Want to watch only the best movies 2016 has to offer? Have a 400-hour gap in your schedule coming up? Then continue on with our gallery of 2016 Certified Fresh movies (i.e. movies at least 75% on the Tomatometer after crossing a threshold number of reviews: 80 for wide releases, 40 for limiteds), in chronological order!
Ip Man 3 (Jan 22): Ip Man 3 isn’t the most tightly plotted biopic a kung fu fan could ask for, but the fight scenes are fun to watch — and at times, the drama is even genuinely poignant.
Aferim! (Jan 22): Smart, visually arresting, and scathingly funny, Aferim! depicts a world that many American filmgoers have never seen — but will still, in many respects, find utterly familiar.
The Clan (Jan 29): As shockingly compelling as it is dispiriting, The Clan delivers hard-hitting lessons even for viewers unfamiliar with the real-life history behind its story.
Kung Fu Panda 3 (Jan 29): Kung Fu Panda 3 boasts the requisite visual splendor, but like its rotund protagonist, this sequel’s narrative is also surprisingly nimble, adding up to animated fun for the whole family.
Rams (Feb 3): Rams transcends its remote location — and somewhat esoteric storyline — by using the easily relatable dynamic between two stubborn brothers to speak universal truths.
Hail, Caesar! (Feb 5): Packed with period detail and perfectly cast, Hail, Caesar! finds the Coen brothers delivering an agreeably lightweight love letter to post-war Hollywood.
Southbound (Feb 5): Southbound doesn’t entirely avoid the jarring shifts common to anthology films, but thanks to some thrilling twists and turns, this horror road movie is a surprisingly smooth ride.
The Club (Feb 5): The Club finds director Pablo Larraín continuing to pose difficult questions while exploring weighty themes — and getting the most out of a talented cast.
A War (Feb 12): Tense, intelligent, and refreshingly low-key, A War is part frontline thriller, part courtroom drama — and eminently effective in both regards.
Deadpool (Feb 12): Fast, funny, and gleefully profane, the fourth-wall-busting Deadpool subverts superhero film formula with wildly entertaining — and decidedly non-family-friendly — results.
Glassland (Feb 12): Glassland’s grim setting is leavened by writer-director Gerard Barrett’s compassionate treatment of his characters — and bolstered by a strong cast led by Toni Collette and Jack Reynor.
Mountains May Depart (Feb 12): Beautifully filmed, powerfully acted, and rich with meaning, Mountains May Depart represents another outstanding outing from writer/director Zhangke Jia.
Where to Invade Next (Feb 12): Where to Invade Next finds documentarian Michael Moore approaching progressive politics with renewed — albeit unabashedly one-sided — vigor.
Embrace Of The Serpent (Feb 17): As rich visually as it is thematically, Embrace of the Serpent offers a feast of the senses for film fans seeking a dose of bracing originality.
Eddie The Eagle (Feb 26): Eddie the Eagle’s amiable sweetness can’t disguise its story’s many inspirational clichés — but for many viewers, it will be more than enough to make up for them.
Only Yesterday (Feb 26): Only Yesterday’s long-delayed U.S. debut fills a frustrating gap for American Ghibli fans while offering further proof of the studio’s incredibly consistent commitment to quality.
The Last Man On The Moon (Feb 26): The Last Man on the Moon takes a justifiably reverent look at a largely unexplored chapter in the history of American space exploration — and a side of astronaut’s lives that’s rarely considered.
Cemetery of Splendor (Mar 4): Cemetery of Splendor gracefully eludes efforts to pin down its meaning while offering patient viewers another gently hypnotic wonder from writer/director Apichatpong Weerasethakul.
The Boy And The Beast (Mar 4): The Boy and the Beast combines familiar parts to create a gripping, beautifully animated adventure with inventive storytelling to match its visual appeal.
The Wave (Mar 4): Well-acted and blessed with a refreshingly humanistic focus, The Wave is a disaster film that makes uncommonly smart use of disaster film clichés.
Zootopia (Mar 4): The brilliantly well-rounded Zootopia offers a thoughtful, inclusive message that’s as rich and timely as its sumptuously state-of-the-art animation — all while remaining fast and funny enough to keep younger viewers entertained.
