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      ‘The Woman King’ and Intimate Moments Amid Epic Action

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      From her debut feature, the rom-com classic “Love and Basketball,” to her most recent action hit, “The Old Guard,” Gina Prince-Bythewood is known for films with rich character introspection amid outward chaos. That touch is evident again this fall even as she widens her cinematic playing field with the fact-based battle epic “The Woman King.”The period film follows a troop of fierce woman warriors, the Agojie, as they defend the West African kingdom of Dahomey from slave traders, domestic and foreign. Led by Viola Davis as General Nanisca, the women live in their own corner of the palace of King Ghezo (John Boyega) in a man-free enclave as they hone their combat skills. Into this environment, Nawi (newcomer Thuso Mbedu), a young girl unceremoniously dumped at the palace, begins training alongside more experienced soldiers played by Lashana Lynch and Sheila Atim.Davis brought the concept to Prince-Bythewood. “When we first met with her, she wept in the room,” Davis said of Prince-Bythewood. “When a director has that level of passion and vulnerability for the work, they’re going to treat it as their child. I understood that this was Gina’s magnum opus in the room.”In a video interview, Prince-Bythewood explained how she went about tackling what would be, logistically, her biggest film yet. These are edited excerpts from that conversation.Tell me about how the scale of this movie was different from things you’ve done before.When I met with Viola and Cathy [Schulman, a producer] to get the job, I said to them, I felt all my work until this point led me to be able to tell this story the right way and give it the epic scale it deserved, to do the action the right way, to showcase these women in the way they deserve to be showcased, given all the things I’ve learned, not only on “The Old Guard” with action but just in storytelling. Do you care about the characters? Do they feel real to you? That’s where every really good movie starts.Viola Davis as a general leading the Agojie into battle. The actress brought the material to the director, who wept when they first met to discuss it.Ilze Kitshoff/Sony PicturesHow did this production come to you?About five years ago, I read that Viola Davis was going to do a film about female warriors, and I said to myself, “Why didn’t they come to me for that?” [Laughs] But then they did; they had come to me as a writer-director, but the script had to be written. I think I was on “Silver & Black” [a superhero project that was ultimately canceled], so I couldn’t take on the writing, but I said, “Please come back to me when you have a script.” You say that a lot, but I really did mean it.And then they came back to me with the script [credited to Dana Stevens from a story by Stevens and Maria Bello]. At that point, “Black Panther” had come out, and I remember reading that the Dora Milaje in “Black Panther” were based on real-life warrior women. People were calling them Black Amazons, and they actually had a real name, which was Agojie — that’s when I first heard about them. As soon as I read the script, I knew in five pages that I had to do this movie. It was just excitement, excitement, excitement, because the story was entrenched in truth and a specific war that happened at a specific time, then led to a bigger war against colonizers. The more I learned about them, the more I got excited about putting this incredible culture — and us — onscreen in a way that we haven’t been able to see ourselves.I’m glad you mentioned the Dora Milaje before I did, because you’re definitely going to hear comparisons to them. How do you take that?I loved “Black Panther.” Loved it. You know, for me, “The Woman King” is where we started, and “Black Panther” is where we can go, so past and future — I think it’s a beautiful connection. I think it’s cool that people can now learn that this doesn’t have to be a fantasy, that we really were these women, we have this innate warrior within us.Based on “The Secret Life of Bees” and “Love and Basketball,” you like introspective character moments, especially with women. How did you achieve such moments within the scale and spectacle of “The Woman King”?I feel like the intimate moments were as important as the big set pieces. Set pieces and action do not matter if you don’t care about the characters. So I love to take the time to allow an audience to understand who people are, where they come from, their relationships with others. The sisterhood of this film was so important, the humanity of these women was so important: I wanted to take the time to establish that so when you see Viola fighting in the Oyo battle, you care. You’ve got to invest that time. I love doing action, but I love doing two people in a scene. [Lynch’s character] Izogie braiding [Nawi’s] hair and talking to her about, “You’re more powerful than you even know” — I get off doing that scene equally as I do doing a big battle scene.Do you find that action surrounding such internal scenes can threaten to overpower them?Great action magnifies who a character is. You can tell so much story within an action scene. But you’ve got to know who Izogie is from the outset and the way she fights. That was fun to create: What is your fighting style, and what does that say about your character? To be able to do that with the actors, that’s all the fun stuff.From left, Thusu Mbedu, Davis and Sheila Atim, who told the director she wished her 12-year-old self could have seen this film.Sony PicturesWhere did you film, and what were some of the challenges of being on location?We shot in South Africa, the majority in Cape Town. We built our entire palace there. But the first two weeks of filming was in KwaZulu-Natal, where we shot a lot of the deep jungle stuff. That was incredible to be in that environment; that’s also where Thuso is from, so the fact that her first movie she got to shoot where she was born and raised was amazing for her.When we got back to Cape Town, Omicron hit us, and that was really tough because we had to shut down for a couple weeks. Scariest thing, we were three weeks into shooting. I didn’t know if we were going to come back. Was Omicron going to keep doing this, or was it going to plateau?Was your fear that you’d have to scrap the film altogether, or just delay it?I thought we were going to have to scrap it.Sticking with South Africa, let’s talk about Thuso. You said this was her first film. What did she bring to the film that you had to have?She auditioned. The moment her face appeared on Zoom, I just cared about her before she even opened her mouth! And then she opened her mouth, and I cared about her even more. She just has this thing, this innate vulnerability, but also she’s a generational talent. She’s so good.She can go toe-to-toe with Viola Davis! Like, who can do that? She did that. Thuso’s so smart about character, she pays attention to everything — detail is so important to her. She’s so passionate and so good. I loved just watching her in scenes.Let’s talk about the fight scenes. The actors did some of their own fighting and stunts in a battle-heavy movie.To each one of them, including Viola, I had to look [them] in the eye and [say], “You’re going to do your own fighting and stunts. Are you willing to do everything you have to to embody these characters?” And everyone said yes. But it’s one thing to say yes, it’s another to really do it, and I’m talking months of work. You have to have an incredible mind-set to do that. The beauty of it is that type of training is part of the rehearsal process. It helps you build character, it helps bond them. But they have such great pride now when they get to see what they did. I mean, that’s really them fighting.It amazes me that there’s this narrative that women aren’t warriors, aren’t tough. These women put themselves through so much to be able to do what they did on set, and in an action film, you should never get injured, but you will get hurt at some point — a stray punch or you land wrong — and all of these women got hurt and would not stop. I love it, because I’m an athlete, and to see that from them was really beautiful.Another thing I think that’s going to be immediately appreciated and a fact that kept coming into my head is: Little girls are going to see all these natural hairstyles, and that is huge.Sheila is the one that said she wishes her 12-year-old self had this film. And, yeah, that’s the thing we’re most excited about: How can this change the way that we see ourselves, especially little girls? Do you get to now grow up and see yourself heroically, and can you take that in for yourself? I’m really hoping that for this film. More

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      ‘Barbarian’ Review: This Rental is Hell

