Minotaur 

The Weight is highly recommended, will transport you back to its Great Depression-era setting and will have you rooting for the protagonist harder than most films this year

Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.

If a movie about a strange and crazy day is commercially successful, why not recycle it and double the kookiness quotient? That seems to be the logic behind this followup to Freaky Friday.

Stylish, slow, and somewhat standoffish, Human Resource examines corporate life from the perspective of a female HR employee as she interviews job candidates while also deciding whether to keep her newly discovered pregnancy.

While the director didn't set out to make a feminist film, "A Girl Walks Home Alone At Night" reads as a reclamation of female power in a patriarchal society.

In all honesty, “Black and Blue” is a satisfying experience, complete with solid craftsmanship. With the help of cinematographer Dante Spinotti, Deon Taylor (the director) creates a murky, lived in atmosphere.