Director and co-writer Lee Tamahori lets us know that for 500 years, the Māori were “edged weapon” warriors. Then, the 1800s brought them muskets, and Christianity.
You can guess how that worked out.
In The Convert, Tamahori brings us into their world via Thomas Munro (Guy Pearce, solid), a lay minister who has accepted an assignment as Chaplain of Epworth, a British colony on New Zealand.
After years in the British army, Munro has a new commitment to mercy, and it almost immediately puts him squarely between two Māori warlords still committed to blood.
One Chief sends young Rangimai (Tioreore Ngatai-Melbourne) and Pahirua (Duane Evans Jr.) to live in Epworth and be mentored by Munro. While the opposing Chief plots an invasion to take back the land he feels is his, Munro quickly finds how deeply the bigotry grows in little Epworth.
New Zealander Tamahori (The Edge, Next, Die Another Day) shows a strong respect for authenticity in casting, language and customs of the Māori people. But as we learn more about why Munro “converted” from a soldier to a man of peace, a strong Dances With Wolves vibe clouds the more compelling history of these two rival tribes.
Some worthy (and timely) points are made about wars between “have-nots” only serving the “haves,” but while the film never goes full-on white savior, you wonder how it would have benefitted from a less pale point of view.
Munro’s arc isn’t frivolous, but neither is it fresh. The emotional pull here is clearly with the Māori, and it’s a shame The Convert is content to make them side players.
Apologies to the Seinfeld/Maher committee, but the biggest problem in comedy isn’t woke madness, it’s people not even realizing when their leg is being pulled.
Remember “Birds Aren’t Real?” It gained real believers. Q Anon? There’s good reason to think it started as gag, just to see just what type of wacked-out conspiracies some folks would buy into.
Then there’s 2002’s Opération lune, a MOCKumentary about the conspiracy theory that the Apollo XI moon landing footage was faked by Stanley Kubrick. The mocking even included much laughing and fessing up at the end of the film, but to this day conspiracy fans cite it as proof of the NASA/Kubrick hoax.
Fly Me to the Moon adds more historical fiction to that Opération lune idea, wraps it an impressive throwback sheen, and then leans on the playful chemistry between Scarlett Johansson and Woody Harrelson for some winning rom-com moments.
Trouble is, they aren’t playing romantic partners.
Scarlett is Kelly Jones, a born saleswoman who’s hired by NASA to get the public back behind the Apollo program. Channing Tatum is launch director Cole Davis (loosely based on Mercury astronaut Deke Slayton), a committed leader who has little use for Kelly’s marketing ploys, even if he can’t deny her beauty and charm.
Kelly’s campaign works so well that President Nixon decides the moon landing is now “too big to fail,” and sends Moe Berkus (Woody) in to charge Kelly with filming a fake landing that can be used for backup.
And Kelly better agree to the ruse no matter what Cole thinks, or else some embarrassing facts about her past might come to light.
Director Greg Berlanti (Love, Simon) weaves some snappy production design into a zesty 60s aesthetic. There is style aplenty, which always props up a debut screenplay from Keenan Flynn, Rose Gilroy and Bill Kirstein that throws a drive-by bone to the science vs. religion debate while it delivers more amusement than outright comedy.
Nice supporting turns from Ray Romano and Jim Rash add to the list of likable elements, but as Kelly and Cole finally get romantic, you can’t be blamed for wanting a little more Woody. No doubt, Tatum has proven to be a solid comedic talent, but here he’s tasked instead with delivering Cole’s tortured backstory as well as his conflicted torch for Kelly, and neither is convincing.
Johansson carries the film by crafting Kelly as a delightful blend of con artist and seductive vamp. Harrelson is a natural as the winking rogue with a talent for intimidation. It’s no surprise, then, that the entire film steps more lively when those two are trying to outfox one another.
Enjoy their mischief, even if none of this really happened, a fact which makes the two-hour-plus running time seen a little more bloated. Still, Fly Me to the Moon has just enough stylish star power to make it a satisfying flight about something that never really happened.
