Weekend Watch - November 2024 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, we’ve come to the end of another month and will be recapping the best new films released in the US in the month of November. As always, they’ll be categorized (Long Shots, Possible Things, and Sure Things) according to their likelihood of making it to this year’s twenty-five best films once it’s all said and done in March. November brought us the best offerings of the year so far, complete with strong animation entries, great blockbusters, some of the year’s biggest awards contenders, and even some decent indie films. Let’s get into it.

Long Shots:

Blitz: One of the most anticipated films of the year was Steve McQueen and Apple’s World War II anthology film about Londoners living through the German air assault. Now that it’s out, we know that it doesn’t quite live up to the hype, overextending itself by telling too many stories for any single one to connect impactfully with the audience. It’s still technically solid, and McQueen is a great filmmaker, so it still bears mentioning.

Emilia Pérez: Another of the much-anticipated films with awards potential that dropped this month, Jacques Audiard’s musical about a Mexican crime lord whose decision to live as a trans woman opens the potential for a new life finally landed on Netflix this month to a slew of mixed reviews. Early festival success hasn’t translated fully to the wider audience, and while it’ll still probably make waves with its strong performances, the content doesn’t ever hit hard enough to be a real deal come awards season.

The Piano Lesson: Netflix’s forays into the awards world this year seem particularly cursed with Malcolm Washington’s adaptation of August Wilson’s play landing with the weakest reception for an adaptation of the acclaimed playwright’s works so far. The performances look to still be making this a film worth watching, but it’s not the heavy hitter that Ma Rainey’s and Fences were.

Heretic: The Hugh Grant-led horror film about a Mormon mission gone wrong seems to have struck the right notes for a horror film. Unfortunately for it, there’s already been a slew of higher brow horror films to fill the year’s conversation about good horror. Even a strong turn from Grant as the villain might not break it into the final conversation.

Christmas Eve in Miller’s Point: One of the month’s early holiday films, this big family Christmas film about a teen trying to find her place in town and her family has starkly divided critics and fans. Critics love the film for its twisting of holiday tropes while audiences seem less than convinced. Check it out for yourself to see which side you come down on.

Gladiator II: Ridley Scott’s best film since The Martian (2015) sadly lacks the heart of its predecessor. Strong action and a solid Denzel performance elevate the film, but they can’t fully distract from the fact that it’s a less emotionally driven rehash of the 2000 Best Picture winner.

Joy: A Netflix film that has flown considerably under the radar this month is their film about the first “test tube baby”. Thomasin McKenzie, James Norton, and Bill Nighy form the trio of leads that have made this film a middling success with those who have seen it. Though it probably won’t make the biggest of waves, it should still find an audience with those who’ve enjoyed Netflix’s slew of films based on true stories over the past ten years.

Queer: Luca Guadagnino’s second film of the year and second collaboration with writer Justin Kuritzkes (Challengers and the “Potion Seller” YouTube video) hasn’t had quite the same level of crowd-pleasing success as their first collab. Everyone seems to agree that Daniel Craig gives the best performance of his career, but the film itself is a bit too out there and odd for people to have fully embraced it.

Possible Things:

Juror #2: Yet another “final” film from nonagenarian filmmaker Clint Eastwood had its limited theatrical release this month. The legal thriller about a juror who discovers an unexpected connection in his own life to the trial on which he serves seems to be the best film the director has put out in some time. Minimal support from WB Discovery and a slew of other excellent films this year will probably keep it outside of the conversation at the end of the day, but it sounds like a solid film for fans of the director.

A Real Pain: Jesse Eisenberg’s most acclaimed writing/directing outing landed this month in the form of his collaboration with Kieran Culkin (Succession) in their film about cousins who attend a Holocaust tour of Poland after the death of their grandmother. Culkin’s performance seems to be the standout, but the film also has legitimate shots at getting into the conversation for screenplay, lead actor, and picture.

Small Things Like These: Cillian Murphy is back at his indie work after his Oscar win last year, and his film about a man uncovering the secrets of his local convent has those who have seen it raving. It’s not the highest profile release of the month, but it’s certainly one of the most interesting for those tired of the underperforming awards hopefuls of 2024.

All We Imagine as Light: Payal Kapadia’s Indian romantic drama has long been considered one of the best international films this year, and it continues to hit the right notes with those who see it. Unfortunately, it’ll need to continue to rely on audience and critic love because politics have kept India from submitting it as their pick for Best International Feature, much like RRR before it.

The Seed of the Sacred Fig: While it initially looked to be running a distant second to Emilia Pérez for International Feature, the reviews of the film that got Mohammad Rasoulof exiled from his home nation of Iran remain incredibly strong, surging it to the front of the pack thanks to Germany’s decision to submit it for their nation. If you can find the film about a father struggling to hold his family together in Iran amidst external and internal unrest, it’s definitely worth checking out.

Sure Things:

Look Back: The anime film adaptation of the writer of Chainsaw Man’s more personal manga about two friends who syndicate a manga together in their adolescence before drifting apart in their post-school lives landed after a limited theatrical release this month on Amazon. It is fantastic, if a bit short, and everyone who has seen it tends to agree that it’s an all-timer, even if it gets zero love from any of the awards bodies.

Flow: The wordless Latvian animated film about a cat’s adventure after being displaced by a flood is currently one of the frontrunners to receive a nomination for Best Animated Feature this year. Between its unique and beautiful animation and fun concept that should impact the whole family, it’s easy to see why it stands here.

Wicked: Jon M. Chu’s film adaptation of the iconic musical’s first act arrived with incredible success this month, winning its first weekend at the box office, launching its stars into awards conversations, and thrilling audiences and critics alike. Expect to be hearing about this one for a while even beyond awards season, especially as fans begin to anticipate its second part next November.

Weekend Watch - October 2024 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, we’re taking a look back at the most acclaimed films released in the month of October. As always, we’ll be categorizing them by how likely they are to make this year’s list of the best films of the year – Long Shots, Possible Things, and Sure Things. This year, October gave us an early look at some of the top awards contenders ahead of November’s stacked slate, but there’s no reason to ignore the films of October, which contain Best Picture frontrunners, indie darlings, horror sleeper hits, and even a couple of solid documentaries. Let’s get into it.

Long Shots:

Piece by Piece: The Pharrell Williams biography documentary in LEGO animation dropped at the beginning of the month to decent returns from audiences and critics. It comes across as more of a puff-piece than comprehensive bio, though, so it’ll have to rely on its unique animation choices to get into the awards conversations when the year ends.

Saturday Night: The dramatization of the hour and a half leading up to the first episode of Saturday Night Live is a solid, if imperfect film. Audiences and critics are decently high on it, but it’s not changing the game of cinema as much as its subject changed the state of late-night television. Screenplay love could warrant it some staying power among the ranks of all-time films.

We Live in Time: While the Andrew Garfield/Florence Pugh romantic drama hasn’t pleased critics with its fairly formulaic approach to the nonlinear romance, audiences still resonate heavily with the excellent performances and grounded realism. It’s definitely one worth seeing even if it doesn't get quite as brave as it thinks it does.

The Apprentice: The Donald Trump biopic about the early days of his career in real estate and his introduction to Roy Cohn has gotten lots of love for the performances by Sebastian Stan and Jeremy Strong, but its lack of new insight into the deplorable character of the former president has held it back from reaching all-time heights.

The Last of the Sea Women: Apple’s documentary about South Korean female divers is one of the films that’s been mentioned as an outside contender for the year’s top documentary awards. Unfortunately, those who have seen it so far haven’t rated it quite as high as awards experts predicted, so it’ll stay here on the outside looking in until further notice.

Smile 2: The sequel to the horror hit of 2022 has seen even more success than its acclaimed predecessor. Audiences and critics both agree that it’s an improvement on the first film in almost every way. The only thing holding it back is its genre and nature as a sequel within that genre.

Woman of the Hour: Anna Kendrick’s directorial debut about a woman who accidentally chooses a serial killer on a dating game show (based on actual events by the way) has hit the right notes on Netflix. I’ve even seen reactions calling it one of the best films of the year so far. Unfortunately, audiences haven’t come down quite as collectively agreed on the film, so it’s on the outside.

Fanatical: The Catfishing of Tegan and Sara: Hulu’s documentary about the catfishing of fans of the indie rock group Tegan and Sara released on the streaming platform this month to solid critical responses. Audiences have been slightly less receptive to the critique of fandom that the film offers, and it’s not one of the highest films on most people’s list of great documentaries this year, but those interested in the story will probably find something to love.

Your Monster: Melissa Barrera might have been dropped from the Scream franchise, but that hasn’t kept her from continuing to prove herself as one of the biggest scream queens of the last 10 years, this time with a romantic comedy twist on the horror genre. The film about an aspiring Broadway actress who falls in love with the monster in her closet was one of the sleeper hits at Sundance this year.

Possible Things:

A Different Man: Sebastian Stan had a big month this October with a second award-worthy performance in this comedy thriller about a man who decides to change his facial features. It’s a fairly underground film, but the right campaign in the back end of the year could put it on enough people’s radars to make it one of the best of all time.

The Outrun: The Saoirse Ronan led film about a Scottish woman who returns home to rediscover herself has been on most awards people’s radar since it opened at Sundance this year. Ronan’s performance has been the primary focus of its celebration, though, as the pacing and story feel fairly familiar to those familiar with the subgenre. It’s solid, but I’m not sure if it’s got enough to have real staying power.

Blink: National Geographic’s documentary about a family taking a worldwide trip before their children lose their vision due to a rare genetic disorder can be found in theaters now ahead of a release on Disney+. Its emotional and scientific crossover feels oddly similar to NatGeo’s last successful documentary, Fire of Love, so don’t be surprised to see this one sticking around.

Exhibiting Forgiveness: Another under the radar gem from this month is Titus Kaphar’s film about a black artist reconnecting with his estranged, ex-addict father. The cast, led by André Holland, Andra Day, Aunjanue Ellis-Taylor, and John Earl Jelks should give this film more legs than it currently has. I wouldn’t necessarily expect to hear about it at any awards this year because of how undersold it’s been, but I do expect that you’ll enjoy it if you go to see it.

Conclave: One of this month’s two best picture contenders is Edward Berger’s film adaptation of Robert Harris’s fictional book about the election of a new pope. It’s unique blend of religion and political thriller has made it a huge success with audiences and critics. Ralph Fiennes’s lead performance and the supporting turns from Stanley Tucci, Isabella Rossellini, and John Lithgow also look to potentially land well at the big awards this season.

Memoir of a Snail: A highly limited release for one of the frontrunners for Best Animated Feature rolled out in the U.S. this month. The stop motion animated film about a hoarder reminiscing on her life does seem to be a solid addition to this year’s animated slate for those who have been lucky enough to see it. You’ll have to see it if you can find it near you and let me know.

Sure Thing:

Anora: The current Best Picture, Best Actress, Best Director, and Best Original Screenplay frontrunner started its slow rollout this month. Sean Baker’s heart pounding romantic dramedy about a sex worker who marries the son of a Russian oligarch has already been acclaimed by many as the best film of the year, and as it continues to broaden its net of theaters, it doesn’t seem to be losing any steam.

Weekend Watch - September 2024 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, we’re looking back at the films released in the month of September, highlighting the best films and rating them by their likelihood of being considered among the best films of the year and possibly even all time. As always, they’re categorized into Long Shots, Possible Things, and Sure Things. September has often been viewed as the soft kick-off of awards season with many films fresh off of runs at TIFF and Venice dipping their toes into the water. While the past few Septembers have felt more like false starts than true soft launches, September 2024 has given us a really solid slate of films that belong firmly in the conversation, even if they’ll inevitably be on the outside looking in, in addition to a strong slate of crowd-pleasers as well. Let’s get into it.

Long Shots:

Beetlejuice Beetlejuice: Already one of the highest grossing films of the year, Tim Burton’s legacy sequel has pleased audiences and critics without fully blowing them away. Strong production design might give this film the lift that its vaguely positive scores need to make it as a great.

Rebel Ridge: A refreshingly fresh take on the action/revenge genre from a streamer was this Aaron Pierre and Don Johnson led film from Netflix. While the story doesn’t necessarily stick the landing, it’s a solid action thriller that has outperformed expectations from both audiences and critics.

Transformers One: One of the worst ad campaigns I’ve seen in recent years for an animated film has delivered an underperforming box office for what is otherwise one of the best Transformers films since the first Michael Bay film. A great voice cast might not be enough to get this film into the all-time conversation as it faces off against a broad slate of great animated films, but it’s definitely worth checking out.

