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Top 10 Pixar Films June 11, 2024 By: Tyler Banark When Pixar released its first feature-length film, Toy Story , in 1995, it immediately stated that it would be just as big (maybe bigger) than its parent company, Disney. They turned out to be more right than they thought, as this was just the beginning of a journey that would see Pixar evolve and grow in terms of its storytelling and animation techniques. Over the years they developed an unparalleled knack for crafting films for all ages with heavy themes, essential messages, and stunning animation, with the majority of their catalog ready to stand the test of time. With Inside Out 2 taking audiences back to the world of the little voices in our heads on June 14th, here’s a look at ten of the most exemplary movies Pixar has made in its three decades of existence. 10. Finding Nemo (2003) While I used to consider Finding Nemo the most overrated Pixar film, that all changed with Toy Story 4 and Soul (I guess good things do come from middling movies). Nemo is gorgeously animated and has resonant themes about parenthood, ableism, and the lengths we go to for the ones we love, all while balancing that great heart with some lighthearted humor. It’s also a two-way street for kids and adults, with parents learning just as much from their kids. Albert Brooks and Ellen DeGeneres give iconic voice performances, with the latter bringing life to one of Pixar’s greatest side characters and further capitalizing on it in the 2016 sequel. Above all, Nemo reminds us that no matter how hard life gets us…just keep swimming. 9. Toy Story (1995) As the film that launched a revolution, Toy Story often leaves me in awe of the boundary-pushing animation it was able to accomplish in 1995, a feeling that only recently relived with the Spider-Verse movies. From a narrative perspective, it’s a poignant reminder that we should strive to understand those different from us rather than alienating them, and how we can make the best out of any situation life places us in. As seen in Woody and Buzz, the former has to cope with how he’s no longer the top toy in Andy’s eyes and learns to appreciate Buzz, who must accept that he’s not who he thought he was (that staircase scene hits harder as an adult) and is taught by Woody that being a toy is more than infinity and beyond. Thanks to their excellent chemistry, Tom Hanks and Tim Allen made these arcs impeccable and made the movie more than what was generated by the computers. 8. Coco (2017) Delving into the world of the Land of the Dead and tiptoeing around being a full-on musical, Coco narratively flourishes thanks to the wonderful music by Michael Giacchino and Robert & Kristen Anderson-Lopez and an exemplary script about family, following your dreams, and meeting your heroes. The Oscar-winning anthem “Remember Me” has multiple moments to shine, most importantly during the tearjerking scene when Miguel serenades Grandma Coco. By the end, the film has shot for the moon and hit all the right notes along the way. 7. Toy Story 2 (1999) A movie that not only one-ups the original but also sets the stage phenomenally for a third outing, Toy Story 2 is easily the best sequel of any Pixar film. It continues the world-building and character dynamics of Woody and Buzz, all while bringing a new character into the fold in Jessie. Her initial annoying energy is immediately replaced with a wave of sympathy once her pivotal backstory is illustrated and serenaded by Sarah McLachlan’s “When She Loved Me.” Numerous movies have tried to make a heel turn like this, but none have been as effective, which is why Toy Story 2 stands alone. 6. Monsters, Inc. (2001) Monsters, Inc. is an effortless blend of humor, heart, and creativity masterfully done by Pixar’s greatest maestro, Pete Docter. With its imaginative world-building, clever plot twists, and unforgettable characters, it’s the earliest Pixar work I’d go as far as to describe as feel-good. The vibrant and detailed animation spectacularly brings the colorful world of monsters to life, with the voice performances from John Goodman and Billy Crystal being pitch-perfect. But what truly separates this from the pack (and its eventual sequel) is its heart, as Sully and Boo’s relationship touches your heartstrings at every turn. Their reunion in the final minute is a bittersweet cliffhanger, acting as the cherry on top of this irresistibly charming comedy. 5. Toy Story 3 (2010) Toy Story 3 is a triumphant return to the beloved world of Woody, Buzz, and the gang, delivering an emotional and thrilling adventure that surpassed expectations. The toys now face an uncertain future after they’ve been mistakenly donated to daycare, all of them now having to grapple with franchise-favorite themes of identity and purpose. The film balances that emotional weight with some good lighthearted humor and exhilarating action sequences, with the incinerator scene tying it all together. It was a poignant and satisfying conclusion to Pixar's most beloved trilogy… that just had to be ruined in 2019. 4. WALL-E (2008) WALL-E saw Pixar interweaving many risk-taking ideas - a robot falling in love and finding meaning, minimal dialogue, and political commentary on environmentalism - all of which paid off phenomenally. As one of the best at the company, director Andrew Stanton took a “show, don’t tell” attitude toward the material, with Thomas Newman’s score and the wonderful animation, which contrasts the vastness of space and the deserted wasteland that was Earth, doing all the heavy lifting. It is, without a doubt, one of Pixar’s boldest works and anything but robotic. 3. Inside Out (2015) Over the years, Pete Docter has developed a reputation for delivering some of the most philosophical blockbuster animated movies ever ( Monsters, Inc . Up , Soul ), often posing fascinating messages to deep questions. Inside Out is a creative approach to exploring the human psyche, delving into the notion that each individual emotion we experience contributes to our overall growth. The voice cast, particularly Amy Poehler as Joy and Phyllis Smith as Sadness, and Michael Giacchino’s score add emotion to a film about emotions. They all reach a crescendo during several pivotal moments, such as Bing Bong’s death and Sadness being allowed to take over headquarters. 2. Ratatouille (2007) Not only is Ratatouille up there as one of the studio’s best, but it’s also one of Pixar’s most definitive feel-good movies alongside Monsters, Inc. Backed by an incredible voice cast, Ratatouille conveys an essential message to any lost soul to utilize their gifts and that the greatest minds can come from the unlikeliest of places. Not only is Remy an example of this, but so is Anton Ego with his pinnacle review towards the end of the film. It’s a wholesome meal of cinema and would definitely be at the top of my Pixar ranking if it wasn’t for another Brad Bird-directed flick… 1. The Incredibles (2004) The Incredibles is the best Pixar movie not just because of its stellar animation, impeccable voice acting, timely score, and shocking screenplay. The real magic lies in the fact that it was (and still is) Pixar’s riskiest film to date, with writer/director Brad Bird possessing a lot of guts to trust his audience with a film that flirts with subgenres not seen in blockbuster animated films before. Intense fight sequences and deaths, insurance company flaws, and a marriage hanging by a thread often push the PG rating to its maximum allowance. There’s also the presence of a rare item in a villain with justifiable motives. Syndrome’s back story is self-explanatory, which makes him more compelling as an antagonist. All of this entails why The Incredibles did so much for Pixar and animation as a whole, while also proving that superhero movies are more than what’s on the surface. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . 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