Mia Goth and Ti West had both existed successfully separately in moviedom for years, West having become an indie horror filmmaking darling with his third feature, 2009’s The House of the Devil. Goth’s unique beauty and malleable ennui made her a showstopper as early as her 2013 feature debut, Nymphomaniac: Vol. II.
But, appropriately enough, it was with their collaboration that they both became stars.
Their 2022 feature X delivered a magnificent mashup of Boogie Nights and A Texas Chain Saw Massacre, a late Seventies grindhouse ode with style for miles. Easily the best film of West’s career, it was followed quickly with a prequel, the absolute lunatic genius of 2023’s Pearl.
If X articulated just how much skill West brought to a feature, Pearl declared Goth a talent to be reckoned with. She deserved an Oscar nomination. She was breathtaking.
And so, obviously, horror fans have been giddy since the trailer for the third film in the trilogy, Maxxxine, dropped. We circle back to Goth’s X character some years since the incident in Texas. A popular porn star, Maxine Minx is about to make the leap to legit films with a starring turn in a horror sequel.
The popularity of West’s series means a boost in both budget and cast. Elizabeth Debicki, Kevin Bacon, Giancarlo Esposito, Halsey, Michelle Monaghan and Bobby Cannavale class up the ensemble this go-round in a film that feels more apiece with late 70s/early 80s urban thrillers a la Eyes Of Laura Mars.
As warnings about California’s “Night Stalker” plead with women to be careful, Maxine asserts her ability to take care of herself, even as it becomes clear that she is being stalked. Maxine’s director (Debicki) warns her to eliminate the distractions in life, and Maxine makes a promise to do just that.
Okay, then, here we go!
But though blood does flow around West’s pastiche of 80s pop and fashion, nothing here pops like the uniquely stylized timestamps that helped make the first two horrors so memorable. Much of the film begins to feel like a series of setups in search of that elusive, satisfying payoff.
There’s no doubt Goth still commands attention, but West’s foray into the 80s seems less edgy, less ambitious, and just less horrific. The comments on fame and excess become broadly generic, and somehow Maxine herself becomes a little less interesting.
On its own, the film fits nicely into the role of a competent urban thriller. But when cast as the final piece of a potentially iconic horror trilogy, MaXXXine ends up limping to the finish.
Within the first ten minutes of Netflix’s Axel F, we hear the big hit songs from both Beverly Hills Cop 1 (“The Heat Is On”) and 2 (“Shakedown”). So the promise of 80s nostalgia is made early, and then part 4 in the franchise makes good on that promise for nearly two hours.
Thirty years after the dreadful BHC III, Axel Foley (Eddie Murphy) still has the same Detroit Lions jacket, and the same penchant for stirring up trouble.
He also has an estranged daughter named Jane Saunders (Taylor Paige, classing up the joint) who’s a successful defense lawyer in…anyone?…Beverly Hills. And Jane sometimes works with now P.I. Billy Rosewood (Judge Reinhold), who left the Beverly Hills police force after now Chief Taggart (John Ashton) didn’t have his back on a complicated case.
Jane is defending an accused cop killer that Billy thinks might have been framed. Their work doesn’t sit well with Taggart, or with the Rolex-wearing Captain Grant (Kevin Bacon), head of the new narcotics task force. So when some goons try to scare Jane off the case, Billy feels responsible and….anyone?…calls Axel.
First-time feature director Mark Molloy dutifully rolls out a workmanlike series of recognizable franchise faces (Bronson Pinchot, Paul Reiser) and situations (Axel crashes an exclusive club, Axel startles cops by jumping in the back seat of their cruiser). And while it’s nice to see the addition of Joseph Gordon-Levitt as a well meaning cop/ex boyfriend of Jane, little of the script from Will Beall, Tom Gormican and Kevin Etten deviates from the convenient and the predictable.