Speak No Evil: The mainstream remake of the recent international horror film has been a sensation in theaters, carried by another great performance from James McAvoy. It’s a horror film that doesn’t really seek to elevate anything about the genre, so don’t expect to hear its name among the awards films, but it still bears watching.

Rez Ball: Netflix has yet another sleeper hit basketball film on its hands with the Lebron James-produced film about a reservation basketball team from New Mexico banding together to overcome the loss of their star player to compete for a state championship. Anyone looking for a decent feel-good sports film will be pleased with this one.

Will & Harper: The timely documentary following Will Ferrell’s road trip across the U.S. with his friend Harper Steele and engaging in conversations with each other and the public about trans people. It’s a timely and emotionally engaging film whose reviews have inevitably faced the adversity of conservative review-bombing that it’ll have to overcome with some wins in the coming season to make the score.

Possible Things:

His Three Daughters: Netflix’s first true awards-bait film of the year is Azazel Jacobs’s film about three daughters dealing with the imminent death of their father. All three actresses – Carrie Coon, Natasha Lyonne, and Elizabeth Olson – give phenomenal performances that could warrant awards love in a less stacked year, but it’s a really excellent film regardless of its official recognition.

My Old Ass: The Aubrey Plaza and Maisy Stella starring film about a girl whose mushroom trip gives her the opportunity to meet her 39-year-old self. It has been heralded as one of the best comedies of the year that also carries some solid emotional weight as well and is definitely one to watch.

How to Make Millions Before Grandma Dies: This dramedy from Thailand about a young man scheming on his grandmother’s fortune should be the country’s submission for Best International Feature this year, as many are calling it one of the year’s best, carrying emotional weight and telling an original story. If you can find it showing near you, you should check it out.

The Substance: Coralie Fargeat’s body horror commentary on media’s perception of female body image starring Demi Moore, Margaret Qualley, and Dennis Quaid has been one of the most unpleasant pleasant surprises of the year. The comedy, social commentary, and visceral images have all hit the right notes along with the performances from the leading ladies and their terrifying supporting man. It might be the film to overcome the genre bias at awards shows as well. We’ll see.

Sure Thing:

The Wild Robot: Pixar once again has a run for its money for the best animated film of the year in DreamWorks Animation’s adaptation of the children’s book. The animation, story, and characters all hit the perfect notes of a great film, and it’s earned this blog’s fourth “Sure Thing” certification of the year. Go see it if you haven’t already.

Weekend Watch - July and August 2024 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, we’re back after an extended hiatus with a look back at the best films released in July and August of this year. We’ll highlight the films that critics and audiences liked most in these months, categorizing them by their likelihood of making the year’s 25 best films – Long Shots, Possible Things, and Sure Things. The latter two-thirds of summer 2024 brought us a decent mix of films, some overhyped, some underappreciated, and others fully delivering on their promises, resulting in an acceptable if not overly noteworthy couple of months. Let’s get into it.

Long Shots:

MaXXXine: The highly anticipated conclusion to Ti West’s homage horror trilogy fell far short of the standard set by the first two in both the acting and horror department. It still stands a cut above many of the year’s horror offerings, but don’t expect it to suddenly break into the all-time greats conversation any time soon.

The Imaginary: Netflix’s new animated offering takes a look at the world of imaginary friends, a surprisingly popular theme this year, and the anime film seems to be passable but nowhere near the conversation for the film’s best animated films. If you enjoy the style or the concept, it’s probably worth checking out. Otherwise, it’s safe to say you can miss it.

Faye: Max’s documentary about Faye Dunaway is another in a long line of celebrity bio-docs that do great things for their subjects’ fans and little for the overall genre of documentary. If you love the illustrious star or would like to hear about her life from her own lips, it’s worth checking out, but don’t expect it to be called for any major awards at the end of the year.

Twisters: The “sequel” to the 90s disaster film delivered exactly as promised – a fun, hot, exhilarating look at storm chasers that mostly lives up to the legacy of the original and delivers some solid star power from Glen Powell and Daisy Edgar-Jones. It’s not much beyond that, but it’s definitely worth watching even if it won’t perhaps stand the test of time like the original has.

Skywalkers: A Love Story: The Netflix documentary about stunt acrobats climbing Malaysia’s tallest skyscraper to rekindle their career and relationship feels like it could make some noise as the year progresses, but its problematic protagonists and odd promotion of NFTs have held it back from achieving as highly as it could have.

Deadpool & Wolverine: Marvel Studios’ only theatrical release this year has had major box office and fan success, delivering on its promise of bringing R-rated superhero action to the MCU. Its excess of fan-service and shortness on plot have definitely held it back from reaching the highs of the former MCU, but it’s still a solid outing that bodes well for the upcoming slate.

Cuckoo: The psychological horror film starring Hunter Schafer that was highly anticipated by the internet, particularly Ayo Edebiri, has delivered on its promise of a fun, twisty, if not always incredibly scary indie horror film. It takes some big swings that not every audience has loved equally, but it might be your cup of tea.

War Game: It’s a documentary about US officials simulating a response to a coup, which might hit a bit too close to home in this year’s political climate with January 6, 2021, still very much in the public’s mind, but it seems to be well-made and interesting. Its subject matter might be too divisive to be an immediate great, but it might find the right audience and last for a while.

Alien: Romulus: Director Fede Alvarez’s take on the iconic sci-fi/horror series has brought it back to its more grounded roots and found a strong audience with critics and fans alike. Though its lack of truly original ideas and controversial inclusion of a highly altered version of deceased actor Ian Holm have held it back from the heights of the originals.

My Penguin Friend: A feel-good, indie, based-on-a-true-story film about a fisherman who rescues a penguin from an oil spill will obviously fly well under the radar. Nevertheless, those who have seen it have been generally positive about it, and it’s always fun to get to see Jean Reno in a film even if it’s one that few people will watch.

Blink Twice: Zoë Kravitz’s directorial debut has outperformed most expectations for it with praise for her directorial vision and the performances of leads Naomi Ackie and Channing Tatum. It’s nowhere near perfect, and some heavy comparisons to other films (Get Out and Saltburn especially) have held it back in the story department, but it’s still a fun intro for Kravitz to directing.

Between the Temples: The Bat Mitzvah indie comedy starring Jason Schwartzman and Carol Kane has some serious Golden Globe potential, especially with its strong critical reception. It sounds like the humor might be a bit more niche, resulting in some mixed audience reviews, but it might be a film worth checking out if that sounds up your alley.

Possible Things:

Longlegs: A serial killer/supernatural horror film from Osgood Perkins (son of Anthony Perkins of Psycho) starring Maika Monroe and Nicolas Cage has been the breakout hit of the summer. Its convoluted third act has left some viewers less than thrilled, but its story and star power might get it into the conversation at the end of the year.

Didi: A 2000s semi-autobiographical coming-of-age story about a Taiwanese American boy sounds like the ideal film for indie film fans, and it certainly sounds like its found that target audience. Many have it sitting on the cusp of Oscar nominations for screenplay and for the supporting performance of Joan Chen as Chris’s mom. It sounds like it might be one of the best films of the year if audiences keep loving it like they have.

Kneecap: The first official submission for Best International Feature to get a wide release in the U.S. has come from Ireland this year with Rich Peppiatt’s film about Irish-language rappers working to revive the use of the language in the wide sphere. Audiences and critics alike agree that it’s a real hit, and most expect it to be on the list of Oscar nominees at the end of the year.

Daughters: Netflix’s legitimate Oscar contender in the documentary category is Daughters, which looks at a father-daughter dance between incarcerated men and their daughters in Washington, D.C. It lives in a topical space and has been a hit with those who have watched it so far. If it’s a topic that interests you, I’d definitely recommend giving it a shot.

Strange Darling: The serial killer indie thriller from J.T. Mollner ends up being the biggest surprise of August, opening to near-unanimous critical acclaim and similar takes from fans. Some have taken issue with the potentially problematic interpretations of the film’s themes, especially seeing as it was written by a man, taking on issues of gender norms, but it sounds like a relatively unique film worth checking out if the genre is up your alley.

Sure Things:

Sing Sing: The current frontrunner for Best Picture finally expanded its theatrical run this past month and continues to hit the right mark with audiences. Anyone who doesn’t categorize this as one of the best films of the year (and possibly of all time) must have watched a different film than I did because it is phenomenal and certainly lives up to the hype.

Weekend Watch - June 2024 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, we’re looking back at the films released in the U.S. throughout the month of June, highlighting those most acclaimed by critics and audiences, putting them in a position to possibly make this blog’s list of the Greatest Films of All Time. You could also take these recaps as a way to find new films that you should check out that you may or may not have known about. As always, the films will be categorized based on their likelihood of making the blog’s list – Long Shots, Possible Things, and Sure Things – and we actually do have the year’s second Sure Thing that came out this month. June gave us one of the more promising slates of summer blockbusters in a while, delivering solid box office performances, strong reviews from critics and fans, and even a few indie releases that are also worth checking out, instigating what could be a cinematic resurgence for the back half of the year. Let’s get into it.

Long Shots:

Bad Boys: Ride or Die: The Bad Boys fourquel opened the month with a bang of a blockbuster, giving audiences what they’ve always loved about the previous films, and performing solidly at the box office for an R-rated film. Critics’ hesitancy to celebrate pure action comedy will undoubtedly continue to hold it back from actually making the all-time great list, but that shouldn’t stop you from seeing it.

I Used to Be Funny: After a limited festival run last year, the Rachel Sennott-led dramedy about a comedian suffering from PTSD is now widely available in the US, and it’s struck a solid chord with critics and even a generally favorable take from audiences. It will probably not be everyone’s cup of tea, but fans of the actress should have their craving for a new project sated.

Queendom: This SXSW documentary about a queer artist doing performance art in Moscow in defiance of Russia’s anti-LGBTQ laws is a full-on critical success, but a slew of what I can only assume to be Russian bots and homophobes review bombing it have left this film with dismal audience reviews (an increasing flaw in this blog’s system that I’m not really sure how to counteract). Awards love would go a long way in countering that narrative for this film, though.

Kinds of Kindness: Yorgos Lanthimos’s follow-up to his major critical success in last year's Poor Things does not carry quite the same weight with audiences or critics, proving much weirder and more divisive (I didn’t realize that was possible for Yorgos) now that it has a wide release. Fans of Yorgos and fans of Jesse Plemons have been enjoying certain aspects of it, but it’s not the universal hit that the director had last year.

Janet Planet: Annie Baker’s coming-of-age drama about a girl and her single mother in rural Massachusetts was made widely available in the U.S. this month, and critics seem to love it. Audiences have been more mixed, as is often the case with woman-led films (again, a flaw in the system), but it’s still generally positive, and if these types of stories are your thing, this’ll probably be right up your alley.

Humanist Vampire Seeking Consenting Suicidal Person: This French-Canadian dark comedy about exactly what its title implies became more widely available in the US this month, and looks to be one worth checking out, as both audiences and critics have been generally high on it. Expect this to end up more in the cult classic space than the all-time great space, but if it sounds like your brand, definitely check it out.

A Quiet Place: Day One: While it continues the downward trend of critical and audience responses that happened from the first to second film in its series, the positives in this film have garnered it a decent following with slightly above average reviews that keep it noteworthy. It’s certainly solid but doesn’t necessarily do anything new with its world or genre, so take it how you will.

Daddio: This hidden gem from last year’s TIFF is out now in theaters in the U.S., following Dakota Johnson as a woman taking a cab from JFK and conversing with her driver (Sean Penn) about their lives. It’s a fairly simple premise that probably won’t be everyone’s cup of tea, but it sounds like a film that’s been solidly executed if it is something that you’re looking for.

Possible Things:

Hit Man: Richard Linklater’s crime/romantic comedy starring Glen Powell and Adria Arjona landed on Netflix and continues its run of solid critical reception even as the audience reviews have become more mixed (apparently, some people still think that killing cops is a bad thing and can’t suspend disbelief for a film). Powell’s star-power and Linklater’s prestige give this film an outside chance to get the awards love it deserves that’ll elevate it to an all-time status.

Robot Dreams: Last year’s surprise Best Animated Feature nominee actually can finally be watched by everyone not in the Academy in the U.S. now. Now that its watch numbers are increasing, it does look like it’ll maintain its stellar reviews, but I want to hold off on giving it the full Sure Thing treatment in case the wider audience doesn’t love it as much.

