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Love Hurts February 6, 2025 By: Button Hunter Friesen Ostensibly, Love Hurts is an original movie. It’s neither a remake nor a reboot, or based on some existing source material. For that fact alone, it deserves some credit, as does Universal Studios for backing and distributing a film that gives the fifty-three-year-old Ke Huy Quan his first chance to be at the top of the call sheet in his forty-year career. But that’s where the positive remarks end for Love Hurts . All of its “original” ideas have been seen time and time again, all of its well-marketed stunts have been executed better by other action properties, and all of its holiday-related sentimentality is so undercooked that it might as well be served to the vultures. Love does hurt, but so does having to sit through a movie that you know won’t do anything more than be a void for your precious time. Love Hurts is still at least inoffensively entertaining, mostly from the effortless charm that Ke Huy Quan had kept from the world for nearly two decades before he returned in Everything Everywhere All at Once . He campaigned nonstop for almost twelve months between the film’s world premiere at the 2022 SXSW Film Festival and the 2023 Academy Awards, culminating in his victory in the category of Best Supporting Actor. Every single one of the hundreds of interviews and speeches he conducted felt genuine, a rare feat in the increasingly politicized and performative game that is awards season. Quan’s enthusiasm for having a leading role is completely infectious, giving his character an immediately rootable spirit. He plays Marvin Gable, a Milwaukee realtor who always sees the bright side and greets every day with a smile. But while there is authenticity behind his demeanor, it's also a coping mechanism to cover his shady past as an assassin for his crime-lord brother. It’s a life he’s left behind, although it doesn’t seem like he tried very hard as he still lives in the same town and took a very public job that has his face plastered on every bus station bench. I guess Clark Kent’s strategy of simply putting on glasses to hide his identity is more scientific than I thought. But even if Marvin’s brother is egregiously oblivious, his former “lover” Rose (Ariana DeBose) isn’t. She’s supposed to be dead, at least in the legal sense after Marvin betrayed his brother’s orders and let her flee instead of being executed. Now she’s back to get revenge on Marvin’s brother’s syndicate and break Marvin out of the dull existence that she thinks is a lie. I use “lover” in quotes because Quan and DeBose have zero romantic chemistry together. The twenty-year age difference doesn’t help, nor the fact that Marvin’s constant annoyance at Rose’s chaotic nature never once hints at a past infatuation. It’s never a good sign when a climactic kiss makes an audience wince instead of swoon. The film marks the directorial debut of Jonathan Eusebio, a veteran fight and stunt coordinator with a long list of credits that include a smattering of MCU titles, the John Wick franchise, and The Matrix Resurrections. The choreography is expectedly up to par, with 87North Productions and John Wick head honcho David Leitch serving as producer. But Eusebio’s camerawork and editing don’t reach the heights of his boss, the punches and kicks never landing with enough force to garner a physical reaction. Even with a runtime of a mere 83 minutes, much of Love Hurts still feels like weightless padding to justify the feature-length treatment. If they stripped this down to its essentials, then maybe it could have been a half-decent short film, or, heaven forbid, Quibi original. I still doubt it, but at least everyone would have saved themselves the few precious dollars we need to save in order to buy eggs. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Top 10 Films of 2018 January 24, 2019 By: Hunter Friesen With political and social upheaval, natural disasters, and the overall feeling of optimism fading away, 2018 was a rocky year that really never seemed to end. Fortunately for moviegoers, the year did offer a way of escape through some great films, ranging from record-setting blockbusters to genre-defying indies. Now that the year is finally over and all the films have been released, I can finally release my list of what I thought were the ten best films of 2018. Honorable Mentions They Shall Not Grow Old The Sisters Brothers Mission: Impossible - Fallout Thoroughbreds Wildlife 10. Private Life Coming out of Sundance, this film written and directed by Tamara Jenkins illustrates the challenges a forty-something couple goes through in order to start a family. Kathryn Hahn and Paul Giamatti star as the couple as they go through treatments, adoption, and every method to have a child. The gripping performances from the leads along with Jenkin’s touching screenplay gave this film a ton of comedy and tragedy that led to one of the most emotional films of the year. 9. Vox Lux Dubbed by many as the anti- A Star Is Born , this film tracks the unsettling career of Celeste as she becomes famous through tragedy and chooses to live in that dark moment. Raffey Cassidy and Natalie Portman play Celeste as a teenager and adult, respectively. They each do an incredible job of creating a conflicted character that holds a mirror up to a society that worships celebrities. With a soundtrack by Sia, this pop tale has some great music to go along with its disturbing subject matter. 8. First Man Damien Chazelle and Ryan Gosling follow up La La Land with another equally great film. Trading in his piano for a rocket ship, Gosling stars as Neil Armstrong and gives us an accurate look into the turbulent life of one of America’s most famous figures. Chazelle's impeccable directing made for some of the most terrifying sequences of the year and allow us to bear witness to the immense danger that many brave men experienced in the name of exploring the unknown. Full Review 7. Roma Probably one of the best directors working today, Alfonso Cuarón’s Roma is his most personal and epic film to date. The sweeping story is centered around a housemaid named Cleo. Through her eyes, we watch the domestic struggle a large family must go through in 1970s Mexico City. Along with directing, writing, and editing, Cuarón also manned the camera and gave us some of the most awe-inspiring cinematography of the century. Available on Netflix, this film is the most accessible must-see of 2018. 6. First Reformed One of the most influential writers of American cinema, Paul Schrader both writes and directs this film about a tortured priest and the inner turmoil he struggles with as he examines the world we currently live in. Boasting some of the best dialogue of the year along with a career-best performance by Ethan Hawke, this dark and metaphorical film challenges its audience to see the effects humans have had on this planet and how we cope with our misdoings. 