David Fear

Jackass: Best and Last is a victory lap for nearly 30 years of doing ridiculous, stupid, death-defying sh*t in the name of entertainment, a greatest-hits and outtakes compilation that’s buffered by a half dozen or so fresh hells that Knoxville and director Jeff Tremaine put their sometimes-willing participants through.

It’s the sort of feature debut that earns a “watch this space” tag — a cinematic statement complemented and enhanced by one hell of an eye for composition, and two performances that toe the line between torrid and terrified. But it also marks a turning point in terms of queer horror that simultaneously inspires firsthand fear for its protagonists and loathing for both its supernatural and human monsters.

Yes, Spielberg does believe that we are not the only game running in the cosmos. But he also believes that our better angels have not left the building, and that movies still have the power to communally blow minds and open hearts. That idea may strike some as old-fashioned, but it doesn’t seem alien in the slightest.

It’s evocative in a way that suggests a whole other strain of 21st century existentialist horror.

It’s not where the movie is going that holds its appeal so much as the way the triple-threat talent behind it gets you there. And his singular mix of edgy comedy and insular, in-the-know queer culture turns this crowd-friendly formula into something far more wounding and spiky.

This eerie riff on The Shining feels as if the Irish writer-director has a better grasp on both the catch-and-release tension that the genre needs and the balancing of sharp shocks and slow-simmering dread.

Whoever enlisted Jorma Taccone to direct this deserves a raise, given that the charter member of the Lonely Island understands how to consistently ramp things up to levels of high ridiculousness.

Erupcja knows what’s it’s working with, and how to tap into something bigger than itself.

A certain leap of faith is required. But for those believe that movies can get into your head and under your skin in ways that sometimes defy description, and tap into the same transcendent state that great pop music does — that sensation of temporarily floating into some other dizzying realm — this is for you. It isn’t the movie you think you’re walking into. Amen for that.

You enter this unlikely, but undeniably extraordinary take on a video game ready to be spooked. You exit it with the sensation that you’ve just witnessed a waking nightmare perfect for Tokyo commuters and Brooklyn sad dads alike.

Had The Christophers just been a cross-generational punch-up, the sort of flinty showdown designed to throw off pleasurable sparks, you’d still walk away content. It remains a conduit for two of the best performances you’ll see all year. But Soderbergh and his two stars want to concentrate on the embers, what fans them and what keeps them burning.

Yes is easily the most controversial film to hit theaters this year so far. It’s also, for all of the intoxicating rush of Lapid’s excessive style and cup-spilleth-over storytelling, one of the more sobering and vital ones as well.

The film’s title doubles as its own description. And the fact that they damn near pull it off is enough to make you feel you’ve also been awakened from a long, deep sleep in which you were forced to settle for large, loud, cine-extravaganzas that forgot there’s supposed to be a human factor in any of it. Rise and shine, folks. You’ve got something to actually see here.

It’s a devastating look at paternal love and resilience, which respectfully follows this grieving father (and several others like him) as he refuses to give up.

You can’t say that Gyllenhaal hasn’t gone for broke with The Bride!, and the more you watch the actors give life to the central idea of a meeting of scarred bodies and equal minds, the more you feel like you’re watching something not just perversely over-the-top but personal.

Anyone who’s ever wondered what a rom-com collab between Nora Ephron and Tom of Finland might look like now has a definitive answer to that question.

It’s moments of blunt, borderline-brutal honesty coming directly from the source that make this whole endeavor such a necessary counterpoint to all of the mythology that’s sprung up around Love ... [But t]here are a number of questionable choices that the doc makes in terms of aesthetics.

No tears go by on Marianne’s part as she reminisces, though you’re a stronger person than we are if you don’t choke up at the documentary’s closing number.

Seeds is, at the abundant heart of it all, a work of protest art and political activism through sheer poetry. Attention must be paid.

New director Nia DaCosta — the sort of filmmaker who can handle both a continuation of the racially charged Candyman mythology and a radical take on Henrik Ibsen’s Hedda Gabler — brings pints of fresh blood to the proceedings, as well as a keen eye for compositions and an inherent sense of how to sustain tension.

The movie isn’t just a paean to a pioneer spirit. It’s equally a testament to the actor playing her.

All of this is presented with Director Park’s usual eye for extraordinary compositions and the occasional baroque flourish — dig that shot from the bottom of a boilermaker, as it’s being consumed! — but rest assured his tongue is resting comfortably in his cheek.

Alex is neither an excuse for Arnett to crack jokes at will nor part of a tradition of funny people bending themselves into Bikram Yoga positions to be taken seriously. It’s merely a portrait of a guy trying to find his way back, one confessional free-form monologue at a time, to who he is after being adrift in a sea of existential ennui.

It’s the sort of performance that feels like early Pacino or Dustin Hoffman, all twitches and vibrations and seeming like he’s in a constant state of motion even when standing still. And it fuses so well with what we, the viewer, think we know about Chalamet that it begins to blur the boundary in the best possible way.

What initially seems like a series of cryptic aside soon turns into a bigger-picture revelation about what Filho has been chasing all along: the passage of time, and how it never really heals all wounds. That’s not really a secret. But it is a point that bears repeating, especially when its echoed in a movie as graceful and gratifying as this one.

Zodiac Killer Project starts as an autopsy of a fail, and ends up dismantling the subgenre via a sort of cinematic jujitsu. You leave happy that Shackleton’s project ended up crashing and burning.

Sirāt...is not for everyone. But it is the sort of overwhelming cinematic experience and undeniable work of sound and vision that could be life-changing for those ready to receive it.

It’s a tribute to everyday people of another era that walks its own poetic path, content in the knowledge that one unremarkable person’s journey is remarkable enough to deserve such cinematic treatment.