Search Results

Top 50 Films of the 2020s February 23, 2026 By: Hunter Friesen With the 2020s heading into their second half, it’s time we take a temperature check on this decade in film. In only a few short years, the landscape of the movie industry has been forever transformed by a combination of the COVID-19 pandemic, narrowing margins, increased competition from other forms of entertainment, and the inevitable threat of artificial intelligence. Still, through it all, many films have pushed past the struggle and defined our times. That last word, “time,” is the most important factor for my rankings. Time allows for reflection, with a film staying with you long past its initial two hours. Many films are on this list because of that, surging past contenders that were ranked higher in their original year of release. Of course, that puts 2025 films at a disadvantage, requiring them to make a more immediate impact. Then again, the films of 2020 and 2021 had to face their own set of logical nightmares. When I double this list at the end of the decade, I’m sure it will be completely different. Nickel Boys Every once in a while, a film comes along that breaks your preconceptions about how a story can be told. While video games and virtual reality have brought the first-person perspective to televisions for years, it's still a relative stranger to the silver screen. Ramell Ross and co-writer Joslyn Barnes' adaptation of Colson Whitehead's Pulitzer Prize-winning 2019 novel folds the layers of time on top of each other, trapping us in a series of undefinable dreams and nightmares, each one crashing into the other without warning. There's a newfound sense of discovery in Nickel Boys as we witness the good and the bad through the eyes of protagonists Elwood and Turner. Their experiences create the dots that we connect through our history and understanding of the time period. We only remember bits and pieces of our past, but the feelings are carried with us to the end of time. This was one of the most important films of the year, both in terms of the substance it carries over from the pages of its source material and in how it elicits your emotional response to it. Napoleon With his vast historical drama background that includes the likes of The Duellists, Gladiator, Kingdom of Heaven, and The Last Duel , director Ridley Scott knows a thing or two about setting the stage for global conflicts. Even at the age of 85, he’s never taken a moment to slow down, crafting projects that seem to only get bigger the older he gets. Scott paints a wide canvas for each of the climactic battle scenes. It’s as close to a replica as one could get to the work of director Sergei Bondarchuk in the Soviet version of War and Peace, where literally thousands of extras marched across plains as hundreds of cannons engulfed them in carnage. The world still properly bemoans what could have been had Stanley Kubrick been allowed to make his Napoleon biopic. There are surely semblances of it in Scott’s Napoleon , which continues his string of blockbusters propelled by smart filmmaking and collaborative artistry. It’s timely and timeless in its craft and examination of history, ready to raise the bar just that much higher for later entries in the genre. The Tragedy of Macbeth From bloody beginning to bloody conclusion, Joel Coen's adaptation of The Scottish Play holds you in its talons with its impressive mood and visuals. Shot in stark black-and-white on a soundstage, the film had an otherworldly quality to it, which adds to the overall theatricality. Jump to any time stamp, and you will have yourself a new desktop wallpaper. As expected, Denzel Washington was utterly captivating as a man so ready to jump off the deep end, yet so unequipped to wade into those waters. His only hope for survival is through deceit and bloodshed, a plight that seemingly encapsulates the human experience once a modicum of power enters anyone's eyesight. Judas and the Black Messiah Directed and co-written by Shaka King, Judas and the Black Messiah meets both criteria of a biopic, which is to be entertaining and informative beyond the top-layer Wikipedia facts. We learn about Fred Hampton through William O’Neal as he ascends from the bottom to the top within the Black Panther Party. Daniel Kaluuya elevated his game even further as he channels both the powerfulness Hampton carried in public and the tenderness he had in private. LaKeith Stanfield rises close with a twitchy and layered performance that was nothing short of a career-best. King carries his film with great energy from beginning to end. Expertly filmed action is interspersed throughout, as well as sharply edited speeches that contain more action than the actual shootouts. He delivers an utterly spine-chilling and infuriating ending that properly uses the usual clichéd element of the postscript. Mank Mank is an out-and-out technical masterpiece from start to finish. Filmed in dreamy black-and-white, scored with period-accurate instruments, and recorded with the finest sound equipment 1930 could buy, David Fincher's COVID-released film was his version of a love letter to old-school Hollywood. The film talks the talk as much as it walks the walk, with a complex script that investigates the backrooms of power and manipulation that have perpetually conjoined Hollywood and politics at the hip. Gary Oldman's titular screenwriter is our court jester guide, with Amanda Seyfried along for the ride as famed actress Marion Davies. It may not be Citizen Kane for the modern age, but it's a richly layered of how such a masterpiece was able to sprout out of so much commotion. Dune: Part Two Although I was extremely disappointed by the first part of Denis Villeneuve's adaptation of the iconic sci-fi novel, the concluding chapter more than lived up to expectations. This was no longer a desert of humanity, but an oasis of philosophy and hard-earned emotion. Every moment, from the biggest of set pieces to the smallest of character moments, is given an incredible amount of weight and importance. The dialogue is just as action-packed as the action itself, with the introduction of a deeper roster of characters building to that feeling of grandiosity. For all its meditative qualities, there are still several moments for Villeneuve to show off his brawn as a filmmaker. Chaos is often met with chaos as the action is more bombastic this time around, with rockets, lasers, and tips of knives being readily exchanged. Just as he did with Blade Runner 2049 , Denis Villeneuve accomplished what has long been thought to be impossible with Dune: Part Two . Fear is the mind-killer to all those on Arrakis. But there is no fear for those of us on Earth, as one of the best films of the science fiction genre was bestowed upon us. The Worst Person in the World The Worst Person in the World packs a richly emotional story fitting to its hyperbolic title. Through a killer soundtrack and a spotlight performance from Renate Reinsve, director Joachim Trier and his dependable co-writer Eskil Vogt were able to balance tone and time to deliver something that rises way above the sum of its individual pieces. It’s a perfect piece for anyone dealing with the crisis of not knowing where they are in life. The Boy and the Heron Hayao Miyazaki's (supposedly) final film allowed him to explore rather mature themes, offering lessons on life applicable to all ages. The boy’s fantastical journey, slightly similar to Chihiro’s from Spirited Away , is full of danger and intrigue at every turn. Animation is a medium that allows for endless possibilities, and Miyazaki is a filmmaker who pushes it to its limits. The question I always want to ask during a film is “What’s going to happen next?” So many movies don’t incite enough wonder for that question, nor do their answers provide the necessary satisfaction. The Boy and the Heron made me ask that question out loud more times than I can count, and each answer was filled with more passion than I could have hoped for. There are animated films for children, and there are animated films for adults. This is an animated film for everyone, and the world is a much better place because of it. One of the greatest, if not the greatest, figures in animation history has provided us with his swan song, and now it’s time for us to continue his legacy with the pieces left behind. Asteroid City Sure, there may now be umpteen TikTok and AI-generated videos replicating Wes Anderson’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. The term “this is the most Wes Anderson movie Wes Anderson has ever made” has been used to describe nearly every new entry in his filmography. That cycle didn'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. The Father A triumphant directorial debut by Florian Zeller, The Father puts us within the deteriorating mental state of the main character, Anthony (Anthony Hopkins). Conversations are repeated several times from different perspectives, adding another layer to the complex task of discerning fact from fiction. Anthony’s physical surroundings seem to be rearranging at impossible speeds, and the chronology of events is becoming increasingly muddled. It’s like watching a balloon being inflated and waiting for it to pop, yet it never does as your anxiety keeps building. With a nearly sixty-year career in the rearview, Hopkins’ performance here may be his very best. He is charismatic, fierce, and vulnerable, sometimes all at the same time. The subject matter may hit too close to home for some viewers or be an introduction for others. No matter your familiarity, the film’s take on dementia and the toll it places on everyone involved is so incredibly well done that it demands to be seen. The Taste of Things There’s little drama or stakes within The Taste of Things , which is one of its best features. There are plenty of movies ( Burnt ) and television shows ( The Bear ) that showcase the anxiety-inducing high-wire act that cooking can be. There is great skill under pressure here, but writer/director Tran Anh Hung is more interested in the slowly drawn method and how it all comes together when you are comfortable in your element. Time seems to stand still, your body and mind totally connected as one. It’s like a conductor guiding a symphony, every note being hit perfectly with reassuring calmness. There continues to be a need for stories that reflect the increasing bleakness of this world. But that means there’s more room for projects that remind us of the beauty in the timeless things we all experience and often take for granted. The Taste of Things is one of those films, as it illustrates both the simplicity and complexity of sustaining ourselves through food. Just make sure to plan your meals carefully before and after seeing it. You owe your stomach (and other senses) that much. Nitram Making a biopic about a country’s worst human offender brings with it a lot of trap doors. Director Justin Kurzel avoids those as he approaches the story of Tasmanian native Martin Bryant, who killed 36 people at Port Arthur in 1996, with a matter-of-fact style that lets the actors and simple camerawork tell the story. There is not a singular grand answer to why this happened and how it could have been stopped, simply because there isn’t a one-size-fits-all response. All we can do is look back on what happened and see what can be done for the future, which Kurzel doesn’t seem to have much hope for, as his postscript explains how the gun laws enacted as a result of Bryant’s actions have not been properly enforced, opening the possibility of this happening again. American Caleb Landry Jones plays the titular character with brilliance, showcasing how far someone can go down the rabbit hole. In his first major leading role, he knocked it out of the park, producing the fear one gets from a horror movie villain while still bringing enough authenticity to fit the film’s grounded tone. While my body hated the experience of watching Nitram because of the stiff muscles I was left with due to the intensity, my mind was left with