10 Cloverfield Lane (Mar 11): Smart, solidly crafted, and palpably tense, 10 Cloverfield Lanemakes the most of its confined setting and outstanding cast — and suggests a new frontier for franchise filmmaking.
City Of Gold (Mar 11): Even for viewers who’ve never read or heard of food critic Jonathan Gold, City of Gold offers a thoroughly entertaining introduction to a talented writer and brilliant career.
Hello, My Name is Doris (Mar 11): Hello, My Name Is Doris is immeasurably elevated by Sally Field’s remarkable performance in the title role, which overpowers a surfeit of stereotypical indie quirk.
Marguerite (Mar 11): Touching, funny, and thoughtful, Marguerite honors its real-life inspiration with a well-acted and ultimately inspirational look at the nature of art and the value of a dream.
Krisha (Mar 18): Raw, bracingly honest, and refreshingly unconventional, Krisha wrings fresh — and occasionally uncomfortable — truths from a seemingly familiar premise.
Midnight Special (Mar 18): Midnight Special’s intriguing mysteries may not resolve themselves to every viewer’s liking, but the journey is ambitious, entertaining, and terrifically acted.
My Golden Days (Mar 18): My Golden Days is a complex, well-acted coming-of-age drama.
Pee-wee’s Big Holiday (Mar 18): The simple story is a little short on laughs, but there’s plenty of sweet wackiness for Pee-Wee Herman fans to enjoy.
Sweet Bean (Mar 18): Sweet Bean’s deliberate pace demands patience, but the satisfying simplicity of its story — and Kirin Kiki’s absorbing performance — yield an array of riches well worth the wait.
April and the Extraordinary World (Mar 25): Bursting with a colorful imagination befitting its promise-packed title, April and the Extraordinary World offers spectacular delights for animation fans willing to venture off the beaten path.
Born To Be Blue (Mar 25): Born to Be Blue benefits from a highlight-reel performance from Ethan Hawke and an impressionistic, non-hagiographic approach to Chet Baker’s life and times.
Eye In The Sky (Apr 1): As taut as it is timely, Eye in the Sky offers a powerfully acted — and unusually cerebral — spin on the modern wartime political thriller.
Francofonia (Apr 1): Francofonia may test the patience of the uninitiated, but viewers willing to delve into a beautifully filmed look at the intersection of art and war will be richly rewarded.
The Dark Horse (Apr 1): Led by an outstanding performance from Cliff Curtis, The Dark Horsetackles complex themes with a richly layered, unpredictable, and deeply affecting story.
The Witch (Apr 1): As thought-provoking as it is visually compelling, The Witch delivers a deeply unsettling exercise in slow-building horror that suggests great things for debuting writer-director Robert Eggers.
Everybody Wants Some!! (Apr 8): Nostalgic in the best sense, Everybody Wants Some!! finds Richard Linklater ambling through the past with a talented cast, a sweetly meandering story, and a killer classic rock soundtrack.
The Invitation (Apr 8): The Invitation makes brilliant use of its tension-rich premise to deliver a uniquely effective — and surprisingly clever — slow-building thriller.
Barbershop: The Next Cut (Apr 15): Heartfelt, thought-provoking, and above all funny, Barbershop: The Next Cut is the rare belated sequel that more than lives up to the standard set by its predecessors.
Sing Street (Apr 15): Sing Street is a feel-good musical with huge heart and irresistible optimism, and its charmimg cast and hummable tunes help to elevate its familiar plotting.
The First Monday in May (Apr 15): First Monday in May may not resonate far beyond its target demographic, but for fashion aficionados, it should prove utterly absorbing.
The Jungle Book (Apr 15): As lovely to behold as it is engrossing to watch, The Jungle Book is the rare remake that actually improves upon its predecessors — all while setting a new standard for CGI.
The Measure of a Man (Apr 15): With The Measure of a Man, director/co-writer Stéphane Brizé uses one man’s heartrending story as a beautifully acted microcosm for life in the 21st-century global economy.
Confirmation (Apr 16): Stellar performances and gripping subject matter help Confirmation overcome production values that occasionally feel as dated as the infamous real-life case it covers.
Dark Horse (Apr 17): Dark Horse offers a thoroughly crowd-pleasing look at an incredible — and inspirational — real-life story that will thrill equine enthusiasts and novices alike.