Cannes 2023 Predictions - Part 1: The Festival Masters April 1, 2023 By: Hunter Friesen As one of the most prestigious film festivals in the world, the Cannes Film Festival always attracts the attention of cinephiles and industry professionals alike. Each year, the festival presents a diverse lineup of films that represent the best of international cinema, including both established and emerging filmmakers. With the 76th edition of the festival set to take place in May, film enthusiasts around the world are eagerly anticipating the announcement of the official selection on April 13th. While the festival organizers keep their cards close to their chest, there are already some strong players emerging as likely contenders for the coveted Cannes spotlights. In this four-part series, I’ll take a closer look at some of the films that are generating buzz and predict which ones are likely to make it to the Croisette this year. Each part will represent a category of films, which are: The Festival Masters Hollywood Makes a Splash The Festival Mainstays The Irregulars and Up-and-Comers This first part will cover films from people I like to call “Cannes Masters.” These are filmmakers that have either debuted several high-profile films at the festival and/or won an award such as the Palme d’Or. Cannes is a festival built upon relationships, and these auteurs have been steady as a rock for so many years. Which of these films are you most interested in? I'll be keeping you all posted on my adventures and sharing my thoughts on the films that I see. Stay tuned for more updates! Monster After making his Korean-language debut last year with Broker , Japanese auteur Hirokazu Kore-eda returns to his native language with Monster. Plot details are scarce, with only an international teaser giving us glimpses into the story. Kore-eda has been a mainstay at the festival for over twenty years, with Shoplifters winning the Palme d’Or in 2018, so a return to the festival is nearly certain. About Dry Grasses As one of the most lauded filmmakers in modern festival history, Nuri Bilge Ceylan has more than earned himself a lifetime membership to the official competition. The Turkish director has won a Palme d’Or, The Grand Prize of Jury twice, and the Best Director award. His newest film will likely be another philosophical slow-burn, as it tells the story of a teacher who regains his perspective on life after he has been given mandatory duty in a small village. The Captain Matteo Garrone hopped on the Pinocchio trend before it was cool, delivering his own charmingly creepy version of the famed fairy tale in 2019. The film marked a break from Cannes after four consecutive films in competition, with Reality and Gomorra both winning the Grand Prize of the Jury. His new film, The Captain , will follow two men as they immigrate to Europe from Senegal. Kidnapped If Kidnapped is selected for the official competition, it would mark the fifth consecutive decade where Marco Bellocchio has a film competing for the Palme d’Or. He last made an appearance in 2021 with a documentary on his twin brother called Marx Can Wait and in 2019 with the crime biopic The Traitor . Announced to be his final film, Kidnapped is an adaptation of a story Steven Spielberg was set to make years prior, about a Jewish boy who was kidnapped and converted to Catholicism in 1858. The Old Oak The only certain things in life are death and taxes… and a Ken Loach film will compete for the Palme d’Or. The famed British director has had sixteen of his films in the Official Competition, a festival record he certainly expanded with his newest film, which sees him reteam with writer Paul Laverty for the thirteenth time. Together they’ll tell the story of a town in northern England adjusting to a wave of Syrian refugees. A Brighter Tomorrow Not even the career-worst review for Three Floors will be able to keep Nanni Moretti out of the competition. The Italian multi-hyphenate has had an extremely lucrative relationship with the festival, winning the Best Director award for Dear Diary in 1994 and the Palme d’Or for The Son’s Room in 2001. His new film is described to be a “complex and costly costumer” set in Rome between the 1950s and the 1970s amid the city’s circus world, but will also involve the world of cinema. Red Island Robin Campillo will likely return to the festival that awarded 2017’s BPM (Beats Per Minute) with the Grand Prize of the Jury along with the Queer Palm. He also has the Palme d’Or sitting on his trophy shelf for 2008’s The Class . His newest film will also be set in recent history as it follows the upbringing of a young boy during the French colonial rule of Madagascar in the 1960s/1970s. L'Empire Cahiers du Cinéma darling Bruno Dumont has been a staple of Cannes for nearly a decade, premiering his last four films at the festival, with the most recent being 2021’s France with Lea Seydoux. His new film will be a slight departure from his usual work as it takes place within the science fiction genre. Camille Cottin and Lyna Khoudri (one of the many stars within The French Dispatch ) headline as inhabitants of a small town that becomes a battleground for undercover extraterrestrial knights. The Perfumed Hill Hailing from Mauritania, Abderrahmane Sissako has released only three films this century, but they all premiered at Cannes, with 2014’s Timbuktu also being nominated for the Best International Feature Oscar. Production was supposed to begin in late 2019, but was first delayed by financial difficulties, and then by the pandemic. He will tell a globe-trotting story as a girl leaves her fiancé on the altar and suddenly moves from the Ivory Coast to China. 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 2023 Preview April 10, 2023 By: Hunter Friesen I'm excited to announce that I'll be covering the Minneapolis St. Paul Film Festival for the first time this year! As a cinephile, I'm always on the lookout for new and exciting films. Whether it takes me around the world, or right to my own backyard, I look forward to discovering some hidden gems, meeting other film lovers, and celebrating the art of cinema. Follow me for updates on my festival experience, and let me know if you'll be there too! In this article I've previewed most of the film I'll be seeing, with a few more listed here: The Beasts, L'immensità, Somewhere In Queens, Revoir Paris, Walk Up. *All film descriptions and pictures have been supplied by the festival program* BlackBerry An irreverent look at the incredible rise and stunning fall of the world’s first smartphone. Writer/director Matt Johnson is joined on screen by Jay Baruchel ( This Is the End ) and Glenn Howerton ( It’s Always Sunny in Philadelphia ) in outstanding seriocomic turns that have us rooting for the doomed misfits behind this incredible true story. Cairo Conspiracy From Tarik Saleh, the director of the award-winning The Nile Hilton Incident , comes a bold, nuanced thriller set in a complex world Westerners rarely see. It centers on a gifted student from a small village who is offered a scholarship to Cairo’s Al-Azhar University, the power epicenter of Sunni Islam. Dreamin' Wild What if a childhood dream came true–-but thirty years later? Singer Donnie Emerson’s dream of success suddenly came true as he approached 50 years old. While it brought hopes of second chances, it also brought ghosts of the past and long-buried emotions to the whole family. Flamin' Hot Flamin’ Hot is the inspiring true story of Richard Montañez, the Frito Lay janitor who channeled his Mexican American heritage and upbringing to turn the iconic Flamin’ Hot Cheetos into a snack that disrupted the food industry and became a global pop culture phenomenon. Other People's Children When dedicated high school teacher Rachel (Virginie Efira) falls in love with Ali (Roschdy Zem), it’s not long before she also falls for his 4-year-old daughter Leila. Rachel must decide whether to embrace the inherent entanglements of her current situation, including the looming presence of Ali’s ex-wife Alice (Chiara Mastroanni) or strike out again on her own. Polite Society A merry mash-up of sisterly affection, parental disappointment and bold action, Polite Society follows martial artist-in-training Ria Khan who believes she must save her older sister Lena from her impending marriage. After enlisting the help of her friends, Ria attempts to pull off the most ambitious of all wedding heists in the name of independence and sisterhood. R.M.N. From writer/director Cristian Mungiu ( 4 Months, 3 Weeks and 2 Days ), this gripping drama set in rural Transylvania looks at the ethnic conflicts, economic resentments and personal turmoil roiling a Romania still in thrall to some dangerous traditions and beliefs. The arrival of Sri Lankan migrants adds fuel to the fire. Showing Up A sculptor preparing to open a new show must balance her creative life with the daily dramas of family and friends, in Kelly Reichardt's vibrant and captivatingly funny portrait of art and craft. Tori and Lokita Eleven-year-old Tori and 16-year-old Lokita are vulnerable African migrants, trying to make their way In contemporary Belgium, but their already precarious circumstances grow more complicated when the government refuses to give Lokita residence papers. 