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TIFF23 Recap September 20, 2023 By: Hunter Friesen Now that TIFF23 has come to a close, it's time to embark on the challenging task of ranking all the films I had the opportunity to watch. While it's no easy feat to compare such a wide range of genres and styles, my goal is to celebrate the artistry and innovation that permeated throughout the decadent TIFF venues. I also won't lie in saying that there's a small amount of joy I get by bashing in the poor films one more time. From large studio tentpoles to small international projects, I invite you to explore what the festival had to offer in 2023. 27. North Star Maybe not every actor should be allowed to make their directorial debut. Kristen Scott Thomas' first foray behind the camera (while still being in front in a supporting role) is littered with choppy editing, poor pacing, and a scattershot script that has way too much on its plate. Emily Beecham is the only shining star (pun intended) in a cast that includes Scarlett Johansson fumbling a British accent and Sienna Miller being fine, I guess. This is surely bound for VOD/streaming way down the line. 26. Finestkind Writer/director Brian Helgeland told the TIFF audience that he wrote the script for Finestkind thirty years ago, a fact that becomes glaringly obvious the longer the film goes on. The story is stuck in the past in the worst ways possible, soaked with cheesy sentimentality, a laughably underdeveloped female character that Jenna Ortega somehow signed up for (did she owe someone a favor?), and an out-of-nowhere crime plot that undermines all the heart and soul mined in the first half. As per his contract demands these days, Ben Foster goes crazy a few times, and so does Tommy Lee Jones as he realizes he’s appearing in a stinker. It’s a Paramount+ production, meaning it’ll play well to the “guys being dudes” crowd that has been gorging on Taylor Sheridan's diminishing machismo these past few years. 25. Knox Goes Away Between the other hitman-focused movies at the fall festivals and how much it seriously fumbles the great concept of a hitman battling rapidly developing dementia, Michael Keaton’s sophomore directorial outing fails to be anything more than a depressing shrug. Luckily for the actor/director, he’s slightly exonerated from blame as Gregory Poirier’s CSI-level script is what sinks this ship. Al Pacino gives his most comfortable performance sitting in some luxurious recliners, and Marcia Gay Harden does Keaton a favor by showing up for one half-decent scene. 24. His Three Daughters Azazel Jacobs’ follow-up to French Exit (remember that during the pandemic?) starts incredibly rough as our three lead characters act as if they’re aliens who are trying to replicate drought emotions. This bug may be a feature to some, but it ends up feeling like a grating mashup of Yorgos Lanthimos and Wes Anderson. Things do settle down later, allowing the actresses to flourish. Natashya Lyonne stands out as the slacker of the three sisters, and yet she seems to have the firmest grasp on the mysteries of life. 23. Rustin Rustin won’t live on in the public consciousness for its craft, but it most certainly will because of Domingo’s performance. It’s a shame the whole package couldn’t come together, but it’s hard to complain when the headliner is just that good and the objective of the mission is to enlighten just as much as it is to entertain. Full Review 22. Quiz Lady By far the broadest film TIFF programmed this year, Quiz Lady is your typical streamer comedy. Director Jessica Yu has helmed episodes of prestige television as well as both feature and short documentaries (winning an Oscar for Breathing Lessons: The Life and Work of Mark O'Brien ), yet you’d never be able to tell based on what she delivers here. Everything is filmed with basic competence, with the actors filling much of the empty space with hit-or-miss jokes. It’s fun to see Oh cut loose, and Ferrell’s wholesome game show host turns out to be his best role in years. You can have some decent fun with this on a Friday night, forgetting all about it when you wake up the next morning. 21. Nyad Elizabeth Chai Vasarhelyi & Jimmy Chin are still able to showcase their prowess with editing in their first narrative feature film. The directing duo crafted some fine moments of underdog drama, following Diana Nyad as she tries to overcome the impossible. There are no surprises or standout moments, but Annette Bening's commitment to the role makes for an inoffensive watch. 