Search Results

Twin Cities Film Fest 2025 Preview October 14, 2025 By: Hunter Friesen From late August through mid-September, the fall film festival corridor reaches its apex of influence and popularity with the overlapping of the trifecta that is the Venice International Film Festival, Telluride Film Festival, and Toronto International Film Festival. Dozens of A-list movie stars and auteurs debut their newest projects, walking the red carpet and shaking hands to attract as much attention as possible. It’s all a game, with the victor being showered with praise in the form of box office earnings and industry awards. While those headlining festivals are mostly exclusive events, a democratization of this process begins in October with the blitz of the regional festivals. All across the country (and the world), smaller festivals gather a collection of the best that world cinema has to offer, curating for local tastes and building narratives that carry on throughout the rest of the year. Notable festivals that take place during this time include the New York Film Festival, the Chicago International Film Festival, the Philadelphia Film Festival, and AFI Fest. Also a part of that mix is the Twin Cities Film Fest (TCFF), now celebrating its “Sweet 16” anniversary with its lineup of blockbusters and headliners. Distributor Focus Features retains its opening night slot for the third year in a row after The Holdovers and Conclave , respectively. Both of those films placed for the Best Feature Film Award, something that this year’s selection, Hamnet , could very likely do, considering its rave reviews and awarding of the People’s Choice Award at the Toronto International Film Festival. Tissues will be needed for the audience of this tear-jerker, which features Oscar-worthy performances by Jessie Buckley and Paul Mescal. It will then be released in theaters around the Thanksgiving holiday. Also from Focus Features is Bugonia , the newest collaboration between director Yorgos Lanthimos and star Emma Stone, whose previous works include The Favourite , Poor Things , and Kinds of Kindness . Stone plays a CEO who is kidnapped by two conspiracy-obsessed young men who believe that she is an alien who has been sent to destroy the planet. Amazon MGM Studios will bring Hedda , writer/director Nia DaCosta’s reimagining of Henrik Ibsen’s classic play, starring Tessa Thompson. Aziz Ansari, Seth Rogen, and Keanu Reeves headline Ansari’s directorial debut, Good Fortune , which will play at the Edina Mann 4 Theatre as part of the festival’s new partnership to expand its programming capabilities. Searchlight Pictures will be pulling double duty during the festival’s final days with the dramedies Rental Family and Is This Thing On? . In the lineup press release, Executive Director Jatin Setia said that he wanted to “put a brighter spotlight on the independent spirit.” That sentiment is illustrated by the selection of The Floaters as the Spotlight Centerpiece. Marking its Minnesota Premiere at the festival, the indie dramedy features an eclectic cast of performers like Jackie Tohn, Seth Green, Aya Cash, and Steve Guttenberg. Director Rachel Israel and producer Shai Korman will conduct a Q&A following the screening. The Closing Night Gala, Lost & Found in Cleveland , will also bring together its cast and crew, including directors Keith Gerchak and Marisa Guterman, as well as actors Santino Fontana and Benjamin Steinhauser. The festival received a record number of submissions this year, with over 150 films set to screen at the Marcus West End Cinema, Edina Mann 4 Theatre, or virtually via the TCFF streams platform. The selection runs from October 16 to the 25th, with information about scheduling and tickets available at twincitiesfilmfest.org . 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 2025 Recap May 27, 2025 By: Tyler Banark This year, I was honored to attend the 78th edition of the Cannes Film Festival. It was my first time attending the festival and being in Europe, and it truly was a wonderful experience. The sights, views, and movies were all something to behold and made me grateful that I could be in the presence of great people working in the industry. I saw eight films during the last three days, so here are my brief thoughts on everything I saw on the Croisette, in the order I watched them in. Sound of Falling One of the most hyped-up non-English-language movies of the festival, Mascha Schilinski’s Sound of Falling , will likely be on many people’s radar later this year. Unfortunately, I did not enjoy it as much as everyone else at the festival. It was boring, and I had no idea what it wanted to be. It does try to make a valid commentary on childhood trauma across different generations, but it gets convoluted in doing so. It also ended suddenly as I got into the moment and was eager to see where it would go. How this movie tied for the Jury Prize (third place) is beyond me. I would advise avoiding it. (2/5) The History of Sound The History of Sound sees Paul Mescal and Josh O’Connor, two actors at the top of their game, collide in a love story driven by folk music. The two are excellent, but the rest of Oliver Hermanus’ film is dull as it tries to mask itself with performances and enticing music moments.. There is a great movie somewhere underneath this movie’s surface, but whether that core can be reached is a stretch to see and may require a second viewing. For now, The History of Sound is a miss for Hermanus. (2.5/5) Eddington Eddington is a daring and complex film that challenges viewers to reflect on the societal divisions exacerbated by the pandemic. Its potent performances and atmospheric direction make it a standout entry in Aster's filmography, even if its political messaging occasionally lacks precision. It's the latest example of that and is a compelling film that provokes discussion and introspection about the pandemic, no matter how comforting or discomforting it may be. (4/5) Resurrection Bi Gan’s latest epic, Resurrection , is the big movie of the year that people will either love or not get. It’s best to go into it knowing little of the plot other than it falls into the genre of a love letter to cinema. Resurrection sees Gan passionate as ever, as it’s a visual feast. Bookended with a remarkable opening sequence and a final twenty minutes that will stun audiences, Gan should have audiences wrapped around his finger. (4/5) Sentimental Value Joachim Trier’s follow-up to his 2021 hit The Worst Person in the World sees him slowly reaching the Western Hemisphere. He’s back with Renate Reinsve and has Stellan Skarsgård on board. But in terms of Hollywood, he recruited American actors Elle Fanning and Cory Michael Smith in supporting roles. The actors make Sentimental Value what it is as we see a father look to reconnect with his adult daughter, but an American actress poses a threat. If Sentimental Value is looking to accomplish anything, it’s being a heavy awards season contender as the leading trio is all wonderful. If there are any flaws, it’s in the pacing, as it tends to drag for much of the movie’s runtime. Nevertheless, be on the lookout for this soon. (3.5/5) Die, My Love Lynne Ramsay’s long-awaited return to the silver screen is a bleak slice-of-life film starring Jennifer Lawrence and Robert Pattinson as a lowly couple living in the countryside of Montana. Lawrence performs daringly as she’s in a weird phase of looking to reinvent herself. As a fan of hers, I’m all for it, but I don’t know if others will see it that way. Don’t get me wrong, I want to see