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 2024 Preview April 11, 2024 By: Hunter Friesen When you think of the oldest film festivals in the world, you tend to gravitate toward the European monoliths such as Venice, Berlin, and Cannes. And even when you shift your gaze over to North America, we stay eastward with New York (NYFF) and Toronto (TIFF). But there’s a little festival tucked in the midwest that has been going on for almost as long as the giants: The Minneapolis-St. Paul International Film Festival. Abbreviated as MSPIFF (pronounced EM-spiff by the locals), the festival will be in its 43rd year this April, once again a hotspot for international cinema. Over 200 films from around the world will be screened at The Main cinema during the two-week-long event, with cinephiles such as myself cautioned to have their mail forwarded to the theater on account of the multitude of hours spent watching great films. Many of the highlights within the lineup boast laurels from many of the other festivals listed above. Case in point, the opening night film of Sing Sing , starring recent Oscar-nominee Colman Domingo as an incarcerated man finding solace in the prison’s theatre group. It premiered in Toronto last fall as part of the Special Presentations category and quickly became one of the buzziest under-the-radar titles. A24 picked up distribution rights and introduced it to American audiences a few weeks ago at SXSW. Minnesota audiences will be able to catch the film a few months early before the summer general release. That’ll be just one of several titles that A24 will be bringing over. The pair of Janet Planet and Tuesday premiered at Telluride last fall, finally reemerging ahead of their spring/summer releases. Also from SXSW is the Anne Hathaway-led The Idea of You by director Michael Showalter. And then there’s a smattering of TIFF titles such as The Convert , Days of Happiness , Shoshana , and In Our Day . Green Border and Evil Does Not Exist were both prize winners at last year’s Venice Film Festival. They’ll be screening here along with fellow Venice title The Beast . Both Evil Does Not Exist and The Beast were two of my favorite films I saw at TIFF , and I’ve been dying to revisit them in the six months since. A new Cannes may be on the horizon (and you can join in my anticipation by checking out my predictions article), but there are still plenty of titles from last year’s edition to celebrate. Nuri Bilge Ceylan’s About Dry Grasses has been pleasantly lingering in my mind since I saw it on the Croisette almost nine months ago. I won’t be rewatching it because of its daunting 197-minute runtime, but I might revisit the much shorter (87 minutes) Banel & Adama . I’ll hopefully be able to see Kidnapped and Inside the Yellow Cocoon Shell for the first time after missing them at both Cannes and TIFF, with the latter winning the Camera d’Or and receiving rave reviews. But the fun doesn’t stop with just the films! The festival has graciously awarded Roger Deakins, the legendary cinematographer of several films from Minnesota’s Coen brothers as well as a two-time Oscar winner for Blade Runner 2049 and 1917 , with the Milgrom Award. He and his wife/collaborator James will be in attendance for the final two days of the festivals give an in-person conversation, book signing, and introduce a screening of Fargo . Also screening on the final day will be The Assassination of Jesse James by the Coward Robert Ford , which netted Deakins an Oscar nomination. I’ll be publishing full reviews for select titles, with others being condensed into dispatches. You can take a look at the full slate of festival titles at the MSP Film Society website . 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

TIFF23 Preview September 5, 2023 By: Hunter Friesen With its rich history of showcasing groundbreaking films and celebrating the art of storytelling, the Toronto International Film Festival (TIFF)is a cinematic extravaganza like no other. This year promises to be a spectacular journey into the world of cinema, offering a diverse range of films that will captivate, inspire, and provoke thought. As we eagerly await the curtain to rise on TIFF 2023, I'm thrilled to provide you with a preview of the movies I'll be seeing during my time there. As an accredited member of the press, I'll be bouncing around between Press and Industry screenings in the morning, followed by public screenings, including a slew of world premieres, in the afternoon and night. Make sure to pay attention to this site throughout the entire duration of the festival for immediate reviews and reactions to the biggest titles! * = World Premiere screening. All times in ET. Thursday (09/07) [9:00-10:30] The Royal Hotel (dir. Kitty Green) [11:30-2:00] Reptile (dir. Grant Singer) [6:00-8:00] The Boy and the Heron (dir. Hayao Miyazaki) [9:30-11:00] North Star (dir. Kristin Scott Thomas)* Friday (09/08) [9:00-11:00] Kidnapped (dir. Marco Bellocchio) [5:30-7:30] Les Indésirables (dir. Ladj Ly)* [9:30-12:00] Finestkind (dir. Brian Helgeland)* Saturday (09/09) [8:00-10:00] Dumb Money (dir. Craig Gillespie) [12:00-2:00] His Three Daughters (dir. Azazel Jacobs)* [3:00-5:00] One Life (dir. James Hawes)* [6:00-8:00] Lee (dir. Ellen Kuras)* [9:30-11:00] Quiz Lady (dir. Jessica Yu)* Sunday (09/10) [8:30-10:30] Dream Scenario (dir. Kristoffer Borgli) [11:30-2:00] The Holdovers (dir. Alexander Payne) [3:30-5:30] Seven Veils (dir. Atom Egoyan)* [6:30-8:30] Next Goal Wins (dir. Taika Waititi)* [10:00-12:00] Knox Goes Away (dir. Michael Keaton)* Monday (09/11) [9:00-11:00] Rustin (dir. George C. Wolfe) [12:00-1:30] The Critic (dir. Anand Tucker)* [5:30-7:30] Hit Man (dir. Richard Linklater) [10:00-12:00] Pain Hustlers (dir. David Yates)* Tuesday (09/12) [8:30-10:30] Poolman (dir. Chris Pine) [11:30-2:00] The Beast (dir. Bertrand Bonello) [3:30-5:30] Evil Does Not Exist (dir. Ryûsuke Hamaguchi) [5:30-7:30] Memory (dir. Michel Franco) [9:30-11:30] Fingernails (dir. Christos Nikou) Wednesday (09/13) [8:30-10:30] Wildcat (dir. Ethan Hawke) [11:30-1:30] Nyad (dir. Elizabeth Chai Vasarhelyi & Jimmy Chin) [2:30-5:00] Origin (dir. Ava DuVernay) 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

Top 10 Films of 2025 December 20, 2025 By: Hunter Friesen When reviewing this annual list in its final form, I’m always amazed at how disparate each entry appears on the surface. In one corner is a wistful comedy about an aging movie star, while the other features a reexamination of history’s most famous monster. The connection between each film lies in its uncanny ability to tell a story that is both specific and universal, crafted by an artist working at the height of their powers. You may not be able to physically take the film home with you once you leave the theater, but a piece of it does become a part of you for the rest of time. And in a moment where the price of everything continues to climb, I’d say that’s money well spent. Here are my picks for the ten best films of 2025. Honorable Mentions (in alphabetical order): Black Bag , Blue Moon , Materialists , One Battle After Another , Sinners , The Chronology of Water, The History of Sound, The Mastermind , The Phoenician Scheme , The Testament of Ann Lee 10. Jay Kelly George Clooney is Jay Kelly, and Jay Kelly is George Clooney in Jay Kelly . By centering his film on the actor playing the character as much as it is about the character themselves, writer/director Noah Baumbach investigates the walls that have been built over decades to separate a person’s private and public selves. Clooney turns in one of his best performances, with the movie star wattage turned all the way up. But he’s also self-reflective and regretful, always asking if he can have one more chance, a luxury that can only be afforded on a movie set. The stacked supporting cast is led by Adam Sandler, who is reteaming with Baumbach to deliver another career-best performance. This was some of the most fun I had with a movie all year. Full Review 9. No Other Choice Director Park Chan-wook has been a lifelong fan of the novel The Ax by Donald E. Westlake, endlessly teasing an adaptation as his next project. Those decades of pent-up giddiness are evident in Park’s visuals, with crisp digital cinematography punctuated by fluid camera movements. Increasing financial pressures have twisted the titular phrase into a permission slip for Man-soo (a wonderfully tragicomic Lee Byung-hun) to kill the other applicants for the job he desperately needs. Park grants these men just as much compassion as he has for Man-soo, making the farce of these violent acts all the more tragic. The rich get richer, all while the poor literally kill each other for the ever-shrinking scraps. Full Review 8. Is This Thing On? Whether it was intentional or not, Bradley Cooper’s third outing as a director feels very much like a direct response to all the negative criticisms surrounding the extreme formalistic showmanship of his sophomore feature, Maestro . Unfair as those remarks were, Is This Thing On? is the right move at the right time, a strategic downshift into a less pressurized register, all while retaining an uncanny skill at producing respectful adult entertainment. Having done similarly cathartic work on television, Will Arnett is adept at finding the balance between innocent humor and flawed darkness as he bears it all with strangers on the comedy stage. Laura Dern is positively magnetic, rediscovering her character’s individuality with an endearing attitude. The production is light on its feet and heavy on emotions, with Cooper yet again proving that he can seemingly do no wrong once he has a man, a woman, and a camera. Full Review 7. 