20. The Royal Hotel It’s adapt or die for Hanna (Julia Garner) and Liz (Jessica Henwick) as they take jobs as bartenders in the only pub in a remote Australian mining town. The temp agency warned the girls that they needed to be “okay with a little male attention,” which turns out to be quite the understatement as their first night is filled with nasty jokes, unruly stares, and just general douchiness. Choosing adaptation is a death sentence, as there’s no reward for allowing this toxic mob to take control of their mind and body. Director Kitty Green announced her talent with the matter-of-fact The Assistant in 2019 (also starring Garner). This sophomore effort is a leveling up of her prowess behind the camera, lining every scene with a grimy sense of dread. It feels like a thrill ride, except none of the thrills are satisfying. Green greatly elevates her script, written by Green and Oscar Redding, which never packs the depth needed and tends to loop around as it tries to sustain the 90-minute runtime. Garner and Henwick are powerful anchors, “supported” by some convincing creeps. I have no doubt Green will be hitting it big within the next few years. 19. Woman of the Hour Anna Kendrick dominated the actor-turned-director battle at this year’s TIFF, with her film, Woman of the Hour , being quite an impressive statement of her skills behind the camera. Now all she needs to do is find a good script because the one here doesn’t give her enough to work with. While well staged, much of the “action” of the film by the serial killer feels like filler, and the main ideas are spelled out as if they're competing at a spelling bee. Netflix opened the market with an $11 acquisition, giving this true crime film the perfect home. 18. Reptile Reptile will likely fall into the pantheon of semi-forgettable Netflix originals. I can’t say that’s a shame because the movie doesn’t do a lot to make a case for its existence in my memory outside of a few questionable choices. But when compared to the other forgotten content, it’s a cut above. Full Review 17. Pain Hustlers Pain Hustlers is just an inferior copycat of The Wolf of Wall Street , which is exactly what you get when you have David Yates instead of Martin Scorsese. Emily Blunt and Chris Evans are as charming as ever, but there's nothing special about this run-of-the-mill rise-and-fall story. If you recently watched Dopesick or Painkiller , then you might find a little more here. 16. The Critic While writer Patrick Marber and star Ian McKellen are having a delightfully catty time with The Critic , director Anand Tucker takes the material too seriously, making it uneven, yet still enjoyable. McKellen plays the internet's stereotypical version of a critic: mean, smearing, and always out to make himself the star of the show. Times are changing in London as the newspapers are merging, threatening McKellen’s job, and the fascists are becoming more radicalized. Marber’s script is a little too scattershot, never developing its numerous plotlines and characters outside of the central McKellen story. The glossy production values make this a decent package as a whole. A perfect piece of entertainment to get a spring theatrical release as counterprogramming to a superhero blockbuster. 15. Lee Lee has a lot of famous actors, but only Kate Winslet is playing a character. The rest of the cast, along with almost every other aspect of the movie, feels like they're playing dress-up. It's neither good nor bad, just forgettable. 14. Les Indésirables Ladj Ly's sophomore effort is not an answer to a question, but a further examination of it. There's dissatisfaction at the end of the road, both intentionally through Ly's honest depiction of political warfare and unintentionally through the overloaded script that tries to combine too much. Even with this slight slump, Ly's voice continues to grow, and I can't wait for it to click sometime in the future. 13. Dumb Money Just like the memes that inspired the movement, Dumb Money is fun in the moment, but has little to no substance underneath the surface. If you’re looking for entertainment, you get just enough of it to make this worthwhile. If you’re looking to be educated on this event, I’d recommend literally anything else. Full Review 12. Seven Veils It wouldn’t be a normal TIFF if it didn’t feature the newest film by hometown hero Atom Egoyan. Amanda Seyfried plunges headfirst into her role as the new director of a revival of Salome at the Canadian Opera Company, a production Egoyan himself helmed while making this film. There are a lot of big swings, with more than half of them not connecting. But the ones that do connect are really special, such as the audacious staging of the material. The bar may be low, but this is Egoyan's best work in decades. 11. Fingernails Christos Nikou’s sophomore feature is a leveling up of his production values, but never quite reaches the thematic heights it aims for. There’s a nice love story in here, it’s just buried under too much mundane material. 10. Dream Scenario Nicolas Cage has never been funnier (at least in an unironic way) than he is in Kristoffer Borgli’s English-language debut. The famed madman actor plays a dorky professor who inexplicably appears in everyone’s dreams, making him the most famous person on the planet. The fame quickly gets to his head, but it also brings unintended consequences once the dreams start taking darker turns. Borgli's examination of cancel culture isn’t all that skillful, with most of the insights being surface-level. Cage is what sells this whole premise and covers any of the minor problems. While he’s still appearing in VOD garbage more often than he should, there have been just enough auteur-driven projects to keep him an icon to the Letterboxd generation. Being that this specific film is an A24 production, be prepared for the ensuing meme frenzy come November. 