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Ranking the Films of Bong Joon-ho March 6, 2025 By: Tyler Banark Bong Joon-Ho may have finally reached international acclaim with his Palme D’Or and Best Picture-winning masterpiece Parasite , but he’s been a maestro behind the camera for nearly a quarter century. Starting as a small-time indie filmmaker from his native South Korea, he quickly climbed to national stardom with 2003’s Memories of Murder . His work became noticed in the US, leading him to make the sci-fi action thriller Snowpiercer , and from there…the rest is history. With his much-anticipated and long-gestating follow-up, Mickey 17 , finally coming to theatres this weekend, there’s no better time than the present to look back at all of the movies that have got him to today. 7. Barking Dogs Never Bite (2000) Bong Joon-ho’s directorial debut is a dark comedy that offers glimpses of the style and themes he would later perfect. The film follows a struggling academic who takes drastic action against a barking dog in his apartment complex, leading to a chain of bizarre and darkly humorous events. While the film has wit and social satire moments, it lacks the finesse and depth of his later works. The pacing is uneven, and the protagonist is hard to root for, making it more of a curiosity for Bong completists rather than a must-watch. Still, it’s an intriguing early look at a filmmaker who would go on to redefine modern cinema. 6. Okja (2017) A visually ambitious and emotionally charged tale, Okja blends adventure, satire, and dystopian sci-fi to deliver a sharp critique of corporate greed and animal cruelty. The film follows a young girl’s journey to rescue her genetically modified super-pig from the clutches of a ruthless multinational corporation. While the emotional core is strong, and Bong’s world-building is compelling, the film suffers from jarring tonal shifts—swinging from heartfelt drama to absurdist comedy in a way that doesn’t always mesh. Jake Gyllenhaal’s over-the-top performance is particularly polarizing. 5. Mother (2009) A haunting psychological thriller, Mother is a deeply unsettling film that explores the lengths a mother will go to protect her son. When a simple-minded young man is accused of murder, his fiercely devoted mother embarks on a relentless quest to prove his innocence. As the story unfolds, the film morphs into a chilling meditation on obsession, morality, and the destructive power of love. Kim Hye-ja delivers one of the finest performances in Bong’s filmography, portraying a mother whose desperation leads her to make increasingly disturbing choices. The film’s slow-burn tension and tragic ending cement it as one of Bong’s most emotionally complex works. 4. The Host (2006) Bong’s take on the monster movie genre, The Host is a thrilling blend of horror, comedy, and political satire. The story revolves around a dysfunctional family trying to rescue their daughter after she is abducted by a mutated creature that emerges from the Han River. Unlike typical monster films, The Host focuses less on the creature itself and more on the government’s incompetence, media manipulation, and the struggles of ordinary people caught in the chaos. With thrilling action, a surprising amount of humor, and intense emotional beats, The Host is one of the most unique and entertaining creature features to come from South Korea. 3. Memories of Murder (2003) Widely regarded as one of the best crime thrillers ever, Memories of Murder is a deeply haunting and masterfully crafted film based on South Korea’s first serial murder case. The film follows two detectives—one a brash, small-town cop and the other a more methodical investigator from Seoul—as they try to solve a series of brutal killings. Bong expertly balances dark humor, procedural realism, and devastating human tragedy, highlighting the incompetence of the police and the frustration of chasing a seemingly unsolvable case. The film’s ambiguous ending lingers long after the credits roll, making it one of Bong’s most haunting works, with the final shot being one of the most creative choices he’s ever made as a filmmaker. 2. Snowpiercer (2013) Bong’s English-language debut is a high-concept, visually stunning sci-fi thriller that serves as a powerful allegory for class warfare. Set on a perpetually moving train that houses the remnants of humanity after a climate catastrophe, Snowpiercer follows a brutal revolution as the oppressed lower-class passengers fight their way to the front. The film’s world-building is meticulous, with each train car representing a different societal stratum. Chris Evans delivers a surprisingly raw performance, but Tilda Swinton’s grotesque, bureaucratic villain steals the show. 1. Parasite (2019) A flawless blend of social satire, black comedy, and psychological thriller, Parasite is Bong Joon-ho’s magnum opus. The film follows a poor family that cons its way into working for a wealthy household, only to uncover dark secrets lurking beneath the surface. With masterful pacing, sharp class commentary, and shocking twists, Parasite seamlessly shifts between genres, keeping audiences on edge until its devastating climax. Every frame is meticulously crafted, and every performance is pitch-perfect, especially Song Kang-ho and Choi Woo-shik as the desperate yet charismatic patriarch and son, respectively. Winning the Palme d’Or and four Academy Awards—including Best Picture— Parasite solidified Bong’s status as one of the best filmmakers working today. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . More Reviews Sinners April 15, 2025 By: Hunter Friesen Warfare April 9, 2025 By: Tyler Banark The Amateur April 8, 2025 By: Hunter Friesen The Ballad of Wallis Island April 7, 2025 By: Hunter Friesen Hunter Friesen

Explore a captivating collection of must-watch films on our curated list page. Lists MSPIFF 2025 Recap April 16, 2025 By: Hunter Friesen Cannes 2025 Lineup Predictions April 3, 2025 By: Hunter Friesen MSPIFF 2025 Preview April 1, 2025 By: Hunter Friesen Ranking the Films of Bong Joon-ho March 6, 2025 By: Tyler Banark 2022 Losers Button 2023 Losers Button 25 Most Anticipated Films of 2022 Button 25 Most Anticipated Films of 2025 Button A Brief History of Presidents' in Film Button Cannes 2022: 50 Films That Could Premiere Button Cannes 2023 Predictions - Part 2: Hollywood Makes a Splash Overseas Button Cannes 2023 Predictions - Part 4: The Irregulars and Up-and-Comers Button Cannes 2023 Recap Button Cannes 2024 Predictions - Part 3: The Loyalists Button Cannes 2025 Lineup Predictions Button MSPIFF 2023 Preview Button MSPIFF 2024 Preview Button MSPIFF 2025 Recap Button Omaha Film Festival 2024 Recap Button Ranking the Films of Bong Joon-ho Button Ranking the Films of James Cameron Button Ranking the Mad Max Franchise Button Sundance 2023 Preview Button TIFF23 Preview Button TIFF24 Preview Button TIFF24: Tyler's Time at the Festival Button The Best Hollywood Screenwriters of All-Time Button The Biggest Flops in TIFF History Button The Greatest Irish Filmmakers Button The Worst Cannes Premieres Ever Button Top 10 Films of 2018 Button Top 10 Films of 2020 Button Top 10 Films of 2022 Button Top 10 Films of 2023 (So-Far) Button Top 10 Films of 2024 (So Far) Button Top 10 Oliver Stone Films Button Top 10 Steven Spielberg Films Button Twin Cities Film Fest 2023 Preview Button Twin Cities Film Fest 2024 Preview Button 2022 Winners Button 2023 Winners Button 25 Most Anticipated Films of 2024 Button 36 Most Anticipated Films of 2023 Button Cannes 2021: All The Films That Could Premiere Button Cannes 2023 Predictions - Part 1: The Festival Masters Button Cannes 2023 Predictions - Part 3: The Festival Mainstays Button Cannes 2023 Preview Button Cannes 2024 Predictions - Part 1: The Question Marks Button Cannes 2024 Predictions- Part 2: The Regulars Button Every Spider-Man Movie Ranked Button MSPIFF 2023 Recap Button MSPIFF 2025 Preview Button Movies That Made More Money Than You Think Button Ranking the Films of Adam McKay Button Ranking the Films of Christopher Nolan Button Ranking the Films of Michael Haneke Button Ranking the Planet of the Apes Franchise Button Sundance 2023 Recap Button TIFF23 Recap Button TIFF24 Recap Button The Best Cinematographers Working Today And Where To Find Them Next Button The Best Military Movies for Veterans Day Button The Great Musical War of 2021 Button The Most Successful Directors at Cannes Button Top 10 DreamWorks Animated Movies Button Top 10 Films of 2019 Button Top 10 Films of 2021 Button Top 10 Films of 2023 Button Top 10 Films of 2024 Button Top 10 Martin Scorsese Films Button Top 10 Pixar Films Button Twin Cities Film Fest 2022 Preview Button Twin Cities Film Fest 2023 Recap Button Tyler's Favorite Musicals Button