Elvis & Nixon (Apr 22): Elvis & Nixon may not do much to expand on its absurdly iconic photographic source material, but it’s rarely less than engaging thanks to its talented starring duo.
Tale of Tales (Apr 22): Visually splendid and narratively satisfying, Tale of Tales packs an off-kilter wallop for mature viewers in search of something different
Hockney (Apr 22): Hockney offers few revelations for viewers familiar with its subject, but it remains an affectionate and thoroughly entertaining look at a British national treasure.
Men & Chicken (Apr 22): Men & Chicken’s bizarre setup only skims the surface of a challenging, well-acted comedy with a warm heart to match its grotesque visuals and dark themes.
The Meddler (Apr 22): The Meddler transcends its cutesy title and familiar premise with a heartfelt look at family dynamics that’s honored by a marvelous performance from Susan Sarandon.
Green Room (Apr 29): Green Room delivers unapologetic genre thrills with uncommon intelligence and powerfully acted élan.
Keanu (Apr 29): Keanu’s absurd premise and compulsively watchable starring duo add up to an agreeably fast-paced comedy that hits more than enough targets to make up for the misses.
Viva (Apr 29): Viva flirts with melodrama, but ultimately rises on the strength of strong performances and a thoroughly relatable message
A Bigger Splash (May 4): Absorbing, visually arresting, and powerfully acted by an immensely talented cast, A Bigger Splash offers sumptuously soapy delights for fans of psychological adult drama.
Captain America: Civil War (May 6): Captain America: Civil War begins the next wave of Marvel movies with an action-packed superhero blockbuster boasting a decidedly non-cartoonish plot and the courage to explore thought-provoking themes.
Dheepan (May 6): Dheepan offers a timely, powerful look at the modern immigrant experience in Europe.
The Family Fang (May 6): Layered performances from Nicole Kidman and director-star Jason Bateman add extra depth to The Family Fang’s sharply observed look at domestic dysfunction.
Last Days In The Desert (May 13): Last Days in the Desert offers enough stately grandeur and spiritual exploration to offset an occasionally ambiguous narrative.
Love & Friendship (May 13): Love & Friendship finds director Whit Stillman bringing his talents to bear on a Jane Austen adaptation — with a thoroughly delightful period drama as the result.
Sunset Song (May 13): Achingly lovely on both visual and narrative grounds, Sunset Song adds another small gem to writer-director Terence Davies’ filmography.
The Lobster (May 13): As strange as it is thrillingly ambitious, The Lobster is definitely an acquired taste — but for viewers with the fortitude to crack through Yorgos Lanthimos’ offbeat sensibilities, it should prove a savory cinematic treat.
Almost Holy (May 20): Almost Holy offers a close-up look at a fascinating figure whose controversial work and extraordinary story pack the narrative punch of a well-written drama.
Maggie’s Plan (May 20): With a typically absorbing performance from Greta Gerwig leading the way, Maggie’s Plan gives rom-com sensibilities a smart, subversive twist.
O.J.: Made in America (May 20): O.J.; Made in America paints a balanced and thorough portrait of the American dream juxtaposed with tragedy and executed with power and skill.
The Nice Guys (May 20): The Nice Guys hearkens back to the buddy comedies of a bygone era while adding something extra courtesy of a knowing script and the irresistible chemistry of its leads.
Weiner (May 20): Weiner uses sharp insight and untrammeled access to offer a portrait of a political and personal collapse that’s as queasy as it is undeniably compelling.
All the Way (May 23): Anchored by Bryan Cranston’s phenomenal performance as LBJ, All the Way is an engrossing portrayal of a complicated man during a pivotal moment in US history.
Chevalier (May 27): Chevalier uses a simple fishing trip as the backdrop for a slow-building, queasily compelling look at the modern male dynamic.
The Idol (May 27): The Idol wrings fresh enjoyment from its well-worn formula, delivering a crowd-pleasing rags-to-riches biopic fueled by gripping performances and a solidly written script.
Popstar: Never Stop Never Stopping (Jun 3): Popstar: Never Stop Never Stopping updates the rock mockumentary for the 21st century mainstream — and hits many of its low-hanging targets with side-splitting impact.