Lawrence back in the limelight, but I don't know if this will work for her due to the subject matter of the love. It’s a raw, physical performance, and she can do it. But when the rest of the movie isn’t as consistent as she is, where will the general viewers fall? (3/5) Honey Don't! The second film in Ethan Coen’s follow-up lesbian trilogy after last year’s Drive-Away Dolls , to Honey Don’t is another step down for his solo director career. While watching this film, I realized which past Coen brothers projects were helmed mainly by him and which were done by Joel. Margaret Qualley is looking to be his muse as she leads this queer crime comedy, and she owns the screen. She fits the mold of the Coen aesthetic, and is far from the most significant issue I had with Honey Don’t. The writing is the suspect here as Coen co-wrote this with his wife Tricia Cooke, and it leaves audiences unamused with lamely written characters. The only good thing to come out of the script is the humor. Still, even that didn’t do much to save. He wastes a stacked cast of Aubrey Plaza, Charlie Day, Chris Evans, and Talia Ryder with ho-hum character development, making the previously mentioned typecast. If there’s anything Ethan Coen should take away from Honey Don’t , it’s that he needs to reunite with Joel. (3/5) The Phoenician Scheme Wes Anderson's The Phoenician Scheme sees the director at a crossroads. His style is unique and can't be replicated, no matter how much people try. However, the relationship between Asteroid City and The French Dispatch has become stale in the past few years . Luckily, moviegoers and Wes heads can put this fear to rest as The Phoenician Scheme is a bold, genre-blending espionage comedy that both honors and subverts his signature style. For a while now, Anderson has been making the narrative approach of having a story within a story. And while it worked at first, it slowly got boring. Have no fear, as The Phoenician Scheme reverts to that and gives a direct plot that feels like a breath of fresh air for viewers like me. (4/5) 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

Cannes 2023 Recap June 1, 2023 By: Hunter Friesen The Cannes Film Festival, renowned for its celebration of the art of cinema, serves as an annual rendezvous for filmmakers, artists, and film enthusiasts from around the world. As the curtains drew back on the esteemed event, it bestowed upon us a plethora of remarkable films that pushed the boundaries of storytelling and left an indelible mark on our collective cinematic consciousness. In this article, I’ll embark on a captivating recounting of the thirteen films I saw in this year’s edition. From intimate character studies to sweeping epics, the selection was a testament to the diverse voices and visions that grace the silver screen. Each film presented its unique tale, captivating audiences with its artistic merits and thought-provoking narratives. 13. The Old Oak Painfully flat and oversimplified, Ken Loach and Paul Laverty’s umpteenth partnership spends way too much time speechifying instead of building characters. The message boils down to racism = bad, and it ends without resolving either the main plot or the secondary subplot. For someone as adept at social realism as Ken Loach, this is a glaring misfire that makes me worried if it will be his whimpering swan song. 12. Black Flies You might as well walk into this movie with a headache because you're going to get one five minutes in. You might as well not watch this movie if you're squeamish with blood and needles. You might as well not watch this movie if you want to watch interesting characters in an original story filled with ideas you haven’t seen before. You might as well not watch this movie. 11. Last Summer There’s nothing like climbing the steps of the Grand Théâtre Lumière at 7 am to watch a movie about an affair between a middle-aged woman and her teenage stepson. Infamous provocateur Catherin Breillat’s first film in a decade is not as button-pushing as her reputation or the plot summary would imply. Instead, it mutley looks under the surface at the psychological damage caused by the physical actions. 10. Banel & Adama I’ve always had a blind spot for African cinema, so I felt compelled to let this be a mini-introduction. Ramata-Toulaye Sy’s debut film is confidently produced, with striking images and a welcoming lesson of a slice of African culture. The story may be too simple even for its 80-minute runtime, but the building blocks are there for further bites at the apple. 9. A Brighter Tomorrow With his version of Bardo , Nanni Moretti provides a humourous meta-commentary on his personal and professional life, as well as the state of modern filmmaking, complete with discussions about the lack of auteurship and Netflix’s anonymous releases. While it may not be all that innovative or groundbreaking, it's still light and breezy enough to be a good time. 8. May December Grab your marshmallows and graham crackers because Todd Haynes is bringing the camp! I give major props to everyone involved in this production for their ability to keep the silliness of this story a secret. This is “trash” handled by masters of the craft, with Natalie Portman and Julianne Moore understanding the assignment. I'm hoping the Netflix acquisition will allow a new generation of cinephiles to be welcomed into the diverse world of Todd Haynes. 7. About Dry Grasses A runtime of 197 minutes is nothing unusual for Turkish Cannes all-star Nuri Bilge Ceylan, who fills his Chekovian dramedy with endless moments of beauty and frustration. It’s a film that definitely requires multiple watches to fully comprehend its ideas, but I don’t think this initial watch instilled the ambition needed to consider doing that. 6. Perfect Days Wim Wenders’ best narrative feature in decades is a lesson in the serenity of doing the mundane, and the bliss we could all achieve if we didn't overcomplicate everything we do. Similar to the recent Sight and Sound crowned Jeanne Dielman , it’s a story that sounds terrible on paper. And yet, its uber-simplicity does wonders to lull you into a state of meditation. For the best results, watch this on a calm summer day with some tea. 5. Anatomy of a Fall While Johnathan Glazer kept Sandra Hüller at a distance in The Zone of Interest , writer/director Justine Triet has front and center within her Hitchcockian courtroom drama. It may be missing something special that would have made me fall in love with it, but it still contains a densely layered mystery that keeps you guessing throughout its 150-minute runtime. 4. Firebrand Karim Aïnouz’s tale of Catherine Parr and Henry VIII may not contain much directorial flair (begging the question of why it was here in the first place), but the fiery (pun intended) performances by Alicia Vikander and Jude Law keep things smoldering (again, pun intended). Historians will have a field day with its inaccuracies, which allow for a nontraditional and modern approach to a story that has become more relevant in the centuries since. 3. Monster Hirokazu Kore-eda brings Rashomon into the modern age with Monster , a movie that is both more gentle and deadly than its title implies. For the first time in his career, the revered Japanese auteur doesn’t write the script, deferring that duty to Yûji Sakamoto. While I hope this separation of responsibilities doesn’t become a trend, Kore-eda crafts an endearing story about differing perspectives and the misconceptions we surround ourselves with. 2. Asteroid City At this point in his filmography, you’ve probably made up your mind about Wes Anderson. I’m somewhat of an apologist, with those instantly recognizable production qualities and whimsical tones being music to my ears (and eyes). Asteroid City is another healthy dose of what I’m come to love, with the bonus of seeing an auteur continue to find new ways to channel what they do best. Full Review 1. The Zone of Interest Sickening in the most calculated way possible, The Zone of Interest is Jonathan Glazer's ode to Stanley Kubrick. He answers the question of how evil can exist unchecked, holding all of your senses in a sterilized vice. Be sure to soak it all in during your first watch, because I doubt you'll ever want to view the world this way again. 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

