Jim Cummings—actor/​writer/​director/​producer/​long-time Letterboxd advocate/​Halloween Kills co-star and inspirational voice in independent cinema—often advises aspiring filmmakers to just get out there and make stuff, and he very much walks the walk. In The Beta Test (now in theaters and VOD), which he co-wrote and co-directed with co-star PJ McCabe, Jim plays a slippery Hollywood agent who gets caught up in a bizarre plot when he answers a letter offering no-strings-attached sex. “Very different to the two preceding films in his ‘alcoholic cop’ trilogy, but just as excellent,” writes Daisy. “Don’t sleep on Cummings,” advises Caleb The Wild. See also: eleven films about the dark side of Hollywood curated for us by PJ and Jim.

Kristen “Five Good Films” Stewart may have to adjust her total now that the world is getting to see Spencer, in which she stars as the late Princess Diana across one fateful Christmas weekend. Stewart’s exquisite poise in the role is intoxicating to all who experience it: “Low-key I sometimes forgot I was watching Kristen Stewart she’s that good holy moly,” writes Iana. “I’m happy to say that I’m now the president of the ‘Kristen Stewart deserves an Oscar for this movie’ campaign,” agrees AmandaTheJedi. With a large focus on food (cook for us, Sean Harris), we give thanks to the ever-reliable Allison M. for her typically thorough vegan alert.

A frankly devastating cast populates Jeymes Samuel’s new Western The Harder They Fall (now on Netflix). Incoming MCU Kang Jonathan Majors stars alongside (deep breath) Idris Elba, Regina King, Delroy Lindo, Zazie Beetz, LaKeith Stanfield, Damon Wayans Jr and many more. “So unbelievably fun,” writes Drew Clark of this “fun and suave modern Western” that “perfectly tiptoes the line of being both a dark, brutal revenge tale and a seriously funny ensemble film”.

Blerta Basholli’s Hive—Kosovo’s entry for the upcoming Academy Awards—tells the story of Fahrije (Yllka Gashi), who flies in the face of Kosovar societal expectations by attempting to make a life for her and her children when her husband doesn’t return from war. “A profound story about women persevering and being successful,” writes Emma. “Never hits a false note,” agrees Joel Mandelkorn. To mark Hive’s US theatrical release, Basholli sent us a list of the films that inspired her.

Chloé Zhao is the first Best Director Oscar winner to make a Marvel movie, and her cosmic saga Eternals, now in theaters, is proving to be the most critically divisive film of the modern MCU. On Letterboxd, however, it has a firm three-to-four star appreciation, with many reviews happy to have it both ways, as BMLRobbins writes: “Like a super spiritual Chloé Zhao space opera and a crummy 00s superhero movie both happening at the same time but I kinda dug it still?” Or, more succintly from James: “Good mid.” A scan of reviews also reveals a lot of thirst for… Druig, Barry Keoghan’s second great role this year after his thieving turn in The Green Knight.

Rising filmmaker Hannah Marks, who you may recall from acting roles in shows like Awkward and Dirk Gently’s Holistic Detective Agency, offers her take on the ever-evolving romance genre with indie dramedy Mark, Mary + Some Other People (out now on VOD) in which a young couple (Boardwalk Empire’s Ben Rosenfield and Riverdale’s Hayley Law) attempt to keep their love alive by bringing other people into their relationship. “Has there ever been a good movie about an open relationship?” asks Jesse Hassenger. Claira Curtis certainly thinks so: “Toe-tapping soundtrack choices, color-popping visuals, razor-sharp dialogue, and some of the best on-screen chemistry of the year… one of the most impressive things is its ability to present Gen-Z culture so authentically.”

In acclaimed actor Rebecca Hall’s feature directorial debut Passing, Ruth Negga and Tessa Thompson star as two African American friends in 1920s New York whose lives are complicated by one of them passing as white. Selomeee struggled to connect with the film, which was adapted from a novel published in 1929: “I think this would all work a bit better for me on the page”, she writes. “It’s beautifully shot and the acting is stellar but what was the point?” asks Paul. Alex Harper, however, took the time to let the “unhurried, atmospheric” film sink in, praising cinematographer Edu Grau alongside Hall: “The composed work of a technician. Passing is the aura of a panic attack, slowly forming from the impeccable first shot.” (In theaters and on Netflix now.)

Since its Telluride debut, Kenneth Branagh’s Belfast, a black-and-white ode to his Northern Irish childhood, has been picking up awards buzz in the manner of many earnest, traditional efforts that do well come Oscar time. Matt Neglia captures the prevailing sentiment with his observation that “it may feel familiar but it has so much heart.” Sydney is a fan: “It’s magical, it’s tragic, it will pull at your heartstrings (just the right amount), and it’s downright hilarious.” (In US theaters now.)

