The Movies to Watch This Week

Does “Mission: Impossible — Fallout” make the cut?


Each week, the Village Voice reviews the dozen or so films that open in theaters both locally and nationwide. Because we understand that you probably won’t read every single one of these reviews (although we think you should give it a try), here’s the definitive guide to what you should watch.

You Should Definitely Watch


“A cinematic centrifuge of acrobatic stunt work, breakneck chases, and immersive action, Mission: Impossible — Fallout is a perfectly calibrated piece of filmmaking that plays the viewer like a drum right from the start. Here’s a goofy dream vision to catch you up on the important emotional stakes. Got that? Good. Now, here’s some impenetrable blather to let you know that, yeah, it’s OK just to sit back and enjoy the ride.” — Bilge Ebiri (full review)


“In exploring the differences between Clara, a Brazilian of African descent whose nursing career was thwarted, and Ana, shamed by her family and suffering in opulent isolation, Rojas and Dutra (Hard Labor) dissect ingrained social disparities that persist even when the women develop a relationship that shatters conventional barriers.” —Serena Donadoni (full review)


“The moment Herold (Max Hubacher) finds a Nazi captain’s uniform in the back of an abandoned car, his demeanor morphs. His chubby cheeks seem slimmer somehow, his cheekbones more pronounced, his back straightened, as though he’s dropped whatever weight of hunger and fear had once hunched him over. Hubacher’s performance is a masterful physical feat.” — April Wolfe (full review)

Worth Watching


“[John] Hanson and [Rob] Nilsson’s arresting Prairie Trilogy, a feature-length assemblage of three shorts created in the late 1970s, capture the moment when the history of Dakota socialism was fading from memory, a time when even some of the old-timers who once fought for farmers were now griping about people on welfare.” — Alan Scherstuhl (full review)

The Rest

KILLER BEES: “Directors/brothers Ben and Orson Cummings aspire to shine a light on the Hamptons as a microcosm of how our society lavishes and enables the haves and ignores the have-nots. Unfortunately, the narrative focus constantly shifts and never coalesces.” — Craig D. Lindsey (full review)

14 CAMERAS: “Unfortunately, [Neville ] Archambault’s churlishly over-the-top performance makes it impossible to take 14 Cameras seriously, no matter how you interpret Gerald’s actions.” — Simon Abrams (full review)

DEAD NIGHT: “Too bad, then, that Dead Night‘s characters lack personality. All we really know about its two ill-fated teen girls is that one is slightly more “bad” because she smokes and has dark hair, while the other is a blonde who wants to call home.” — Abbey Bender (full review)

HOT SUMMER NIGHTS: “[Director Elijah] Bynum also makes a lot of corny choices — jump cuts to mirror drug-addled paranoia, saccharine needle drops, and inserts of photos that force-feed you nostalgia.” — Kristen Yoonsoo Kim (full review)

93QUEEN: “Watching Ruchie [Frier] rally her troops and overcome Hatzolah’s mafioso-like scare tactics is engaging, but the dramatic moments feel staged and are undercut with obvious late inserts.” — Jordan Hoffman (full review)

DETECTIVE DEE: THE FOUR HEAVENLY KINGS: “The equally thrilling and exhausting Hong Kong martial arts fantasy Detective Dee: The Four Heavenly Kings boasts more inventive weapons, monsters, and plot twists than most Western audiences will know what to do with.” — Simon Abrams (full review)

THE BLEEDING EDGE: “Prepare to be scared shitless of vaginal mesh or high-tech surgery robots. Through a series of personal stories from both qualified medical professionals and laypeople, the film explores just what exactly the word complications means on a device’s warnings.” — April Wolfe (full review)

Film Series

THE FEMALE GAZE, Film Society of Lincoln Center: “Featuring 36 movies shot by 23 women, this summer series runs the gamut from mainstream blockbusters (like Ryan Coogler and Michael B. Jordan’s Rocky spin-off Creed) to international art-house films (like Bertrand Bonello’s House of Tolerance, about the final days of an upscale Parisian brothel at the end of the nineteenth century).” —Tatiana Craine (full review)

THE FUTURE OF FILM IS FEMALE, Museum of Modern Art: “The program is a beautiful vessel allowing us to collectively grapple with, applaud, and support the future of women in filmmaking and storytelling.” — Fariha Róisín (full review)

LGBTQ BRAZIL, Museum of the Moving Image: “That these contemporary LGBTQ movies were made in Brazil is timely and of the utmost importance. Although the gay community has great visibility there, and gay marriage enjoys legal status … the opposition to alternative lifestyles, perspectives, and identities is only getting worse under the conservative government currently in power. In this context, the Museum of the Moving Image’s two-day series ‘LGBTQ Brazil’ — curated by Ela Bittencourt (a Voice contributor) and co-presented by Cinema Tropical — couldn’t be more necessary.” — Tanner Tafelski (full review)

Recommended and Still in Theaters

  1. WANDA