A group of four friends, including Parasite and Train to Busan break-out Choi Woo-shik, knock over a gambling house, stealing a hefty bag of money and a set of even more valuable hard-drives, and then find themselves targeted by a ruthless contract killer (Park Hae-soo) who moves like the T-1000 and shoots like a henchmen in a Michael Mann movie. Unrelenting in its pursuit of scenarios where guys point big guns at each other in sparsely lit empty hallways, Time to Hunt is a South Korean thriller that knows exactly what stylistic register it's playing in. Okja doesn't pluck your heartstrings like, say, E.T., but there's grandeur in its frenzy, and the film's cross-species friendship will strike up every other emotion with its empathetic, eco-friendly, and eccentric observations.

When the corporate overlords come for her roly-poly pal, Mija hightails it from the farm to the big city to break him out, crossing environmental terrorists (including ones played by Paul Dano and Steven Yeun), a zany Steve Irwin-esque type (Jake Gyllenhaal), and the icy psychos at the top of the food chain (including Swinton's childlike CEO) along the way. Ahn Seo-hyun plays Mija, a young South Korean girl living in the mountains who has raised an adorable 'super-pig,' a breed, unbeknownst to Mija, developed by a food manufacturer to be the next step in human-consumption evolution. It's fueled by fairy-tale whimsy-but the Grimm kind, where there are smiles and spilled blood. Beijing Enlight Picturesīong Joon Bong's Netflix movie is a wild ride: part action heist, part Miyazaki-like travelogue, and part scathing satire. Anchored by Ia Shughliashvili's stunningly internal performance, and punctured by a dark sense of humor akin to Darren Aronofsky's mother! (which would have been the perfect alternate title), My Happy Family is both delicate and brutal in its portrayal of independence, and should get under the skin of anyone with their own family drama. But as Nana Ekvtimishvili and Simon Groß's striking character study unfolds, the motivation behind Manana's departure is a deeper strain of frustration, despite what her brother, aunts, uncles, and anyone else who can cram themselves into the situation would like us to think. The family is cantankerous and blustery, asking everything of Manana, who spends her days teaching better-behaved teenagers about literature. At 52, Manana (Ia Shughliashvili) packs a bag and walks out on her husband, son, daughter, daughter's live-in boyfriend, and elderly mother and father, all of whom live together in a single apartment in Georgia.

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