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 twentieth-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 and every night. 6. 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. Similar to how Terrence Malick was able to use A-listers to build characters who were both of this earth and larger-than-life, so does Bentley with Joel Edgerton, trusting him to carry the entire emotional scope of the film through somber gestures and weighty presence. Years go by in the blink of an eye, yet we understand what took place between then and now. Like life itself, this 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. Full Review 5. Sentimental Value You will not find a more emotionally intelligent film this year than Sentimental Value . Writer/director Joachim Trier’s story about the reconciliation of an estranged family produces each tear, gasp, and laugh at exactly the right moment. Yet, it's never manipulative, always proudly wearing its heart on its sleeve. Each of the actors in the central quartet is an absolute delight to watch, buoying between the light and the dark. By the time the credits start rolling, you’ll have been on a journey with not just these characters, but also with yourself. Full Review 4. Frankenstein Guillermo del Toro, the filmmaker most in love with monsters, finally gets the chance to adapt the story of the most famous one of all. Mary Shelley’s story has long suffered the plague of becoming a copy of a copy of a copy. Endless adaptations and inspirations have taken only the elements deemed the most commercially muscular, leaving out the heart and mind. Through handsome craftsmanship and a deep sense of sympathy, 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. Full Review 3. 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 has become 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. In one moment, he’s riding high at The Ritz London. The next moment, he’s hiding in a dumpster to avoid the cops. Safdie controls this chaos at every turn, the tracks of this rollercoaster pushing the cart at the right speeds at the right time. Full Review 2. 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, this was one of the most bone-chilling films of the year. It 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 films of the year was kept hidden from the people who might need it the most. Full Review 1. Hamnet The story of how the death of William Shakespeare’s child inspired history’s greatest literary tragedy may be the year’s biggest tear-jerker, but there isn’t a single moment where it's cloying at those ducts. Director Chloé Zhao depicts an honest collision course of grief, featuring two of the best actors working today. Jessie Buckley is nothing short of transcendent, and Paul Mescal is heartbreakingly cathartic. A special mention should be given to the child actor Jacobi Jupe for his portrayal of the titular boy, as well as to composer Max Richter for aiding these characters’ journeys. There have been countless splendid adaptations of Shakespeare’s works, and now here is the masterpiece that unearths the roots from which they grew. Full Review 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 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 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

Cannes 2023 Preview May 15, 2023 By: Hunter Friesen The Cannes Film Festival is one of the most prestigious film events in the world, attracting movie buffs, critics, and industry professionals from across the globe. Each year, the festival showcases some of the most captivating and thought-provoking films, ranging from indie productions to big-budget blockbusters. As a film enthusiast, I am excited to once again attend this year's festival and share my thoughts on some of the films I'll be watching. The lineup promises to deliver a diverse range of stories and perspectives. In this article, I'll be taking you through some of the most highly anticipated films that I'll be watching at the festival, giving you a glimpse of what's in store for cinema lovers this year. *All film descriptions and pictures have been supplied by the festival program* The Old Oak (dir. Ken Loach, United Kingdom) The Old Oak is a special place. Not only is it the last pub standing, it is the only remaining public space where people can meet in a once-thriving mining community that has now fallen on hard times after 30 years of decline. TJ Ballantyne (Dave Turner), the landlord, hangs on to The Old Oak by his fingertips, and his hold is endangered even more when it becomes contested territory after the arrival of Syrian refugees who are placed in the village. In an unlikely friendship, TJ encounters a young Syrian, Yara (Ebla Mari) with her camera. Can they find a way for the two communities to understand each other? So unfolds a deeply moving drama about loss, fear, and the difficulty of finding hope. Black Flies (dir. Jean-Stéphane Sauvaire, United States) Ollie Cross (Tye Sheridan), a young paramedic in New York, teams up with Rutkovsky (Sean Penn), an experienced EMT. Facing extreme violence, he discovers the risks of a job that every day shakes his beliefs about life… and death. Cobweb (dir. Kim Jee-Woon, South Korea) In the 1970s, Director Kim is obsessed with the desire to re-shoot the ending of his completed film ‘Cobweb’, but chaos and turmoil grip the set with interference from the censorship authorities and the complaints of actors and producers who can’t understand the re-written ending. Will Kim be able to find a way through this chaos to fulfill his artistic ambitions and complete his masterpiece? Kidnapped (dir. Marco Bellocchio, Italy) In 1858, in the Jewish quarter of Bologna, the Pope’s soldiers burst into the home of the Mortara family. By order of the cardinal, they have come to take Edgardo, their seven-year-old son. The child had been secretly baptized by his nurse as a baby and the papal law is unquestionable: he must receive a Catholic education. Edgardo’s parents, distraught, will do anything to get their son back. Supported by public opinion and the international Jewish community, the Mortaras’ struggle quickly take a political dimension. But the Church and the Pope will not agree to return the child, to consolidate an increasingly wavering power… A Brighter Tomorrow (dir. Nanni Moretti, Italy) Giovanni, a renowned Italian filmmaker, is about to start shooting a political film. But between his marriage in crisis, his co-producer on the verge of bankruptcy, and the rapidly changing film industry, everything seems to be working against him! Always on the edge, Giovanni will have to rethink his way of doing things if he wants to lead his little world toward a bright tomorrow. May December (dir. Todd Haynes, United States) Julianne Moore and Charles Melton star as a married couple whose 20-year relationship inspired a national tabloid obsession at its offset. Now preparing to send their grown children off to college – as Melton reconciles with empty nest syndrome in his mid-30s – an actress (Natalie Portman) embeds with the family to study them for an upcoming film where she’ll play Moore. The couple buckles under the pressure as Portman probes as deeply as she can for an honest performance. About Dry Grasses (dir. Nuri Bilge Ceylan, Turkey) Samet, a young art teacher, is finishing his fourth year of compulsory service in a remote village in Anatolia. After a turn of events he can hardly make sense of, he loses his hopes of escaping the grim life he seems to be stuck in. Will his encounter with Nuray, herself a teacher, help him overcome his angst? La Chimera (dir. Alice Rohrwacher, Italy) Everyone has their own Chimera, something they try to achieve but never manage to find. For the band of tombaroli, thieves of ancient grave goods and archaeological wonders, the Chimera means redemption from work and the dream of easy wealth. For Arthur, the Chimera looks like the woman he lost, Beniamina. To find her, Arthur challenges the invisible, searches everywhere, and goes inside the earth – in search of the door to the afterlife of which myths speak. In an adventurous journey between the living and the dead, between forests and cities, between celebrations and solitudes, the intertwined destinies of these characters unfold, all in search of the Chimera. Anatomy of a Fall (dir. Justine Triet, France) Sandra, Samuel, and their 11-year-old visually impaired son, Daniel, have been living far from everything in the mountains for a year. One day, Samuel is found dead at the foot of their house. A suspicious death investigation has been opened. Sandra is soon charged despite the doubt: suicide or homicide? A year later, Daniel attends his mother's trial, a true dissection of the couple. Firebrand ( dir. Karim Aïnouz, United Kingdom) In the bloodstained England of the Tudors, Katherine Parr, the sixth and last wife of Henry VIII, is appointed Regent during his military campaigns. With this