The Biggest Flops in TIFF History September 2, 2023 By: Hunter Friesen Every September, the city of Toronto becomes a hub of cinematic celebration as the Toronto International Film Festival (TIFF) rolls out the red carpet for a myriad of films from around the world. A prestigious event that has launched countless Oscar campaigns and propelled numerous films into the limelight, TIFF is a cinematic playground where dreams are realized and reputations are solidified. However, amidst the glamour and fervor, there exists a lesser-explored facet of the festival – a realm of disappointment and missed opportunities. In this list, I’ll delve beyond the flashing cameras and standing ovations to shed light on the movies that, for various reasons, failed to strike the right chord with audiences and critics alike. The rules for this list are simple: The film must have had its world premiere at the festival The film must have had a certain amount of buzz around it. If a movie fails and no one was anticipating it, then it’s not really a bomb. The film must have massively underperformed on expectations, both critically and financially The Fifth Estate (2013) Benedict Cumberbatch was on the rise in the early 2010s with roles in War Horse, Tinker Tailor Soldier Spy , and the television series Sherlock . 2013 was bound to be his breakout year as he had FIVE films set to be released that year: Star Trek Into Darkness, 12 Years a Slave, The Fifth Estate, August: Osage County , and The Hobbit: The Desolation of Smaug . Three of those would play at that year’s TIFF, with The Fifth Estate opening the festival. The bright lights didn’t serve it well, as Bill Condon’s take on Julian Assage and WikiLeaks was met with mixed-negative reviews on account of its by-the-numbers storytelling and refusal to take a stance on the issue. 12 Years a Slave lit up the room a few days later, as did Ron Howard’s Rush , starring Cumberbatch’s The Fifth Estate co-star Daniel Brühl. Everyone was able to move on quickly, with the film grossing less than $3 million at the US box office a month later. Men, Women, and Children (2014) Jason Reitman was the most in-demand young director in Hollywood after the one-two punch of Juno and Up in the Air . Things went south rather quickly once he decided to make a movie about the perils of social media. Time Out ’s Joshua Rothkopf called it “the first Reitman film to make the 36-year-old director seem about 400 years old.” An outstanding cast consisting of Adam Sandler, Jennifer Garner, Kaitlyn Dever, Ansel Elgort, and Timothée Chalamet was wasted in an out-of-touch and preachy story. The savage reviews killed the already minuscule audience interest in the film, with its $300,000 haul being one of the lowest ever for a film opening in >600 theaters. The Cobbler (2014) One TIFF, two Adam Sandler movies! It’s hard to criticize his choices (at least on paper), as both his 2014 films came from directors with a certain amount of pedigree. The latter was helmed by Tom McCarthy, who hadn’t missed yet between The Station Agent, The Visitor , and Win Win . Nothing worked this time around, with the terrible plotting and creepy undertones stripping the film of having the whimsical tone it wanted. It took the title of Sandler’s biggest bomb away from Men, Women, and Children when it was released six months later, only grossing a mere $24,000 on its opening weekend. A film failing that epically would have killed 99% of directors' careers. But somehow Tom McCarthy would pivot and return to TIFF in 2015 with Spotlight , finishing in the runners-up position for the People’s Choice Award and ultimately winning Best Picture at the Academy Awards. Kings (2017) Turkish writer/director Deniz Gamze Ergüven spent four years developing her script centering on the 1992 Los Angeles riots. She was finally able to get the film made a decade later once her debut feature Mustang was nominated for Best International Feature. She would experience a sophomore slump with her English-language debut, with critics finding the film messy and underdeveloped. Even with the star power of Halle Berry and Daniel Craig, the film wouldn’t be released until the next spring to no fanfare. Life Itself (2018) Amazon Studios was riding high off the awards success of Manchester by the Sea in early 2017 and wanted to continue in that sphere. Seeing the success of This Is Us on NBC, they snatched up writer/director Dan Fogelman’s next film for $10 million in late 2017. They remained confident when deciding to launch it at TIFF, premiering it at both Roy Thomsen Hall and the Elgin Theatre. All those rose-tinted hopes and dreams came crashing down once people saw the finished product. The overwrought and convoluted soap opera incited more ironic laughter than tears within the audience. The film debuted in theaters two weeks later, where it became the second-lowest opening ever in >2500 theaters with only $2 million. The Death and Life of John F. Donovan (2018) French Canadian filmmaker Xavier Dolan had already won the Jury Prize and Grand Prix at Cannes, as well as the César award for Best Director before he turned 30. The problem with that much success at such a young age is that you can go only down from there. Such was the case for his English-language debut about a famous actor having a correspondence with a young fan. The film spent almost two years in post-production, causing Dolan to miss the Cannes deadline. He chose to debut at TIFF instead, where he was met with the worst reviews of his career. The rumors of the film being trimmed down from a four-hour cut seemed to be true as entire characters and storylines were excised, lending to a rushed and underdeveloped plot about celebrity culture. It sat on a shelf for another year before limping into theaters in December 2019. Lucy in the Sky (2019) TIFF has a habit of showing their hands based on how they schedule their world premieres, with the better ones earlier in the festival and the not-so-good ones near the end when most of the press has left. Noah Hawley’s directorial debut, loosely inspired by the life of NASA astronaut Lisa Nowak, found itself in the latter camp, scheduled for a final Thursday night premiere. Whatever press was still left probably wished they had already left, as Hawley’s pretentious directorial choices and Natalie Portman’s wonky Texas accent were nails on a chalkboard. Distributor Fox Searchlight had other priorities at that TIFF with Jojo Rabbit and was still transitioning out of the Disney buyout of 21st Century Fox. Lucy in the Sky was released in theaters a few weeks later, grossing an abysmal $300,000 against a $25 million budget. Coincidentally (or maybe not), Hawley’s planned Star Trek film was canceled a few months later. The Goldfinch (2019) Amazon didn’t let the failure of Life Itself deter them