9. One Life No modern movie has had a more significant fourth-quarter comeback than One Life . The first 90 minutes of James Hawes’ feature directorial debut has the same dry cracker texture as many other British WWII period pieces you’ve seen over the years. An immediate 180° is made in the climactic scene (you'll know it when you see it), leaving me and the rest of the audience in tears. Anthony Hopkins stars as the older Nicholas Winton, with Johnny Flynn playing the younger version that made it his mission to rescue children out of the Holocaust ghettos of Eastern Europe. It’s Hopkins’ segments in the 1980s that give the film the spurts of life it needs. Recently minted Oscar-winner Volker Bertelmann provides a sweeping score, accenting the epic work done by this humble humanitarian. 8. Memory Two people with memory issues come together in writer/director Michel Franco’s newest film, which doesn’t wallow in mystery as his past filmography would suggest. Sylvia (Jessica Chastain) is a mother who can’t seem to forget her past drug and alcohol struggles, while Saul (Peter Sarsgaard) has dementia and can’t seem to remember much of his past life. These two troubled souls are attracted to each other, even if the forces of the world, notably their families, would like them to stay apart. The script places all its priorities on these two performances, both of which reach near perfection. There’s sadness and pain in their stories, but they unlock small linings of hope when they appear in each other’s lives. Franco doesn’t offer much in terms of answers, not that anyone should expect struggles of this magnitude to be so easily solved. 7. Next Goal Wins Next Goal Wins makes fans out of all of us, both thanks to Waititi’s skill and the simple goal it strives for. It’s effortlessly watchable, uncontroversial, and full of good vibes, making it one of the best options for the family this year. Full Review 6. Hit Man If Top Gun: Maverick wasn't enough to convince you of Glen Powell's movie star charisma, then Hit Man will certainly be the successful pitch. Richard Linklater's film is a sexy romantic comedy pairing Powell with Adria Arjona to electric results. While the Netflix acquisition means fewer people will get to see this crowdpleaser in theaters, it'll surely have a long and successful life on the streaming platform. 5. The Boy and the Heron There are animated films for children, and there are animated films for adults. This is an animated film for everyone, and the world is a much better place because of it. One of the greatest, if not the greatest, figures in animation history has provided us with his swan song, and now it’s time for us to continue his legacy with the pieces left behind. Full Review 4. Origin Ava DuVernay blends academia and entertainment to sprawlingly epic results in her adaptation of the Isabel Wilkerson novel. I'm still not sure if DuVernay succeeds in making all her connections, but she always makes them compelling through her direction. Aunjanue Ellis capitalizes on her first lead performance, anchoring the emotion within this sweeping story. 3. Evil Does Not Exist Drive My Car writer/director and all-around arthouse superstar Ryûsuke Hamaguchi makes his most outspoken work with Evil Does Not Exist . The tranquility of a Japanese village is being threatened by the introduction of a “glamping” (glamorous + camping) site proposed by a talent agency. The site would negatively impact much of the environment around it, with many of the village resident’s livelihoods being forever altered. Despite being clear in his message, Hamaguchi never eviscerates the villains of this story. The extreme slow cinema approach will test the patience of many expecting a return to the leanness of Drive My Car . Those who embrace the molasses will find themselves powerfully transported to one of the few places left that hasn’t been bulldozed by capitalism. Eiko Ishibashi delivers a magnificent score. It angers me that I’ll have to wait several months until it’s available to stream on Spotify. 2. The Beast Bertrand Bonello’s The Beast is the pretentious European version of Cloud Atlas , which is a statement that tells you everything you need to know about whether you’ll like it or not. I was all in on this movie, even if its ultimate message and specific story beats are hard to follow. Bonello jumps between 1904, 2014, and 2044, intersplicing the three time periods to tell a story about love conquering time. Léa Seydoux and George MacKay play characters in each period, navigating the unknowable connection they feel for each other. It’s overindulgent and excessive, but Bonello displays a mastery of tone and vision across the 146 minutes. There’s passion, fear, humor, drama, and everything in between. I’d love to see it again sometime down the line. 1. The Holdovers Through his directorial choices, Alexander Payne makes The Holdovers into a Christmas classic for adults. The cinematography glows like a warm fire and the relaxed pacing allows these characters to breathe. This is a melancholic film, with Payne knowing that the holidays are not full of yuletide cheer for everyone. But there are still seasons greetings to be had, just enough to make you want to be a better person and stay close to those that matter most. What more could you ask for in times like these? 