Film |Year in Review

high energy as Straight Up . Together, they provide the sort of boost usually reserved for in-real-life experiences (remember those?). Buffaloed is also proof that Zoey Deutch can carry a film, especially when the lead role calls for a smartass slacker turned schemer (see also 2017’s Flower ). Following Peg Dahl (Deutch) as she hatches a plan to escape her hometown of Bu alo, New York, by becoming a debt collector and waging war on the city’s debt-collecting kingpin, the movie is a fun “fuck you” to capitalism to boot. Watch these when you need a pick-me-up courtesy of challenging society’s most su ocating structures.

Spree (Dir. Eugene Kotlyarenko) + Freaky (Dir. Christopher Landon)

In a year that saw numerous vacation horror movies ( The Lodge , The Rental , The Beach House, and so on), Spree and Freaky, two teen horror-comedies of the slasher variety, stuck to the inescapable horrors of high school. Spree is a joyride through the sinister side effects of social media as Kurt (Joe Keery), an amateur streamer looking to go viral, becomes a rideshare driver for the content. Freaky is The Hot Chick as horror and sees Millie (Kathryn Newton) and The Butcher (Vince Vaughn) swap bodies. Watch these when you want to relive your glory days with much more gore.

The Half of It (Dir. Alice Wu) + Castle In The Ground (Dir. Joey Klein)

This next double-feature delves even further into the teenage experience. Castle in the Ground is a somber, if not sober, look at the bleak reality of the opioid epidemic that sees Henry’s (Alex Wol ) drug-fueled demise after his mother’s untimely death. While The Half of It might feel tame in comparison, it is just as genuine. It follows Ellie Chu (Leah Lewis), a smart but cash-strapped teen who agrees to write a love letter for a jock, only to end up becoming his friend and falling for his crush in the process. Watch these films when you need to feel something.

A Good Woman Is Hard to Find (Dir. Abner Pastoll) +

I’m Your Woman (Dir. Julia Hart)

The titles alone point to the sort of call and response structure of this double feature. In each, the titular women snap out of submission, undergoing a powerful transformation after the misdeeds of men have fucked up their lives. A Good Woman Is Hard To Find follows the murder of Sarah’s (Sarah Bolger) husband in front of their son, pushing her into the role of the protagonist and protector, where she absolutely shines. That this multi-dimensional performance exists in a genre where the lead roles are usually reserved for men is a victory for the viewers as much as it is for the creators. And as if to say it’s getting easier to find a good woman (or more like good roles for women), in comes another slow burn with an ending that’s worth the wait. Set in the 1970s, I’m Your Woman sees Jean (Rachel Brosnahan) forced to go on the run with her infant son after her husband betrays his partners. Revitalizing the genre by expanding on a recognizable format to include a new perspective, these female-driven films have made a smart choice placing the women behind the wheel. Watch these when you’re up for a wild ride.

Becky (Dir. Jonathan Milott and Cary Murnion) +

Alone (Dir. John Hyams)

It’s exciting to see the titular Becky (Lulu Wilson) channel teen angst into exceedingly creative and increasingly cruel ways to fight back against a group of home invaders intent on fucking up her family vacation. Watching Wilson, a force to be reckoned with, play her character strong from the start and with a bit of a smirk is wholly compelling. Alone is like if Becky grew up to be Jessica (Jules Willcox), who has the same will to survive and ability to outsmart and outrun her tormentor in this fast-paced survival thriller. Watch these when you want to feel like a badass.

Possessor (Dir. Brandon Cronenberg) + Black Bear (Dir. Lawrence Michael Levine) Both Possessor and Black Bear want to know what people are willing to sacrifice for the perfect performance. The first film follows elite agent Tasya Vos (Andrea Riseborough), who works for a secretive organization that uses brain-implant technology to inhabit other people’s consciousnesses. The second film follows Allison (Aubrey Plaza), a filmmaker and actor seeking solace from her tumultuous past at a cabin in the woods. Both are smart and ambitious cultural commentaries that run on a relentless tension as these women struggle to decide how far they’ll go for their jobs. Watch these when you want to grapple with your existence. v @WreckaFlames

R Ma Rainey’s Black Bottom

Get showtimes and see reviews of everything playing this week at chicagoreader.com/movies