The Fits (Jun 3): As gripping as it is unique, the thrillingly kinetic The Fits marks debuting writer-director Anna Rose Holmer as a singular talent.
The Wailing (Jun 3): The Wailing delivers an atmospheric, cleverly constructed mystery whose supernatural thrills more than justify its imposing length.
The Witness (Jun 3): The Witness can’t hope to truly untangle the true crime case at its center, but offers a series of fascinating — and troubling — insights in the attempt.
From Afar (Jun 8): From Afar is narratively elliptical to a fault, but for patient viewers willing to allow the story to unfold at its own unhurried pace, the end result is its own absorbing reward.
De Palma (Jun 10): De Palma may not make believers out of the director’s detractors, but they’ll likely share longtime fans’ fascination with his career’s worth of entertaining stories.
The Conjuring 2 (Jun 10): The Conjuring 2 can’t help but lose a bit of its predecessor’s chilly sting through familiarity, but what remains is still a superior ghost story told with spine-tingling skill.
The Music of Strangers (Jun 10): The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble offers a thrilling and too-rare glimpse of art’s power to bridge personal and cultural divides.
Tickled (Jun 17): Tickled uses an investigation into a silly-seeming subculture as the launching point for thought-provoking insights into online bullying and the destructive abilities of the internet.
Raiders!: The Story of the Greatest Fan Film Ever Made (Jun 17): As fascinating as it is affecting, Raiders! offers an insightful look at fan culture while presenting a poignant portrait of friendship over the passage of time.
Finding Dory (Jun 17): Funny, poignant, and thought-provoking, Finding Dory delivers a beautifully animated adventure that adds another entertaining chapter to its predecessor’s classic story.
Nuts! (Jun 22): Nuts! lives up to its title in the best way, offering a delightfully unorthodox look at a bizarre — and largely unexplored — chapter in American history.
Eat That Question: Frank Zappa in His Own Words (Jun 24): Eat That Question: Frank Zappa in His Own Words offers an illuminating primer for Zappa novices as well as an entertaining retrospective for diehard fans.
Hunt for the Wilderpeople (Jun 24): The charmingly offbeat Hunt for the Wilderpeople unites a solid cast, a talented filmmaker, and a poignant, funny, deeply affecting message.
The Phenom (Jun 24): Powerfully acted and emotionally affecting, The Phenom proves a baseball movie can step away from the mound and still deliver a heater down the middle.
The Shallows (Jun 24): Lean and solidly crafted, The Shallows transcends tired shark-attack tropes with nasty thrills and a powerful performance from Blake Lively.
Wiener-Dog (Jun 24): For filmgoers predisposed to enjoy Todd Solondz’ brand of black comedy, Wiener-Dog won’t disappoint — but those put off by previous works need not apply.
Life, Animated (Jul 1): Life, Animated offers a heartwarming look at one family’s journey, and a fascinating message that’s more than enough to outweigh its unanswered questions.
Microbe and Gasoline (Jul 1): Microbe and Gasoline brings Michel Gondry’s distinctive gifts to bear on an oft-told tale, with thoroughly charming results.
The BFG (Jul 1): The BFG minimizes the darker elements of Roald Dahl’s classic in favor of a resolutely good-natured, visually stunning, and largely successful family-friendly adventure.
The Innocents (Jul 1): The Innocents isn’t always easy to watch, but its nuanced exploration of complex themes — and its refreshing perspective — are well worth the effort.
The Secret Life of Pets (Jul 8): Fast-paced, funny, and blessed with a talented voice cast, The Secret Life of Petsoffers a beautifully animated, cheerfully undemanding family-friendly diversion.
Captain Fantastic (Jul 8): Captain Fantastic’s thought-provoking themes — and an absorbing starring turn from Viggo Mortensen — add up to an above-average family drama with unexpected twists.
Our Little Sister (Jul 8): Our Little Sister uses the story of one fractured family to offer universal — and deeply moving — observations on the human condition.
Zero Days (Jul 8): Factors beyond Gibney’s control prevent Zero Days from offering a comprehensive look at its subject, but the partial picture that emerges remains as frightening as it is impossible to ignore.
Ghostbusters (Jul 15): Ghostbusters does an impressive job of standing on its own as a freewheeling, marvelously cast supernatural comedy — even if it can’t help but pale somewhat in comparison with the classic original.
