Guided by visual effects supervisor John Knoll, ILM embraced continually evolving methodologies to craft breathtaking visual effects for the iconic space battles in First Contact and Rogue One. By Jay Stobie Visual effects supervisor John Knoll (right) confers with modelmakers Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact (Credit: ILM). Bolstered by visual effects from Industrial Light & Magic, Star Trek: First Contact (1996) and Rogue One: A Star Wars Story (2016) propelled their respective franchises to new heights. While Star Trek Generations (1994) welcomed Captain Jean-Luc Picard’s (Patrick Stewart) crew to the big screen, First Contact stood as the first Star Trek feature that did not focus on its original captain, the legendary James T. Kirk (William Shatner). Similarly, though Rogue One immediately preceded the events of Star Wars: A New Hope (1977), it was set apart from the episodic Star Wars films and launched an era of storytelling outside of the main Skywalker saga that has gone on to include Solo: A Star Wars Story (2018), The Mandalorian (2019-23), Andor (2022-25), Ahsoka (2023), The Acolyte (2024), and more. The two films also shared a key ILM contributor, John Knoll, who served as visual effects supervisor on both projects, as well as an executive producer on Rogue One. Currently, ILM’s executive creative director and senior visual effects supervisor, Knoll – who also conceived the initial framework for Rogue One’s story – guided ILM as it brought its talents to bear on these sci-fi and fantasy epics. The work involved crafting two spectacular starship-packed space clashes – First Contact’s Battle of Sector 001 and Rogue One’s Battle of Scarif. Although these iconic installments were released roughly two decades apart, they represent a captivating case study of how ILM’s approach to visual effects has evolved over time. With this in mind, let’s examine the films’ unforgettable space battles through the lens of fascinating in-universe parallels and the ILM-produced fleets that face off near Earth and Scarif. A final frame from the Battle of Scarif in Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). A Context for Conflict In First Contact, the United Federation of Planets – a 200-year-old interstellar government consisting of more than 150 member worlds – braces itself for an invasion by the Borg – an overwhelmingly powerful collective composed of cybernetic beings who devastate entire planets by assimilating their biological populations and technological innovations. The Borg only send a single vessel, a massive cube containing thousands of hive-minded drones and their queen, pushing the Federation’s Starfleet defenders to Earth’s doorstep. Conversely, in Rogue One, the Rebel Alliance – a fledgling coalition of freedom fighters – seeks to undermine and overthrow the stalwart Galactic Empire – a totalitarian regime preparing to tighten its grip on the galaxy by revealing a horrifying superweapon. A rebel team infiltrates a top-secret vault on Scarif in a bid to steal plans to that battle station, the dreaded Death Star, with hopes of exploiting a vulnerability in its design. On the surface, the situations could not seem to be more disparate, particularly in terms of the Federation’s well-established prestige and the Rebel Alliance’s haphazardly organized factions. Yet, upon closer inspection, the spaceborne conflicts at Earth and Scarif are linked by a vital commonality. The threat posed by the Borg is well-known to the Federation, but the sudden intrusion upon their space takes its defenses by surprise. Starfleet assembles any vessel within range – including antiquated Oberth-class science ships – to intercept the Borg cube in the Typhon Sector, only to be forced back to Earth on the edge of defeat. The unsanctioned mission to Scarif with Jyn Erso (Felicity Jones) and Cassian Andor (Diego Luna) and the sudden need to take down the planet’s shield gate propels the Rebel Alliance fleet into rushing to their rescue with everything from their flagship Profundity to GR-75 medium transports. Whether Federation or Rebel Alliance, these fleets gather in last-ditch efforts to oppose enemies who would embrace their eradication – the Battles of Sector 001 and Scarif are fights for survival. From Physical to Digital By the time Jonathan Frakes was selected to direct First Contact, Star Trek’s reliance on constructing traditional physical models (many of which were built by ILM) for its features was gradually giving way to innovative computer graphics (CG) models, resulting in the film’s use of both techniques. “If one of the ships was to be seen full-screen and at length,” associate visual effects supervisor George Murphy told Cinefex’s Kevin H. Martin, “we knew it would be done as a stage model. Ships that would be doing a lot of elaborate maneuvers in space battle scenes would be created digitally.” In fact, physical