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Best Movies of 2. So Far)Fall is upon us, meaning it’s now definitely time to begin celebrating the finest movies that have so far made their way to the multiplex and the art house. After eight months, moviegoers have been gifted with a bounty of great blockbusters, indies and documentaries, proving that filmmakers are continuing to find new ways —both big and small—to entertain, excite and enlighten. Advertisement - Continue Reading Below. No doubt there are numerous gems to come in the months ahead, given that by the holidays, we’ll have the latest works from acclaimed directors like Paul Thomas Anderson and Steven Spielberg (to name just two). For now, however, these are our current picks for the best films of 2.

Advertisement - Continue Reading Below. Advertisement - Continue Reading Below. Get Out. Be it the early sight of a car pulling up alongside an African- American man, or a photo of an angry dog being held on a tight leash, the color white spells doom in Jordan Peele's social- commentary horror hit Get Out—albeit ultimately in unexpected ways. Surrounded by his white girlfriend Rose's (Allison Williams) Obama- loving family and their friends during a weekend getaway at their rural estate, Chris (Daniel Kaluuya) finds himself increasingly uncomfortable, especially after a series of encounters with fellow African- Americans (the household's staffers, a young boyfriend of a much older white woman) make him suspect that something is scarily amiss. The story's climactic revelations are indebted to The Stepford Wives, Invasion of the Body Snatchers, and Rosemary's Baby, and yet are given a fresh of- the- moment twist by Peele's razor- sharp script, which cleverly locates the means by which liberals' pro- black attitudes function as a type of appropriation- esque intolerance.

As impressive as its racial- dynamics critique, however, is its formal dexterity; from its malevolent pacing to its terrifying imagery (especially of . Rent/buy on Amazon and i. Tunes. Advertisement - Continue Reading Below. Advertisement - Continue Reading Below. Logan Lucky After a four- year cinematic “retirement,” director Steven Soderbergh makes a welcome return to the big screen with Lucky Logan, which operates as a southern- fried, Pabst Blue Ribbon- fueled variation on his Ocean’s Eleven heist trilogy. Pulling off this elaborate caper are Jimmy (Channing Tatum) and Clyde Logan (Adam Driver), two working- class brothers who’ve had it stuck to them by the Man—Jimmy’s lost his construction job due to insurance- regulation issues stemming from an injury; Clyde is missing a hand because of an Iraq tour of duty—and decide to strike back by robbing the Charlotte Motor Speedway during its biggest race of the year, the Coca- Cola 6.

Enlisting the aid of their sister (Riley Keough), a demolitions expert known as Joe Bang (Daniel Craig, stealing every scene he’s in), and involving a host of others as well (including Katie Holmes, Katherine Waterston, Dwight Yoakam, Seth Macfarlane and Hilary Swank), the ensuing robbery is a madcap affair that’s as stylishly orchestrated as it is comically suspenseful. It’s the summer’s breeziest multiplex confection. Pre- order on Amazon. Advertisement - Continue Reading Below. Advertisement - Continue Reading Below.

The Ornithologist It helps to have some working knowledge of Saint Anthony of Padua—the 1. Catholic priest who became the patron saint of lost things—if you want to fully grasp Jo. Then again, this heady spiritual import is best experienced with next- to- no preparation, the better to tumble headfirst into its bewildering raft of pious and profane imagery. The story of a Portuguese bird- watcher who, during his time out in the wild, encounters (among other things) two Chinese female hikers who want to castrate him and a young shepherd named Jesus who wants to sleep with him, Rodrigues' film is a deeply allegorical descent down a biblical rabbit hole, drenched in highly personal details and infused with a potent sense of the phantasmagoric. No matter whether one can decode all of its strange, mystifying sights and symbolism, it plays out like a spellbinding reverie about one man's quest for greater knowledge about himself, his universe, and his God.

Advertisement - Continue Reading Below. Advertisement - Continue Reading Below. The Bad Batch In a post- apocalyptic America where the haves have exiled the have- nots to a desert Texas wasteland, a young girl (Suki Waterhouse) becomes prey to cannibals, losing her arm and leg in the process. Rather than succumbing to despair and death, however, she soldiers on, leading to a hallucinatory journey through a misfit- outcast landscape where she soon finds love with a flesh- eating family man (Jason Momoa). Ana Lily Amirpour's sophomore feature is, like her 2. A Girl Walks Home Alone at Night, an entrancing hybrid of various cinematic traditions. With Keanu Reeves as a deviant Hugh Hefner- style messiah and Jim Carrey as a scraggly nomad (in a part that affords no dialogue to the motormouthed comedian), it's a uniquely out- there head- trip about marginalized men and women forming communities, and finding love, out on the fringe—one whose political subtext gets more relevant by the day.

Rent/buy on Amazon and i. Tunes. Advertisement - Continue Reading Below. Advertisement - Continue Reading Below.

The Lure. La La Land's award- season triumphs may have heralded the return of the Hollywood musical, but in terms of ingenuity, flair and sheer eye- popping weirdness, it can't hold a candle to The Lure. Polish director Agnieszka Smoczynska's wackadoo import is a familiar drama about a young couple torn between individual dreams and professional desires, the twist being that these protagonists (Marta Mazurek and Michalina Olszanska) are mermaid cannibals sashaying through the seedy cabaret underbelly of 1. Warsaw. Like the dreamy love child of Am.

A bisexual Little Mermaid- by- way- of- vampire horrorshow scored to original New Wave- y tunes, it really is like nothing you've ever seen before. Rent/buy on Amazon and i. Tunes. Advertisement - Continue Reading Below. Advertisement - Continue Reading Below.

The Villainess. It’s been an exceptional year for action epics featuring formidable female warriors, and none are as out- and- out insane as The Villainess, South Korean director Jung Byung- gil’s aesthetically frenetic revenge saga. Opening with a first- person hallway- gym skirmish that has to be seen to be believed, this blood- drenched import concerns a young assassin (Kim Ok- vin) who’s enlisted—and given a new identity—by a shadowy intelligence organization. Nonetheless, she remains throughout an independent soul determined to track down and murder the man responsible for killing her father years earlier. Trying to keep up with the film’s convoluted narrative requires a Herculean effort, but being confused has rarely been this exhilarating, thanks to a series of set pieces that—defying the odds—manage to continually one- up their predecessors, from a motorcycle fight in which the camera does as many impossible things as Jung’s protagonist, to a finale that leaps between multiple speeding vehicles. It’s the cinematic equivalent of an adrenaline shot to the heart. Advertisement - Continue Reading Below. Advertisement - Continue Reading Below.

The Beguiled Sofia Coppola's adaptation of Thomas P. Cullinan's novel (which was previously made into a 1. Clint Eastwood) is a sweltering hothouse thriller guided by its director's precise, penetrating evocation of female rivalry and pent- up desire. Download The New It Comes At Night (2017) Movie. In Virginia during the Civil War, a group of women living at a remote boarding school have their sleepy existence interrupted by the discovery of a wounded Union soldier (Colin Farrell), whose arrival—and sexual magnetism—does much to upset their delicate domestic balance.