5. BlacKkKlansman Spike Lee returns to form with a true story of black cop Ron Stallworth infiltrating the KKK in 1970s Colorado Springs. Both John David Washington and Adam Driver deliver great performances, and Lee’s powerful editing near the end of this comedy/drama serves as both a history lesson and a modern commentary on how our society really hasn’t changed as much as we think it has. Full Review 4. Leave No Trace Also out of Sundance, This small film also is a quiet character study of a father and daughter that have chosen to live in the woods rather than within the confines of civilization. Sporting spectacular performances from breakout star Thomasin McKenzie and Ben Foster, the film expertly explores the idea of how we identify with home and how society reacts to the life choices we have made. 3. Avengers: Infinity War The more you think about it, Infinity War had no right to even work, let alone be great. Credit should go to directors Joe and Anthony Russo who were able to take a project that culminated eighteen films rostering twenty-five characters and make it into a high-stakes thriller that never felt overstuffed. It also delivered the MCU’s best villain and was able to leave a permanent mark on pop culture with just one snap. Hopefully, Endgame will be just as good. 2. A Star Is Born More of a 1B than a clear #2 , Bradley Cooper’s directorial debut more than lived up to its lofty expectations. The pairing of him and Lady Gaga in the lead roles was a match made in heaven as their chemistry lit up the screen both on and off the stage. With one of the best songs of the year in “Shallow”, this pitch-perfect retelling of a classic story left no dry eyes after its endearing tribute ending. Full Review 1. The Favourite My favorite film of the year (pun intended), this 18th-century piece can best be described as Barry Lyndon meets Mean Girls . The plot follows a spiteful struggle between two women, Abigail (Emma Stone) and Lady Sarah (Rachel Weisz), as they battle for the affection of the unhinged Queen Anne (Olivia Colman). Combining three excellent actresses, a whip-smart script, and the uniquely awkward style of director Yorgos Lanthimos, this dark comedy was by far the most enjoyable and unforgettable film of 2018. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

25 Most Anticipated Films of 2024 January 15, 2024 By: Hunter Friesen Here we are at the top of the year with nothing to do but look ahead to what awaits us. As always, there’s so much on paper that looks appetizing, with just as many more still unknown. Some of the movies on this list should have come out last, and some of these still might not come out until 2025. The double WGA-SAG strikes have put a dent in the normal flow of business, with the only remedy being time. Everything is a guessing game, a fun one nonetheless. This takes us to the first ground rule for this list, which is that there must be some sort of verifiable evidence that a film is going to be released this year. It either must be in production, post-production, completed, or even mentioned in a reputable article that it’s on its way. We also won’t count films that have already been seen in public, whether that’s at festivals or theatrical releases in other territories. Join me as I delve into the most anticipated movies of 2024, each poised to leave an indelible mark on the cinematic landscape. Get ready to navigate the sea of upcoming releases that promise to redefine the art of storytelling and captivate audiences worldwide. Honorable Mentions C’est Pas Moi (dir. Leos Carax) Juror #2 (dir. Clint Eastwood) In the Hands of Dante (dir. Julian Schnabel) Civil War (dir. Alex Garland) Wolfs (dir. Jon Watts) Emanuelle (dir. Audrey Diwan) 24. Rebel Ridge Writer/director Jeremy Saulnier reteams with Netflix for another tense and violent thriller. Aaron Pierre ( Foe ), Don Johnson, James Badge Dale, and James Cromwell lead the cast in this small-town conspiracy actioner that follows an ex-marine taking on a group of dirty cops. Saulnier’s last film was Hold the Dark in 2018, with his earlier films, Blue Ruin and Green Room , netting him some serious acclaim. Expect this to hit the fall festivals. 23. The Shrouds Even at the age of 80, David Cronenberg hasn’t lost an ounce of energy. He’s recently finished production on his follow-up to 2022’s Crimes of the Future , with the most likely landing spot being this year’s Cannes Film Festival. Diane Kruger will feature in three roles, with Vincent Cassel starring as a wealthy widower who builds a machine to connect with the dead. 22. The Rivals of Amziah King Writer/director Andrew Patterson made one of the best directorial debuts of the past few years with 2020’s The Vast of Night . He’s both writing and directing his follow-up, which is a crime thriller starring Matthew McConaughey as the titular character. The plot is still under wraps, with filming finishing last year in Oklahoma. Kurt Russell and Rob Morgan also star. 21. Voyagers Andrew Garfield and Daisy Edgar-Jones reteam after Under the Banner of Heaven for this biopic directed by Sebastián Lelio ( A Fantastic Woman, Gloria Bell ). Garfield will play Carl Sagan, with Edgar-Jones as Cosmos filmmaker Ann Druyan. Before the pair married, they worked together on The Golden Record, the ultimate message of humanity to extraterrestrial life for the 1977 NASA interstellar probe. 20. Here Robert Zemeckis is in desperate need of a hit, and this reteaming with Forrest Gump stars Tom Hanks and Robin Wright, as well as writer Eric Roth, seems to be his best chance yet. Based on the graphic novel of the same name, this ambitious yet intimate drama “covers the events of a single room and its inhabitants spanning from the past well into the future.” And it wouldn’t be a Zemeckis film without some sort of technical wizardry, with generative A.I. providing face swap and de-aging technology for the actors. 19. Horizon: An American Saga Kevin Costner is going the Matrix and Rebel Moon route by releasing both parts of his Western epic within the same summer. Costner co-writes, produces, directs, and stars, with Sienna Miller, Sam Worthington, Jena Malone, and many more rounding the sizable cast. It’s been 20 years since Costner last directed (2003’s Open Range ), so here’s hoping he’s still got the magic from Dances with Wolves in him. 18. Eden Ron Howard has assembled one of his finest casts yet for this sprawling story of several people leaving society to converge on the Galapagos Islands. Jude Law, Vanessa Kirby, Ana de Armas, Sydney Sweeney, and Felix Kammerer comprise the group, with Tetris writer Noah Pink penning the script. Distribution is still up for grabs, with the best possible scenario being that it doesn’t go to Amazon after they executed an insulting release for his excellent Thirteen Lives just a few years ago. 17. Furiosa: A Mad Max Saga My faith in George Miller is enough to overcome the lackluster trailer for this Mad Max prequel. The 77-year-old Australian director is fearless when it comes to the desert, with Anya Taylor-Joy and Chris Hemsworth venturing out with him. The film will likely repeat the path of the 2015 film, bowing at Cannes before making a scene in theaters. 16. Gladiator 2 Ridley Scott is on a bit of a period-piece hot streak (I guess it depends on who you ask) between The Last Duel , House of Gucci , and Napoleon . He’s previously done the sequels for the Alien and The Silence of the Lambs franchises, and now he’s returning to one of his most famous properties: Gladiator . Paul Mescal plays the nephew of Joaquin Phoenix’s Commodus, with Denzel Washington and Pedro Pascal lending their movie star names to the cast. 15. Untitled Mike Leigh Film After his last two films were period pieces ( Mr. Turner and Peterloo ), famed British director Mike Leigh is “returning to his ongoing exploration of the contemporary world with a tragicomic study of human strengths and weaknesses.” The film was originally set to film in 2020 before being delayed by the pandemic, finally starting and wrapping this past summer. Leigh has been a Cannes staple over the past several decades, so expect him to try and make a grand return to the Croisette. 