But is it fun? Yeah, it kinda is.
Murphy seems engaged about the character again (especially during a surprisingly relevant exchange with a parking valet), and the film is perfectly happy to remind you of happier times and take your mind off of Supreme Court decisions.
Come back in the room after feeding the cat: oh, look it’s Serge! Check your phone for minute: there’s a shoot-em-up car crash! You know who the bad guys are, you know fences will be mended, and you know you love the 80s.
Axel F knows you know, and this time, that’s just enough.
Horror sequels—absolutely no genre turns out more of them. There are twelve Friday the 13ths, eleven Hellraisers, nine Texas Chainsaw Massacres Hell, there are eight Leprechaun movies! Usually the first one’s great and each successive sequel is weaker than the last. But are there any series where the third installment really stands out? There are! And we are here to count those lucky numbers three down in podcast form.
6. A Quiet Place: Day One
Recency bias? Maybe. Writer/director Michael Sarnoski has more than inventive scares to live up to as he helms A Quiet Place: Day One. The third installment of John Krasinski’s alien invasion series may boast breathless tension, sudden gore, and the most silent theaters you’re likely to visit. Beyond all those things, Krasinski shows no mercy at all when it comes to ripping your heart out. In that area, he does more damage than aliens. Sarnoski is ready for it—all of it—so you should bring some tissues.
Lupita Nyong’o leads a stellar cast as Sam, an unhappy woman on a day trip with her cat to NYC. Her plans are upended when giant ear-head monsters begin dropping from the sky, smack into the noisiest city in the nation. Any time you can watch a film with giant extra-terrestrials bearing ear drums where a face should be and you find yourself fully believing anything, you’re watching a pretty good movie. A Quiet Place: Day One is a pretty good movie.
5. Annabelle Comes Home (2019)
Easily the best in the outright Annabelle series (not specifically ranking the rest of the Conjuring universe in which she’s also situated). Annabelle Comes Home delivers a blast of fun, and a remarkable tonal shift from its precedessors.
Mckenna Grace is Judy Warren, daughter of Ed (Patrick Wilson) and Lorraine (Vera Farmiga, both in cameo). Folks go out of town to save some souls or buy more polyesther, whichever, and leave Judy with reliable babysitter, who invites an unreliable buddy, who touches every object in the Warrens’ “do not touch by reason of demonic possession” room and all hell breaks loose.
It’s fun—mindless PG13 fun, but definitely fun.
4. Son of Frankenstein (1939)
Basil Rathbone plays the estranged son of the wacky Dr. Frankenstein. He’s spent his life abroad, but now that his father’s dead, he’s decided to look into that old property left to him. His lovely wife and precocious son accompany him, but they find nothing but ill will in the village.
Which does nothing to dissuade the young Dr. Frankenstein from reviving his father’s monster the first chance he gets. Boris Karloff is back, this time taking orders from Ygor (Bela Lugosi), a vindictive little villager who helps out in the laboratory. It’s a tense, sad and often funny film littered with some of the biggest stars of the age, and though it never comes near the heights of the James Whale films, it’s rock solid.
3. Day of the Dead (1985)
The third and in George Romero’s original Dead series, Day of the Dead delivers a cynical look at humanity. The filmmaker turns his eye toward what happens to civilization long after the zombiepocalypse ravages humanity.
It’s clear that this is the episode where Romero began to really identify with the zombies, a thread he pulls more clearly through later installments – Land of the Dead in particular. But if you compare Bub with any of the civilians, even Sarah Bowman, it’s clear who’s the favorite character. Not that anyone blames Romero for that.
2. Army of Darkness (1992)
Yes, all of Sam Raimi’s Evil Dead films are a laugh riot, a visceral delight, a spew-happy celebration. But the Ashley J. Williams of the first two episodes gets a big makeover for Part 3.
Bruce Campbell loses the unibrow, gains some pecs, biceps and abs, and turns the attitude up to 11. The result is a medieval fantasy spilling over with one liners, bravado, idiocy of the best kind, and angry dooting. That’s right, angry dooting!