and CG versions of the U.S.S. Enterprise-E appear in the film, with the latter being harnessed in shots involving the vessel’s entry into a temporal vortex at the conclusion of the Battle of Sector 001. Despite the technological leaps that ILM pioneered in the decades between First Contact and Rogue One, they considered filming physical miniatures for certain ship-related shots in the latter film. ILM considered filming physical miniatures for certain ship-related shots in Rogue One. The feature’s fleets were ultimately created digitally to allow for changes throughout post-production. “If it’s a photographed miniature element, it’s not possible to go back and make adjustments. So it’s the additional flexibility that comes with the computer graphics models that’s very attractive to many people,” John Knoll relayed to writer Jon Witmer at American Cinematographer’s TheASC.com. However, Knoll aimed to develop computer graphics that retained the same high-quality details as their physical counterparts, leading ILM to employ a modern approach to a time-honored modelmaking tactic. “I also wanted to emulate the kit-bashing aesthetic that had been part of Star Wars from the very beginning, where a lot of mechanical detail had been added onto the ships by using little pieces from plastic model kits,” explained Knoll in his chat with TheASC.com. For Rogue One, ILM replicated the process by obtaining such kits, scanning their parts, building a computer graphics library, and applying the CG parts to digitally modeled ships. “I’m very happy to say it was super-successful,” concluded Knoll. “I think a lot of our digital models look like they are motion-control models.” John Knoll (second from left) confers with Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact (Credit: ILM). Legendary Lineages In First Contact, Captain Picard commanded a brand-new vessel, the Sovereign-class U.S.S. Enterprise-E, continuing the celebrated starship’s legacy in terms of its famous name and design aesthetic. Designed by John Eaves and developed into blueprints by Rick Sternbach, the Enterprise-E was built into a 10-foot physical model by ILM model project supervisor John Goodson and his shop’s talented team. ILM infused the ship with extraordinary detail, including viewports equipped with backlit set images from the craft’s predecessor, the U.S.S. Enterprise-D. For the vessel’s larger windows, namely those associated with the observation lounge and arboretum, ILM took a painstakingly practical approach to match the interiors shown with the real-world set pieces. “We filled that area of the model with tiny, micro-scale furniture,” Goodson informed Cinefex, “including tables and chairs.” Rogue One’s rebel team initially traversed the galaxy in a U-wing transport/gunship, which, much like the Enterprise-E, was a unique vessel that nonetheless channeled a certain degree of inspiration from a classic design. Lucasfilm’s Doug Chiang, a co-production designer for Rogue One, referred to the U-wing as the film’s “Huey helicopter version of an X-wing” in the Designing Rogue One bonus featurette on Disney+ before revealing that, “Towards the end of the design cycle, we actually decided that maybe we should put in more X-wing features. And so we took the X-wing engines and literally mounted them onto the configuration that we had going.” Modeled by ILM digital artist Colie Wertz, the U-wing’s final computer graphics design subtly incorporated these X-wing influences to give the transport a distinctive feel without making the craft seem out of place within the rebel fleet. While ILM’s work on the Enterprise-E’s viewports offered a compelling view toward the ship’s interior, a breakthrough LED setup for Rogue One permitted ILM to obtain realistic lighting on actors as they looked out from their ships and into the space around them. “All of our major spaceship cockpit scenes were done that way, with the gimbal in this giant horseshoe of LED panels we got from [equipment vendor] VER, and we prepared graphics that went on the screens,” John Knoll shared with American Cinematographer’s Benjamin B and Jon D. Witmer. Furthermore, in Disney+’s Rogue One: Digital Storytelling bonus featurette, visual effects producer Janet Lewin noted, “For the actors, I think, in the space battle cockpits, for them to be able to see what was happening in the battle brought a higher level of accuracy to their performance.” The U.S.S. Enterprise-E in Star Trek: First Contact (Credit: Paramount). Familiar Foes To transport First Contact’s Borg invaders, John Goodson’s team at ILM resurrected the Borg cube design previously seen in Star Trek: The Next Generation (1987) and Star Trek: Deep Space Nine (1993), creating a nearly three-foot physical model to replace the one from the series. Art consultant and ILM veteran Bill George proposed that the cube’s seemingly straightforward layout be augmented