“The Batman” is finally here, and it’s a doozy. Ominous, moody, and violent, the highly anticipated DCEU film from director Matt Reeves is a very dark crime drama, not a traditional family-friendly superhero movie. It’s bleak and challenging in a way that will test (and possibly anger and / or delight) audiences. If you’re a casual DC Comics fan, you’ll appreciate this warning before buying a ticket: this most likely isn’t the Batman you’re expecting. But damn if it isn’t absolutely terrific. After a sadistic serial killer (Paul Dano) leaves behind a trail of cryptic clues along with a body count of key political figures, Batman (Robert Pattinson) dives into the seedy underworld of Gotham City to bring those responsible to justice. He aids James Gordon (Jeffrey Wright) in investigating the crime scenes, solving complex riddles in a matter of seconds, and showing the local police force why he’s often called the world’s greatest detective. But Batman isn’t exactly an honorable defender of law and order. He’s a flawed man, a superhero without superpowers who feeds off a need for revenge. This masked vigilante version of Batman is more frightening than reassuring, especially when he is forced to question his own family’s involvement in the city’s long-buried corruption. The film itself is very complex, especially in its narrative content. Heavy adult themes (like corruption, abuse of power, and what justice really means) add a level of intensity and ominous sophistication to this crime noir drama. Batman is supposed to be one of the good guys, fighting crime and helping the residents of Gotham City. But at what point does his thirst for vengeance make him part of the problem instead of part of the solution? Not only does this film not portray the more heroic side of Batman, it also doesn’t feature the confident, well-heeled playboy version of Bruce Wayne. In this version of the story, Bruce is a reclusive billionaire who likes to don his costume and work over bad guys in fits of rage. Only towards the end does Batman get any glimmer of hope and redemption. The film travels to some really dark places (so much so that I wish it was rated R instead of PG-13, as to remove all MPA limitations), and is extremely violent (but not bloody). There are fist fights and gun play and car chases that bring bursts of grand scale action, lending a more conventional superhero movie feel to what’s essentially a detective story. This thing is harsh and intense and, it should go without saying at this point, NOT for kids. The film packed with a talent-heavy cast that includes smaller supporting roles for Peter Sarsgaard, John Turturro, and Andy Serkis, and an unrecognizable Colin Farrell (as the Penguin, Oswald Cobblepot) who is buried beneath a mountain of makeup that has him looking like an ailing Joe Pesci. Zoë Kravitz is strong as Selina Kyle, and she has a smoldering chemistry with Pattinson that’s absolutely electrifying. While Pattinson is undeniably one of the more accomplished and capable actors working today, I still don’t like him cast as Bruce Wayne / Batman. He’s just not a great fit for the role, and there are only a few moments in this film that almost convince me otherwise. He isn’t terrible, but this casting choice is also the weakest link. The strongest? That would be Dano as the Riddler, in a performance that is downright terrifying. His take on the character is the stuff of nightmares, as he creates a truly spine-chilling psychopath. The biggest hurdle faced by “The Batman” isn’t its extremely bleak tone, but its too-epic story. There’s just way too much here plot-wise, and co-screenwriters Reeves and Peter Craig could’ve condensed the story to shorten the arduous 2 hour and 56 minute runtime. It’s challenging to sit with that level of darkness for so long, and it is a lot to take in one film. Those with the most stamina will be rewarded with an unforgettable, if unsettling, take on one of the most popular DC Comics characters. By: Louisa Moore / SCREEN ZEALOTS

Céline Sciamma, writer and director of “Portrait of a Lady on Fire,” calls her period film a “manifesto on the male gaze.” This is the most accurate, elegant description of her story of a romance between two French women in the late 1700s. This is an impeccably detailed, beautifully acted, refined drama with a strong feminist angle that’s as stirring as it is thought-provoking. Marianne (Noémie Merlant) is commissioned to paint the wedding portrait of Héloïse (Adèle Haenel), a young woman who has just left the convent. Because Héloïse is a very reluctant bride-to-be, Marianne arrives under the guise of companionship, observing the smallest of details about the woman by day and secretly painting her by firelight at night. As the two women spend their days with one another, intimacy and attraction