Cannes 2025 Lineup Predictions April 3, 2025 By: Hunter Friesen Film festivals are a lot like whack-a-mole. When one ends, the anticipation for the next begins. Sundance always kicks things off in January high up in the mountains of Utah, followed then by Berlin Film Festival in February, and SXSW in March. Now all eyes turn to the most prestigious festival of them all: Cannes. Cannes' influence on the awards season has grown exponentially over the past decade. Their Official Competition has fielded two best picture winners in Parasite and Anora ; as well as nominees like Triangle of Sadness , Anatomy of a Fall , The Zone of Interest , The Substance , and Emilia Pérez . This expansion has gone hand-in-hand with the international growth of the Academy, with these new members being more accepting of the highbrow work that Cannes has always prided itself on. With that kind of increased attention comes a greater desire for filmmakers and studios to birth their new works on the Croisette. Delegate General Thierry Fremaux will have to navigate a minefield to select the twenty-ish films that comprise this year's Official Competition. There will be no shortage of mainstays looking to get their customary slot, as well as several newcomers looking to make a splash on the world's biggest stage. The festival will announce its full lineup on April 10. Until then, I'll take a deep dive into the field and predict which ones are likely to be given the honor of climbing the coveted red steps this year. THE HEADLINERS Alpha Now that Coralie Fargeat just stormed Cannes with The Substance , the ball is back in Titane writer/director Julia Ducournau's court to unleash a new tale of biological horror. Neon is once again backing her, with Tahar Rahim and Golshifteh Farahani starring. The rumored plot follows a teenager who is mistreated by classmates once they believe she carries an infectious disease. As with Titane and Raw , that information will likely be just the tip of the iceberg. Die, My Love Not many filmmakers have a stronger bond with Cannes than Lynne Ramsay. The Scottish-born director has debuted each of her four feature films at the festival, as well as her early shorts. She'll be breaking her eight-year absence with a story about a mother struggling to keep her sanity. Jennifer Lawrence will star as the mother, with Robert Pattinson as her partner. Father, Mother, Sister, Brother When thinking of established American directors to make Cannes their home, you’d tend to think of the Coens and Wes Anderson. But it’s actually Jim Jarmusch that deserves to be at (or at least near) the top of that list as he’s premiered eleven feature films on the Croisette since 1984. His highest point was 2005’s Broken Flowers , which took home the Grand Prix. He began shooting his new film in the fall and late winter of 2023, recruiting the likes of Cate Blanchett, Adam Driver, Charlotte Rampling, and Vicky Krieps. Highest 2 Lowest Spike Lee is already 0/1 on English-language remakes of famous Asian films, his version of Oldboy was so terrible that 99% of filmmakers would steer very clear of that territory ever again. But Lee isn't like anybody else, and he's enlisted his most trusted accomplice, Denzel Washington, to pull off this reimagining of Akira Kurosawa's 1963 crime thriller. A24 and Apple TV+ are backing the project, with all parties interested in making a big splash before this hits theaters in the summer. No Other Choice 2022's Decision to Leave was one of director Park Chan-wook's most successful films, nabbing him the coveted Best Director prize at the festival. He'll likely return this year for his fifth appearance in competition with a Korean adaptation of the 1997 horror thriller novel The Ax . Lee Byung-hun will star as an unemployed man who, in an act of desperation, starts to kill all the other applicants for the new job he needs. Sentimental Value The Norwegian band that brought you 2021's The Worst Person in the World is back together! Joachim Trier is in the director's chair, Eskil Vogt is in the writer's room with him, and Renate Reinsve is in front of the camera. Brought into the fold is Stellen Skarsgård as Reinsve's film director father, who offers her the lead role in his next film. Neon preemptively acquired North American rights to the project, signaling their hunger to nab their sixth consecutive Palme d'Or. The Phoenician Scheme Cannes thrives on star power to fill its historic red carpet, and Wes Anderson always has enough to go around. His newest cast will feature no less than Tom Hanks, Scarlett Johansson, Benedict Cumberbatch, Bryan Cranston, Bill Murray, Michael Cera, Riz Ahmed, and Benicio del Toro in a comedic espionage thriller. Focus Features just dated the film for a theatrical release beginning on May 30, all but confirming a return to the Croisette. The Secret Agent The Brazilian director Kleber Mendonça Filho has quietly delivered some of the best-reviewed titles in each of the years he's been at Cannes. His last appearance in the Official Competition was in 2019 with Bacurau , which tied for the Jury Prize with Les Misérables . His latest project will be set in 1977, following a man who is on the run from a violent past. Walter Salles' I'm Still Here just put Brazil on the map at Venice last year with a similar story, will Filho do the same at Cannes this year? The Young Mother's Home If I were a gambling man, I would bet my entire life savings on the fact that the Belgian brothers Jean-Pierre and Luc Dardenne will premiere their latest film at Cannes. The duo have debuted their previous ten films on the Croisette dating back to 1996, with 1999’s Rosetta and 2005’s L’enfant both winning the Palme d’Or. They’ve also won the Best Screenplay ( Lorna’s Silence ) and Best Director awards ( Young Ahmed ), as well as the Prize of the Ecumenical Jury on three separate occasions. Their newest feature will tell the story of five young mothers striving for a better life for themselves and their children. Production began last fall, giving the brothers plenty of time to prepare for a record-breaking Palme d’Or run. THE LOYALISTS An Affair Arnaud Desplechin has made nearly a dozen appearances at the festival between the main competition and the sidebars. While his last few films have been disappointments, last year's Filmlovers! was met with great acclaim, renewing his standing invitation. He's got François Civil starring as a virtuoso pianist living an impossible love story. Eagles of the Republic Like much of the Western world, Cannes still remains slow to appreciate projects that originate from Africa. The Egyptian-born Tarik Saleh won the Best Screenplay prize at the 2022 edition of the festival with Cairo Conspiracy , the second film in his Cairo trilogy that will be concluded with this year's Eagles of the Republic . It follows an actor who is pressured to star in a film commissioned by the highest authorities. Nouvelle Vague While we’ll have to wait almost another two decades for Richard Linklater’s ambitious adaptation of Merrily We Roll Along , the famed Texan filmmaker has something up his sleeve that will be irresistible to the Cannes brass. He'll be making his French-language debut with his retelling of the production of Jean-Luc Godard's Breathless , complete with appearances by all the famous French New Wave figures that aided in solidifying the status that Cannes has within the industry. It’s been twenty years since Linklater last competed on the Riviera (2005’s Fast Food Nation ), so it's time for him to be brought back into the fold. Rosebush Pruning Brazilian director Karim Aïnouz has appeared in the competition lineup for the previous two editions of the festival with Firebrand and Motel Destino . The relatively muted reception to those films follows a similar trajectory throughout the rest of his Cannes career, placing a little bit of doubt on his usual standing invitation. But he's assembled his starriest cast yet in his new film, enlisting Elle Fanning, Pamela Anderson, Callum Turner, Tracy Letts, Jamie Bell, and Riley Keough in a story about a family all suffering with genetic illnesses on their estate. If this is Aïnouz's last chance to make an impression, he's at least taking the no guts, no glory approach. Silent Friend Hungarian writer/director Ildikó Enyedi did herself no favors by making her Official Competition debut with 2021's The Story of My Wife , her weakest film. However, the casting of the legendary Tony Leung in the lead role of her new project could more than well make up for that fault. The interesting concept also helps, with Leung playing an old tree observing life as he stands in the middle of a botanical garden. The Disappearance of Josef Mengele The Russian-born Kirill Serebrennikov has debuted his previous four features at Cannes, most recently last year with his English-language debut Limonov: The Ballad of Eddie . He shot his newest film before that one premiered, a retelling of notorious Nazi doctor Josef Mengele during his fugitive years in South America. August Diehl, everyone's favorite actor for playing Nazis, will play the doctor. The Mastermind Showing Up received the