The 33
Even though we know how it ends, this dramatization of the 2010 Chilean mining crisis is still nail-bitingly tense. At least, it is for a while. Then Antonio Banderas gives one too many pep talks and the film takes a Disney-esque turn away from what must have been much, much darker in reality. Just about everything has been dumbed down and glossed up for American audiences: The movie is in freaking English for christ's sake, with each brown-haired actor doing his or her own distracting version of a Chilean Spanish accent. ELINOR JONES Various Theaters.

Association of Moving Image Archivists
A showcase from the group dedicated to the preservation of media, including many new and previously unseen works. Screenings include This Is Cinerama, The Thanhouser Studio and the Birth of American Cinema, and more. More at nwfilm.org. NW Film Center's Whitsell Auditorium.

Black Mass
Touted as a return to Johnny Depp's early form, the gangster saga Black Mass encouragingly shows that it may be a bad idea to write off Depp. (Yes, even after Tusk.) The actor's love of makeup has, if anything, intensified; here, he festoons himself with bad teeth, an elfin nose, and malamute eyes with fascinatingly grotesque results. (Some shots suggest that his mustache from Mortdecai may even still be attached, a few strata down.) What's new, however, is that he doesn't seem content with just pleasing himself this time, engaging with the material to create a full-blooded, occasionally terrifying center of attention. Unfortunately, the film can't quite measure up to this level of intensity, adopting a somber pace at odds with its star's level of enthusiasm. ANDREW WRIGHT Academy Theater, Laurelhurst Theater.

Bridge of Spies
Spielberg's first film since 2012's Lincoln is an exceptional job of work—a deliberately old-fashioned hybrid of courtroom drama and Cold War skullduggery that's so expertly put together you may not realize the beauty of its construction until after the fact. ANDREW WRIGHT Various Theaters.

Brooklyn
See review this issue. Cinema 21.

By the Sea
See review this issue. Various Theaters.

Goodnight Mommy
Chilly and unsettling, this examination of the relationship between a vain and distant mother, recovering from plastic surgery, and her twin boys gradually builds its mysteries to a horrifying crescendo. A gorgeous arrangement of sterile but stylish modern furnishings contrasting with the boys' visceral interest in nature—cornfields, hissing cockroaches—becomes a backdrop for emotional and physical cruelty. The plot is impossible to unpack without disturbing Mommy's central plot twist, but be prepared to grapple with shifting sympathies and tragic confusion. MARJORIE SKINNER Laurelhurst Theater.

Grandma
In Grandma, teenager Sage (Julia Garner) faces the all-too-common problem of having to come up with a fuck-ton of money for an abortion, like yesterday. Enter her cantankerous SoCal queer poet grandma (Lily Tomlin). She's not particularly equipped to help, but she tries anyway, in what's half-madcap quest, half-straight-up depressing reality. At times, writer/director Paul Weitz's dialogue is thin, his world not quite as solid as it should be. But then Lily Tomlin says something like, "Where can you get a reasonably priced abortion?" with the perfect grousing tone, and you realize you're watching a movie—finally!—about a teenager who has an abortion and turns out fine, and it couldn't seem more honest. MEGAN BURBANK Academy Theater, Laurelhurst Theater.

Grindhouse Film Festival
See My, What a Busy Week! Hollywood Theatre.

Holla
A documentary about Portland's Holla Foundation, "founded by Pastor Eric Knox to mentor kids of color in predominantly white and white-taught schools." Hollywood Theatre.

How Green Was My Valley
John Ford's 1941 drama. Hollywood Theatre.

The Hudsucker Proxy
Joel and Ethan Coen's 1994 take on the screwball comedies of the '50s has only improved with age. Tim Robbins and Paul Newman star, Sam Raimi co-writes, and the whole damn thing's about hula hoops. It's great. BOBBY ROBERTS Academy Theater.

The Hunger Games: Mockingjay—Part 2
See review this issue. Various Theaters

I Am Thor
See review this issue. Hollywood Theatre.