with a complex network of photo-etched brass, a suggestion which produced a jagged surface and offered a visual that was both intricate and menacing. ILM also developed a two-foot motion-control model for a Borg sphere, a brand-new auxiliary vessel that emerged from the cube. “We vacuformed about 15 different patterns that conformed to this spherical curve and covered those with a lot of molded and cast pieces. Then we added tons of acid-etched brass over it, just like we had on the cube,” Goodson outlined to Cinefex’s Kevin H. Martin. As for Rogue One’s villainous fleet, reproducing the original trilogy’s Death Star and Imperial Star Destroyers centered upon translating physical models into digital assets. Although ILM no longer possessed A New Hope’s three-foot Death Star shooting model, John Knoll recreated the station’s surface paneling by gathering archival images, and as he spelled out to writer Joe Fordham in Cinefex, “I pieced all the images together. I unwrapped them into texture space and projected them onto a sphere with a trench. By doing that with enough pictures, I got pretty complete coverage of the original model, and that became a template upon which to redraw very high-resolution texture maps. Every panel, every vertical striped line, I matched from a photograph. It was as accurate as it was possible to be as a reproduction of the original model.” Knoll’s investigative eye continued to pay dividends when analyzing the three-foot and eight-foot Star Destroyer motion-control models, which had been built for A New Hope and Star Wars: The Empire Strikes Back (1980), respectively. “Our general mantra was, ‘Match your memory of it more than the reality,’ because sometimes you go look at the actual prop in the archive building or you look back at the actual shot from the movie, and you go, ‘Oh, I remember it being a little better than that,’” Knoll conveyed to TheASC.com. This philosophy motivated ILM to combine elements from those two physical models into a single digital design. “Generally, we copied the three-footer for details like the superstructure on the top of the bridge, but then we copied the internal lighting plan from the eight-footer,” Knoll explained. “And then the upper surface of the three-footer was relatively undetailed because there were no shots that saw it closely, so we took a lot of the high-detail upper surface from the eight-footer. So it’s this amalgam of the two models, but the goal was to try to make it look like you remember it from A New Hope.” A final frame from Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). Forming Up the Fleets In addition to the U.S.S. Enterprise-E, the Battle of Sector 001 debuted numerous vessels representing four new Starfleet ship classes – the Akira, Steamrunner, Saber, and Norway – all designed by ILM visual effects art director Alex Jaeger. “Since we figured a lot of the background action in the space battle would be done with computer graphics ships that needed to be built from scratch anyway, I realized that there was no reason not to do some new designs,” John Knoll told American Cinematographer writer Ron Magid. Used in previous Star Trek projects, older physical models for the Oberth and Nebula classes were mixed into the fleet for good measure, though the vast majority of the armada originated as computer graphics. Over at Scarif, ILM portrayed the Rebel Alliance forces with computer graphics models of fresh designs (the MC75 cruiser Profundity and U-wings), live-action versions of Star Wars Rebels’ VCX-100 light freighter Ghost and Hammerhead corvettes, and Star Wars staples (Nebulon-B frigates, X-wings, Y-wings, and more). These ships face off against two Imperial Star Destroyers and squadrons of TIE fighters, and – upon their late arrival to the battle – Darth Vader’s Star Destroyer and the Death Star. The Tantive IV, a CR90 corvette more popularly referred to as a blockade runner, made its own special cameo at the tail end of the fight. As Princess Leia Organa’s (Carrie Fisher and Ingvild Deila) personal ship, the Tantive IV received the Death Star plans and fled the scene, destined to be captured by Vader’s Star Destroyer at the beginning of A New Hope. And, while we’re on the subject of intricate starship maneuvers and space-based choreography… Although the First Contact team could plan visual effects shots with animated storyboards, ILM supplied Gareth Edwards with a next-level virtual viewfinder that allowed the director to select his shots by immersing himself among Rogue One’s ships in real time. “What we wanted to do is give Gareth the opportunity to shoot his space battles and other all-digital scenes the same way he shoots his live-action. Then he could go in with this sort of virtual viewfinder and view the space battle going on, and figure out what the best angle was to shoot those ships from,” senior animation supervisor Hal Hickel