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      Two strangers explore the basement of their Detroit rental home in this gleefully twisty horror movie by Zach Cregger.“Barbarian,” a gleefully twisty horror movie by the writer-director Zach Cregger, is both a product of modern times and something of a throwback.Tess (Georgina Campbell) and Keith (Bill Skarsgard) meet-cute when they turn out to be the victims of a double booking scam, deciding, against the smitten Tess’s better instincts, to share the rental. The house, decked out in furniture straight out of West Elm, would seem innocuous enough, but it’s also located in the middle of an abandoned, post-apocalyptic-looking Detroit neighborhood whose only apparent inhabitant is an unhinged homeless man who terrorizes the streets.As expected from this kind of haunted-house thriller, the doors seem to open and close on their own, leading Tess to the one place any horror buff will know means trouble: the basement, where hidden passageways multiply and abominable crimes make themselves known.Cregger sets up dozens of clichés and pulls them in genuinely surprising directions, brandishing his touchstones: American horror films of the 80s and 90s in the vein of Wes Craven. The scares are tempered by a comic punching bag courtesy of Justin Long as a sleazy Hollywood director who pays a visit to his Detroit property after sexual assault charges drain his bank account.Cregger isn’t as concerned with making bold political points as he is with orchestrating a snappy spectacle that goes a mile a minute. #MeToo, gentrification, the brutal underbelly of the Reagan era — all these elements fit like puzzle pieces into a broader nightmare that lets the context speak for itself. “Barbarian” is all the more creepy — and fun — because of it.BarbarianRated R for nudity, bloodshed and sexual assault. Running time: 1 hour 42 minutes. In theaters. More

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      ‘True Things’ Review: Escape Routes

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      This character study from Harry Wootliff bottles the lightning of a torrid fling.Harry Wootliff’s “True Things” bottles the lightning of a torrid fling in its closely observed character study of Kate, a bored British social worker who feels stuck. Tom Burke plays a charming bloke, recently released from prison, who comes in for a benefits claim and ends up asking her out. “I will keep that in mind,” Kate (Ruth Wilson) responds, intrigued but trying not to smile.Wootliff and her superb leads fully inhabit what’s essentially an extended chapter in Kate’s life, at once pivotal and fleeting. She and her fellow have sex in a number of places; he earns a spot in her phone contacts as simply “Blond” because of his frosted hair. Kate gets attached, but (or is that because?) the man has a habit of disappearing. When he borrows her car for a week for unknown purposes, it seems to confirm the suspicions of Kate’s friend (a note-perfect Hayley Squires) that he’s a shady bounder.What makes the film’s episodic approach flow is the pulse-sensitive camerawork. It’s worth singling out, because it is the kind that is often described as “intimate” but rarely pulled off with such Maysles-esque aplomb. The cinematographer, Ashley Connor, knits together relations among bodies in space beautifully — and meaningfully — especially between Wilson and Burke, who exerts a similar hold here as his character in “The Souvenir” (in a different key and class).Wilson is able to bring a light touch to her teetering character, as we hold our breath and watch her face to see where Kate lands.True ThingsNot rated. Running time: 1 hour 42 minutes. In theater and available to rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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      159 Films, for Every Taste, Coming This Fall

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      From art house to hellhouse and back, here’s a select list of the most anticipated titles this season, including “The Fabelmans,” “White Noise” and more.Steven Spielberg returns to his childhood, Ryan Coogler returns to Wakanda and James Cameron returns to Pandora in just some of the films coming out this fall, following what was generally perceived as a blah summer for movies. And these listings are just a start. Some titles, like “Causeway,” with Jennifer Lawrence, and the Cannes prizewinner “Close,” hadn’t settled on release dates by press time.And it should be noted: This is a highly select list of noteworthy films. Release dates are subject to change and reflect the latest information as of deadline.TERRA FEMME Courtney Stephens (a director of the experimental documentary “The American Sector”) presents travelogues shot by women from the 1920s to the ’50s. It’s an essay film, of sorts, although Stephens will narrate it in person at two screenings at Anthology Film Archives. (Sept. 15 in theaters)THE AFRICAN DESPERATE The artist Martine Syms makes her feature-directing debut with this film about a graduate student (Diamond Stingily) on her last day of art school. It closed last spring’s edition of the New Directors/New Films series. (Sept. 16 in theaters)Diamond Stingily in “The African Desperate,” from the artist Martine Syms. Dominica Inc.CASABLANCA BEATS Nabil Ayouch directed this drama about a former hip-hop artist teaching Moroccan youth to rap. (Sept. 16 in theaters)CONFESS, FLETCH Is Jon Hamm the 2022 equivalent of Chevy Chase circa 1985? Not exactly: Greg Mottola (“Superbad”) directed Hamm as the sleuth I.M. Fletcher in a fresh adaptation of the second novel in the author Gregory Mcdonald’s mystery series. The comedian Roy Wood Jr. and Kyle MacLachlan are in the cast. (Sept. 16 in theaters and on demand)DO REVENGE Camila Mendes and Maya Hawke put a high school comedy spin on “Strangers on a Train”; each one plays a student who sets out to get payback on the other’s enemies. (Sept. 16 on Netflix)DRIFTING HOME Hiroyasu Ishida directed this anime feature about two friends in a housing complex that somehow winds up floating through an ocean. (Sept. 16 on Netflix)FOUR WINTERS Julia Mintz directed this documentary, which features interviews with surviving partisans who fought the Nazis from the woods of Eastern Europe. (Sept. 16 in theaters)FROM THE HOOD TO THE HOLLER Charles Booker, the Democratic candidate running to unseat Senator Rand Paul of Kentucky this fall, is profiled in a documentary. (Sept. 16 in theaters, Sept. 30 on demand)GOD’S COUNTRY Thandiwe Newton plays an academic in a remote area of the West who faces hostility from hunters who insist on parking on her property. Julian Higgins directed. (Sept. 16 in theaters, Oct. 4 on demand)GOODNIGHT MOMMY Naomi Watts stars in a remake of an Austrian horror film released here in 2015. In that movie, which Jeannette Catsoulis praised in The New York Times as a “carefully controlled creep-out,” twins begin to suspect that the woman who has returned from the hospital, her face wrapped in bandages, is not, in fact, their mother. (Sept. 16 on Amazon)MOONAGE DAYDREAM Brett Morgen (“Jane”) compiled this prismatic, all-archival survey of the career of David Bowie. It’s said to be the first cinematic portrait supported by the singer’s estate and uses what are described as rare materials. Screenings in Imax theaters are planned. (Sept. 16 in theaters)PEARL If you saw Ti West’s retro-horror film “X” in theaters earlier this year and stayed through the credits, you would have caught a surprise teaser for this prequel, which stars West’s co-writer, Mia Goth, as a younger version of the farmer’s wife she also played — albeit unrecognizably — in one of her two roles in the first movie. (Sept. 16 in theaters)RIOTSVILLE, U.S.A. When this nonfiction feature from Sierra Pettengill played at the New Directors/New Films series last spring, Manohla Dargis described it as “a mesmerizing documentary essay that tracks American anti-Black racism through a wealth of disturbing, at times super-freaky 1960s archival footage.” (Sept. 16 in theaters)A scene from the documentary “Riotsville, U.S.A.,” which uses archival footage from the 1960s.CineticSEE HOW THEY RUN Saoirse Ronan and Sam Rockwell plays police partners investigating a murder in the 1950s London theater scene. Adrien Brody, Ruth Wilson and David Oyelowo also star. Tom George directed. (Sept. 16 in theaters)THE SILENT TWINS Based on the 1986 nonfiction book by Marjorie Wallace, this drama concerns twins who for much of their lives did not speak, except with each other. Letitia Wright and Tamara Lawrance star. Agnieszka Smoczynska (“The Lure”) directed. (Sept. 16 in theaters)THE WOMAN KING In a drama drawn from the history of the Agojie, also known as the Dahomey Amazons, Viola Davis plays a general leading an army of women in a fight to protect their West African kingdom from slavers in the 19th century. Thuso Mbedu, Lashana Lynch, Sheila Atim and John Boyega also star. Gina Prince-Bythewood directed. (Sept. 16 in