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 Recap April 16, 2025 By: Hunter Friesen There’s nothing like a film festival to rejuvenate one’s passion for cinema, especially after the first quarter of 2025 provided a less-than-stellar sampling of theatrical releases. One of the oldest film festivals in the country, the Minneapolis-St. Paul International Film Festival (abbreviated as MSPIFF, and pronounced “EM-spiff”) was a mini oasis, providing a vast lineup that stretched across every continent. The festival opened with the documentary Free Leonard Peltier , a close-to-home story about the titular Native American activist who was wrongly imprisoned for nearly five decades. While I personally did not attend the screening, those who did relayed many positive remarks to me in the subsequent days. My experience began on the first Saturday with a triple feature starting with the A24 title The Legend of Ochi . Writer/director Isaiah Saxon opened the film with a video message stating how he made the feature for children and that their intelligence deserves more credit than they normally get. Because I had just seen the overly juvenile A Minecraft Movie the weekend prior, those words greatly resonated with me. The film itself didn’t walk the walk as much as Saxon talked the talk, but it still deserves credit for its impressive technicals and willingness to explore adult themes. It’ll be released in theaters nationwide on April 25th. Following that was co-writer/director Andrew Ahn’s remake of the 1993 Ang Lee film The Wedding Banquet . The original premise of a gay man and a straight woman going through a fake marriage out of convenience has been shifted to modern-day Seattle and expanded to include two homosexual couples. The logicality behind the necessity for a fake marriage is even weaker now than it was thirty years ago, but Ahn is always precise with the emotional stakes and moments of humorous levity. The clear MVP was Youn Yuh-jung, the recent Oscar winner for Minari who makes a strong case for deserving a second trophy. It’s out this weekend in theaters. Capping off the night was a Midnight Mayhem screening of what will quite possibly rank as the funniest film I’ll see all year: Friendship . Tim Robinson brings the same laugh-out-loud absurdity from his Netflix sketch show I Think You Should Leave to the big screen in this story of a loser suburban dad getting in way over his head when he tries to win the approval of his cool new neighbor (Paul Rudd). Several jokes were drowned out by the roaring laughter from the soldout crowd, which I recommend seeing it with when it releases in theaters on May 9th. There were not just remakes of Ang Lee films at the festival. No, the director himself was present on the first Sunday to give a brief masterclass. He gave great insight into his transition from Taiwan to English-language films, and why he chose to hop across several genres throughout his storied career. Later that night he introduced a twentieth-anniversary screening of what is likely referred to as his magnum opus: Brokeback Mountain . After sentencing it to years on my neverending watchlist, it was great to see the film on the big screen. Lee said that he was miserable while making the film due to the recent passing of his father and years of exhaustive work on Crouching Tiger, Hidden Dragon and Hulk , and that he doesn’t deserve much credit for the film’s success. Of course, everyone disagrees with his sentiments, with his win for Best Director at that year’s Oscars being more than deserved due to the emotional maturity he granted to the actors in his wonderful cast. Things became more sporadic from there. Tuesday featured a screening of By the Stream by the incredibly prolific South Korean writer/director Hong Sang-soo, and When Fall Is Coming from France’s François Ozon. Also from a French creative was Misericordia , an entertaining small-town murder cover-up now out in theaters. I reverted to Asia for my final day of the festival. Caught by the Tides by the famed Chinese filmmaker Jia Zhang-ke is not a film for those unfamiliar with his work, incorporating deleted scenes and alternate takes from several of his previous films to craft a loose decade-spanning narrative of a man and woman falling in and out of love. Despite my perpetual confusion from having not seen the referenced films, I was marvelously fascinated by Zhang-ke’s ability to weave it all together. The film likely has no commercial prospects in the United States, so seeing it in a semi-crowded