described in the Rogue One: Digital Storytelling featurette. Hickel divulged that the sequence involving the dish array docking with the Death Star was an example of the “spontaneous discovery of great angles,” as the scene was never storyboarded or previsualized. Visual effects supervisor John Knoll with director Gareth Edwards during production of Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). Tough Little Ships The Federation and Rebel Alliance each deployed “tough little ships” (an endearing description Commander William T. Riker [Jonathan Frakes] bestowed upon the U.S.S. Defiant in First Contact) in their respective conflicts, namely the U.S.S. Defiant from Deep Space Nine and the Tantive IV from A New Hope. VisionArt had already built a CG Defiant for the Deep Space Nine series, but ILM upgraded the model with images gathered from the ship’s three-foot physical model. A similar tactic was taken to bring the Tantive IV into the digital realm for Rogue One. “This was the Blockade Runner. This was the most accurate 1:1 reproduction we could possibly have made,” model supervisor Russell Paul declared to Cinefex’s Joe Fordham. “We did an extensive photo reference shoot and photogrammetry re-creation of the miniature. From there, we built it out as accurately as possible.” Speaking of sturdy ships, if you look very closely, you can spot a model of the Millennium Falcon flashing across the background as the U.S.S. Defiant makes an attack run on the Borg cube at the Battle of Sector 001! Exploration and Hope The in-universe ramifications that materialize from the Battles of Sector 001 and Scarif are monumental. The destruction of the Borg cube compels the Borg Queen to travel back in time in an attempt to vanquish Earth before the Federation can even be formed, but Captain Picard and the Enterprise-E foil the plot and end up helping their 21st century ancestors make “first contact” with another species, the logic-revering Vulcans. The post-Scarif benefits take longer to play out for the Rebel Alliance, but the theft of the Death Star plans eventually leads to the superweapon’s destruction. The Galactic Civil War is far from over, but Scarif is a significant step in the Alliance’s effort to overthrow the Empire. The visual effects ILM provided for First Contact and Rogue One contributed significantly to the critical and commercial acclaim both pictures enjoyed, a victory reflecting the relentless dedication, tireless work ethic, and innovative spirit embodied by visual effects supervisor John Knoll and ILM’s entire staff. While being interviewed for The Making of Star Trek: First Contact, actor Patrick Stewart praised ILM’s invaluable influence, emphasizing, “ILM was with us, on this movie, almost every day on set. There is so much that they are involved in.” And, regardless of your personal preferences – phasers or lasers, photon torpedoes or proton torpedoes, warp speed or hyperspace – perhaps Industrial Light & Magic’s ability to infuse excitement into both franchises demonstrates that Star Trek and Star Wars encompass themes that are not competitive, but compatible. After all, what goes together better than exploration and hope? – Jay Stobie (he/him) is a writer, author, and consultant who has contributed articles to ILM.com, Skysound.com, Star Wars Insider, StarWars.com, Star Trek Explorer, Star Trek Magazine, and StarTrek.com. Jay loves sci-fi, fantasy, and film, and you can learn more about him by visiting JayStobie.com or finding him on Twitter, Instagram, and other social media platforms at @StobiesGalaxy.

Sinners 4K Blu-ray $30 | Releases July 8 Preorder 4K Blu-ray at Amazon Preorder Blu-ray at Amazon Ryan Coogler's supernatural thriller Sinners is one of the highest-rated movies of 2025, and after a successful box office run, it’s coming 4K Blu-ray on July 8. Preorders are now open the Sinner 4K Blu-ray, which is packed full of bonus features like featurettes, deleted scenes, and a glimpse into how the movie’s excellent score was created. The steelbook version is currently sold out, but both 4K Blu-ray and Blu-ray versions are up for grabs. Sinners 4K Blu-ray $30 | Releases July 8 This version of Sinners gets you a 4K Blu-ray and digital copy of the hit film. Note that the 4K Blu-ray and standard Blu-ray versions are both listed for $30, but we expect prices will change before they're released on July 8. Preordering at Amazon means you won’t be charged until the item ships, and you’ll be eligible for any price cuts between now and launch. Preorder 4K Blu-ray at Amazon Preorder Blu-ray at Amazon Sinners Bonus FeaturesRegardless of which format you choose, you’ll get the same list of bonus features. It’s a pretty impressive lineup, featuring multiple behind-the-scenes content that dive deeper into the film's terrifying universe. Here's a look at everything included:Continue Reading at GameSpot