Oscar-winning filmmaker Jane Campion won the Silver Lion at Venice for The Power of the Dog, starring Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons and Kodi Smit-McPhee. Superlative reactions abound for Campion’s first film since 2009’s Bright Star. Josh Lewis calls it a “subtle duel of shifting power dynamics/gender roles and psychosexual tension”. Sara Clements hails the film as a “Western, queer, Greek tragedy. Erotic in its gaze, it’s a fascinating study of masculinity and simmering desire”. (In theaters from November 17, on Netflix December 1.)

Paul Thomas Anderson resumes his love affair with the San Fernando Valley for his new coming-of-age film Licorice Pizza, out November 25. Cooper Hoffman, the son of late Anderson muse Phillip Seymour Hoffman, stars alongside pop star Alana Haim. Sean Penn also appears, and Bradley Cooper and his “unhinged ass” show up in an inspired piece of casting as real-life hairdresser-turned-producer Jon Peters, who was famously obsessed with giant spiders (he produced Cooper’s A Star is Born). It’s all a bit much really. We may need to sit down.

Following Paul Feig’s 2016 reboot, Sony further diversifies the cast for Ghostbusters: Afterlife, giving us Sydney Mae Diaz (Genera+ion, High Fidelity), Celeste O’Connor (Selah and the Spades) and Paulina Jewel Alexis (Beans, out now) alongside the OG ’80s Ghostbusters. Carrie Coon and Paul Rudd are in there, too. Directed by Jason Reitman—son of Ivan Reitman, director of Ghostbusters I and (the still underrated) II—the new instalment is getting mixed praise for its nostalgic properties. Kacey Bange writes “the entire plot just exists to appeal to 1980s Ghostbuster bros,” while Matt Pond counters that “everyone will go in with the expectations that this is just another cash-grab franchise rebooter, but this is not at all the case. Jason Reitman brings back all the levity and heart that his father gave us almost 40 years ago.” (In theaters November 19.)

Will Smith looks to be taking another serious run at a Best Actor Oscar with King Richard, a film about legendary tennis stars Venus and Serena Williams, centered around their coach father, who is hustle personified. It will no doubt join the already-great pantheon of tennis movies. It feels so good to be alive. (In theaters November 19.)

With The Last Duel having come and gone without generating much in the way of box office, Ridley Scott’s second collaboration with Adam Driver in as many months is released into theaters on November 21. House of Gucci assembles a killer cast (Lady Gaga, Jeremy Irons, Salma Hayek, Al Pacino, a prosthetics-laden Jared Leto) to tell the true story of a murder plot focused on the grandson of the iconic fashion designer. We are here for this A-list take on a trashy 1980s mini-series.

In addition to playing the lead role of a disgraced MMA fighter seeking redemption named *checks notes*… Jackie Justice, Halle Berry also makes her directorial debut with Bruised, which hits Netflix on November 24 after premiering at TIFF last year. “The queer Rocky Balboa movie we don’t deserve. Halle Berry is perfect,” writes Brookie123.

Kasi Lemmons’ 2001 film The Caveman’s Valentine, starring Samuel L. Jackson as a houseless pianist who suspects an art photographer of murder, is one of five underseen, women-directed, neo-noir movies that Marya E. Gates draws our attention to in her recent story for Journal. Marya is not the only Letterboxd member celebrating Noirvember—there are hundreds of you. And plenty of lists to inspire you, such as Jason Suzuki’s list of Asian noir, Justin LaLiberty’s list of noir, neo-noir and adjacent films featuring Black leads and/or creators and Abby’s list of film noir with an LGBTQ theme or characters. While we have you focused on Mr. L. Jackson, we have an excerpt from Bad Motherf—ker, Gavin Edwards’ new book about the life and work of our most-watched actor.

For those with no time to linger in the shadows, this month is also the fifth annual Woovember, which celebrates action cinema in all its glory, and is named for one of the genre’s most dynamic purveyors. Mr Woo would like you to watch 30 action films in November, so get cracking!

For the last eight months, Twitter user (and gentle Letterboxd member) JayTheChou has been photoshopping Paddington into a movie each day. He is showing no signs of abating, so Jarick Simbol has helpfully assembled this ongoing list of all the films the marmalade-loving bear has “appeared” in. Delightful.

A certain Korean Netflix series has many of us thinking about life-or-death games. Jay has put together a deep, deep list of all the movies that tap into this trope, which seems primed for a major resurgence. Familiarize yourself with It’s A Game Within A Game! We ain’t playin’.

Those interested should be advised of this recently-formed subgenre: Films where Timothée Chalamet is Mocked for his New, Developing Muscles.

It’s time for Dom’s Pick! Each month, Call Sheet editor Dominic Corry signs off with a film for your watchlists. This issue: Emperor of the North (1973). Director Robert Aldrich (The Dirty Dozen, Kiss Me Deadly) and stars Lee Marvin, Ernest Borgnine and Keith Carradine (as a character named ‘Cigaret’) are all in top form for this one-of-a-kind thriller about the power struggle between depression-era hobos who ride the rails and the evil conductor who relishes throwing them off his trains. There’s more grit in one frame of this than in most entire movies made after 1980.