most attention and praise of writer/director Kelly Reichardt's career when it premiered on the final day of the 2022 edition of the festival. It only makes sense for all parties to continue the relationship, especially with her new project being a crime thriller starring Josh O'Connor as an art thief. Reichardt has often been the unsung hero of independent cinema, so it's about time she received some laurels on a big stage. Vie Privée Writer/director Rebecca Zlotowski has been a staple of the sidebars, competing in Critics’ Week, Un Certain Regard, and Directors’ Fortnight. Will this be the time she finally graduates to the main competition? She's got none other than Jodie Foster leading her next film as a psychiatrist who mounts a private investigation after she believes that one of her patients has been murdered. Virginie Efira and Mathieu Amalric are also part of the cast. Yes! Success has followed Nadav Lapid wherever he goes as of late. He won the Golden Bear at Berlin for Synonyms in 2019, and then the Jury Prize at Cannes for Ahed's Knee in 2021. While it's definitely a coincidence, Lapid seems to be taking inspiration from Jim Carrey's 2008 Yes Man for his next feature, which will also be about a man who can only answer "yes" to every question asked to him. The Israeli Film Fund gave it backing last year, and it was pitched at the Cannes Investor Circle, so Lapid has always been interacting on the Croisette with this project. THE UP-AND-COMERS / QUESTION MARKS Eddington After three much-discussed features with A24, Ari Aster has shed his newcomer status and become one of the leading figures of American independent cinema. His new film is certainly a step up, with a cast comprised of Joaquin Phoenix, Emma Stone, Pedro Pascal, and Austin Butler. If any audience is going to be receptive to Aster's craziness on the first go-around, it would be Cannes. Miroirs No. 3 Along with Hong Sang-soo, German writer/director Christian Petzold is one of the most consistent headlining figures of the Berlin Film Festival. However, he was notably absent from this year's lineup, likely due to the time constraint caused by his newest film beginning production in the fall. The question is now if he'll wait a whole year to finally claim the elusive Golden Bear, or pivot to another major European festival. Cannes would be happy to have Petzold's, especially since it marks another reteaming of the director with the luminous Paula Beer. Orphan László Nemes began his career in 2015 at the top of the mountain. His film Son of Saul won the Grand Jury Prize at Cannes and then the Oscar for Best Foreign Language Film (now named Best International Feature). He debuted his follow-up, Sunset , in 2018 at Venice to less acclaim and attention. He'll be staying in his native Hungary for his third feature, centering on a young boy who must confront the truth about his father after he turns out to be alive after being presumed dead. Nemes' usual collaborators co-writer Clara Royer and cinematographer Mátyás Erdely are back as well. Resurrection Chinese mainland director Bi Gan was the talk of the town in 2018 when he debuted Long Day's Journey Into Night , complete with the one-hour-long single take, as part of the Un Certain Regard section. Production on his next project, a sci-fi detective story, has been in production for quite some time, supposedly being finished late last year. Multiple producers from all over the world have boarded the project over the past few months, signaling a lot of confidence in what Gan has created. Stitches Angelina Jolie looks to be staying in Paris for one more film. This time she'll be playing an American filmmaker arriving to cover the famed Fashion Week, facing challenges and self-discovery. Cannes veteran Alice Winocour wrote and directed the feature, with her previous effort being the well-reviewed Revoir Paris in 2022. The History of Sound Reports were published last summer that director Oliver Hermanus' new film wouldn't be ready in time for the fall festivals. It would instead use the extra time it had bought to fine-tune and wait for a potential premiere at Cannes. With rising superstars Josh O'Connor and Paul Mescal headlining, that bet may pay off quite well. Even if it doesn't appear at Cannes, expect it to be a heavy hitter at Venice, where Hermanus took Living back in 2022. The Love That Remains Hlynur Pálmason's Godland made quite the splash in the Un Certain Regard section in 2022, eventually being shortlisted as Iceland's submission for the Best International Feature Oscar. He shot his new film under-the-radar in Iceland last year, which will tell the story of a family as the parents navigate a separation amidst the changing seasons. The film has already been shopped around at the Berlin Film Market for worldwide distribution, signaling that it's ready to go. The big question that remains is if he'll graduate to the Official Competition, or remain in the sidebars. The Wave Cannes got more than they bargained for with Emilia Pérez last year. Would they be willing to program another Spanish-language musical so quickly, this time from renowned filmmaker Sebastián Lelio? His story takes place in his native Chile, centering on a student who gets involved in a feminist movement at her university. Cannes remains one of the few festivals Lelio hasn't made an impression at (his 2009 film Navidad premiered in the Directors' Fortnight section to tepid reviews), giving him all the more reason to represent South American cinema on the world's biggest stage. The Way of the Wind There’s no way to figure out when a Terrence Malick film will be released. All you can do is wait and pray. Malick premiered his last movie, A Hidden Life , at Cannes in 2019, and he also won the Palme d’Or for his magnum opus The Tree Of Life in 2011. He once again has saddled himself with another weighty topic, as The Way Of The Wind will tell several episodes of the life of Jesus Christ, led by a cast of Mark Rylance, Ben Kingsley, Joseph Fiennes, and Matthias Schoenaerts. Several of Malick’s films have been delayed for years as he endlessly tinkers in the editing room, so there’s no telling when this film will be seen. More Reviews Sinners April 15, 2025 By: Hunter Friesen Warfare April 9, 2025 By: Tyler Banark The Amateur April 8, 2025 By: Hunter Friesen The Ballad of Wallis Island April 7, 2025 By: Hunter Friesen Hunter Friesen

MSPIFF 2025 Preview April 1, 2025 By: Hunter Friesen Now in its forty-fourth year (which ranks it among some of the oldest in North America), the Minneapolis-St. Paul International Film Festival once again features a lineup featuring over 200 films from around the world. Abbredivated as MSPIFF and pronounced "EM-spiff," the festival will host the majority of its screenings at its home base of The Main Cinema, along with a smattering of events across the Capri Theater, Landmark Center, and Edina Mann Theatre. Many of the marquee titles making their Minnesota premieres have already traveled the world as part of the other festival lineups. The Opening Night Presentation will be the documentary Free Leonard Peltier , which recently premiered at Sundance. Director Jesse Short Bull and Producer Jhane Meyers will be in attendance for the screening. Another Sundance title that will be making an appearance is The Wedding Banquet , a queer remake of the 1993 Ang Lee film. Fire Island director Andrew Ahn directed and co-wrote the feature, which boasts a cast of Bowen Yang, Lily Gladstone, Kelly Marie Tran, Han Gi-Chan, Joan Chen, and Youn Yuh-jung. A24 will be bringing their Sundance hit The Legend of Ochi , as well as the Tim Robinson-Paul Rudd two-hander cringe comedy, Friendship . Just in time for the announcement of this year's Cannes Film Festival is a group of films from last year's lineup. Portuguese filmmaker Miguel Gomes took home the Best Director prize for Grand Tour , a Southeast Asian adventure I moderately enjoyed. I missed Jia Zhangke's Caught by the Tides at Cannes and TIFF last year, so I'm happy to see it as part of the MSPIFF lineup. I've only seen Ash Is Purest White from Zhangke, and I've been interested in diving deeper. I'll also be checking out Misericordia , which received rapturous reviews out of the Cannes Premiere section and got a decent amount of nominations at the most recent César Awards. Other titles that interest me include When Fall is Coming by François Ozon, By the Stream by Hong Sang-soo (a festival favorite), and Who by Fire by Philippe Lesage. Speaking of Ang Lee, the famed director will be here to receive the festival's Milgrom Award. As part of his tribute, Lee will give an in-person conversation about his career, which includes accolades such as two Academy Awards for Best Direction and the DGA Lifetime Achievement Award. He'll also introduce a special screening for his film Brokeback Mountain , which celebrates its 20th anniversary this year. Also screening on that day will be one of Lee's most celebrated films: Crouching Tiger, Hidden Dragon . I’ll be publishing full reviews for select titles, with others being condensed for my festival wrap-up article. You can take a look at the full slate of festival titles at the MSP Film Society website . More Reviews Sinners April 15, 2025 By: Hunter Friesen Warfare April 9, 2025 By: Tyler Banark The Amateur April 8, 2025 By: Hunter Friesen The Ballad of Wallis Island April 7, 2025 By: Hunter Friesen Hunter Friesen

