One of the last high-profile films for which the release date—but not the production—was delayed as a result of the 2023 actors’ strike, Jeff Nichols’ The Bikeriders is now finally in theaters. It’s not hard to understand why they wanted the cast available to promote this—it gathers together several of the most exciting actors currently working and places them on motorbikes. Based on a 1967 photo book by Danny Lyon (played in the film by rodent king Mike Faist), the titular rollers are portrayed by the likes of Austin Butler, Tom Hardy, Jodie Comer, Norman Reedus, Damon Herriman and Nichols regular/muse Michael Shannon. Ellis says the film accurately reflects its source material in its “picturesque, nostalgic imagery of the Midwest. Both romantic and devastating encompassing an era gone wrong.” Ash reckons it “cements Jeff Nichols as one of the essential contemporary authors of Americana in film.” “A hyper-masculine biker movie told from a woman’s point of view with some really brilliant performances and Austin Butler channeling James Dean” is Chili’s summation. If there’s one prevailing reaction, it’s that everybody looks very attractive: “Austin Butler is so hot, Jeff Nichols made a whole movie about it,” drools Kenzie. Now in US theaters.

Look, nobody plans to star in two exorcism movies in a row. Sometimes life just works out like that. Arriving a mere fourteen months after the release of The Pope’s Exorcist, Russell Crowe is once again battling demons (this time both literal and metaphorical) in The Exorcism, which has apparently been sitting on the shelf since 2019. Notably, it was co-written and directed by Joshua John Miller, whom some may remember from his fantastic child performances in cult ’80s faves River’s Edge and Near Dark, but more relevantly, is the son of Jason Miller, star of the original 1973 The Exorcist. In the new film, most of which takes place on a contemporary (well, 2019, I guess) film set, Crowe plays a troubled movie star shooting an exorcism movie that is implied to be a remake of the 1973 classic. Dave generously states that it “tackles some pretty deep, harrowing themes in fresh, interesting ways; putting a fascinating new spin on the ‘exorcism’ genre.” Meanwhile, Corey says, “Russell Crowe blink twice if you’re being held at gunpoint.” Now in US theaters.

Well-timed to hit screens during what may be looked back upon as an inflection point for women’s sports in the US, Copa 71 is an acclaimed documentary that tells the forgotten (thanks in large part to FIFA) story of the 1971 Women’s Football (i.e. soccer) World Cup held in Mexico, which was the second-ever event to be designated as such. “Absolutely top-tier sports journalism,” raves George. “Loved the way this doc captured girlhood and joy,” says Kat. “A League of Their Own meets Summer of Soul,” says Robert, who describes it as “the kind of simple, crowd-pleasing doc about lesser-known figures you should know about that’s easy to wrap your arms around.” Well-crafted, heartstring-yoinking, sincere reclamation of lost ground,” praises CharmingPotato. “Growing up as a girl who played sports even in a somewhat progressive country, this hit home in a major way for me,” says Sophie. “I angry cried and happy cried and sad cried and hopeful cried,” cries Becky. Now in theaters and on VOD in the US.

Having first screened at Sundance 2023, eight months before the release of her breakout film Killers of the Flower Moon, Native American drama Fancy Dance’s theatrical prospects are no doubt enhanced by the fact that lead Lily Gladstone is now an Oscar-nominated movie star. She plays Jax, a member of the Seneca-Cayuga Nation who’s been looking after her niece (Isabel Deroy-Olson) since her mother—Jax’s sister—disappeared. Together, they set off to find her in anticipation of an upcoming powwow. Claira says the film is “fantastic at balancing devastating moments with these well placed pockets of humor” and celebrates it being a “beautiful preservation of the Cayuga language.” “A piercing contemporary companion piece to Killers of the Flower Moon in many ways,” suggests Josh. “A searing portrait of resilience and community in the face of the oppressive state, told with tremendous grace by the very talented Erica Tremblay,” says Kevin. Director and co-writer Tremblay (Seneca-Cayuga) spoke to Letterboxd’s Indigenous editor Leo Koziol following the film’s premiere last year, and Leo also recently highlighted the current bumper crop of Native films currently screening in festivals around the world. Now in select US theaters.

Never one to rest on his laurels, Greek provocateur Yorgos Lanthimos wastes no time in following up the triumphant Poor Things with the new anthological film Kinds of Kindness. Comprising a trio of faintly connected stories, the movie, led by Lanthimos, has attracted a typically weighty cast, so prepare yourself for the sight of actors like Jesse Plemons, Hong Chau, Hunter Schafer (all too briefly) and Joe Alwyn—as well as Poor Things cohorts Emma Stone, Margaret Qualley and Willem Dafoe—contorting themselves awkwardly in the name of art. It’s Lanthimos’s first feature-length collaboration with screenwriter and long-time partner-in-depravity Efthymis Filippou since The Killing of a Sacred Deer, and many members are celebrating this return to “form”. “Yorgos back in sicko mode”, promises Iana in her five-star review. “Floored, shooketh, appalled,” says Adriano. Bob says it’s “by far the least accessible of [Lanthimos’s] films, which is a feat in and of itself, but the fact that the thing works is a damn near miracle.” “Nasty, bloody, so f*cking funny, dry, precise, loves to watch you squirm but allows one little laugh before your dying breath. Yes!!” is our London editor Ella’s (qualified) endorsement: watch her talk with Lanthimos and Stone about their working relationship in this video interview. Now in US and UK theaters.

After the success of TV series Yellowstone propelled him back to prominence, Kevin Costner channeled his regained heat into yet another ambitious passion project: Horizon: An American Saga, an ensemble Western set during the American Civil War. Chapter 2 is releasing on August 16, and Costner says there are plans for four films in the series. Unlike, say, James Cameron, who always proves the naysayers wrong, Costner has a spottier record when it comes to projects like this. Dances with Wolves was considered a folly during production, then swept the Oscars. Waterworld is looked back on as a giant flop, but actually made money (and spawned a stellar stunt show at Universal Studios). The Postman, however, didn’t. The new film certainly has its detractors, many of which are citing the incomplete nature of the enterprise, but it’s not difficult to picture an audience for this movie. “Old fashioned but good,” is John’s concise assessment. “A classic Western with a spectacular first hour,” says Simón. “Lots of characters, lots of places, lots of drama and surprisingly, lots of humor: a big movie for the big screen,” summates Hugo. In theaters in most territories June 28, out the following week elsewhere.

The first film was a surprise horror smash in 2018, and the second made bank despite being released when we were deep in the throes of the pandemic in 2021. That all but assured a third film, but A Quiet Place: Day One will test the franchise’s ability to attract audiences without the presence of Emily Blunt or director and co-star John Krasinski, who has a shared “story by” credit here. Michael Sarnoski, who made a meal of the quiet moments in Pig, takes over directing (and screenwriting) duties, and the film is led on screen by Lupita Nyong’o, Djimon Hounsou, Alex Wolff and Joseph Quinn, soon to be seen in Gladiator II. As you can probably discern from the title, this is a prequel depicting the beginnings of the heretofore only glimpsed invasion of earth by aliens with sensitive ears. Just gonna say it: non-Furiosa prequels should be outlawed. In theaters worldwide June 28.