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We may earn a commission from links on this page.HBO was, for at least a couple of generations, the home of movies on cable—no one else could compete. For a while, it seemed like HBO Max Max HBO Max could well be the ultimate streaming destination for movie lovers, but the jury is still out.Even still, HBO Max maintains a collaboration with TCM, giving it a broad range of classic American and foreign films. It's also the primary streaming home for Studio Ghibli and A24, so even though the streamer hasn't been making as many original films as it did a few years ago, it still has a solid assortment of movies you won't find anywhere else.Here are 30 of the best of HBO Max's recent and/or exclusive offerings.Mickey 17 (2025) The latest from Bong Joon Ho (Parasite, Snowpiercer), Mickey 17 didn't do terribly well at the box office, but that's not entirely the movie's fault. It's a broad but clever and timely satire starring Robert Pattinson as Mickey Barnes, a well-meaning dimwit who signs on with a spaceship crew on its way to colonize the ice world Niflheim. Because of his general lack of skills, he's deemed an Expendable—his memories and DNA are kept on file so that when he, inevitably, dies (often in horrific ways), he'll be reprinted and restored to live and work and die again. Things get complicated when a new Mickey is accidentally printed before the old one has died—a huge taboo among religious types who can handle one body/one soul, but panic at the implications of two identical people walking around. It's also confusing, and eventually intriguing, for Mickey's girlfriend, Nasha (Naomi Ackie). Soon, both Mickey's are on the run from pretty much everyone, including the new colony's MAGA-esque leader (Mark Ruffalo). You can stream Mickey 17 here. Pee-Wee As Himself (2025) Paul Reubens participated in dozens of hours worth of interviews for this two-part documentary, directed by filmmaker Matt Worth, but from the opening moments, the erstwhile Pee-Wee Herman makes clear that he is struggling with the notion of giving up control of his life story to someone else. That's a through line in the film and, as we learn, in the performer's life, as he spent decades struggling with his public profile while maintaining intense privacy in his personal life. Reubens' posthumous coming out as gay is the headline story, but the whole thing provides a fascinating look at an artist who it seems we barely knew. You can stream Pee-Wee As Himself here. The Brutalist (2024) Brady Corbet's epic period drama, which earned 10 Oscar nominations and won Adrian Brody his second Academy Award for Best Actor, follows László Tóth (Adrien Brody), a Hungarian-born Holocaust survivor who emigrates to the United States following the war. His course as a refugee follows highs and devastating lows—he's barely able to find work at first, despite his past as an accomplished Bauhaus-trained architect in Europe. A wealthy benefactor (Guy Pearce) seems like a godsend when he offers László a high-profile project, but discovers the limitations of his talent in the face of American-style antisemitism and boorishness. You can stream The Brutalist here. Babygirl (2024) Nicole Kidman stars in this modern erotic thriller as CEO Romy Mathis, who begins a dangerous (i.e. naughty) affair with her much younger intern (Harris Dickinson). After an opening scene involving some deeply unfulfilling lovemaking with her husband (we'll have to suspend disbelief on the topic of Antonio Banderas as a schlubby, sexually disappointing husband), Romy runs into Samuel (Dickinson), who saves her from a runaway dog before taking her on as his mentor at work. She teaches him about process automation while he teaches her about BDSM, but his sexy, dorky charm soon gives way to something darker. For all the online chatter (Nicole Kidman on all fours lapping up milk!), the captivating performances, and the chilly direction from Halina Reijn, elevate it above more pruient erotic thrillers. You can stream Babygirl here. Bloody Trophy (2025) Bloody Trophy, HBO Max Credit: Bloody Trophy, HBO Max This documentary, centered on the illegal rhinoceros horn trade, gets extra points for going beyond poaching in southern Africa to discuss the global networks involved, and by focusing on the activists and veterinarians working to protect and preserve the endangered species. The broader story is as awful as it is fascinating: webs of smuggling that start with pretend hunts, allowing for quasi-legal exporting of horns to Europe countries (Poland and the Czech Republic being particular points of interest), and often coordinated by Vietnamese mafia organizations. You can stream Bloody Trophy here. Adult Best Friends (2024) Katie Corwin and Delaney Buffett co-write and star as a pair of lifelong friends, now in their 30s, who find their lives going in very different directions. Delaney (Buffett, who