Alicia Vikander in Ex MachinaEX MACHINA

If you're a fellow fan of the high-tech Twilight Zone that is the BBC's Black Mirror and last year's Christmas special with Jon Hamm didn't sate your craving for more, you won't want to miss the sci-fi creep-out Ex Machina. (If you're not a fan of Black Mirror, which is currently streaming on Netflix, you clearly haven't watched it yet. Get cracking.) Like a 105-minute episode of that haunting anthology series, Alex Garland's quasi-futuristic morality fable boasts a simple premise that grows more complicated and nightmarish as it progresses. Also like a super-sized Black Mirror, the experience leaves you feeling a little shaken and happily freaked out, and kind of antsy to see it again.

Jessica Chastain and Oscar Isaac in A Most Violent YearLike a squirrel gathering nuts before winter, I made a conscious effort to catch all five of this past weekend's debuting releases before our area was hit by the blizzard from Hell. (An oxymoronic expression, but whatever.) And because, with the exception of the museum's feature, even the really good one will likely be gone before the snowy onslaught begins to melt, let's take care of 'em quickly. In descending order of preference ... .

Rohan Chand and Jason Bateman in Bad WordsBAD WORDS

It's not impossible to make a comedy centered on an angry, sullen, emotionally inaccessible bastard, as Oscar Isaac recently proved in Inside Llewyn Davis. In that film, however, Isaac had a Coen-brothers script and a bunch of sensational folk songs to help carry him through. In Bad Words, director/star Jason Bateman merely has a half-workable comic conceit and access to unlimited profanities. The anger, sullenness, and inaccessibility, I'm sorry to say, win out.

Oscar Isaac, Justin Timberlake, and Adam Driver in Inside Llewyn DavisINSIDE LLEWYN DAVIS

There are some Coen-brothers movies - Fargo and O Brother, Where Art Thou? and True Grit come immediately to mind - that, because they exude such palpable filmmaking energy and are so spectacularly quotable, I wanted to talk about immediately after first seeing them. Then there are the rarer Coen-brothers movies, among them The Hudsucker Proxy and Intolerable Cruelty and Burn After Reading, that I didn't feel much like talking about afterward, mostly because I didn't enjoy them much on a first go-round. (Though I've consequently become a big fan of Joel's and Ethan's Hudsucker and Burn, in the case of Intolerable Cruelty, second and third go-rounds did nothing to improve matters.)

And then there are Coen-brothers movies such as the new Inside Llewyn Davis, a work that is, I think, so good that I don't want to discuss it for fear of not coming close to doing it justice.

Zach Galifianakis, Jason Sudeikis, Dyan McDermott, and Will Ferrell in The CampaignTHE CAMPAIGN

As the movie's trailers have been running since what feels like the last presidential campaign, it's understandable if viewers enter the Will Ferrell/Zach Galifianakis political spoof The Campaign worried that all of the hilarious bits have already been spoiled for them. The wonderful surprise of director Jay Roach's comedy, however, is that they haven't - not unless viewers have somehow been privy to a trailer that lasts 85 minutes.

Andy Garcia and Mauricio Kuri in For Greater GloryFOR GREATER GLORY

To my considerable chagrin, before seeing For Greater Glory, I had no knowledge of the Cristero War that serves as the film's subject - a brutal conflict between devout Roman Catholics and the Mexican government that, in the late 1920s, claimed nearly 100,000 lives. Consequently, I thank director Dean Wright and screenwriter Michael Love for their two-and-a-half hour exploration of this years-long struggle, a movie that's intensely informative and sincere, and mostly engaging. If only it weren't also so sentimental, and so manipulative.