New films from Spike Lee, Judd Apatow, and, uh, Kevin James are coming this June

Elisabeth Moss has been absolutely killing it for a few years now, delivering powerhouse performances in everything from TV’s to last year’s Riot Grrrl backstage drama to this spring’s multiplex hit . Her winning streak continues with Shirley, starring the alum as reclusive “The Lottery” author Shirley Jackson, whose creative juices start flowing again after a young couple (Odessa Young and Logan Lerman) comes to stay in the house she rarely leaves. Michael Stuhlbarg costars as Jackson’s compatibly venomous husband in this charged psychodrama from director Josephine Decker ().

Abel Ferrara, the punk poet of inner turmoil, returns with another drama about a tortured soul—in this case, Ferrara himself! Acting alongside the director’s real-life wife and daughter, frequent collaborator Willem Dafoe stars as a thinly veiled alter ego of Ferrara: an ex-bad-boy Italian American director who has cleaned up his act and is now trying to lead a better life in Rome. Ferrara’s greatest films (including ) rank with the most lacerating character studies of addictive and self-destructive behavior. Since kicking drugs and booze, he has been an insightful chronicler of the moral struggle to stay sober.

Kevin James gets his moment with Becky, which casts the King Of Queens star as a violent neo-Nazi, just like the one Patrick Stewart played in Jeremy Saulnier’s 2015 thriller. This time around, however, it’s not a punk band taking on jackbooted criminals but a 13-year-old girl—the title character, played by Lulu Wilson, whose trip to the family lake house with her dad (Joel McHale) and his new girlfriend (Amanda Brugel) is interrupted by the arrival of skinhead thugs. This genre-movie scenario—and the casting stunt at the center of it—has been orchestrated by and directors Jonathan Milott and Cary Murnion. The film’s gory but also pretty silly.

South Korean writer-director Hong Sang-soo has made so many movies in the last decade—often remixing the same plot points—that it’s sometimes hard to keep up. Yourself And Yours, from 2016, is in fact just one of two long-delayed Hong features to get a belated American release this month (2014’s Hill Of Freedom, arguably his funniest and most accessible film, opens on June 12). This one’s another of the filmmaker’s experiments in doubling and variation, in which an insecure artist’s anxieties about his girlfriend are manifested in an assortment of doppelgängers.

Years before he was Lin-Manuel Miranda, Tony-winning creator of Hamilton, the “Room Where It Happens” composer was just another New York-based improviser, making a name for himself with his (and long-time collaborator Thomas Kail’s) off-the-cuff rap team, Freestyle Love Supreme. Hulu’s new documentary (directed by Andrew Fried) charts the group’s history, including appearances at Edinburgh and other top-tier comedy festivals, up to its eventual, Hamilton-powered reunion in 2019—which eventually became a Broadway sensation in its own right. It’s a crowd-pleaser, provided your own tastes don’t transform the words “Lin-Manuel Miranda,” “rap,” and “improvised” into an automatic dealbreaker.

Canadian favorite Stephen McHattie stars in a dual role, playing both an unnamed, heroin-addled jazz trumpeter and Johnny Deadeyes, an assassin working for a menacing sex trafficker named Hercules (Henry Rollins). There’s more cult icons and bizarre character (including Juliette Lewis as flamboyant socialite who’s brother is a literal vampire) in this latest cult item from director Bruce McDonald.

Édgar Ramírez is Graham Bricke, a bank robber facing the end of his career as the government prepares to activate a sonic weapon that makes it physically impossible to commit illegal acts. (The science of such a signal remains blissfully unarticulated in the trailer.) That puts Graham in a race against The Man for one last score—with some help, though, from trust-fund gangster Kevin Cash (Michael Pitt) and expert hacker Shelby Dupree (Anna Brewster). This Netflix vehicle comes from a specialist in the genre: perfectly named French director Olivier Megaton (, the Taken sequels), looking to potentially add a political dimension to his signature action absurdity.

Having already helped make movie stars out of small-screen alums Steve Carell, Seth Rogen, and Amy Schumer, comedy kingpin Judd Apatow builds a big-screen platform for the self-deprecating comedy stylings of Pete Davidson. The player co-wrote this loosely autobiographical vehicle about a wannabe tattoo artist struggling, as nearly all Apatow protagonists do, to grow up; one culprit for his delayed maturation is lingering grief over the death of his firefighter father years earlier—an element plucked from Davidson’s real life. The typically Apatovian (read: protracted) runtime accommodates a typically sprawling supporting cast, including Marisa Tomei, Steve Buscemi, Bel Powley, Bill Burr, and the great character actor Kevin Corrigan.

Spike Lee chases his rollicking , which won him a very overdue Oscar for Best Adapted Screenplay, with another film that links the 1970s to today. It’s a drama about a group of veterans (played by Delroy Lindo, Norm Lewis, and ’s Isiah Whitlock Jr. and Clarke Peters) who return to Vietnam decades later, searching for both the remains of their squad leader and some gold they buried during their tour of duty. The last time Lee went to war, the result was , but Da 5 Bloods looks much livelier, at least judging from the trailer. And now feels like a pretty damn good time for a new Spike Lee joint, doesn’t it?

Originally slated for a theatrical release, Kenneth Branagh’s latest trip to fantasy land has become Disney’s most high-profile sacrifice to the streaming gods to date. Based on the bestselling YA series from Eoin Colfer, Artemis Fowl follows a would-be tween supervillain (Ferdia Shaw) who stumbles into a massive conspiracy involving fairies, dwarves, and a supernatural police force that unashamedly calls itself LEPrecon. (Really.) Josh Gad, Colin Farrell, and Judi Dench are all on hand to lend the project some name recognition, while Lara McDonnell and Tamara Smart round out its cast of younger leads.

French director Olivier Assayas reunites with Édgar Ramírez, star of his 2010 miniseries , for another based-on-a-true-story thriller about the world of international intrigue. Adapted from Fernando Morais’ nonfiction book The Last Soldiers Of The Cold War, Wasp Network stars Ramírez, Wagner Moura, and Gael García Bernal as Cuban spies who infiltrated anti-Castro paramilitary groups in Florida in the 1990s by posing as defectors. Reception at its premiere at last year’s Venice Film Festival was mixed, but given Assayas’ ability to bring both energy and ambiguity to similar subject matter, we’re looking forward to it.

Joseph Gordon-Levitt has been largely absent from movie screens for the past few years—his last starring role was in 2016’s . Appearing to return the actor to the zone of modestly scaled thrillers, 7500 casts him as an American co-pilot on a Berlin-to-Paris flight that’s besieged by terrorists. Much of the film takes place within the plane’s cockpit, where Levitt’s character is trapped with one of the hijackers. German writer-director Patrick Vollrath is making his feature debut following a number of shorts (including one Oscar nominee), and while it’s a little discomfiting to think about wringing thrills from a premise that sounds like a “fun” , a handful of reviews from its festival debut last year have been encouraging.

Two different types of doomed young-adult romances hook up in Babyteeth: Milla (Eliza Scanlen) is a young cancer patient who has a chance meeting with Moses (Toby Wallace), a slightly-less-young drug dealer. Naturally, Milla’s parents (Australian all-stars Ben Mendelsohn and Essie Davis) disapprove of this match that falls somewhere between and . But beyond that familiar dynamic, short and TV director Shannon Murphy’s first feature is otherwise unconventional, with four central characters whose different forms of pain have surprising (and sometimes surprisingly funny) dimension.

Writer-director Jon Stewart engineers a Daily Show reunion by teaming up with former correspondent Steve Carell for a political satire. Carell plays a Democratic strategist who tries to help a left-leaning veteran (Chris Cooper) win a mayoral race in a right-wing town; the RNC promptly sends its own operative (Rose Byrne) to nip this promising candidacy in the bud. Mackenzie Davis, Topher Grace, Debra Messing, and Natasha Lyonne round out an impressive cast, but it’s Carell’s mixture of broad comedy chops and serious-actor aspirations that generates the real suspense: Will this be the rare Hollywood-born political satire to score substantial laughs, or will it torpedo a comic sensibility with deadly self-importance?

Conceived, presumably, as a way to get two of Hollywood’s most toxic men out of circulation for at least a couple of weeks, this Die Hard-in-a-hurricane riff pits Mel Gibson and Emile Hirsch against baddies taking advantage of a natural disaster to rob $55 million from a safe hidden in a Puerto Rico apartment complex. Kate Bosworth and David Zayas co-star, and Michael Polish directs, but the obvious draw here (for better or worse) is Gibson, in full aging action star mode as a stubborn, retired cop who just might have a thing or two to teach the younger generation about the finer points of gunning down mooks.