play Rocky opens November 6th, 2026 nationwide via Amazon MGM Studios.

Number of times I checked my watch: 1

      Prue (voice of Peyton Elizabeth Lee) and her classmate Curtis (voice of Jacob Tremblay) travel into an enchanted forest to search for her baby brother who was abducted by crows in Wildwood. Carey Mulligan provides the voice of an exiled governess who's grieving the death of her son. Director Travis Knight and screenwriter Chris Butler have made an exhilarating, thrilling, wise, funny, heartfelt and visually stunning animated adventure based on the novel by Colin Meloy. It also has well-developed characters and a story grounded in emotional depth. With a less sensitive screenplay, Wildwood could've turned into a convoluted mess with too many subplots and characters. However, the screenplay handles exposition effectively while avoiding those pitfalls. Even if you're somewhat confused initially about the enchanted forest and why Prue's parents forbid her from going there, it will all make sense eventually as the narrative becomes increasingly complex. The world-building and narrative feels just as rich and compelling as the kind that's found in The Long of the Rings. A lot more happens than in the plot description above, but the less you know beforehand about the plot's details, the better because there are a few surprises that won't be spoiled here. Fortunately, Wildwood never loses steam and becomes even more profound and engrossing by the time the end credits roll.

      The stop-motion animation looks breathtaking with plenty of attention to detail that will compel the audience to rewatch the film to catch everything. You'll even forget that you're watching an animated film at times. Everything from the use of music to the editing and terrific performance by the actors and actresses who provide the voices combine to create a truly cinematic experience that's grounding in humanism, a truly special effect. Kudos to the filmmakers for finding just the right blend of Truth and Spectacle while also finding some Truth within the film's Spectacle which is no easy task. Wildwood manages to be the rare animated film that has a heart, mind and soul fully intact from start to finish. At a running time of 2 hours and 11 minutes, Wildwood is now playing nationwide via Fathom Entertainment. It's the best animated film of the year thus far---even better surpassing Hoppers, The Sheep Detective, Coyote vs. Acme and Decorado. Behold a new animated classic.

Number of times I checked my watch: 1

      In La Bola Negra, Carlos (Milo Quifes), a young man, waits for result that will determine if he'll be accepted in social club, Sebastián (Guitarricadelafuente), a soldier, falls in love with a prisoner, Rafael (Miguel Bernardeau), during the Spanish Civil War, and Alberto (Carlos González) inherits a manuscript from his grandfather whom he was told by his mother, Teresa (Lola Dueñas), was dead. Each story takes place in different time periods: 1932, 1937, and 2017, respectively. Co-writers/directors Javier Calvo and Javier Ambrossi have made a spellbinding, sweeping and poetic saga with interconnected narratives. The less you know about the plot beforehand, the better because the connections aren't obvious right away. Fortunately, the screenplay handles exposition very effectively while cutting back and forth between each of the three narrative threads. Each of those threads could have easily been turned into separate films, but together they form a whole that's even more richer, intricate, suspenseful, profound and complex than the individual stories. With a less sensitive screenplay, La Bola Negra could've become a convoluted, overstuffed, clunky and tonally uneven mess, but it avoids those pitfalls..

      The entire ensemble cast gives terrific performances without a single one that's weak or even mediocre. The film's emotional depth comes mostly from the performances rather than the screenplay. Penelope Cruz and Glenn Close briefly show up later on in the film in scenes that won't be spoiled here, but they make the most out of their little time on-screen. The exquisite cinematography is also worth mentioning because it contributes both visual style and substance to the film. There's one particularly haunting scene that's brimming with visual poetry and surrealism. Although the running time clocks well past the 2 hour mark, La Bola Negra feels so captivating and engrossing that you won't feel its weight. This is the kind of sophisticated foreign film that Miramax used to release back in the 1980s and 90s. Yes, it's somewhat Oscar-baity, but it's an Oscar-bait that's well-worth taking. Just bring some tissues and be prepared to shed some tears, especially during the powerful third act where everything comes together. At 2 hours and 39 minutes, La Bola Negra is now playing at Angelika Film Center and The Paris Theater via Netflix.

Number of times I checked my watch: 1




 

       Bryan (Austin Abrams), a medical courier trying to deliver to Raccoon City, must fight for his life during a deadly outbreak that turns people into mutants in Resident Evil. Paul Walter Hauser plays Carl, an Umbrella Corporation scientist. Writer/director Zach Cregger and co-writer Shay Hatten have made a suspenseful, atmospheric and wickedly funny slice of sci-fi horror that delivers the goods for audiences who are looking to be terrified while having some fun along the way. The plot remains lean, simple and easy-to-follow without unnecessary padding. The filmmakers do a decent job with exposition with the exception of a clunky scene with lazy exposition when Bryan first meets Carl. Advice to future filmmakers: if you can't think of a way to add exposition without having two characters just sitting or standing while one of them explains something to the other, have them both do something else like eat or drink while they're doing the talking.

      Kudos to director Zach Cregger and screenwriter Shay Hatten for balancing the very grim, horrifying elements with just the right of comic relief including some witty, tongue-in-cheek dialogue. There are more than a few memorable over-the-top kills that will make audiences squirm in their seats and also some that will make them laugh at the absurdity. The visual effects, lighting, cinematography and set design are all terrific while providing the film with plenty of style. Beyond that, Resident Evil also boasts a solid performance by Austin Abrams who's charismatic with great comedic timing, and he even handles the emotional aspects of his role effectively, e.g. when Bryan cries---how often do you get to see the protagonist crying in a horror film? That alone makes Resident Evil a cut above an average horror film. At an ideal running time of 1 hour and 30 minutes, Resident Evil is now playing nationwide via Columbia Pictures.  

Number of times I checked my watch: 1  

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