The Bikeriders: One of the more highly anticipated films of last year and now this year finally made its way to theaters (and soon now to streaming apparently) with Austin Butler, Tom Hardy, and Jodie Comer portraying a semi-true story of a Midwest motorcycle gang. It sounds like the hype oversold the film with most reviews being just slightly above average for the most part, but it’s still better than a lot of films from this year.

Fancy Dance: Apple TV+’s latest partnership with Lily Gladstone again follows a Native American woman fighting to keep her family together when things start unraveling, and again, critics seem to really like this one. The audience scores haven’t been as high with no Scorsese attached to the director’s chair, but her name recognition might give this film the lift it needs come awards season.

Copa 71: The documentary about one of the first women’s world cups that seeks to legitimize the tournament and establish its place in history is now widely available in the U.S. Its subject matter and nature as a sports documentary have made it popular and give it a shot at making the all-time greats list.

I Am: Celine Dion: The Amazon documentary about Celine Dion and her struggles with Stiff Person Syndrome has landed successfully with both audiences and critics. Dion’s worldwide fame and acclaim certainly also help this film, and a small push from the Oscars could land this film among the all-time greats.

Thelma: One of the biggest surprises of the month is the action comedy starring June Squibb about a nonagenarian seeking revenge on a phone scammer. Overwhelmingly positive reviews from both audiences and critics make this one a film that everyone should see, especially with Squibb’s long-overdue leading performance getting the celebration it deserves.

Sure Thing:

Inside Out 2: The year’s first billion-dollar film has also struck the right chords with critics and audiences like its predecessor, earning stellar reviews for its animation, voice cast, and relatable themes. It’s not quite the tear-jerker that the first Inside Out was, but plenty of audiences have celebrated the film’s emotional connection, making it worth seeing.

Weekend Watch - May 2024 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, we’re looking back at the films released in the month of May and letting you know which ones have the best chance of making it on this blog’s list of the Greatest Films of All Time. As always, they’ll be categorized by likelihood, with Long Shots being films still worth checking out but that need a big boost from either extended theater time, awards, or both to have a shot at making it, Possible Things being the films that are already building steam toward the success that they need to cement themselves in the long term, and Sure Things being those instant classic films that have already secured their spot in cinematic history. So far in 2024, we’ve had only one Sure Thing, and May won’t be changing that. Some solid above-the-line films mark this as a mildly better May than last year, but it’s still nowhere near the hit-churning month that it was in the 2010s, with most films either flopping with critics, audiences, the box office, or all three more often than they don’t. Still, there’s a decent offering of films released this month that you may already have seen or that you might have missed. Let’s get into it.

Long Shots:

Turtles All the Way Down: It’s a John Green adaptation, so of course it’s going to be alright. This one also features rising star Isabela Merced and explores themes of mental health, so don’t let its debut on Max keep you fully down on it. It’ll probably please the younger audiences more than the wide public, but it’s still one worth keeping on your radar.

The Contestant: This is one of the more fascinating documentaries I’ve heard of in recent history, chronicling a year-long experiment(?) where a Japanese gameshow contestant stayed in a single room with no clothes on, filling out magazine sweepstakes to receive his food and clothing. Hulu has it, and apparently, it’s not too bad if not that groundbreaking either.

Kingdom of the Planet of the Apes: Success at the box office seems to be a given for the Apes franchise at this point, even if this distant sequel looks to be hitting audiences and critics more closely to Rise than Dawn or War. The visual effects and stunts could be enough to overcome its slight critical deficit and get it fully there.

Babes: This indie comedy about motherhood and friendship starring Ilana Glazer and Michelle Buteau seems to have found its niche. Fans and critics are in agreement that it’s a solid film, both funny and poignant. It certainly looks to be a film more for the girls than the whole crowd, but don’t let that keep you away.

Jim Henson: Idea Man: Ron Howard’s documentary about the mind behind the Muppets landed on Disney+ after opening at Cannes, and it’s again proving that the audiences want more of the Muppets. Critics are more middling on the doc, but it’s got a shot with its fairly beloved topic to make a run.

The Blue Angels: Amazon’s documentary about the iconic stunt performers and their training regimen released this month and looks to be doing alright with its target audience. If this is something that interests you, it’s probably worth checking out, but don’t expect it to be on any lists at the end of the year.

The Beach Boys: Disney’s documentary about the classic boy band celebrates their impact on culture and music, so it’s been a hit with fans. The upbeat, all-good vibes of the doc have kept critics from being as high on it, but don’t let that keep you from giving it a shot.

Young Woman and the Sea: This film looks to be Disney’s answer to last year’s Nyad, starring Daisy Ridley as the first woman to swim the English Channel. Audiences are certainly higher on it than they were on Nyad, but critics are saying basically the same thing. Sports biopics tend to have some legs in awards season, though, and Ridley has certainly earned some sympathy in Hollywood in the past few years, so it’s still got a shot.

Possible Things:

The Fall Guy: As the film that’s working to reinvigorate the world’s and Hollywood’s appreciation of stunts and stunt men, its middling box office achievement and slightly above average reviews have this fun action rom/com sitting a little lower than it probably should be to have a legitimate chance, but Gosling and Blunt tend to have some mojo, so it’s not fully out of it.

I Saw the TV Glow: A24’s first little hit of the year comes in the form of the 90s TV nostalgia trip from Jane Schoenbrun, starring Justice Smith and Brigette Lundy-Paine. Critics are in awe of the film’s visuals and aura, even if audiences are a bit more divided on how much this film ends up being style over substance.

Evil Does Not Exist: Ryusuke Hamaguchi’s latest film released in the U.S. this month after having wide festival success last year. His exploration of gentrification and environmentalism sparked a lot of conversation among critics last year, and it’s possible that he’ll get the nod from Japan as its submission for the International Feature Oscar this year.

We Grown Now: A hit from last year's Chicago Film Festival and TIFF, this coming-of-age tale set in Chicago’s public housing in the 1990s opened across the U.S. this month. The film has been a hit with those who have seen it, so you might as well join them and find it where you can.

Furiosa: A Mad Max Saga: Though not as critically or financially successful (Fury Road was also technically a box office flop) as its predecessor, Furiosa still looks to be the best overall film from this month, as its technical prowess already has plenty of people buzzing about its awards potential at the end of the year.

Weekend Watch - April 2024 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, we have come to the end of another month of movies and have a few to recap. As always this is a recap of the most universally acclaimed films of the month, categorized by their likelihood of making it onto this blog’s list of the Greatest Films of All Time. Those with the hardest road ahead of them will be classified as long shots, those with a strong chance will be classified as possible things, and those that are already instant classics will be classified as sure things (we don’t have any of those this month). April matches the Aprils of years past with a few possible contenders for end of the year awards that will most likely lose steam by the time we actually get there alongside a solid slate of creative B-movies that look like they’ll earn cult classic status for one reason or another. Let’s get into it.

Long Shots:

Monkey Man: Written, directed, edited, and acted by Dev Patel, the action thriller serves as one of the best “Long Shots” in a while. Offering action sequences inspired by other action greats and a story that is relatively topical, it won over audiences and critics, just not a high enough rate to turn it into an instant classic.

The First Omen: Horror films are always a tough sell, especially when they’re the sixth film in a franchise, but this one seems to have pleased audiences and critics in ways that so many horror films and sequels haven’t. It’s still not universally beloved, but the fact that it’s had anywhere close to positive reviews warrants a mention here.

Scoop: Netflix has been having success with dramas about the royal family, and though their dramatization of the BBC interview with Prince Andrew about his friendship with Jeffrey Epstein might not reach the prestige and quality of The Crown, it’s still gained enough traction to be a slight improvement on some of their other biographical outings of late.

The Long Game: It’s a feel-good sports movie with Dennis Quaid about Mexican-American caddies making their own golf course in South Texas, of course it’ll do alright with critics and audiences. It won’t win awards, and it won’t change a whole lot in the grand scheme of cinema, but I bet your parents will watch this on-demand in a few months and ask you if you’ve seen it.

Sasquatch Sunset: The wordless adventure comedy about a family of sasquatches, starring Jesse Eisenberg and Riley Keogh seems to have a bit too much gross-out humor to have any kind of serious mainstream success, but it’s pleased enough audiences and critics that it’s status as a cult classic seems almost guaranteed at this point. It definitely won’t be the film that everyone loves, though, if its split audience ratings are any indication.

The Ministry of Ungentlemanly Warfare: Guy Ritchie’s latest foray into historical unsung heroes has seen a similar level of success to his film The Covenant from last year – audiences seem to really enjoy it, but critics don’t fully agree. It’s a solid action film, but as I said in my review, it lacks a bit of punch in the ending.

Abigail: The vampire/slasher/survival horror film about a group of criminals trapped in a house with a child vampire ballerina looks to have found its target audience despite giving the twist away in its trailers. Audiences have given this consistently positive reviews, and critics aren’t entirely down on it, so it’s got a shot at something close to cult status if it can stand the test of time.

Unsung Hero: I can’t tell if Christian cinema has finally figured out how to make better movies or all the Christian movies are getting reverse review bombed, but this film about the family that spawned the artists Rebecca St. James and For King & Country has been a hit with audiences so far. Critics still aren’t super high on it, but if you liked the Jeremy Camp film or the MercyMe film, you’ll probably like this one too.

Possible Things:

Civil War: Though Alex Garland’s latest is certainly no Ex Machina, it seems to be performing more consistently well with critics and audiences than Men or Annihilation, so we could be seeing a return to form from the acclaimed writer/director even as he’s announced his retirement from directing. The film about a group of journalists traveling across a war-torn America has received praise for the acting from lead Kirsten Dunst, for its sound design, and for its excellent use of tension throughout, making it a potential long-shot candidate for the awards it needs later on in the year to get fully over the hump.

Challengers: Luca Guadagnino continues to show with each film he puts out that he knows how to make people look hot in any situation and how to pull some phenomenal performances from them in the process. His tennis love triangle film looks to be his best mainstream success as well, and despite an early release date, it might have enough steam to make it through to some awards shows at the end of the year to bolster its already highly positive reviews.

Weekend Watch - Challengers

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers, is Luca Guadagnino’s Challengers, which opened in theaters across the U.S. this weekend. The love-triangle-tennis-movie hybrid stars Zendaya, Mike Faist, and Josh O’Connor as a trio of tennis stars whose interweaving professional and personal lives culminate at a small-stakes challenger event in advance of the U.S. Open. Scripted by Justin Kuritzkes (husband of Past Lives director Celine Song and creator of the “Potion Seller” YouTube video), directed by Guadagnino, and scored by the ever-talented Trent Reznor and Atticus Ross, the film has received a slew of critical acclaim and decent audience reception as well. Let’s get into it.

Letter Grade: A-; for the most part this film delivers what you want it to, and it’s all executed with excellence and innovation.

Should you Watch This Film? If you’re looking for an innovative sports relationship dramedy, this’ll be right up your alley; however, if you’re looking for that debauchery-fueled sex-fest promised in the trailers or a film with clear heroes and villains, you’ll be leaving at least slightly disappointed.

Why?

                Though perhaps a bit oversold in its marketing for broader audiences, Challengers delivers one of the better sports films and love triangle films in recent history. The performances from the three leads make for gripping romance, intrigue, and athletic sequences. Kuritzkes’s script provides a compelling story about the destructive forces of passion, jealousy, and insecurity. Guadagnino and cinematographer Sayombhu Mukdeeprom create a menagerie of charged sequences in both the interpersonal moments and the tennis matches, showcasing a creativity in shot choice that continuously leaves the audience dazzled. Reznor and Ross supplement it all with a score that breathes life, energy, and urgency into every scene, elevating the whole thing while increasing the plot’s sense of urgency. The film’s only real missteps come in the form of a predictable and maybe even overdone “twist” in the third act and a focus on the character relationships more than the characters themselves in the film’s story development.

                As a sports film, Challengers offers engrossing competition, compelling character drama, and a creative presentation of the sport of tennis itself, not yet seen in this way in mainstream films. It frames the game of tennis as a relationship, inextricably tying the sport portion of the film to the love triangle portion of the film, and it makes for even more intense competitions on the court and honestly one of the best climaxes and conclusions in any sports film, and certainly the best of the year so far. The ways that the camera is used in the tennis matches turns the sport into cinema, looking at each match from angles never seen before that keep the audience on edge for each serve, each volley, each point.