from returning to TIFF the next year. This time they partnered with Warner Bros. on distribution and picked a safer project by adapting the Pulitzer Prize-winning novel by Donna Tartt. With Brooklyn director John Crowley at the helm, Roger Deakins as DP, and an all-star cast, it seemed this would be the streamer’s return to the awards race. But the film ended up having a worse death than its predecessor. Early test screenings were disastrous, prompting the studio to lower the marketing budget. Despite that, they still took it to TIFF, where the reviews matched their expectations. A $2.6 million opening the following weekend led to losses of over $50 million when all was said and done. To add insult to injury, Tartt was so infuriated by the adaptation that she fired her agent for allowing it to happen and has rejected any talk of her work being adapted again. Dear Evan Hansen (2021) After the COVID-19 pandemic forced the 2020 edition of the festival to be a mix of drive-in and digital screenings, TIFF needed to put on a grand show to welcome everyone back to “normalcy” in 2021. Universal was more than willing to have Dear Evan Hansen be the opening night act on account of director Steven Chbosky delivering festival favorite The Perks of Being a Wallflower years earlier. But anyone who watched the trailers for the film in the summer knew that this project was doomed from the start. The 27-year-old Ben Platt was already too old for the part and enough discourse over the material’s attitude towards mental health had circulated online. Neither critics nor audiences were satisfied, leading to poor reviews and a lackluster box office gross. 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

Ranking the Films of Michael Haneke March 23, 2024 By: Hunter Friesen In contemporary cinema, few directors wield the same level of unyielding intellect and unapologetic exploration of the human condition as Michael Haneke. With a career spanning over four decades, Haneke has carved out a niche for himself as a master of discomfort, challenging audiences to confront the unsettling truths that lurk beneath the surface of seemingly ordinary lives. His stories are parables; critiquing topics such as violence, sex, authority, guilt, and death. Since making his debut in 1989, the Austrian filmmaker has become one of the most decorated filmmakers in modern cinema. He’s premiered nearly all his feature films at the Cannes Film Festival; raking in two Palme d’Ors, the Grand Prix, and the award for Best Director. His penultimate film, Amour , went on to win the Academy Award for Best Foreign Language Feature, with Haneke himself being nominated for his direction and screenplay. While this is a ranking of his filmography, it would be dishonest to consider it a review of his “worst to best” films, as he has no bad films (well, except for one). For transparency, I have not seen his Glaciation trilogy consisting of The Seventh Continent (1989), Benny's Video (1992), and 71 Fragments of a Chronology of Chance (1994). Once I see those, then his filmography will be completed. But let’s not focus on what’s absent, instead let’s dive into this ranking of cinema’s most enigmatic auteur. 8. Time of the Wolf (2003) I can't believe someone this talented wrote and directed this piece of trash. Despite being near the height of his powers, Haneke veered his sights on the lowest hanging fruit there is for a lesson on human cruelty: the apocalypse. In all of his other films, Haneke spins his message into an intricate web that obscures truth, leaving the viewer to look at themselves to fill in the rest. Here, he angrily draws the picture for you while repeatedly shouting "Do you get it now!?" 7. Happy End (2017) Happy End is an amalgamation of Haneke's classic tropes: unrelenting bleakness, slow-paced long takes, unresolved narratives, and, of course, suicide. But the one usually dependable ingredient Haneke forgot to add was a reason why we should take an interest in these people. Apart from Jean-Louis Trintignant's character, every personal narrative fails to rise above the surface. They're all (partially) connected, but need help to play off each other well, and by themselves. 6. The Piano Teacher (2001) While many may argue that its material is purely for shock value, Haneke lets his sadism tell a compelling of desire and repression. Complicated characters such as these, both wonderfully played by Isabelle Huppert and Benoît Magimel, don’t have to be fully explained. Haneke refuses to sensationalize anything, challenging viewers to confront their notions of intimacy and power dynamics. 5. Amour (2012) As a great companion piece to The Father , Haneke’s second Palme d’Or-winning film is poignant in its exploration of love at the end of life’s road. Autonomy and dignity are stripped away from Anne as her body deteriorates, with the only role her husband able to play is a witness. But even if the ending isn’t pretty, Haneke and the actors perpetually allude to a life worth living with the person you love. 4. Caché (2005) A pleasant (or should I say unpleasant because this movie is - as always with Haneke - very depressing) rebound for Haneke following the abomination that is Time of the Wolf , Caché (Hidden) is a thriller stripped of the usual cinematic tricks. It becomes the ultimate "What would you do?" scenario. Would you go down the rabbit hole, or leave it alone and hope nothing else happens? Haneke assures us that no choice will leave us with a happy ending. 3. The White Ribbon (2009) Leave it to Haneke to create a mystery film that gives absolutely no answers to any of your burning questions. It's deeply troubling to only be on the reactionary side of events, without explaining why any of this is happening. He observes the simple roots of authoritarianism, which eventually led to the rise of the Nazi party. As people's sense of safety begins to crumble, so does their guard against tyranny. Opportunities are seized by those in power, and we are worse off because of it. And in a cruelly hilarious way, it's probably his most uplifting message to date. 2. Funny Games (1997) “Anyone who leaves the cinema doesn't need the film, and anybody who stays does." To give a movie a glowing rating would indicate that I really liked it. In the case of Funny Games , the opposite is true. I hated this movie. I hated every interaction. I hated every character. I hated every line of dialogue. I hated every little thing that happened. And in all that hatred, I surrendered myself to Haneke's sadistic lesson. He's the anti-Quentin Tarantino, delivering violence in the most unsatisfying and grisly way possible. It's unbearable to watch as Haneke twists the knife even more with his cinematic tricks. 1. Code Unknown (2000) An interconnected mystery film that offers no answers (are you sensing a pattern?), Code Unknown frustratingly fits into Michael Haneke's twisted filmography. Told in a series of vignettes that both are and aren't connected (but all of which are told in unbroken long takes), Haneke presents a puzzle with only half the pieces available. While the chronology is tossed off without remorse, Haneke's contempt for humanity is pinpointed. Racism, domestic abuse, and abandonment are touched on through third parties, with Haneke casting doubt upon his bystanders. 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

Learn how we use cookies to enhance your browsing experience. Discover the perfect blend of movie magic and online privacy. Cookie Policy Last updated January 01, 2025 This Cookie Policy explains how The Cinema Dispatch ("Company ," "we ," "us ," and "our ") uses cookies and similar technologies to recognize you when you visit our website at https://www.cinemadispatch.com ("Website "). It explains what these technologies are and why we use them, as well as your rights to control our use of them. In some cases, we may use cookies to collect personal information, or that becomes personal information if we combine it with other information. What are cookies? Cookies are small data files that are placed on your computer or mobile device when you visit a website. Cookies are widely used by website owners to make their websites work or to work more efficiently, as well as to provide reporting information. Cookies set by the website owner (in this case, The Cinema Dispatch) are called "first-party cookies." Cookies set by parties other than the website owner are called "third-party cookies." Third-party cookies enable third-party features or functionality to be provided on or through the website (e.g., advertising, interactive content, and analytics). The parties that set these third-party cookies can recognize your computer both when it visits the website in question and also when it visits certain other websites. Why do we use cookies? We use first- and third-party cookies for several reasons. Some cookies are required for technical reasons for our Website to operate, and we refer to these as "essential" or "strictly necessary" cookies. Other cookies also enable us to track and target the interests of our users to enhance the experience on our Online Properties. Third parties serve cookies through our Website for advertising, analytics, and other purposes. This is described in more detail below. How can I control cookies? You have the right to decide whether to accept or reject cookies. You can exercise your cookie rights by setting your preferences in the Cookie Consent Manager. The Cookie Consent Manager allows you to select which categories of cookies you accept or reject. Essential cookies cannot be rejected as they are strictly necessary to provide you with services. The Cookie Consent Manager can be found in the notification banner and on our website. If you choose to reject cookies, you may still use our website though your access to some functionality and areas of our website may be restricted. You may also set or amend your web browser controls to accept or refuse cookies. The specific types of first- and third-party cookies served through our Website and the purposes they perform are described in the table below (please note that the specific cookies served may vary depending on the specific Online Properties you visit): Essential website cookies: These cookies are strictly necessary to provide you with services available through our Website and to use some of its features, such as access to secure areas. Name: hs Purpose: Used for security reasons Provider:.www.cinemadispatch.com Service: Wix View Service Privacy Policy Country: United States Type:server_cookie Expires in: Session Name: session Purpose: Used in connection with user login Provider:.www.cinemadispatch.com Service: Wix View Service Privacy Policy Country: United States Type:server_cookie Expires in:2 years Performance and functionality cookies: These cookies are used to enhance the performance and functionality of our Website but are non-essential to their use. However, without these cookies, certain functionality (like videos) may become unavailable. Name: TS# Purpose: Increases website security. It is also a session cookie. Provider:.wix.com Service: Typescript View Service Privacy Policy Country: United States Type:server_cookie Expires in: Session Name: XSRF-TOKEN Purpose: This cookie is written to help with site security in preventing Cross-Site Request Forgery attacks. Provider:.www.cinemadispatch.com Service: Advertiser's website domain View Service Privacy Policy Country: United States Type:server_cookie Expires in: Session Name: TS# Purpose: Increases website security. It is also a session cookie. Provider:.www.cinemadispatch.com Service: Typescript View Service Privacy Policy Country: United States Type:server_cookie Expires in: Session Name: flops. logger.default overrides Purpose: Used for stability/effectiveness measurement Provider:www.cinemadispatch.com Service: Wix View Service Privacy Policy Country: United States Type:server_cookie Expires in:1 minute Name:ytidb::LAST_RESULT_ENTRY_KEY Purpose: Stores the last result entry key used by YouTube Provider:www.youtube.com Service: YouTube View Service Privacy Policy Country: United States Type:html_local_storage Expires in: persistent Name:yt-remote-device-id Purpose: Stores a unique ID for the user's device for YouTube Provider:www.youtube.com Service: YouTube View Service Privacy Policy Country: United States Type:html_local_storage Expires in: persistent Name: TS# Purpose: Increases website security. It is also a session cookie. Provider:www.cinemadispatch.com Service: Typescript View Service Privacy Policy Country: United States Type:server_cookie Expires in: Session Name: flops. logger.sessionId Purpose: Used for stability/effectiveness measurement Provider:www.cinemadispatch.com Service: Wix View Service Privacy Policy Country: United States Type:html_local_storage Expires in: persistent Name:yt-remote-connected-devices Purpose: Stores a list of connected devices for YouTube Provider:www.youtube.com Service: YouTube View Service Privacy Policy Country: United States Type:html_local_storage Expires in: persistent Name: XSRF-TOKEN Purpose: This cookie is written to help with site security in preventing Cross-Site Request Forgery attacks. Provider:.wix.com Service: Advertiser's website domain View Service Privacy Policy Country: United States Type:server_cookie Expires in: Session Analytics and customization cookies: These cookies collect information that is used either in aggregate form to help us understand how our Website is being used or how effective our marketing campaigns are, or to help us customize our Website for you. Name: NID Purpose: Set by Google set a unique user ID to remember user preferences. Persistent cookie that stays for 182 days Provider:.google.com Service: Google View Service Privacy Policy Country: United States Type:server_cookie Expires in:6 months Advertising cookies: These cookies ar e used to make advertising messages more relevant to you. They perform functions like preventing the same ad from continuously reappearing, ensuring that ads are p roperly displayed for advertisers, and in some cases selecting advertisements that are based on your interests. Name: YSC Purpose: YouTube is a Google-owned platform for hosting and sharing videos. YouTube collects user data through videos embedded in websites, which is aggregated with profile data from other Google services to display targeted advertising to web visitors across a broad range of their own and other websites. Used by Google in combination with SID to verify Google user account and most recent login time. Provider:.youtube.com Service: YouTube View Service Privacy Policy Country: United States Type:server_cookie Expires in: Session Name: VISITOR_INFO1_LIVE Purpose: YouTube is a Google-owned platform for hosting and sharing videos. YouTube collects user data through videos embedded in websites, which is aggregated with profile data from other Google services to display targeted advertising to web visitors across a broad range of their own and other websites. Used by Google in combination with SID to verify Google user account and most recent login time. Provider:.youtube.com Service: YouTube View Service Privacy Policy Country: United States Type:server_cookie Expires in:5 months 27 days Unclassified cookies: These are cookies that have not yet been categorized. We are in the process of classifying these cookies with the help of their providers. Name:_wixAB3 Purpose:__________ Provider:.wix.com Service:__________ Country: United States Type:server_cookie Expires in:5 months 27 days Name:ssr-caching Purpose:__________ Provider:www.cinemadispatch.com Service:__________ Country: United States Type:server_cookie Expires in: less than 1 minute Name: session Purpose:__________ Provider:.www.cinemadispatch.com Service:__________ Country: United States Type:http_cookie Expires in:30 minutes How can I control cookies on my browser? As how you can refuse cookies through your web browser controls vary from browser to browser, you should visit your browser's help menu for more information. The following is information about how to manage cookies on the most popular browsers: Chrome Internet Explorer Firefox Safari Edge Opera In addition, most advertising networks offer you a way to opt out of targeted advertising. If you would like to find out more information, please visit: Digital Advertising Alliance Digital Advertising Alliance of Canada European Interactive Digital Advertising Alliance What about other tracking technologies, like web beacons? Cookies are not the only way to recognize or track visitors to a website. We may use other, similar technologies from time to time, like web beacons (sometimes called "tracking pixels" or "clear gifs"). These are tiny graphics files that contain a unique identifier that enables us to recognize when someone has visited our Website or opened an email including them. This allows us, for example, to monitor the traffic patterns of users from one page within a website to another, to deliver or communicate with cookies, to understand whether you have come to the website from an online advertisement displayed on a third-party website, to improve site performance, and to measure the success of email marketing campaigns. In many instances, these technologies are reliant on cookies to function properly, and so declining cookies will impair their functioning. Do you use Flash cookies or Local Shared Objects? Websites may also use so-called "Flash Cookies" (also known as Local Shared Objects or "LSOs") to, among other things, collect and store information about your use of our services, fraud prevention, and other site operations. If you do not want Flash Cookies stored on your computer, you can adjust the settings of your Flash player to block Flash Cookies storage using the tools contained in the Website Storage Settings Panel . You can also control Flash Cookies by going to the Global Storage Settings Panel and following the instructions (which may include instructions that explain, for example, how to delete existing Flash Cookies (referred to as "information" on the Macromedia site), how to prevent Flash LSOs from being placed on your computer without your being asked, and (for Flash Player 8 and later) how to block Flash Cookies that are not being delivered by the operator of the page you are on at the time). Please note that setting the Flash Player to restrict or limit acceptance of Flash Cookies may reduce or impede the functionality of some Flash applications, including, potentially, Flash applications used in connection with our services or online content. Do you serve targeted advertising? Third parties may serve cookies on your computer or mobile device to serve advertising through our Website. These companies may use information about your visits to this and other websites to provide relevant advertisements about goods and services that you may be interested in. They may also employ technology that is used to measure the effectiveness of advertisements. They can accomplish this by using cookies or web beacons to collect information about your visits to this and other sites to provide relevant advertisements about goods and services of potential interest to you. The information collected through this process does not enable us or them to identify your name, contact details, or other details that directly identify you unless you choose to provide these. How often will you update th is Cookie Policy? We may update this Cookie Policy from time to time to reflect, for example, changes to the cookies we use or for other operational, legal, or regulatory reasons. Please, therefore, revisit this Cookie Policy regularly to stay info rmed about our use of cookies and related technologies. The date at the top of this Cookie Policy indicates when it was last updated. Where can I get further in formation? If you have any questions about our use of cookies or other technologies, please email us at hunter@cinemadispatch.com .

Top 10 Steven Spielberg Films November 23, 2022 By: Hunter Friesen Like The Mad Titan Thanos, Steven Spielberg has seemingly made it his mission to collect the stones of nearly every genre known to cinema. Throughout his nearly fifty-year feature film career, he’s already conquered monster movies ( Jaws ), science-fiction ( E.T. the Extra-Terrestrial ), adventure ( Indiana Jones ), war ( Saving Private Ryan ), musical ( West Side Story ), and biopics ( Schindler’s List & Lincoln ). He’s also been dubbed The King of Entertainment and remains the highest-grossing director of all time with a cumulative global box office gross of $10.62 billion. In honor of the nationwide release of his newest film, The Fabelmans , here’s a look at my ten favorite Spielberg films, all of which hold a special place in my heart and mind. 10. Raiders of the Lost Ark Honestly, I'm pretty sure this movie was just a series of bets between Spielberg and George Lucas to see if they could film a certain set piece, and I don't think they lost a single one. Taking inspiration from the Saturday morning matinees of his youth, Spielberg captures the youthful spirit of adventure and danger through ingenious practical action sequences that still tower over anything crafted today. Ranked #2 behind Atticus Finch in the AFI’s list of Top 100 Heroes, Harrison Ford’s Indiana Jones is a modern-day swashbuckling pirate who finds himself in over his head but is just iron-willed enough to live for another adventure. 9. The Fabelmans The Fabelmans is a collection of Spielberg's greatest hits, all delivered to their greatest effect Just as he’s done with nearly every genre, Spielberg conquers the recent trend of directors making autobiographies and how they fell in love with cinema. There’s laughter, tears, and wonder as Spielberg recounts his early days growing up in Arizona with his artistic mother and scientific father. Newcomer Gabriel LaBelle acts as the Spielberg stand-in, with his great performance likely being the first of many. Full Review 8. West Side Story Spielberg emerged as the predictable winner of The Great Musical War of 2021. Perfectly melding the work of Bernstein and Sondheim with the newfound talents of DeBose, Faist, and Zegler, the new West Side Story makes the case for why some remakes should be allowed to happen. Because sometimes, they can meet or surpass the original, such as how this one does by bringing classic cinema into the modern world. Full Review 7. Indiana Jones and the Last Crusade A sequel ranked over the original? Blasphemy! There is one clear reason why I am ranking The Last Crusade over Raiders of the Lost Ark (and obviously above Temple of Doom ): Sean Connery. The addition of the original James Bond provides a nice familial fold against the usual ruggedness of the Indiana Jones character. We only hear the voice of the old man in the film’s magnificent opening sequence, just enough to get us excited for his later introduction. The film also gets the slight edge because of its ability to scare the hell out of me as a child, with the “He chose…poorly” scene having a rent-free space in my head for eternity. 6. Catch Me If You Can As the latter in a double-bill with Minority Report in 2002, Spielberg’s caper is an infectiously entertaining time that sneakily lays claim as one of the best Christmas movies. A central theme throughout Spielberg’s filmography is the strained relationship between fathers and sons, and no film has that more in the foreground than Catch Me If You Can . Christopher Walken’s Oscar-nominated performance is one of the finest Spielberg ever directed, with DiCaprio providing the necessary emotional arc of a kid finding his way in the world. It also helps to have a top-notch Tom Hanks, complete with the best knock-knock joke known to man . 5. The Post Effortlessly entertaining and ever-timely, The Post is another showcase on each level of directing, writing, and acting. At the helm of this self-important tale is Spielberg with his endlessly maneuvering handheld camera. Like his nimble work at the beginning of Saving Private Ryan , Spielberg careens around corners and peers into meetings, placing us as a fly on the wall within The Washington Post. It may be the best of the partnership of Spielberg-Hanks-Kaminski-Williams-Kahn. It's perfect as a history lesson and a modern-day allegory, invigorating the message that democracy dies in darkness. 4. Saving Private Ryan The firm ideals of bravery and good ol' American patriotism are not traditionally found within Saving Private Ryan . Instead, Steven Spielberg, along with screenwriter Robert Rodat, offers something not usually found within a war film: humanity. While still an action film at its heart, the mind of the film is centered on philosophy, as opposed to pure entertainment. The titular mission of extracting Pvt. James Ryan isn't an honorable one. It doesn't take a genius to see the flawed math of risking the lives of eight men to save one. Spielberg and Rodat don't dance around that thought, and also find time to analyze the themes of doing your duty and the futility of war. Within the film, there are no individual heroes, only real men fighting to keep themselves alive for just another moment. The opening set piece is one of the greatest ever produced, with chaotic camerawork, editing, and sound design. It's no wonder no film has attempted to portray D-day since, as Spielberg has set the bar at an unassailable height. 3. Schindler's List Like The Father and Requiem for a Dream , Spielberg’s often regarded magnum opus is a film that will only ever want to watch once. Its morally serious story of the Holocaust is one of the most upsetting cinematic experiences ever created. But it is so incredibly well done and engrossing that it demands to be seen. And with the seemingly recent rapid rise of antisemitism, it now demands to be reseen by all. 2. Lincoln Just as Martin Scorsese did with Casino , Lincoln is part biopic, part history lesson on what it takes to pass anything in Congress, especially one of the most important amendments in our nation's history. Screenwriter Tony Kushner pushes past our preconceptions of the nobility that is involved in lawmaking. DP Janusz Kaminski and Production Designer Rick Carter take that rat's nest saying and apply it to their visual style. Instead of grand marble and strong architecture, the White House and House of Representatives are dingy, dimly lit, and a mute brown swamp full of colorful characters. At the top of the pedestal is Daniel Day-Lewis's performance. Day-Lewis doesn't play Abraham Lincoln, he is Abraham Lincoln. Even for one of the most recognizable actors in cinema, it's nearly impossible to see Day-Lewis in the role. There isn't a moment that you're not in complete awe of what you're seeing on the screen. 1. Munich Dare I say that this is Spielberg's best movie? Yes, I shall dare. For 165 minutes, Spielberg has both our hearts and minds engulfed in this story of vengeance. Or is it justice? The thrills come from the multiple assassinations as Spielberg and co. show off their master craftsmanship. Even though it's a thriller at its core, Munich carries much more than just bullets and bombs. The script by Kushner and Roth is filled with moral ambiguity and ethical conundrums that can be savored for the entire runtime, and then some. 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 Recap April 29, 2023 By: Hunter Friesen The Minneapolis-St. Paul International Film Festival (MSPIFF, or “Ms. Piff” as it’s said here) is a much-awaited annual event for cinephiles in the Minneapolis-St. Paul area. Every year, the festival showcases a diverse selection of films from around the world, ranging from documentaries to independent films, and even cult classics. As a movie enthusiast, I had the opportunity to attend the festival this year and watch several films. In this article, I will be ranking the films I saw at the MSP Film Festival. From thought-provoking dramas to hilarious comedies, these films left a lasting impression on me, and I hope to provide you with an insight into the best of the festival. 9. Dreamin' Wild Writer/director Bill Pohlad’s sophomore feature may be a slightly inferior carbon copy of his debut outing Love & Mercy . Still, his love and appreciation for the Emerson musical duo is always evident, almost as if he made the movie more for them than the paying audiences. That emotional reverence is what I walked away from the movie feeling the most, which is more than I can say about the majority of biopics these days. Full Review 8. The Beasts The central themes within The Beasts are both specific to its setting and universal within every country on Earth. It’s what makes it both compelling to a worldwide audience, and also why it lacks depth below the surface. The back-and-forth arguing and vitriol pads out most of the runtime until the expected climactic moment, where writer/director Rodrigo Sorogoyen allows himself to flourish with a creative perspective shift. The production values and directorial skill are always abundant, with the actors relishing in the extended scenes and long takes. If only there was more meat on this skeleton of a story. 7. Showing Up In its low-key nature, Showing Up can be a comforting ode to small artists persevering to put their creations into the world. Unlike Lizzy’s clay creations that start as wet messes and end up as fully formed creations, Reichardt’s work stops just short of the kiln and ends up feeling more like a shallow puddle of good ideas. I’ve seen this movie twice now, and I wouldn’t be that opposed to another watch somewhere down the road. Full Review 6. Somewhere in Queens After so many years of being lost in the Ice Age films, comedian Ray Romano returns to his Italian-American roots with Somewhere in Queens. The idea of a parent molding their child into a reflection of themselves may not be the most unique theme, but Romano finds both the humor and heart within the situation. Laurie Metcalf plays the mother, bringing great comedic energy and some surprising pathos to a character that easily could have been a throwaway cutout. 5. Polite Society Polite Society is an impressive debut from all those involved (writer/director Nida Manzoor and star Priya Kansara), as it’s only slightly undone by minor problems that are symptoms of its ambitions. It’s both a takedown and love letter to the works of Jane Austen, making a delectable time out of having its cake and eating it too. Full Review 4. R.M.N. Featuring five different spoken languages (Romanian, Hungarian, German, French, and English) and characters from all different walks of life, Cristian Mungiu’s newest visual essay tells a universal story within one specific Transylvanian village. As is tradition for Mungiu, each scene is realized in unbroken takes, with the climactic town-hall meeting unfolding across 17 minutes and featuring dozens of characters. While there are no clichés, this is a story that has been told time and time again, unfortunately, led by the least interesting character of the ensemble. The naturalism is abruptly broken by the ambiguous final shot, leaving you with a disquieting outlook on this specific village, as well as the entire world. 3. Tori and Lokita The newest film from the Belgian brotherly duo of Jean-Pierre and Luc Dardenne finds them once again examining the miscarriages of social justice within their native country. Their handheld long takes and lack of score capture the harsh reality of society. There’s also a propulsive energy to the film, with the semi-criminal elements keeping the 85-minute feature (a staple length for the brothers) moving at a brisk pace. The realism of the situation and themes are slightly undone by the script, which paints everything in such mutually exclusive strokes. But there is power in those overbearing moments, as you’re left with another stark reminder of how the laws of the Western world provide little aid to those who need them the most. 2. BlackBerry Time has not been an ally for the BlackBerry phone, but I believe it will be for this movie. While the other movies in this growing subgenre built themselves largely around the iconography of the brand, Johnson always has his sights set on the people behind the machine, which is what makes this specific story that much more compelling and rewatchable. Full Review 1. Cairo Conspiracy Corruption runs rampant in the holiest of places within Cairo Conspiracy , as faith is used to broker further advances of power. Writer/director Tarik Saleh tells an overlapping story of politics and religion, molding his message within the old-fashioned espionage thriller genre to fantastic results. It’s both entertaining and enlightening, leaving you with something to ponder long after the credits roll. 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 4: The Irregulars and Up-and-Comers April 11, 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 The fourth and final part of my prediction series has us looking deeper into the fog. The directors listed are usually the most hungry and ambitious, as they are still looking to make a name for themselves at both the festival and within the world of cinema at large. Their projects may also still have a lot of questions, such as production status or release strategies. But miracles have happened and many of these deserve a coveted spot, so we’ll keep our fingers crossed. 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! The Iron Claw Indie filmmaker Sean Durkin has already impressed both domestic and international critics with his spellbinding psychological exercises. His feature debut of Martha Marcy May Marlene made the trek to the Croisette after its premiere at Sundance, and his next film (distributed by A24) seems Cannes-appropriate. Zac Efron, Harris Dickinson, and Jeremy Allen White star as the Von Erichs, a dynasty of wrestlers who made a great impact on the sport from the 1960s to the present day. Club Zero Little Joe director Jessica Hausner had her last film stalled by the COVID-19 pandemic, preventing it from being ready in time for last year’s festival. Things are looking much better this year, with Hausner ready to make her second appearance in the competition. She teamed up once again with her usual co-writer Géraldine Bajard in this story about a teacher (Mia Wasikowska) who takes a job at an elite school and forms a strong bond with five students - a relationship that eventually takes a dangerous turn. Memory Mexican filmmaker Michel Franco has split his time between Cannes and Venice when it comes to premiering his films. His last two works have made the Italian festival their home, but Fremeux may be able to tempt him to return to the Croisette due to the star wattage of Jessica Chastain and Peter Sarsgaard leading his new film. How Do You Live? With a planned July release date in his native Japan, all signs point to Hayao Miyazaki debuting his latest (and presumably) final film at Cannes. Despite several of his previous films playing at the festival, How Do You Live would mark his first film to premiere before its theatrical release. The titular book has long influenced Miyazaki, who cites it as his favorite childhood read. It’ll tell the story of a teenage boy and the interactions he has with his friends and uncle. Eureka A part of the New Argentine Cinema movement, Lisandro Alonso and his films have moved at a deliberate pace. He’s only directed six feature-length films since 2001, with nearly all of them playing at Cannes. His most recent film, Jauja won the FIPRESCI Prize as part of the 2014 Un Certain Regard selection. He’ll be reteaming with Viggo Mortensen for a story about a man on the search for his daughter after she has been kidnapped. No word has been given on production status, so it remains a mystery if the film is ready. Salem Jean-Bernard Marlin made a name for himself in 2018 with his Shéhérazade , netting him the award for Best First Feature at that year’s César Awards after its premiere at Cannes Critics’ Week. His next feature will continue to be set in the ganglands of France as it centers on a former gang member who believes his daughter is the only one who can save his Marseille community from an apocalyptic curse uttered by a rival gang member in his dying breath. Anatomy of a Fall Justine Triet made her festival debut in 2019 with Sibyl , which was met with mixed reviews. Those reactions would be cause for demotion to one of the sidebars for most filmmakers, but Triet is packing a punch in her sophomore effort with Toni Erdmann star Sandra Hüller leading as a mother accused of killing her husband. Her blind son is the sole witness to the murder, putting him in a grave moral dilemma. Strangers After taking a slight detour in television, 45 Days and Lean on Pete writer/director Andrew Haigh is back to feature filmmaking, and he’s brought together an all-star UK cast to mark the occasion. Andrew Scott will lead the film as a screenwriter who has a chance encounter with his neighbor (Paul Mescal), which pulls him back into his childhood home, where his long-dead parents are mysteriously still alive (Jamie Bell and Claire Foy). Haigh has premiered films at both Venice and Berlin, so it may be time he heads to Cannes, whether it be in competition or one of the sidebars. Occupied City Documentary films may not always pack the biggest red carpet potential, but plenty of them have broken out, notably Michael Moore’s Palme d’Or winning Fahrenheit 9/11 . Steve McQueen will try to recreate that success with his retelling of the Nazi occupation of Amsterdam from 1940-1945. Carrying a blockbuster budget of $5 million, joint distributors A24 and Film4 will likely want a big splashy premiere. 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 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