1. Exorcist III
Hands down the best third installment of any horror franchise, William Peter Blatty wrote and directed this dialogue-dense sequel to the 1973 phenomenon William Friedken had made of his novel. Blatty starts strong enough, garnishing shots with vivid, elegantly creepy images. He enlists George C. Scott to anchor the tale of a cop drawn back into a supernatural case. In other inspired casting, New York Nicks great Patrick Ewing plays the angel of death in one of Kinderman’s freaky dream sequences, joined by romance novel coverboy Fabio as another angel. Also, the always great character actress Nancy Fish plays the bitchy but reluctantly helpful Nurse Allerton.
There are also two of the scariest scenes in cinema. Eventually the story moves into a hospital and stays there, but just before that move, there’s a terrific confessional scare – crazy spooky voice, effective cackle, blood – that elevates the entire project.
And then there’s that insane flash of terror as one nurse crosses the narrow hallway in front of the camera, quickly followed by some gauze-draped figure, arms outstretched. Eep!
It cannot be that time already! No! All right, well, OK—if we have to, we have to. There’s much to be excited about in the coming months: Longlegs, Maxxxine, Heretic, Nosferatu. But that doesn’t mean we should forget the banner year horror is having already. Here, in alphabetical order, are our favorite horror films so far this year.
The Coffee Table
A remarkably well written script fleshed out by a stunning ensemble becomes utter torture as you want so badly for some other outcome. Co writer/director Caye Casas ties threads, builds anxiety, plunges the depths of “what’s the worst that could happen?” and leaves you shaken.
David Pareja and Estefania de los Santos craft indelible, believable, beautifully flawed characters so convincing that their experience becomes painful for you. Casas salts the wounds with dark comedy, but the tenderness and tragedy collaborate toward something far more crushingly human.
Handling the Undead
With his source novel and screenplay for Let the Right One In, John Ajvide Lindqvist mixed vampire bloodlust and emotional bonds. Handling the Undead (Håndtering av udøde) finds Lindqyist turning similar attention to zombies, teaming with director/co-writer Thea Hvistendahl for a deeply atmospheric tale of grief, longing, and dread-filled reunions.
In the film’s first two acts, Hvistendahl unveils these awakenings with barren and foreboding tenderness. Everyone knows this can’t end well, but the tears of joy that come from seemingly answered prayers create moments that straddle a fascinating line between touching and horrifying. While so much time is spent exploring the pain of those left behind, we know that eventually zombies gonna zombie.
Immaculate
Working from a script by Andrew Lobel, director Michael Mohan mines the desperate helplessness of Rosemary’s Baby. And star/producer Sydney Sweeney does a fine job of swimming the murky waters of faith, innocence, and the wisdom born of innocence lost.
What’s most stunning is how well two male filmmakers channel female rage. Immaculate digs into the way organized religion constrains, punishes, silences, bullies, vilifies and oppresses women and then unleashes glorious fury. Fearless, cathartic, bloody, beautifully sacrilegious fury.
In a Violent Nature
What Chris Nash does with his retake on the slasher—utterly minimalistic except for the carnage, which is generally inspired—is both a deconstruction and loving ode. This movie loves slashers. It does not mock them, doesn’t wink and nod at what we accept when we watch them. Nor does it add any depth to them.
People watch slashers to see characters you don’t care about meet inventive, bloody death in a beautiful landscape. We watch slashers because death is comeuppance, it is coming no matter what, and it’s coming in the form of a hulking, horrifying mass with a tragic backstory. If you don’t like slashers, you won’t like In a Violent Nature. If you sincerely do, though, this film is not to be missed.
Infested
Remember Quarantine (or Rec, for that matter)? Remember that moment when you realize you’re locked inside an apartment building, trapped with the ravenous undead? OK, so that but spiders. Nice, right?! Sébastien Vanicek’s Infested (co-written with Florent Bernard) doesn’t steal from other movies as much as it mines the primal fears that have plagued the most effective horror movies from the beginning.