                As a relationship film, certain aspects feel a bit more familiar than the sport aspects, but it still manages to keep everything compelling, partially due to the direction of Guadagnino and the score of Reznor and Ross and partially due to the leads’ performances and Kuritzkes’s clear understanding of unhealthy relationship dynamics. Zendaya plays young star Tashi Duncan, a promising tennis star whose career is cut short by injury after she hits a rough spot with her tennis player boyfriend Patrick Zweig (Josh O’Connor), friend and rival of Mike Faist’s Art Donaldson who also has a huge crush on Tashi. The origins of their friendships and romantic entanglements are explored in nonlinear sequences of their interactions at youth tournaments and college before catching up to the present where Art is now a grand slam winner, coached by his wife Tashi, and where Patrick has fallen on hard times, struggling to find success as a tennis professional, seeking to qualify for the U.S. Open by winning the same challenger where Art has come to get his groove back ahead of the only grand slam that has yet eluded him. The ins and outs of Art’s development make for the most compelling portion of the film, as he goes from insecure also-ran to confident adult ready for the next phase of life while his rival and his wife remain their same childish selves, stuck in the what-ifs of the past. This lack of development for Tashi and Patrick has left some audiences less than thrilled with the film’s character development, particularly because their arcs culminate in a frustratingly predictable moment designed to lend extra weight to the film’s climax that really just reminds you just how little development they’ve had in comparison to Art. All three play their characters well, though, and the film’s conclusion in a relationship moment that highlights all three of their roles and sends each of them off on a high note certainly goes a long way in making up for the lack of attention paid to the actual characters of Patrick and Tashi.

                Challengers is a sexy, if not overly sexual, take on tennis films, couched in a love triangle relationship dramedy that’s skillfully executed by everyone involved with a few knocks against it for some overdone relationship tropes and weak character development, that delivers a satisfying and innovative take on sports films and plenty of relational melodrama to keep everyone invested. It’s not necessarily everything that the trailers promised that it would be, but that makes it, honestly, a better film overall, avoiding that desire to be transgressive simply to push the bubble while pushing that bubble in different ways than expected. It’s worth the watch if you’re into cinematic innovation, complex relationship dynamics, fun sports action, and films without any singularly perfect hero.

Weekend Watch - March 2024 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, we’ve reached the end of another month of films, and it’s time to look back at the month’s most acclaimed releases. As always, they’ll be categorized by likelihood of making the blog’s list of films – Long Shots, Possible Things, and Sure Things. March certainly wrapped the first quarter of 2024 up on a higher note than it started on, but the slate of films still doesn’t hold a candle to last year’s films and sorely missed the two films that were postponed from the last week of releases – Bong Joon Ho’s Mickey 17 and Beyond the Spider-Verse. Regardless, there were still some solid films worth checking out, so let’s get into it.

Long Shots:

Cabrini: A surprise biopic hit about a nun who worked to improve the lives of people living in poverty in New York City in the late 19th century has seen lots of success with audiences since its release. It’s from the screenwriter of last year’s Sound of Freedom, so take that how you will, but audiences seem to have enjoyed it so far.

Arthur the King: The fact that this film has anything near positive reviews comes as a huge surprise to me, personally, considering the double negative of Mark Wahlberg and a dog movie, but it’s overcome the odds to please audiences fairly consistently. Critics haven’t been quite as on board, but it still bears mentioning.

Snack Shack: From the director of 2020’s cult classic Dinner in America comes a summer coming-of-age film, set at a pool snack shack in the summer of 1991. Co-leads Conor Sherry and Gabriel LaBelle have been on quite a few rising star lists, and the film has gotten better than average reviews from both audiences and critics, so keep an eye out for it if you can find it.

One Life: This Holocaust film starring Anthony Hopkins definitely flew under the radar with the massive success of The Zone of Interest, but it tells yet another story that has yet to be seen and bears checking out. Between Hopkins’s leading role and the generally positive reviews from critics and audiences, it should be one worth watching.

The Beautiful Game: Netflix released a film about the “homeless world cup” this month, starring Micheal Ward and Bill Nighy, which piques my interest enough to check it out. Average audience and critic reviews have me thinking that it won’t do too much beyond this month, but it might surprise and become a sleeper like Nyad.

Possible Things:

Problemista: I feel like I’ve been seeing trailers for Julio Torres’s A24 film about an immigrant seeking a renewal on his work visa while working as an artist in NYC for almost a year now. The film that stars Torres and Tilda Swinton finally got a wide release in theaters this month to solid reviews from critics and audiences. With A24’s ever-widening slate of releases, I don’t know that it’ll be able to churn up the love necessary to pull the awards love it’ll need to stand the test of time, but I’m sure you’ll still find plenty to love about it.

Love Lies Bleeding: The lesbian crime thriller with Kristen Stewart and Katy O’Brian has mostly lived up to the hype by offering a strong crime film that tells a unique story that has pleased those who have gone to see it so far. It’s still an indie film, so making it “big” might or might not be in the cards, but it’s certainly worth checking out.

Frida: Animated documentaries have been becoming more and more the norm in the past couple of decades, and one from Amazon about the iconic artist Frida Kahlo feels like an inevitability now that it’s come out. Those who have seen it seem positive on it and its treatment of Kahlo and her work, so I can certainly recommend it if you’d like to check it out.

La Chimera: Quietly a festival darling across most of last year, this film failed to get any kind of wide release in the U.S. until just this weekend, but the Josh O’Connor-led film about archaeologists and the black market of historical artifacts still seems to be hitting the right notes with those who have seen it. If it’s showing in your area, give it some love because it certainly deserves its day in the sun.

Late Night with the Devil: I have mixed feelings about this one. On the one hand, we’re getting a lot of love for David Dastmalchian as a leading man and a cool indie horror film, both of which are good things. On the other hand, the filmmakers used AI art in their production design, which steals both the work of actual online artists and jobs from potential production artists as well, which is a bad thing and something we can’t excuse at any level of filmmaking. Still, it has gotten solid reviews, so maybe it’s worth checking out for free at some point.

Sure Thing:

Dune: Part Two: As the best film of the year so far and one of the best sequels of all time, there’s no real question that this film will be sticking around ‘til the end of the year. Between the Stilgar memes, Denis interviews, and rave reviews from Steven Spielberg, it’s hard to deny what this film has already accomplished and most likely will continue to do. If you haven’t seen it yet, there’s a guy on Twitter who’s watched it twenty times already to make up for that, but you probably should check it out.

Weekend Watch - January/February 2024 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, we’re looking back at the first two months of film releases in 2024, highlighting those that have a shot at making it on this blog’s list of Greatest Films of All Time. As always, they’ll be categorized into Long Shots, Possible Things, and Sure Things (spoiler alert: there’s no sure things so far this year). These first couple of months have been perhaps the most dismal in recent history in terms of putting out anything that lives up to its hype or even that overperforms against expectations. The best films of January and February were the wide releases of films from the 2023 slate, and so far, there’s only three films legitimately worth mentioning with actual 2024 release dates. Everything else has either underperformed, divided audiences, or just been legitimately bad. Hopefully the rest of the year gets better. Let’s get into it.

Long Shots:

The Greatest Night in Pop: Netflix’s documentary about the making of the iconic song “We Are the World” gets the year’s slate of music documentaries kicked off with a solid start, hitting the right notes with audiences and receiving positive, if strained, reviews from critics. If you like the music from that era or just music history in general, this’ll be up your alley.

Scrambled: The year’s first legitimate sleeper hit is a comedy about a woman who decides to freeze her eggs as she continuously finds herself as the bridesmaid and never the bride. Written by, directed by, and starring Leah McKendrick, the film has been a solid hit among critics and its target audience and has now become a topical film as well, so don’t count it out.

Orion and the Dark: The first film from Netflix’s animation department boasts the writing of Oscar winner Charlie Kaufman, and that’s been reflected in the response. The more mature themes have made it hit or miss with audiences expecting an easygoing kids’ movie based on the art and promotion, but critics have been fairly positive on it. Director Sean Charmatz has so far done Netflix’s animated specials, but this puts him solidly in the right direction for future animated endeavors.

Possible Things:

Society of the Snow: J.A. Bayona’s adaptation of the true story about the survivors of a plane crash in the Andes in the 1970s released on Netflix ahead of awards season. Critical and audience acclaim combined with a few awards nominations make this the best film of the year so far, but it’ll need to pull a serious upset to cement itself as a film with true staying power.

Origin: Director Ava DuVernay consistently tackles topical and challenging subjects, and her adaptation of Isabel Wilkerson’s book Caste: The Origins of Our Discontents is no different. Since its wide release this year, its ratings have continued to climb among its audience. Quiet press tours and the late release have unfortunately left it out of awards conversations, but if it continues to improve its ratings, it’s not all the way out.

Weekend Watch - December 2023 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, or recommendation. This week, we are putting the final bow on 2023 in film by recapping the best releases of the month of December. These films are the ones with the highest likelihood of making this blog’s list of Greatest Films of All Time, categorized into Long Shots, Possible Things, and Sure Things. December really wrapped 2023 up with a bang, giving us some truly great films across many categories, living up to the hype for its blockbusters, indie films, and awards-bait alike. What a way to wrap up arguably the best year in film this decade! Let’s get into it.

Long Shots:

Maestro: Bradley Cooper’s Leonard Bernstein biopic hit wide release on Netflix this month, and now that everyone’s seen it, the director’s style hasn’t quite hit everyone’s sensibilities the same way. It continues to receive recognition in the form of award nominations, but wins and high ratings are few and far between for the stuffed, frenetic, auteur-esque film.

Eileen: The Anne Hathaway, Thomasin McKenzie vehicle about the relationship between co-workers at a prison facility from NEON hasn’t quite had the universal acclaim that it would have needed to launch itself into the awards races. Critics seem fairly positive on the film, particularly the performances of the two actresses, but fans are deeply divided with most that I’ve seen complaining about the inconsistent pacing and middling writing of the film’s back half.

Wonka: All Paul King does is make wholesome hits, and this is yet another. Its box office success has already surpassed both Paddington films even if its critical success hasn’t (most likely a result of comparison to the existing IP). Its technical prowess and continued run in theaters might just be enough to elevate it to greatness, but don’t necessarily hold your breath. It’s still a really good film, though.

Chicken Run: Dawn of the Nugget: This is one of those films that begs the question of “Why?”, and I don’t necessarily have an answer. Netflix has this one on its slate of possible Best Animated Picture nominees that inevitably lose to either Spider-Verse or The Boy and the Heron, and its middling reviews with both critics and fans don’t have me optimistic about its chances. It’s still here because of that outside shot, though.

Ferrari: Michael Mann had a run of three films in the 1990s that made it as both “dad hits” and “critical successes”, and everyone’s been waiting for his next hit since then. By the look of things, Ferrari is no Heat or even Last of the Mohicans, but its high-octane race sequences and the performance of Penelope Cruz might be enough to elevate him back to greatness here.

Possible Things:

May December: Todd Haynes is back with another unsung hit in the Natalie Portman, Julianne Moore, and Charles Melton film loosely based on the predatory relationship between Mary Kay Schmitz Letourneau and Vili Fualaau. Its topical nature, excellent performances, and unique Todd Haynes style all make it prime for all-time greatness, but not everyone agrees fully with me on that, so it sits needing some awards love to get there.

American Fiction: The winner of TIFF’s Audience Award has been rolling out its release for a few weeks now, and the more people see it, the more its potential as a Best Picture, Best Actor, and Best Screenplay spoiler becomes more cemented. Cord Jefferson has turned satire into something that is easily consumable with the help of Jeffrey Wright and the rest of his stellar cast. Assuming it keeps getting the love it has so far, this is one of the more solid Possible Things from December.

The Iron Claw: A24 goofed dropping this one as late in the year as they did. If this film came out three months earlier, it’s sitting as a sure thing, in contention in multiple categories above and below the line. As it stands, it’s still one of the highest rated films of the year by fans and has solid reviews from critics as well. Some surprise love from BAFTAs or Oscars would certainly cement this one in place, but I currently expect it to be just below the cusp when new films get entered in.

The Color Purple: Blitz Bazawule’s remake of the classic musical has hit the notes that it needs to be in contention for a spot among the greats. Unfortunately, some of the creative choices seem to have held the film back from being universally acclaimed, and it looks like it might even be slipping out of Best Picture contention. Even so, the acting and technical love that the film is receiving might still be enough to put it over.

Sure Things:

Renaissance: A Film by Beyoncé: 2023 was the year of the concert film, and Beyoncé brought it all home with her documentary about the Renaissance tour. Fans, critics, and box offices have loved the superstar’s film, and it brings the year home in style.