I Heart Huckabees
Not even director David O. Russell knows what the fuck this existential comedy is about. But he almost makes Mark Wahlberg look like a comedic genius, so he did something right. Fifth Avenue Cinema.

Les Blank: How to Smell a Rose and Eat a Shoe
A celebration of the documentaries of filmmaker Les Blank, including screenings of How to Smell a Rose and Werner Herzog Eats His Shoe. Hollywood Theatre.

Love the Coopers
Maybe it's just because it's stuffed with likeable actors (Diane Keaton, Marisa Tomei, John Goodman, Alan Arkin), but Love the Coopers is at, the very least, a whole lot better than most terrible holiday movies with the word "love" in the title. Various Theaters.

The Martian
Set in a fantastical near-future in which America adequately funds its space program, The Martian is the best ad for NASA since Ahmed Mohamed's T-shirt. Just about every frame reinforces a core sentiment: It's time to start caring about space again. The fact that The Martian manages to sell this idea—convincingly and rousingly, with a fair amount of humor—is all the more impressive given that it follows a man who's been marooned 140 million miles away and is forced to spend his days desperately trying to delay his all-but-inevitable death. It's funnier than it sounds. ERIK HENRIKSEN Various Theaters.

Meet the Patels
A documentary in which an Indian American man gets help from his family finding a wife. Not screened for critics. Laurelhurst Theater.

Monty Python and the Holy Grail
Nerds have done their best to ruin Monty Python and the Holy Grail—quoting it at every opportunity, screeching "NI!" whenever you steal their lunch money—but even they can't tarnish the glory of the 1975 comedy classic. See it on the big screen with a beer, as god (and Sir Robin the Not-Quite-So-Brave-as-Sir-Lancelot) intended. ERIK HENRIKSEN Laurelhurst Theater.

Mr. Holmes
As Sherlock Holmes, Ian McKellen is magnificent. It's often argued that cinematic spectacle can't be truly experienced unless it's projected onto a 50-foot screen, but I'd argue that it's also worth employing that increased scale to watch the planes of McKellen's face shift, almost imperceptibly, from mood to mood. BEN COLEMAN Academy Theater, Laurelhurst Theater.

My All American
A football drama starring Aaron Eckhart and something called a Finn Wittrock. Various Theaters.

The Night Before
See review this issue. Various Theaters

The Peanuts Movie
One would think the greatest mistake a rebooted Peanuts movie could make would be updating the characters—and yet? This remake is 100 percent authentic to its roots (other than being CG-animated), and while occasionally cute, it's also 100 percent tedious. It's basically a rehash of every classic Peanuts strip you've read a billion times before, providing nothing new for adults or a single reason why children who are new to the franchise should care. The six-year-old I went with summed up this disconnect perfectly when asked, "What did you think?" and she replied, "Where were the talking peanuts?" WM. STEVEN HUMPHREY Various Theaters.

POWMonthly
POWFest's film series, featuring films "made by women that address issues of gender equality and the varied nature of women's lived experiences." This month: 1995's Home for the Holidays, directed by Jodie Foster. Clinton Street Theater.

Re-run Theater
Whovians! Two things! (1) Stop calling yourselves Whovians. It's fuckin' dumb. (2) Get your scarved, sweatered, and bowtied asses to the Hollywood for Re-Run Theater's screening of what many consider to be the finest Doctor in his finest serial: Tom Baker in Genesis of the Daleks. Screening includes vintage '70s toy ads during the commercial breaks. BOBBY ROBERTS Hollywood Theatre.

Room
Room is about a boy who is born in the garden shed where his mother, "Ma" (Brie Larson), has been kept captive for seven years, ever since she was abducted at age 17. Five-year-old Jack (Jacob Tremblay) has never seen the world outside of the shed—he doesn't even know such a world exists—and when Ma decides Jack is finally old enough to help carry out an escape attempt, the plan she concocts is dangerous and thrilling. But there's much more to this story: Room is based on the 2010 novel of the same name by Irish Canadian author Emma Donoghue. I read the book in one sitting—in a paroxysm of anxiety and emotional investment that kept me awake until 3 am—and came away impressed by its thoughtful, unexpected treatment of incredibly disturbing subject matter. The film succeeds by the same token. ALISON HALLETT Hollywood Theatre.

