In this office comedy of errors, Javier Bardem plays Blanco, the titular boss, but whether he is actually good is what the movie wryly examines.

As head of a small manufacturing company, Blanco treats his employees intimately, going so far as make their problems his own. He believes this is why his company is nominated for an excellence certification, but as he waits for the possible award, cracks start to appear in his “work is family” facade as everything that could go wrong, starts going wrong. The Good Boss is an anxiety fest for Blanco to be sure, but a winning tragicomedy for us all.

There is no shortage of resources—be it books, films, articles, or interviews—about the atrocities Ferdinand Marcos unleashed on the Philippines. And yet, in the years since his exile and eventual death, his family has returned to power in the country, winning the hearts and (manipulated) minds of the masses.

In The Kingmaker, director Lauren Greenfield (who earlier directed the equally revealing The Queen of Versailles) exposes how this came to be, with a focus on the titular kingmaker herself, Imelda Marcos. It’s chilling how much of Imelda’s stated goals in this documentary, which spans five years, have come true. History repeats itself, and Greenfield skillfully and delicately captures the delusion, irony, and blatant corruption of a family dead set on owning a country, as if it were another luxury to purchase (or in the case of the Marcoses, pocket). 

This documentary follows eight men whose convictions were recently overturned based on exonerating evidence. Proven innocent after many years in the US prison system, they are suddenly free to return to the communities they had been expelled from, without any of the usual obligations (or resources) associated with parole or probation.

The exonerations featured in the film are largely thanks to the work of the Innocence Project, a nonprofit legal organization that works to free the wrongfully convicted through DNA testing and criminal justice system reform. While their work is central to the documentary, it’s also clear that these failings of the system represent only the tip of the iceberg. What makes the movie unforgettable, though, is the exonerees’ struggle to make sense of what remains possible in their lives, to embrace hope and reconcile with profound loss. All in all, it is as much a study of the deep costs of injustice as it is one of buoyant resilience.

In Rounders, Matt Damon plays a law student and reformed poker player who is forced back into the game in order to help his newly-paroled best friend (Edward Norton) pay off overwhelming gambling debts. It’s an enjoyable insider’s look into the world of high stakes gambling and of Poker specifically, giving the viewer compelling insights into Poker in terms of strategy as well as human psychology. Damon and Norton are well-cast in their roles — Norton particularly great as the sleazy and manipulative “Worm”. Not-overly-surprising in its storytelling, yet highly enjoyable from beginning to end, this one will appeal to fans of gambling and sports films, as well as those who enjoy modern film noir and pseudo-noir films with a nice dramatic edge.

Inside Llewyn Davis tells the interesting and captivating story of a young, struggling singer navigating through the Greenwich Village folk scene in 1961. The movie conveys all sorts of emotions, thanks to Coen brothers’ stroke of genius: it is strange, funny, dramatic and satisfying at the same time. Not to mention, the ensemble cast is superb, and the music is absolutely great. It is the kind of movie that will put an unfamiliar yet wondrous feeling into you as you live through Llewyn Davis’ eyes and feel his pain.

Based on the real-life experience of director Elegance Bratton, who was himself a Black gay marine soldier during the “don’t ask, don’t tell” period in the US, The Inspection documents the behind-the-scenes cruelty that goes on in training the armed forces. Specifically, it inspects how institutions like the marines are hardwired to promote a certain kind of masculinity and how people like Bratton, perennially in the margins, respond, react, and fight back. 

It’s moving and artful but also lighthearted and humorous, finding light even in the darkest corners. It’s self-contradictory that way, but the film is all the better and nuanced for it. Gabriel Union’s performance is also worth noting here; in a career-defining turn, she transforms into a character at once so hateful and loving, you’ll be hard-pressed not to give her your full attention onscreen.

There are comfort food movies, and then there are films like Big Night: comfort food movies about comfort food. Stanley Tucci and Tony Shaloub are brothers running a failing Italian restaurant. Their last chance to save it from foreclosure is to throw a colossal dinner bolstered by a dubious promise of a visit from singer Louis Prima.

The comedy is mellow and pleasant, and Tucci and Shaloub have wonderful chemistry as bickering brothers. Meanwhile, a great supporting cast featuring Isabella Rosellini, Ian Holm, and Allison Janney more than make up for the somewhat predictable script.

Two brothers played by Channing Tatum and Adam Driver decide to rob a local NASCAR event, the Charlotte Motor Speedway in North Carolina.

They put together a team to help them, with Daniel Craig as the demolition expert and Katie Holmes as the gateway driver. Other big names behind this project are actors Seth MacFarlane and Hilary Swank; and director Steven Soderbergh, who is best known for Ocean’s Eleven, Ocean’s Thirteen, and Magic Mike.

The main characters are cheerful and just goofy enough to be completely unpredictable. Their heist is as chaotic as it is random, which inevitably leads to many funny moments. The performances by the whole cast are amazing, Daniel Craig is almost unrecognizable.

A friend once described this movie as Ocean’s 7 Eleven, and it’s hard to come up with a better line.

Muriel is a young social outcast who spends her time obsessively planning a dream wedding without ever having been on a date. Her life is flipped upside down when she steals $15,000 from the family business to go on a tropical getaway. This brilliant comedy is memorable as much for Toni Collete’s breakout role as it is for its snarky subversion of rom-com tropes.

Muriel’s Wedding arrived in a wave of bright and brash Australian comedies of the early 90s like Priscilla Queen of the Desert and Strictly Ballroom. And like these counterparts, its heightened reality gives way to a surprising and heartbreaking emotional core. Director PJ Hogan would go on to direct My Best Friend’s Wedding – a fun but watered-down imitation of the surprising storytelling that made this a cult classic.

Robert Pattinson and Willem Dafoe are the only two actors starring in this eccentric movie, and they deliver such grand performances that it feels like another actor would have been one too many.

They star as lighthouse keepers in the 19th century, left on an island to interact only with each other and their rock. It’s a fascinating premise of how these men, left on their own, deal with boredom, loneliness, and being annoyed with one another.

Incredible performances, an interesting aspect ratio, and perhaps excessive weirdness, make this movie unforgettable.