Following the release of 2022’s Clerks III, which saw its main characters make a movie about their experiences as convenience-store clerks, Kevin Smith continues to mine his own past for cinematic content. With The 4:30 Movie, he weaves another autobiographical tale, this one following three teenagers in 1986 New Jersey who spend their Saturdays sneaking into screenings at the local multiplex. Sounds like our kind of jam. Not that we endorse such antics. Although his Jersey provenance may make him a little biased, Matt reckons it “represents [Smith’s] best work in quite a long time”, and calls the film “an extremely sincere and personal movie that serves as a love letter to moviegoing, fandom, the 1980s, New Jersey, as well as this particular local area that I call home”. James agrees this is “Smith’s best work in years”, and says it’s a movie “that may surprise people with how accessible and grounded it is”. Now in select US theaters.

Anyone who enjoyed the 2022 Danish film Speak No Evil will no doubt be curious to see how close the new English-language remake comes to replicating the original’s stark grimness. As the plot contains an irresistible setup, it’s easy to see why Blumhouse was so keen to get an American version going: a young couple (Mackenzie Davis and Scoot McNairy) and their daughter bond with another family (here led by James McAvoy and Aisling Franciosi) while on holiday, and follow up on an offer to visit these new friends at their country house. Then things get a little weird. “Feeling vindicated that I’m too antisocial to make friends while on holidays,” is Ashlee’s entirely reasonable response. While some are questioning the need for a remake, many are relishing McAvoy’s unhinged performance. “Buff hulk evil James McAvoy was kinda hot in this, so much so that after all that, I’d still spend a weekend in the country with him,” confesses Bert. Robert reckons McAvoy “has kind of become a god of bozo mode” and says that, based on his performance here, “if they ever go back to using ape costumes for the Planet of the Apes movies, he’d make a great ape”. McAvoy breaks down a selection of his films for us on YouTube, and keep an eye on Journal for a new interview with him. Now in theaters the world over.

Canadian filmmaker Kazik Radwanski’s Matt and Mara premiered at Berlin in February, just screened at TIFF and is now getting a theatrical release in the US. It follows the titular old friends—played by filmmaker-actor-BlackBerry-director Matt Johnson and Possessor’s Deragh Campbell—who reconnect unexpectedly one day, causing complications. Ben calls the romantic dramedy “phenomenal” and says that it “takes something familiar and shapes it with such specificity and care”. “The realness in some of the scenes was awkward at times and embarrassing at others, but always felt genuine and true,” is Dev’s take. Burak reckons it’s “like a cozy but deep conversation with friends”. Now in select US theaters.

Following the 2021 documentary Reality Winner and the 2023 Sydney Sweeney-led drama Reality, Winner is now the third film about NSA whistleblower Reality Winner. CODA breakout Emilia Jones plays the lead, with the picture written and directed by Booksmart co-writer Susanna Fogel, who also made Jones’s previous movie, Cat Person. This appears to take a slightly more comedic approach to the true story, something reflected in the opening line of Zack’s review: “If Juno met Julian Assange.” Allison says this one has “big Adam McKay/The Big Short vibes in a good way”. Andy perhaps damns the film with faint praise when he calls it an “entirely pleasant semi-biopic”. Now in select theaters and on VOD in the US.

Sundance charmer My Old Ass arrives with an attention-grabbing premise: a young woman named Elliott (Maisy Stella) takes mushrooms on her eighteenth birthday and meets her 39-year-old self (Aubrey Plaza), who proceeds to advise her in the ways of romance with the benefit of hindsight. Keaton is ready to declare that “if you don’t enjoy watching this you’re not human”, and goes on to call it “incredibly sweet, hilarious and endearing” while citing comps like Eighth Grade, Lady Bird and Stand by Me. The film generated a strong sense of comion in Kylo: “I feel like whoever wrote this beautiful movie was going through something and I want to give them a hug.” Ema singles out actor-turned-director Megan Park—who previously made the 2021 Jenna Ortega school-tragedy drama The Fallout—noting that the filmmaker “is solidifying herself as such a creative, emotional and exciting director”. Now in select US theaters.

After blowing the audience out the back of the theater at Cannes, where it won the Best Screenplay award, and becoming the talking point of every subsequent festival appearance, Coralie Fargeat’s body-horror extravaganza The Substance is now getting a general release. With equally impressive dual lead performances by Demi Moore (as a star who engages in an experimental treatment that births a younger, enhanced version of herself) and Margaret Qualley (as said younger, enhanced self), the film brings the art of latex back to genre cinema in a major way. “Conceptually, a movie has never been more timely. Through an incredible use of body horror, it visualizes an inner reckoning among women,” says Maia. “It’s a neon-drenched, latex-laden venture into beauty, aging and addiction, specifically for those who are knee-deep in the public eye,” writes Aliyah. Both are correct, though I think Vasili wins with her review: “Very mindful, very Demi Moore.” In select US theaters September 20.

The first of two potential Oscar turns from Sebastian Stan coming out this year, A Different Man has him playing an aspiring actor named Edward who undergoes radical facial surgery in order to better a career chance. When another actor with the same condition (played by British presenter-actor Adam Pearson, who made a memorable appearance in Under the Skin) plays his former self in a stage play, Edward begins to lose it. Janica calls it “a bleakly hilarious farce” and says the movie “sustains a tragicomic tone that frequently invokes Charlie Kaufman’s signature brand of dystopian glumcore absurdism”. Rob appreciates how this is “a deliciously deranged dark comedy that brings disabled bodies in on the joke for a change”. “A film with this premise—of such a sick, twisted nature—has absolutely no right being so hilarious,” reckons Andrew. In select US theaters September 20.

Acquired by Warner Bros. following well-received screenings at Sundance, Super/Man: The Christopher Reeve Story is having some limited theatrical showings before heading to Max. “Profoundly moving,” says Adam of the documentary that examines the life of the man who played Clark Kent/Superman in the iconic 1978 film Superman, 1980’s Superman II and a couple of others. “A terrific and touching tribute to the acting icon and disability advocate that shows how vulnerable his humanity was, and how invulnerable his hope was,” hails Michael. Sam appreciates how the film’s non-linear structure “allows [Reeve’s] paralysis to not be treated merely as some tragic epilogue to greatness”. “Try not to break when Glenn Close tells her story about [Reeve] and Robin Williams,” warns Chris. Select US theatrical screenings on September 21 and 25.