Rosenwald
The central surprise of this documentary about Julius Rosenwald is the likelihood that you've never heard of him. The incredibly wealthy one-time owner of Sears, Roebuck & Company was responsible for the creation of almost 5,000 schools for African American children in the South—including notable alumni like Maya Angelou—and grants that furthered the careers of Langston Hughes and W.E.B. DuBois, among many others. Writer/director Aviva Kempner's M.O. is to tell the stories of under-recognized Jews from history, and she certainly accomplishes that here. Inspired by the mistreatment of his fellow Jews around the world, Rosenwald acted out of a sense of kinship as well as a philosophy of philanthropic duty, and his methods required matching investment from the communities that benefitted. In other words, this isn't a white savior story—it's a dynamic look at our country's messy history of racial and immigrant integration through the lens of a remarkable contributor who preferred to avoid the spotlight. MARJORIE SKINNER Cinema 21.

Secret in Their Eyes
See review this issue. Various Theaters

Sicario
What's the opposite of evaporate? Whatever it is, that's what Sicario does. When so many movies and TV shows disappear from memory as soon as you're finished watching, Sicario lingers. It clots. Denis Villeneuve's new drug thriller is phenomenal. Its story is both personal and political, a scathing portrait of the drug war, as well as an elemental allegory in which moral dilemmas are depicted by characters crashing violently into each other. NED LANNAMANN Hollywood Theatre, Liberty Theatre.

Spectre
I was a little anxious about seeing the new James Bond movie: The reviews have been significantly more mixed than they were for 2012's Skyfall, and once that godawful Sam Smith song hit the internet, I lost a big chunk of hope. I shouldn't have worried. For a Bond enthusiast, Spectre is a feast. Overstuffed by half an hour and packed wall-to-wall with juicy action sequences, it's exactly the sort of over-the-top, ludicrous spectacle that seasoned 007 fans have come to cherish. I can understand why it's not getting the buzz that Skyfall did—to be honest, the movie's a bit of a mess. But it's also a supervillain's-lair-tucked-away-in-a-volcano-crater's worth of fun. Ignore the reviews, Bond lovers: You'll enjoy the new one just fine. NED LANNAMANN Various Theaters.

Spotlight
Michael Keaton, Mark Ruffalo, Rachel McAdams, and Brian d'Arcy James play the Boston Globe's "spotlight" team of investigative journalists who were tasked with looking into child molestation charges leveled at Boston's beloved Catholic Archdiocese. Translating a highly detailed true story to film could sound like a staged reading of a Wikipedia page, or worse, trivialize the victims' experiences—and Spotlight walks dangerously close to this precipice. However, other than a few hammy moments, this film somehow manages to pull it off. WM. STEVEN HUMPHREY Various Theaters.

Suffragette
In a tense moment in Suffragette, famed women's rights activist Emmeline Pankhurst (Meryl Streep) bellows, "We don't want to be lawbreakers; we want to be lawmakers!" to the cheers of women below. It's one of approximately 30 highly quotable lines peppered throughout the film, providing more than enough fodder for one of the best, most exciting movie trailers I've seen in a while. The movie, though, isn't nearly as exciting. ELINOR JONES Various Theaters.

THX 1138
See My, What a Busy Week! Hollywood Theatre.

Trainwreck
Amy Schumer fans should take heart: I'm with you. As far as I'm concerned, she's a national treasure, so it's weird to see her sharp-edged humor dulled by a movie that essentially hews to a classic boy-meets-girl-plus-problem format. MEGAN BURBANK Academy Theater, Laurelhurst Theater.

Trumbo
See review this issue. Various Theaters.

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MEANS WE RECOMMEND IT. Theater locations are accurate Friday, November 20-Thursday, November 26, unless otherwise noted. Movie times are updated daily and are available here.