Phantom Boy (Jul 15): Phantom Boy’s stunning animation and old-fashioned charm more than make up for a relative lack of narrative depth.
Don’t Think Twice (Jul 22): Don’t Think Twice offers a bittersweet look at the comedian’s life that’s as genuinely moving as it is laugh-out-loud funny — and a brilliant calling card for writer-director Mike Birbiglia.
Lights Out (Jul 22): Lights Out makes skillful use of sturdy genre tropes — and some terrific performances — for an unsettling, fright-filled experience that delivers superior chills without skimping on story.
Star Trek Beyond (Jul 22): Star Trek Beyond continues the franchise’s post-reboot hot streak with an epic sci-fi adventure that honors the series’ sci-fi roots without skimping on the blockbuster action.
Summertime (Jul 22): Summertime (La Belle Saison) presents a well-acted, beautifully framed period romance that offers a refreshing perspective on its era in the bargain.
Train to Busan (Jul 22): Train to Busan delivers a thrillingly unique — and purely entertaining — take on the zombie genre, with fully realized characters and plenty of social commentary to underscore the bursts of skillfully staged action.
The Childhood of a Leader (Jul 22): The Childhood of a Leader mirrors the rise of fascism in post-WWI Europe with a well-acted, confidently crafted look at one young man’s unsettling coming of age.
Equity (Jul 22): Equity brings a welcome change of perspective to the financial thriller genre, along with a nuanced story and a terrific cast led by a powerful effort from Anna Gunn.
Gleason (Jul 29): Gleason stands out among sports-themed documentaries by offering a clear-eyed look at its subject’s physical deterioration — and an intimate portrait of the family affected by his ordeal.
Indignation (Jul 29): Indignation proves it’s possible to put together an engaging Philip Roth adaptation — and offers a compelling calling card for debuting writer-director James Schamus.
Into the Forest (Jul 29): Into the Forest grounds its familiar apocalyptic framework with a relatable look at the bond between two sisters, compellingly brought to life by Ellen Page and Evan Rachel Wood.
Tallulah (Jul 29): Tallulah’s narrative insight, thoughtfully written characters, and talented cast add up to an absorbing family drama that transcends genre tropes and capably overcomes its flirtations with melodrama.
Miss Sharon Jones! (Jul 29): Miss Sharon Jones! only captures a portion of its subject’s power — or her inspiring story — but that’s more than enough to offer absorbing, entertaining viewing for fans and newcomers alike.
Little Men (Aug 5): Little Men takes a compassionate look at the ways in which adult problems impact childhood friendships — and offers another affecting New York drama from director Ira Sachs.
The Little Prince (Aug 5): Beautifully animated and faithful to the spirit of its classic source material, The Little Prince is a family-friendly treat that anchors thrilling visuals with a satisfying story.
Blood Father (Aug 12): Blood Father meets every expectation a film fan could have for a latter-day Mel Gibson action thriller with its title — and even, in some respects, handily exceeds them.
Disorder (Aug 12): Well-acted and solidly crafted, Disorder (Maryland) relies on patiently established slow-burning tension to set the stage for an intelligent, intimate psychological thriller.
Florence Foster Jenkins (Aug 12): Florence Foster Jenkins makes poignant, crowd-pleasing dramedy out of its stranger-than-fiction tale — and does its subject justice with a reliably terrific turn from star Meryl Streep.
Hell or High Water (Aug 12): Hell or High Water offers a solidly crafted, well-acted Western heist thriller that eschews mindless gunplay in favor of confident pacing and full-bodied characters.
My King (Aug 12): My King uses a medical catastrophe as the catalyst for a fully realized, thought-provoking look at love and co-dependency.
Pete’s Dragon (Aug 12): Pete’s Dragon continues Disney’s current live-action winning streak with an update that gives the original a visual overhaul without overwhelming its sweet, soulful charm.
Sausage Party (Aug 12): Sausage Party is definitely offensive, but backs up its enthusiastic profanity with an impressively high laugh-to-gag ratio — and a surprisingly thought-provoking storyline.
Imperium (Aug 19): The unsettling Imperium boasts troublingly timely themes and a talented cast led by Daniel Radcliffe as an undercover FBI agent infiltrating a ring of white supremacists.