grow, and the portrait becomes a symbol of the intensity of their love. The lead performances are mannered and structured in the most effective way. The strong desire between the two women is manifested in a gaze or careful examination of a wisp of hair or the way Héloïse crosses her hands. There’s a quiet intensity to the emotional and physical intimacy between these two women, making this love story’s end feel all the more heartbreaking. This is mostly an all-female film, and the men briefly seen on screen play little importance. Rounding out the characters are Héloïse’s mother (Valeria Golino) and housekeeper Sophie (Luàna Bajrami), who both fill critical roles in the story as the film explores issues affecting women at the time, including arranged marriages, career expectations, and health concerns. The film itself is absolutely stunning, with gorgeously romantic and lush cinematography by Claire Mathon setting a sensual tone that complements the story. The artistry is outstanding, making “Portrait of a Lady on Fire” one of the most powerful, intellectual dramas of the year. BY: LOUISA MOORE / SCREEN ZEALOTS

Bong Joon-ho‘s “Parasite” is one of those films that no matter how many hours you spend reflecting on it, you’ll continue to find deeper meaning in the smallest details, be it a sewage-flooded basement, a gifted ceremonial rock, or a discarded packet of hot sauce. This is the type of movie you’ll want to see for the first time knowing nothing about it, so this review will be as vague and spoiler-free as possible. The film is set in vastly different worlds, and the action mostly takes place in just two confined homes: the basement apartment of the economically challenged Kim family and the sleek, contemporary home of the wealthy Park family. The Kims have the spirit of hardworking grifters and when their son Kim Ki-woo (Choi Woo-sik) senses a golden opportunity to make some money as an English tutor for the Park’s daughter (Ji-so Jung), he accepts. Once he sees the potential to make even more money, Kim Ki-woo becomes a mastermind and invents characters for each of his family members to play in order to infiltrate the Park’s well-to-do home. Street smarts take over and soon, his sister (Park So-dam) is hired as an art therapist, mom (Jang Hye-jin) becomes the housekeeper, and dad (Song Kang-ho) is hired as the Park’s personal chauffer. Writer / director Joon-ho Bong creates a disturbing tale of the symbiotic relationship, as the Parks provide luxury services and the Kims are able to support their entire household by “feeding” off each other’s wants and needs. The themes in “Parasite” don’t offer anything new, but it’s the storytelling, Joon-ho’s mastery of the filmmaking craft, and the blend of dark humor and emotional punch that make this film so unique. The story is layered in the most brilliant fashion and is a web of timely social themes like wealth inequality and class warfare. One family is struggling to keep the other out, while the other family is so desperately trying to claw their way in. When the story takes a major surprise turn, a sudden battle for dominance breaks out. The war shifts to a savage rivalry not between the affluent and the poor, but it’s the downtrodden who eventually begin fighting each other. It’s not as easy as you’d assume to pick sides in this story. Everyone is sympathetic in their own way, making any misfortunes hit hard emotionally. There’s a sense of desperation and disgust as the tone seamlessly shifts from funny to distressing to absolute heartbreak in a manner of minutes. The film is unsettling for sure, but there are certain scenes that are unforgettable and will stick with me for a lifetime. “Parasite” is one of the most intriguing, intelligent, and disturbing films of the year. It’s also one of the best. BY: LOUISA MOORE / SCREEN ZEALOTS

Based on the legendary role-playing game, “Dungeons & Dragons: Honor Among Thieves” is nothing like what I anticipated and much better than I expected. This irresistible fantasy adventure has a healthy dose of good humor, playful charm, and is easily accessible to all who love imaginary worlds filled with wizards, sorcerers, warlocks, knights, and fire-breathing dragons. Charismatic thief Edgin (Chris Pine) and his band of unlikely adventurers (including Holga (Michelle Rodriguez) the barbarian) undertake an epic heist to retrieve a lost relic and to liberate his daughter (Chloe Coleman) from Forge’s (Hugh Grant) castle. Things go dangerously awry when they run afoul of the wrong people, but the group must work together to overcome seemingly never-ending obstacles as they continue their important quest. While directors John Francis Daley and Jonathan Goldstein stay true to the origins of the game, prior knowledge of Dungeons & Dragons isn’t necessary. The film