provisional role, Katherine tries to influence the king's advisers towards a future based on her Protestant beliefs. On his return from combat, the king, increasingly paranoid and ill, accuses a childhood friend of Katherine of treason and sends her to the stake. Horrified by her act and secretly bereaved, Katherine fights for her own survival. Conspiracies ensue within the palace walls and the court holds its breath – will the Queen misstep and Henry have her executed? With the hope of a kingdom without tyranny, will she be able to submit to the inevitable for the good of king and country? Monster (dir. Hirokazu Kore-eda, Japan) When her young son Minato starts to behave strangely, his mother feels that there is something wrong. Discovering that a teacher is responsible, she storms into the school demanding to know what’s going on. But as the story unfolds through the eyes of the mother, teacher, and child, the truth gradually emerges. Palme d’Or winner and internationally acclaimed director Hirokazu Kore-eda returns with a delicate, powerfully moving story of love, duty, social conflict, and secrets. Asteroid City (dir. Wes Anderson, United States) In 1955, students and parents from across the country gather for scholarly competition, rest, recreation, drama, and romance at a Junior Stargazer convention held in a fictional American desert town. Writer/director Wes Anderson further plants Cannes as his home with this star-studded whimsical comedy. The Zone of Interest (dir. Jonathan Glazer, United Kingdom) The commandant of Auschwitz, Rudolf Höss, and his wife Hedwig, strive to build a dream life for their family in a house and garden next to the camp. Writer/director Jonathan Glazer returns to feature filmmaking after a ten-year absence with this highly original story of love in the darkest of places. 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

TIFF25: Tyler's Time at the Festival September 20, 2025 By: Tyler Banark The most wonderful time of the year has come and gone with the 50th edition of the Toronto International Film Festival. What TIFF and the city of Toronto never fail to do is be welcoming. It’s the time of year when the city comes to life, welcoming film lovers like myself from around the world to see some of the biggest upcoming releases. I’ve always found it wonderful that TIFF offers a variety of movies, both good and bad. Regardless, the various trips to the theatres of King Street provided for some memorable adventures. Without further ado, here’s a look back at what I saw at TIFF50! Richard Linklater’s Blue Moon opened the first day, with Ethan Hawke delivering one of the year’s standout performances as lyricist Lorenz Hart navigating his fractured partnership with Richard Rodgers. Hawke’s flamboyant yet restrained turn anchors this brisk, 100-minute chamber piece, with Linklater keeping the pacing tight enough to avoid the lulls typical in similar films. The rest of the day was devoted to Cannes catch-ups: Sirāt , The Secret Agent , and Palme d’Or winner It Was Just an Accident . Sirāt emerged as the best foreign entry of the festival, cleverly twisting the road-trip formula with a shocking second half. It Was Just an Accident is impressively portrayed as a dark comedy with an unexpected bite. The weakest of the trio, The Secret Agent , still offered value by showcasing Wagner Moura’s growing stature as one of Latin America’s most compelling rising talents. Day two featured Oliver Assayas’ The Wizard of the Kremlin , a political thriller that traces Vladimir Putin’s 15-year rise through the eyes of an associate, played by Paul Dano. Despite its ambition, the film lacks the intrigue of stronger political dramas, and the unconvincing Russian accents from Dano and Jude Law don’t help. Park Chan-Wook followed with No Other Choice , a biting satire about an unemployed man plotting revenge on his job rivals. Dark, shocking, and hilarious, it sparked endless debate and was a strong contender (and eventual winner) for the inaugural TIFF International People’s Choice Award. Closing the day was Paul Greengrass’ The Lost Bus , starring Matthew McConaughey and America Ferrera. Based on the 2018 Paradise wildfires, it delivered an emotional, crowd-pleasing finale that earned thunderous applause. While weakened by clunky dialogue and uneven writing, its powerful climax and heartfelt performances kept it engaging. The weekend brought a mix of highs and lows at the festival. David Mackenzie’s Fuze , Mark Jenkin’s Rose of Nevada , and Romain Gavras’ Sacrifice ranked among the weakest. Fuze squandered a strong premise and cast on thin writing and a pointless ending. Rose of Nevada , a sluggish drama with a failed mystery thread, disappointed despite George MacKay’s billing—he didn’t even appear at my screening, though Callum Turner and Jenkin did. Sacrifice strained to be a biting satire but only came off as a hollow imitation of 2022’s The Menu . In the middle sat David Michôd’s Christy , buoyed solely by Sydney Sweeney’s committed turn. Gus Van Sant’s Dead Man’s Wire fared better, a gripping crime thriller powered by Bill Skarsgård’s continued momentum and Dacre Montgomery’s sharp presence. Fortunately, the festival’s best stood out among these: Maude Apatow’s assured directorial debut in the comedy Poetic License , and David Freyne’s fantastical romantic dramedy Eternity . Chloé Zhao’s Hamnet proved a gut-punch of a drama. For most of its runtime, it’s a meditative, steady work, but the final 15 minutes, paired with Max Richter’s haunting “On the Nature of Daylight,” elevate it into something unforgettable. Rarely have I heard so many sniffles at a 9 a.m. screening—it’s an experience I’ll carry into my next watch of it. Next came Peter Ho-Sun Chan’s She Has No Name . Like last year’s Harbin , I sought it out for its intriguing synopsis, but it ultimately left little impression despite its potential. I closed the day with Dwayne Johnson, first at his In Conversation With… panel, then with the North American premiere of The Smashing Machine . The film marks a bold pivot for Johnson, an attempt to move beyond his The Rock persona. While his performance shows promise, the script’s uneven writing keeps it from fully landing. My final day at TIFF was a Netflix marathon with Wake Up Dead Man: A Knives Out Mystery , Frankenstein , and Ballad of a Small Player . Rian Johnson’s third Benoit Blanc outing remains enjoyable, though it lacks the sharpness of Knives Out and Glass Onion . Guillermo del Toro’s Frankenstein stood out as a faithful, fascinating retelling of Mary Shelley’s novel. Oscar Isaac brings gravitas as the scientist, but Jacob Elordi steals the film with one of the year’s finest performances as the creature. While Del Toro’s artistry is undeniable, his films remain hit-or-miss for me personally. Unfortunately, the festival ended on a sour note with Edward Berger’s Ballad of a Small Player . Despite Colin Farrell and Tilda Swinton being attached, the film’s bombastic style and grating score made it feel like a chaotic blend of Uncut Gems and Casino —a frustrating finale to an otherwise memorable TIFF. At the end of the day, it won’t matter how I ended things because TIFF always makes for a wonderful time, regardless of the quality of certain movies. This year was a buffet as the 20 movies I saw in six days ranged from everything and came from everywhere. The people of TIFF know how to cater to everyone, although I wish I had found a Midnight Madness screening to attend, as those are usually a highlight. That being said, happy 50 years to Cameron Bailey and company! Here’s to 50 more!! FULL RANKING 1. Eternity (4.5/5) 2. Poetic License (4.5/5) 3. Hamnet (4.5/5) 4. Sirāt (4/5) 5. Blue Moon (4/5) 6. Frankenstein (4/5) 7. No Other Choice (4/5) 8. Dead Man's Wire (3.5/5) 9. The Smashing Machine (3.5/5) 10. It Was Just an Accident (3.5/5) 11. Wake Up Dead Man: A Knives Out Mystery (3.5/5) 12. The Lost Bus (3.5/5) 13. Christy (3/5) 14. The Wizard of the Kremlin (2.5/5) 15. The Secret Agent (2.5/5) 16. Fuze (2/5) 17. She Has No Name (2/5) 18. Sacrifice (2/5) 19. Rose of Nevada (1.5/5) 20. Ballad of a Small Player (1/5) 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