Godzilla Minus One: Japan’s latest Godzilla film continues to show how much better the country’s filmmakers are at making kaiju films with some actual substance. Its box office success and success with critics are just the icing on the cake for this film, which might now have a shot at an Oscar nomination for its visual effects as well.

The Boy and the Heron: Miyazaki’s “final” (it sounds like he’s making another one, but you won’t hear that in the news again until after awards season) film opened in the U.S. in December and has scratched the itch for so many of his fans. Its win at the Golden Globes might be a portent of even more love to come, and it really is nice to have the filmmaker back in the saddle.

Poor Things: While its controversial subject matter has brought out some very strong opinions from quite a few on Filmstagram and Film Twitter, overall, the film has been a hit with audiences and critics. From Emma Stone’s leading performance to the creative costume and production design to the direction of Yorgos Lanthimos, this film remains the most unique offering from the year’s Best Picture contenders.

All of Us Strangers: While it’s not out in every theater, the British drama about memory, love, and grief continues to hit highs with everyone who sees it. Andrew Scott gives what is reportedly one of the best performances of the year, and the film looks to contend for Best Picture at the BAFTAs and maybe even pull some upsets at the Oscars if it’s lucky.

Weekend Watch - Wonka

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week will be our last Watch of 2023, as I’ll be taking the holiday weekends off. The topic this week, as voted by the blog’s Instagram followers, is Paul King’s prequel to Willy Wonka and the Chocolate Factory that released this week, entitled Wonka. The film stars Timothée Chalamet as the titular chocolate magician, and he is joined by Calah Lane as the orphan Noodle, Olivia Colman as landlady and launderess Mrs. Scrubitt, Paterson Joseph, Matt Lucas, and Mathew Baynton as the chocolate “cartel”, Keegan-Michael Key as the Chief of Police, Jim Carter, Rakhee Thakrar, Natasha Rockwell, and Rich Fulcher as Wonka’s fellow lodgers and workers in town, Sally Hawkins as Wonka’s mother, and Hugh Grant as the Oompa-Loompa. The star-studded musical has thus far landed with a solid splash. Let’s get into it.

Letter Grade: B+, but in a good way; this film feels like a solid, wholesome end to 2023, not necessarily perfect but definitely a much-needed bolt of positivity in December.

Should you Watch This Film? Yes! This film is another example of Paul King making good family fun without feeling saccharine or forced, and it’s always refreshing.

Why?

                Wonka delivers everything you might want from an obvious cash-grab of a prequel – an engaging story, fun songs, well-managed fan service, and a fun blend of old and new characters, all of which gives some new perspective to the franchise(?) and the character of Willy Wonka. Chalamet, while initially a questionable pick to take over the mantle of the iconic chocolatier, perfectly slots into his role in the film, bringing the right blend of charisma, madcappery, and heart to the younger, less jaded version of Willy Wonka. King’s direction and writing take this musical to a place of family iconography that should hold a lasting place in the libraries of many movie fans. It’s not a film free from flaws, as some of its more fan-servicey moments and CGI feel a bit on-the-nose, but for a prequel that no one really asked for, those elements remain fairly few and far between.

                The film’s story delivers a slightly different plot than the trailers seemed to promise, focusing on an already fairly skilled Willy as he comes to the city to make his fortune selling the whimsical chocolates that he’s learned to make in his adolescent travels. The conflict stems from a lack of funding rather than from a lack of talent, and it becomes a film of class solidarity and the potential to overcome the wealthy and corrupt when working together toward a common goal. After being swindled into owing an inordinate amount of money to his landlords, Willy is forced to work off his debt rather than making his chocolate, which puts him into close contact with other victims of the price gouging of Scrubitt (Olivia Colman) and Bleacher (Tom Davis) – the orphan Noodle (Calah Lane), accountant Abacus Crunch (Jim Carter), telephone operator Lottie Bell (Rakhee Thakrar), plumber Piper Benz (Natasha Rothwell), and aspiring comedian Larry Chucklesworth (Rich Fulcher) – who then become his comrades in arms in his plot to make it big in the Gallery Gourmet, where all the best chocolate in the world is made. The chocolatiers of the gourmet pose the other primary obstacle to Wonka’s rise, with Slugworth (Paterson Joseph), Prodnose (Matt Lucas), and Fickelgruber (Mathew Baynton) holding a veritable oligopoly on the trade of sweets in the Gallery, using their excess of chocolate to bribe city officials, police, and the clergy into helping them maintain their hold on the trade. The escapades of Willy’s little group, which is eventually joined by Hugh Grant’s Oompa-Loompa, comprise the majority of the film’s runtime and make for some solid entertainment along the way. It’s not without a few plot holes and a few convenient deus ex machina’s in the closing act, but overall, it’s a fun story with a positive message of solidarity and companionship that is always welcome in the holiday season (even if this isn’t an explicitly holiday film).

                Chalamet’s performance is the driving force of the film, and now that I’ve seen it, I understand his Golden Globe nomination. He sings more than passably in the film’s plethora of upbeat and fun musical numbers, and his personification of the iconic character feels like a healthy homage to Wilder’s and Depp’s other iterations while bringing that youthful flair that the prequel’s story asks for. He’s well-cast, and I’m sorry for any disparaging remarks I may have made after watching the film’s underwhelming trailers. The rest of the film’s ensemble does their jobs decently without any major standouts. Colman seems to be doing her best homage to Mrs. Lovett of Sweeney Todd, but it works as a solid secondary villain. Though they are the film’s antagonists, Slughorn, Prodnose, Fickelgruber, and the Chief of Police also serve as its primary source of comic relief, and the timing and delivery from all four actors manage to elicit some laughs just about every time they’re onscreen.

                Chalamet’s impressive leading performance works with Paul King’s creative prequel narrative and some strong costume and production design to elevate Wonka above the typical prequel fare even if it does stray at times into that territory with some overt fan service and inconsistent CGI. It’s a great time at the theaters in this season of celebration, and once again, Paul King has given us a film that the whole family can enjoy without feeling too pandered to. You can check this one out in theaters for the next few weeks, and if you’re looking for something more upbeat, I have to recommend it.

Weekend Watch - November 2023 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, we have come to the end of another month of films and will be recapping the most noteworthy releases of the month. They’ll be categorized by their likelihood of making it onto this blog’s list of the Greatest Films of All Time and cementing themselves in cinematic history: Long Shots are those with the toughest road ahead of them, noteworthy for their support from either critics or audiences or for their awards potential but struggling in at least one of those other spots; Possible Things are films that have done a bit better for themselves, earning above average marks from critics and audiences but not quite to a level of “all-time” greatness, and Sure Things are films that need no extra help to cement themselves in history (though they most likely will receive some awards love too). November brought a host of highly anticipated films to theaters and streaming services, but outside of one legitimate success and a few surprise overachievers, the month underperformed overall, leaving us with a decent showing of films but very little in terms of legitimate staying power. Let’s get into it.

Long Shots:

Nyad: This Netflix biopic of distance swimmer Diana Nyad probably stands the best chance of making it out of this category thanks to the strong performances of its two leading ladies – Annette Bening in the titular role and Jodie Foster as her coach Bonnie Stoll – but its formulaic delivery of its real-life story has landed it solidly in the just okay range of both audience and critic scores, so we’ll see.

Sly: Documentaries about Hollywood actors have abounded this year, particularly ones released by Netflix, and I think we’re starting to see an oversaturation take place. This one about the life and career of Sylvester Stallone sounds like one sure to please his fans but that might not have a wide enough fan base to experience the larger success it’ll need to overcome very average critical reception.

The Killer: David Fincher’s latest thriller was one of the year’s most anticipated, but it has landed with a plop rather than a splash in its brief theatrical run and then on its Netflix release. The slow-burn character study of a hired killer looking to maybe get out of the game and get back at those who wronged him has left everyone praising Fincher’s direction but a bit frustrated with the overall film for its slowness and lack of compelling character development.

Thanksgiving: On the other hand, Eli Roth’s holiday slasher is a film that has outdone its expectations, receiving mildly above average audience reviews for the return of classic slasher tropes and fun tongue-in-cheek humor. Will it actually have any staying power beyond the usual cult followings of slasher films? Probably not, but never say never.

Saltburn: Emerald Fennell’s sophomore feature has received the Babylon treatment from critics, deeming it too shocking to be “great”. Whatever. Its Metacritic score of 60 and Tomatometer of 71% mean that its chances of rising much higher on this blog’s list are slim-to-none, but don’t let that stop you from seeing this wild romp through the aristocracy of Britain.

Rustin: Another based-on-a-true-story performance-driven biopic from Netflix that has even slimmer chances of lingering on. Odd tonal choices and an underwhelming third act have left this well-acted film fairly far down on many people’s lists of the year’s best films, and I don’t see Colman Domingo elevating the whole thing by himself – even as phenomenal as his performance is.

The Hunger Games: The Ballad of Songbirds and Snakes: The adaptation of Suzanne Collins’s prequel novel has managed to hit the perfect note with audiences, earning it a top-25 box office this year and surprisingly solid reviews from fans. Even with a lack of matching support from critics, this film has something going for it that makes it worth checking out.

Napoleon: Oh look, another biopic. It’s almost like formulaic biographical films just don’t hit like they did in the 1990s and 2000s or something. Ridley Scott, Joaquin Phoenix, and Vanessa Kirby being attached to this film keep it at very long odds of rising above, but with three other films just from this year that are based on true stories from the past with great production design, it’s hard to see this historical epic breaking through.

Possible Things:

Fremont: Probably one of the most indie films of the year, this black and white film about an Afghan former translator now working at a fortune cookie factory in the U.S. landed on streaming this month after some very limited theatrical runs. The small amount of audience and critic reviews have been positive, but I don’t know that it’s enough to bring it to the attention of the right people to elevate above the hump that so many decent indie films face when trying to make it as all-timers.

Priscilla: Sofia Coppola’s unique style helps the Priscilla Presley biopic rise above the rank and file, and Cailee Spaeny’s leading performance definitely doesn’t hurt either. Down the road, I won’t be at all surprised if this film’s audience reviews rise much higher than they currently are, but the current Elvis Presley love has hurt its ratings, as it doesn’t paint the rockstar in nearly as positive a light as his biopic last year did. Still, there’s an outside shot it makes it already this year.

Dream Scenario: The comedy horror about a man who finds himself becoming a dream celebrity when everyone seems to be dreaming about him at night might be too wacky to earn the awards love that it’ll need to get from the quality film to all time greatness status. Nicolas Cage as the leading man certainly helps its chances, as does the distribution by A24, so don’t count it all the way out.

Radical: The Sundance hit, starring Eugenio Derbez, about a Mexican schoolteacher looking to improve his students’ experience by radical means has finally hit theaters (at least in my area), and the reviews are staying strongly positive. Unfortunately, with Mexico backing Tótem as its entry for International Feature at awards shows this year, I don’t see it getting enough attention to raise it out of its general anonymity at the moment.

American Symphony: The Netflix documentary about musician Jon Batiste has already landed in many conversations as a frontrunner for the year’s biggest documentary awards, and with Batiste as the subject and Matthew Heineman (Cartel Land) as the director, I can see why. Since its release on Netflix, the audience and critic reviews have been just above average, so it’ll need that awards love to make it a must-see for most moviegoers.

Sure Things:

The Holdovers: The month’s only sure thing is also its best performer, hitting all the notes it was expected to, earning a place on many viewers’ lists of must-watch holiday films going forward. Alexander Payne’s film about a schoolteacher and his troubled student who stay for the Christmas holiday at their boarding school with the school’s head cook in 1970. The combination of strong performances, original story, and throwback visuals make this a must-see and a potential award favorite this year.

Weekend Watch - October 2023 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating and review. This week, we are looking back at the films released in the month of October, recapping those of note that have a shot at making their way onto this blog’s list of Greatest Films of All Time, categorized by likelihood into three groups – Long Shots, Possible Things, and Sure Things. October has been the first month where we’ve really felt the impact of the film delays brought about by the SAG and WGA strikes that are happening because production studios refuse to pay fair wages and provide proper benefits to their employees, bringing an abbreviated slate of films but a decent one that has at least a few films worth seeing ASAP and others worth keeping an eye on. Let’s get into it.

Long Shots:

Totally Killer: Amazon’s time travel slasher kicked the month off with a bit of a bang in the real of horror, leaning into the self-aware tropes that has permeated the subgenre of late with decent success. It’s probably not going to win any awards, but it’s always nice to have another decently solid slasher to add to the yearly watch.