theaters)WHAT WE LEAVE BEHIND The documentarian Iliana Sosa pays tribute to her grandfather, who is nearly 90, as he builds a house in Mexico. (Sept. 16 in theaters and on NetflixME TO PLAY This documentary watches as two actors with Parkinson’s disease prepare a production of Samuel Beckett’s “Endgame.” (Sept. 20 on Fandor)ESCAPE FROM KABUL A year after the United States withdrew from Afghanistan, this documentary assembles footage and recollections from people who were present during the evacuation at the airport in Kabul. (Sept. 21 on HBO Max)MEET CUTE Per the title, Kaley Cuoco and Pete Davidson meet in a manner that is cute. Or have they already met cute? A time machine is involved. (Sept. 21 on Peacock)RAVEN’S HOLLOW That’s not just any raven. William Moseley plays Edgar Allan Poe during his time as a West Point cadet, before he found fame as a writer. The young Poe stumbles into a mystery. (Sept. 22 on Shudder)THE AMERICAN DREAM AND OTHER FAIRY TALES Abigail E. Disney, who directed with Kathleen Hughes, serves as an onscreen guide to an examination of income inequality in the United States, not sparing her family’s own business ventures. (Sept. 23 in theaters)ATHENA Dali Benssalah plays a young man whose brother dies after an encounter with police. His other brothers and his neighborhood grapple with their response. Romain Gavras directed. The filmmaker Ladj Ly, who shared a prize at Cannes in 2019 for “Les Misérables,” is among the screenwriters. (Sept. 23 on Netflix)BANDIT In a feature inspired by a real case from the 1980s, Josh Duhamel plays a robber who pulls off heists across Canada. He also goes into business with a loan shark (Mel Gibson). Elisha Cuthbert co-stars. (Sept. 23 in theaters and on demand)BLANK A writer secludes herself to get some work done, and the android there, having gone on the fritz, really wants her to finish her project. Natalie Kennedy directed. (Sept. 23 in theaters and on demand)CARMEN Natascha McElhone plays a woman in Malta who, at 50, leaves the church she has pledged herself to since her teenage years and finds romance. (Sept. 23 in theaters and on demand) CATHERINE CALLED BIRDY When you hear the name Lena Dunham, you don’t exactly think 13th century — but that’s when this irreverent costume picture, which Dunham adapted from Karen Cushman’s novel and directed, is set. Bella Ramsey plays a rebellious teenager whose father tries to marry her off. With Lesley Sharp, Sophie Okonedo and Joe Alwyn. (Sept. 23 in theaters, Oct. 7 on demand)DON’T WORRY DARLING Florence Pugh plays a 1950s housewife who lives with her husband (Harry Styles) in a company town that, apart from the desert scenery, has a certain affinity with Stepford, Conn., judging from the trailer. Olivia Wilde co-stars and directed this thriller, which also features Gemma Chan, KiKi Layne and Chris Pine. (Sept. 23 in theaters)Olivia Wilde, left, appears in and directed Nick Kroll and Chris Pine in “Don’t Worry Darling.”Warner Bros.THE GREATEST BEER RUN EVER You thought Smokey and the Bandit had the greatest beer run? Not so. Zac Efron plays Chick Donohue, a New Yorker who in 1967 traveled to Vietnam to bring brews to his American soldier pals. Peter Farrelly, seemingly splitting the difference between his comedies and the earnestness of “Green Book,” directed. With Russell Crowe and Bill Murray. (Sept. 23 in theaters; Sept. 30 on Apple TV+)INVISIBLE DEMONS The documentarian Rahul Jain (“Machines”) looks at the impact of pollution and climate change in Delhi. (Sept. 23 in theaters)A JAZZMAN’S BLUES Tyler Perry wrote, produced and directed this decades-spanning story of two lovers (Joshua Boone and Solea Pfeiffer) in the South. (Sept. 23 on Netflix)THE JUSTICE OF BUNNY KING In a drama from New Zealand, Essie Davis (“The Babadook”) plays a down-and-out mother scrambling to avoid breaking a promise to her daughter. Thomasin McKenzie plays her niece. (Sept. 23 in theaters)LOU Jurnee Smollett plays the mother of a kidnapped girl and Allison Janney the neighbor who helps her retrieve her. Anna Foerster directed, and J.J. Abrams is among the producers. (Sept. 23 on Netflix)MY IMAGINARY COUNTRY The celebrated Chilean filmmaker Patricio Guzmán directed this documentary about the efforts for social change catalyzed by the protests that began in his country in 2019. (Sept. 23 in theaters)NOTHING COMPARES Sinead O’Connor looks back on her singing career and the height of her fame in the 1980s and ’90s. Kathryn Ferguson directed. (Sept. 23 in theaters, Sept. 30 on Showtime)ON THE COME UP Based on a novel by Angie Thomas (“The Hate U Give”), the actress Sanaa Lathan’s feature-directing debut centers on a teenage rap artist (Jamila C. Gray) who is faced with pressure to sell out. (Sept. 23 on Paramount+)PETROV’S FLU The dissident Russian filmmaker Kirill Serebrennikov directed this fever dream of a film, based on a novel by Alexey Salnikov and centered on a comics artist (Semyon Serzin) in the grip of the grippe. (Sept. 23 in theaters)RAILWAY CHILDREN In Britain this was known as “The Railway Children Return,” a sequel to the 1970 film “The Railway Children.” It’s set in 1944 and finds Jenny Agutter playing an older version of a character she originated as a teenager. (Sept. 23 in theaters)SIDNEY Reginald Hudlin directed this documentary on the career of Sidney Poitier, who died in January. It includes interviews with Oprah Winfrey, Denzel Washington and Spike Lee. (Sept. 23 in theaters and on Apple TV+)BLONDE A faintly recognizable Ana de Armas embodies one of the most recognizable women on the planet — Marilyn Monroe — in this much-anticipated, NC-17-rated adaptation of Joyce Carol Oates’s 2000 novel. The film comes from Andrew Dominik (“The Assassination of Jesse James by the Coward Robert Ford”), in his first dramatic feature in a decade. Bobby Cannavale and Adrien Brody also star. (Sept. 28 on Netflix)Ana de Armas goes blond for “Blonde,” from Andrew Dominik.NetflixARGENTINA, 1985 The Argentine director Santiago Mitre (“Paulina”) directed this legal drama based on the work of Julio Strassera and Luis Moreno Ocampo, who prosecuted members of the junta that had controlled the country from 1976 to 1983. (Sept. 30 in theaters, Oct. 21 on Amazon)ART & KRIMES BY KRIMES Alysa Nahmias directed this portrait of Jesse Krimes, who made artwork in prison and managed to get it to the world outside. Now out of prison, he had his work featured in an exhibition at the Philadelphia Museum of Art last year. (Sept. 30 in theaters)Luke Macfarlane, left, and Billy Eichner in the rom-com “Bros.”Universal PicturesBROS Billy Eichner stars in — and wrote, with the movie’s director, Nicholas Stoller (“Forgetting Sarah Marshall”) — this rom-com about two men, seemingly opposites, falling for each other. Universal is billing it as the “first romantic comedy from a major studio about two gay men maybe, possibly, probably, stumbling towards love.” Judd Apatow is among the producers. (Sept. 30 in theaters)DEAD FOR A DOLLAR One of the few remaining filmmakers who knows his way around a western, Walter Hill directed this story of a bounty hunter, an outlaw and an abducted woman. Christoph Waltz, Willem Dafoe and Rachel Brosnahan star. (Sept. 30 in theaters)GOD’S CREATURES In an Irish village that runs on oyster harvesting, a mother (Emily Watson) has to face a truth about her son (Paul Mescal), who has just returned home. Aisling Franciosi (“The Nightingale”) also stars. Saela Davis and Anna Rose Holmer, who collaborated on “The Fits,” directed. (Sept. 30 in theaters and on demand)THE GOOD HOUSE An alcoholic Massachusetts real estate agent (Sigourney Weaver) and a man from her past (Kevin Kline) get back together. Maya Forbes and Wallace Wolodarsky directed. (Sept. 30 in theaters)HOCUS POCUS 2 Bette Midler, Sarah Jessica Parker and Kathy Najimy reprise their roles as witches in a sequel to “Hocus Pocus” (1993). (Sept. 30 on Disney+)Kathy Najimy, left, Bette Midler and Sarah Jessica Parker are back for “Hocus Pocus 2.”Disney+I DIDN’T SEE YOU THERE In an essay film that considers how the disabled perceive the world and are perceived, the director Reid Davenport shot this debut feature from his own perspective as a wheelchair user. (Sept. 30 in theaters)MONA LISA AND THE BLOOD MOON A woman who has escaped from a mental institution (Jong-seo Jun, from “Burning”) joins forces with a heavily Brooklyn-accented mother (Kate Hudson) in New Orleans for a crime spree in the latest film from Ana Lily Amirpour (“A Girl Walks Home Alone at Night”). (Sept. 30 in theaters and on demand)MY BEST FRIEND’S EXORCISM Elsie Fisher (“Eighth Grade”) finds out how to get her pal (Amiah Miller) a — well, you know. (Sept. 30 on Amazon)SIRENS Rita Baghdadi directed this documentary, well regarded at Sundance, about an all-female thrash metal band in Lebanon. (Sept. 30 in theaters)SMILE You’ve heard of six degrees of Kevin Bacon? How about six degrees of a … weird chain curse that causes victims to see creepy smiling