Every Spider-Man Movie Ranked June 2, 2023 By: Tyler Banark With Spider-Man: Across the Spider-Verse swinging into theaters this weekend, now is a perfect time to revisit and recap every movie from our friendly neighborhood superhero. Since the character’s big screen inception in 2002, Spider-Man has had many faces, friends, foes, and bosses thanks to a civil feud between Sony and Marvel. Between the Spider-Man actors - Tobey Maguire, Andrew Garfield, Tom Holland, and Shameik Moore - many generations of fans have debated over who is the best Spider-Man. However, that thorny question will be left for another day. Instead, we’ll embark on the equally difficult and exciting task of ranking all nine Spider-Man movies (Raimi trilogy, Amazing Spider-Man franchise, MCU trilogy, Into the Spider-Verse ) from worst to best. 9. Spider-Man: Homecoming (2017) Yes, I admit that having Homecoming at the bottom of this list is an unpopular opinion. Tom Holland debuted as the MCU’s Spider-Man in Captain America: Civil War one year prior, with Homecoming being his first solo trip around the block. Homecoming is borderline okay, often pushing good. Indecisive on whether or not it wants to be a superhero movie or a John Hughes-inspired coming-of-age flick (i.e., The Breakfast Club, Sixteen Candles ), Homecoming struggles with its story and leaves audiences underwhelmed. Performance-wise, Holland and the supporting actors are finding their footing with mixed results. It does help that Robert Downey Jr. brings his usual veteran charm in his seventh outing Tony Stark. The other standout in the movie’s strongest suit is Michael Keaton’s Vulture, who packs both a threatening presence and justifiable motives. His turning out to be Liz’s dad was a surprise and one of the most shocking plot twists in the MCU. Thankfully, the fact that Homecoming isn’t as strong as the other Spider-Man movies isn’t a total hindrance, as its direct MCU sequels build upon it and eventually make Holland’s run better by progression. 8. The Amazing Spider-Man 2 (2014) Before a recent rewatch, I always had a soft spot for The Amazing Spider-Man 2 . Although it wasn’t the best Spider-Man movie, I still found a lot to enjoy. However, the nostalgia has worn off, with the flaws being glaringly obvious. These big problems stem from the overcrowded writer’s room, with three new pens joining the only returning writer James Vanderbilt. The plot is overstuffed and the handling of the villains could’ve been better. The tone has also been drastically changed, although that change works out in the movie’s favor. Dane DeHaan could’ve been a solid Harry Osborn/Green Goblin, but he comes off as one-dimensional and his subplot is rushed. The same can be said for Jamie Foxx’s Electro, as it seems like he had to battle with the filmmakers/producers on how to pursue the character. These notes aside, TASM 2 still had some strong aspects to it. Andrew Garfield and Emma Stone have stellar chemistry, the ever-impressive Hans Zimmer delivers an excellent score, and the action sequences are incredibly staged, with the Times Square battle being the coolest moment in Garfield’s brief saga. 7. Spider-Man 3 (2007) If Garfield’s Spider-Man movies took any lessons from Raimi’s trilogy, it’s the unfortunate ability to mishandle a trio of villains. Harry’s long-gestating transformation into Goblin doesn’t bear the expected fruit as his final form only appears in two scenes, one of which is the final battle where he’s fighting Venom and Sandman alongside Spider-Man. Venom is introduced too late, with Topher Grace (poorly) replicating his hit character of Eric Forman from That 70s Show . Sandman is the only villain ingrained with a meaningful backstory and motives, both aided by Thomas Haden Church’s performance. I know it’s an unpopular opinion considering the memes that it spawned, but one of the best aspects of Spider-Man 3 is how it gives Peter an edgy side. Whether ironically or unironically, I think those misunderstood elements will become more appreciated as time goes on. Tobey Maguire still holds up as a more adult Peter/Spider-Man, with James Franco and Kirsten Dunst complimenting him as Harry Osborn and M.J., respectively. 6. Spider-Man 2 (2004) For the longest time, I thought Spider-Man 2 was the most overrated superhero movie ever. Don’t let your immediate anger cloud your judgment, as being overrated does not mean it’s bad. There’s a lot to love: Maguire and Dunst bring back their excellent chemistry, Alfred Molina’s menacing Doc Ock, Danny Elfman’s energetic score, and the Oscar-winning special effects. Raimi is also allowed to bring out his darker side by raising the stakes for Peter. He even creates one of the most horrifying scenes in a superhero movie, with the hospital scene still sending a tingle down my spine today. And then there’s the train sequence, which still holds up as one of the best cinematic Spider-Man set pieces. So why do I think this movie is overrated? Well, it’s because this sequel often feels like it’s trying too hard to replicate exactly what made its predecessor a huge success. If you think about it, Doc Ock has the same internal struggle as Willem Dafoe’s Green Goblin. And when Peter returns to being Spider-Man, he simply does it because MJ got kidnapped. There’s also the underdeveloped subplot of Aunt May's financial struggles and Peter’s academic decline. But for all my gripes, Spider-Man 2 is still a genuinely fun time. 5. The Amazing Spider-Man (2012) Andrew Garfield’s first outing might be a little too familiar to Maguire’s, but it still has enough unique identifiers, such as the exploration of Peter’s parents and the handling of Peter as more of an outcast instead of a nerd, to justify its existence. This reboot still had its struggles with an inconsistent tone that goes from lighthearted fun to ominous at the flip of a switch. And it often becomes distracting as Garfield tries to replicate Maguire's humor while trying to be his version of the character. However, he does showcase great chemistry with Emma Stone’s Gwen Stacy, almost giving Maguire and Dunst a run for their money. Denis Leary stands out as Captain Stacy and Rhys Ifans’ Dr. Curt Connors/Lizard is an intimidating villain, even if he’s nowhere near the level of Dafoe's Goblin or Molina’s Doc Ock. His desire to create a world without weakness makes sense based on his situation, but his ends don’t justify the means. 4. Spider-Man: Far From Home (2019) Far From Home feels like your typical Spider-Man movie, which makes it serve as the perfect epilogue to the Earth-shattering events of Avengers: Endgame . Peter faces a great threat in Quentin Beck/Mysterio, with Jake Gyllenhaal being fantastic in the role as he finds room to make the character simultaneously understandable and egotistical. The chemistry between Holland and Zendaya continues to grow, with Jacob Batalon supplying the comic relief. It also never hurts to have Samuel L. Jackson appear as Nick Fury. FFH also has heaviness throughout as Peter still grieves over Tony’s death while struggling to live up to the status he expects of himself. The scene where Mysterio messes with Peter’s head through illusions is the perfect illustration of the character at his most frightening. Not once does it feel cheesy; it’s unnerving as we see a figure Peter trusted unleash his true colors. Had Peter’s story ended here, it would’ve been neat, but it ultimately sets the stage for a third chapter that will go down as the most iconic for Holland’s run thus far (hint, hint). 3. Spider-Man: No Way Home (2021) No Way Home is the pinnacle testament to Spider-Man as it honors the cinematic legacy that was created back in 2002. We find Holland’s Spider-Man still processing the weight of Tony’s death and developing an understanding of what it means to be a superhero. Fortunately, he finds two excellent teachers in those that have come before him as Maguire and Garfield return, along with their familiar foes. Their chemistry with Holland is undeniable, and it’s so satisfying to see the three of them interacting with each other. Bringing the first two Spider-Men back felt like a wave of nostalgia for lifelong fans of the character. But it’s not a simple cash grab as it works well with the grand scope of the narrative. Seeing Dafoe’s Goblin and Molina’s Doc Ock return is bittersweet as they act like not a day has passed since they last played their parts. Foxx’s Electro is given room to be the formidable opponent he wanted to be in TASM 2 . NWH would easily be in the top two, but the only thing holding it back is the heavy reliance on fan service, which doesn’t translate as well outside of the theater. Otherwise, it’s a perfect Spider-Man movie that encapsulates everything it means to be the character. 