Us is murkier and messier and more ambitious. You could intuit as much from the perplexing extended teaser that gave a splashing glance at the evocative, nightmarish imagery. Indeed, Peele’s focus as a visual storyteller has sharpened. He amplifies the more stunning frames in Us with a pulsating score that signals foreboding, menace, and misery. Even a shot as conceptually simple as a blood-red candy apple dropping into the sand sparks waves of meaning. He stages an agonizingly slow zoom-out of countless rabbits in cages so powerfully and confidently that you feel overwhelmed by the palpable dread of unspoken sadism. 

The film 9-22, is about a Washington, D.C.-based lawyer who ends up fighting for his life, as he struggles to investigate the untold, dark history of U.S.-Iran relations in the 1980s to save his client (an imprisoned former Navy Special Operations pilot). 9/22/1980 was the date Saddam Hussein invaded Iran and started the Iran-Iraq war. 9/22 was also the name of Saddam Hussein’s chemical warfare program’s code name. 

While many of Wiseman’s other films examine the darker forces of institutions, Ex Libris is a meditation on the central role of the New York Public Library (NYPL) in New York’s intellectual and civic life. Like all of Wiseman’s films, his genius lies in the ways in which he can create meaning out of the mundane. Wiseman wanders the administrative halls of the library and drops in on staff meetings that might otherwise be seen as a bore. 

That scene, in Battle of the Sexes, the smartly engaging and depressingly relevant new movie about the match starring Emma Stone and Steve Carell, is a blast from the past loaded with lessons for the future, an eerie reminder that today’s rebloom of sexism is a scary echo of decades — actually, centuries — of innate and cultural misogyny. And it’s a handy playbook to get through our current crisis. Crises.

Director Eric Van Looy’s remake of the Danish film “Loft” is an off-kilter morality play marked by unseemly characters, unlikely actions and a multitude of twists. The plot centers on five men – Vincent (Karl Urban), Chris (James Marsden), Luke (Wentworth Miller), Marty (Eric Stonestreet) and Philip (Matthias Schoenaerts) – who agree to rent a secret loft where they can take women without their wives’ knowledge.

In Ex Machina, a new film by Alex Garland, a 26-year-old programming whizkid named Caleb (Domhnall Gleeson) wins a company lottery. The prize? Spend a week at the remote and sleekly futuristic home of the company’s billionaire founder Nathan (Oscar Isaac), and conduct a test to determine if Nathan’s latest invention actually possesses the long-sought-after holy grail of science – artificial intelligence (AI). 

Alice Howland (Moore) is a  brilliant linguistics professor who has a warm and loving home life and a rewarding career where she is respected by students and colleagues. Then she begins forgetting things. At first, the problems are relatively minor. She loses track of where she’s going in a lecture. It’s an embarrassing moment, but little more. Then after getting lost while going for a jog around her college campus, she decides to seek medical help. 

King is portrayed brilliantly by David Oyelowo, a British actor who skillfully captures the nuances of King’s posture, voice and demeanor. Oyelowo’s work was rewarded with a best actor nomination for a Golden Globe, and his performance ranks among the best of 2014. Although the movie revolves around King – and thus Oyelowo –DuVernay assembled a fine supporting cast that includes Carmen Ejogo as Coretta Scott King, Common as James Bevel, Oprah Winfrey as Annie Lee Cooper and Tom Wilkinson as Lyndon B. Johnson. 

In “The Gambler,” Mark Wahlberg stars as Jim Bennett, a man who has never learned to quit while ahead. Despite being born into one of the wealthiest family’s in America, Jim’s gambling addiction has left him desperate, broke and hounded by low-life loan sharks. His problem is so severe that any cash he acquires is immediately lost to high-stakes wagers in blackjack and roulette.   

Liam Neeson made one of the most interesting career transitions in recent memory when he introduced the role of former government agent Bryan Mills in “Taken.” Before the film, Neeson was an actor best-known for solid dramatic work in pictures that include “Schindler’s List” and “Michael Collins.” But, as Mills, he became an action hero of the Dirty Harry variety, dispensing swift, brutal street justice to the sex-trafficking European thugs who abducted his daughter.