25 Most Anticipated Films of 2025 January 27, 2025 By: Hunter Friesen The book of 2024 has been closed, and the first few pages for 2025 have already been written. But there’s still so much blank space left to discover, and lots of potential storylines to fill it. For the first time in half a decade, there isn’t an industry-altering pandemic or strike to disrupt the normal flow of business. With that comes a vast amount of optimism. Before we get too ahead of ourselves, let's lay down some ground rules. First, there must be some sort of verifiable evidence that a film is going to be released this year. It either must be in production, post-production, completed, or even mentioned in a reputable article that it’s on its way. I also won’t count any films that I’ve already seen, such as April and Eden , both of which I caught at the Toronto International Film Festival back in September. But enough of all that, let’s commence the fun. Here are twenty-five of my most anticipated movies of 2025! Honorable Mentions A Big Bold Beautiful Journey (dir. Kogonada) Árva (dir. László Nemes) Eddington (dir. Ari Aster) F1 (dir. Joseph Kosinski) Jupiter (dir. Andrey Zvyagintsev) Mother Brother Sister Mother (dir. Jim Jarmusch) The Bride (dir. Maggie Gyllenhaal) The Drama (dir. Kristofer Borgli) The Rivals of the Amziah King (dir. Andrew Patterson) The Silent Friend (dir. Ildiko Enyedi) 25. The Smashing Machine A24 has already excelled at the wrestling/fighting genre once with The Iron Claw , so it stands to reason that they should be able to do it again with The Smashing Machine . Dwayne Johnson has finally found a quality filmmaker in the form of Benny Safdie, flying solo for the first time since his split with Josh (also at A24 this year with Marty Supreme ). The sky is the limit for what the director and star can achieve with this endeavor, with Emily Blunt helping out in her first post- Oppenheimer role. 24. Hand of Dante With a cast composed of Oscar Isaac, Jason Momoa, Gerard Butler, Gal Gadot, Al Pacino, John Malkovich, and Martin Scorsese, Julian Schnabel’s crime drama will surely grab headlines wherever it debuts. Given that the former painter-turned-director has mostly had his sights set on stories within the artistic world, the antithetical nature of this project pleasantly raises my eyebrow. 23. Alpha Now that Coralie Fargeat just stormed Cannes with The Substance , the ball is back in Titane writer/director Julia Ducournau's court to unleash a tale of biological horror. Neon is once again backing her, with Tahar Rahim and Golshifteh Farahani starring. The rumored plot follows a teenager who is mistreated by classmates once they believe she carries an infectious disease. As with Titane and Raw , that information will likely be just the tip of the iceberg. 22. Die, My Love It's been seven years since Lynne Ramsay last graced the silver screen with You Were Never Really Here . That length of absence isn't unusual for her, which makes the prospect of potentially having two new films from her in 2025 all the more tantalizing. Die, My Love stars Jennifer Lawrence as a mother struggling to keep her sanity, and Polaris has real-life married couple Joaquin Phoenix and Rooney Mara in a story about an ice photographer coming face-to-face with the devil. Given that the former project recently released images and specific plot details, it stands to reason that it'll be due this year and the latter will stay on the shelf for just a bit longer. 21. Mother Mary Working across several genres and production scales, writer/director David Lowery has yet to miss. His latest will follow a relationship between a fictional musician (Anne Hathaway) and a famous fashion designer (Micaela Coel). Described as an "epic pop melodrama" with original songs by Jack Antonoff and Charli XCX, this sounds like the project that could bring Hathaway back to her peak and harness the untapped potential Coel illustrated in I May Destroy You . 20. Caught Stealing As much as the internet didn't want it to be true, The Whale was a massive success for director Darren Aronofsky. Now he's out of that drabby apartment living room and into the underbelly of New York City for his new film. Austin Butler is the man who must navigate those streets after he gets himself mixed up with a whole host of seedy characters. 19. Hope South Korean auteur Na Hong-jin hasn't been seen since he unleashed the horrifying The Wailing back in 2016. He's supposedly back with the first part of a new trilogy about a small village being invaded by aliens. Alicia Vikander and Michael Fassbender are a piece of this still secret puzzle that supposedly has a budget that could be the highest in the country's history. 18. Highest 2 Lowest Spike Lee is already 0/1 on English-language remakes of famous Asian films, his version of Oldboy was so terrible that 99% of filmmakers would steer very clear of that territory ever again. But Lee isn't like anybody else, and he's enlisted his most trusted accomplice, Denzel Washington, to pull off this remake of Akira Kurosawa's 1963 crime thriller. A24 and Apple TV+ are backing the project, a partnership that worked well when Joel Coen made his remake of The Tragedy of Macbeth in 2021. 17. Young Mother The brothers of Jean-Pierre and Luc Dardenne have been one of Belgium's finest exports for the past forty years. Their trademarked slices of social realism have netted them two Palme d'Ors and several other prizes at their beloved Cannes Film Festival. They'll likely be back again on the French Riviera with a story about five migrant mothers who must band together to build a better life for their children. 16. Sentimental Value The Norwegian band that brought you 2021's The Worst Person in the World is back together! Joachim Trier is in the director's chair, Eskil Vogt is in the writer's room with him, and Renate Reinsve is in front of the camera. Brought into the fold is Stellen Skarsgård as Reinsve's film director father, who offers her the lead role in his next film. Neon preemptively acquired North American rights to the project, signaling confidence in its worldwide prospects. 15. Frankenstein It makes sense that Guillermo del Toro, the filmmaker most in love with monsters, is finally getting the chance to adapt the story of the most famous one of all. He's recruited an A-list cast (Oscar Isaac as the mad doctor, Jacob Elordi as the monster) and crew to back up his vision, which Netflix is sparing no expense to bring to life. Expect this to be their big Oscar player going into the next awards season. 14. Marty Supreme Even with only one Safdie brother at the helm, A24 had enough confidence in this project to make it their biggest production to date (budget of $70-90 million) and give it a prime Christmas day release. Star Timothée Chalamet has dominated the holidays over the past two years with Wonka and A Complete Unknown , respectively. He'll have a stacked cast and an exciting writer/director to back him up for the threepeat. 13. Havoc Writer/director Gareth Evans is the mastermind behind the two The Raid films, both of which have a legitimate claim to be the best action movie of the past decade. Shot in 2021 and supposedly set to come this year, his latest action feature stars Tom Hardy as a “bruised detective who must fight his way through the criminal underworld to rescue a politician's estranged son, unraveling a deep web of corruption and conspiracy that ensnares his entire city.” Evans’ latest film was 2018’s Apostle from Netflix, and he’ll team up with the streamer again for distribution. 12. After the Hunt As cinema's premier workaholic, Luca Guadagnino doesn't know when to stop. Julia Roberts will lead first-time writer Nora Garrett's fiery script as a college professor who must handle an accusation made by one of her students (Ayo Edebiri) against a colleague (Andrew Garfield). Expect plenty of twists and turns in this timely tale of power. 11. Wake Up Dead Man With both Knives Out and Glass Onion premiering on the first Saturday of the Toronto International Film Festival, we can confidently pencil in September 06 as the date that Rian Johnson will unveil the conclusion to his whodunnit trilogy. He outdid himself with the sequel, so we're in for something truly special as he goes for broke with a stacked supporting cast around Daniel Craig. 