Kubo and the Two Strings (Aug 19): Kubo and the Two Strings matches its incredible animation with an absorbing — and bravely melancholy — story that has something to offer audiences of all ages.
Lo and Behold, Reveries of the Connected World (Aug 19): Lo and Behold: Reveries of the Connected World finds Werner Herzog bringing his distinctive documentarian gifts to bear on a timely topic with typically thought-provoking results.
Morris from America (Aug 19): Morris from America adds some novel narrative twists to its father-son story — and gains added resonance thanks to a powerful performance from Craig Robinson.
Kate Plays Christine (Aug 24): Kate Plays Christine blurs genres — and the line between fact and reality — with a cleverly provocative docudrama look at newscaster Christine Chubbuck’s life and death.
Don’t Breathe (Aug 26): Don’t Breathe smartly twists its sturdy premise to offer a satisfyingly tense, chilling addition to the home invasion genre that’s all the more effective for its simplicity.
I Am Not A Serial Killer (Aug 26): I Am Not A Serial Killer honors the book it’s based on with a well-acted drama that leavens its gore and dark themes with wry humor.
In Order of Disappearance (Aug 26): In Order of Disappearance’s black comedy doesn’t always hit its targets, but on the whole, it still adds up to a sly, entertaining revenge thriller.
Mia Madre (Aug 26): Mia Madre explores thought-provoking themes with director/co-writer Nanni Moretti’s reliably skillful blend of comedy and pathos.
Southside With You (Aug 26): Southside With You looks back on a fateful real-life date with strong performances and engaging dialogue, adding up to a romance that makes for a pretty good date movie in its own right.
Author: The JT LeRoy Story (Sep 9): Author: The JT LeRoy Story serves as a worthy primer on its fascinating subject as well as an insightful look at the ever-evolving nature of modern celebrity.
Cameraperson (Sep 9): Fresh and inventive yet immediately accessible, Camerapersondistills its subject’s life and career into an experience that should prove immediately absorbing even for those unfamiliar with her work.
Demon (Sep 9): Ambitious and beautifully shot, Demon delivers a gripping — and sadly final — testament to the singular talent possessed by director/co-writer Marcin Wrona.
London Road (Sep 9): Equal parts enthralling and unsettling, London Road uses an unusual documentary/musical hybrid to tell a grim true-life tale.
Other People (Sep 9): Other People resists easy melodrama, rewarding viewers with a smart, subtle look at family dynamics with a talented cast and a finely calibrated blend of funny and serious moments.
Sully (Sep 9): As comfortingly workmanlike as its protagonist, Sully makes solid use of typically superlative work from its star and director to deliver a quietly stirring tribute to an everyday hero.
Bridget Jones’s Baby (Sep 16): Bridget Jones’s Baby might be late on arrival, but fans of the series should still find its third installment a bouncing bundle of joy.
The Beatles: Eight Days a Week – The Touring Years (Sep 16): We love them, yeah, yeah, yeah — and with archival footage like that, you know The Beatles: Eight Days a Week — The Touring Years can’t be bad.
Chronic (Sep 23): Chronic demands patience from the viewer — and yields rich dividends with an affecting story and a committed starring performance by Tim Roth.
Goat (Sep 23): Goat isn’t an easy watch, but its thought-provoking themes, talented cast, and all-out intensity offer rewards for viewers willing to tough it out.
The Lovers And The Despot (Sep 23): The Lovers and the Despot offers a compelling — albeit by no means comprehensive — look at one of the more bizarrely stranger-than-fiction episodes in cinematic history.
A Man Called Ove (Sep 30): A Man Called Ove’s winsome sincerity — and Rolf Lassgård’s affectingly flinty performance in the title role — keep it from succumbing to excess sentimentality.
American Honey (Sep 30): American Honey offers a refreshingly unconventional take on the coming-of-age drama whose narrative risks add up to a rewarding experience even if they don’t all pay off.
Deepwater Horizon (Sep 30): Deepwater Horizon makes effective use of its titular man-made disaster to deliver an uncommonly serious — yet still suitably gripping — action thriller.
Denial (Sep 30): If Denial doesn’t quite do its incredible story complete justice, it comes close enough to offer a satisfying, impactful drama — and another powerful performance from Rachel Weisz.