faces before they die? Into this chain enters a doctor played by Sosie Bacon, daughter of the actor and Kyra Sedgwick. It sounds like “The Ring” with grins instead of a videotape. (Sept. 30 in theaters)OctoberMR. HARRIGAN’S PHONE Jaeden Martell plays a teenager whose friendship with a billionaire (Donald Sutherland) continues after the older man dies and is buried with an iPhone. John Lee Hancock directed this adaptation of a novella by Stephen King. (Oct. 5 on Netflix)AMSTERDAM Based on a trailer, the writer-director David O. Russell’s first feature since “Joy” (2015) will be maddeningly difficult to classify, genre-wise. It comes described as a historical crime epic involving three friends (played by Christian Bale, Margot Robbie and John David Washington). A dead body is involved, as are many other starry names: Chris Rock, Anya Taylor-Joy, Robert De Niro and even Taylor Swift. (Oct. 7 in theaters)Christian Bale, left, Margot Robbie and John David Washington team up for “Amsterdam.”20th Century StudiosBATTLEGROUND This documentary from Cynthia Lowen had its world premiere at Tribeca in June, less than two weeks before the Supreme Court handed down its decision overturning Roe v. Wade. The movie chronicles the work of anti-abortion activists who were trying to achieve that goal. (Oct. 7 in theaters)HELLRAISER The director David Bruckner (“The Night House”) resurrects a gender-swapped Pinhead (now played by Jamie Clayton) in a remake. (Oct. 7 on Hulu)LAST FLIGHT HOME The documentarian Ondi Timoner made this portrait of her father, Eli Timoner, who chose to end his life under a California law that permits certain terminally ill patients to do so. (Oct. 7 in theaters)LUCKIEST GIRL ALIVE Mila Kunis stars in this adaptation of Jessica Knoll’s 2015 novel, about a magazine writer coping with the aftermath of a sexual assault she experienced as a teenager. Knoll wrote the screenplay. Mike Barker directed. (Oct. 7 on Netflix)LYLE, LYLE, CROCODILE The titular anthropomorphic reptile of Bernard Waber’s children’s books comes to the screen as a computer-generated creation surrounded by real actors. The pop star Shawn Mendes provides his voice and sings songs by Benj Pasek and Justin Paul (“The Greatest Showman”). Javier Bardem and Constance Wu are among the actors appearing in the flesh. (Oct. 7 in theaters)Constance Wu, Javier Bardem and Winslow Fegley take a reptile for a ride in “Lyle, Lyle, Crocodile.”Sarah Shatz/Sony PicturesONODA: 10,000 NIGHTS IN THE JUNGLE This epically scaled yet cerebral biopic tells the story of Hiroo Onoda, the Japanese soldier who until 1974 labored under the delusion that World War II was still happening and continued to prosecute it in his way from an island in the Philippines. (Coincidentally, Onoda is also the subject of Werner Herzog’s recent debut novel.) Arthur Harari directed. Yuya Endo and Kanji Tsuda play Onoda at different ages. (Oct. 7 in theaters)THE REDEEM TEAM Dwyane Wade, LeBron James, Carmelo Anthony and others look back on how the United States’ basketball team won the gold in the 2008 Olympics. Jon Weinbach, a producer on the Michael Jordan series “The Last Dance,” directed. (Oct. 7 on Netflix)TÁR The actor-filmmaker Todd Field won acclaim for directing “In the Bedroom” (2001) and “Little Children” (2006) but hasn’t stepped behind the camera to make a feature since then. That changes with this film, about the (fictitious) conductor of a German orchestra. Cate Blanchett no doubt brings the requisite intensity to the title character. (Oct. 7 in theaters)Cate Blanchett as a conductor in “Tár,” directed by Todd Field.Focus FeaturesTO LESLIE Andrea Riseborough plays a Texas mom who wins the lottery, squanders the proceeds, turns to booze — then tries to get her life back in order. Allison Janney, Stephen Root and Marc Maron also star. (Oct. 7 in theaters and on demand)TRIANGLE OF SADNESS The Swedish director Ruben Ostlund won his second Palme d’Or at Cannes (his first was for “The Square” in 2017) for this sendup of the very, very, very wealthy and vain, a group that includes two models (played by Charlbi Dean, who died at 32 in August, and Harris Dickinson) and a Russian oligarch (Zlatko Buric) — all passengers on a cruise liner with a Marxist captain (Woody Harrelson). (Oct. 7 in theaters)DARK GLASSES The giallo maestro Dario Argento is still spilling blood in his 80s. His new thriller concerns a prostitute and a boy who are on the trail of a serial killer who wronged them both. Asia Argento, Dario’s daughter, has a supporting role. (Oct. 7 in theaters; Oct. 13 on Shudder)THE CURSE OF BRIDGE HOLLOW Marlon Wayans and Priah Ferguson play a father and daughter who try to save Halloween from vivified holiday decorations. (Oct. 14 on Netflix)DECISION TO LEAVE The South Korean filmmaker Park Chan-wook (“The Handmaiden”) won the best-director prize at Cannes for this labyrinthine thriller, which centers on a detective (Park Hae-il) who becomes infatuated with a woman (Tang Wei) who may or may not have murdered her husband. (Oct. 14 in theaters)Park Hae-il, left, and Tang Wei in the newest film from Park Chan-wook, “Decision to Leave.”MubiHALLOWEEN ENDS Does it really? Come now. This franchise will never end. Laurie Strode (Jamie Lee Curtis) takes one more whack at killing the killer. David Gordon Green takes one more whack at directing. (Oct. 14 in theaters)THE OTHER TOM Laura Santullo and Rodrigo Plá directed this drama about an El Paso mother who stops medicating her son for A.D.H.D. and risks losing custody of him. (Oct. 14 in theaters)PIGGY A girl (Laura Galán) who is bullied by her peers lucks out, in a way, when they are kidnapped. She has to decide whether to reveal the culprit. Carlota Pereda directed. (Oct. 14 in theaters and on demand)ROSALINE Tom Stoppard gave us “Rosencrantz and Guildenstern Are Dead.” Now Hulu gives us “Rosaline,” which in the same spirit views the events of a major play (“Romeo and Juliet”) from the perspective of a peripheral character: the Capulet girl Romeo pined for before Juliet. And in this telling, Rosaline (Kaitlyn Dever) tries to get him back. Isabela Merced and Kyle Allen play the star-cross’d lovers. (Oct. 14 on Hulu)SELL/BUY/DATE In a movie said to combine documentary and dramatization, Sarah Jones, who wrote and performed a 2016 show of the same title at City Center, investigates the nature of sex work. (Oct. 14 in theaters)SEPA: OUR LORD OF MIRACLES When it was shown at MoMA’s To Save and Project series earlier this year, this little-known 1987 documentary was billed as “having languished in a closet for 30 years.” Directed by Walter Saxer, a longtime production manager for Werner Herzog, it captures life at a penal colony in the Peruvian jungle. (Oct. 14 in theaters)Jamie Lee Curtis goes one last round — we think — with Michael Myers in “Halloween Ends.”Universal PicturesSTARS AT NOON The second English-language feature from the French director Claire Denis (and her second feature of the year, after “Both Sides of the Blade”) pivots on the relationship between an American journalist (Margaret Qualley) and a British oil company consultant (Joe Alwyn) in Nicaragua. Their sweaty trysts play out against a backdrop of international intrigue. Denis shared the Grand Jury Prize (basically second place) at Cannes this year. (Oct. 14 in theaters and on demand)TILL Chinonye Chukwu, who won the top prize at Sundance for “Clemency,” directed this biopic, centered on the efforts of Mamie Till Mobley (Danielle Deadwyler) to seek justice after the lynching of her 14-year-old son, Emmett Till (Jalyn Hall). (Oct. 14 in theaters)THE SCHOOL FOR GOOD AND EVIL The children’s book series by Soman Chainani becomes the start of a potential “Harry Potter”-esque movie franchise. Sophia Anne Caruso and Sofia Wylie star as best friends at a new (and magical) school. Charlize Theron and Kerry Washington chaperone. (Oct. 19 on Netflix)V/H/S/99 If the fifth film in this horror-anthology franchise has already reached 1999, we must be due for “D/V/D” soon. (Oct. 20 on Shudder)AFTERSUN The Scottish director Charlotte Wells’s debut was one of the big discoveries in Cannes this year. It follows a young father (Paul Mescal) and his daughter (Frankie Corio), who normally lives with her mother, on a vanishingly brief resort getaway that will lastingly shape her impressions of her dad. (Oct. 21 in theaters)ALL THAT BREATHES Shaunak Sen’s documentary, which won the top international-documentary prize at Sundance, concerns two brothers in India who work to protect and care for black kites, a type of bird. (Oct. 21 in theaters)AMERICAN MURDERER An F.B.I. agent (Ryan Phillippe) pursues a con artist (Tom Pelphrey). Idina Menzel and Jacki Weaver also star. (Oct. 21 in theaters, Oct. 28 on demand)THE BANSHEES OF INISHERIN Martin McDonagh’s new film isn’t a sequel to his “In Bruges,” but it does reunite Brendan Gleeson and Colin Farrell, who resume their acerbic bantering as two friends who no longer get along. With