10. Nouvelle Vague / Blue Moon While several international filmmakers have transferred to the English language, few Westerners trek in the opposite direction. Richard Linklater will be doing just that with his French-language production centered around the creation of Jean-Luc Godard's Breathless , one of the most influential films ever made. Linklater will be staying in the performing art world with his other film in the pipeline, which tells the story of how Lorenz Hart created and opened the famous play "Oklahoma!" Frequent collaborator Ethan Hawke will play Hart, with Andrew Scott as his famous creative partner Oscar Hammerstein II. 9. The Ballad of a Small Player For someone who seemed to appear out of nowhere with All Quiet on the Western Front and Conclave , director Edward Berger has quickly strung together two of the finest films of the past few years. He's returning to Netflix to retain that hot streak, casting Colin Farrell, one of the hottest (both literally and figuratively) actors working today. Farrell will play a high-stakes gambler who must flee to Macau after he gets in over his head. With Conclave editor Nick Emerson and All Quiet on the Western Front cinematographer James Friend as part of the crew, the cards are looking well stacked for this project. 8. Jay Kelly True fans of Adam Sandler know that his most impressive performance to date was not in Punch-Drunk Love or Uncut Gems but in Noah Baumbach's 2017 film The Meyerowitz Stories (New and Selected) . The actor and director have reunited for a "funny and emotional coming-of-age story about adults." Emily Mortimer co-wrote the screenplay with Baumbach and appears in the cast, which boasts no less than George Clooney, Laura Dern, Jim Broadbent, Billy Crudup, Greta Gerwig, and Isla Fisher. 7. Untitled Kathyrn Bigelow White House Thriller It's been eight years since Kathryn Bigelow made a feature film, the financial failure of Detroit being the main cause. Before that, she was the preeminent filmmaker for dissecting American foreign policy, netting acclaim and awards for The Hurt Locker and Zero Dark Thirty . Netflix has brought her back to the spotlight with a real-time thriller about how the White House responds to a ballistic missile threat. Jackie writer Noah Oppenheim wrote the script, with Idris Elba, Rebecca Ferguson, Jason Clarke, and Greta Lee lining up the cast list. 6. Bugonia Emma Stone and Yorgos Lanthimos have forged one of the most prosperous actor-director pairings with their three feature films of The Favourite , Poor Things , and Kinds of Kindness . As expected, they're reuniting again, this time bringing previous Lanthimos collaborators Jesse Plemons and Alicia Silverstone back into the fold for an English-language adaptation of the popular South Korean film Save the Green Planet . Succession and The Menu writer Will Tracy penned the script, which will combine well with Lanthimos’ bitingly deadpan satirism. 5. Untitled Paul Thomas Anderson Film With a rumored budget of somewhere between $140 and $175 million, Paul Thomas Anderson's latest venture will drastically be the biggest tableau he's worked on. But those large sacks of money haven't prevented PTA from shrouding himself in his trademark levels of secrecy. All we know is that Leonardo DiCaprio leads a starry ensemble. Everything else, including the title to the premise, is a complete mystery. You know you're a master filmmaker when you can give your audience nothing and still have them lining up around the block months in advance. 4. Black Bag It wouldn't be a normal year in the movie world without another Steven Soderbergh offering. 2025 is an extra special year in that we get a double serving, the first being the theatrical release of Presence , which debuted back at the 2024 Sundance Film Festival. The latter entry will be an espionage thriller starring two of my favorite actors (Michael Fassbender and Cate Blanchett) as a married spy couple who must figure out if the other has double-crossed them. It'll mark the third collaboration between Soderbergh and screenwriter David Koepp, who previously wrote Kimi and Presence . 3. No Other Choice 2022's Decision to Leave was one of director Park Chan-wook's most commercially successful films. It was also a critical success, nabbing him the coveted Best Director prize at the Cannes Film Festival. He'll likely return to that festival this year for his fifth appearance in competition with a Korean adaptation of the 1997 horror thriller novel The Ax . Lee Byung-hun will star as an unemployed man who, in an act of desperation, starts to kill all the other applicants for the new job he needs. 2. The Way of the Wind Now making its sixth consecutive appearance on this list, I've run out of different ways to describe my excitement for this film. They shot this movie in 2019, for Christ’s sake! I'm just going to get back to praying that my patience will be rewarded 1. The Phoenician Scheme Wes Anderson's latest production was initially announced as a smaller-scale dark espionage tale centered on a father-daughter relationship. But it seems the whimsical auteur couldn't help himself, with the bulk of his A-list troupe of actors being revealed as part of the full cast once filming finished. With T he French Dispatch being my favorite film ever, The Grand Budapest Hotel not far behind, and Asteroid City being one of the best films of 2023, I'm obviously a fan of Anderson working with a large ensemble. Whatever the size and scale will ultimately be, I'll be seated with a beaming smile. More Reviews Sinners April 15, 2025 By: Hunter Friesen Warfare April 9, 2025 By: Tyler Banark The Amateur April 8, 2025 By: Hunter Friesen The Ballad of Wallis Island April 7, 2025 By: Hunter Friesen Hunter Friesen

A Minecraft Movie April 2, 2025 By: Button Hunter Friesen Every generation needs its bloated big-screen extravaganzas that box the human cast within mammoth green screen walls that will eventually become uncanny CGI environments. Late Millennials and early Gen Z had Spy Kids 3-D: Game Over and The Adventures of Sharkboy and Lavagirl . The latter generation received the tail-end of the 3D craze with Alice in Wonderland , Avatar , and all those Disney live-action remakes. Now it’s time for Generation Alpha to get their dose with A Minecraft Movie . Based on what list you consult, Minecraft is the highest-selling video game of all time (it’s hard to define the dozens of versions of Tetris and decide if they should be counted together). Released in 2011 by Mojang Studios, the game is a 3D sandbox-style made of procedurally generated blocks. There are no goals, missions, or objectives, just a virtually infinite space to cater to any “What if” question that pops into your head. I intermittently played the game for a few years when it first came out and loved its casual and inviting nature. There’s a great deal of fulfillment when you are the master of your own destiny. Unfortunately, that level of full-fledged freedom cannot be replicated on the silver screen. There must be story beats to follow, characters to root for, and trinkets to market. So, the six credited screenwriters have come up with the usual “band of lonely misfits find themselves in a strange land and discover the power of family” storyline. Hey, it worked for The Goonies and the Guardians of the Galaxy franchise, so why mess with a good formula? Things start in Idaho, which gets the kind of glowing endorsement one would usually expect from a Hollywood blockbuster. In the small potato chip-fueled town, we find the recently orphaned brother-sister duo Henry (Sebastian Hansen) and Natalie (Emma Myers), washed-up arcade game champion Garrett Garrison (Jason Momoa), and side hustle extraordinaire Dawn (Danielle Brooks). Henry is your typical misunderstood gifted kid, with Natalie being the older sibling who had to grow up too fast and be the adult in this situation (just don’t ask how she was able to buy a house when she looks as if she just graduated high school). This perfunctory opening act is just to set the table and let us know that everyone is down on their luck and in need of a change of scenery. That comes both literally and figuratively when they all go through a portal into the Overworld, the setting for the video game. In this cube-based world is Steve (Jack Black), who left the real world behind years ago and has been thriving off his creativity ever since. It’s hard to determine if the special effects are successful or not. On one hand, the replication of the video game is pretty spot-on. On the other hand, seeing a semi-realistic rendering of animated characters and landscapes on an IMAX screen is inherently offputting, kind of like all those AI-generated images of characters from The Simpsons as real people. The live-action aspect was a flawed idea from the beginning, trapping the actors into black box theater style of performances that certainly didn’t suit them. Black makes it out okay, his lovably braggadocious swagger helping him accomplish his sole task of explaining every facet of this world in the most juvenile way possible. You get as much mileage here out of Momoa as you did with his Aquaman films, of which I was no fan. Like most of the leads in the Disney live-action films, the kids have decent faces for reactions, but not any skills when it comes to delivering lines. There’s some semblance of a plot involving a sky beam and the world ending, but I didn’t care enough to remember. Children and more hardcore players of the game will be able to put it all up on a whiteboard for you, highlighting why that random pig was wearing a crown and the importance of that random blink-and-you’ll-miss-it background actor. The promotional material blatantly tells everyone to turn off their brains and just enjoy the ride, so you might as well just do that. More Reviews Sinners April 15, 2025 By: Hunter Friesen Warfare April 9, 2025 By: Tyler Banark The Amateur April 8, 2025 By: Hunter Friesen The Ballad of Wallis Island April 7, 2025 By: Hunter Friesen Hunter Friesen