also directs) who has no interest in settling down or committing to one guy, while Katie (Corwin) is afraid to tell her hard-partying bestie that she's getting married. Katie plans a BFF weekend to break the news, only to see that the trip back to their childhood home town fall prey to a string of wild and wacky complications. You can stream Adult Best Friends here.2073 (2024) Inspired by Chris Marker's 1962 featurette La Jetée, which itself inspired the feature 12 Monkeys, docudrama 2073 considers the state of our world in the present through the framing device of a woman (Samantha Morton) gazing back from the titular year and meditating on the road that led to an apocalypse of sorts. Her reverie considers, via real-life, current, news footage, the rise of modern popular authoritarianism in the modes of Orbán, Trump, Putin, Modi, and Xi, and their alignment with tech bros in such a way as to accelerate a coming climate catastrophe. It's not terribly subtle, but neither is the daily news. You can stream 2073 here. Flow (2024) A gorgeous, wordless animated film that follows a cat through a post-apocalyptic world following a devastating flood. The Latvian import, about finding friends and searching for home in uncertain times, won a well-deserved Best Animated Picture Oscar. It's also, allegedly, very popular with pets—though my dog slept right through it. You can stream Flow here. Heretic (2024) Two young Mormon missionaries (Sophie Thatcher and Chloe East) show up at the home of a charming, reclusive man (a deeply creepy Hugh Grant) who invites them in because, he says, he wants to explore different faiths. Which turns out to be true—except that he has ideas that go well beyond anything his two guests have in their pamphlets. It soon becomes clear that they're not going to be able to leave without participating in Mr. Reed's games, and this clever, cheeky thriller doesn't always go where you think it's going. You can stream Heretic here. Queer (2024) Director Luca Guadagnino followed up his vaguely bisexual tennis movie Challengers with this less subtle (it's in the title) William S. Burroughs adaptation. Daniel Craig plays William Lee (a fictionalized version of Burroughs himself), a drug-addicted American expat living in Mexico City during the 1950s. He soon becomes infatuated with Drew Starkey's Eugene Allerton, and the two take a gorgeous journey through Mexico, through ayahuasca, and through their own sexualities. You can stream Queer here. The Parenting (2025) Rohan (Nik Dodani) and Josh (Brandon Flynn) invite both their sets of parents to a remote country rental so that everyone can meet, which sounds like plenty of horror for this horror-comedy. But wait! There's more: A demon conjured from the wifi router enters the body of Rohan's dad (Brian Cox), an event further complicated by the arrival of the house's owner (Parker Posey). It's wildly uneven, but there's a lot of fun to be had. The supporting cast includes Edie Falco, Lisa Kudrow, and Dean Norris. You can stream The Parenting here.Juror #2 (2024) Clint Eastwood's latest (last?) is a high-concept legal drama that boasts a few impressive performances highlighted by his straightforward directorial style. Nicholas Hoult stars as Justin Kemp, a journalist and recovering alcoholic assigned to jury duty in Savannah, Georgia. The case involves the death of a woman a year earlier, presumably killed by the defendant, her boyfriend at the time. But as the case progresses,Kemp slowly comes to realize that he knows more about the death than anyone else in the courtroom, and has to find a way to work to acquit the defendant without implicating himself. You can stream Juror #2 here.Godzilla x Kong: The New Empire (2024) While Godzilla Minus One proved that Japanese filmmakers remain adept at wringing genuine drama out of tales of the city-destroying kaiju, the American branch of the franchise is offering up deft counter-programming. That is to say, Godzilla x Kong: The New Empire is every bit as ridiculous as its title suggests, with Godzilla and Kong teaming up to battle a tribe of Kong's distant relatives—they live in the other dimensional Hollow Earth and have harnessed the power of an ice Titan, you see. It's nothing more, nor less, than a good time with giant monsters. You can stream Godzilla x Kong: The New Empire here.We Live in Time (2024) Director John Crowley had a massive critical success with 2015's Brooklyn, but 2019's The Goldfinch was a disappointment in almost every regard. Nonlinear romantic drama We Live in Time, then, feels like a bit of a return to form, with Florence Pugh and Andrew Garfield displaying impressive chemistry as the couple at the film's center. The two meet when she hits him with her car on the night he's finalizing his divorce, and the movie jumps about in their relationship from the early days, to a difficult pregnancy, to a cancer diagnosis, without