a better understanding of this dark chapter in human history. Train Dreams Impressionistically swaying between the past, present, and future, director Clint Bentley captures the life of Robert Grainier, a humble lumberjack who lived and died in the Pacific Northwest throughout the early to mid-20th century. His existence is a drop in the ocean of time, with exponential growth in technology pushing the world past the point of recognition. Years go by in the blink of an eye, yet we understand what took place between then and now. Like life itself, Train Dreams is a film that often sneaks up on you in its profundity. It may take days or weeks for you to realize just how much one image or piece of sound has stuck with you, offering a new outlook on the existence we carve out for ourselves. The Substance If there’s one thing writer/director Coralie Fargeat’s sophomore feature hates more than attached limbs and unspilled blood, it’s subtlety. The obsessive and borderline inhumane treatment Hollywood (and the public at large) has towards aging actresses is material that’s been mined several times before. Fargeat understands this and the assignment in front of her. If you’re not going to be first or the most insightful, then you might as well make damn sure you’re going to be the most audaciously unforgettable. The only thing bolder than the production is Demi Moore and Margaret Qualley’s dual performances as Elizabeth/Sue, later to become Monstro Elisasue. Moore maintains a headstrong presence even as things get increasingly deranged, fully trusting in Fargeat’s vision. Qualley balances her physical schoolgirl perfectionism with her demented inner self as Elizabeth tries to maintain control of the situation. With Julia Ducournau and Fargeat rising through the ranks of international cinema, the no-holds-barred corner that they occupy is looking like a mighty fine place to camp out for a while. The Batman At its core, The Batman is not much of a Batman movie, and that’s what makes it so great. Director Matt Reeves took all the familiar superhero trappings and gave them a fresh new look, finding inspiration from the grungy films of David Fincher. There’s a restless edge to his version of Batman, something that's been eating away at the character’s soul after years of sleepless nights. The Riddler may as well be the Zodiac killer, as Paul Dano’s performance channels the character’s brilliance and insanity. The tension he builds is unparalleled and makes you feel that you're witnessing someone who’s truly gone off the deep end. In those sleepless nights, DP Greig Fraser crafts some immaculate imagery. Silhouettes and shadows haunt the dark city streets, with the neon lights drenched in rain providing stark contrast. This is not just one of the best-looking comic-book movies; it’s one of the best-looking movies ever. Enys Men Enys Men is the kind of film you stumble upon late at night as a kid on a public access channel while you are staying over at your grandparents’ old summer house. That description may be too ultra-specific for most people to relate to, but watching this movie lovingly took me back to those youthful nights when you had no idea what you were watching and if it was any good, but you couldn’t help but be endlessly transfixed by it. Unsettling imagery and sounds slowly burn into your memory. There’s nothing purely horrifying about the hallucinations and strange events that fall upon our main character. Still, there is a heavy amount of discomfort and dread that they instill, keeping you in fearful excitement of what’s coming next. Just as he did with his 2019 debut feature Bait , Jenkin goes ultra-low tech by shooting on scratchy 16mm and recording all sound in post-production. It’s as if this were a lost film that had just been unearthed on an abandoned island, rotting away for years until being saved at the last minute. Sentimental Value You will not find a more emotionally intelligent film than Sentimental Value . Writer/director Jocahim Trier's follow-up to his decade-defining film The Worst Person in the World (also placed on this list) produces each tear, gasp, and laugh at exactly the right moment. Yet, it's never manipulative, always proudly wearing its heart on its sleeve. By the time the credits start rolling, you’ll have been on a journey with not just these characters, but also with yourself. And without making a single direct piece of commentary, Sentimental Value may be the best case study on why AI can't be the driving force of a film. Despite all of her good intentions and training, movie star Rachel Kemp (Elle Fanning) wasn't the right person for the part in Gustav's (Stellan Skarsgård) film because she hadn't experienced the emotions that the role entails. The same logic applies to Trier and his film, as something this rich could only be created by someone who has experienced the agony and ecstasy of life. The Fabelmans Through the opening scene of The Fabelmans , we get a thesis statement on Steven Spielberg’s approach to filmmaking. He’s a born storyteller, pouring his mother’s heart into every frame. And he’s also a master craftsman, leaning on his father’s engineering mindset to construct fantastic sequences that defy belief. The further the film progresses, the more the thesis becomes clear. We learn how one man could be attracted to making movies about a killer shark, a world-traveling archeologist, friendly and unfriendly aliens, the Holocaust, American presidents, World War II, and even modern-day dinosaurs. The Fabelmans is a collection of Spielberg's greatest hits, all delivered to their greatest effect. There’s laughter, tears, and wonder in this story that is much more than the sum of its parts. Gabriel LaBelle began his streak of greatness here, ensuring that this specific story contains a universal message about understanding your parents and finding your place in the world. Aftersun Aftersun is devastatingly powerful in the moment and long after. In comparison to standard films, it has no plot, no stakes, and no drama. It's all emotion, with wonderful direction by Charlotte Wells in her feature directorial debut. "Under Pressure" is recontextualized through her immense vision, which lies outside of the normal filmmaking grammar. Paul Mescal received one of the most pleasant, unexpected Oscar nominations for his powerful lead performance, and Frankie Corio displayed a depth of maturity beyond her years. This seemed destined to be a perennial entry in every "Best A24 Films You Haven't Seen" article, but I think the cult of appreciation has continued to grow exponentially in the years since. The Vast of Night The Vast of Night was a director's showcase for Andrew Patterson. With long takes and tracking shots that are near Cuarón's level, Patterson fully immerses us in this 1950s-set small-town alien invasion mystery. Spookier than any conventional horror movie and brimming with an abundance of talent from its cast and crew, it was a startlingly well-made debut that will surely lead to fruitful careers for all those involved. Never Rarely Sometimes Always Written and directed by indie darling Eliza Hittman, Never Rarely Sometimes Always is an authentic and upsetting coming-of-age story. Taking place over a trip to New York City to abort an unwanted pregnancy, Hittman did an impeccable job of exuding sympathy and connecting me to a process I am biologically unable to relate to. The title of the film comes full circle near the end in a scene that left me with no dry eyes. Annette From the visionary minds of The Sparks Brothers and director Leos Carax comes a rock musical of pure boldness. Stars Adam Driver and Marion Cotillard grab onto that boldness and run with it. creating several musical numbers that need to be seen to be believed, such as a puppet baby being the halftime performance at the Super Bowl. With Carax’s output being so irregular, each of his features is something to treasure, especially when they’re this good. “We Love Each Other So Much” is the recurring rendition throughout the film, a saying that illustrates the relationship this film and I share. Origin At times both a narrative feature film and a long-form visual essay, Ava DuVernay's film is the closest anyone has come to blending entertainment and academia. Her sprawling epic adaptation of Isabel Wilkerson's acclaimed novel investigates the ideology of racism in America. The connection between it and social caste systems throughout history sprawls across locations throughout Germany, India, and the United States. Each of them is blended for a story that spans time into a series of repeating lessons that humanity was unable to realize and learn from. DuVernay's formally ambitious direction is what made this patchwork of theories so compelling. It asked big questions, with Aunjanue Ellis-Taylor capitalizing in her first solo lead performance. The film was unfairly handicapped during its initial release, and I think time will become its greatest asset. Evil Does Not Exist Drive My Car made writer/director Ryûsuke Hamaguchi an arthouse superstar. Made nearly in secret, his follow-up feature became his most outspoken work on the plights of contemporary society. The tranquility of a Japanese village is being threatened by the introduction of a “glamping” (glamorous + camping) site proposed by a talent agency. The site would negatively impact much of the environment around it, with many of the village residents’ livelihoods being forever altered. Despite being clear in his message, Hamaguchi never eviscerates the villains of this story. The extremely slow cinema approach will test the patience of many expecting a return to the leanness of Drive My Car . Those who embrace the molasses will find themselves powerfully transported, a task that becomes much simpler with the aid of Eiko Ishibashi’s magnificent score. West Side Story Leave it to Steven Spielberg to make his first outing into the musical genre, one that completely crushes the competition. The camera swoons and cranes in extended takes, capturing the incredibly choreographed dance numbers conceived by famed ballet dancer and director Justin Peck. The narrative about the immigrant experience has been made more profound, with the Spanish dialogue - accounting for nearly one-third of the total spoken lines - going unsubtitled in a move that Spielberg and Kushner described as an effort to respect the language. Perfectly melding the work of Leonard Bernstein and Stephen Sondheim with the newfound talents of Ariana DeBose, Mike Faist, and Rachel Zegler, the new West Side Story made the case for why some remakes should be allowed to happen. Because sometimes, they can meet or surpass the original, such as how this one does by bringing classic cinema into the modern world. Monster Hirokazu Kore-eda brought Rashomon into the modern age with Monster , a movie that was both more gentle and deadly than its title implies. For the first time in his career, the revered Japanese auteur didn't write the script, deferring that duty to Yûji Sakamoto. Kore-eda crafts an endearing story about differing perspectives and the misconceptions we surround ourselves with. Ryuichi Sakamoto's posthumous score is mostly comprised of previous compositions, as he was unable to create a full body due to his terminal cancer. However, he did contribute two new piano pieces, both mournful and warm. Decision to Leave Phantom Thread meets Vertigo in Park Chan-wook’s deliciously twisted Decision to Leave . For many directors, that combination would come together as well as oil and water. But for the famed South Korean auteur, whose previous works of Oldboy and The Handmaiden have exemplified his unparalleled ability to combine the traditional with the gonzo, it’s a heavenly pair that you immediately want more of. Much like Paul Thomas Anderson’s film, the characters within Decision to Leave can’t be tied down with simple explanations. Manipulation and intrigue are the names of the game, with the unspoken sexual tension tinging the edges of every scene. As the playfully dangerous