Apartment horror can be so creepy when it’s done well: dark hallways, grimy elevators, creepy parking garages, too many floors until safety, and loads of places for spiders to nest. Vanicek makes excellent use of these spaces, and he shows solid instincts for creature FX—when to go practical, when to show little, when to show lots (and lots and lots). But his film succeeds on the lived-in world of these neighbors and friends. You may find yourself shaking out your sleeves and pulling the drawstring tight around your hoodie. I did. But at least the cockroaches are under control.
Invader
Lean, mean and affecting, Mickey Keating’s take on the home invasion film wastes no time. In a wordless—though not soundless—opening, the filmmaker introduces an unhinged presence. Immediately Keating sets our eyes and ears against us. His soundtrack frequently blares death metal, a tactic that emphasizes a chaotic, menacing mood the film never shakes. Using primarily handheld cameras from the unnerving opening throughout the entire film, the filmmaker maintains an anarchic energy, a sense of the characters’ frenzy and the endless possibility of violence.
Scenes possess an improvisational quality that coincides with the rawness of the overall effort. Keating is spare with exposition—if you can’t figure out what’s going on without having it explained to you, you are clearly not paying attention. The verité style accomplishes what it’s mean to, lending Invader an authenticity that amplifies the horror. Invader delivers a spare, nasty, memorable piece of horror in just over an hour. It will stick with you a while longer.
I Saw the TV Glow
Fulfilling the promise of 2021’s We’re All Going to the World’s Fair, writer/director Jane Schoenbrun’s follow-up, I Saw the TV Glow, is a hypnotically abstract and dreamily immersive nightmare of longing.
Justice Smith (Dungeons & Dragons: Honor Among Thieves) is heartbreakingly endearing, while Bridgette Lundy-Paine (Bill & Ted Face the Music) provides a revelatory turn of alienation and mystery. It’s hard to take your eyes of either one of them, with Schoenbrun often framing their stares through close-ups that become as challenging as they are inviting. And that feels organically right. Because Schoenbrun is channelling characters who imagine life as someone else, to again emerge as a challenging and inviting filmmaker with a thrillingly original voice.
Late Night with the Devil
If you grew up around 1970s TV, you’re likely to have an even deeper appreciation for this high-concept homage from filmmakers Cameron and Colin Cairnes. The Australian brothers who gave us the terrific low budget horror 100 Bloody Acres have essentially crafted their found footage genre entry, all centered around broadcast and BTS footage from the last episode of Night Owls with Jack Delroy, a nighttime talk show trying to compete with Carson.
David Dastmalchian—a longtime supporting MVP blessed with a memorable face—is finally getting his chance to carry a film, and he does not disappoint. Ultimately, what Late Night with the Devil has in mind is more like an R-rated Twilight Zone, with a twisty moral backed up by blood. Expect devilish fireworks and frisky throwback fun, even if you’re not scared out of your bellbottoms.
A Quiet Place: Day One
Lupita Nyong’o leads a stellar cast as Sam, an unhappy woman on a day trip with her cat to NYC. Her plans are upended when giant ear-head monsters begin dropping from the sky, smack into the noisiest city in the nation. Watching as folks figure out how to survive without saying a word offers Episode 3 an excellent way to carve new ground.
Plus there’s a cat, Frodo. Yes, it’s a cheap way to generate tension as you spend the entire film asking, “Wait, where’s the cat? How is the cat?” The script calls for a handful of other easy ploys for anxiety, fear and emotion, but Sarnoski and his cast rise above these. They make you believe them.
Any time you can watch a film with giant extra-terrestrials bearing ear drums where a face should be and you find yourself fully believing anything, you’re watching a pretty good movie.A Quiet Place: Day Oneis a pretty good movie.
Stopmotion
There will be moments when you’re watching Robert Morgan’s macabre vision Stopmotion that you’ll think you see the twists as they’re coming. That’s a trick. Morgan, writing with Robin King, assumes you’ll catch the handful of common horror twists, but he knows that you won’t predict the real story unfolding.
Stopmotion delivers a trippy, uncomfortable, and deeply felt tale of a struggling artist. This is a descent into madness horror of sorts, but it’s also the story of an artist coming to a realization about what scares her most.
But in case that hideous lie is in fact the truth, we’ve compiled a list of our favorite films so far. Lots of great stuff still ahead, but we do always mark the occasion of mid-year with a look back, so here you have it, in alphabetical order, the 15 best films of 2024 so far.
The Bikeriders
Based on Danny Lyon’s 1968 book of photos and interviews of the Chicago-based motorcycle club the Vandals, Jeff Nichols’s tale catches a moment in history. Tom Hardy stalks the screen in a deeply felt performance full of pathos, tenderness and fear. His spiritual opposite, Austin Butler haunts the film, a beautiful phantom forever outside anyone’s grasp. But it is Jodie it is Comer who drives The Bikeriders.
Nichols’s character building and patient, lyrical pace combine with cinematographer Adam Stone’s gritty, gorgeous, picture postcard pastiche for an immersive experience that gracefully echoes the source material. Pages are turned and stakes are raised for these characters, their way of life and the country they call home.
Challengers
The relationship triangle at work in Challengers could probably work outside of a tennis court, but director Luca Guadagnino does wonders with the sports angle for a completely engrossing drama of intimate competition. Anchored around a three-set challenge match between Art Donaldson (West Side Story‘s Mike Faist) and Patrick Zweig (Josh O’Connor from The Crown), the film drifts back and forth in time as it immerses us in their series of entanglements with tennis phenom Tashi Duncan (Zendaya).
Zendaya, Faist and O’Connor deftly handle the growth of their characters from fresh-faced teens to hardened adults. All three deliver terrific, well-defined performances, and Challengers quickly becomes a film to get lost in, where you’re happy to be hanging on every break point.
Civil War
Filmmaker Alex Garland uses a road trip to D.C. to bolster Civil War’s very ambitious ideas with tension-filled looks at the heartland. Through an uneasy stop for gas, the visit to a town the war forgot, a marksman’s simple rules of engagement, and a brutal citizenship test from an unforgettable Jesse Plemons, we’re immersed in a war-torn America that seems authentically terrifying.
But it’s all just a prelude to the carnage ahead. Because once it settles in D.C., the film becomes a war movie that will batter your senses with a barrage of breathless execution. As draining as it often is, Civil War is also an exhilarating, sobering and necessary experience. Smartly written and expertly crafted, the film manages to honor the work of wartime photojournalists as it delivers a chilling vision. It’s one beyond left or right, where the slippery slope of dehumanization breeds a willingly and violently divisible America we always professed to be beneath us.
Dune: Part Two
Dune: Part Two is as breathtaking a vision as Denis Villeneuve’s 2021 Part One. And it’s a better film, benefitting immeasurably from the freedom of exposition that weighed down Part One. The sequel rides intensity and action from its opening segment. Villeneuve’s world-building is again a wonder to behold. He immerses us in this world of sand and savagery, providing fully realized reminders of how much Herbert’s original vision has influenced iconic sci-fi tentpoles such as Mad Max and Star Wars.
While Part Two‘s 2 hours and 45-minutes eclipse the first film, you’ll also find more meat on the bone, and the finale sticks a damn fine landing. Overall, there’s just more earned tension, more thrills (get ready for the worms!) and more character arc to keep you invested in this fight.
Evil Does Not Exist
Two years ago, the magnificent Drive My Car became the first Japanese film to garner a Best Picture Oscar nomination, and earned Ryûsuke Hamaguchi well-earned noms for writing and directing. Now he rewards his wider audience with Evil Does Not Exist (Aku wa sonzai shinai), another thoughtful, gracefully intellectual tale that finds him in an even more enigmatic mood.
And though the one hundred six-minute running time might seem rushed for a filmmaker that has favored three, four, and even five-hour films, Hamaguchi’s storytelling here is more patient than ever. Yoshio Kitagawa’s exquisite cinematography often showcases nature’s beauty in wordless wonder, always buoyed by an Eiko Ishibashi score that is evocative and moving.
Furiosa: A Mad Max Saga
George Miller follows up his epic action masterpiece Fury Road with a look at what made our girl tick, what turns of event turned her into the baddest of all badasses. Writing again with Nick Lathouris, who co-write Fury Road, Miller invests more time in plotting than usual, creating a 15-year odyssey rather than a breathless and breakneck few day adventure.
Miller remains as true to his vision of the wasteland as he was back in ’79’s original Mad Max, but there is a depth to the storytelling here that sets it apart. We’ve had four films to see what turned Max Rockatansky mad, made him what he is. Now Miller lays out a single story that serves as both a thrilling prelude to Fury Road and a rich origin story in its own right. Plot does not take a front seat to action, though, so strap in for more glorious road wars.
Hit Man
What better way to have some breezy fun with our identity-challenged times than by embellishing the true-life story of one Gary Johnson? Johnson was a phony hitman in Texas who would don different disguises working undercover work for the police. After a 2001 article in Texas Monthly profiled his adventures, various screenwriters toyed with the project. And though Johnson died in 2022, he can sleep well knowing Richard Linklater and Glen Powell’s Hit Man finally does him proud.
Linklater’s direction is slick and well-paced, with a vibe that recalls a winning mix of Fletch whodunnit, Spy humor and Ocean’s 11 sex appeal. But Hitman still feels very much in-the-moment, with a repeated focus on how our point of view can shape our reality, and how our path to change starts by being honest with ourselves.
That’s right, Powell and Linklater find room for a serious message in Hit Man. But don’t worry, you’ll be having so much fun it won’t hurt a bit.
Immaculate
Working from a script by Andrew Lobel, director Michael Mohan mines the desperate helplessness of Rosemary’s Baby. And star/producer Sydney Sweeney does a fine job of swimming the murky waters of faith, innocence, and the wisdom born of innocence lost.
What’s most stunning is how well two male filmmakers channel female rage. Immaculate digs into the way organized religion constrains, punishes, silences, bullies, vilifies and oppresses women and then unleashes glorious fury. Fearless, cathartic, bloody, beautifully sacrilegious fury.
Inside Out 2
It’s been nine years since Pixar’s Inside Out took us on that wonderful ride through a young girl’s feelings. Almost a decade, and I’m still not over what happened to Bing Bong. Revisiting Riley (voiced by Kensington Tallman) when she hits her teen years seems like a natural exercise. And beyond that, Inside Out 2 delivers enough warmth, humor and insight to make the sequel feel downright necessary.
This is another very clever romp through all that builds the sense of self. The film’s battle between joy and anxiety is relatable for all generations, and it’s filled with levels of creativity, humor, and visual flair that are undeniably fun. Inside Out 2 is a completely entertaining two-hour guide toward understanding – or appreciating – the messy emotions of growing up.
I Saw the TV Glow
Fulfilling the promise of 2021’s We’re All Going to the World’s Fair, writer/director Jane Schoenbrun’s follow-up, I Saw the TV Glow, is a hypnotically abstract and dreamily immersive nightmare of longing.
Justice Smith (Dungeons & Dragons: Honor Among Thieves) is heartbreakingly endearing, while Bridgette Lundy-Paine (Bill & Ted Face the Music) provides a revelatory turn of alienation and mystery. It’s hard to take your eyes of either one of them, with Schoenbrun often framing their stares through close-ups that become as challenging as they are inviting. And that feels organically right. Because Schoenbrun is channelling characters who imagine life as someone else, to again emerge as a challenging and inviting filmmaker with a thrillingly original voice.
Love Lies Bleeding
Awash in the stink and the glory of new passion, Rose Glass’s Love Lies Bleeding treads some familiar roadways but leaves an impression solely its own. Glass blends and smears cinematic gender identifiers, particularly those of noir and thriller, concocting an intoxicating new image of sexual awakening and empowerment. She routinely upends images of power and masculinity, subverting expectations and associations and fetishizing the human body anew.
Anyone who’s seen Glass’s magnificent 2021 horror Saint Maudmay be better prepared for the third act than newcomers to the filmmaker’s vision, but it’s a wild and unexpected turn regardless. It’s quite something—bold, original, and wryly funny in the most unexpected moments. There’s heartbreak and horror, sex and revenge, a little magic and a lot of steroids. Glass’s juice has the goods.
Monkey Man
After directing just two short films, Dev Patel moves to features with Monkey Man, an assured and thrillingly violent story of heritage and revenge. Patel teams with screenwriters John Colle and Paul Angunawela—plus producer Jordan Peele—to take some well known themes and move them progressively forward. Rebelling against the totalitarian tactics of Baba Shakti (Makrand Deshpandi) and the Sovereign Party, a forgotten and oppressed population turns to the Monkey Man for deliverance.
And as much as this feels like an origin story, it is a dark one. Patel has indeed delivered a statement, as much about his filmmaking prowess as it is about his worldview. The statement is grim and bloody, so strap in for the thrilling, visceral rise of Patel and the Monkey Man.
Ryuichi Sakamoto: Opus
Sakamoto, the Japanese composer and actor who earned Grammys, BAFTAs, Golden Globes, an Oscar and multiple other awards in his legendary career, was nearing the end of his long battle with cancer when he agreed to one final performance. Director Neo Sora – Sakamoto’s son – presents his father’s farewell with minimalistic virtuosity. There is only Sakamoto, his piano, and his wonderful talent, as a cascade of musical beauty fills in all the colors needed against Sora’s rich black-and-white pallet.
Give Ryuichi Sakamoto: Opus your time and complete attention, and you will be rewarded. This is a man talking to God through his piano.
Just let your soul be enriched.
Snack Shack
Four years ago, Adam Rehmeier’s Dinner In Americaarrived as a delightfully subversive 90s punk rock rom-com. Snack Shack finds the writer/director still navigating the 90s with hilarious R-rated delight, even as the punk rock ‘tude has been usurped by capitalistic dreams. You’ll know where some of this is going, but Rehmeier’s script delivers foul, horny hilarity, and outstanding turns by both Conor Sherry and Gabriel LaBelle stand out in a letter perfect ensemble. The time stamp is again spot on, with Rehmeier’s freewheeling style crafting an infectious mashup of The Way Way Back, Superbad and Project X.
And most importantly, Rehmeier captures that zest for life on the cusp of adulthood without a whiff of pandering or condescension. The boys will do some growing up during this one crazy summer, and the film will grow up with them. Slowly, parents don’t seem quite as lame, the hijinx aren’t as silly and some important lessons about love, sex, death and friendship hang in the air just long enough to hit just hard enough.
Stop Motion
There will be moments when you’re watching Robert Morgan’s macabre vision Stopmotion that you’ll think you see the twists as they’re coming. That’s a trick. Morgan, writing with Robin King, assumes you’ll catch the handful of common horror twists, but he knows that you won’t predict the real story unfolding.
Aisling Franciosi (The Nightingale) is Ella. She’d like to make her own stop-motion animated film, but instead she’s helping her mom finish hers. Ella’s domineering mother Suzanne (Stella Gonet, very stern) is a legend in the field, and she makes Ella feel as if she has no stories of her own to tell.
Stopmotion delivers a trippy, uncomfortable, and deeply felt tale of a struggling artist. This is a descent into madness horror of sorts, but it’s also the story of an artist coming to a realization about what scares her most.
