ANORA

Sex workers have dominated writer-director Sean Baker’s short but powerful career. Films like “Tangerine,” “The Florida Project” and “Red Rocket” have made the argument that sex is an unapologetic part of society and Baker’s latest is no exception. It stars breakout sensation Mikey Madison (“Once Upon A Time in Hollywood”) as the titular “Anora,” a young sex worker who thinks she’s hit the big time when a rich and like-minded customer offers to buy a few days of her time. That whirlwind romance eventually leads to a haphazard wedding in Las Vegas, forcing the young boy’s well-connected and dangerous parents to pressure the in-over-their-heads couple for an immediate annulment. The consequences of this entire mess are what make “Anora” soar into a fun and deranged fairytale, a movie that takes falling in love seriously, even if the road to happiness is paved with thorns and miscommunication.

HORIZON: AN AMERICAN SAGA

Much has already been written about Kevin Costner’s ambitious directorial project. How much did it cost and did he really finance it himself? Is it actually going to span four whole movies? Those are all valid questions but at the end of the day the only thing to ask is does this first three-hour segment of a larger story work on its own and the simple answer is yes. “Horizon: An American Saga” has some serious bumps along its running time but Costner’s commitment to character development is on full display, sometimes to a fault. Juggling several characters and storylines told against the backdrop of the American west, there’s a lot to consume in “Horizon” but it never feels completely without purpose. Costner’s own ego also seems to have matured here as most feared we might be in for some serious “Waterworld” and “The Postman” self-indulgence. The movie works just right on its own but also opens the door to anticipate the next installment of this western saga.

KINDS OF KINDNESS

Normal is not in director Yorgos Lanthimos’ vocabulary. Movies like “Dogtooth,” “The Lobster” and last year’s “Poor Things” suggest a filmmaker who likes to provoke audiences and even when he tries to make something more conventional like “The Favourite,” there’s still a cynical charm sprinkled throughout. “Kinds of Kindness” isn’t shy about any preconceived notions, in fact it embraces them. Sex, obsession and cruelty are on the menu for Lanthimos’ latest triptych of stories and patience will vary based on your assessment of his previous work. New and returning cast members include Emma Stone, Willem Dafoe, Jesse Plemons and Hong Chau, all playing seemingly different repulsive characters but fundamentally tied together through vicious circumstances. “Kinds of Kindness” will be a tough watch for some but wickedly rewarding for those seeking something different.

MEGALOPOLIS

Drama, science-fiction, comedy and romance are only some of the cinematic flavors blended into the very interesting mess that is Francis Ford Coppola’s “Megalopolis.” The film is self-described as a fable and its ambitions are impossible to ignore, telling a story of redemption and rebuilding after an almost world-ending devastation. The building blocks for a moving story are there, including an all-star cast led by Adam Driver and backed up by writer-director Coppola, who has finally gotten the chance to make his dream project after forty years. After waiting so long it’s no wonder the legendary filmmaker wasted no chance to cram as much as possible into this elaborate and often pleasing experiment. The film’s hiccups are nowhere near its cinematic highs which makes this creative swing something to admire and demand more of.

THE SUBSTANCE

Sexism and ageism are at the heart of “The Substance,” a film that asks what if you were fighting those two prominent societal taboos within yourself? To explain, Elisabeth Sparkle (Demi Moore) has just been fired from her daytime television show for simply being too old for the network. They’re moving in a different direction and she’s not it. But after mysteriously being slipped a mysterious concoction that promises a too-good-to-be-true youthful appearance, Elisabeth will grotesquely find out that her new youthful self (Margaret Qualley) has demented plans of her own. “The Substance” may be several minutes too long but that shagginess is made up for by an inventive and squirm-inducing commentary on beauty and societal norms. The film’s final act is a particular blend of body horror campiness and those who’ve seen director Coralie Fargeat’s previous film, 2017’s “Revenge,” will recognize her brand of fun and bloody empowerment.