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  • Annabelle Comes Home
  • Annabelle Comes Home (R)

    The third spin-off about the cursed doll from The Conjuring horror franchise, this sequel to Annabelle: Creation (2017) takes the series inside the Connecticut home of paranormal investigators Ed and Lorraine Warren (Patrick Wilson, Vera Farmiga) during a 24-hour period when the couple goes out of town and leaves their psychic ten-year-old daughter (Mckenna Grace, Captain Marvel) in the care of a perky and very resourceful high-schooler (Madison Iseman). more...
  • Yesterday
  • Yesterday (PG-13)

    Director Danny Boyle (Slumdog Millionaire) and screenwriter Richard Curtis (Love Actually) have divergent cinematic sensibilities, but they meld well enough in this bittersweet, slightly wacky musical fantasy rom-com about an alternative universe where the Beatles never existed. more...
  • Shaft
  • Shaft (R)

    The franchise that began with Gordon Parks's groundbreaking 1971 blaxploitation hit starring Richard Roundtree as ultra-cool private detective John Shaft gets an appealing reboot in this lively action comedy that unites three generations of NYC crime fighters out to bust some murderous drug dealers and settle some personal scores. more...
  • Brightburn
  • Brightburn (R)

    A cure for superhero movie fatigue, this lean, gory horror film from producer James Gunn (Guardians of the Galaxy) appropriates and subverts the Superman origin story while also cribbing from Carrie and stalker flicks for a mash-up which nonetheless has a coherent narrative and pays off with a bang. more...
  • Amazing Grace
  • Amazing Grace (NR)

    Director Sydney Pollack's long-shelved film of two January 1972 gospel concerts headlined by Aretha Franklin at the New Temple Missionary Baptist Church in Watts, then the cultural epicenter of Black LA, has been completed by codirector Alan Elliott following the deaths of Pollack in 2008 and Franklin ten years later. more...
  • The Best of Enemies
  • The Best of Enemies (PG-13)

    A bevy of sterling performances and writer-director Robin Bissell's crackling screenplay (based on Osha Gray Davidson's nonfiction book, The Best of Enemies: Race and Redemption in the New South) propel this civil rights-era drama into the arena of significant American political movies. more...
  • Shazam!
  • Shazam! (PG-13)

    Comic book buffs know that the DC superhero Shazam was originally named Captain Marvel when he was a mid-20th century top-selling brand for Fawcett Publications, which was forced to retire the character in 1954 after a lengthy copyright infringement case based on charges of plagiarizing Superman. more...
  • An Acceptable Loss
  • An Acceptable Loss (R)

    Shot in Chicago and on Northwestern University's Evanston campus, this speculative political thriller stumbles through most of its first hour, during which a disgraced former national security analyst (Tika Sumpter) comes out of retirement to accept a distinguished academic appointment, only to arouse protests and attract the sinister attention of a furtive graduate student (Ben Tavassoli). more...
  • The Kid Who Would Be King
  • The Kid Who Would Be King (PG)

    Although not in the league of bracing adult fare like John Boorman's Excalibur (1981), this child-centric update of Arthurian lore outclasses Guy Ritchie's King Arthur: Legend of the Sword (2017) by relying more on heart than bombastic CGI. more...
  • Marianne & Leonard: Words of Love
  • Marianne & Leonard: Words of Love (NR)

    Nick Broomfield is a daring, edgy British filmmaker with a reputation for bluntness, but in this, his latest documentary, he reveals a warmer personal side because he intimately knew one of his subjects, Norwegian single mom Marianne Ihlen, who became Canadian poet and author Leonard Cohen's lover and muse in 1960. more...
  • Photograph
  • Photograph (PG-13)

    After two satisfying 2017 English-language dramas, The Sense of an Ending and Our Souls at Night, director Ritesh Batra returns to his native India for this low-key, exquisitely shot love story. more...
  • Storm Boy
  • Storm Boy (PG)

    A variation on the classic boy-and-his-dog (or a girl-and-her-horse) stories, this Australian family drama centers on a kid and his pelicans. more...
  • High Flying Bird
  • High Flying Bird

    Directed, shot, and edited by Steven Soderbergh, this cerebral Netflix original is an even more incisive drama about the business of sports than Moneyball. more...
  • The Mustang
  • The Mustang (R)

    The simple, lean narrative and the starkness of its setting lend a mythic quality to this moving contemporary drama about finding redemption and a meaningful life. more...
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