14. Havoc Writer/director Gareth Evans is the mastermind behind the two The Raid films, both of which have a legitimate claim to be the best action movie of the past decade. Shot in 2021 and supposedly set to come this year, his latest action feature stars Tom Hardy as a “bruised detective who must fight his way through the criminal underworld to rescue a politician's estranged son, unraveling a deep web of corruption and conspiracy that ensnares his entire city.” Evans’ latest film was 2018’s Apostle from Netflix, and he’ll team up with the streamer again for distribution. 13. Mother Mary As one of the first films to secure a production waiver during the 2023 SAG-AFTRA strike, David Lowery’s Mother Mary should be all set to bow this year. Anne Hathaway stars as a musician as we follow her relationship with a fashion designer, played by Michaela Coel. Hunter Schafer also stars in this A24 epic pop melodrama, with an original score and songs by Daniel Hart and Charli XCX. 12. Maria Pablo Larraín concludes his biopic trilogy consisting of Jackie and Spencer by moving further east to Paris, specifically in the 1970s. Angelina Jolie stars as Maria Callas, one of the world’s greatest opera singers, during her final days in The City of Light. Spencer scribe Steven Knight returns to pen the script, and El Conde cinematographer Ed Lachman will stay behind the camera. 11. Mickey 17 Not much explanation is needed for the reason behind the hype for Bong Joon-ho’s follow-up to Parasite . The South Korean writer/director has been patient ever since hoisting the Academy Award for Best Picture, finally returning to Hollywood for an adaptation of Edward Ashton’s sci-fi novel. Robert Pattinson, Mark Ruffalo, Toni Collette, Steven Yeun, and Naomi Ackie are the on-screen talent; with Jung Jae-il (composer), Darius Khondji (cinematographer), and Jinmo Yang (editor) headlining the crew. 10. The Order Assassin’s Creed aside, Australian director Justin Kurzel has crafted one of the most underrated filmographies of the past fifteen years. His striking visuals and bold direction lifted both Macbeth and Nitram into my Top 10 of their respective years, and that grittiness will only continue with his newest film. Nicholas Hoult plays an FBI agent tracking down a group of domestic terrorists robbing banks in the Pacific Northwest who are led by Jude Law. Kurzel has bowed his films at both Cannes and TIFF in the past, so a glitzy premiere at either location seems to be in the cards. 9. Nosferatu Between his first three features, Robert Eggers has proved himself to be a master of gothic horror, so it makes sense for him to tackle one of the most famous gothic characters in cinema history. A great cast comprised of Emma Corrin, Aaron Taylor-Johnson, Nicholas Hoult, Bill Skarsgård, Lily-Rose Depp, and Willem Dafoe has already featured in some kick-ass first-look images. With a planned Christmas Day release, here’s hoping for this to become the feel-bad movie of the holidays. 8. Dune: Part Two While I respected and appreciated the first part more than I actually liked it, there’s never a moment where I’m not excited about a new Denis Villeneuve film. It also doesn’t hurt to have new cast additions in Florence Pugh, Austin Butler, Léa Seydoux, and Christopher Walken. Will this be the conclusion of Paul’s story, or be the second chapter in a trilogy? Either way, there’s so much to look forward to here. 7. Blitz After detours into television ( Small Axe ) and documentaries ( Occupied City ), director Steve McQueen is returning to feature filmmaking with a drama set during The Blitz bombing campaign of London in early WWII. Saoirse Ronan, Harris Dickinson, and Stephen Graham lead the ensemble cast. Cannes boss Thierry Frémaux presumably let it slip last year that the film was going to premiere at the 2024 edition of the festival, along with the fact that Apple will be making it their top awards priority. 6. Conclave I only need to read the logline to know that this film will be right up my alley: “It follows Cardinal Lomeli as he oversees the group of Cardinals responsible for selecting a new Church leader while trying to uncover a secret from the late Pontiff.” Ralph Fiennes, Stanley Tucci, John Lithgow, and Isabella Rosellini pack the cast, with All Quiet on the Western Front director Edward Berger at the helm, and Tinker Tailor Soldier Spy scribe Peter Straughan writing the screenplay. 5. The Brutalist Brady Corbet made one of the most divisive films of 2018 with Vox Lux , which turned out to be one of my favorite films of that year. His next feature has been stuck in development limbo for years, finally breaking last year with a cast led by Adrien Brody as an architect who moves to America after WWII to rebuild his life and career. Felicity Jones plays his wife, with Guy Pearce, Joe Alwyn, and Raffey Cassidy also part of the cast. Based on Corbet’s previous works, there will definitely be more under the surface that won’t be revealed until the projectors start churning. 4. Joker: Folie à Deux In a similar vein to Dune , the original Joker wasn’t one of my most beloved films of 2019. And yet; bringing back Joaquin Phoenix while adding Lady Gaga, and crafting this sequel in the form of a Liza Minnelli musical is too irresistible to ignore. While the majority of comic-book movies are cookie-cutter and forgettable, here’s something that sounds like it’s going to challenge its audience. 3. The Way of the Wind Terrence Malicks’s upcoming film about the life of Jesus Christ makes its fourth consecutive appearance on this list (They shot this movie in 2019!). And to be honest, I’d say it’s more likely than not that it’ll be here again next year. Religion has always played a large role in Malick’s filmography, so the prospect of him going straight to the source will make for an unforgettable spiritual experience. 2. Megalopolis Sure, Francis Ford Coppola hasn’t made a decent movie in over 25 years. But when you’re the director of The Godfather trilogy, The Conversation , and Apocalypse Now , you get a free pass for life. He’s poured over $100 million of his own money into his likely final film, with a script he’s been trying to film for almost four years. Adam Driver, Aubrey Plaza, Dustin Hoffman, Laurence Fishburne, Forest Whitaker, Giancarlo Esposito, and Shia LaBeouf lead the cast. Driver supposedly plays the lead, an architect looking to rebuild New York City after a disaster. For better or for worse, this will be an experiment that any self-proclaimed cinephile has to witness. 1. Kinds of Kindness Yorgos Lanthimos and Emma Stone aren’t letting the success of Poor Things slow down their collaborative process one bit, with the pair having already shot their third feature together this past year. Poor Things cast members Willem Dafoe and Margaret Qualley star alongside Jesse Plemons, Hunter Schafer, Hong Chau, and more. Lanthimos co-wrote the screenplay with his usual partner Efthimis Filippou, their first collaboration since The Killing of a Sacred Deer . Three separate stories will be told, with the cast playing different characters in each one. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Marriage Story December 12, 2019 By: Button Hunter Friesen “Divorce is like death without a body.” With nearly half of all marriages ending in divorce in America, this quote from Noah Baumbach’s new film now rings truer than ever. Debuting on Netflix, Marriage Story centers on the relationship between Charlie and Nicole Barber. Charlie is an emerging New York theatre director and Nicole is a revered actress who's followed him on the stage for the last decade. The good times are over now and the couple is in the process of divorce, with their eight-year-old son, Henry, caught in the middle. The couple first decided to part ways amicably, but over time things got messier with lawyers and a sudden move by Nicole to Los Angeles. Now on opposite coasts, the two sides must bear the immense strain of splitting up while still trying to keep some semblance of their family together. The tenth feature from Baumbach (and second for Netflix), the unfolding of Marriage Story takes several cues from its stage theatre setting. Numerous scenes play out in long, uninterrupted takes as characters move around the space, delivering monologues aimed at the audience just as much as they are at other characters. The blocking of each camera and character movement is superb as it allows scenes to flow with grace and deliver their maximum effect. Accenting Baumbach’s work behind the camera is an orchestral score from legendary musician Randy Newman. The score calls back to Newman’s similar work in Toy Story as the mood swings back and forth from playful to somber. More of a writer first, and director second, Baumbach’s screenplay contains both unparalleled honesty and authenticity. The film opens with Charlie and Nicole saying what they love about each other, only for it to be revealed that it’s all part of an exercise assigned to them by their divorce counselor. This perfect establishing scene and many others work wonders at making us feel for their relationship and connect it to our experiences, both good and bad. Being as this is a semi-autobiographical film for Baumbach about his earlier divorce, you may fear that bias would be present. Luckily, Baumbach isn’t interested in taking sides. He may give Charlie a little more of the benefit of the doubt, but overall he paints a balanced picture where both the features and flaws of each character are on display. And despite the depressing subject matter, the film is still able to be quite funny as comedy gets weaved throughout. This is usual for Baumbach, who uses humor as an addition to the drama rather than a clean break from it. Playing Charlie and Nicole are Adam Driver and Scarlett Johansson, respectively. Each of them is amazing on their own and will deservedly be showered with awards this season. They each have their big individual scenes and one grand one together, but where they each make their money is in the little scenes between the big ones. A small facial movement here or special line delivery there goes a long way in developing who they are and what they stand for. Laura Dern is also great as Nicole’s no-nonsense lawyer, Nora. Dern has made a name for herself as a tough character, and she continues that here with a fierce, commanding performance. Alan Alda and Ray Liotta play Charlie’s two lawyers that have two very different styles that complement each of their acting strengths. Alda is the gentler and more presentable one when compared to Liotta’s more hostile and brash demeanor. Never before has a film been so pleasantly depressing and genuinely funny at the same time. You’ll laugh, you’ll cry, or you’ll do both at the same time. By the time the credits start rolling, you’ll have been on a journey with not just these characters, but also with yourself. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

The Deliverance August 20, 2024 By: Button Hunter Friesen The Deliverance is a powerhouse showcase for Lee Daniels as a producer, as it takes a lot of skill to assemble such a stacked cast and crew for a project this uninspired. The real-life story of single mother LaToya Ammons and her three children being haunted by evil spirits has been a long-gestating project for Daniels, being announced over ten years ago as his follow-up to The Butler . Time marched on, with Daniels pivoting to his biopic on Billie Holiday ( The United States vs. Billie Holiday ), an otherwise rote story salvaged by the discovery of the acting talents of its star Andra Day, who received a Golden Globe award and Academy Award nomination for her work. The pair are reunited for this project, although I’m skeptical of any possibility of awards to come to the rescue this time. “Inspired by a true story” immediately blankets what we are about to witness, a statement that has become a clichéd requirement (likely for legal reasons) for every member of the possession subgenre ( Poltergeist , The Conjuring franchise, The Amityville Horror ). Ebony Jackson (Day) and her three kids have just moved to their third home in just under a year, this time settling in Pittsburgh with Ebpny’s mother Alberta (Glenn Close, looking like a cousin to her character from Hilbilly Elegy ). There are cracks within every dynamic of the family, partially due to Ebony’s drinking, which has Child Protective Services monitor them at various times, and the fact that the children’s father seemingly abandoned them by going to Iraq. But for all the internal demons that plague this family, there are also external ones lurking within the walls. The youngest child, Andre, has an imaginary friend who increasingly tells him to commit heinous acts, and strange noises permeate every nook and cranny. Anyone who has seen an exorcist movie knows what’s been happening and where it’s leading. It’s why the second-act appearance of Aunjanue Ellis-Taylor as an apostle sent to serve the family in their time of need never feels like the revelation Daniels and screenwriters David Coggeshal and Elijah Bynum want you to believe it is. Daniels is still a mighty fine director for actors, previously guiding Mo'Nique - also reuniting with the director here as the CPS officer Cynthia - to an Academy Award for Best Supporting Actress in Precious . Between Day and Mo'Nique’s more grounded work, one would have hoped that this project would have ditched the whole demonic angle and focused squarely on the social drama. Then again, we wouldn’t have gotten scenes of a bald Glenn Close wielding a baseball bat, or of the youngest child flinging his feces at his teacher as an act of possession. These unintentionally hilarious moments keep the horror elements tolerable, although that definitely wasn’t the plan. The Scary Movie franchise might have just as much in common with this story as the others mentioned earlier. There’s also humor to be found in how the film tries its damnedest to avoid the term “exorcist,” instead referring to all of it as a “deliverance.” What goes on during a deliverance? A religious figure comes to the home of a possessed person, warning the other family members that the demon has a strong hold on the victim and that they must not believe anything it says. The religious figure then sprays holy water on the demon and recites verses from the bible. Hmmmm… sounds like an exorcism to me. Between last year’s The Exorcist: Believer and two unrelated Russell Crowe movies ( The Pope’s Exorcist and The Exorcism ), Daniels was entering the exorcism genre at the perfect moment to shake things up and be its temporary savior. What’s the point of a horror movie (or any movie, for that matter) if you’re going to play it safe when it comes time to deliver the goods? I’m not mad, I’m just really, really, disappointed. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Asteroid City June 12, 2023 By: Button Hunter Friesen Asteroid City had its World Premiere at the 2023 Cannes Film Festival. Focus Features will release it in theaters on June 13. By far the strangest movie in his eclectic filmography, Asteroid City is Wes Anderson’s return to America in over a decade, having spent time in fictional Eastern Europe for The Grand Budapest Hotel , Japan for Isle of Dogs , and well… France for The French Dispatch . The fanciful writer/director takes us into the scenic deserts of the 1950s American southwest, specifically the titular sleepy tourist town that serves as the meeting point for all of the eccentric characters. The half-built town, complete with the stereotypical bar-stool diner and motel, is the destination for those attending the annual Junior Stargazer / Space Cadet convention. It’s a place where the best, brightest, and most awkward kids in America show off their new inventions, including a jetpack, raygun, and overhead projector for the moon, which, in one of many hilarious throwaway lines, is said to have huge potential in the future of interstellar advertising. Arriving in a putter under the beaming sun is Augie Steenbeck (Jason Schwartzman), a war photographer with a genius son and young triplet girls. This event is only a brief stop on his way to see his father-in-law (Tom Hanks, proving as always to be a wonderful addition to any cast), who’s the only other person that knows of Augie’s wife’s recent demise. Also in attendance is a group of other precocious children and their host of parents (Scarlett Johannson, Liev Schreiber, Steve Park, Hope Davis, etc.) Eventually, this event designed to look up at the stars comes in contact with something from there, which reshapes how our characters interact with each other and themselves. As I said in the opening sentence, this is Anderson’s weirdest movie to date, always keeping your eyebrow in a raised position. To avoid spoiling events beyond what is shown in the trailer, I’ll only mention that Anderson’s screenplay (written in conjunction with his usual partner Roman Coppola) emulates a certain Christopher Nolan movie that has to do with dreams. How else are you going to be able to fit in all the names within this all-star cast, including regular players Edward Norton, Adrien Brody, Jeffrey Wright, Willem Dafoe, and Jeff Goldblum? The term “this is the most Wes Anderson movie Wes Anderon has ever made” has been used to describe nearly every new entry in his filmography. That cycle doesn’t stop with Asteroid City , as the traits you’ve come to love (or hate) are all here: symmetrical framing, varying aspect ratios, color and black & white cinematography, and steady camera movements. Anderson’s usual designer Adam Stockhausen once again creates a doll-house world filled with too many sights and sounds to be absorbed in one viewing. Sure, there may now be umpteen TikTok and A.I. generated videos replicating Anderon’s distinct style, but all of them contain just the window dressing of a Wes Anderson movie, and not the emotion. Just as his box of tricks has constantly evolved, so has Anderson’s ability to find the heart in his richly defined characters. While on their methodically placed tracks, each character veers off in different directions, exploring the fear of death, finding connections in a barren land, cutting through the messiness of life, and paying homage to those kitschy B-movies you grew up watching late at night on the public access channel. At this point in his filmography, you’ve probably made up your mind about Wes Anderson. I’m somewhat of an apologist, with those instantly recognizable production qualities and whimsical tones being music to my ears (and eyes). Asteroid City is another healthy dose of what I’m come to love, with the bonus of seeing an auteur continue to find new ways to channel what they do best. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Passages August 4, 2023 By: Button Hunter Friesen Passages opens with Tomas (Franz Rogowski), a German filmmaker living in Paris, working on the set of his next film. It’s immediately apparent that he’s a control freak… and an asshole. He’s critical of everything that’s going on, from the position of his actor’s arms as he walks down the stairs to the amount of wine in an extra’s glass. He probably thinks of himself as Stanley Kubrick, except there isn’t enough brilliance to make up for the callousness. That attitude on the set doesn’t take a break once he goes home to his husband Martin (Ben Whishaw). The couple go to the film’s wrap party at a dance club. Being the more introverted one, Martin goes home early, leaving Tomas to his own devices. He crosses paths with Agathe (Adèle Exarchopoulos) on the dance floor, and the two eventually go home together to have sex. Rebuking the natural secrecy of an affair in an effort to quench his desire for control, Tomas tells Martin all about it the next morning. Tomas wants the best of both worlds: to be in a steady marriage with Martin and to have an exciting new fling with a woman. These three characters are now intertwined, yet it’s obvious only one of them is pulling the strings. Similar to his 2014 film Love is Strange , writer/director Ira Sachs (co-writing with his regular partner Mauricio Zacharias) delves into the thorniness of longstanding relationships, and how there isn’t a clear-cut way to get through it. Tomas thinks he can get what he wants, yet it seems he actually doesn’t know what he wants in the first place. He says “I love you” and engages in sex when it works for him, and never seems to have the ability or desire to understand the other party in that transaction. One of the main problems of the film is that it spends too much time spinning its wheels around this toxic trio. It eventually gets tiring to watch Tomas act selfishly and be begrudgingly forgiven by Martin or Agathe. Sure, that cycle may be a portal to connect with the victims, but it’s also not something wholly original. It’s not a coincidence that the best scene of the film is near the end where Martin and Agathe finally break the circle and sit down to talk directly. Whishaw and Exarchopoulos are both calm and collected throughout much of the film. They each are trying to convince themselves that this new reality can work, but it’s clear no one is coming out better than they used to be. And even in his cruelty, Rogowski is captivating, showing just enough promise to illustrate why he would be accepted into someone else’s life. Filled with as much as explicit sex (although striking it with an NC-17 rating was a displeasing illustration of how the MPAA views homosexuality) as it has insight into complicated relationships, Passages is another worthwhile effort from the dependable Ira Sachs. It’s a ménage à trois for the modern age, mixing confrontation and carnality to perceptive results. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Awards Update: Fall Festival Winners & Losers September 28, 2024 By: Hunter Friesen Welcome to an ongoing series where I cover the 2024/2025 awards season. On a regular basis, I will update my Oscar predictions, taking into account the new information that has been received since the last update. Full predictions in every category can be found on the Home and Awards page. “Frenzied” and “chaotic” would be the words most apt to describe the two weeks where the Venice Film Festival, Telluride Film Festival, and Toronto International Film Festival crash into each other. Reactions pour in, standing ovations are timed, and prizes are bestowed upon a select few. It’s one of the most fun stretches of the year as a cinephile and an awards junkie, a time when you can eat your fill of quality cinema and confirm/deny your early Oscar predictions. Because there’s so much to talk about and so little margin space to fit it all in, let’s split everyone off into two groups: Winners and Losers. Of course, all of this is relative, and anything could happen in the six months we have left in the season. Starting with the winners, more specifically the actual winners, we’ve got Pedro Almodóvar’s The Room Next Door nabbing the Golden Lion in Venice, a victory I learned about as I exited from the press screening of the film at TIFF underwhelmed. But the Isballe Huppert-led jury saw something different, which I don’t think many other people will agree with so enthusiastically. This is not a top-tier work by the famed Spanish filmmaker, with the lead performances by Tilda Swinton and Julianne Moore being the only viable awards chances. They’re both being submitted as lead actresses by distributor Sony Picture Classics, which is the morally correct move. But that category has found itself quite stacked in the past few weeks, and SPC already has Saoirse Ronan in The Outrun to campaign. We can scratch The Life of Chuck , this year’s TIFF People’s Choice winner, off the prediction charts. It’s just been picked up by Neon with a planned Summer 2025 release. That also means we’ll have to wait and see if the film can repeat what the last twelve winners of that award did and be nominated for Best Picture. Could we get two People’s Choice winners nominated at the 2026 ceremony? The two runners-up at TIFF, Emilia Pérez and Anora , both solidified themselves as top-tier contenders. They both received swaths of attention at Telluride and TIFF, showing that they can perform just as well at public festivals as they did at a high-brow competition like Cannes. I expect them to dominate the above-the-line categories, with Emilia Pérez nabbing a handful of craft nominations for its outstanding musical numbers. However, there was no bigger winner these past few weeks than Brady Corbet’s The Brutalist , which nabbed its director the Silver Lion for Best Director. It was by far the best thing I saw at TIFF, a sentiment that many critics agreed with. It’s amazing that something made so cheaply (under $10 million) feels so similar to the epic Hollywood productions of the past. How A24 will be able to maintain that desire and enthusiasm until the release date announced on December 20th will be a question, but they certainly have something special on their hands that people are hungry for. I mentioned in my last update that I would put it in several categories if the reviews were kind, and now that promise comes true. Other small winners would be Babygirl and Hard Truths , both of which gained great reviews for their lead actresses Nicole Kidman and Marianne Jean-Baptiste, respectively. Conclave and The Piano Lesson would also fall into this category, although some of the early predictions for Stanley Tucci and Samuel L. Jackson turned out to be wishful thinking. Regardless, both of those adaptations received strong enough reviews and public sentiment that they should find themselves in more than one category. There’s also September 5 , which was picked up by Paramount and received strong reviews despite its under-the-radar status. Sitting in the loser territory (only slightly) is Luca Guadagnino’s Queer . Reviews were fine, but the passion is definitely lacking, which is something this very challenging (no pun intended) movie needs. It’ll likely only have an awards presence through Daniel Craig’s performance. Also a small loser is Pablo Larraín’s Maria . Angelina Jolie will almost certainly be nominated, but I’m thinking Larraín and Netflix are striving for a bit more considering this is supposed to be his final entry in his biopic trilogy. And then there’s Nightbitch , a movie that is much more subdued and normal than its title and trailer led us to believe. Of course, we can’t end this article without mentioning the dud that was Joker: Folie à Deux . This sequel could have never repeated the overwhelming success of the first film, but the mediocre reviews, bad press, and low box office projections suggest that it will be a mighty challenge to muster any awards attention. It’ll probably still get some craft nominations, just nothing substantial. Now it’s on to the regional festivals (NYFF, AFI, Middleburg, Chicago, etc.), where most of these winners (and some of the losers) parade themselves around to gain national support. It’s a lot like the election primaries, so we’ll need to have our ears to the ground and listen for which ones are gaining traction when even more eyes are placed upon them. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen

Shirley March 16, 2024 By: Button Hunter Friesen There are 435 members of The United States of Representatives. In 1968, only 11 were women, 5 were black, and none were black women. It’s a sobering fact that opens writer/director John Ridley’s biopic of Shirley Chisholm, who was the first person to break the barrier of entry for black women in Congress. The very next scene sees her standing in a sea of middle-aged white men as they’re gathered for the freshman congresspeople class photo. Except it’s glaringly obvious that the capital background is a greenscreen (a very shoddy one), and everything is overlit and washed out. And that scene gets repeated throughout the next two hours: good intentions canceled out by poor filmmaking and an overly basic approach to one of the most interesting political figures of the twentieth century. To give credit where it is due, Ridley doesn’t give us the clichéd knee-deep full breadth of Shirley’s life, instead focusing on her 1972 campaign for the presidency, the first undertaken by a black candidate as part of a major party. Throughout the eighteen months leading up to the Democratic Party primary, Shirley campaigned as part of the working class, free of the political strings and corporate greed that perpetually hamper the democratic process. Regina King is electric throughout her several campaign stops, supplying the necessary fire to convey Shirley’s trailblazing nature. She’s a person who hates the word “can’t” and never backs down from a fight. From her personality, we get a glimpse of who she was as a politician and what she may have accomplished. Ridley doesn’t bother with those details, although it would have been nice to learn a little more since her presidential campaign hardly tells the whole story. Vague biopics have gotten by before, mostly because they had the personality to fill in the gaps. The recent duology of Jackie and Spencer by Pablo Larraín, I’m Not There , and The End of the Tour would fit under this category. Ridley semi-accomplished this with his 2013 Jimi Hendrix biopic Jimi: All Is by My Side , offering an under-the-hood inspection of Hendrix before his superstardom. Shirley ditches all that to be as palatable as possible, complete with politicians made so cartoonishly prejudiced that they’re lined up like bowling pins for King to knock down in an Oscar clip. Sure, Chisholm definitely faced stiff opposition from unsavory figures (a.k.a. white men), but seeing it here so sanitized takes away from the reality of the situation. King is at least surrounded by a decent supporting cast, most notably Lance Reddick in one of his final roles as Shirley's longtime advisor Mac Holder. Michael Cherrie surprises Shirley’s longtime husband Conrad. But then there’s also Terrence Howard and Lucas Hedges in wasted roles that offer them little to do. “Better get it used and cheap” is what Shirley tells Conrad when he says he needs a new camera. It’s a nice and tidy bit of writing from Ridley, yet it seems he took it to heart and used it as his mantra for the entire production. With Ridley’s Oscar-winning skills as a writer and Netflix’s deep pockets, it’s deeply disappointing that neither of them could muster up what Shirley Chisholm deserved. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