duo, Park Hae-il and Tang Wei are more than up to the task, with their unmatched chemistry doing wonders for the film’s emotional themes. Resurrection As beautiful as it is incomprehensible, Bi Gan’s magnum opus operates on a different plane of logic. In a future where humanity has lost the capacity to dream, a woman enters the six different dreams of a monster, representing one of the five senses and the mind. Each dream illustrates a piece of 20th-century Chinese and cinematic history, told in the style of the time. The opening segment is reminiscent of silent German expressionistic monster movies, while the final chapter is captured in a single long take, telling the story of a vampiric romance on the last night of the millennium. How these puzzle pieces logically coalesce is nearly impossible to understand. But to focus on the science of dreams is the wrong way to experience them, as their unexplained majesty is what lures us into a deep sleep each night. A Complete Unknown What Mozart is to classical music in Amadeus , Dylan is to folk music in A Complete Unknown . Co-writer/director James Mangold learned a thing or two about the musician biopic subgenre since his first foray with Walk the Line . He trusted his audience a little more and painted around his protagonists just as much as he does within the lines. Those brushstrokes are big and broad, creating a rich experience that soothes our eyes and ears. The constant pouring of musical genius from Dylan lends itself to nearly fifty music sequences, all of them featuring star Timothée Chalamet's vocals and hands on the guitar. Mangold never lets us forget that fact, keeping his camera steady on the target and the editing to a minimum. It allows the performances to breathe, matching the more mellow wavelength that folk songs operate on. In a time where more than one of these ventures down the Wikipedia page landed with a sour note, there's a comforting feeling to seeing the old reliable go off without a hitch. The Girl with the Needle An ultra-grim fairy tale comes to life in writer/director Magnus von Horn’s loose retelling of Denmark’s most heinous and prolific serial killer. The depressing gloom of post-WWI Copenhagen is lensed in claustrophobic black-and-white, and the dread drip-fed through abstract visuals and a deeply haunting score. Vic Carmen Stone and Trine Dyrholm are standouts in their lead roles, guiding not just through this literal story, but also the universal lesson of the nightmares women have endured throughout history. The Last Duel Bolstered by spectacle and substance, The Last Duel is one of Ridley Scott’s finest films. It’s one of the few blockbusters of the modern age to be propelled by collaborative artistry, rather than preconceived properties and overblown budgets. Broken up into three chapters, the film follows the unique perspectives of the central individuals as it tracks the events that led to the titular duel. This Rashomon -inspired structure is where Scott, along with screenwriters Matt Damon, Ben Affleck, and Nicole Holofcener, show off their brilliance. The greatness of the film’s structure is that it creates a puzzle where the pieces are constantly shifting in size and placement. Even a simple act, such as a handshake, is seen from three angles, each eliciting a different response. It’s fascinating to watch as the web of lies and truth becomes increasingly difficult to parse, with Scott supplying the necessary inertia to keep the film moving at a great pace. And the final duel more than lives up to expectations, especially when compared to the high bar Scott has set for himself within his filmography. There have been only a handful of final battles that weren’t already decided by the plot before they begin, and this is one of them. There’s an exciting amount of tension as the knight's exchange blows in agonizing brutality. Frankenstein Guillermo del Toro, the filmmaker most in love with monsters, finally got the chance to adapt the story of the most famous one of all. Mary Shelley and, by extension, del Toro, share great sympathy for The Creature, his plight being a reflection of humanity's cruel backwardness. Already a star in the making, Jacob Elordi cemented himself as one of his generation's best actors with a performance that instilled enormous emotional depth beyond just the pounds of makeup and effects. Surrounding him and the rest of the cast are sumptuous sets and costumes, with del Toro's roaming camera soaking up each pristine detail. With a lifespan recently crossing over into two centuries, Shelley’s Frankenstein has long suffered the plague of becoming a copy of a copy of a copy. Endless adaptations and inspirations have taken only the elements that are deemed the most commercially muscular, leaving out the heart and mind. Del Toro has picked up those discarded pieces and made it whole again, reminding us why stories like these have and will withstand the test of time. The End Even in the darkest depths of the Earth at the end of humanity, you can still find a reason to sing and dance. Co-writer/director Joshua Oppenheimer, famed for his one-two documentary punch of The Act of Killing and The Look of Silence , makes sure his fiction feature debut is as bold and audacious as one would expect. The Golden Age influences of Jacques Demy and Vincent Minnelli supply the bravura; the cast's confidence is more important than their physical abilities. The joys and guilt of still being alive merge through the dozen-ish musical numbers, all of them allowing the characters to momentarily express the deep feelings they perpetually repress. The End could have so easily been an “eat the rich” satire in the same vein as Triangle of Sadness . There are several opportunities where Oppenheimer could have taken a cheap shot at these characters, putting them through the wringer while having us point and laugh at them. This is an absurdist concept with humorous moments, but it’s also so deftly sincere that you can’t simply excuse it. These are rich characters, both emotionally and financially, with their inner delusions offering a complex lesson on how we handle the horrors that are right in front of us. Broker As is tradition within his impeccable filmography, Hirokazu Kore-eda's Broker tells a touching story about families forming in the most unlikely of circumstances. A baby has been left in a deposit box used by mothers who can’t, or won’t, keep their babies. Two of the employees at the facility, Sang-hyun (Song Kang-ho) and Dong-soo (Gang Dong-won), have formed a partnership to circumvent the rules of the establishment by taking the babies into their protection and selling them under the table to needy couples. Purely based on this introductory premise, Kore-eda has laid a field filled with moral quandaries. Is it right to break the law and sell a child if it means they will potentially have a better life? Who is worse, the mother who disposes of the baby, or the people who sell the child? Who’s responsible for the child once the mother has disowned them? Similar to his magnum opus, Shoplifters , Kore-eda makes plenty of time to instill lessons on how we don’t often get to choose the family we have. A direct reference to Paul Thomas Anderson’s mosaic, Magnolia , reminds us how the best-laid plans never truly turn out the way we envision. Even though each character may have their agenda behind the act, their shared journey is what binds them together. Blonde Is this film's placement near the top of this list meant to provoke a reaction? Perhaps. But it's that exact spirit that makes Blonde so memorable, a hard-edged rebuke of the sanitized biopics we've increasingly been served. They're merely brand extensions, with more loyalty to the central figure than the creatives telling the story. Andrew Dominik's only loyalty is to himself as an artist. Facts can be found on Wikipedia, but the emotional truth can only be found on the silver screen. It's a nightmarish and surreal experience that highlights the beautiful tragedy that was the life of Norma Jeane, channeled through a spectacular performance by Ana de Armas. Marty Supreme Marty Supreme is as exhausting as it is exhilarating, the kind of movie where you let out a huge sigh of relief once you leave the theater. With this film added to his oeuvre of Good Time and Uncut Gems , director Josh Safdie became a master of depicting addiction, the agony and ecstasy of gambling everything for the chance to win anything. Timothée Chalamet’s Marty Mauser is the John McEnroe of table tennis, his mouth moving as fast as his backhand volleys. Lucky for him, his money is where his mouth is. The kineticism and composure he displays during those scenes of athleticism are thrilling to watch. The thing I wanted most of all from this film was for it to never end. The two and a half hours both do and don’t fly by. You feel every minute of it, yet I was never thinking about when this would be over. It’s what I love about long movies, as there’s a certain amount of belief and ambition a filmmaker must have in themselves to warrant trapping an audience for that long. An even more extended runtime would probably put people in the hospital from stress/anxiety. Still, it would have been well worth it for those who survived. Killers of the Flower Moon What is surprising about a blockbuster like Killers of the Flower Moon is Martin Scorsese’s ability to bring in the qualities of his lesser-known films, which is the capacity to take a step back and observe a culture. There’s a delicate balance between getting in the thick of the action and letting it wash over from a distance. For every street race and moment of shocking violence, there’s a chance to witness a piece of this land and its people. There are key moments where an Osage wedding or ceremonial tradition is recreated, shedding light on what’s ultimately at stake. Excess is the name of the game within Scorsese’s filmography, and Killers of the Flower Moon has that in spades. But it’s not the flashy kind of excess that we’re used to seeing; it’s an excess that overwhelms your soul just as much as your senses. As the debate over what is and isn’t cinema rages on (and I pray to God it ends soon), let this be a clear illustration of what it can be: something powerful enough to enrapture you in the present and pleasantly linger with you long into the future. The Brutalist The Brutalist is a full-course cinema meal, requiring an afternoon to consume and much longer to digest. It’s easy to savor every moment of it in real-time because of its boundless beauty, and just as easy over time, thanks to its long lingering themes on the ideals that modern America convinced itself it was built upon. With a record-breaking runtime of 215 minutes (including an intermission!), each scene flows with more freedom and weight, all of them simultaneously epic and intimate as the camera glacially passes through the years. One could imagine director Brady Corbet employing the persuasiveness of Toth’s design and vision in the pitch meetings for the film as a whole. Nothing about The Brutalist screams commerciality. But like László Toth and his indescribable monument, every dollar that Corbet’s behemoth sacrificed at the box office was used to better the art form. The only currency that matters in cinema is the experience you carry with you long after the viewing. Conclave Saints and sinners live among us, even in the holiest of places. A cardinal asks if he can keep the deceased pope’s chessboard as a memento, a bold signifier of the game of succession that’s about to be played. No sane man would desire the papacy, and no man who seeks it deserves it. Director Edward Berger has a great command of the literary material he inherited. The tension is wound tight enough to cut through steel, with sequences of backdoor politics and revelations of long-buried secrets maintaining a slow-burning, yet propulsive energy. Longstanding acting royalty fill the cast, with the highest laurels going to Ralph Fiennes, who maintains a quiet dignity as a web of lies and deceit begins to unspool right in front of him. The balance between thrills and social critique is kept just as pristine as it was in Robert Harris’ novel. Conclave is a soap opera with as much page-turning substance as it has a prestige-like style, perfect for both the faithful and skeptics alike. Maestro There is nothing cookie-cutter about Maestro , which is its absolute greatest strength. Writer/director/producer/star Bradley Cooper is like a high school theater kid who’s just landed the role he’s always dreamed of, so giddy and overstimulated that he’s almost leaping off the screen. It’s how he sees himself tethered to Leonard Bernstein: two geniuses who often became overwhelmed with passionate joy in their craft. Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. It possesses great power to evoke a film made during the 1940s, complete with stark black-and-white and Technicolor-infused Academy ratio cinematography. It all crescendos at the Ely Cathedral in 1973 when Bernstein famously conducted Mahler’s Second Symphony, “Resurrection.” It’s spiritually transcendent, the camera capturing every enrapturing moment as it weaves its way through the choir and orchestra. This moment isn’t all about Bernstein, though, as the final camera movement during the impressive long take pans to reveal his wife Felicia Montealerge (Carey Mulligan) standing off to the side, ready for Lenny to walk over and embrace her after his performance. It’s emblematic of how Cooper frames this entire biopic, the music and their relationship forever intertwined. April The beauty of the cinema is not just in the sheer size of the speakers and screen, but the opportunity it gives us to break away from our world and be transported to a different one. Georgian writer/director Dea Kulumbegashvili crafted a film where absolute patience and concentration are a prerequisite. Between the unsettling abstract visuals and the brutal real-life truths about female bodily autonomy through abortion, it's one of the most bone-chilling films of the decade, anchored by an iron-willed performance by Ia Sukhitashvili. Unlike many films on this list, Kulumbegashvili was not bestowed with the laurels that she so richly deserved beyond the Special Jury Prize at the film's premiere at the 2024 Venice Film Festival. The film was banned in its home country and barely released in the United States due to the dissolution of its distributor. It was a great shame, as one of the most important and prescient films of the decade was kept hidden from the people who might need it the most. The Beast Bertrand Bonello’s sci-fi epic was the clear wire-to-wire winner of its respective year. Bonello displays a mastery of tone and vision across his 146-minute adaptation of Henry James’ genre-defying novella. There’s passion, fear, humor, drama, and everything in between as Léa Seydoux and George MacKay play characters in three different periods – 1910, 2014, 2044 – as they navigate the unknowable connection they feel for each other. It’s a greatly demanding work exploring the fear of opening oneself up to risk and the unknown, something that all audiences will have to conquer if they want to claim the reward that this film offers. The Killer The Killer is a descent into bloody madness told by a director in complete control of their craft. Every frame is perfectly lit, every cut perfectly placed and executed, and every piece of sound is perfectly engineered to rattle your bones. It’s a pulpy, uncomplicated story about revenge being a dish best served cold. For anyone who enjoys the Hitman video game series and laments the two laughably bad movie adaptations, this is the answer to all your prayers. This is Fincher at his most surface level, playfully cutting loose from ambition and delivering his best film to date. Don’t expect to learn any life lessons or have your perspective changed on an issue. Just sit back and be entertained. There’s nothing more satisfying than seeing a straightforward process being executed with pinpoint precision, and both our protagonist and Fincher accomplish their mission with outstanding results. Hamnet The story of the death of William Shakespeare's young child may be a tear-jerker (it was the most I’ve cried during a movie in years), but there isn’t a single moment where it's cloying at those ducts. Chloé Zhao’s adaptation of Maggie O'Farrell’s Hamnet depicted an honest collision course of pain, featuring two of the best actors working today. Jessie Buckley was nothing short of transcendent, encapsulating the entire human experience, what it means to be your true self, and then producing an extension of that through children. It was heartbreakingly cathartic to witness Mescal channel his torment into his work, recontextualizing the most celebrated works of the English language for those who were previously uninitiated. By staging “Hamlet,” Shakespeare preserved his child. His body may have only been a part of this for a mere eleven years, but his spirit has lived on for over half a millennium, adapting to serve different cultures and contexts. Zhao’s film is a single drop in an ocean; the mightiest one that pushes the waves in a bold new direction. TÁR For all you completionists who demand films answer the questions they raise, both literally and metaphorically, TÁR will seem like an exercise in futility. Because if there’s one thing Field learned as the protégé of Stanley Kubrick (for which Field played the piano-playing character Nick Nightingale in the master’s final film, Eyes Wide Shut ), aside from impeccably precise visuals and dread-filled drip editing, it’s the ability to make the unsatisfying loose ends of a story seem so naturally satisfying. There are no easy answers within Field’s film as he meticulously studies his central character, for whom he shares no predisposed love or hatred. It’s for the audience to decide if Lydia’s fate, which is sealed with a visual setup and punchline so hilarious that it might as well have been ghost-directed by Mel Brooks, matches her “crimes.” As our guide during that examination, Cate Blanchett reaches another echelon in a career that has only been marked by peaks. One could not be ridiculed for mistaking Lydia Tár as a real person, as the details and nuances Blanchett infuses the character with are ones usually found within Oscar-bait biopics. At the moment, it does not seem that the film was meant to mark the second coming of Todd Field’s career. But if we’re subjected to another sixteen-year absence, then I at least know what my most anticipated film of 2038 will be. All Quiet on the Western Front By combining many elements from some of the best films within the genre, director Edward Berger's All Quiet on the Western Front is one of the few anti-war films, something that French New Wave film critic and director François Truffaut famously declared to be impossible. The large-scale and gruesomely detailed battles harken back to Saving Private Ryan . We see more mud than blood as the soldiers fight for nothing more than to survive another second. As a slight departure from the source material, writers Berger, Lesley Paterson, and Ian Stokell juxtapose the scenes of carnage with those of the “fat pigs” that wield power. Going back and forth between this and Paul’s storyline on the battlefield, we get the sense that this war did not involve winners and losers. Everybody was a loser as they lost something mentally, emotionally, spiritually, or physically. And in the end, there was no point to any of it. In the film’s harrowing opening sequence, we follow a coat worn by a German soldier. The man dies in battle, and the coat is plucked off his corpse. It’s then shipped back to a factory to be washed of the blood, mended, and given to a recruit. It’s moments like this, of which there are many, where Berger masterfully illustrates the futile self-fulfilling cycle of death that war creates. The Zone of Interest There isn’t a single moment in The Zone of Interest that takes place within Auschwitz, but its presence is always felt. The family will be sunbathing in the garden when a faint gunshot goes off on the other side of the wall. Both you and the characters know what that sound means, but only you care about the implications of it. For the family, those gunshots are just as much a part of everyday life as the birds chirping in the trees above. They go about their daily lives without a hitch, leaving you stranded in the fear of your imagination. Sickening in the most calculated way possible, this is Jonathan Glazer's ode to Stanley Kubrick. He answers the question of how evil can exist unchecked, holding all of your senses in a sterilized vice. Be sure to soak it all in during your first watch, because I doubt you'll ever want to view the world this way again. Babylon With dashes of Singin’ in the Rain, Boogie Nights, The Wolf of Wall Street, Uncut Gems , and Mulholland Drive , Damien Chazelle’s Babylon is a true auteurist epic in every sense of the word. It’s a 188-minute deconstruction of Old Hollywood mythology, complete with cocaine, fast cars, projectile vomit, glitzy actors, underground sex dungeons, and buckets of style. There wasn't anything like it the year of its release, or any year for that matter. Five characters have their stories cross paths on several occasions, featured in some of the biggest moments of the Silent Era as it hurtles towards its downfall. The rise of talkies will bring about a new style of filmmaking, one that’ll benefit some and destroy others. But through it all, they found a way to create a legacy that lives beyond their mortal lives. Chazelle may have made his generation's Heaven's Gate : an overly ambitious epic that proved to be too much for audiences and critics. But born out of that chaos was a passionate cult fanbase, a Babylon Hive that has embraced this grand slam of self-indulgence and outrageousness. Oppenheimer With each passing second since I walked out of the 70mm presentation of Christopher Nolan's biopic on the American Prometheus, I became more and more convinced that I had witnessed something extraordinary. Oppenheimer is as entertaining as it is enlightening, emboldened by Nolan’s unparalleled vision and craftsmanship. It’s his magnum opus, grabbing hold of history with fiery conviction, never letting you go until you’ve experienced all that cinema has to offer. Kenneth Branagh plays Danish physicist Niels Bohr, who gives a sturdy piece of advice to Cillian Murphy's titular character early in his career: “It’s not important that you can read music, only that you can hear it.” Even if I couldn’t read all that was being presented right in front of me, I could definitely feel it. Ludwig Göransson’s tremendous score does a lot to convey the spectacle and terror within these moments of history. There are palpable feelings of anxiety and suspense, despite already knowing the outcome. You feel both a sense of patriotism in seeing this American achievement, and also a deep sense of guilt as a weapon without a defense was unleashed upon an untrustworthy world. The French Dispatch With each subsequent entry into his distinct filmography, Wes Anderson seems to make it a mission to make the most Wes Anderson-iest film. His tenth feature film - also referred to as The French Dispatch of the Liberty, Kansas Evening Sun - towers over all of his works with its masterful production qualities and international ensemble cast. While there is no central story to fully move the film from start to finish, the anthology-style structure still allows Anderson to explore several of the themes found within his previous works, such as human curiosity and the ironic relationship we share with the world and its other characters. There are no small parts, only small actors, with a robust cast given their individual moments to shine amidst the dazzlingly symmetrical production design. I've seen this film a dozen times since the initial screening at the Cannes Film Festival in 2021, even pausing this write-up for another rewatch. That's love that money can't buy, and a loving testament to what Louis B. Mayer crassly said about the movies being a business where "the buyer gets nothing for his money but a memory." Anderson will probably always live in the shadow of this film for me, but I'll still be thankful that something this magical is allowed to exist in a world that only seems to get bleaker. More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen

2026 Sundance Film Festival Preview January 19, 2026 By: Hunter Friesen A melancholic mood will permeate the air at this year’s Sundance Film Festival in Park City, Utah. Now in its forty-second year, this will be the first without the presence of its main founder and spokesperson, Robert Redford, who died back in September. Originally founded as the Utah/US Film Festival in 1978, the festival was eventually renamed after Redford’s most famous character. As much as Redford was a titan of Hollywood, he was a champion of independent films, using his immense stature to find the next great American artist. Redford was Park City, and Park City was Redford. Now that Redford has left Sundance, so must Sundance leave Park City. Announced a month after last year’s edition was the fact that the festival would be leaving its forever home and moving east to Boulder, Colorado, starting in 2027. It makes this edition of the festival feel even more special, a final celebration of the past and present before jetting off into an uncertain future. While a member of the unofficial “Big Five” along with Cannes, Venice, Berlin, and Toronto, Sundance doesn’t have the advantage of on-paper pedigree when it comes to the talent it showcases. It also can’t boast about stunning movie stars ascending a red carpet surrounded by palm trees, or arriving on a gondola through a canal. But what it can brag about is that it was the place that gave many iconic filmmakers their start before they graduated to the international limelight. Quentin Tarantino debuted Reservoir Dogs at Sundance in 1992, two years later winning the Palme d’Or for Pulp Fiction . Steven Soderbergh’s Sex, Lies, and Videotape was able to compete for the Palme d’Or in 1989 because of the enthusiastic reviews it received at Sundance a few months earlier. Likely finding no distinction between the Utah mountains and their native Minnesota, the Coen brothers took the festival by storm in 1985 with their debut feature, Blood Simple . Of course, every festival requires a certain amount of star power in order to keep the lights on, and Sundance is no exception. Nestled outside of the competitive sections are the ‘Premieres,’ featuring the stars and directors who grab the headlines when it comes to lineup announcements. Returning to the birthplace of his generational-defining films of The Living End and The Doom Generation is director Gregg Araki, who also hasn’t helmed a feature film since 2014’s White Bird in a Blizzard . He has I Want Your Sex , starring Cooper Hoffman, who becomes a sexual muse to Olivia Wilde. The latter star is also featured in her third directorial outing, The Invite , along with Edward Norton, Seth Rogen, and Penélope Cruz. There’s also In the Blink of an Eye from Pixar leader Andrew Stanton, The Gallerist from Cathy Yan, The Weight with Ethan Hawke and Russell Crowe, and Charlie XCX’s sort-of documentary The Moment . Since the COVID-19 pandemic, Sundance has been the one festival that has opened its doors to an online audience. Sure, gone are the glory days of 2021 and 2022, when literally every festival selection was made available online. Bad apples who leaked films like Twinless and Selena y Los Dinos last year have pushed away most of the big titles from being available online. Still available are the films in the competition sections, which have played host to acclaimed films like CODA , A Thousand and One , Good One , A Real Pain , and Sorry, Baby . Two musical-related films can be found in this year’s U.S. Dramatic Competition. The first is aptly titled The Musical , starring Will Brill as a playwright putting on a chaotic high school musical. Run Amok has a nearly identical premise, this time with a high school student putting on a musical to commemorate the “one day her high school wishes it could forget.” Director Rachel Lambert’s uber-quiet Sometimes I Think About Dying has grown on me since I saw it at Sundance 2023. She’s back with Carousel, a dramedy starring Chris Pine and Jenny Slate as old flames refinding themselves years later. Writer/director Beth de Araújo had her film Josephine selected for the 2018 Sundance Institute Screenwriting and Directing Lab. After pandemic delays, she’s bringing the finished product to this year’s edition. Gemma Chan and Channing Tatum star as parents of the titular girl, who witnesses an assault near her home. Will Poulter and Noah Centineo star in Union County , a story about an adult-recovery program. Films that I have my eye on that were selected as part of the World Cinema Dramatic Competition include Shame and Money , Big Girls Don’t Cry , Extra Geography , and Levitating . Of course, Sundance wouldn’t be what it is today without its bevy of documentaries. Every year, there are too many to mention, with several likely to feature in the following year’s Oscar race (see The Perfect Neighbor , 2000 Meters to Andriivka , and The Alabama Solution ). As a member of the virtual press, I’ll be cruising through the Dramatic Competition sections during the viewing window of January 28-February 01. It’ll likely be a repeat of my days at TIFF, averaging about three to four films per day. Luckily, this will be from the comfort of my couch, with bathroom and writing breaks scheduled at my leisure. Full reviews for titles will be posted throughout that week, along with a full recap article at the conclusion of the festival. More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen

MSPIFF 2026 Preview April 6, 2026 By: Hunter Friesen April showers bring May flowers. But what April also brings is the annual Minneapolis-St. Paul International Film Festival (MSPIFF, pronounced "EM-spiff”), which is celebrating its forty-fifth year of showcasing an eclectic range of films to Minnesota moviegoers. In my brief time attending the festival, the programming has only gotten stronger, and so has the festival's attendance and its place within the great cinema landscape. Of course, the majority of the 200 films within the lineup will be screened at The Main Cinema, which was recently renovated with new seating in a few of its theaters. Other venues for select screenings include the Edina Theatre, Pop’s Art Theater, Capri Theater, Landmark Center, and FilmNorth. Opening the festivities on April 8th is a screening of the documentary feature Paralyzed by Hope: The Maria Bamford Story , which focuses on the Duluth-born comedian and her inspiring story about struggling with mental health. The film had its world premiere at the Sundance Film Festival back in January and is co-directed by Judd Apatow and Neil Berkeley. The latter will be in attendance with Bamford herself for an introduction and post-screening conversation. Also screening at the same time is another timely documentary, called Everybody to Kenmure Street , about protestors disrupting illegal immigration enforcement. One of MSPIFF’s biggest selling points is its consolidation of many notable independent and foreign language films released in the late spring and early summer. Debuting in Minnesota now, after world premiering at the Cannes Film Festival last May, are Two Prosecutors , Young Mothers , The Little Sister , Exit 8 , Renoir , Eagles of the Republic , Romería, and Mother and Child . Each was met with positive acclaim and came from notable filmmakers who have rarely steered audiences wrong. There’s also plenty to offer for those looking for some late-night, genre features. Premiering in the Midnight Madness section at last year’s Toronto International Film Festival were Obsession and Normal . The former became the talk of the festival with its dark, supernatural twist on unconditional love. The latter stars Bob Odenkirk as the new police chief of a quaint Minnesota town that harbors many secrets underneath its blanket of snow. Adam Scott stars in Hokum as a horror writer who is haunted by a witch at a creepy Irish inn. And writer/director François Ozon adapts the famed novel The Stranger , about a man who exacts a series of unfeeling crimes. Upping the star wattage throughout the eleven days will be screenings of The Christophers , directed by Steven Soderbegerh and starring Ian McKellen and Michaela Coel; Late Fame , starring Willem Dafoe and Greta Lee; Silent Friend , starring Tony Leung Chiu-wai and Léa Seydoux; Power Ballad , with Paul Rudd and Nick Jonas; and Rose of Nevada , with Callum Turner and George MacKay. After becoming a box office sensation back home in the UK and nabbing several awards at the BAFTAs, the inspirational real-life drama I Swear finally lands in American theaters. After honoring legends such as Roger Deakins and Ang Lee in the past, this year’s Milgrom Tribute is being bestowed upon cinematographer Dean Cundey. With a career spanning nearly 50 years and collaborations with directors such as John Carpenter, Robert Zemeckis, Steven Spielberg, and Ron Howard, Cundey has been the eyes for many of Hollywood’s defining films. He’ll accept the award during a conversation about his career on April 12th. It will then be followed by screenings of two of his films: Escape from New York and Jurassic Park . Cundey will conduct a Q&A session following the screening of the latter film. To access the full list of films and secure tickets, you can visit the MSP Film Society website . In addition, there will be several panels hosted by industry insiders, and parties to network with fellow cinephiles. The Minneapolis-St. Paul International Film Festival runs from April 08-19th at The Main Cinema. More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen

Nouvelle Vague October 31, 2025 By: Button Hunter Friesen “Each film is made up of five different films: The film you write, the film you cast, the film you shoot, the film you edit, and the film you release.” That’s a line from Nouvelle Vague , spoken to Jean-Luc Godard as he’s about to begin production on his debut feature film, Breathless . Little did anyone know that it would become the apex not only of the French New Wave (for which this film takes its title), but also a pinnacle moment in the evolution of cinema. Sixty-five years later, director Richard Linklater, completing the back half of his 2025 double play after Blue Moon , is here to tell us all about. The film they wrote is a simple one. “All you need to make a film is a girl and a gun,” is Jean-Luc’s strategy for getting the necessary financing. He’s written a scenario with New Wave superstars and fellow Cahiers du Cinéma critics Claude Chabrol ( Le Beau Serge ) and François Truffaut ( The 400 Blows) , a fast-paced story of a crook and a girl on the run. Writers Holly Gent, Laetitia Masson, Vincent Palmo Jr., and Michèle Pétin find humor in the criminal behavior that is required to get a film off the ground. Jean-Luc evades securing permits, giving story details to his crew, and never keeps a regular working schedule. It’s all a mystery, maintain the magic that is needed to make a work of art. https://www.youtube.com/watch?v=UufRzKVFseg The film they cast was full of unknowns, except for the American expatriot Jean Seberg. Linklater applies the same logic, with Zoey Deutch, reuniting with the director after Everybody Wants Some!! , playing the Iowa-born star. She’s attracted to Godard’s whirlwind methods, mostly because they heavily clash with her recent work with the ultra-regimented Otto Preminger. Guillaume Marbeck marks one of the best feature acting debuts as Godard. He’s a dead ringer, complete with sunglasses that never come off and a partially receding hairline. There’s mischief in his (covered) eyes, and a sense of genius that persuades people to withstand his aloofness. A special shoutout should be given to Benjamin Clery as Jean-Luc’s