Movie fans no longer have to pick over 2019's awards-worthy leftovers, now that The Assistant Like List is finally playing at the Grand Cinema in Tacoma. For those who've put off seeing those award winners, however, you can still check out Parasite, Ford v. Ferrari, and 1917. Classic horror fans can catch a special screening of Night of the Living Dead Like List on Saturday, which is also part of the Grand Cinema's ongoing selection of films recognizing Black History Month Past Event Like List . See all of our film critics’ picks for this weekend below, and, if you're looking for even more options, check out our complete movie times listings.

1917
Legendary screenwriter William Goldman once said of the film industry, “Nobody knows anything,” and this is still mostly true, with one exception: If cinematographer Roger Deakins shot the movie, that movie is worth seeing on the biggest screen possible. Even if 1917 were solely the most impressive work of Deakins’ remarkable career—which it is—I’d be recommending it. But the World War I movie is also one hell of a stunning storytelling experience from director Sam Mendes, co-writer Krysty Wilson-Cairns, and editor Lee Smith. “But wait,” you say, “isn’t the whole point of this movie that there aren’t any cuts? Why did they need an editor at all?” 1917’s hook (or less generously, its gimmick) is that it’s meant to unfold in a single, unbroken take. It’s one of the rare instances of a film’s marketing actually benefiting the finished film, because of the way this knowledge is both paid off... and then subverted. BOBBY ROBERTS
Various locations

The Assistant Like List
Kitty Green's The Assistant works quietly in its condemnation of abusive men in power. There's no passionate monologue about how a system enables a predator like Harvey Weinstein to comfortably exploit women, nor any cathartic scenes of abusers getting their comeuppance. Rather, the film focuses on the minutiae of office operations and existence, centering the person least in power—a female assistant—as a means of exploring exactly how abusers are enabled by everyone around them. While The Assistant is pretty self-contained, it’s perhaps one of the first films in this #MeToo-era to grapple with the people (men and women alike) and corporate structures that allow for abusers to flourish. They didn't arrive into their respective scenes that way, rather, a misogynistic culture that mandated we "look the other way" helped to normalize their behavior. Green did well to focus on the small actions of an assistant like Jane—the devil is in the details, after all. JASMYNE KEIMIG
The Grand Cinema

Bad Boys for Life
Michael Bay's absence behind the camera (although he briefly appears in a cameo that I reflexively booed) is immediately apparent. The action—still glistening, swooping, and forever circling, as directing duo Adil El Arbi and Bilall Fallah do some damn good Bay-raoke in their debut—is slower and mostly coherent. But even more remarkable: For the first time that I can remember, this is a Bad Boys movie primarily fueled by emotion as opposed to disdainfully rejecting it. And get this: That emotion? HUMILITY! I know. What the fuck, right? But fucks are abundant in Bad Boys for Life, and given often, flying just as freely as the one-liners, bullets, and grenades going off frequently and everywhere. BOBBY ROBERTS
Various locations

Ford v Ferrari
F v F is about how corporations can’t help but crush the passion and innovation they so desperately need. In this case, the crushees are race car designer Carroll Shelby (Matt Damon) and driving phenom Ken Miles (Christian Bale), both of whom are forced to cajole, finagle, and manipulate the suits at Ford in an attempt to win the famed Le Mans road race. Director James Mangold (Logan) smartly avoids the emotionally manipulative tricks found in other sports biographies, and Damon and Bale are, unsurprisingly, excellent and affecting. The problem? It’s impossible to ignore the two elephants in this room: The fetishization of white male toxicity and car culture, topics which society is trying to deal with and solve… not celebrate. This makes Ford v Ferrari a very good movie that, a decade ago, would’ve been considered great. Now it feels like a brand-new film that’s already an antique. WM. STEVEN HUMPHREY
Regal Parkway Plaza Stadium 12

The Gentlemen
There’s an odd (and fun) sense of formality to The Gentlemen, director Guy Ritchie’s newest crime flick that trades the downtrodden, violent British grit of his former films (like Lock, Stock and Two Smoking Barrels and Snatch) for a classier vibe that’s still violently gritty. Matthew McConaughey is, as usual, McConaughey (that’s a good thing), Colin Farrell is a case study in unflappable hilarity, Hugh Grant is England’s greatest treasure, and The Gentlemen is a fun, twisty-turny joyride through Britain’s well-heeled drug trade. Its moments of shocking, often comical violence should pair nicely with a snifter of good cognac. WM. STEVEN HUMPHREY
Various locations

Gretel and Hansel
Osgood Perkins, son of Anthony Perkins (of Psycho fame) and director of the well-reviewed artsy-horrors The Blackcoat’s Daughter and I Am the Pretty Thing That Lives in the House, takes the classic woodsy fairy tale to folk-grotesque extremes.
Various locations