2. Spider-Man (2002) Spider-Man is a classic superhero movie with the right amount of stakes for the character both internally and externally. It laid the groundwork of what a Spider-Man movie could be so effortlessly, something that almost every other entry has been chasing. Maguire fits the bill as a nerdy Peter Parker grappling with his newly given powers to become the hero we know and love. Of course, I may be biased toward this movie since it is the original. But upon revisiting it recently, it’s still as flawless as when I first watched it. Sam Raimi always stood for changing the game just as he did for the horror genre with the Evil Dead trilogy, so there’s no surprise that he reapplies his methods to the still burgeoning superhero genre. Willem Dafoe is incredible as Norman Osborn/Green Goblin, nailing the two-face aspect of the character. James Franco and Kirsten Dunst deliver excellent turns as Peter’s friend Harry and love interest M.J., respectively, as does Rosemary Harris as Aunt May and J.K. Simmons as the wisecracking J. Jonah Jameson. The finale is also one of the best moments of any superhero movie, as we see Spidey flawlessly save M.J. and the Roosevelt Island tram. 1. Spider-Man: Into the Spider-Verse (2018) Into the Spider-Verse is not only one of the best superhero movies ever made, but it’s also one of the best-animated movies of the 21st Century. Here, we are introduced to Miles Morales, a middle schooler who is dealt the same fate as Peter and learns to become a hero. Only this time, he gets some help from other variations of the character spread across countless dimensions. Shameik Moore voices the role of Miles well, while Hailee Steinfeld and Jake Johnson counter him as Spider-Gwen and Peter B. Parker/Spider-Man. Daniel Pemberton’s score and the soundtrack bring their unique flare, matching well with the out-of-this-world animation. The utilization of different animation styles left no doubt as to why this won the Oscar for Best Animated Feature, or why it will continue to be the model for animation excellence for years to come. Whichever Spider-Man movie audiences prefer, there is no denying that all nine of them offer something different. No matter if they work or not, the movies made a statement about the character and illustrated where the superhero genre was at a moment in time. Tobey Maguire laid the groundwork; Andrew Garfield proved that you should never stand down even if the cards aren’t in your favor; Tom Holland captured the youthfulness and understood the duties of Spider-Man; and Shameik Moore proved that no one fights alone and anyone can wear the mask. But what do all four of these Spider-Men have in common? They have the understanding that with great power comes great responsibility. You can follow Tyler and read more of his thoughts on movies here . 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

Top 10 Films of 2019 January 23, 2020 By: Hunter Friesen Well, the year has passed and we can finally let out a sigh of relief. The only thing left to do now is to look ahead to fresh beginnings in the new year and decade. But before we do that, let’s take some time to appreciate all the good that happened to us this last year, specifically within the movie theatre. From the biggest of blockbusters to the smallest of indies, several cinematic offerings were made that deserve attention and praise. So in an effort to give credit where credit is due, here is a list of my favorite films of 2019. Honorable Mentions A Beautiful Day in the Neighborhood Ford v Ferrari The Farewell The Lego Movie 2: The Second Part The Lighthouse 10. 1917 In a move of pure boldness, director Sam Mendes decided to stage his World War I film as one continuous shot. Roger Deakins’ masterful cinematography never once faults as it fully immerses us into the action on a level not seen in war films before. Adding Thomas Newman’s score and two excellent lead performances on top of that give this blockbuster an unrivaled sense of grandiosity. 9. Uncut Gems Adam Sandler returns to form with his role as Howard Ratner in Uncut Gems . But it's not just The Sandman himself who takes the spotlight in this anxiety-inducing tale of one man trying to gamble himself a fortune within the New York diamond district. Supporting players Julia Fox, LaKeith Stanfield, and even basketball legend Kevin Garnett show off their talent as directors Josh and Benny Safdie take that screen presence and combine it with an intensely paced story to deliver one hell of a ride. 8. Marriage Story Written and directed by Noah Baumbach, this Netflix divorce drama made for the biggest emotional punch of any film in 2019. Adam Driver and Scarlett Johansson commandingly take the lead and deliver a film that has never been so pleasantly depressing and genuinely funny at the same time. You’ll laugh, you’ll cry, or you’ll do both at the same time. And by the time the credits start rolling, you’ll have been on a journey with not just these characters, but also with yourself. Full Review 7. Parasite South Korean director Bong Joon-ho returns home for his newest feature. Winner of the prestigious Palme d’Or at the Cannes Film Festival, the film follows the escapades of the poverty-stricken Kim family as they infiltrate the household and lives of the wealthy Parks. Genre-defying to the highest degree, Parasite is never what you think it is as it twists back and forth between comedy, horror, and drama within the blink of an eye. Fortunately, the one thing that stays constant throughout is the immense talent of all involved to make this wholly original and unforgettable film. 6. Ad Astra The 2010s have been a renaissance for space movies as several top directors and stars have lent their craft to tell stories beyond our planet. Joining that list are James Gray and Brad Pitt as they take the road less traveled with the unique Ad Astra . Almost a one-man show by Pitt, the film tells his character’s deeply humanistic story within the cosmic scale of its setting. It’s deeply moving and altogether something different than what has come before, which is why it deserves a place on this list. Full Review 5. Climax The most unsettling and stressful movie released this year, Gaspar Noé’s Climax is a hypnotic nightmare. Set in a remote French school, the film follows a group of dancers as they celebrate after a successful show. Unfortunately, someone spiked the punch with LSD and everyone is in for an agonizing trip. As expected the dance numbers are fantastic and the inventive long-take cinematography never lets you go no matter how many times you want to look away. Be sure to take some ibuprofen before embarking on this strange ride. 4. Once Upon a Time in... Hollywood Perfectly led by an all-star cast of Leonardo DiCaprio, Brad Pitt (what a year he’s having!), and Margot Robbie, Quentin Tarantino’s ninth feature turned out to be his most comedic and mature work. The esteemed writer/director’s tale of a fictional TV cowboy in the waning days of Hollywood’s golden age acts as both a time capsule for a bygone era and as an allegory for the state of filmmaking in modern times. But don’t let the laughs fool you into thinking Tarantino won’t indulge in his trademarked ultraviolence as he delivers what may be his most challenging and squirm-inducing finale. 3. The Irishman At 209 minutes, Martin Scorsese’s The Irishman is a true-crime epic. Telling the story of mob hitman Frank "The Irishman" Sheeran, the long-gestating project is packed with an all-star cast of Robert De Niro as the titular character as well as Joe Pesci and Al Pacino in career-defining roles. Instead of rehashing his usual gangster formula, Scorsese flips the script and fully exposes the audience to the doom and gloom that a life of crime brings to someone. Released on Netflix, there’s no excuse not to see this historic work. Full Review 2. The King Available on Netflix (are you starting to see a pattern?), The King is a period piece for the modern age. Director David Michôd elegantly crafts a sweeping drama centered on the early reign of King Henry V - brilliantly played by a brooding Timothée Chalamet - as he navigates through murky political waters. Technically immaculate through its cinematography and score, the drama also boasts a well-rounded supporting cast of characters looking to raise their rank through either loyalty or betrayal. All these factors and more (including Robert Pattinson’s bonkers accent) make for an incredibly engaging watch. All hail King Henry indeed. 1. Little Women With a modern twist on a timeless classic, Greta Gerwig’s Little Women is an absolute delight. From its non-linear narrative to its glowingly warm cinematography, everything on the screen does wonders as it forces tears that are then brushed away with a smile. That also includes performances from the ensemble that bring the March sisters to life in a way not seen before. Arriving on Christmas Day as a gift to all, there was no better way to cap off the year (and decade) than with this absolute masterpiece. 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