Kerry Condon and Barry Keoghan. (Oct. 21 in theaters)BLACK ADAM Dwayne Johnson plays the latest DC Comics character — who has the powers of Egyptian gods — to get a big-screen feature. Aldis Hodge and Pierce Brosnan co-star. Jaume Collet-Serra directed. (Oct. 21 in theaters)Dwayne Johnson makes his bow as the title character in “Black Adam.”Warner Bros.BRAINWASHED: SEX-CAMERA-POWER In a documentary version of a talk she has given, the filmmaker Nina Menkes (“Queen of Diamonds”) takes viewers through a wide variety of film clips to examine how sexism has been encoded in basic film grammar. (Oct. 21 in theaters)DESCENDANT Margaret Brown’s documentary involves the search for the Clotilda, the last-known ship that brought enslaved people to the United States, and the Mobile, Ala., residents who are descendants of those aboard. (Oct. 21 on Netflix)FACE A 2009 feature from the director Tsai Ming-liang gets a belated run in New York, as part of a retrospective of Tsai’s work at the Museum of Modern Art that was itself postponed by the pandemic. (Oct. 21 in theaters)MY POLICEMAN The lives of a policeman, a teacher and a curator intertwine in the 1950s and again in the 1990s. Harry Styles ages into Linus Roache, Emma Corrin into Gina McKee and David Dawson into Rupert Everett. Michael Grandage directed this adaptation of the novel by Bethan Roberts. (Oct. 21 in theaters, Nov. 4 on Amazon)Harry Styles and Emma Corrin in “My Policeman,” set in the 1950s and the ’90s.Parisa Taghizadeh/Amazon StudiosRAYMOND & RAY Ethan Hawke and Ewan McGregor play half brothers. Their father’s funeral offers an opportunity to figure out where they stand. Rodrigo García directed. (Oct. 21 on Apple TV+)THE RETURN OF TANYA TUCKER — FEATURING BRANDI CARLILE This documentary concerns the cross-generational friendship between the two singers of the title — Tucker a pioneering country-music star, Carlile a fan who wrote an album for her. (Oct. 21 in theaters)ROUGE The Hong Kong director Stanley Kwan’s 1988 feature — with Anita Mui as a ghost looking for the man (Leslie Cheung) she loved in the 1930s — finally gets a New York run. (Oct. 21 in theaters)2ND CHANCE Turning to documentaries, Ramin Bahrani — nominated for an adapted screenplay Oscar for “The White Tiger” — examines the legacy of Richard Davis, who devised the contemporary version of the bulletproof vest. (Oct. 21 in theaters)SLASH/BACK Aliens arrive at 66 degrees north — or more specifically, a hamlet in Nunavut where teenagers are prepared to fend them off. Nyla Innuksuk directed. (Oct. 21 in theaters and on demand)TICKET TO PARADISE Julia Roberts and George Clooney play ex-spouses who hate each other but join forces on the cusp of the wedding of their daughter (Kaitlyn Dever) to prevent her from getting married. Ol Parker directed. (Oct. 21 in theaters)VOODOO MACBETH Made by a whopping 10 directors working collaboratively, this film dramatizes the making of Orson Welles’s famed “voodoo Macbeth” production, staged in 1936 in Harlem with an all-Black cast. With Inger Tudor and, as Welles, Jewell Wilson Bridges. (Oct. 21 in theaters)THE GOOD NURSE Jessica Chastain is the title character, who investigates whether a string of patient deaths might have been murder. Eddie Redmayne plays the object of her suspicions. It’s based on a nonfiction book. Krysty Wilson-Cairns (“Last Night in Soho”) wrote the screenplay. Tobias Lindholm directed. (Oct. 26 on Netflix)Jessica Chastain is a caregiver who doesn’t necessarily trust her colleagues in “The Good Nurse.”JoJo Whilden/NetflixALL QUIET ON THE WESTERN FRONT The latest screen version of Erich Maria Remarque’s chronicle of German soldiers during World War I has the soldiers speaking their native language. (Lewis Milestone’s Oscar-winning 1930 film with Lew Ayres was in English.) The cast includes Felix Kammerer and Daniel Brühl. Edward Berger directed. (Oct. 28 on Netflix)ARMAGEDDON TIME James Gray’s latest film, filled with elements of barely veiled autobiography, centers on an artistically inclined Jewish boy (Banks Repeta) growing up in Queens in 1980, and on his friendship with a Black classmate (Jaylin Webb) who doesn’t get the same breaks he does. Anthony Hopkins plays the protagonist’s British-born grandfather, and Anne Hathaway and Jeremy Strong play the boy’s parents. (Oct. 28 in theaters)CALL JANE The second of two films to be released this year about the Jane Collective, a group of women in Chicago who provided abortions before the Supreme Court decided Roe v. Wade in 1973. “The Janes” was a documentary; this is a dramatization, with Elizabeth Banks as a woman who seeks out the group for an abortion and subsequently joins the women who run it. Sigourney Weaver co-stars. Phyllis Nagy (the screenwriter of “Carol”) directed. (Oct. 28 in theaters)HOLY SPIDER Zar Amir Ebrahimi won the best-actress prize at Cannes for playing a journalist in Iran on the trail of a serial killer the police seem to be in no hurry to catch. Ali Abbasi (“Border”) directed. (Oct. 28 in theaters)THE NOVELIST’S FILM It’s the South Korean director Hong Sangsoo’s custom to premiere two films every year. (“Walk Up,” his other 2022 offering, is playing at fall festivals.) Lee Hyeyoung plays a writer who aspires to make a movie. The Hong regular Kim Minhee co-stars. (Oct. 28 in theaters)PLEASE BABY PLEASE A couple of Lower East Siders (Andrea Riseborough and Harry Melling) witness a gang killing in the 1950s. Amanda Kramer directed. (Oct. 28 in theaters)RUN SWEETHEART RUN Long-delayed since its premiere at the 2020 Sundance Film Festival, this thriller stars Ella Balinska as a woman terrorized by her date (Pilou Asbaek). Shana Feste directed. (Oct. 28 on Amazon)WENDELL & WILD Jordan Peele and Keegan-Michael Key reunite to provide voices for two demons who try to persuade a teenager to help break them out of their demonic realm. Peele wrote it with Henry Selick (“Coraline”), who directed. Angela Bassett and James Hong are also in the vocal cast. (Oct. 28 on Netflix)Sweetie (voiced by Ramona Young) and Sister Helley (voiced by Angela Bassett) in “Wendell & Wild.”NetflixNovemberTHE BOX In Mexico, a teenager preparing to bury his father begins to wonder if his dad is still alive. Lorenzo Vigas directed. (Nov. 4 in theaters)ENOLA HOLMES 2 Millie Bobby Brown returns as a sister of Sherlock Holmes who now has a detective agency of her own. Henry Cavill, David Thewlis and Helena Bonham Carter also star. (Nov. 4 on Netflix)GOOD NIGHT OPPY “Oppy” is Opportunity, a rover that roamed Martian craters from 2004 until its “death” in 2019. This documentary tells Oppy’s story. (Nov. 4 in theaters, Nov. 23 on Amazon)I’M TOTALLY FINE Jillian Bell plays a woman who believes her best friend (Natalie Morales) has died — only to have the pal return, possibly as a space alien. (Nov. 4 in theaters and on demand)MEMORIES OF MY FATHER Fernando Trueba directed this adaptation of a book by the Colombian novelist Héctor Abad Faciolince, about the author’s father (played by Javier Cámara), a doctor engaged in political activism in the 1970s. (Nov. 4 in theaters)SALVATORE: SHOEMAKER OF DREAMS Luca Guadagnino (“Call Me by Your Name”) directed this biographical portrait of the shoe designer Salvatore Ferragamo, working from his 1955 memoir. Michael Stuhlbarg narrates. (Nov. 4 in theaters)SOMETHING IN THE DIRT The directors Aaron Moorhead and Justin Benson also wrote and star in this determinedly lo-fi and paranoid science-fiction feature. It revolves around two men who witness what they think is a supernatural occurrence, an event that sends them spinning into elaborate theorizing. (Nov. 4 in theaters, Nov. 22 on demand)UTAMA The winner of the top prize for an international dramatic feature at Sundance, Alejandro Loayza Grisi’s film is set in the Bolivian highlands, where an Indigenous couple (José Calcina and Luisa Quispe) confront the problems posed by a drought. (Nov. 4 in theaters)Luisa Quispe in “Utama,” set in the drought-stricken Bolivian highlands.Kino LorberWEIRD: THE AL YANKOVIC STORY Daniel Radcliffe dons some seriously curly locks to play the parodist singer, in a movie that is itself a parody of a biopic. (Nov. 4 on Roku)FALLING FOR CHRISTMAS A skiing accident results in amnesia (and, presumably, the possibility of a fresh start) for a vain hotel heiress (Lindsay Lohan). (Nov. 10 on Netflix)BLACK PANTHER: WAKANDA FOREVER After Chadwick Boseman’s death in 2020, Marvel Studios opted not to recast his role, King T’Challa, in this sequel to “Black Panther.” The character is dead in the new film, which concerns how Wakanda moves forward without him. It also stars Angela Bassett, Letitia Wright, Danai Gurira and Lupita Nyong’o. Ryan Coogler returns as director. (Nov. 11 in theaters)A COUPLE In a career that includes more than 40 documentaries, Frederick Wiseman has seldom made features that could qualify as dramatized. But in “A Couple,” the actress Nathalie Boutefeu, who shares screenplay credit with the director, reads