Long Way North (Sep 30): Smart and refreshingly free of sentimentality, Long Way Northtakes viewers on a beautifully animated adventure grounded in fully realized characters and genuine emotion.
Queen of Katwe (Sep 30): Queen of Katwe is a feel-good movie of uncommon smarts and passion, and outstanding performances by Lupita Nyong’o and David Oyelowo help to elevate the film past its cliches.
13th (Oct 7): 13th strikes at the heart of America’s tangled racial history, offering observations as incendiary as they are calmly controlled.
The Birth of a Nation (Oct 7): The Birth of a Nation overpowers its narrative flaws and uneven execution through sheer conviction, rising on Nate Parker’s assured direction and the strength of its vital message.
Under The Shadow (Oct 7): Under the Shadow deftly blends seemingly disparate genres to deliver an effective chiller with timely themes and thought-provoking social subtext.
Tower (Oct 12): Tower probes into a painful chapter of American history with sensitivity and grace — and revisits its events from a valuable new perspective.
Certain Women (Oct 14): Certain Women further demonstrates writer-director Kelly Reichardt’s gift for telling the stories of ordinary people with uncommon empathy and skill.
Aquarius (Oct 14): Led by a powerful performance from Sônia Braga, Aquarius uses a conflict between a tenant and developers to take an insightful look at the relationship between space and identity.
Christine (Oct 14): Rising on the strength of Rebecca Hall’s gripping performance, Christine offers an empathetic look at its subject’s public career and painful private life.
Miss Hokusai (Oct 14): Miss Hokusai illuminates the life and creative legacy of its brilliant subject with a beautifully animated biopic whose absorbing visuals are matched by its narrative grace.
Fire at Sea (Oct 21): Fire at Sea offers a clear-eyed yet empathetic look at a corner of the world whose terrain may be unfamiliar to many, but whose people’s story remains universal.
In a Valley of Violence (Oct 21): In a Valley of Violence offers a smartly conceived homage to classic Westerns that transcends pastiche with absurdist humor and a terrific cast.
Moonlight (Oct 21): Moonlight uses one man’s story to offer a remarkable and brilliantly crafted look at lives too rarely seen in cinema.
Ouija: Origin of Evil (Oct 21): Ouija: Origin of Evil swerves its franchise’s planchette unexpectedly to YES with a surprisingly scary and dramatically satisfying follow-up to its lackluster predecessor.
The Handmaiden (Oct 21): The Handmaiden uses a Victorian crime novel as the loose inspiration for another visually sumptuous and absorbingly idiosyncratic outing from director Park Chan-wook.
Oasis: Supersonic (Oct 26): Oasis: Supersonic foregoes a comprehensive approach to its multi-platinum subjects in favor of an appreciative — and stirring — look at their heady early years.
Gimme Danger (Oct 28): Its infectious enthusiasm for its subjects – and Iggy Pop’s ingratiating presence – more than make up for the effortlessly entertaining Gimme Danger’s relative lack of context or depth.
The Eagle Huntress (Nov 2): Effectively stirring and bolstered by thrilling visuals, The Eagle Huntress uses its heartwarming message to fill up a feature that might have made for an even more powerful short film.
Doctor Strange (Nov 4): Doctor Strange artfully balances its outré source material against the blockbuster constraints of the MCU, delivering a thoroughly entertaining superhero origin story in the bargain.
Hacksaw Ridge (Nov 4): Hacksaw Ridge uses a real-life pacifist’s legacy to lay the groundwork for a gripping wartime tribute to faith, valor, and the courage of remaining true to one’s convictions.
Loving (Nov 4): Loving takes an understated approach to telling a painful — and still relevant — real-life tale, with sensitive performances breathing additional life into a superlative historical drama.
Trolls (Nov 4): Trolls brings its instantly recognizable characters to the big screen in a colorful adventure that, while geared toward the younger set, isn’t without rewards for parents.
Arrival (Nov 11): Arrival delivers a must-see experience for fans of thinking person’s sci-fi that anchors its heady themes with genuinely affecting emotion and a terrific performance from Amy Adams.
Elle (Nov 11): Elle finds director Paul Verhoeven operating at peak power — and benefiting from a typically outstanding performance from Isabelle Huppert in the central role.