The Super Mario Bros. Movie April 4, 2023 By: Button Hunter Friesen While every genre has its share of highlights and lowlights, video game movies have always seemed to have a lot more low-quality content compared to everyone else. It doesn’t take a genius to see that year after year of films from the Mortal Kombat, Resident Evil, Hitman , and Street Fighter series really poisoned everyone’s appetite for stories that spawned a controller. Japanese gaming company Nintendo (probably the only gaming company every mother knows) at least had the smarts to quit when they were behind, shutting almost all film adaptations of their properties after the disaster that was 1993’s Super Mario Bros . Now exactly thirty years later, and with the help of Universal and Illumination, the studios behind the Despicable Me and Secret Life of Pets films, Nintendo is bringing Mario back to the silver screen in animated form for The Super Mario Bros. Movie . The Mushroom Kingdom is under attack by the evil Bowser, with Princess Peach and Mario being the only heroes capable of stopping him. Both Peach and Mario have dedicated their lives to helping others, whether it’s the entire population of Toads within the Mushroom Kingdom, or Mario’s more timid brother Luigi, who’s been captured by Bower. Their journey takes them to other worlds, which will delight longtime players of the Mario franchise. Whether it’s in the form of karts, platforms, or brawling arenas, there are plenty of callbacks, almost as if you’re wielding a controller and guiding Mario on his heroic journey. And while that exact statement has ruined so many video game movies in the past (who wants to watch a game rather than play it?), the filmmaking on display here turns that liability into an asset. The camera moves with Mario, with lots of tracking shots as our characters traverse through the levels in both 2D and 3D sequences, with the sound effects all ripped straight from the games. Brian Tyler’s fun score features many of the iconic motifs, with the added bonus of quite a few needle drops, none of which are all that imaginative or above ultra-literal, but they get the job more than done in the moment. The voice cast is above the punching bag they were made out to be when they were initially announced. Chris Pratt is still as likable as ever, and at least doesn’t commit too hard to the Italian accent for it to be embarrassing. Anya Taylor-Joy and Charlie Day are commendable as Peach and Luigi, respectively. Jack Black is probably the most inspired choice with Bowser, being both menacing as a villain and entertaining as a character with some laughs (and songs) along the way. It may not exactly be as super as its title states, but The Super Mario Bros. Movie is a vastly superior version compared to the last time the plumber brothers were in theaters. It doesn’t matter if you lean towards either the classic or the modern games, there’s something for all fans, with the added bonus of future occasions to level up. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Materialists June 11, 2025 By: Button Hunter Friesen Materialists opens during the Paleolithic period of the Stone Age. A caveman brings tools and flowers to the woman he loves, hoping it’ll be enough to earn her affection. We may think that love gets purer the further you go back in time, but there has always been a business angle. Dowries, negotiations, and aligning kingdoms are the old ways of forming a union. Now there’s an algorithm for that, loaded with statistics like height, income, and political views. And for those that are more serious (or desperate) and have the funds to do so, there are services like Adore, which will assign a personal matchmaker to search for you. Lucy (Dakota Johnson) is one of those matchmakers, and a damn good one to be specific. She’s responsible for nine marriages, salvaging the most recent one by spinning the bride’s cold feet confession that part of the reason she’s marrying the groom is because it makes her sister jealous into a lesson about finding value and feeling valued. The key to her success is to treat dating as a business venture, using the same calculating mindset you’d find on Wall Street. “Market forces,” “competitive advantage,” and “strategic skills” are her phrases of choice. The results speak for themselves, and there’s no denying that this is the path that the dating landscape is rapidly progressing along. It’s natural and odd that after writer/director Celine Song tenderly explored the concept of destiny and love in Past Lives , her follow-up takes a cold, hard look at the facts. There isn’t going to be a Prince Charming waiting in the wings, or a Cinderella that perfectly fits the glass slipper. Dating is a trial-and-error endeavor, with adaptability and compromise being the most important qualities. Song makes sure there are a lot of laughs to be had with all this nonsense. Lucy’s customers are demanding, neurotic, and impatient. A potential match must be this tall, be in this age range, like these certain songs/movies, and make at least this amount of money. Living in the Midwest all my life certainly didn’t prepare me for the astronomical figures that people expect to receive on the East Coast. But all of this is funny because they’re saying the quiet parts out loud, and deep down, we all know we do it too. The eternal bachelorette who has a knack for helping others find love is a trope as old as the romantic dramedy itself. Song may know how to reexamine it in the ways I just described, but she also knows how to harness its extremely potent traditional qualities. She also knows how to best steer the performers on all sides of this love triangle. Yes, Lucy gets more than she bargains for when she simultaneously finds affection in two separate places. Johnson is perpetually on a pendulum swinging back and forth. And after the swing (and miss) that was Madame Web , she was due for a major slide to the lighter side. We meet Pedro Pascal’s Harry as he charms his way through his brother’s wedding reception. He’s also obscenely rich, tall, and handsome. He’s what Lucy refers to as a “unicorn” in her line work - the man of every woman’s dreams. John (Chris Evans) has some of those qualities, but definitely not the financial ones. He’s your usual struggling actor with a part-time catering job who lives in a shitty apartment. But he’s real, and there’s a reason Lucy and he were together for five years before they broke up. We’ve seen characters with these archetypes before, but here they’re steeped in enough authenticity so you can’t just immediately pick a side. Materialists can also be too honest for its own good. There’s a darker element that gets introduced later in the story that drives part of Lucy’s decision-making about her personal life. Song handles it to the best of her ability, but its inclusion is habitually distracting from the other excellent qualities. Honesty is still the best policy, and Song continues to show that she’s a master of telling us how it is in the ways we want to hear it. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Ranking the Films of Adam McKay April 17, 2024 By: Tyler Banark Adam McKay has had quite the rollercoaster of a career as a writer, producer, and director. He started as a writer for Saturday Night Live , where, after one year, he became the head writer from 1996 to 2001. Following his time on the variety series, he teamed up with Will Ferrell to create the production company Gary Sanchez Productions, spearheading several signature comedies. However, McKay took a heel turn in his career in 2015 when he made the acclaimed dramedy The Big Short , which marked his ascension as the face of satirical comedy, utilizing his sense of humor to convey messages that resonate in our society. In honor of his 56th birthday, here’s a look back at the filmmaker’s work and how his evolution has made an impression on Hollywood. 8. Vice (2018) A biopic following one of the most powerful vice presidents in American history, Vice sees McKay continuing down the path of dark satire he established with his predecessor, The Big Short . Christian Bale provides an enigmatic performance as Dick Cheney and continues to prove his chameleonic acting chops. The monologue he gives at the end is electrifying, forcing viewers to question his true intentions for the sake of ambiguity in the story. Amy Adams and Sam Rockwell also give standout performances as Lynn Cheney and President George W. Bush, respectively. However, Vice does falter in that the plot’s execution is a bit overly flashy. The movie pulled an unnecessary fake out ending only 48 minutes in. It also looks to focus on a lot of different characters that come and go in Cheney’s life, but it’s not done easily. The movie glosses over key events in Cheney’s life, such as his 2006 hunting incident and the use of waterboarding in Guantanamo Bay. 7. Anchorman 2: The Legend Continues (2017) The sequel to McKay and Ferrell’s 2003 hit comedy, The Legend Continues was a mixed bag. It saw the long-awaited return of Ferrell’s mustached news anchor and crew, but it was filled with head-scratching lunacy rather than humor genuine enough to entertain audiences. The Legend Continues sees Ron Burgundy going head-to-head with several other news stations in the 1980s as television began evolving to bring niche news networks that run 24/7. Ron has a subplot where he’s separating from his wife, Veronica, but it isn’t fleshed out as well as it should. We do see their marriage face strife as their young son Walter falls victim to Ron’s absence. The plot’s main focus is on Ron and his pals, Brick, Champ, and Brian, having to change with the times through various moments of hilarity. 6. Talladega Nights: The Ballad of Ricky Bobby (2006) McKay’s second team-up with Ferrell couldn’t catch the lightning in a bottle they harnessed with Anchorman . Ferrell turns in another strong comedic performance as Ricky in his first collaboration with John C. Reilly, who plays his racing partner Cal Naughton Jr. Sacha Baron Cohen plays European driver Jean Girard, donning a French accent that’s so over-the-top. Michael Clarke Duncan and Amy Adams have small roles here as Bobby’s crew chief and assistant-turned-love-interest, respectively, and make the most of their screen time. 5. The Other Guys (2010) The first of a couple of successful collaborations between Will Ferrell and Mark Wahlberg, The Other Guys is a clever action comedy that features some great humor. The duo steals the show as two backup detectives, Allen Gamble, and Terry Hoitz, respectively, who have to step into a case after two star detectives die (fantastically played by Samuel L. Jackson and Dwayne Johnson). Just the “aim for the bushes” scene is enough to make anyone want a full-length feature with them. There’s also an unforgettable running gag where Michael Keaton’s character, the captain, unknowingly quotes TLC songs. The success of Wahlberg here in one of his first studio comedic performances resulted in him branching out further as an actor, retaining Ferrell as a partner in the two Daddy’s Home films, which McKay produced. 4. The Big Short (2015) McKay’s first jab at a non-raunchy comedy, The Big Short cemented his filmmaking style with precisely paced editing and dark humor. Considering the film’s focus on the 2008 Financial Crisis, it was no surprise that it was a bit convoluted for audiences. But the stellar ensemble and several cameos from personalities such as Margot Robbie, Selena Gomez, and the late Anthony Bourdain made it all digestible. McKay and co-writer Charles Randolph had their train running while the tracks were being built, with the dialogue coming briskly and in your face. That strategy worked out, with the film netting five Oscar nominations, including the win for Best Adapted Screenplay. McKay’s status as a serious filmmaker was cemented… for better and for worse. 3. Anchorman: The Legend of Ron Burgundy (2004) One of Will Ferrell’s most iconic characters ever put to screen, Ron Burgundy, is easily the most recognizable and best character from the aughts. As for the movie itself, Anchorman is…kind of a big deal. Ferrell, of course, brings his a-game as Burgundy, as does Paul Rudd, David Koechner, and Steve Carell as his respective colleagues. Christina Applegate performs just as outstandingly as Ron’s love interest, Veronica. The suggestive humor works brilliantly, thanks to the leading cast and Ferrell and McKay’s script. There are also several iconic moments, such as the news channel fight, Afternoon Delight, Ron’s banter with his dog Baxter, and Brian, Champ, and Brick’s introductions. These moments are complimented with timeless lines, even if the jokes can get too repetitive or dumb. 2. Don't Look Up (2021) McKay’s most recent film was the most distinct distillation of his two styles as it tracked two astronomers trying to spread the word that a comet is heading toward Earth. It was a collision of the serious tone and pacing of The Big Short and Vice, and the whacky humor of his earlier comedies. It may sometimes feel like an extended SNL sketch, but the extremely fun cast makes it all work. There was also more than just simple humor, with Nicholas Britell’s jazzy score receiving an Oscar nomination, and the visual effects certainly deserved that level of recognition. 1. Step Brothers (2008) Will Ferrell’s most underrated movie and one of the best screwball comedies out there, Step Brothers sees Ferrell and John C. Reilly having to put up with each other in a blended family setting as their parents (Mary Steenburgen and Richard Jenkins) marry each other. Reilly joined Ferrell and McKay in the writer’s room, leading to many classic one-liners and an overall sillier plot. Both of the leads are their most unhinged, ranging from beating each other up to singing power ballads. It all may be dimwitted, but it’s easily the prime definition of a comedy to which viewers should turn their brains off. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen