Antony Johnston and Sam Hart’s 2012 graphic novel The Coldest City comes to the screen as Atomic Blonde, with Charlize Theron in the title role of international spy Lorraine Broughton. How far her career has come: “I got offered a lot of stuff in action movies that was either the girl behind the computer or the wife,” Theron told Variety.

Speaking of atomic blondes, we’re going wild for Daniel Craig’s new do in Logan Lucky, Steven Soderbergh’s new heist comedy (from a screenplay by Rebecca Blunt, her debut feature).

Good Time, the ripping new film from the Safdie brothers, is on its way to big screens soon. It stars Robert Pattinson as a desperate small-time crim, and co-director Benny Safdie plays the brother he’s trying to help out.

Our eyes popped right out of our faces when we saw the trailer for Ava DuVernay’s $100 million adaptation of Madeleine L’Engle’s YA classic A Wrinkle in Time. Happy to let R. Eric Thomas do the talking for all of us on this one: “RuPaul just called to tell O she won the next three seasons of Drag Race. Oprah responded, ‘I know.’”

“God bless Kevin Spacey, the only person here who was at least believable as a human being. Every time these f*cking people sang I prayed for the sweet mercy of death. I cringed so hard when he was making mix tapes I almost broke my neck. I longed for the Punisher to come back and kill them all… I wanted to tape Lilly [sic] James’s mouth shut. I wanted to tie up Jon Hamm to dry-shampoo his hair. The only thing hot left of Hamm was his voice. At times I actually closed my eyes and I imagined him murdering me just so I didn’t have to watch that movie anymore.” —sati

“There’s nothing but love in Wright’s show-tune, grand theft auto delight. For the genre, the girl, the guy, the beat, the rhythm, the tragedy, the romance, the meet-cute, the cars and the gunshots and the money. There’s not one iota of a reason to discuss Wright’s little cinephile nods, because isn’t it obvious? […] What you *should* be licking your chops in ecstasy for is a grand, frolicking marriage of sound and image. And this is their consummation. The only motion pictures that comes close in terms of a soundtrack/sequencing combo is something out of Martin Scorsese’s upper filmography echelon or Altman’s winding Americana work in the 70s. This is huge, people.” —SilentDawn

“Perhaps Nolan’s greatest weakness as a filmmaker is that he always fails at creating multifaceted subjects and instead decides to fill the runtime with structural gimmicks and empty symbolism. Dunkirk is no different, this film is dripping with faux importance. The film doesn’t even attempt to personify any of its characters and instead cuts rapidly between subplots to numbing proportions. It’s painfully obvious that Nolan was trying to make the next [The] Thin Red Line… But the thing that Nolan forgets is that Malick’s films are built off of texture, the hyper-aware nature of his films works because Malick constantly mixes the pot introducing new ideas. Nolan holds the same dull note for the entire runtime and never even makes an attempt at bringing something new to the table.” —Ben Radetski

“Dunkirk has been described as primarily a suspense film, as opposed to a war film. But here we have a film that utilizes its form, suspense, as a means to heighten its function, war. This film utterly immerses you in its world. From the first scene, papers are falling from the sky that tell them they are surrounded. That there is no escape. […] Surprisingly, it is also a film characterized by empathy, as should be the case but often isn’t with war films. There is not much dialogue, but that does not mean the performances are rendered useless. […] It’s so immersive, so oppressive, so utterly unforgiving, that we feel, at least in some small way, what the soldiers might have felt at that moment.” —Luke

“The Wizard of Oz may be the staple of American pop culture, and is undoubtedly legendary for its influence and cultural impact, but it is also a film that belongs to its era, for it looks awfully dated today. Having no nostalgic attachment whatsoever, the film turned out to be an insufferable experience that made me question my sanity and left me wondering what exactly prompted my decision to give it a go in the first place… Its dated visual encapsulation, cartoonish characters, juvenile humour, forgettable songs and my own low tolerance for films like these never allowed me to just sit back, relax and enjoy it for what it is. The same happened with Star Wars for similar reasons and no, I’m not sorry for that either.” —CinemaClown

“This was remarkable—so densely packed with political ideas (the police raid at the beginning is one of the best depictions I’ve ever seen of the absurd terror of police violence), haunting images (blood getting wiped away by windshield wipers), biting satire (the brilliant Network-esque post-apocalyptic talk show), slapstick comedy (the blood pressure machine), insane gore (also the blood pressure machine), etc. An unabashed B-movie with big ideas and a ton of anger, that transcends its trashy crowd-pleasing roots purely through Romero’s bottomless imagination [to become] a full-on masterpiece. (Also Dario Argento and Goblin did the score! I had no idea! It’s fantastic!) R.I.P. George (or rather, do not rest in peace, and come back to haunt our shopping malls).” —Michael Rogerson

“Neat amnesia noir about a stage actress (Anne Heywood) suffering from sudden and severe memory loss being stalked by a killer (Telly Savalas) filtered through the hyper-romantic/hyper-stupid (I mean this endearingly) lens of Italian thrillers circa 1972. Verdant, gold and gauzy flashbacks mix with languid scenes of Heywood, a classic woman in trouble if there ever was one, wandering around confused in her own life. ‘I’m not married!’ she screams at her husband of three years. Savalas flips open his switchblade a few times in the most obvious knife-as-a-metaphor-for-sexual-arousal since Mitchum tore his pants up in Night of the Hunter, and his oral fixation here includes chain smoking and sipping and spitting water.” —laird

Here’s a Baby Driver round-up of treats for the Edgar Wright fans among you. First of all, have you met Jon Hamm? Letterboxd member Scumbalina has, and lived to tell the tale. Our mate Steve Newall had a sit down with Edgar Wright and Ansel Engort during their world tour. Engort’s tales of Jamie Foxx’s press tour generosity are well worth the read. We’re obsessed with soundtrack creator Kid Koala and his analog tools. Read about the making of “Was He Slow?”, then read about how Kid Koala’s wife helps him make his remixes funnier. Finally, stunt driver Jeremy Fry reveals there really is stunt driving school called The Motion Picture Driving Clinic.

Get acquainted with the 13th Doctor Who: Jodie Whittaker has appeared in almost two dozen films so far. Her debut, Venus, opposite the late, great Peter O’Toole, earned her multiple accolades, while Letterboxd favorite Attack the Block is also notable for being John Boyega’s feature debut. As for the rest, check out superfan Mark’s ranked list.

Looking for another country to tackle in your 52 Films By Women challenge? Willy has compiled this handy list of Korean film directors, and is updating it regularly.

In the annals of dedicated list-making on Letterboxd, this is a definite front-runner: Every single film Taika Waititi has ever mentioned (either in a positive or a negative manner) in interviews, talk shows, podcasts, Q&A sessions, Reddit AMAs and more, over the years. Definitely read the notes.

IndieWire staff have put their heads together and decided that these are the 25 best documentaries of the 21st century so far. Joshua Oppenheimer and Christine Cynn’s The Act of Killing takes top spot.

Our halfway leaderboard for highest rated 2017 narrative feature published at the start of the month had Baby Driver in pole position, with Get Out and Logan in second and third place respectively. Since publication, The Big Sick has climbed past Logan, and Dunkirk has debuted in the number one position. Your ratings determine which films make our 2017 Letterboxd Year in Review at year end, so thanks for logging and rating the films you’ve seen so far, and please keep it up!