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Like father, like son? what a smooth talker Rhaegar must have been, and how well he must have sung his love songs, but I have to go now. Given what we now know of the depth of Vary’s involvement, Varys the Spider, that would be an amazing bit of teasing foretelling they gave us way back in season 2. Wow. Arya doesn’t like to be told where to go and what to do. Arya wanted to know more about the people she would kill and not kill the people she liked. Arya definitely learned many skills at the House of Black and White but she will always be Arya Stark and never “no one”. At least twice I read right over it and it didn’t click. The finale left a nice clifflook (can i call it a cliffhanger? for the riverlands. It exceeded my expectations and became my favorite one, even better than season 4. Even if the events somehow happen in the next novel, I doubt I could enjoy it more. There was no way to keep Jon dead without the entire story collapsing, hence why almost nobody believed it in 2011 and why almost nobody bought what HBO was selling during the 2015 off season. Whenever I see someone make an argument like this, it immediately tells me that they prioritize cheap shocks and subversive writing purely for the sake of it over narrative payoff and constructing a cohesive and impactful character arc. Bonus points in this case for the complete failure to recognize that, in a story which famously killed off the Stark patriarch, followed by the matriarch and eldest son who tried to avenge him, killing off the next hero in line would have actually been the most predictable thing they could have done. Its what got you into this story to begin with, right. I’d say do a reread of them over the long off season.

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He is all of those things and more within the 95-minute confines of 20,000 Days on Earth, a cinematic tribute from filmmakers Iain Forsyth and Jane Pollard that seems to suggest Cave is the last scarily compelling frontman, period. Part documentary and part fantasy, 20,000 Days provides a glimpse of a single, fictitious day in the life of the Birthday Party veteran, tackling the artist’s creative life (there is intimate footage of him recording 2013’s great Push the Sky Away ) and personal ruminations with equally surreal aplomb. At points, when the camera is privy to strange, late-night conversations between Cave and past collaborators, 20,000 Days feels like an entry point into the man’s subconscious. Frankly, it is the closest you’ll get to the famously prickly interview subject without shivering. —Zach Schonfeld OBVIOUS CHILD Even in 2014, Obvious Child feels like a small miracle: a film about an abortion that doesn’t hinge on trauma, guilt or near-death injury. But even without a larger political context, Gillian Robespierre’s first feature film is enough of a treasure to transcend the pregnancy rom-com cliche. That’s due in large part to Jenny Slate, who is the perfect mix of charming and graceless as Donna Stern, a broke comedian who needs nothing less than the awkward one-night stand that winds up getting her pregnant. But it’s also thanks to a script that’s sincere in the right places without crossing over into preachy territory and a use of the titular Paul Simon track that’s worth waiting half the movie for. The consensus is that this is an unusually promising debut from Robespierre, but even that’s not entirely fair: Obvious Child is a promise fulfilled. —Zach Schonfeld GONE GIRL It’s tough to think of a film that preyed on our collective insecurities—about marriage, trust, feminism, old-fashioned small-town values—more thoroughly and viciously than Gone Girl did this past October. From the best-selling 2012 novel by Gillian Flynn (who serves as screenwriter), David Fincher has crafted a psychological horror of Hitchcockian proportions. The story centers around a rural Missouri town where a husband (Ben Affleck) slowly becomes the lead suspect in the disappearance of his own wife (Rosamund Pike), though of course there is more that cannot be revealed. There is something ghoulish about how the plot (and the audience’s trust) dissolves bit by bit; how the twist arrives midway through, so there is time to soak in its deepest consequences, and how Trent Reznor’s unsettling score follows along each step of the way, an eerie icing on a cake already thick with dread. Gone Girl is a star-making vehicle for Pike, who is stunning as the scorned wife with myriad secrets of her own, though it also makes shrewd use of Affleck’s dopey affability—a casting accomplishment in its own right. —Zach Schonfeld FOXCATCHER Foxcatcher is no formula movie, but a haunting look at two Olympic wrestlers who tragically fall under the influence of the very weird gunpowder heir John E. DuPont, who happens to be the richest American ever convicted of murder. Mark Ruffalo, as the compassionate older brother, captures the feral motions of his sport: hunched over, palms turned up, always bouncing, ready to pounce.

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