ever feeling excessively gimmicky. You can stream We Live in Time here.Trap (2024) Cooper (Josh Hartnett) is a pretty cool dad in M. Night Shyamalan’s latest, taking his daughter Riley (Ariel Donoghue) to see a very cool Billie Eilish-ish pop star in concert. But we soon learn that Cooper is also a notorious serial killer (this is not the patented Shyamalan twist, in case you were worried about spoilers). The FBI knows that "The Butcher" will be at the concert, even if they don't know exactly who it is, and the whole thing is a, yes, trap that Cooper must escape. Of such premises are fun thrillers made, and Hartnett has fun with the central role, his performance growing increasingly tic-y and unhinged even as Cooper tries to make sure his daughter gets to enjoy the show. You can stream Trap here.Caddo Lake (2024) While we're on the subject of M. Night Shyamalan, he produced this trippy thriller that spends a big chunk of its runtime looking like a working-class drama before going full whackadoo in ways best not spoiled. Eliza Scanlen stars as Ellie, who lives near the title lake with her family, and where it appears that her 8-year-old stepsister has vanished. Dylan O'Brien plays Paris, who works dredging the lake while dealing with survivor's guilt and the trauma of his mother's slightly mysterious death. Their stories (and backstories) merge when they discover that one doesn't always leave the lake the same as they went in. You can stream Caddo Lake here.Dune: Part Two (2024) Denis Villeneuve stuck the landing on his adaptation of the latter part of Frank Herbert's epic novel, so much so that Dune zealots are already looking ahead to a third film, adapting the second book in the series. The chilly (metaphorically) and cerebral sequel was a critical as well as a box office success—surprising on both counts, especially considering that the beloved book was once seen as more or less unadaptable (with the deeply weird David Lynch version serving as Exhibit A in support of that assertion). If you're playing catch-up, HBO Max also has the first Dune, and the rather excellent spin-off series (Dune: Prophecy). You can stream Dune: Part Two here.Problemista (2024) Julio Torres (creator of Los Espookys and Fantasmas, also available on HBO Max) wrote, produced, directed, and stars in this surreal comedy about a toy designer from El Salvador working in the United States under a visa that's about to expire. What to do but take a desperation job with quirky, volatile artist Elizabeth (Tilda Swinton)? The extremely offbeat and humane comedy has been earning raves since it debuted at South by Southwest last year. RZA, Greta Lee, and Isabella Rossellini also star. You can stream Problemista here.MaXXXine (2024) The final (for now, anyway) film in Ti West's X trilogy once again stars Mia Goth as fame-obsessed Maxine Minx. Moving on from adult films, Maxine gets a lead role in a horror movie, only to find herself watched by a leather-clad assailant. This film-industry take-down includes Michelle Monaghan, Kevin Bacon, and Giancarlo Esposito in its solid cast. You can stream MaXXXine here.The Lord of the Rings: The War of the Rohirrim (2024) An anime-infused take on Tolkien's world, The War of the Rohirrim boats the return of co-writer Philippa Boyens, who helped to write each of the six previous LOTR movies. In this animated installment, we're taken back 200 years before Peter Jackson's films, to when the king of Rohan (Brian Cox) accidentally kills the leader of the neighboring Dunlendings during marriage negotiations, kicking off a full-scale war. Miranda Otto reprises her role of Éowyn, who narrates. You can stream War of the Rohirrim here.A Different Man (2024) Though it was all but shut out at the Oscars (getting only a nomination for Best Makeup and Hairstyling), A Different Man made several of 2024's top ten lists, and earned Sebastian Stan a Golden Globe (he got an Oscar nomination for an entirely different movie, so the erstwhile Winter Soldier had a pretty good year). Here he plays Edward, an actor with neurofibromatosis, a genetic disorder that manifests in his body as a disfiguring facial condition. An experimental procedure cures him, and Edward assumes a new identity—which does nothing to tame his deep-rooted insecurities, especially when he learns of a new play that's been written about is life. It's a surprisingly funny look into a damaged psyche. You can stream A Different Man here. Super/Man: The Christopher Reeve Story (2024) Alternating between Christopher Reeve's life before and after the horse riding accident that paralyzed him, this heartfelt and heart wrenching documentary follows the Superman actor as he becomes an activist for disability rights. Archival footage of Christopher and wife Dana blends with new interviews with their children, as well as with actors and politicians who knew and worked with them both. You can stream Super/Man here.Sing Sing (2024) A fictional story based on the real-life Rehabilitation Through the Arts program at Sing Sing Correctional Facility, this Best Picture nominee follows Diving G (Colman Domingo), an inmate who emerges as a star performer in the group. The movie celebrates the redemptive power of art and play with a tremendous central performance from Domingo, who was also Oscar-nominated. You can stream Sing Sing here. Am I OK? (2024) Real-life married couple Tig Notaro and Stephanie Allynne directed this comedy based, loosely, on Allyne's own life. Dakota Johnson plays Lucy, a directionless 32-year-old woman in Los Angeles who finds that her unsatisfying romantic life might have something to do with her being other than straight. She navigates her journey of self-discovery and coming out with the help of her best friend Jane (House of the Dragon's Sonoya Mizuno). You can stream Am I OK? here.Love Lies Bleeding (2024) In a world of movies that are very carefully calibrated to be as inoffensive as possible, it's nice to see something as muscular, frenetic, and uncompromising as Love Lies Bleeding. Kristen Stewart plays small-town gym manager Lou; she's the daughter of the local crime boss (Ed Harris), with a sister (Jena Malone) suffering from the abuse of her no-good husband (Dave Franco). It's all quietly tolerated until bodybuilder Jackie (Katy O’Brian) stops off in town. She's 'roided up and ready for action, falling hard for Lou before the two of them get caught up in an act of violence that sends everything spiraling toward a truly wild final act. You can stream Love Lies Bleeding here.Slave Play. Not a Movie. A Play. (2024) A provocative title for a provocative documentary film, Slave Play. Not a Movie. A Play. sees playwright Jeremy O. Harris exploring the creative process behind the title work, a play that earned a record number of Tony nominations, won none, and that is equally loved and hated (it's about interracial couples having sex therapy at an antebellum-era plantation house). The narrative here is entirely non-linear, and the rules of a traditional making-of are out the window, with Harris instead taking a nearly train-of-thought approach to examining the process of creating the play, and in understanding reactions to it. You can stream Slave Play here.Justice League: Crisis on Infinite Earths – Parts One, Two, and Three (2024) While the live-action DC slate went out with a whimper (at least until next year's Superman reboot), the animated series of films has been chugging along more quietly, but also with more success. This trilogy adapts the altogether biggest story in DC history, as heroes from across the multiverse are brought together to prevent an antimatter wave that's wiping out entire universes. Darren Criss, Stana Katic, Jensen Ackles, and Matt Bomer are among the voice cast. You can stream Crisis on Infinite Earths, starting with Part One, here.The Front Room (2024) Adapted from a short story by Susan Hill (The Woman in Black), The Front Room gets a fair bit of mileage out of its in-law-from-hell premise. Brandy plays Belinda, a pregnant anthropology professor forced to quit her job by hostile working conditions. Her deeply weird mother-in-law Solange (a scene-stealing Kathryn Hunter) makes Brandy and husband Norman an offer that could solve the resulting financial problems: if they'll take care of her in her dying days, she'll leave them everything. Of course, the psychic religious fanatic has no interest in making any of that easy. It's more silly than scary, but perfectly entertaining if that's the kind of mood you're in. You can stream The Front Room here. Quad Gods (2024) We spend a lot of time fearing new technology, often with good reason, but Quad Gods offers a brighter view: for people with quadriplegia, for whom spots like football are out of the question, esports offer a means of competing and socializing among not only other people with physical restrictions, but in the broader world of what's become a major industry. While exploring the contrast between day-to-day life for the Quad Gods team and their online gaming talents, the documentary is an impressively upbeat look at the ways in which technology can put us all on a similar playing field. You can stream Quad Gods here.Elevation (2024) There's not much new in this Anthony Mackie-lad post-apocalyptic thriller, but Elevation is nonetheless a well-executed action movie that never feels dumb. Just a few years before the film opens, predatory Reapers rose from deep underground and wiped out 95% of humanity. Now, single dad Will (Mackie) is forced to leave his sanctuary to travel to Boulder, Colorado, the closest place he can get air filters to help with his son's lung disease. On the way, he's joined, reluctantly, by scientist Nina (Morena Baccarin), whose lab may contain a way to kill the Reapers. You can stream Elevation here.