The Love Witch (Nov 11): The Love Witch offers an absorbing visual homage to a bygone era, arranged subtly in service of a thought-provoking meditation on the battle of the sexes.
A Street Cat Named Bob (Nov 18): A Street Cat Named Bob uses a fact-based feelgood tale as the inspiration for an unapologetically heartwarming movie that should move all but the most cynical of viewers.
Fantastic Beasts and Where to Find Them (Nov 18): Fantastic Beasts and Where to Find Them draws on Harry Potter’s rich mythology to deliver a spinoff that dazzles with franchise-building magic all its own.
The Edge of Seventeen (Nov 18): The Edge of Seventeen’s sharp script — and Hailee Steinfeld’s outstanding lead performance — make this more than just another coming-of-age dramedy.
Moana (Nov 23): With a title character as three-dimensional as its lush animation and a story that adds fresh depth to Disney’s time-tested formula, Moana is truly a family-friendly adventure for the ages.
Evolution (Nov 25): Creepy, provocative, and aesthetically absorbing, Evolution marks a satisfying step forward for director/co-writer Lucile Hadzihalilovic.
Lion (Nov 25): Lion’s undeniably uplifting story and talented cast make it a moving journey that transcends the typical cliches of its genre.
Jackie (Dec 2): Jackie offers an alluring peek into a beloved American public figure’s private world — and an enthralling starring performance from Natalie Portman in the bargain.
The Eyes of My Mother (Dec 2): The Eyes of My Mother uses a shocking trauma to fuel a hauntingly hypnotic odyssey whose nightmarish chill lingers long after the closing credits.
Things To Come (Dec 2): A union to cherish between a writer-director and star working at peak power, Things to Come offers quietly profound observations on life, love, and the irrevocable passage of time.
La La Land (Dec 9): La La Land breathes new life into a bygone genre with thrillingly assured direction, powerful performances, and an irresistible excess of heart.
Nocturnal Animals (Dec 9): Well-acted and lovely to look at, Nocturnal Animals further underscores writer-director Tom Ford’s distinctive visual and narrative skill.
The Brand New Testament (Dec 9): The Brand New Testament takes a surreal, subversive, and funny look at Biblical themes through a modern — and refreshingly original — lens.
Manchester by the Sea (Dec 16): Manchester by the Sea delivers affecting drama populated by full-bodied characters, marking another strong step forward for writer-director Kenneth Lonergan.
Neruda (Dec 16): Inventive, intelligent, and beautifully filmed, Neruda transcends the traditional biopic structure to look at the meaning beyond the details of its subject’s life.
Rogue One: A Star Wars Story (Dec 16): Rogue One draws deep on Star Wars mythology while breaking new narrative and aesthetic ground — and suggesting a bright blockbuster future for the franchise.
Patriots Day (Dec 28):Patriots Day offers a stirring, solidly crafted tribute to the heroes of a real-life American tragedy without straying into exploitative action thriller territory.
Julieta (Dec 21): Julieta finds writer-director Pedro Almodóvar revisiting familiar themes — and doing so with his signature skill.
A Monster Calls (Dec 23): Silence ends Martin Scorsese’s decades-long creative quest with a thoughtful, emotionally resonant look at spirituality and human nature that stands among the director’s finest works.
A Monster Calls (Dec 23): A Monster Calls deftly balances dark themes and fantastical elements to deliver an engrossing and uncommonly moving entry in the crowded coming-of-age genre.
I, Daniel Blake (Dec 23): I, Daniel Blake marks yet another well-told chapter in director Ken Loach’s powerfully populist filmography.
Fences (Dec 25): From its reunited Broadway stars to its screenplay, the solidly crafted Fences finds its Pulitzer-winning source material fundamentally unchanged — and still just as powerful.
Hidden Figures (Dec 25): In heartwarming, crowd-pleasing fashion, Hidden Figures celebrates overlooked — and crucial — contributions from a pivotal moment in American history.
Toni Erdmann (Dec 25): Toni Erdmann pairs carefully constructed, three-dimensional characters in a tenderly funny character study that’s both genuinely moving and impressively ambitious.
Paterson (Dec 21): Paterson adds another refreshingly unvarnished entry to Jim Jarmusch’s filmography — and another outstanding performance to Adam Driver’s career credits.