assistant, Pierre Rissient, the comedic standout of the film. The film they shot was in French, with a 4:3 aspect ratio and high-contrast black-and-white. It was a fast and cheap solution, keeping the production light on its feet and giving the story a down-and-dirty aesthetic. David Chambille’s cinematography here is a near-perfect recreation, even down to the cigarette burn cue marks and slightly faded subtitles that also appear to introduce the dozens of famous historical faces. It’s boxy, yet vibrant, with an amateur quality that can only be made by someone who clearly understands what they’re doing. The sound pops, all of it recorded in post-production. The film they edited gave it the smoky, cool tone it’s most known for. Jump cuts excise all the “boring” bits, leaving only the parts we need to want to know more. Linklater could have leaned more on that technique, as a substantial chunk of the film is spent meticulously detailing the daily production process. The majority of the days in the twenty-three-day shoot meld together, leaving an impression that we’re running around in a revolving door. The film they released was in theaters, catching on like wildfire as a new generation of cinephiles gravitated towards its hip aesthetics and ideas. This film will not share that strategy or result, with its placement on Netflix isolating the experience. For as much fun as I had with the movie itself, an equal amount came from the collective awe-inspiring giddiness that spread throughout the room. We were all sharing the same projector light, the same sound system, and the same sequence of events. And there’s nothing as artistically pure as that. This review was originally published from the Canadian premiere at the 2025 Toronto International Film Festival. Netflix will release Nouvelle Vague in select theaters on October 31st, followed by its streaming premiere on November 14th. More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen

Bad Times at the El Royale October 25, 2018 By: Button Hunter Friesen A priest, a singer, a vacuum salesman, and a drifter walk into a hotel. They all have a story and need a room for a specific reason, but only one of them is telling the truth. Each one is untrusting of the other and plans out how to survive the night as a severe storm moves in. Then enters a crazy cult leader who wants to exact revenge on the one who wronged him. With five seedy characters and a suspicious bellhop, a one-night stay at the El Royale may come with a fatal price. Bad Times is directed by Drew Goddard, who previously directed and wrote the comedy/horror The Cabin in the Woods and wrote the screenplay for The Martian. Goddard does well at directing this film. He does make some mistakes from time to time, but they aren’t too severe. The first of his mistakes comes from the pacing and overall length of the film. The 141-minute runtime is weird, as the film felt like it could easily have been cut to two hours or justifiably stretched to three hours. This is due to some areas of the story being dragged on more than needed to be, and some areas not getting as much attention. The first act of the film slowly builds up each separate character with their backstory and motives. Then the second wizzes by, and the third needlessly slows everything back down again. https://www.youtube.com/watch?v=y7wzBVARwaU Goddard does do good work with the camera as he gives the film a dark washed overtone to match the 60s era feel. He also uses a wide array of camera techniques to tell the layered story. Some scenes are played out multiple times from different angles to convey each character's viewpoint. There is also a hefty amount of symbolism and thematic imagery within each frame that pushes the narrative along without the use of words. One scene that really stands out is a seven-minute tracking shot where the camera follows one character as they go room by room and spy on the others. It’s a suspenseful sequence that gives a good amount of insight into each character in a short span of time. Along with directing, Goddard also serves as the sole writer for the original story. He divides the film into chapters based on the room a certain character is staying in. The technique works well to distribute time to develop each character. Not everyone gets equal time, but everyone gets enough to make them important to the overall narrative. The intersection of many different characters’ stories leads to the script being filled with lots of fun twists and surprises that continually come out of nowhere. Some of them are predictable once revealed, but many aren’t and keep you on the edge of your seat. There are some plot holes and untidy loose ends that are quite obvious near the end. However, they really don't harm the quality of the story and are more of an afterthought. Bad Times boasts a sizeable and star-studded cast. Most of the actors fare well, with some doing better than others. Jeff Bridges does pretty well as the elderly priest looking for a little vacation. Bridges is able to make his character believably evil as well as have a sympathetic heart. It’s not his best work, but nowhere near his worst. Cynthia Erivo is the best out of the cast as she plays the singer making her way to a gig in Reno. She provides her own voice to the role and confidently takes charge of each scene. Dakota Johnson and Jon Hamm kind of just skate through and don’t provide any real defining moments. They’re not bad, but it feels like anyone could have filled the roles. Lastly, Chris Hemsworth does good work as the Jesus-like cult leader who likes to preach with his shirt open. Hemsworth brings both his comedic and dramatic skills together and creates an uneasy character that keeps the suspense high throughout. Bad Times at the El Royale is a fun thriller that tells a complex story enjoyably. It doesn’t always work perfectly, but minor mistakes aren’t enough to ruin the overall product. In a fall season full of heavy films trying to send a message, it feels good to have a film that only wants its audience to sit down and have a good time. 20th Century Fox will release Bad Times at the El Royale in theaters nationwide on October 12th. More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen

Uncharted February 21, 2022 By: Button Hunter Friesen In terms of adapting a video game to film, Uncharted should have been the easiest one yet. The cinematic sequences are all there, from the plane ejection and sinking cruise ship in Uncharted 3: Drake’s Deception , to the train sequence in Uncharted 2: Among Thieves . These levels contained some of the most impressive moments in video game history, with the sound and visuals delivering enough excitement to please even the most adventurous of spirits. Even though it seemed like a slam dunk on paper, publisher Sony struggled for years to get a film adaptation off the ground. They tried to get the ball rolling in 2008, only a year after the first game in the series was released. Things stagnated for a while until The Fighter and American Hustle writer/director David O. Russell was announced to be helming the project in 2010. In hindsight, Russell was an odd choice, and both parties were better off going their separate ways. Little did Sony know that Russell would only be the first of six directors to be attached to the project before leaving shortly after. Eventually, in 2017, Tom Holland was announced for the lead role of Nathan Drake, with Mark Wahlberg, the original choice for Nathan back in the Russell days, playing his older partner, Sully. Zombieland and Venom director Ruben Fleischer came aboard, and the film was finally completed after a decade of turmoil. https://www.youtube.com/watch?v=eHp3MbsCbMg And yet after all this time, I still would much rather play the Uncharted games a second time than watch the Uncharted movie again. Working as a mix-and-match of different story elements within the game series, Uncharted starts with the street-smart orphan Nathan Drake working at a bar. There, he meets Sully, who offers to make Nathan his partner in a search for lost Spanish pirate gold worth nearly $5 billion. Also on the hunt for the treasure is Santiago Moncada, an heir to the family that funded the pirates’ expedition, who will stop at nothing to get what he wants. From there, the two parties bounce off each other in their hunt, which takes them from New York to Barcelona to the Philippines. Except it’s obvious that much of this movie never took place in any of those locations, with dubious green screening utilized as a cheap shortcut. The Uncharted games were often seen as the video game equivalent of the Indiana Jones series, with the bonus that Uncharted 4: A Thief’s End was a great fourth entry, while Indiana Jones and the Kingdom of the Crystal Skull gets worse the more that hindsight allows. Both those series made great use of locations, taking the audience around the world on death-defying journeys. 2022’s Uncharted doesn’t have that authentic feeling of adventure, as everything is kept bottled up. The characters in the film are in disbelief at what’s happening, but we, as the audience, feel none of that. It’s all weightless and formulaic, plodding from one beat to the next. What saves Uncharted from being a total trainwreck is the relative likability of its cast. No one can argue that Tom Holland has been one of, if not the best, portrayals of Spider-Man. But the jury is still out on whether he can carry a film outside of the Marvel Cinematic Universe. He’s had little success over the years, shedding his boyish looks in streaming titles such as The Devil All the Time or Cherry . Even if that same boyishness makes Holland a bit of a miscast, his charm and banterous chemistry with Wahlberg keep the film light on its toes. As far as video game adaptations go, Uncharted is one of the better ones if the bar it has to jump over is generously low. It makes for a slightly amusing two hours, with nothing exceptional to make it stick once the credits roll. If you have more time to spare, I’d recommend playing the games. But if you only have two hours, you could do worse than seeing this. Sony Pictures Releasing will release Uncharted in theaters nationwide on February 18th. More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen

I Saw the TV Glow May 13, 2024 By: Button Hunter Friesen I couldn't tell what feelings I was experiencing while watching I Saw the TV Glow , but I can definitely tell you I was feeling something . There was terror, bewilderment, wonder, curiosity, nostalgia, and some sort of feeling of childhood innocence. And yet there was none of those things, at least in the forms I’d expected or had experienced before. I stared at the screen with the same hypnotized energy as the main characters watching their favorite show, The Pink Opaque . Was I liking what I was watching, and did it even make sense? I didn’t know then, and I still don’t know now. But I can’t get it out of my head, and that’s what’s most important. It all started in the late ‘90s, an era where the only things to watch were what was on TV at the time you were flipping through the channels. For seventh-grader Owen (played by Ian Foreman in the younger years, and Justice Smith when he’s older), everything is just a series of unmemorable images and noise. There’s something off about him, and it’s not just some childhood mood phase. He’s on a conveyor belt going through life, never interacting with anything or anyone. That is, until he stumbles upon a show called The Pink Opaque airing on the Young Adult Network (this movie’s version of The CW Network). It’s a Buffy-esque teen drama about two girls with psychic powers fighting a monster-of-the-week, with the big bad guy named Mr. Melancholy looming throughout the seasons. The show speaks to him, yet he doesn’t exactly know what it’s saying. He just knows that he can’t live without hearing it. https://www.youtube.com/watch?v=kymDzCgPwj0 Writer/director Jane Schoenbrun understands the allure of a fictional piece of art to kids of a certain age. Every adolescent has some inner holes they feel like they need to fill, but don’t know how, and there’s nothing more powerful than plugging them with some special work that’s just your own. I could go into lengths about how much The Walking Dead meant to me as a 12-year-old middle schooler. Of course, millions of other people watched that show at its height, but the fact that I had to secretly watch it under the covers with my Kindle was something that made it mine. For Owen, The Pink Opaque is a show geared towards older kids that airs after his bedtime, meaning he has to sneak out of the house to watch it. There’s a thrill to the danger of being caught, and an indescribable satisfaction to the amount of work that needs to be done to get yourself in the right place at the right time. It’s the hidden price we pay through streaming, as everything feels just a little less special when you can have it whenever you want. Owen’s haven for the show is the home of Maddy (Brigette Lundy-Paine), a ninth-grader who’s probably the show’s biggest fan. The show acts as a coping mechanism as they deal with her abusive stepdad and the overall shittiness high schoolers direct toward those who don’t align with their rigid constructs of gender and sexuality. Despite their opposite sexualities, I Saw the TV Glow is a love story for Owen and Maddy, with Smith and Lundy-Paine wonderfully selling the sense of belonging they desire from each other. Those Saturday nights in Maddy’s basement were the only moments they had to be their true selves. Also mixed within this incredibly unique cocktail are some unsettling sequences and imagery. I know it’s a clichéd comparison to make, but there’s a Lynchian quality to all of it. This is not a horror movie, nor are there any scenes with the sole intention to scare you, yet some moments chilled me to the bone. Much of it comes from Schoenbrun’s willingness to keep everything understated and shrouded in mystery, even if the inability to provide clear answers leaves a little much left on the table. But it also comes with excellent production qualities within the film and the fictional show. The ‘90s low-budget aesthetic of The Pink Opaque is authentically recreated, with the creature design warranting the Oscar recognition that these types of films never get. Schoenbrun made their name with the 2021 feature We’re All Going to the World’s Fair , a seminal work on creepypastas and underground internet culture. While its release during the pandemic definitely enhanced its aspects of loneliness, it also caused it to be sucked into the vortex of obscurity like so many other independent projects. Thankfully, I Saw the TV Glow doesn’t have those dire circumstances swirling around it and is being handled by A24, meaning there’s no excuse not to check this out. A24 will release I Saw the TV Glow in select theaters on May 03rd, followed by a nationwide expansion on May 17th. More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen

Greta March 7, 2019 By: Button Hunter Friesen Frances McCullen is a recent graduate trying to make ends meet in New York City. She shares an apartment with her best friend Erica and works as a waitress at an upscale restaurant. One day, while riding the subway, Frances spots a handbag that has been mistakenly left behind. Knowing it would be the right thing to do, Frances returns it to the owner, Greta Hideg, a lonely elderly French woman. The two quickly hit it off, and a mutual friendship sparks between them. However, after some time has passed, the relationship begins to get strange. Frances discovers an unsettling secret about Greta and decides to cut ties with her. Greta doesn’t take the news well and becomes deranged, stalking Frances day and night. Stuck in a hard place with little help from the authorities, Frances must take her life into her own hands as she becomes prey to a ferocious predator. https://www.youtube.com/watch?v=WAEoJkL_8zU Directed by Neil Jordan, Greta is a film that suffers from the condition of not knowing what it is. The loudest thought that was going through my head while watching was what exactly Jordan was going for. The film feels like a cheap B-movie that somewhat pays homage to the stalker genre made popular in the 80s and 90s. But that nostalgic factor doesn’t feel intentional. Many of the storytelling elements are haphazardly put together, making the film fall apart quickly and stumble all the way to the finish. If the feeling I got was intentional by Jordan, then he did a below-average job at making a cheesy thriller to kill some time. If it wasn’t intentional and this was supposed to be a straight story, he failed quite miserably. Either way, it doesn’t turn out well. Jordan does employ a combination of camera tricks and loud string music to build and release tension, mainly through the medium of jump scares. The techniques are a small grade above what you would usually see in a typical horror film, but they’re also nothing worthy of merit. Jordan partnered with Ray Wright to pen the script, which can best be described as “dumb horror characters make really dumb decisions.” Many times, I found myself in disbelief over the actions a character had just taken. A prime example of this would be *spoilers* near the end of the film when a character is being held hostage in a house and an opportunity arises for them to escape. Instead of breaking down the front door and running away, they end up going down into the basement and are immediately trapped again. Just like the tonally amateur feel, these dumb decisions come from Jordan’s unknown and seemingly nonexistent sense of direction. Are these dumb choices supposed to mock the horror genre and be laughed at, or are the characters just ridiculously stupid? I could never find a clear answer, and something tells me neither did Jordan. If the character choices don’t evoke enough groans, the insufferably fake dialogue will more than make up for it. Teenage characters talk like what an elderly person thinks they talk like, and elderly characters sound like their lines were written by a teenager in high school English class. Maybe the only real reason to watch this film is for Isabelle Huppert as she thanklessly dives into the titular role. I feel that she must have realized how poorly this film would turn out and decided to have some fun with it. It’s still not a great performance, but it’s nice to watch someone having the time of their life. After maturing with roles in The Miseducation of Cameron Post and Suspiria , Chloë Grace Moretz falls back into the old shtick of playing the innocent, cute girl. Similar to Huppert, Moretz seems to know that she’s above this kind of low-level work. But unlike Huppert, she deals with this fact by just not caring and mentally checking out, which makes her character look half awake most of the time. Maika Monroe shows up in a supporting role as Erica, the usual voice of reason that mainly acts as a vessel for the audience. Monroe is fine throughout but tends to overplay the stereotype of the party girl caught in a horror film. The world may never know what Neil Jordan was going for with Greta , but either way, the final product turned out pretty bad. More likely to put you to sleep than bring you out of your seat, this so-called thriller lacks the essential quality that even the most outright terrible movies have, a sense that someone actually cared. Focus Features will release Greta in theaters nationwide on March 01st. More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen

Nobody 2 August 13, 2025 By: Button Hunter Friesen The perennially undervalued Bob Odenkirk finally got the cinematic starring role he deserved with 2021’s Nobody . The slick and entertaining action flick saw Odenkirk take his Saul Goodman charm and channel it towards one of the most fatherly roles since J.K. Simmons in Juno . Only, this time, this dad kicks some serious ass. It likely caused a burst of inspiration for many dads around the country to get a little more fit. Seeing something as bad as Nobody 2 in 2025 made me question why I liked the original so much, especially when the DNA is nearly identical. Was it actually that good, or was I just so starved for movie star action vehicles during the pandemic that I lapped up any crumbs that were offered? Answering that question would require a rewatch, something I’m far less inclined to do now that this would-be franchise has imploded with its second step. As part of the showdown in the first film, Hutch Mansell (Bob Odenkirk), a self-described nobody, burned the entire cash fortune of the Russian mafia he got violently tangled with. Doing so put Hutch in a seemingly never-ending debt that must be paid off by performing missions for a shadow organization that offered him and his family a new life. Days turned into weeks, which then turned into months. Monotony starts to set in, with each member of the family drifting down their separate paths. As a way to momentarily break this cycle and potentially motivate himself to leave this line of work, Hutch decides to take the family on a vacation to the same water park his dad took him to as a kid. https://www.youtube.com/watch?v=-5X2pt95cIo There’s an inverse relationship between how much you force yourself to have fun on a vacation and the amount you actually have. Just ask Clark Griswold and his perilous journey to Wally World. The same happens here in the Wisconsin town of Plummerville, with the ego-tripping cops and local crime syndicate putting too much of a squeeze on Hutch’s quick trigger of a temper. One thing leads to another, and he has to shoot and stab his way out of another sticky situation. Creatively, there’s nothing here that wasn’t already covered in the first film. Hutch’s wife, Becca (Connie Nielsen), wants him to get out of the game and keep a cooler head. Despite his best efforts, he always makes things worse. Screenwriters Derek Kolstad and Aaron Rabin talk out of both sides of their mouths as they bemoan the cycle of violence, yet revel in the carnage. The slighting of his daughter by a jerk at the arcade gives enough justification for us to cheer as Hutch destroys the building and assaults everyone inside. Kolstad is the brains behind the John Wick franchise, so this hypocrisy comes as no surprise. But as that franchise side-stepped that pitfall with absurdly ornate worldbuilding and interesting characters, the Nobody films can only muster generic scenarios and even more generic villains. Sharon Stone’s performance as crime boss Lendina ranges from bad, so bad it’s good, to embarrassingly bad. We know that she’s unhinged by how she sweet-talks her dog while ordering the slaughter of innocent people, and then later dancing for no discernible reason. If you’re going to take inspiration from The Joker, don’t make it Jared Leto’s version. Director Timo Tjahjanto has helmed some of my favorite modern action films. Titles like Headshot , The Night Comes for Us , and last year’s The Shadow Strays are packed to the brim with extravagantly choreographed carnage delivered by Indonesian talent far more committed and capable than their American counterparts. Odenkirk gives it his all, but his inherent physical limitations force Tjahjanto to hold back on his signature flair, staging set pieces that never eclipse being more than good enough. At least Christopher Lloyd cranking a Gatling gun into hordes of faceless goons is quite a sight. Those isolated moments are few and far between, drowned under an ocean of moments just as basic as the cover versions of the songs that line up the soundtrack. Universal Pictures will release Nobody 2 in theaters nationwide on August 15th. More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen

Black Adam October 21, 2022 By: Button Hunter Friesen What do you get when you take Dwayne Johnson, Hollywood’s most formulaic leading man, and a superhero movie, Hollywood’s most formulaic genre, and mix them? That’s right! You get one of the most formulaic, forgettable, ugly, unnecessary, unfunny, and tiring movies of the year. At this point, I have to give the DC Extended Universe some credit because it takes some true skill to be this consistently bad on such a large scale. Universal Studios at least had the humility to abandon its Dark Universe after the catastrophe that was The Mummy . But Warner Brothers has chugged along with the DCEU, hitting every obstacle on their way to the finish line, which they seem to be pushing further away with each new film. https://www.youtube.com/watch?v=X0tOpBuYasI Let’s get this over with, shall we? Our story opens in the exposition-filled land of ancient Kahndaq, a fictional Middle Eastern country where everything shines through an oppressive gray filter. The people are enslaved by their tyrannical king, who is hellbent on crafting the MacGuffin known as the Crown of Sabbac, which will give him the powers of the underworld. After a revolt is led against him, the mad ruler kills all that he deems a threat, which includes Teth-Adam (Johnson) and his family. We fast-forward 5,000 years and are introduced to Adrianna, an archaeologist trying to find the lost crown so that it won’t fall into the wrong hands. After her mission is ambushed, she awakens Teth-Adam, whose life was spared by the all-powerful wizards of Shazam! , who also bestowed upon him godlike powers. Disoriented after his slumber, Teth-Adam unleashes his revenge, which attracts the attention of The Justice Society, led by Hawkman (Aldis Hodge) and Doctor Fate (Pierce Brosnan). Black Adam is the closest that a superhero movie has come to a Godzilla movie, as nearly 80% of the runtime is all-powerful beings beating the crap out of each other. But unlike Adam Wingard, who was able to bring some ingenuity to the guilty pleasure that was Godzilla vs. Kong , director Jaume Collet-Serra restricts the action to playing out the same way each time. Big hits are landed, and the theater shakes from the sound effects, but nothing is actually felt. And don’t get me started on the “humor.” On second thought, let’s get into it. Outside of James Gunn’s The Suicide Squad , the DCEU is not known for having a funny bone. And even with that low bar, Black Adam sinks to the bottom with dozens of lame attempts to lighten the mood. Adrianna’s son, Amon (played by the way too eager Bodhi Sabongui), acts as the John Connor to Black Adam’s T-800, guiding him through this new age of heroes and villains. Two of those new heroes are Atom Smasher and Cyclone, whose personalities get brushed under the rug in favor of bad quips. To be honest, I’ve lost track of who’s in and who’s out, and what is actually going on in the DCEU. It’s just a bunch of noise, eroding my brain two hours at a time. Black Adam seems to have done the most damage because it’s going to take me a long time to recover from this dreck. For the love of god, burn it all down. Warner Bros. Pictures will release Black Adam in theaters nationwide on October 21st. More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen

No Time to Die October 11, 2021 By: Button Hunter Friesen Since his first cinematic appearance in 1962, James Bond has done a lot of things. He’s been reincarnated five times, traveled around the globe (including space), and saved the world more times than it deserves. But the one thing that James Bond has never done is venture inward. For one of the first times in the franchise, the emotional beats are what pump the blood within the film’s heart. The theme of finality rings loudly, as No Time to Die marks the twenty-fifth entry in the long-running series, as well as the fifth and final part of the Daniel Craig era. In a move that has become routine by now, Bond has left active service. This time it wasn’t because of being presumed dead (even though that is true here), but because of his love for Madeleine Swann, the daughter of SPECTRE. Their attempt at a normal life goes about as expected, with bad guys ruining their Italian honeymoon. This, along with a deadly theft of a weaponized virus in the heart of London, brings James back into the fold for one last mission. Not one for nostalgia, MI6 moved on from Bond and promoted a new 007 named Nomi, who embodies the new school of espionage. Along with M, Q, Moneypenny, and Tanner, it’s time once again for the forces of good to vanquish evil. The Craig era marked the MCU-ification (a term that shouldn’t be taken as derogatory) of the Bond franchise, as it turned against the standalone nature of the previous entries and started to treat subsequent films as true sequels. The events of Casino Royale fed directly into Quantum of Solace . And when that movie failed, Skyfall acted as a soft reboot, later filtering into Spectre . No Time to Die pulls double duty by playing as a direct sequel to Spectre , but also the final bow on the whole modern Bond era. https://www.youtube.com/watch?v=BIhNsAtPbPI Despite the interconnectedness, long-time writers Neil Purvis and Robert Wade don’t want to be restricted by franchise ties. There has never been a need to see a previous movie to comprehend the next one, with only tried and true franchise elements such as Ernst Stavro Blofeld and SPECTRE providing an integral throughline. The duo always seems to be stuck in the past with their scripts, mining the same bits, such as shaken not stirred martinis, Aston Martin cars, and megalomaniac villains hellbent on world domination. The blame for the forgettable plot – borderline incoherent at times – should rest on their shoulders. Lacking the personal connection of Christoph Walz’s Blofeld and Javier Bardem’s Raoul Silva, Rami Malek’s Lyutsifer Safin is a second-rate Bond villain. The casting choice itself is a no-brainer, as Malek has a heavy natural supply of VE (Villain Energy). Safin seems to be a character lifted from a Shakespearean play, as he often poetically monologues into the middle distance. There’s unintentional ironic humor to Safin’s plan of decimating the world’s population through a virus, as it requires much more effort than what COVID-19 has been able to do. It’s co-writer/director Cary Joji Fukunaga (first American Bond director) and Fleabag scribe Phoebe Waller-Bridge who want to take the franchise in a newer direction. There’s an element of fun introduced that has been missing from the Craig films. Doing well to supply that is Ana de Armas, who does too well with too little screen time in a Knives Out reunion. There’s also the pairing of Bond with Nomi, played terrifically by Lashana Lynch, who is much more than the alleged SJW-takeover that some want you to believe. With their record-breaking budgets, the Bond films have always had nice toys to play with. They just needed the right person to harness their potential. Fukunaga breaks the stoic shackles set by Skyfall and Spectre director Sam Mendes, returning Craig to the kinetic destruction wonderfully employed in Casino Royale . There’s a particular long-take stairwell scene, similar to the one Fukunaga used in True Detective , that perfectly illustrates Bond’s otherworldly combat skills. And there’s the shoutout in Cuba, which plays more like a dance as Bond and Nomi attempt to retrieve a precious item. It’s a testament to Craig that he’s been able to keep up with the physical requirements of the role, especially with the battle scars he’s accumulated over the years. But he also reaches new heights emotionally, with his Bond being the most vulnerable, both literally and metaphorically. He shares more than an animalistic sexual relationship with his Bond girls. There’s something palpable under the surface, keeping you invested beyond just the setpieces. With a lot of time (163 minutes in fact) to end, No Time to Die says goodbye to the actor who ushered in a new era for James Bond. Thankfully, it does it with a wink and a nod to what could be in store for this long-weathered franchise. United Artists Releasing will release No Time to Die in theaters nationwide on October 08th. More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen

The Color Purple December 19, 2023 By: Button Hunter Friesen The Color Purple is not a musical, it’s a MUSICAL. Unlike other movie musicals slated to release soon (looking at you, Wonka and Mean Girls ), this one is unabashed in its traits and always threatening to leap off the screen and break out into song in the aisles. Director Blitz Bazawule opens the film with the camera swirling down from the sky, eventually careening its way to two sisters sitting in a tree. The girls make their way into town, where they’re greeted by the townsfolk singing about how the Lord works in mysterious ways. It’s an uplifting, high-energy tune filled with athletic choreography and a restless spirit, a tone-setter for the rest of the set pieces. These joyous moments do not replace the darkness that is within this story. Even at a young age, Celie (Phylicia Pearl Mpasi) and Netti (Halle Bailey) face incredible hardships. Celie is pregnant with her second child from her father, Alfonso, the first having been “given to God” immediately after it was born. The second shares the same fate, with the cruelty of the father only growing exponentially. A wolf in sheep’s clothing comes in the form of “Mister” (Colman Domingo), who reluctantly buys Celie to be his bride after being told that Nettie is not for sale. Years go by in the blink of an eye as a grown-up Celie (Fantasia Barrino, reprising her role from Broadway) must live a secluded life raising Mister’s unruly kids from his previous marriage and is forbidden from contacting Nettie. https://www.youtube.com/watch?v=wPwzBUui1GA Her first smile does not come until almost an hour into the film. By then, it’s a foreign concept, something she forgot was able to exist in her life. Barrino is quite remarkable as Celie, never feeling like an imitation of Whoopi Goldberg from the 1985 Steven Spielberg film. She has the incredibly difficult job of being beaten down to utter silence while also displaying perseverance through loud musical numbers. Along with her in many of those set pieces is Danielle Brooks (also returning from Broadway) as Sofia and Taraji P. Henson as Shug Avery. Each of these women delivers a movie star performance on the grandest stage, with Brooks being the notable standout with her rendition of “Hell No!” But while the cast is all game for the balancing act of light and dark, Bazawule and screenwriter Marcus Gardley are not. A distinct tonal imbalance hangs over everything, making it all feel like it's stuck in neutral. For a movie that belts its emotions for 140 minutes on a giant screen, you ought to feel something, anything . I don’t want to cop out and say this movie just doesn’t have “it,” but there’s no better way to describe it. The words “occasionally monotonous” are not what I predicted to use to describe this beforehand. Neither would I think Gardley would sand down Alice Walker’s novel even further than the 1985 film did, with Celie and Shug’s original passion for each other being reduced to little more than a slightly sexualized friendship. Bazawule does display an admirable amount of command over the entire production. His experience with Beyoncé's Black Is King is apparent, with the music and visuals popping off the screen. It’s an interesting middle ground between a film adaptation and a recorded stage production, sometimes feeling like several visual albums awkwardly stitched together to make a cohesive narrative. Dan Laustsen’s cinematography features heavenly lights beaming through every window, and Paul D. Austerberry’s sets are beautiful, yet artificial. The Color Purple has a giant heart that it loudly shares with the world, yet there always seems to be a gap in the translation. A puzzling transition here, a missed emotional beat there; it all adds up to something being a little less than the sum of its parts. Luckily, this epic journey ends on a superior note, both lyrically and visually. I walked away with a half-smile, which definitely counts for something. Warner Bros. Pictures will release The Color Purple in theaters nationwide on December 25th. More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen