A holiday bounty of new releases, plus the week’s best movies in L.A.

Welcome to another edition of your regular field guide to a world of Only Good Movies. The film also understands the power of unlocking such a dynamic, without being gratuitous about the visual details.” ‘The Fire Inside’ Ryan Destiny, left, and Brian Tyree Henry in director Rachel Morrison’s “The Fire Inside.” Directed by Rachel Morrison from a screenplay by Barry Jenkins, “The Fire Inside” is based on the true story of Claressa Shields, who won back-to-back Olympic gold medals in women’s boxing. Her story is so inspiring and incredible, and I literally cried because it really touched me in a way that made me see it from a different standpoint and see the bigger picture of what it’s really about.” ‘A Complete Unknown’ Timothée Chalamet as Bob Dylan in the movie “A Complete Unknown.” Directed by James Mangold from a screenplay by Mangold and Jay Cocks “A Complete Unknown” tells the story of a young Bob Dylan as he arrives in New York City in 1961, continuing through to his legendary performance at the Newport Folk Festival in 1965. … The film is a feat of maximalist and moody production design and cinematography, but the tedious and overwrought script renders every character two-dimensional, despite the effortful acting and teary pronunciations.” Kenneth Turan spoke to Eggers, who talked about the intensely detailed research and production work that he has become notorious for in films such as “The Witch” and “The Northman.” As Eggers said, “I personally enjoy the act of research and while I get tired of beating the drum for historical accuracy, I do believe an accumulation of details grounds and transports an audience, makes it easier for them to believe the metaphysical stuff in the film.” Points of interest Kathryn Bigelow’s ‘Strange Days’ Ralph Fiennes and Angela Bassett in the movie “Strange Days.” To launch its new series “Cyberpunk: Envisioning Possible Futures Through Cinema” and exhibition of the same name, the Academy Museum will be screening Kathryn Bigelow’s 1995 “Strange Days” on 35mm. Reviewing the film at the time of its release, Kenneth Turan wrote, “Through it all, ‘Strange Days’ manages to be consistently loud, violent and sleazy, which is less of an accomplishment than it may sound.”