Friendship September 14, 2024 By: Button Tyler Banark Friendship had its World Premiere at the 2024 Toronto International Film Festival. A24 will release it in theaters on May 09, 2025. Cringe comedy has become a new form that’s slowly been on the rise recently. The situations we see characters get themselves in and how awkwardly they handle them is an odd way to make audiences laugh. Whether it’s watching a guy go on a dating show only for the house’s zipline or seeing someone make obscene comments during a late-night haunted house tour, SNL alum Tim Robinson has found numerous approaches to making us squirm. He’s been behind the rise of this comedic style via his Netflix variety series I Think You Should Leave . His newest film, Friendship, breathes life into his technique and offers substance to his otherwise dry comedy palette. Making an out-of-place addition to this year’s Midnight Madness lineup at the Toronto International Film Festival, Friendship also boasts one of the most irresistible men in Hollywood in Paul Rudd. Robinson and he play neighbors who find themselves in camaraderie and playing mind games with each other in a plot format Robinson knows all too well. When Austin (Rudd) starts ghosting Craig (Robinson) to hang out with his usual friends, Craig goes to great lengths to fix their relationship, even if it involves him getting into inappropriate positions. Some of the incidents we see Austin and Craig get into often involve troubling circumstances (trespassing, assault). Still, it’s not until they start spending time away from each other when things escalate. Rudd and Robinson play off each other well when these events happen in the movie, and their comedic styles blend surprisingly to a tee. Two factors go into making cringe comedy: the writing and delivery. While this may sound like a no-brainer for a comedy, let alone any movie, it’s vital to this specific style. Some of his line deliveries play a part in it, as some can be dumb, but he manages to make it work. There’s a moment where Craig’s trying to intimidate Austin’s friends and says they shouldn’t mess with him because he recently bought a van. This threat shouldn’t work, yet Robinson makes it, and the response is an uproarous laughter. Rudd helps him out sometimes, mainly just as a setup to a punchline. The best instance is when the two are exploring a sewer and trying to climb over a wall. Rudd clears the wall, but Robinson struggles, and seeing him struggle is where the joke lands. On one occasion, Rudd does make the joke himself, and it’s when he and his friend group start singing My Boo by Ghost Town DJs. It might simply pose as a random needle drop, but if the boot fits, wear it. Occasionally in Friendship , there is the zany humor that writer-director Andrew DeYoung’s script samples. Craig has a wife Tami and son Steven played by Kate Mara and Jack Dylan Grazer, respectively. There’s a moment in the opening minutes where the three have an interaction with each other that’s met with many laughs, and the three actors do an excellent job of executing it. Grazer and Robinson have more experience in comedy than Mara, but she still helps out in the moment as the joke catches audiences by surprise. On the contrary, some of the humor outside of the cringeworthy jokes isn’t as outstanding. The movie often showcases moments of Craig experiencing a psychedelic trip and tries to get a laugh out of audiences through those moments. If this movie had come out in the 90s, these choices likely would’ve been seen as genius but unfortunately, do not and drag Friendship down. With Friendship , Robinson makes his film debut as a leading man and brings his comedic chops to the forefront. While it translates better on the big screen than as a streaming show, there’s still the looming factor that cringe comedy won’t be for everyone. Regardless, Friendship sees Robinson make a big leap in his career and has an excellent team to work with on it. It might get some viewers to explore more of Robinson and make I Think You Should Leave an even bigger show, but viewers who weren’t too amused by this won’t have their lives changed. As long as viewers are hooting and hollering, it works. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . More Reviews Warfare April 9, 2025 By: Tyler Banark The Amateur April 8, 2025 By: Hunter Friesen A Minecraft Movie April 2, 2025 By: Hunter Friesen The Ballad of Wallis Island April 7, 2025 By: Hunter Friesen Tyler Banark

The Day The Earth Blew Up March 14, 2025 By: Button Tyler Banark 2025 looks to be the year classic animated franchises bring new substance to their material in a fitting fashion. In January, Wallace and Gromit returned with Wallace & Gromit: Vengeance Most Fowl , a well-done legacy sequel to the duo’s most iconic Oscar-winning short The Wrong Trousers . Now, Warner Bros. (and the fine folks at Ketchup Entertainment) brings us The Day the Earth Blew Up: A Looney Tunes Movie . It’s a delightful return to form for Warner Bros.'s iconic animated franchise, delivering a nostalgic yet fresh experience that both long-time fans and new audiences can appreciate. The film's narrative is a loving homage to 1950s sci-fi B-movies, seamlessly intertwined with the chaotic charm of Looney Tunes antics. The story starts with Daffy Duck and Porky Pig securing jobs at a bubblegum factory, a setting ripe for comedic mishaps. Their routine bungling leads them to uncover an alien conspiracy aiming for world domination through mind control. Teaming up with Petunia Pig, the duo embarks on a mission to thwart the extraterrestrial threat while navigating their hilarious dynamics. The plot is both engaging and appropriately zany, capturing the essence of what makes Looney Tunes enduring. It's a buddy-comedy of epic proportions, delivering laugh-out-loud gags and vibrant visuals that have defined the franchise for decades. For decades, casual viewers like me have only seen Bugs Bunny as the leading face of the franchise. Now, Daffy and Porky can share that title with him. One of the film's standout features is its animation style. The hand-drawn animation is both beautiful and smooth, reflecting a dedication to preserving the traditional aesthetic of Looney Tunes while incorporating modern techniques. The vibrant color palette and fluid character movements create a visual feast that honors the franchise's legacy. The Day the Earth Blew Up is also the first Looney Tunes movie containing original material to be fully animated, theatrically released, and the second to not be distributed domestically by Warner Bros. since the 1975 documentary Bugs Bunny Superstar . The 90-minute runtime is a blessing, so the pacing isn’t the issue—instead, it’s the structure of the movie's plot. The entire time, we’re to believe Daffy and Porky are trying to stop an alien from taking over the world, but a plot twist in the last 30 minutes contradicts this, making it all suddenly hollow. A quick fix to this would be to flesh out the alien as a character, but the script calls for him to be a one-dimensional “I will rule the world” type of villain. Separately, the movie lacks humor, which can be a bit repetitive. There’s nothing wrong with the zaniness we come to expect from Looney Tunes, but there aren’t many jokes that appeal to both adults and children. However, a montage and a fourth-wall break make up for this effort. Voice actor Eric Bauza delivers stellar performances as both Daffy Duck and Porky Pig, capturing the unique personalities and comedic timing that have made these characters iconic. His ability to embody the essence of each character adds depth to their interactions and enhances the film's overall humor. While he’s been the overall voice for the two leads for half a decade, he looks to join the ranks of Mel Blanc as a longtime staple to the franchise. In a time when voice actors aren’t as known as they used to be, it’s nice to see someone like Bauza committing to something like the Looney Tunes universe. One thing to be addressed is that Warner Bros. moved forward with releasing this, but scrapped another Looney Tunes property film, Coyote vs. Acme . I’m glad there’s a new (and better) Looney Tunes film seeing the light of day in the 21st Century, but I can’t help but remember that David Zaslav and the people at Warner Bros. pulled the plug on a film that deserved a shot. Who knows if Coyote vs. Acme would’ve worked as a film, but in a day and age where the Looney Tunes aren’t having content cranked out (unlike Mickey at Disney, SpongeBob at Nickelodeon, the Peanuts gang through Apple TV+, etc.) another Looney Tunes-related theatrical movie would’ve helped everyone. Regardless of all that, The Day the Earth Blew Up: A Looney Tunes Movie is a testament to the enduring appeal of classic Looney Tunes antics. Whether you're a lifelong fan or new to the Looney Tunes universe, this film offers a delightful experience that is both familiar and refreshingly new. After all, Looney Tunes knows how to stay true to itself and never fails to make audiences smile when the iconic catchphrase “that’s all, folks” hits. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . More Reviews Warfare April 9, 2025 By: Tyler Banark The Amateur April 8, 2025 By: Hunter Friesen A Minecraft Movie April 2, 2025 By: Hunter Friesen The Ballad of Wallis Island April 7, 2025 By: Hunter Friesen Tyler Banark