adaptations of writings by Sophia Tolstoy, wife of Leo Tolstoy, to explore a famous marriage. (Nov. 11 in theaters)THE FABELMANS If Steven Spielberg’s last name evokes the idea of a story, it’s not too much of a stretch to get from there to “Fabelman” — the surname of Spielberg’s alter-ego family in an autobiographical feature inspired by his childhood. Michelle Williams, Paul Dano, Seth Rogen and Gabriel LaBelle star. Tony Kushner wrote the screenplay with Spielberg. (Nov. 11 in theaters)IS THAT BLACK ENOUGH FOR YOU?!? Elvis Mitchell, a former film critic for The New York Times, directed this documentary on the American revolution in Black filmmaking in the 1970s. Among the interviewees are the filmmaker Charles Burnett (“Killer of Sheep”), Samuel L. Jackson and Whoopi Goldberg. (Nov. 11 on Netflix)MY FATHER’S DRAGON Ruth Stiles Gannett’s 1948 children’s book — about a boy who ventures off to rescue a baby dragon — becomes an animated film directed by Nora Twomey, of the Oscar-nominated “The Breadwinner.” (Nov. 11 on Netflix)THE SON In a companion piece to “The Father,” which won Anthony Hopkins a second Oscar, this Florian Zeller film concerns, naturally, the relationship between a father (Hugh Jackman) and his troubled teenage son, who returns to his life just as he is settling in with a new son and a new partner (Vanessa Kirby). Hopkins and Laura Dern also star. (Nov. 11 in theaters)Laura Dern and Hugh Jackman are exes in “The Son.”Sony PicturesIN HER HANDS The documentarians Tamana Ayazi and Marcel Mettelsiefen assemble a portrait of Zarifa Ghafari, the mayor of the Afghan city of Maidan Shahr at the time of filming — and, not incidentally, in her 20s and a woman in a country without many women in power. The documentary follows her through American forces’ withdrawal from the country last year. (Nov. 16 on Netflix)BAD AXE That’s Bad Axe, Mich., where the documentarian David Siev’s parents, one a survivor of the Khmer Rouge regime, own a restaurant and must grapple with the economic realities of the pandemic and the protests that convulse the city in the wake of the George Floyd killing. (Nov. 18 in theaters and on demand)EO The Polish director Jerzy Skolimowski (“Deep End,” “Moonlighting”) riffs, with a bit of a hallucinatory spin, on Robert Bresson’s French classic “Au Hasard Balthazar” with the tale of an itinerant donkey who along its journeys becomes a passive witness to human cruelty. When Skolimowski shared the jury prize at Cannes, he thanked all six donkeys who played the role by name. (Nov. 18 in theaters)THE INSPECTION For his first dramatic feature, Elegance Bratton, who has worked as a documentarian and street photographer, wrote and directed this autobiographically inspired film about a gay Black man’s time in basic training in the Marines. Jeremy Pope plays Bratton’s alter ego, Bokeem Woodbine a sergeant and Gabrielle Union the protagonist’s mother. (Nov. 18 in theaters)THE MENU Mark Mylod, a regular director on “Succession,” is at the helm of this story of a couple (Anya Taylor-Joy and Nicholas Hoult) who travel to an island for an evening of molecular gastronomy and end up getting something closer to “The Most Dangerous Game.” Ralph Fiennes plays the chef. (Nov. 18 in theaters)THE PEOPLE WE HATE AT THE WEDDING Nuptials become the occasion for an airing of intrafamilial loathing and reconciliation in a comedy that stars Kristen Bell and Ben Platt as siblings and Allison Janney as the matriarch. (Nov. 18 on Amazon)SHE SAID The New York Times reporters Jodi Kantor and Megan Twohey’s book on how they broke their landmark article about sexual harassment by Harvey Weinstein gets a film adaptation. Zoe Kazan plays Kantor and Carey Mulligan plays Twohey as they try to convince women to talk on the record. Maria Schrader directed. (Nov. 18 in theaters)Carey Mulligan, left, and Zoe Kazan as reporters on the Harvey Weinstein case. JoJo Whilden/Universal PicturesSLUMBERLAND The “Red Sparrow” filmmaker Francis Lawrence directs Jason Momoa as an outlaw in a fairy tale of sorts in which he assists a girl in navigating a dream world. (Nov. 18 on Netflix)THERE THERE Working under pandemic restrictions, Andrew Bujalski (“Support the Girls”) makes a film that consists entirely of conversations; it’s best not to say anymore. Lili Taylor and Lennie James play a couple whose post-one-night-stand discourse kicks off the movie; Molly Gordon and Jason Schwartzman appear elsewhere. (Nov. 18 in theaters and on demand)DEVOTION Jonathan Majors stars as Ensign Jesse L. Brown, the first Black aviator in the United States Navy, and Glen Powell — barely out of the skies since “Top Gun: Maverick” — plays Lt. Thomas J. Hudner Jr., his partner on a dangerous mission during the Korean War. J.D. Dillard directed. (Nov. 23 in theaters)Jonathan Majors, left, and Glen Powell as aviators in the military in the 1950s. Eli Adé/Sony PicturesBONES AND ALL Timothée Chalamet bites into a meaty role as a cannibal drifter. Taylor Russell plays the woman who loves and road-trips with him in a film that reunites Chalamet with his “Call Me by Your Name” director, Luca Guadagnino. It’s based on the novel by Camille DeAngelis. (Nov. 23 in theaters)Taylor Russell, left, and Timothée Chalamet in the cannibal love story “Bones and All.”Yannis Drakoulidis/MGMNANNY Nikyatu Jusu’s debut feature, the winner of this year’s United States dramatic competition at Sundance, concerns a Senegalese immigrant (Anna Diop) who takes a job as a nanny for a wealthy white family. During the festival, Manohla Dargis wrote that the film kept her “rapt from the start with its visuals and mysteries, its emotional depths and the tight control” maintained by Jusu. (Nov. 23 in theaters, Dec. 16 on Amazon)STRANGE WORLD Disney pays tribute to 1950s science fiction movies with an animated feature about the Clade family, a clan of explorers investigating an uncharted region. Jake Gyllenhaal, Dennis Quaid and Gabrielle Union provide some of the Clades’ voices. (Nov. 23 in theaters)THE SWIMMERS Sally El Hosaini directed the opening-night film at this year’s Toronto International Film Festival, a dramatization of the story of Yusra and Sarah Mardini, two sisters from Syria. Yusra competed on the Refugee Olympic Team at the 2016 Olympics. (Nov. 23 on Netflix)The real-life sisters Nathalie, left, and Manal Issa play Syrian sisters in “The Swimmers.”Laura Radford/NetflixDISENCHANTED After finding a storybook life in New York in “Enchanted,” Giselle (Amy Adams), finds that many years later, the bloom is off the rose. So she and her husband (Patrick Dempsey) move to the suburbs. With Maya Rudolph. Adam Shankman directed. (Nov. 24 on Disney+)DecemberFRAMING AGNES Using the story of Agnes, a transgender woman who took part in studies at the University of California, Los Angeles, in the 1960s, as a jumping-off point, this combination of documentary and dramatization examines how trans history is written. (Dec. 2 in theaters)The documentary “Framing Agnes” takes a closer look at trans history.Kino LorberLADY CHATTERLEY’S LOVER This time, Emma Corrin embodies D.H. Lawrence’s unfulfilled British noblewoman. Jack O’Connell plays the gamekeeper she takes up with. Laure de Clermont-Tonnerre directed. (Dec. 2 on Netflix)SPOILER ALERT: THE HERO DIES Michael Showalter, who mined thematically similar territory in “The Big Sick,” directed this adaptation of Michael Ausiello’s memoir of a longtime relationship altered by a terminal illness. Jim Parsons, Ben Aldridge and Sally Field star. (Dec. 2 in theaters)VIOLENT NIGHT You might have thought the weirdest appearance of Santa Claus this season was by the actual democratic socialist of that name from North Pole, Alaska, who ran for a seat in Congress. But it could be in this movie, which stars David Harbour as Santa Claus, who is fortunately making his rounds when mercenaries attempt a home invasion. The “Atomic Blonde” and “John Wick” producers had a hand in this. (Dec. 2 in theaters)WOMEN TALKING Women in a religious colony wrestle with their beliefs after a series of sexual assaults by the men. Sarah Polley directed and wrote the screenplay for this adaptation of Miriam Toews’s novel. The cast is formidable: It features Rooney Mara, Claire Foy, Jessie Buckley and Frances McDormand, among others. (Dec. 2 in theaters)From left, Michelle McLeod, Sheila McCarthy, Liv McNeil, Jessie Buckley, Claire Foy, Kate Hallett, Rooney Mara and Judith Ivey in “Women Talking.”Michael Gibson/Orion ReleasingTHE WONDER When an 11-year-old girl in the Irish Midlands seems to live for months without eating food, a British nurse (Florence Pugh) investigates. Sebastián Lelio (“A Fantastic Woman”) directed this adaptation, set in the 19th century, of a novel by the “Room” author Emma Donoghue. (Dec. 7 on Netflix)EMPIRE OF LIGHT The writer-director Sam Mendes, reuniting with the cinematographer Roger Deakins (who has hopefully gotten some rest after the gymnastics of “1917”), directs what is described as story about the “magic of cinema.” It’s set in Britain in the 1980s. Olivia Colman and Micheal Ward star. (Dec. 9 in theaters)GUILLERMO DEL TORO’S PINOCCHIO The “Nightmare Alley” filmmaker, who shares directorial credit (if not the title) with the animation director Mark Gustafson, mounts a stop-motion version of the story of the puppet who became a boy. Gregory Mann, Ewan McGregor and Tilda Swinton are in the vocal cast. (Dec. 9 on Netflix)SOMETHING FROM TIFFANY’S “And I said, ‘What about ‘Something From Tiffany’s’?” Zoey Deutch stars in a comedy about an errant engagement ring. Daryl Wein directed. (Dec. 9 on Amazon)THE WHALE The plot of Darren Aronofsky’s latest movie bears more than a slight resemblance to that of his film “The Wrestler” (2008). Brendan Fraser plays an overweight teacher who wants to make amends with his estranged daughter (Sadie Sink, from “Stranger Things”). Samuel D. Hunter wrote the script, adapting his own play. (Dec. 9 in theaters)Brendan Fraser is a father hoping to reconcile with his daughter in the drama “The Whale.”A24A MAN CALLED OTTO In what, after “Elvis,” is turning out to be a year of stunt casting for America’s most affable actor, Tom Hanks has to be convincing as, get this, a curmudgeon, albeit one who thaws a bit when he meets a new neighbor. Mariana Treviño also stars. Marc Forster directed. (Dec. 14 in theaters)AVATAR: THE WAY OF WATER It is now 2022. More years have elapsed between the release of “Avatar” (2009) and this much-awaited sequel than had elapsed between “Avatar” and “Titanic” (1997) — and that was considered a very long gap. Is James Cameron working faster or slower than the technology evolves? He’d better pick up the pace on “Avatar 3” if he hopes to finish it while movie theaters still exist. (Dec. 16 in theaters)BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS Alejandro G. Iñárritu’s feature “Birdman,” was subtitled “The Unexpected Virtue of Ignorance.” But as a phrase, “False Chronicle of a Handful of Truths” definitely rivals that in sheer opacity. The film’s plot involves a journalist who returns to his native Mexico, where he is, per the official summary, pushed to “an existential limit.” Daniel Giménez Cacho stars. (Dec. 16 on Netflix)THE VOLCANO: RESCUE FROM WHAKAARI Rory Kennedy, the documentarian who earlier this year made a case (or, rather, a movie) against Boeing, memorializes a deadly volcanic eruption that occurred in New Zealand in 2019. (Dec. 16 on Netflix)I WANNA DANCE WITH SOMEBODY Naomi Ackie stars as Whitney Houston in this biopic of the soaring-voiced pop star. Stanley Tucci plays the architect of her career Clive Davis, who is one of the movie’s producers. Kasi Lemmons directed, from a screenplay by Mr. Biopic, Anthony McCarten (“Bohemian Rhapsody,” “Darkest Hour,” “The Theory of Everything”). (Dec. 21 in theaters)PUSS IN BOOTS: THE LAST WISH Antonio Banderas once again lends his voice to the footwear’d feline — not the fairy-tale character, exactly, but a part of the extended “Shrek” cinematic universe. Olivia Colman and Salma Hayek Pinault purr alongside him. (Dec. 21 in theaters)CORSAGE Technically, in 1878, Empress Elisabeth of Austria (Vicky Krieps) could not have heard “As Tears Go By” with a harp as instrumentation — or, for that matter, been photographed as a movie subject on flexible film. (This was still the era of plates.) But these sorts of anachronisms crop up periodically throughout the director Marie Kreutzer’s interpretation of Elisabeth’s life. (Dec. 23 in theaters)GLASS ONION: A KNIVES OUT MYSTERY Daniel Craig’s Benoit Blanc, the detective with a French name and a Foghorn Leghorn drawl, as a character in “Knives Out” put it, has another mystery on his hands. The cast (and, probably, suspect list) includes Edward Norton, Janelle Monáe, Leslie Odom Jr., Kathryn Hahn and Jessica Henwick. (Dec. 23 on Netflix)LET IT BE MORNING A Palestinian man returns to the village of his upbringing for a wedding, and he is trapped there, with the rest of the residents, when Israeli forces blockade the area. Eran Kolirin directed this adaptation of a novel by Sayed Kashua. (Dec. 23 in theaters)LIVING The director Oliver Hermanus and the novelist Kazuo Ishiguro, serving here as the screenwriter, remake Akira Kurosawa’s “Ikiru” in an idiom not wildly removed from that of Ishiguro’s “The Remains of the Day.” Bill Nighy plays a postwar civil servant in London whose great ambition, after receiving a terminal diagnosis, is to build a playground. Aimee Lou Wood and Tom Burke co-star. (Dec. 23 in theaters)Bill Nighy is a buttoned-up civil servant facing the end of his life in “Living.”Ross Ferguson/Sony Pictures ClassicsTHE PALE BLUE EYE Adapted from the novel by Louis Bayard, this is the second fall film set against the backdrop of Edgar Allan Poe’s formative years at West Point. Like “Raven’s Hollow” (see above), “The Pale Blue Eye” has the precocious Poe finding himself in the middle of a mystery. Harry Melling plays Poe, Christian Bale is a detective, and Gillian Anderson and Lucy Boynton co-star. Scott Cooper (“Black Mass”) directed. (Dec. 23 in theaters)BABYLON The writer-director Damien Chazelle returns to La La Land — or, more precisely, Hollywood — to imagine the drama that unfolded in the movie industry during the transition to sound. Brad Pitt, Margot Robbie and Diego Calva have their names on the marquee. (Dec. 25 in theaters)ROALD DAHL’S MATILDA THE MUSICAL The stage musical version of Dahl’s novel gets the screen treatment (with the same director, Matthew Warchus). Alisha Weir plays the title character and Lashana Lynch the warmhearted Miss Honey. Emma Thompson — whose fat suit has already prompted chatter over questions of representation — plays the gorgonlike Miss Trunchbull. (Dec. 25 on Netflix)THEY CLONED TYRONE John Boyega, Jamie Foxx and Teyonah Parris play characters who stumble on some sort of government conspiracy. It’s a secret, even from us, but an educated guess is that it involves someone named Tyrone getting cloned. Juel Taylor directed. (Dec. 30 on Netflix)TURN EVERY PAGE Lizzie Gottlieb, daughter of the famed editor Robert Gottlieb, directed this portrait of her father and his friendship with Robert A. Caro, who is still toiling away on the final volume of his multi-book Lyndon Johnson biography, a volume that Gottlieb, in his 90s, hopes to edit. (Dec. 31 in theaters)WHITE NOISE Adam Driver plays the chairman of a college department in the field of “Hitler studies”; Greta Gerwig is his wife, who may be experiencing strange memory lapses. Together, with children from other marriages and the TV always humming, they confront environmental disaster and their fear of mortality in Noah Baumbach’s adaptation of Don DeLillo’s 1985 postmodern novel. Don Cheadle and Raffey Cassidy co-star. (Dec. 30 on Netflix)Adam Driver stars in “White Noise” alongside, from left, Greta Gerwig, May Nivola, Sam Nivola and Raffey Cassidy.Wilson Webb/NetflixCompiled with the assistance of Gabe Cohn and Shivani Gonzalez. More

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      ‘The Anthrax Attacks’ Review: Strange Behavior and an Incriminating Flask

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      This documentary by Dan Krauss revisits the case against a scientist the F.B.I. maintained was responsible for a series of bioterrorism attacks after Sept. 11.In the weeks following the attacks on Sept. 11, 2001, news organizations and two United States senators were sent letters that contained deadly anthrax spores. These bioterrorist attacks killed five people and sickened at least 17 others. In 2010, the Federal Bureau of Investigation closed the case and continued to maintain that the perpetrator was Bruce E. Ivins, an Army biodefense expert who killed himself in 2008 as preparations to indict him were underway.In “The Anthrax Attacks,” the director Dan Krauss (the 2014 documentary “The Kill Team,” which he later reworked into a dramatized feature) takes viewers through the investigation. While much of the movie plays as a standard documentary — it features interviews with scientists, former F.B.I. agents, victims of the attacks and the sister of a postal employee who died — it makes substantial use of re-enactments.The actor Clark Gregg stars as Dr. Ivins, and a title card says that his words were taken directly from Ivins’s emails. As portrayed in the documentary, Dr. Ivins was operating under the investigators’ noses. His strange behavior, the timing of his lab activities and his access to an incriminating flask are all held out as evidence against him, although the evidence, the film notes, was also largely circumstantial and lacked a firm link between Dr. Ivins and the mailings themselves.Still, it is slightly sneaky for the film to set up Dr. Ivins as the obvious suspect by making him the film’s center — and by having Gregg play him as an officious, mild-mannered weirdo — only to raise doubts toward the end, in particular pointing to a 2011 report that said the available scientific evidence did not make it “possible to reach a definitive conclusion about the origins of the anthrax.” Many documentaries have dealt with real-life ambiguity by making it part of their structure and argument. This one treats it as an afterthought.The Anthrax AttacksNot rated. Running time: 1 hour 34 minutes. Watch on Netflix. More