Top 10 DreamWorks Animated Movies March 7, 2024 By: Tyler Banark A child sitting on the moon fishing accompanied by a fairytale-like fanfare. What more could you ask for from one of Hollywood's simplest and most recognizable studio logos? With Kung Fu Panda 4 on the horizon this week, DreamWorks Animation has another installment of one of its many beloved franchises. While it has evolved over the years, the studio has never lost sight of its humble beginnings. In their 25-year history, they’ve proven adept at rivaling Disney through their ability to tell stories of different substances and styles. And unlike the Mouse House and Illumination (who never fail to rope audiences in with their vexing mascot and bland style), DreamWorks has never shied away from being themselves, even if the result isn’t always exclamatory. Nevertheless, they still crank out consistently amazing movies, and here are the ten that have stuck with me the most. 10. Monsters vs. Aliens (2009) I wouldn’t go so far as to describe animated movies as campy, but if there’s one that fits that mold, it’s this 2009 gem. Led by a voice cast of Reese Witherspoon, Seth Rogen, Hugh Laurie, Will Arnett, Rainn Wilson, Kiefer Sutherland, and Stephen Colbert, Monsters vs. Aliens makes for a wacky monster movie that pokes fun at kaiju movies and old sci-fi cult classics like Attack of the 50 Foot Woman . Rogen gives one of his most underappreciated voiceover performances here as B.O.B., a dimwitted gelatinous mass lacking a brain. The film isn’t one of DreamWorks’ most talked-about works, but rest assured, there are a few lovers of this movie like myself out there. 8. How to Train Your Dragon 2 (2014) As the follow-up on the studio’s biggest surprise hit, How to Train Your Dragon 2 greatly expands the world of Berk and its inhabitants. Hiccup continues his research of dragons and the possibility of them and Vikings living in harmony. The sequel introduces Cate Blanchett’s Valka, Hiccup’s long-lost mother, and Djimon Hounsou’s Drago, a man looking to control all dragons. Their additions add to the already impressive returning voice cast. Throughout the trilogy’s run, each entry made the case that it was worthy of top accolades, but there was always something else pushing it aside. The first and third entries were defeated by Toy Story 3 and Toy Story 4 , and the middle chapter ran into The Lego Movie and Big Hero 6 . 8. How to Train Your Dragon: The Hidden World (2019) The conclusion to one of the most underappreciated trilogies ever, The Hidden World finds Hiccup and Toothless facing the ultimate test of a ruthless dragon hunter and his army, all while discovering a hidden realm where dragons live in peace. The animation is top-notch, and the cast is wonderful as always, especially Jay Baruchel, who never failed to make his case as to why he was the best choice for Hiccup. F. Murray Abraham joined the cast as the antagonist, Grimmel, who, like Lord Shen in Kung Fu Panda 2 , knows how to counter and confound his opponents. Director Dean DeBlois went all out to make The Hidden World a fitting conclusion to a decade-spanning trilogy, with John Powell’s score remaining consistently soulful, just as the series was as consistent in overall quality. 7. Puss in Boots: The Last Wish (2022) As a big welcome back to not only the Shrek universe but to DreamWorks as a whole, Puss in Boots: The Last Wish took some of the biggest risks audiences have witnessed from a DreamWorks property. It not only switched gears in animation styles by following the storybook look of The Bad Guys , but it also featured the scariest representation of death in a family-friendly movie. Thanks to Wagner Moura’s spine-tingling voiceover work, the Wolf is one of the best villains in recent years. However, The Wolf wasn’t the only baddie here making a statement for himself. Big Jack Horner, voiced by John Mulaney, displayed his ruthlessness by being willing to kill one of his henchmen without remorse. Puss is written with complexity as he grapples with mortality and anxiety, capped with further commentary on how our time in life is short and shouldn’t be wasted. 6. The Bad Guys (2022) Based on the popular children’s book series by Aaron Blabey, The Bad Guys flew under the radar when compared to the studio’s other works. Not only was it the best animated film to come out that year, but it was also one of the first to show Into the Spider-Verse ’s impact on the industry, as the animation is far different than anything done before by DreamWorks. The Bad Guys steers away from the typical computer-generated look and goes for something more storybook-like. It pulled me in immediately through its opening scene: a long take of Wolf and Snake eating breakfast before pulling up to a bank for another heist. On the surface, it’s just an opening scene that the typical viewer could just brush off. However, if you’re like me, you’ll notice that DreamWorks made a subtle homage to Quentin Tarantino and his crime flicks (more specifically, Reservoir Dogs and Pulp Fiction ). Sam Rockwell led an excellent cast; including Awkwafina, Anthony Ramos, Marc Maron, Craig Robinson, Zazie Beetz, and Richard Ayoade. 5. Kung Fu Panda (2008) A remarkable feat that safely introduced young audiences to martial arts movies, Kung Fu Panda not only featured the witty humor audiences came to expect but also a compelling character arc for Jack Black’s Po. The movie provided resonant motifs of never giving up and that answers can be found in the unlikeliest places. Black had an impressive supporting cast around him, including Dustin Hoffman, Angelina Jolie, and Ian McShane as one of the best villains in studio history who is both menacing and understandable. Kung Fu Panda cemented DreamWorks’ second most successful franchise, and it’s never been far behind a certain green ogre… 4. Shrek 2 (2004) Shrek 2 is one of the rare sequels to equal its predecessor. Not only did it raise the stakes, but it distanced itself enough to the point where it could be a standalone, feel-good movie. Shrek 2 also featured a great villain in Fairy Godmother, who is nice on the surface but reveals her true intentions by trying to get in between Shrek and Fiona. The sequel also introduced us to the irresistible Puss in Boots, who solidified himself as a franchise favorite to the point where he got two spin-offs. There’s also a strong soundtrack, with the highlights being the movie’s anthem, Accidentally in Love, and Jennifer Saunders’ cover of Holding Out For a Hero . 3. Shrek (2001) A landmark film of a generation and the first film to win Best Animated Feature Film at the Oscars, Shrek is DreamWorks’ golden child. It put the studio on the map and provided a wake-up call to Hollywood that Disney isn’t the only source of animation, while also spawning three sequels and two spin-offs. During its run, Shrek went on to become the first animated film in almost sixty years to compete for the Palme d'Or at the Cannes Film Festival, the first to be nominated for Best Adapted Screenplay at the Oscars, and Eddie Murphy became the first actor to receive a BAFTA nomination for a voice-over role by playing Donkey. It threw out audiences’ preconceptions about fairytales, giving us a hero far from Prince Charming on the outside, yet still charismatic and lovable. It made a statement that anyone is capable of giving and receiving love, with the added bonus of several raunchy jokes and clever moments that have become staples of online culture. 2. The Prince of Egypt (1998) The best piece of religious cinema I’ve ever seen and one of DreamWorks’ earliest works, The Prince of Egypt follows the story of Moses and his liberation of the Hebrew slaves from Ancient Egypt. Based on the book of Exodus, it’s one of the few faith-based films to resonate with culture both critically and commercially, with other worlds like The Passion of the Christ and Silence falling on extreme ends of the spectrum. A strong cast including Val Kilmer, Ralph Fiennes, Michelle Pfeiffer, Sandra Bullock, Jeff Goldblum, Danny Glover, Steve Martin, and Martin Short all brought their A-game. The Prince of Egypt is still one of the few DreamWorks movies to feature traditional hand-drawn animation, most notably seen in the climax where Moses parted the Red Sea, and an eerie nightmare sequence told through Egyptian paintings. Music from Hans Zimmer and a soundtrack featuring sweeping songs such as Deliver Us , Through Heaven’s Eyes , and The Plagues , aided in establishing the epic scale and the studio’s legacy. 1. How to Train Your Dragon (2010) If you’re reading this and know this cinephile personally, then this shouldn’t come as a surprise to you. As the saying goes, never judge a book by its cover, and that’s exactly the case with How to Train Your Dragon . Gorgeous animation with the help of legendary cinematographer Roger Deakin, a stellar voice cast, and a timeless script are just a few of the reasons why the movie exceeded all expectations. Hiccup and Toothless are an irresistible duo, accompanied by many characters that complement them well. Furthermore, John Powell’s score is one of the best, if not the best this critic has ever heard. It’s easy to listen to, and you can’t help but smile when you hear our duo’s themes. This first chapter also lays the groundwork for one of the most consistent animated trilogies ever, never going overboard with the worldbuilding, leaving enough to be discovered and built upon in said sequels. Through Hiccup, the movie conveys that you should never be afraid to be who you truly are, even if everyone around you is different. This method can be applied to DreamWorks as a studio, which is exactly why How to Train Your Dragon is their best. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . 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