THE BRUTALIST

The task of enduring all 215 minutes of director Brady Corbet’s latest drama may seem too much for some, but those brave souls who take the plunge will be rewarded with one of the best film experiences of the year. Spanning decades and packed with period detail, the film begins with gifted architect Laszlo Toth (Adrien Brody) arriving in America shortly after World War II. Being an immigrant in a foreign land doesn’t give him many options but his plan is simple, find steady work and send for his family when he’s in a more stable position. That proves complicated as a dream opportunity to create a one-of-a-kind structure puts Toth on a collision course to sell his soul to an uncaring and very wealthy master (Guy Pearce). The true price of the American dream is on full display in “The Brutalist” and Corbet’s narrative shows its many highs and devastating lows. Equally arresting is Brody’s bold and unflinching performance, marking one of the high points of his already accomplished career.

the fire inside

If you’ve seen a sports movie based on a true story, you’ll immediately recognize the A-B-C pattern of the athlete who must overcome all odds to persevere in the end. In this case, the athlete is real-life boxer Claressa Shields (played by Ryan Destiny) and that goal is to win Olympic gold. But what makes “The Fire Inside” stand apart from most movies in its genre is the wise filmmaking decision to also focus on what happens after you’ve accomplished that monumental goal. That’s the real story we rarely get to see and renowned cinematographer Rachel Morrison (“Black Panther”) uses that angle to great effect in her directorial debut. It also doesn’t hurt that she’s armed with a script by “Moonlight” director Barry Jenkins, who together form a complicated portrait of what it means to live your life after you’ve achieved greatness.

heretic

Mormon teenagers Paxton (Chloe East) and Barnes (Sophie Thatcher) have been eager to continue their door-to-door service spreading faith amidst very gloomy weather. Equally eager is Mr. Reed (Hugh Grant), the latest recipient of the girls’ attention and a uniquely suited sparring partner for religious conversation. What begins as a friendly invitation inside his home for some light conversation and blueberry pie quickly turns sinister, pitting the two teens heads-to-head with their true beliefs. Is Mr. Reed genuinely crazy or does he have good points about society and religion despite traumatic ways of getting his points across? Writer-directors Scott Beck and Bryan Woods (previously known for writing the “Quiet Place” movies) have fun playing with religious tropes but Grant is the one fully sinking his teeth into the material. His current genre hot streak keeps getting better and better and “Heretic” proves to be one of his wildest performances to date.

nightbitch

The complicated horrors of motherhood are at the heart of the surreal “Nightbitch,” a movie that asks how much is too much sacrifice before you literally go insane. Amy Adams is the film’s star and is only identified as “Mother,” a restrictive technique meant to signal the outrageousness to come. Positioned as overworked but satisfied, Mother’s joy quickly fades as overstuffed mommy groups and the growing demands of a child overpower the fragile sense of self she has left. Her constantly traveling husband (Scoot McNairy) is no help, leaving our protagonist to stress out even more before noticing unique body changes that will turn the film’s narrative upside down. Director Marielle Heller (“Can You Ever Forgive Me?”) doesn’t give in to body horror clichés, instead focusing on Mother’s fraught mental state and using it as a smart commentary on the lonely dog eat dog nature of parenthood.