Batman returns, and so does Pixar, this March

From the 1950 original to the 2003 to today’s Disney+ redo, there’s apparently just something irresistible about a family having a fuckton of kids. This remake (do you really need to “reboot” the idea “a fuckton of kids running around?”) seems designed to mitigate, however slightly, the out-of-step largesse involved when siring an army of marauding children: Zach Braff and Gabrielle Union play co-parents of a blended family with only 10 kids, rather than 12, making this more of a supersized situation than a weird anti-birth-control/prosperity-gospel flex. As far as needless streaming redos go, it even looks kind of cute (maybe because the last iteration isn’t especially good, despite Martin).

Netflix is said to have paid big money to acquire the streaming rights to this three-hander thriller, which stars and Lily Collins as an obscenely wealthy couple who arrive at their vacation home to find that a stranger (Jason Segel) has broken into the swanky property. Director Charlie McDowell’s previous films, and , both pivoted around high-concept science-fiction premises. Here, he reunites two out of the three leads of the latter for what seems to be a much more straightforward exercise in mounting suspense and class tension. The biggest draw: seeing Plemons take on the role of a chilly, arrogant billionaire.

Writer-director Mariama Diallo made a splash at Sundance this year with her debut feature about two Black women (Regina Hall and Zoe Renee) confronted with both microaggressions and something more supernatural at a predominately white East Coast college. Master caught comparisons to at the festival, but our own correspondent saw much more than imitation in its comparably pointed twist on general convention, calling the film “one of the few ‘social thrillers’ to live up to Jordan Peele’s Oscar-winning debut in terms of horror craft and incisive commentary on liberal racism.”

Ti West gets in on that sweet A24 horror money, rewinding back to 1979 to tell the tale of a gaggle of amateur pornographers whose attempt to secretly film a dirty movie in a secluded farmhouse gets them into deadly trouble with the property’s elderly, unhinged owners. West’s slow-burn approach to the genre has yielded films both delightfully creepy () and laboriously unsatisfying (). This one looks funkier (and funnier) than his usual tortoise crawl to a shocking payoff.

Screenwriter Graham Moore’s first feature won him an Adapted Screenplay Oscar, which must be why he gets to follow up with such an odd-looking feature directorial debut. The Outfit is apparently a pun-based crime drama, following a tailor (Mark Rylance) who makes beautiful clothes, primarily at the service of Chicago gangsters. With some manner of assistant (Zoey Deutch) at his side, a particularly eventful night has him enduring various evidence-hiding, mob-doctoring, and blood-scrubbing scenarios. The intriguing bit is the pairing of Rylance and Deutch, an onscreen team-up no one especially anticipated.

In what sounds like his most personal project yet, provocative Israeli filmmaker Nadav Lapid follows a… provocative Israeli filmmaker (Avshalom Pollak) as he copes with both the death of his mother and attempts by a representative of the Ministry Of Culture to censor him. Lapid’s movies, which include and , often teeter between incisiveness and exhausting, hyper-stylized abrasiveness; word from Cannes, where this latest effort premiered, is that Ahed’s Knee offers plenty of both, with a cranked-up visual style to match its political rage. The film split the Jury Prize with at the festival, and if it’s half as good as that movie, we’d call it a must see.

One day after begins streaming on Hulu, the latest from another acclaimed Romanian filmmaker, Radu Muntean (), hits American theaters. Intregalde, which has been variously described as a tragicomedy, a satire, and a quasi-thriller, concerns a group of humanitarian workers whose ideals are tested in remote Transylvania when they encounter an elderly local who might really need their help… or might be leading them into danger. This being an offering from the ongoing Romanian New Wave, expect the comedy to be dry and withering, and the pace to be deliberate.

Ever notice how many of Hollywood’s last stands for star-driven original properties are still essentially just remakes? Honestly, it’s probably a relief that The Lost City doesn’t insist on calling itself and trotting out a Michael Douglas cameo, instead simply plugging Sandra Bullock into the Kathleen Turner role of a romance novelist out of her element. Rather than encountering a rugged real-life adventurer, as in Stone, Bullock unwillingly goes on an escapade with her book series cover model, played by Channing Tatum, seemingly well-cast as a guy who looks the part of smoldering hunk but is more of a well-meaning goofball. For actual smoldering, look to the self-parodying cameo that the trailer has already seen fit to spoil.

Michelle Yeoh faces the madness of the multiverse, a whole month before takes on the same premise. The martial arts legend (and, okay, yes, ) stars as an ordinary woman who starts plummeting into different realities, each featuring another version of herself. Audiences will get a first look at the new whatsit from directors Daniel Kwan and Daniel Scheinert (a.k.a. Daniels) when it opens SXSW on March 11, a couple weeks before this presumably strange blend of comedy, action, and pathos starts rolling into theaters.

When not turning to the or his for inspiration, director Justin Kurzel (, ) devotes himself to the dramatization of real-life Australian violence. With Nitram, he chronicles the lead-up to the Port Arthur mass shooting of 1996, which resulted in sweeping gun-control legislation in the country. (The actual event is reportedly not depicted on screen.) And though the film focuses some on the psychology of the perpetrator (played by Caleb Landry Jones), his real name is never uttered—a choice that speaks to Kurzel’s aim to understand this national tragedy without sensationalizing it or immortalizing the shooter.

Is HBO Max stepping to Netflix’s teen rom-com business? Moonshot certainly feels like a major team-up for a certain demographic, with Cole Sprouse and Lana Condor (!) playing college students in the future who sneak aboard a shuttle to a terraformed Mars to hook back up with their respective significant others. Will they find love with each other instead? Maybe the movie is weirder than it lets on; director Chris Winterbauer last made Wyrm, a movie described as “gentler Todd Solondz.”