Harley Quinn: Birds of Prey
Harley Quinn (Margot Robbie), no more the Joker's abused handmaiden, teams up with some superheroes to protect a little girl.
Various locations

Jojo Rabbit
The latest from Taika Waititi starts off with a bright, Wes Andersonian whimsiness: Young Jojo (Roman Griffin Davis) joyously bounces about at summer camp, having the time of his life as he frolics and laughs with his second-best friend Yorki (Archie Yates) and his first-best friend, the imaginary Adolf (Waititi). Just one thing: Jojo is at Hitler Youth camp—their campfire activities include burning books—Adolf is Adolf Hitler, and World War II is winding down, with Germany not doing so great. Both because of and in spite of its inherent shock value, Jojo Rabbit—based on a book by Christine Leunens—is just as clever and hilarious as Waititi’s other movies, but as it progresses, the story taps into a rich vein of gut-twisting melancholy. There’s more to the complicated Jojo Rabbit than first appears, and only a director as committed, inventive, and life-affirmingly good-hearted as Waititi would even have a chance of pulling it off. He does. ERIK HENRIKSEN
The Grand Cinema

Knives Out
Knives Out [is] Rian Johnson's phenomenally enjoyable riff on a murder-mystery whodunit. The less you know going in, the better, but even those familiar with mysteries will likely be caught flat-footed. Things begin in the baroque mansion of famed mystery novelist Harlan Thrombey (Christopher Plummer), who is very, very dead. Through flashbacks, monologues, and the genteel but razor-sharp questioning of investigator Benoit Blanc (Daniel Craig), we meet the rest of the Thrombeys—played by Jamie Lee Curtis, Michael Shannon, Toni Collette, Katherine Langford, and more, with everyone clearly having a goddamn blast—and we hear about a billion motives and a billion alibis. Somebody killed Harlan, and while Benoit Blanc is on the case, Knives Out quickly spirals into unexpected territory. In a time when filmgoing is dominated by familiar franchises, seeing an original movie executed with as much care, glee, and skill as Knives Out feels like an experience that's entirely too rare. ERIK HENRIKSEN
Various locations

Little Women
I say this with my whole heart: Greta Gerwig's Little Women is wonderful. Full of wonder, inspiring wonder, embodying wonder. Which is hard to do as the eighth adaptation of Louisa May Alcott's beloved 1868 novel of the same name. Gerwig's adaptation—which she both wrote and directed—feels neither redundant nor stale. Rather, it's a fresh, modern-feeling take on a well-trodden story, stuffed with excellent performances, witty dialogue, and gorgeous costumes. The film jumps between Jo's "present" life in a post-Civil War America and her childhood, living at home with her three other sisters and mother, awaiting the family patriarch to return home from the war as they struggle to make ends meet. The direction and sense of characters are particularly strong in this adaptation. It fleshes each sister out so that she feels real and worthy of empathy, not purely serving as a star vehicle for Ronan in the same way the Winona Ryder version arguably did. JASMYNE KEIMIG
Various locations

Night of the Living Dead Like List
The George Romero classic that spawned a thousand zombie flicks—not to mention essays on race relations in America. The ravenous dead besiege a group of white survivors, who are led by a determined African American man (the Sorbonne-trained Duane Jones, who should have been a big star). Low-budget, occasionally laughable...and still a punch in the gut.
The Grand Cinema
Saturday only

Parasite
Parasite is director Bong Joon-ho at his very best. It's a departure from the sci-fi bent of his recent movies, though it's no less concerned with the state of society today. Set in Seoul, South Korea, the families and class issues at play reflect our global era, in which the disparity between the haves and have-nots seems to be widening. Parasite follows the Kim family, who secretly scam their way into the lives of the wealthy Park family. Slowly and methodically, the Kims begin to drive out the other domestic workers at the Park residence, each time referring another family member (who they pretend not to know) for the vacant position. And so the poorer family starts to settle comfortably into the grift—until a sudden realization turns their lives upside down. The resulting film offers an at turns hilarious and deeply unsettling look at class and survival, its essence echoed in the environments the characters inhabit. JASMYNE KEIMIG
Various locations

The Photograph Like List
Stella Meghie's romance stars Issa Rae as a woman investigating her deceased mother's life and LaKeith Stanfield as the hot journalist she falls for.
Various locations

Star Wars: The Rise of Skywalker
I found The Rise of Skywalker, the last film in the Skywalker saga, boring. And it was not even a long movie, and I'm a fan of the director's (J.J. Abrams) work (particularly Mission: Impossible III—the best in that franchise), and many of the visual effects are impressive—particularly the haunting business of bringing the late Carrie Fisher back to life. But all together, the film is burdened by too much sentimental family stuff (you are my granddaughter, you are my son, you killed my parents, and so on), and its end did not know how to end for a very long time. CHARLES MUDEDE
Various locations

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