Game Night

2018, US, directed by John Francis Daley & Jonathan Goldstein

Last Ride

2009, Australia, directed by Glendyn Ivin

Hugo Weaving as a criminal on the run, trying to bond with his son. Though the film makes liberal use of well-worn tropes, the bond between Weaving and the young boy (Tom Russell) has a sincerity and a realism that's quite affecting at times -- it's not hard to believe in the idea of them as father and son, however dysfunctional -- while the photography/use of the Australian landscape is excellent, without descending too far into clichés about the outback as a malevolent character in its own right. Indeed, right at the moment I assumed the film was going to proceed in that direction it creates a little victory for the characters and restores the focus on father/son. 

Die Hard

1988, US, directed by John McTiernan

The Death of Stalin

2017, UK, directed by Armando Iannucci

The consistency of tone is impressive, and among the large and distinguished cast, Steve Buscemi in particular is exceptional -- it feels like the first time in a while that he's really gotten into his groove (on film at least). You feel a little guilty laughing given the subject material, but that is, I'm sure, quite conscious on Iannucci's part. 

Shopping

2013, New Zealand, directed by Mark Albiston and Louis Sutherland

A very decent coming-of-age story: although this is well-trodden narrative ground, the juvenile performances are really excellent, and the storyline is careful to steer clear of sentimentality, with virtually all of the characters possessed of more than a few rough edges. There's also a very strong sense of the reality of lives in a particular place at a particular time -- the details of work and of familial relationships and dysfunctions are highly convincing, and set the stage for some moments of real emotional heft. 

Murder on the Orient Express

2017, US, directed by Kenneth Branagh

The Post

2017, US, directed by Steven Spielberg