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      ‘The Bengali’ Review: A Woman Reconnecting to Her Roots

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      In this travelogue-meets-mystery documentary, a granddaughter seeks out her grandfather’s past.“The Bengali” documents the parallel journeys of Shaik Mohamed Musa, a Bengali man who leaves his village in India for New Orleans in 1893, and that of his African American granddaughter, Fatima Shaik, who travels from New Orleans to India well over a century later.In telling the story mostly through candid interviews with the modern-day residents of Khori, the village the elder Shaik left behind, the director, Kavery Kaul, captures the inconvenient realities the younger Shaik faces — realities that diverge from her vision of a storybook homecoming where she can bend down to touch the land her grandfather once owned. In this travelogue-meets-mystery documentary, Shaik, a novelist, shows her grandfather’s picture to villagers who have never heard of him, and who question whether this American visitor has pure motives.Viewers could easily walk away from “The Bengali” thinking the Shaik family’s story is an anomaly unique to New Orleans. But it actually isn’t. It’s part of a newly recovered body of history about a smaller wave of Indian immigration to America before the landmark 1965 Immigration and Nationality Act. In the early 20th century, Indian men came to U.S. cities as solo workers and, subject to America’s racial hierarchy, often married Black and Puerto Rican women (like Fatima’s grandmother Tennie Ford, who is African American).This significant omission from “The Bengali” underlines that, despite an intriguing premise, what Kaul actually wants to say here is in need of a lot more fleshing out. The documentary meanders from scene to scene without sufficient dramatic tension (or relevant historical context) to propel it forward into denouement.As much of the film is Shaik essentially journaling aloud in direct-to-camera interviews or in voice-over alongside stiff kitchen table scenes with her family, the visuals land as inconsequential. In other words, this feature-length documentary probably should have been a podcast.The BengaliNot rated. Running time: 1 hour 12 minutes. In theaters. More

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      ‘Hold Me Tight’ Review: An Étude in the Key of Grief

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      In Mathieu Amalric’s new film, Vicky Krieps plays a mother who tries to stay close to her family by running away.Early one morning, Clarisse (Vicky Krieps) slips out of the house, climbs into the 1979 AMC Pacer that has been languishing under a tarp, and drives away, leaving behind her husband, Marc (Arieh Worthalter), and their two young children, Lucie (Anne-Sophie Bowen-Chatet) and Paul (Sacha Ardilly).This act of maternal abandonment, at the beginning of Mathieu Amalric’s “Hold Me Tight,” stirs up some familiar emotions and questions. What is Clarisse running away from, or toward? Is this liberation or betrayal? The answers aren’t what you might expect. “Hold Me Tight” doesn’t depend on plot twists or dramatic revelations — the central mystery is resolved early on — but if you don’t want the beginning spoiled you may hesitate to read further.This isn’t a movie about wanderlust or marital discontent; it’s about grief. Clarisse isn’t merely unhappy. Her world has been shattered, and her flight represents a desperate attempt to put it back together. She runs away from her family because she has already lost them, to a deadly avalanche during a ski vacation in Spain. Her departure keeps Paul, Lucie and Marc alive, in her mind and in front of our eyes, in a chronology that runs parallel to her wanderings.They go on without her, the years of their lives filling the months she spends on the road, revisiting the scene of her family’s death and drifting from town to town. The kids grow up, with new actors (Juliette Benveniste and Aurèle Grzesik) playing the older versions. Lucie, a gifted musician, is an especially vivid presence. Her piano playing, which progresses from a halting attempt at Beethoven’s “Für Elise” to a commanding rendition of Ligeti’s “Musica Ricercata,” is an important element in the film’s story and a driver of its moods. Bowen-Chatet and Benveniste both actually play the music, which lends gravity and credibility to the character. “My daughter is Martha Argerich,” Clarisse declares after seeing some of a documentary about that Argentine virtuoso. For a moment, it sounds less like a fantasy born of bereavement than like a proud mother’s wishful boast.Do Clarisse’s projections of the family’s life without her represent a coping mechanism or a form of denial? Amalric, adapting a play by Claudine Galea, seems less interested in the psychological implications of Clarisse’s behavior than in the structural and formal challenges her situation presents. He doesn’t mark a boundary between the real and the unreal, but rather treats them as equivalent, cutting from Clarisse to her family as if they were separated only by geography.This generates a particular kind of suspense, as you wonder whether and how the two strands of the story might collide, and to what effect. When the climax arrives, it’s unnerving but also tidy. For all the intensity of Krieps’s performance and the power of the piano repertoire, “Hold Me Tight” proceeds through the mourning process with a strange detachment, using Clarisse’s agony as scaffolding for ideas about memory and storytelling that seem more imposed on life than pulled from it.Hold Me TightNot rated. In French and German, with subtitles. Running time: 1 hour 37 minutes. In theaters. More

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      ‘Clerks III’ Review: From the Heart

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      Kevin Smith revisits his convenience store characters, and his life, with this sequel.These days more than ever, personal filmmaking deserves to be celebrated merely for manifesting itself. Which doesn’t mean that personal filmmaking doesn’t come in some confounding forms.From his first feature, the very low-budget, black-and-white “Clerks” (1994), the writer-director Kevin Smith has only ever made movies about himself. Not just himself as a person, but himself as a sensibility: quick-witted, working-class, pop-culture-obsessive wiseass Jersey boy. In “Clerks” he put it across perfectly. In the film’s second sequel, “Clerks III,” he is not nearly as deft.Paradoxically, some of this is because of Smith’s relative maturity. A husband and a father and a heart attack survivor who is now 52, he’s got more on his mind than being a wiseass. Instead of following up the 2006 film “Clerks II” with more of that picture’s profane exuberant absurdity, he brings back Dante and Randal and Jay and Silent Bob and does some stocktaking.The movie is bouncy at first, though the actors Brian O’Halloran and Jeff Anderson, so rawly naturalistic in the earlier movies, here seem like they’re doing bits. Still, three words characterize the first third or so of the picture: not funny enough. As in, a new character is nicknamed Blockchain. Which is funnier than that character nicknamed Podcast in the most recent “Ghostbusters” movie, but, you know.Randall has a heart attack, and, realizing he has to make something of his life, decides to direct a movie. About, yes, working at a convenience store. Not funny enough turns to often not funny, a star-studded audition scene (Ben Affleck! Danny Trejo! Freddie Prinze Jr.!) notwithstanding.While Smith has often broken the fourth wall in his pictures, here he uses the make-a-movie plot to go big-time meta. But his idea of meta fails to split the difference between the Marvel Cinematic Universe and the French New Novel. It has more the manner of a pinball in a machine that’s about to enter tilt mode.For instance, at one point the trench-coated Silent Bob, played as ever by Smith, breaks character and, as Smith the filmmaker, lectures Randal about the hideous color scheme of a shot he’s framing. The joke falls flat, and not just because Smith’s visual mode is rarely mistaken for that of “The Red Shoes.”The wobbly ending combines the confounding and frequently schticky meta mode with the forced sentimentality of that Nicole Kidman AMC Theaters promo. My rooting interest in Smith notwithstanding (full disclosure: I, too, am a wiseass Jersey boy), it made me wince.Clerks IIIRated R. It’s a Kevin Smith movie. Running time: 1 hour 55 minutes. In theaters. More