Magazine Dreams March 17, 2025 By: Button Tyler Banark Jonathan Majors’ career trajectory will be studied for years to come. Think about it: this guy was on top of the world for four years, destined to become one of the next great actors of his generation, and was about to become the next big baddie for the MCU. He had it all, but it all crumbled when he was arrested two years ago. Before that happened, Majors had a film that was the talk of the town at the 2023 Sundance Film Festival. Magazine Dreams presents an unflinching character study of a man obsessed with achieving greatness in the world of bodybuilding. Magazine Dreams follows Killian Maddox (Majors), an aspiring bodybuilder consumed by his dream of gracing the covers of fitness magazines. The film paints a grim picture of his life: he is socially isolated, struggling with deep-seated anger issues, and unable to form meaningful relationships. His routine consists of grueling workouts, injections of performance-enhancing drugs, and interactions that often veer toward the unsettling. Killian’s obsessive drive for recognition and success is captivating and tragic, as he spirals into darker psychological territory with each passing scene. The film delves deeply into themes of loneliness, societal neglect, and the destructive nature of unchecked ambition. Killian’s yearning for external validation reflects the modern struggle for fame and recognition, particularly in an era of social media and physical perfection dominating the cultural landscape. There’s also a poignant exploration of masculinity—particularly the toxic extremes it can reach when tied to identity and self-worth. Magazine Dreams forces the audience to sit with uncomfortable truths about alienation and the cost of single-minded determination. Still, it does so in a way that occasionally feels heavy-handed. However people want to view his performance, Majors’ portrayal of Killian Maddox is extraordinary. He fully commits to the role's physicality, transforming his body into a living embodiment of the character’s obsession. More importantly, he conveys Killian’s inner turmoil with a raw, unsettling intensity. His eyes flicker between desperation and fury, and his every movement—lifting weights or struggling through a painful social interaction—feels imbued with a sense of barely contained rage and sorrow. Majors’ performance exposes the fragile humanity beneath Killian’s imposing exterior. He allows the audience to see both the tragedy and the danger in his character, creating a protagonist who is as sympathetic as he is unnerving. This role demands attention, and Majors delivers one of his career's most physically and emotionally immersive performances. Director Elijah Bynum crafts a visually striking film that mirrors Killian’s mental state. The cinematography is frequently stark and intimate, lingering on Majors’ sculpted physique in ways that highlight its power and grotesqueness. The close-up shots of his body emphasize the cost of his obsession—his veins bulging, his skin glistening with sweat, and his muscles strained to their limits. This choice was reminiscent of 2022’s The Whale , where anytime the camera shows someone eating food, it’s uncomfortable. It’s unsettling, reinforcing the idea that his dream may consume him entirely. There’s little room to breathe, and the relentless bleakness can feel exhausting rather than enlightening. Bynum’s direction ensures that the audience feels Killian’s isolation and suffering, but the film’s lack of tonal variation makes it a tough watch. One of Magazine Dreams’ biggest weaknesses is its pacing. The film brings forth a moment in Killian’s bodybuilding career that was built to be its climax, less than an hour into its runtime. From there, the narrative meanders, losing momentum in ways that detract from its emotional impact. Additionally, the script struggles to maintain focus. Some subplots—such as Killian’s interactions with Jessie, a potential romantic interest—feel rushed and left for dead, while others simply fizzle out without resolution. It’s a film that demands patience and a willingness to sit with discomfort, but it doesn’t always reward that patience with a satisfying or cohesive narrative. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . More Reviews Warfare April 9, 2025 By: Tyler Banark The Amateur April 8, 2025 By: Hunter Friesen A Minecraft Movie April 2, 2025 By: Hunter Friesen The Ballad of Wallis Island April 7, 2025 By: Hunter Friesen Tyler Banark

Freaky Tales March 31, 2025 By: Button Tyler Banark Freaky Tales is a vibrant anthology film that immerses viewers in the eclectic subcultures of 1987 Oakland, California. Comprising four interconnected stories, the film is an homage to the era's music, politics, and societal dynamics. Featuring an early contender for the year's best ensemble, Freaky Tales is looking to be THE "turn your brain off and enjoy" movie of the year. It’s a lot of things, but if I had to describe it simply, this is what I’d say: take the uncomfortable subject of nazism from American History X , give it a Kill Bill aesthetic that’s cartoonish, and, finally, add a mysterious sci-fi/fantasy substance. The ensemble cast delivers compelling performances. Pedro Pascal portrays Clint, a man entangled in a heist involving ancient artifacts from NBA star Eric "Sleepy" Floyd's residence. While I’m still searching for the movie that encapsulates Pascal’s chops perfectly (I’m convinced of his talent via HBO’s The Last of Us ), Freaky Tales is another example of how enjoyable it is to see him on screen. Jay Ellis embodies Floyd, capturing the charisma of the basketball legend and having a chapter that’s head and shoulders above the rest. Jack Champion and Ji-young Yoo lead the opening chapter as two punks looking to defend a club they attend from the skinhead neo-nazis wreaking havoc in the area. Each segment of Freaky Tales is distinct in tone and style, yet they collectively paint a cohesive picture of Oakland's diverse communities. One particularly gripping storyline follows a group of punk rockers defending their turf against neo-Nazi antagonists, showcasing the era's underground music scene and the tensions within it. "The Legend of Sleepy Floyd" acts as the final chapter and does so flawlessly, featuring an epic showdown accompanied by Metallica’s "For Whom the Bell Tolls" and E-40’s "Choices." As of now, that sequence is one of the best scenes of the year and will be the highlight for all who see this film. Anna Boden and Ryan Fleck's direction is bold and inventive, seamlessly weaving disparate genres and tones into a cohesive whole. The film's visual style is an homage to B-movies of the past, with saturated colors and dynamic camerawork. It shifts to match each narrative's mood, employing a grindhouse aesthetic during the punks-versus-Nazis sequence that enhances its raw intensity. The soundtrack is a standout feature, featuring tracks from Metallica, Evelyn "Champagne" King, and Public Image Ltd. While the film's ambition is commendable, weaving multiple narratives resulted in uneven pacing. Some storylines are more fleshed out than others, leaving certain characters underdeveloped. The Pascal-led chapter, "Born to Mack," is the weakest as it didn’t provide much besides adding to the narrative. "Don’t Fight the Feeling," the second chapter involving two female rappers, felt tonally out of place and contributed just about nothing. Luckily, the two tales are anchored by Pascal, singer Normani in her acting debut, and Dominique Thorne, making worthwhile performances. Tom Hanks makes a nice cameo in "Born to Mack," but his appearance left a question I wish had been answered before the movie finished. Despite its narrative inconsistencies, the film's style and energy resonate, offering a nostalgic journey into a pivotal time and place. Don’t expect Freaky Tales to be a game-changing movie, and that’s okay. It’s numb, mindless entertainment in a similar vein to M3GAN and Cocaine Bear from a couple of years ago. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . More Reviews Warfare April 9, 2025 By: Tyler Banark The Amateur April 8, 2025 By: Hunter Friesen A Minecraft Movie April 2, 2025 By: Hunter Friesen The Ballad of Wallis Island April 7, 2025 By: Hunter Friesen Tyler Banark