explains everything you need to know, making this an action adventure that’s appropriate for everyone. It’s surprising just how accessible this movie is. You don’t have to know the rules of the game to get a real kick out of this one. I’m sure there are plenty of Easter eggs hidden around for the gamers, but it’s not so insider that the uninitiated can’t understand what’s going on. This is definitely one of the film’s greatest strengths. The story (with a script by Goldstein, Daley, and Michael Gilio) is solid too, with well-developed characters and irreverent humor that keeps the movie from becoming just another based-on-a-game throwaway. There’s a ton of heart and genuine emotion, which is elevated by the terrific cast. The actors play off each other well, giving a human element to what thankfully is not just a bunch of dumb CGI. You can feel the real connection between Edgin and Holga, best friends who always have each other’s backs, and Rodriguez and Pine’s chemistry finds the perfect groove. Grant, who is having a career resurgence lately, is as delightful as ever as the rogue Forge Fitzwilliam, as is Justice Smith as amateur sorcerer Simon and Sophia Lillis as shape shifting tiefling druid Doric. Most shocking is that Pine isn’t doing yet another version of his annoying shtick here, which in itself is a massive achievement. The pacing is brisk and the special effects are well done, even if the finale is stretched a little thin. I found it easy to become engrossed in the mythical world of D&D not only because the movie looks great visually, but the characters are appealing, too. There’s plenty to root for. Even if you think you aren’t a fan of the fantasy genre, I suggest you give “Dungeons & Dragons: Honor Among Thieves” a try. This playful, character-driven adventure offers a ton of magical fun at the movies. By: Louisa Moore / SCREEN ZEALOTS

You probably would expect a film about the origins of a simple stacking block computer game to be bland and dry, but director Jon S. Baird and writer Noah Pink give “Tetris” the glossy Hollywood treatment. The movie tells the unbelievable true story of how one of the world’s most popular video games found its way into the hands of players all over the globe. It’s a story of greed, lies, manipulation, and control, playing fast and loose with the facts in order to create an embellished espionage thriller. After video game designer and publisher Henk Rogers (Taron Egerton) discovers TETRIS in 1988, he sees a lot of potential. Henk tracks down the inventor in the Soviet Union, Alexey Pajitnov (Nikita Efremov), hoping to become partners to bring his game to the masses. Putting everything on the line, Henk travels to Russia during the height of the Cold War and isn’t welcomed with open arms. When big money players like Nintendo and Atari get involved, his mission becomes even more complicated. Even worse, Henk attracts the attention of the shadowy KGB, who want to secure the rights to TETRIS for their home country. The elaborate story is far-fetched and silly, and it goes to unexpected places because the history of TETRIS is turned into a crazy circus of a thriller. There are so many twists and turns that it’s exhausting to keep up, but the film keeps things interesting by raising the stakes with fictional scenarios. After all, there are only so many talky negotiations, licensing, contracts, business deals, and under the table government conversations that one can endure without a few harrowing car chases or scenes of our hero being harassed by KGB men in black. The result is a narrative that’s complicated, with everybody lying to everyone else while they argue over the rights to a computer game. Baird’s directorial choices may feel questionable to some, but I found his use of retro 8-bit animation to tell parts of his story to be breezy and fun. There is a good sense of comedy too, which breaks up the more monotonous aspects of the movie. And while the action and thriller elements are admittedly corny, most everyone loves a story of an underdog taking down “the man” with a bit of Cold War espionage thrown into the mix. Egerton holds much of the film together, and he gives a solid, enjoyable performance. He’s an understated actor with a ton of unexpected charisma, and he’s well-suited to the leading man role. If you don’t know the story behind the birth of TETRIS, this film is an interesting way to get a decent outline of how it came to be. You’ll want to research what really happened, of course, and spoiler alert: you are going to be disappointed by just how much of the story as presented on screen is fiction. But if you’ve ever played one of the most addictive puzzle games in history (and even if you have not), you’ll find “Tetris” not only interesting, but a lot of fun, too. By: Louisa Moore / SCREEN ZEALOTS