SNOWDEN

When his identity first became public in June of 2013, former NSA contractor Edward J. Snowden resembled the real-life hero of a real-life Oliver Stone movie – a well-scrubbed, nerdishly handsome government opponent and champion of truth in the vein of JFK’s Jim Garrison. It seems somehow inevitable, then, that the famed whistleblower would indeed find himself the focus of a Stone-directed bio-pic, and the chief pleasures of Snowden lie in the beautiful match-up of subject matter and creative force; this truly feels like a movie Oliver Stone was born to make. Perhaps it would’ve felt like even more of one had the film not already been made – in 2014, as Laura Poitras’ exceptional documentary Citizenfour. But as unnecessary movies go, this new work is a strong and sober one, with the added benefit of revealing Joseph Gordon-Levitt to be a surprisingly uncanny mimic.

THE LIGHT BETWEEN OCEANS

Romantic dramas for adults have been so infrequent this millennium that it sometimes seems they appear only when studios feel the need for another generally laughable Nicholas Sparks adaptation, which makes it hard, in The Light Between Oceans, to know whether to swoon or chortle when – honest to God – a woman accepts a marriage proposal by saying, “Yes! Yes! A thousand times yes!” (I was sure that line had been put out to pasture after the demise of vaudeville.) Yet writer/director Derek Cianfrance is nothing if not sincere, occasionally to his detriment, and his take on novelist M.L. Stedman’s period romance is serious-minded, thematically resonant, and, at times, emotionally devastating in ways that the Sparks oeuvre almost never is. It’s the film’s second-half plot contrivances, and the unfortunate arm-twisting that accompanies them, that routinely bring Sparks to mind.

DON’T BREATHE

A few weeks ago, in the creepy and clever horror film Lights Out, our protagonists were at the mercy of a nightmarish figure they couldn’t see. In writer/director Fede Alvarez’s new horror film Don’t Breathe, our protagonists are at the mercy of a nightmarish figure who can’t see them. You’d presume these particular protagonists would have an easier time of things. But Alvarez, to his credit, doesn’t appear interested in making things easy for anybody – not for the “heroes,” not for the “villain,” and not for audiences accustomed to those tags presented without quotation marks. You may find your stomach in knots during much of this brutally effective shocker. You may also find that part of your discomfort stems from sensing that the traumatized characters here are getting just what they deserve.

FLORENCE FOSTER JENKINS

For more than 30 years, Meryl Streep has been singing on-screen in movies ranging from 1983’s Silkwood to last year’s Ricki & the Flash, with musical pitstops in a half-dozen outings in between. But not until the new bio-comedy Florence Foster Jenkins has the star ever sung quite this badly. Streep being Streep, of course, she sings badly brilliantly.