Chris Chiarella

The problem with writer/director David O. Russell’s most recent outing, Amsterdam, might be summed up as “too many”: too many famous faces cast as too many characters possessing too many quirks to the point that it feels like a great big party for them but rather a chore for us, especially considering the two-hour-plus runtime. Much like his overwrought American Hustle, it combines a fictitious storyline intertwined with historical events, and this time at least it sheds light on some forgotten but worth-remembering chapters from our past.

Rather than spoon-feed moviegoers, writer/director Jordan Peele opts to challenge us with his stories, so much so that upon first viewing, I didn't quite grasp what Nope was really about. Yes, a softspoken horse wrangler's father dies suddenly and mysteriously, leaving the future of the struggling generations-old family business—supplying four-hooved stars to show business—in doubt.

Michael Mann's preeminent crime thriller somehow eluded wide audiences in 1995 but has since become an absolute classic of the genre. As he did with Thief several years prior, the writer/director goes deep into the world of career crooks, imparting specific tricks of the trade while revealing the perpetrators as utterly no-nonsense individuals. We can't dismiss them as heartless—their attempts to establish or maintain relationships yield much of the film's fascinating character drama—yet they are incredibly dangerous, willing to kill without hesitation as needed.

Technically not a "non-stop thrill ride" (it's a classy commuter vehicle so passengers need to board and disembark periodically), Bullet Train is nonetheless a rousing, violent and quite funny adventure. The story moves as fast as the locomotive itself, indulging themes of fate, luck and revenge as an errand boy (Brad Pitt) dealing with a midlife crisis runs afoul of assassins and international crime syndicates, all of them circling a high-value briefcase while the clock counts down to their ultimate destination.