The Friend March 28, 2025 By: Button Hunter Friesen I first saw The Friend as part of the Toronto International Film Festival back in September, squeezing it into my schedule on the final Saturday, making it the second-to-last film in my 37 film bonanza. I rushed over to the Scotiabank Theatre from the premiere of The Deb , scarfing down a corn dog as the festival volunteer rattled off the perfunctory introductory remarks. I then scurried out of the theater as soon as the credits began, my body and mind in go mode as I went a few blocks to catch the Midnight Madness screening of The Shadow Strays . What I just described in that four-ish hour chunk illustrates the sins of my gluttony when it comes to film festivals. In the race to see everything, many films become boxes to check off. The Friend was one of those films, largely due to the fact that it didn't grab me right away, making it easy to shrug off. But in the six months since then, it's lingered moderately well, raising my guilt as to how I originally treated it. If your best friend were to die and their will stipulated that you adopt their miniature horse, would you be able to do it? Let's also preface that question with the fact you're not a pet person, and you have a rent-controlled apartment in Manhattan that prohibits animals in the building. This is the central question posed to Iris (Naomi Watts) after her best friend Walter (Bill Murray) suddenly dies from suicide. Now, Walter didn't own a literal miniature horse in New York City. No, that would be absurd. But he did have a 185-pound Great Dane named Apollo that he adopted in a spur-of-the-moment decision while he was out on a jog. Now with Walter gone, the dog has no master and will be indefinitely impounded if Iris doesn't step up to the plate. Suddenly coming home with a horse-sized dog is not a surprising move for Walter. He's also got three ex-wives - Elaine (Carla Gugino), Tuesday (Constance Wu), and Barbara (Noma Dumezweni) - as well as numerous flings with current and former students. He's the Bill Murray type, the life of every party and a lovable headache for everyone who gets close to him, Iris included. Murray's casting is pretty spot-on compared to the description from Sigrid Nunez's novel (she also wrote What Are You Going Through , the basis for the recent Pedro Almodóvar film The Room Next Door ), and his larger-than-life presence is always felt despite his limited screentime. For as much as The Friend would seem like the typical "dog helps a depressed human land back on their feet" kind of film, the writer/director duo of David Siegel and Scott McGehee flip much of that script. Dogs may be known as man's best friend, which would also mean we're their best friend. You'd be depressed if your best friend unexpectedly committed suicide, so why wouldn't a dog? Apollo is played by the canine actor Bing, who showcases his immense skills as a thespian. Bing/Apollo doesn't have the wet eyes of your usual cinematic dogs, something that always felt like a bit of a cheat code to our hearts. His face is blank as he solemnly stares at Iris whenever she tries to command him, his sighs are heavy every time he plops down in her bed. Things still move in a pretty predictable pattern. Iris' initial frustrations eventually become opportunities for her to embrace the chaos and redefine her life. Watts is at her usual best, working with a sturdy supporting cast and a few standout cathartic scenes. Dog lovers are very much the target audience for this story, and I'm sure they're going to eat it up. But even if you're someone like me who is neither a pet person nor found myself immediately hooked by what's being sold, allow it to linger in the days and weeks that follow. Like adopting an animal, this is a long-term investment. More Reviews Double click the dataset icon to add your own content. 1/1/2035 By: Author Name The Ballad of Wallis Island April 7, 2025 By: Hunter Friesen A Minecraft Movie April 2, 2025 By: Hunter Friesen Misericordia March 27, 2025 By: Hunter Friesen Author Name

William Tell September 5, 2024 By: Button Hunter Friesen William Tell had its World Premiere at the 2024 Toronto International Film Festival. Samuel Goldwyn Films will release it in theaters on April 04, 2025. William Tell, not the historical figure, but the character within writer/director Nick Hamm’s newest film, is a protagonist we’ve seen several times before. He’s a veteran who’s been scarred by battle, with PTSD flashbacks of his younger and more violent days ravaging him each time he lays eyes on a weapon. But he’s made peace with his past, settling in the serene Swiss mountains and tending to his farm and livestock with his wife and son. However, trouble comes knocking one day in the form of the Austrian tax collectors, servants of the ruthless Hapsburg king. One thing leads to another, and Tell is forced to choose to pick up arms again to fight against tyranny, or leave that part of his life good and buried. Of course, history and the laws of cinema would tell you that our reluctant hero will do what is right and join his brothers, even if it means going against his creed of reformation. Hamm makes damn sure that we as the audience agree with Tell’s stance on the possibility of a Swiss revolt against their Austrian oppressors, opting for a litany of analogies centering on fire, streams, and bee stings, all of which boil down to the old saying about an eye for an eye. The rest of the dialogue gets even clunkier, with characters always entering by coyly stating their purpose and motivations, and most conversations repeating themselves until their theses have been hammered home. Even with several attempts across the 133-minute runtime, Hamm never strikes oil, with his insistence on violence being soulless never being properly communicated through the action. There’s always a modicum level of enjoyment to be had in the set pieces, with Hamm speaking out of both sides of his mouth as he declares that war is hell, but that we should still have some fun while pondering its ramifications. And if Tell is Batman, then Viceroy Gessler is his Joker, a bloodthirsty lieutenant of the king who’s hellbent on quelling the hope that Tell incites within the Swiss masses. His cruelty knows no bounds, with his devious acts being the spark that ignites this initially small movement into a declaration of war. The comparisons to Braveheart and The Outlaw King are too hard to ignore at this point, something that also extends to the film’s strengths and weaknesses. Hamm’s first foray into screenwriting might not be successful enough for him to continue down that path, but his prowess in the director’s chair is still something to behold. There’s an old-school sweep to this story, with a rousing score by Steven Price and, except for a few establishing shots furnished with gaudy digital backdrops, some handsome cinematography by Jamie Ramsay. Despite not hailing from a big studio, a chunk of change has been invested and efficiently used for this production, something that fans of historical epics will certainly find enjoyment in. Claes Bang maintains his physique from The Northman as the titular character, this time trading a spear for a crossbow. His particular set of skills aids him in downing several enemies in short order on the battlefield, and his stoic sense of honor rallies those to his cause from all over the land. He does have a well-rounded supporting cast to support him, with Ben Kingsley harnessing his star power as the Hapsburg king and Ellie Bamber shining as his niece, who longs for the two lands to be reunited through anything but bloodshed. The big screen is where William Tell will thrive best, as the saving grace that is its cinematic qualities will lay waste on even the biggest television. At the moment, when and how that will happen is a mystery, but Hamm and his production have made enough of a case for it to be sooner rather than later. Now all we need to do is wait and come up with a way for the “William Tell Overture” to be incorporated into the marketing. More Reviews The Ballad of Wallis Island April 7, 2025 By: Hunter Friesen A Minecraft Movie April 2, 2025 By: Hunter Friesen The Friend March 28, 2025 By: Hunter Friesen Misericordia March 27, 2025 By: Hunter Friesen Hunter Friesen