The Royal Hotel: The indie thriller about Americans backpacking through Australia, starring Julia Garner and Jessica Henwick, has all the makings of a cult classic. It’s done solidly with critics and has divided audiences. It’s flying far enough under the radar that I don’t expect to see it suddenly rising in any of its ratings or awards odds, but there’s always a chance.

Last Stop Larrimah: Max’s crime documentary about an Australian town of eleven residents has landed to some minor amount of buzz. It lives in an interesting niche that might do enough for it to gain some awards recognition later this year, which it will need to improve upon its currently just average audience reviews.

Fair Play: Netflix’s marital drama/thriller has been lurking on the edge of people’s list of anticipated films and long-shots for awards all year. Now that it’s here, the Phoebe Dynevor/Alden Ehrenreich vehicle looks to be a solid effort but probably not the streamer’s best bet of nabbing awards this year. The film’s exploration of gender roles and corporate America has left audiences somewhat divided so far.

When Evil Lurks: The Argentinian supernatural horror film released on AMC+ this past week and has been heralded as one of the best horror films of the year. Its critical and audience success should spell further hype as the year wraps up, but its nature as a horror film leaves it inevitably as a long shot to get any kind of boost.

Possible Things:

The Burial: Amazon’s based-on-a-true-story legal drama about corporate takeovers and funeral homes sparked a lot of buzz this month. Its star-studded cast that includes Jamie Foxx and Tommy Lee Jones should be enough to get people watching, and its story and themes have also managed to resonate solidly with audiences and critics. Keep an eye out for it to potentially spoil some campaigns in the coming months.

Anatomy of a Fall: The only reason I’m not putting this in sure things is France’s decision to not name it as their Best International Feature submission for the Academy Awards. Otherwise, this year’s Palme d’Or winner about a woman accused of murdering her husband has all the makings of being one of the best films of the year. It opened this past weekend near me, and I’m looking forward to seeing it soon.

The Pigeon Tunnel: Errol Morris’s latest documentary, this one about legendary novelist John le Carré found a home on Apple TV+ this month. The author’s final interview has the makings of being an all-time classic in the hands of the skilled documentarian, definitely one to keep an eye on.

Sure Things:

Killers of the Flower Moon: Martin Scorsese’s latest true crime epic has already struck majorly successful chords with audiences and critics alike, sitting solidly in the top-3 favorites to win this year’s best picture awards at most of the big shows. The highly necessary story helps put the film in a place of potential staying power as one that will be remembered for years to come.

Taylor Swift: The Eras Tour: Following hot on the heels of the remastered re-release of arguably the greatest concert film ever (Stop Making Sense), Taylor Swift released her concert film, which adapts her performance from the Los Angeles stop of her multi-million-dollar-grossing Eras Tour to massive box office returns and incredibly positive responses from audiences and critics. The high energy of the film and Taylor’s excellent capabilities as an entertainer make this one to catch on a very large screen if you can.

Weekend Watch - August/September 2023 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating and review. This week, we are looking back at the months of August and September and highlighting the films most likely to have a shot at joining this blog’s list. As always, we’ll break them into three categories – Long Shots, Possible Things, and Sure Things – but (spoiler alert) it’s only Long Shots and Possible Things in this set of months. August wrapped up the summer blockbuster season in predictably lackluster fashion, and September ushered us into the season of indie awards hopefuls with little promise of actually delivering success in either sector (unlike the offerings coming in October, November, and maybe even December). Let’s get into it.

Long Shots:

Shortcomings: Randall Park’s feature film solo directorial debut about a trio of San Francisco young adults trying to find love opened to solid reviews for a niche romantic dramedy. Unfortunately for it, the film has mostly flown under the radar in gaining any kind of traction for the awards buzz this film would need to overcome the fan reviews, which are only just above average.

Jules: A sci-fi dramedy about aging suburbanites who suddenly find a space alien living in their midst has a quirky enough ring to it to pique some people’s curiosity, especially when considering its cast led by Ben Kingsley and Harriet Sansom Harris. Its unique story keeps it afloat even as the reviews seem to be getting worse by the day, lengthening this film’s odds of success.

Red, White & Royal Blue: Amazon’s gay romantic comedy about a British prince and the son of the American president had fans and critics alike celebrating its fun and originality. It’s unlikely to go far beyond that consideration as far as all-time lists go, but it should stick around among the best rom-coms of the decade so far.

Blue Beetle: The first new hero from DC in some time opened to a lackluster box office performance and reviews that are just high enough above average to place it here. It’s fun, fresh, but maybe a bit too much of a rehash of other superhero origins to get enough traction to rise above its predecessors in the DCEU. Even its visual effects might not be enough to get that requisite nomination for superhero films.

Mutt: This indie film about a trans man who must deal with the emotions of being reintroduced to those who abandoned him when he first transitioned has the makings of something that could make it bigger than this film currently has. Above average reviews and a social setting in Hollywood that currently favors trans narratives featuring trans performers makes this a film to keep the corner of your eye on.

Gran Turismo: This is one of those films that has split fans and critics, seeing massive success with general audiences but below average reviews from critics. I think it comes down to the aggressive amount of advertising for its titular game and game system that critics seem to be punishing director Neill Blomkamp for more than anything else.

You Are So Not Invited to My Bat Mitzvah: Another film that has divided critics and fans but this time from Netflix and in the reverse. This film about teen girls and their friendships and dramas has critics celebrating it to a tune of 91% on Rotten Tomatoes and a Metacritic score of 71, but audiences can’t seem to get over Adam Sandler’s involvement (or maybe they just don’t like positive depictions of female friendship and coming-of-age, who knows).

The Equalizer 3: Whenever Antoine Fuqua teams up with Denzel Washington, it’s worth mentioning, and the third film in their Equalizer trilogy has again hit the right notes with action fans while failing to wow critics, just like its first two installments. With other, more acclaimed, action films on this year’s docket, don’t expect to hear much more buzz from this sequel.

Scout’s Honor: The Secret Files of the Boy Scouts of America: Netflix’s documentary about the sexual abuse cover-ups and scandals in the Boy Scouts has generated some buzz in the world of nonfiction film, but Netflix’s formulaic style of documentary leaves it as a long shot for any wider recognition. Its topical examination will probably end up as a drama film in the coming years anyway.

Aristotle and Dante Discover the Secrets of the Universe: Aitch Alberto’s adaptation of Benjamin Alire Sáenz’s novel of the same name hit just in time for Latin American Heritage Month in the U.S., and it’s seen some level of critical and audience success. Its nature as an indie darling has it looking more like a cult classic than an all-time great, but time will tell.

Sitting in Bars with Cake: The romantic dramedy film based on Audrey Schulman’s novel, inspired by true events, from Amazon seems to have found the right audience on that platform. Critics and fans are decently high on the Yara Shahidi-starring film, but not quite high enough to generate the buzz it will need to go down as one of the all-time greats.

El Conde: Pablo Larraín’s farcical biopic that reimagines Chilean dictator Augusto Pinochet as a 250-year-old vampire has the makings of something great like The Death of Stalin, but it hasn’t quite landed as well with audiences or critics. Most reviews have been generally positive but hesitant to award it full marks due to its third act that doesn’t quite land as well as you might hope.

Amerikatsi: Armenia’s entry for Best International Feature this year has divided audiences and critics, mainly because critics don’t like that it’s trying too hard to be a feel-good film and drawing away from some of the harder hitting points of its historical narrative. Nonetheless, audiences have loved the film so far, and maybe its narrative about an Armenian refugee learning about his homeland from prison will gain more traction as it gains wider release.

A Million Miles Away: Amazon has really been nailing it with these films that are just good enough to be considered above average but probably not good enough to do much else. This one tells the dramatized true story of Jose Hernandez, a farm worker who worked his way to becoming an engineer and eventually an astronaut, in what seems to be an above-average crowd-pleaser headlined by Michael Peña in the leading role.

The Saint of Second Chances: Netflix’s documentary about the relationship between former baseball owner Bill Veeck and his son Mike has hit the right feel-good notes that you want in a sports documentary. With only above-average critic ratings, though, it’s hard to see this breaking into any awards conversation, which it will need to achieve the status of greatness.

The Creator: Gareth Edwards’s sci-fi film about AI and humanity hit screens this past month to wide acclaim from fans but a more critical response from critics, who have pointed out that its “original” story draws heavily on tropes from most other “great” sci-fi films. With excellent visuals, this could still snag some under-the-line awards buzz, but I’m still not sold enough because of its very average critical response.

Dumb Money: The comedy/drama adaptation of the GameStop Wall Street situation came to us fairly quickly in terms of turnaround, and with a stacked cast. Its comedic take on the situation smacks of trying to emulate the success of The Big Short, but the only average critical success doesn’t offer much hope that it’ll be able to attain that level of all-time greatness.

Saw X: The tenth film in a horror franchise isn’t necessarily the place you’d expect to see all-time greatness, but this film has actually managed to make it as the first in the series to be Certified Fresh on Rotten Tomatoes, so it’s worth noting. It might not go down in all-time history, but it’s still fun to see horror franchises innovating and improving with new installments.

Possible Things:

Teenage Mutant Ninja Turtles: Mutant Mayhem: The unique animation, fun narrative, and authentic humor have made this film a dark horse for Best Animated Feature. A smaller box office haul and the probably insurmountable greatness of Across the Spider-Verse probably leave this as a nominee at best, but don’t be surprised if this film sneaks in there.

Bottoms: Emma Seligman and Rachel Sennott’s film about lesbians starting a fight club at their school to meet girls just might be the single best film from these two months. It’s funny, fun, and more original than its premise sounds, so a shot at an Original Screenplay nom isn’t completely out of the question to launch them into a position of all-time greatness.

Cassandro: The film about the titular gay amateur wrestler turned international phenomenon that stars Gael García Bernal just might have what it takes to spoil some actor’s hopes for a best lead nomination. This is one of those Amazon films that does more than enough to be considered good and might have what it takes in terms of representation and originality to make it great.

Flora and Son: Irish filmmaker John Carney tends to hit the right notes with critics and audiences with his feel-good dramedies about music, and his latest partnership with Apple seems to be in that same vein. I don’t know that it’s quite at the levels of Sing Street and Once, but don’t fully discount it just yet. A story about a single mom healing her relationship with her son through music sounds right in the sweet spot for Carney.

Weekend Watch - July 2023 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating and review. This week, we are looking back at the month of July, giving recognition to the best films of the month, categorizing them by their likelihood of making this blog’s list of Greatest Films of All Time. July continues 2023’s trend of months (besides May) with better films than we usually expect, with three of the year’s most anticipated films all actually landing successfully with audiences, and plenty of other offerings that have legitimate shots at earning greater recognition as the year goes on (particularly with the SAG and WGA strikes lessening the press for the other upcoming films this year). Again, the three categories of film are Long Shots, Possible Things, and Sure Things. Let’s get into it!

Long Shots:

Joy Ride: The female ensemble comedy from Adele Lim about a group of friends who travel to Asia to help one of their group find her birth mother landed with solid reviews at the beginning of the month. It delivers on the comedy and with some solid performances from its leading ladies. Some review bombing on IMDB (classic) keeps it here in the long shots, but love for its screenplay could bode well in awards season.

Theater Camp: The niche mockumentary about a theater camp starring Ben Platt and Molly Gordon hits the notes that theatre nerds love. Is it going to be everyone’s cup of tea? Probably not, but that doesn’t mean its status as a lingering cult classic couldn’t get it into the land of All Time Greats.

The Deepest Breath: A documentary about freediving from Netflix and A24 could spell some major love come awards season, but for now, mixed positive critic reviews leave it as a long shot. The nerve-wracking, beautifully shot film can be seen on Netflix if you want to boost its chances.

They Cloned Tyrone: A modern sci-fi blaxploitation film from Netflix, starring Jamie Foxx, John Boyega, and Teyonah Parris? Count me in! The comedy/mystery/thriller walks the fine lines of its genres well and will probably stick around as another of this year’s cult classics more than an All-Time Great.

Stephen Curry: Underrated: Apple TV+ and A24 teamed up on this sports documentary about the greatest 3-point shooter of all time to tell his story. Framed as a coming-of-age film about an underrated, undersized guard, it hits most of the right notes but has gotten some criticism for its climax coming at the wrong point of Steph’s career. It sounds like another successful hit for NBA fans that may or may not hit with other audiences.

Possible Things:

Wham!: Netflix’s documentary about the iconic 70s and 80s duo of George Michael and Andrew Ridgeley is sure to scratch the itch of Nostalgia for the Gen X-ers that populate the streamer these days. It’s landed well with critics as well, boding well for its awards potential, though other music docs and celebrity bio-documentaries could believably keep it out.

Lakota Nation vs. United States: This is a poignant documentary about the fight of the Lakota Nation to reclaim the land that has been stolen from them throughout history by the U.S. government. It checks the boxes that you want to see from a good documentary, but its under-the-radar status might keep it out of contention.

Earth Mama: With some of the bigger releases of the year currently in flux, indie films like this one are currently looking better and better in their chances to make the list. Savanah Leaf’s intimate portrait of a single mother in the Bay Area has garnered some buzz among the audiences who have already seen it, and as it continues to expand to more theaters, expect that buzz to keep rolling.

About Dry Grasses: Nuri Bilge Ceylan is one of the biggest Turkish directors in the modern era, and his latest film, which gained quite a bit of recognition at Cannes, maintains his run of solid outings. It’s currently only in limited release in the U.S., but inevitable awards love should expand its audience base and get its scores more reliably trustworthy.

Afire: Christian Petzold’s romantic dramedy about a group of friends caught in the midst of a forest fire is another international film that dropped in the U.S. this month with some level of success and acclaim. The German director could finally see success on a wide level, but a stacked category of submissions from other European nations will probably keep it out.

The First Slam Dunk: This film has quietly garnered a lot of acclaim already, leading up to its American theatrical release this year. Winning the Japan Academy Prize for Animation of the Year and sitting as one of the highest-grossing anime films of all-time, the film about a Japanese high school basketball team, which adapts the manga series Slam Dunk, could be quite the contender in the coming months.

Talk to Me: A horror film directed by the Australian YouTube duo RackaRacka (a.k.a. Danny and Michael Philippou) shouldn’t be doing as well as it already has, but here we are. The supernatural horror has already garnered high praise, with some calling it Gen Z’s Hereditary. Don’t sleep on this film as the year continues to unfold.

Sure Things:

Mission: Impossible – Dead Reckoning Part One: While I may not have been crazy about this latest entry in Tom Cruise’s espionage empire, most critics and audiences have been. A poorly timed release date has kept its box office numbers down, but that barely matters with the amount of love it continues to receive from people’s ratings and reviews.

Oppenheimer: With so many people calling this Christopher Nolan’s best film, it’s easy to see this film carrying its critical and commercial success into a very successful set of awards campaigns for director, picture, actor, supporting actor, supporting actress, screenplay, and plenty of technical awards as well. This sits up there with Across the Spider-Verse in the category of best films of the year.

Barbie: The other (more controversial for some reason) half of Barbenheimer weekend also continues to see success with audiences and critics. Its great acting, production design, writing, and direction, aided by what’s looking to be a billion dollar box office haul by the time it’s all said and done, looks to spell all-time greatness for Greta Gerwig’s first main-stream hit.

Weekend Watch - Barbenheimer

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating and review. This week, we’re looking at the cinematic event of the year, the double release of Barbie and Oppenheimer, which have combined to form the 4th-largest American box office weekend in history – and the only one headlined by non-franchise films. Barbie comes from director Greta Gerwig, cowritten by her and Noah Baumbach, starring Margot Robbie as the primary titular character, joined by Issa Rae, Alexandra Shipp, Kate McKinnon, Hari Neff, and many others as the many iterations of the iconic doll and Ryan Gosling as the leading Ken, joined also by Simu Liu, Kingsley Ben-Adir, Ncuti Gatwa, and many others as the other Kens in Barbieland. America Ferrera, Ariana Greenblatt, Will Ferrell, Helen Mirren, and Michael Cera round out the star-studded comedy that has ruled the weekend. Oppenheimer, from writer/director Christopher Nolan, stars Cillian Murphy in the titular role, supported by another star-studded cast, headlined by Robert Downey Jr., Emily Blunt, Matt Damon, Alden Ehrenreich, David Krumholtz, Benny Safdie, and Florence Pugh. Both films, and this weekend, are sure to go down in cinematic history, so let’s get into it.

Barbie Letter Grade: A-; this is the type of film that studios should strive to get back to for their blockbusters!

Oppenheimer Letter Grade: A; Nolan delivers a masterclass of a biopic, drawing excellent performances from every actor in the film!

Barbie Review:

                Greta Gerwig’s Barbie is sure to go down in history as a modern classic of satire, production value, and comedic excellence. Every role in the film feels perfectly cast, from Margot Robbie’s complex leading lady to Ryan Gosling’s perfectly himbo-coded Ken to Will Ferrell’s bumbling CEO to America Ferrera’s harried mother/secretary to every supporting Barbie, Ken, and Allan. It’s a fantastic cast that help sell Gerwig’s vision of the mythical Barbieland and the almost real “real world” and allow the film to thrive in its massively important messages of female empowerment and the importance of defining yourself intrinsically rather than extrinsically.

                Barbie’s production design might be some of the best of the year, starting obviously with Barbieland but extending also to the real world, particularly the office-scape of Mattel where we get a particularly fun chase scene and some great contrast to the brightness of Barbieland. The attention to detail that went into the creation of the sets and their intentional artificiality makes this a film that will undoubtedly stand the test of time. The subtle (and not-so-subtle) changes that occur there throughout the movie only add to the film’s sense of itself, drawing the audience into a fantasy land where truths about our own world can be put on full and aggressive display as only satire can do.

                The comedy and story of Barbie, as crafted by Gerwig and Baumbach and then delivered by their stellar cast, hits the right note in just about every scene. The depth of the film’s satirical critique of modern society can only be appreciated when you take a step back and look at the whole thing. This is not a film, as some have argued, that “hates men” or “wants to set the feminist movement back fifty years” or “seeks to villainize all men”. It is a film that uses its childlike premise and perspective to peel away the façade of society’s nuances and lay everything out in its most basic terms. The reverse parallel between Barbieland and our own world highlights the flaws of gender-driven/sexually-motivated systems of power – namely that they are overly reductive and generally ineffective in creating well-running, equitable, informed, and ethically acceptable societies. By showcasing this argument through humor (sometimes self-deprecating, sometimes on-the-nose, sometimes slapstick, sometimes other forms), the audience is invited to embrace gender as a definition of self without it being a cookie-cutter or archetypal label that defines your entire potential for life. Patriarchy is the film’s villain, not because the filmmakers view men as villains, but because they want to reject fully the idea that gender (or implicitly, income, occupation, family status, nationality, race, sexuality, age, etc.) can define anyone’s individual worth or efficacy. You need only look at the story arcs of both Barbie (Robbie) and Ken (Gosling) to see that this is the message being portrayed. The only real issue with the film’s story/comedy/messaging comes in its climactic monologue from America Ferrera’s Gloria in the third act about the struggles of being a woman in a patriarchal society. The monologue itself is excellently done, hearkening to Laura Dern’s Oscar-winning performance in Baumbach’s marriage story in its tone and content, but its issue lies in the fact that the moment feels a bit unearned, given all that we’ve seen of Gloria’s life up to that point in the film (not a whole lot). For a character to make so many sweeping statements speaks to the state of her society, but when so much of the film has taken place away from that society, it feels like there should have been a little bit more lead-in to the moment, however valid it might be.

                Barbie is one of those big studio films that manages to live up to the hype thanks to some excellent performances, great production design, and solid writing that leave audiences with a minimally flawed film and a great time at the theater. Greta Gerwig, Margot Robbie, and Ryan Gosling again have the fullness of their talents on display in this film that is sure to stick around for a while in modern cinematic discourse.

Oppenheimer Review:

                Christopher Nolan’s Oppenheimer has set a new standard in biopics, delivering a devastating historical narrative in a way that keeps its audience fully engaged and guessing for its entire three-hour runtime. It is a dialogue-driven film full of hearings, interspersed with conversations about politics, metaphysics, and the scientific community that never actually manages to feel as boring as all of that sounds, which is a triumph in and of itself. Nolan manages to deliver a well-paced narrative that only gets you lost a few times and that is one of the most well-acted films of the year, top to bottom.

                At its heart, Oppenheimer wants to tell the story of J. Robert Oppenheimer as honestly as it can, taking the good with the bad and leaving the interpretation up to the audience. It invites you to empathize with the historical figure who is at least partially responsible for one of the biggest atrocities in history, and it accomplishes this goal not by attempting to justify any of the evils that he wrought but by showcasing the human behind it all. Oppenheimer isn’t a hero or a villain or even an antihero; he is a man thrown into some of the muddiest waters in history and asked to swim back to the surface. We get to see the worst parts and best parts of Oppenheimer’s life – both personal and professional – as portrayed in Cillian Murphy’s subtle but gripping performance. The people he wronged along the way and his awareness of that wrongdoing play a key role in making this film as successful as it no doubt will continue to be.

                While I wish that the narrative let you in on a bit more of its side characters’ (RDJ’s Lewis Strauss and Jason Clarke’s Roger Robb for examples) motivations, the overall narrative structure – jumping around between hearings and history – works well in keeping you engaged and presenting its true message, which is only tangentially related to the person of Oppenheimer. The film’s final moments, though not chronologically the last point in the film’s timeline, offer a chilling and gut-wrenching conclusion to Oppenheimer’s work. From the very start of the film, we see Oppenheimer plagued by this fear and guilt and fascination over the work that he conducts, offering an awareness of his own nature and the nature of humans toward self-destruction. His participation in and enthusiasm for the creation of the atomic bomb only serves to reinforce this message, and Nolan makes it all the more clear when we finally see what it is capable of (in gloriously enrapturing cinematography and sound design). Nolan wants his audience to understand that our “othering” of our fellow humans and our own selfish desires for self-preservation over the good of all others are in fact leading us down a path of self-destruction, just as Oppenheimer set himself up for his own demise, the human demand for “defensive weapons” has set us up for our own violent destruction.

                Led by Cillian Murphy’s commanding performance and a plethora of strong supporting performances, Nolan’s Oppenheimer manages to tell the truth about its subject while also offering a deep truth about humanity, marking it as the new gold standard for biographical films. It’s not always the most perfectly paced or explained film, but on the whole, it offers a new perspective and a meaningful message that the world needs in this time.

Weekend Watch - June 2023 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, we are taking a look back at the month of June, making note of the films worth keeping an eye on that got a wide release in the U.S. in its thirty days. June has been a fairly disappointing month as of late, giving us such heaters as Hustle, Eurovision Song Contest: The Legend of Fire Saga, Luca, and Toy Story 4 – none of them bad films, but none truly in contention for the best films of their respective years. This June was different, giving audiences three really solid films (two all-time greats) in the midst of all the mediocrity. You have to go back to June of 2014 with the release of Edge of Tomorrow, How to Train Your Dragon 2, 22 Jump Street, and The Fault in Our Stars to get a June with this much heat all in one month. As always with recaps, we’ll be breaking the films into three categories – Sure Things, Possible Things, and Long Shots. Let’s get into it.

Long Shots:

Elemental: While it certainly wasn’t the worst animated release of the month, it wasn’t in the top two as it marked another drop in consistency for Pixar. It’s difficult to see such a well-intentioned film do so poorly, but it seems that audiences and critics agree that it just doesn't have that classic Pixar magic that endears the story to its viewers. It could still luck out with some success after its streaming release, so keep an eye on it.

The Flash: Another of June’s disappointing blockbusters was DC’s Flash movie. It leans so heavily on nostalgia that it makes audiences fairly happy but keeps critics low on the product due to its middling story. Some surprise visual effects nominations or a potential sudden surge in box office support could spell a bit more success, but I’d be surprised.

The Blackening: The horror comedy opened to higher reviews than most people anticipated, marking it as a sure thing for cult classic lists but still a long shot for much else. Its blend of genres don’t necessarily spell the success that it’ll need to see once awards start dropping to make it a true all-time great.

Extraction II: Chris Hemsworth’s action thriller sequel has proven to be an even bigger crowd-pleaser than his first. Netflix has found its niches in animation, romantic comedies, and movie star action thrillers (we’ll see if they can break into another when Rebel Moon drops later this year). Hemsworth’s sequel falls solidly into that third category, marking one of the streamer’s best offerings in the genre so far but probably still not an all-time great.

Asteroid City: Wes Anderson’s latest film has his fans buzzing, and that’s about it. It looks great and has his typical writing quirks that make him so popular in his lane. Unfortunately, wider audiences and critics haven’t been super high on this film, and with so many other well-produced films still to come this year, it’s believable that this’ll be left off most award nominations just like his last film (The French Dispatch).

No Hard Feelings: This film has done better than anyone gave it credit for, and that’s due purely to the two actors heading the thing up. Jennifer Lawrence and Andrew Barth Feldman have brought back the raunchy romantic comedy with a vengeance, keeping audiences laughing and critics happier than usual in such films. It’s still hard to see it making much more of a splash than this though.

Indiana Jones and the Dial of Destiny: The last of June’s disappointments came on its final weekend. It’s a fine action film but a half-hearted Indiana Jones film, and we’re left with a box office flop that sends the saga out with more of a whimper than a trumpet blast.

Possible Things:

Rock Hudson: All That Heaven Allowed: Max’s documentary about Rock Hudson and the contrast between his public ladies’ man persona and private LGBT+ lifestyle checks a lot of the boxes that the great documentaries do, but it happens to have released the same year as many other actor-centric documentaries also about relevant issues, so it’ll probably fall by the wayside even though it is pretty solid.

Nimona: I mentioned Netflix’s success in the animation department earlier, and this graphic novel adaptation is the perfect example. With a unique animation style, fun voice actors, and a quality story, this film marks itself as the current underdog to watch in the best animated movie of 2023 race (behind another June release that we’ll get to in a few minutes). Don’t let the other great animated film of this month be your only one of the year – give Nimona a shot as well.

Blue Jean: The British film about a closeted teacher under threat of being outed in the 1980s got its American release this month to a continuation of its success from across the pond. Critics and audiences have been solidly high on it. Unfortunately, this looks like a year with little room for much prolonged indie success, and that will probably be limited to just a couple of films that most likely won’t be this one. But it’s still better than most of the other June films, so keep an eye on it.

Sure Things:

Past Lives: Since its festival release earlier this year, Celine Song’s film about longing, immigrants, and memory has had people buzzing. With its theatrical release, that buzz has only grown, pleasing audiences and critics with its moving and realistic portrayal of its story. Song’s direction and writing and the performances have all garnered praise and will probably make some noise down the line as well (I’m rooting for a spouse showdown in the Original Screenplay category between Song and her husband Justin Kuritzkes who wrote the upcoming film Challengers, but we’ll see).

Spider-Man: Across the Spider-Verse: This film already looks to be the best animated film of the year, with some going so far as to call it the best animated film of all time and even calling for it to win this year’s Best Picture awards. The follow-up to Sony’s first Spider-Verse film has succeeded in living up to the hype, and I’m excited to see where it ends up.

Weekend Watch - May 2023 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, we’ve come to the end of another month and will be recapping the best films from the month of May – the ones that have some shot of making this blog’s list of Greatest Films of All Time, categorized by likelihood (Long Shots, Possible Things, and Sure Things). Every May since 2018 has felt like a regression for the month, with weaker and weaker blockbusters and not much else. Seriously, this May had a whole week where the “biggest” film dropping was Book Club: The Next Chapter, and we all remember how that was. Yes, May 2023 had one legitimately great blockbuster hit and some indie and documentary sleeper hits, but overall, the month feels like a letdown overall, critically speaking. Let’s get into it.

Long Shots:

Victim/Suspect: Netflix’s documentary about sexual assault victims who are accused of filing false reports and prosecuted for it has hit at the right time in terms of poignancy and relevance. Unfortunately, the documentary seems to be a bit underwhelming in its technique, leaving something to be desired in tackling such an important subject. Its relevance keeps it noteworthy, but I think we can ask for better.

Showing Up: With an ever-widening release window from distributor A24, this Michelle Williams and Hong Chau-led film about a sculptor setting up a new exhibition from director Kelly Reichardt made some waves this past month. The 2022 Cannes hit has garnered praise for Williams’s performance and its simple pacing, but it’s been so under-the radar that its 47% Audience Score on Rotten Tomatoes is going to be difficult to overcome.

Monica: Another 2022 festival darling that finally got its wide release this month, Monica tackles the delicate issues of aging and dying parents. Trace Lysette, Patricia Clarkson, and Emily Browning all bring the right type of star-power to the film, and in a year with a limited number of female-led films compared to years past, they have the potential to break in to some awards races. For now, this film remains on the outside looking in with just vaguely positive reviews.

Wild Life: National Geographic documentaries tend to be hit or miss when it comes to widespread acclaim, but their recent partnership with Disney has merited a little bit more recognition for the company. This particular doc, about conservationists Kris and Doug Tompkins, has struck a chord with some reviewers, though not on the level of last year’s hit Fire of Love. Keep an eye on it, but don’t put it on any must-watch lists just yet.

The Starling Girl: The Sundance and SXSW hit about religious trauma and coming of age got its wide release this month, to mostly positive critical reception and mixed reviews from audiences (probably due to its religious subject matter and the endless backlash from a certain portion of the American public whenever anything releases that vaguely goes against their beliefs). Still, with such a niche topic, it’s hard to see it breaking through beyond this underground success.

Sanctuary: The Margaret Qualley dominatrix movie that has everyone (filmstagram and film Twitter) talking seems to be more of a cult classic than a true all-time great. Still, with the right press tour and a continuing control of the conversation (unlikely, given all the more memeworthy stuff coming in the next couple of months) could result in a climb to the upper echelon of films for this one.

The Little Mermaid: With the money that it’s made and the not overwhelmingly negative reviews, it’s safe to say that this live action remake from Disney will go down as one of their more successful endeavors in that field. I’d be surprised to see much else from it when awards roll around, and without that it has no real shot of achieving greatness, but you never know for sure (Cruella really did do some crazy things a few years back).

Possible Things:

BlackBerry: I don’t know why we’re getting so many movies about the invention of things this year (Flamin’ Hot comes out in June), but we are, and they seem to be doing well with audiences and critics. The Jay Baruchel and Glenn Howerton-starring film explores the creation of “the world’s first smartphone” and its inevitable demise and seems to have hit the right blend of history, drama, and comedy for some more love down the road.

Reality: Sydney Sweeney might really be her. The film about the interrogation of whistleblower Reality Winner released last Monday on Max to serious critical acclaim. Sweeney’s performance seems to be the most noteworthy piece of the film, so she’s really the one to look out for here.

Guardians of the Galaxy Vol. 3: The emotional conclusion to the Guardians trilogy has been the most successful MCU film in a while, and its place as one of the highest-grossing and most beloved by audiences put it in a good place to get the hair/makeup, costume design, and visual effects nominations it needs to get the points it needs for Greatness.

You Hurt My Feelings: Julia Louis-Dreyfus’s latest team-up with director Nicole Holofcener has been hitting the right notes with critics and fans. The dramedy about an author who hears her husband giving a less-than-encouraging review of her latest book hits the right notes, and Louis-Dreyfus is again in her element working with Holofcener.

Sure Things:

Still: A Michael J. Fox Movie: The Apple TV+ documentary about the life and career of Michael J. Fox is the can’t-miss film from the month of May, achieving critical and popular acclaim from just about everyone who has watched it so far. Fox’s optimism in the face of everything and the encouragement his story brings to the world and those around him makes it a truly classic documentary.

Weekend Watch - APril 2023 Recap

                Welcome back to the Weekend Watch where each week, we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, we have come to the end of another month of film releases and will be looking back at the films with a potential for greatness that released in April, categorizing them as either long shots, possible things, or sure things. April 2023 has been a fascinating month for film, featuring a little bit of everything – animated family blockbusters, action thrillers, horror hits, romantic comedies, indie darlings – all of which have some representations here. April has nearly doubled the number of films to keep an eye on for the year, even if none of them are solidly sure things yet. Let’s get into it.

Long Shots:

Chevalier: The biopic of French composer Joseph Bologne, Chevalier de Saint-Georges, has opened to some fairly mixed reviews, with lots of love for the performances of Kelvin Harrison Jr., Lucy Boynton, and Samara Weaving, but not much to say for the story execution. Don’t be surprised if this film gets recognition for its production design later this year, but I would be surprised to see much more love from the awards shows, which it needs to be able to make its way onto the List.

The Super Mario Bros. Movie: The film that “broke critics” continues to press on toward being the first billion-dollar film of 2023, potentially the highest-grossing film of the year despite its mediocre critical reception. It helps that audiences really love this film, as well, appreciating the adaptation of the simple video games and nostalgia that the film incorporates. It’s not unthinkable that it’ll make noise come awards season for animated feature as well (and maybe for Jack Black’s original song “Peaches” too).

Beau Is Afraid: I don’t know what else is left to say about Ari Aster’s psychological horror comedy thriller that hasn’t already been said. It’s well-made but incredibly divisive among audiences and critics, meaning that to make it onto the List it’ll need some love for Phoenix or LuPone or Aster or (best) all three come awards season.

Evil Dead Rise: The return to Sam Raimi’s iconic Evil Dead series by writer/director Lee Cronin has pleased audiences and critics to a high degree – earning some truly rave reviews for the horror soft reboot. Now, its scores won’t be quite enough to get it there on their own, and the genre’s difficulty in earning respect from awards shows keeps it at a long shot, but this would be a refreshing return to greatness for horror if they decide to opt for this one.

Mighty Morphin Power Rangers: Once and Always: Look, this film technically fits the requirements for a feature film as laid down by the Academy, and that’s why I’m mentioning it. The nostalgia-infused return of the classic Power Ranger team hits the notes that fans want and has done enough for critics to keeps its Metacritic score green and its Tomatometer in the 80s range. I don’t expect anything else from this, but it’s fun that it has gotten the love that it has.

Guy Ritchie’s The Covenant: Guy Ritchie has been really hit and miss with his past few offerings, struggling to reach anything near the cult success of Lock Stock and Snatch or the economic success of Sherlock Holmes. This Afghanistan War film with Jake Gyllenhaal seems to be doing some of that for him, though, with decent critic returns and overwhelmingly positive audience reviews. Gyllenhaal’s star power might even be enough to bring the film to true greatness come the end of the year.

Somewhere in Queens: Ray Romano’s directorial debut in this indie dramedy sounds like a true feel-good R-rated film, in the vein of Jon Favreau’s Chef and the like, capturing Romano’s heart for his script through his direction and performance as well. Critics have been fairly positive in their reception, as have audiences, making the rookie director’s debut a solid first outing with some outside chances at writing awards.

Sisu: The history-bending Finnish answer to John Wick looks to be capitalizing well on the world’s desire for visceral action films where the protagonist can handle just about any kind of injury imaginable. Critics and audiences so far have been pleased with this new take on the genre. John Wick: Chapter 4 seems to be the film from this genre most likely to break onto an awards scene, but the foreign nature of Sisu keeps it as an outside contender.

Possible Things:

Air: Ben Affleck’s first film directing his friend Matt Damon has already started generating awards-buzz. The feel-good Sonny Vaccaro biopic about Nike’s courtship of Michael Jordan seems to have the right combination of solid script work, good acting, and a unique angle on a somewhat familiar story to put it poised to make some awards noise if they play their cards right. I’d personally love to see this film keep its momentum going throughout the year and put itself into a spot among the greats.

How to Blow Up a Pipeline: The TIFF darling finally got a wider release through NEON this month, and it has continued to receive love from the audiences who have seen it. The film’s topical content about climate activism acting against “big oil” also helps its chances to elevate its status from festival darling to truly great film.

Suzume: Makoto Shinkai’s latest release follows in the footsteps of its predecessors Weathering with You and Your Name., achieving success at the box office, with audiences, and with critics in such a way that he might even give Miyazaki’s upcoming How Do You Live? a run for its money in terms of best Japanese animated films this year. With plenty of buzz around the filmmaker’s latest film, I wouldn’t be at all surprised to keep hearing about the multidimensional adventure film well beyond this year.

Polite Society: The sister-focused action comedy that had Sundance buzzing this year has now released in theaters and is continuing its run of pleased critics and audiences. The film’s unique niche in the action-comedy genre and its representation of South Asian culture in a more mainstream film could help its chances to leave its mark of greatness on film history.

Judy Blume Forever: In addition to the horror successes that we saw this month, we have also entered into some sort of Judy Blume fever. The Amazon documentary about the author and her impact on culture and celebrities has released with stellar reviews. Its proximity to the success of Are You There God? It’s Me, Margaret. could spell the potential for continued love for both films as more audiences go to see them.

Are You There God? It’s Me, Margaret.: The adaptation of Judy Blume’s classic novel from The Edge of Seventeen filmmaker Kelly Fremon Craig has opened to mass critical acclaim and solid audience reviews. With the attached names of Rachel McAdams and Kathy Bates boosting the performance of Ant-Man alum Abby Ryder Fortson, it’s easily imaginable that this film will still be making waves come awards season.