room and discussing it afterward with other attendees illustrated the importance that festivals possess in illuminating works that would otherwise go completely unnoticed. If you’d like a more thorough analysis of the film and the work of Zhang-ke, I highly recommend heading over to Deep Focus Review by my fellow critic and friend Brian Eggert, who recently concluded his “Filmmaker in Focus” series on the director. Other festival titles that are currently or soon to be released in theaters include the canine comedy-drama The Friend starring Naomi Watts and Bill Murray, the Southeast Asian adventure romp Grand Tour (April 18th), One to One: John & Yoko (April 18th), On Swift Horses (April 25th), and the Nicolas Cage Ozpoiltation thriller The Surfer (May 2nd). The MSP Film Society will be replaying several of the highest audience-scoring films at The Main Cinema over the next few weeks. To learn more about everything to do with the festival and the year-round programming, you can visit 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 2021: All The Films That Could Premiere May 17, 2021 By: Hunter Friesen Often considered the most prestigious film festival globally, the Cannes Film Festival is your one-stop shop for some of the greatest works in international cinema. For the first time since 1968, the festival was canceled in 2020 due to the COVID-19 pandemic. This year's edition has the potential to be one of the best as dozens of projects from the world's greatest filmmakers jockey for the opportunity to be awarded the coveted first place Palme d'Or, which will be decided by a Spike Lee led jury. Twenty films will be selected for the Official Competition, with several others being placed in one of the festival's many sidebar sections. And quite a few unlucky films will have to set their sights somewhere else. Cannes also has its place in the Oscar race. To use a sports analogy, it is the preseason to the fall festivals regular season. Films such as Pulp Fiction, The Tree of Life, Amour and Parasite started their Oscar path at the festival. In this article, I will detail the films that have the potential to premiere at the festival. They are sorted into three categories based on their likelihood, which stemming from a combination of factors that are explained in each summary. The festival will announce the lineup for all sections on June 3rd. ALREADY CONFIRMED Annette This year's festival will start off with a bang as Leos Carax premieres his newest film on opening night. The movie stars Adam Driver and Marion Cotillard as parents to a young girl with a surprising gift. The film will contain no dialogue and be a completely sung-through musical, which is precisely something that should be expected from the man that brought us Holy Motors . Benedetta Dutch director Paul Verhoeven has shifted away from Hollywood this century in favor of European productions. His last film was the Isabelle Huppert-led Elle in 2016; a smash hit at Cannes, which led to an Oscar nomination for Huppert for Best Actress. His newest film, a holdover from last year, is a culmination of many topics found within his filmography, such as religion and eroticism, as a nun suffers from disturbing visions in 17th-century Italy. The French Dispatch Wes Anderson's newest idiosyncratic feature has been sitting on a shelf for over a year so that it would have its world premiere at this particular festival. Starring a cast of names too long to write, the film is a sort of anthology of stories told in the titular magazine. Looking to be a huge Oscar player this year, this may be Anderson's time to be rewarded for his unique body of work. VERY LIKELY A Hero Iranian-born Asghar Farhadi has won two Oscars for Best International Feature, doing it first for 2011's A Separation and then for 2016's The Salesman . He's also brought his last three films to Cannes, opening the 2019 festival with the Spain-set Everybody Knows . Plot details are still a secret for his new movie, with the only thing we know is that it is set in Iran and tackles several contemporary issues. The film was recently acquired by Amazon, who is planning an end-of-year domestic release and huge Oscar push for Farhadi. Bergman Island Filmed in 2018 and early 2019, Mia Hansen-Løve's ambitious film was delayed from the 2019 festival for a primetime slot at the 2020 festival. Obviously, that edition didn't happen, so the film sat for another year. The title Bergman Island refers to the famous Fårö Island, which housed Swedish-auteur Ingmar Bergman and was used for several of his movies, and is now a pilgrimage destination for cinephiles. Starring Vicky Krieps, Tim Roth, and Mia Wasikowska, the film follows an American filmmaking couple who retreat to the island to write their screenplays. And like a Bergman film, reality and fiction begin to blur as the couple becomes more ingrained into the magical island. Everything Went Fine Prolific director François Ozon has competed regularly at Cannes, and it is expected to do so again with his newest film. Adapted from a novel by Emmanuèle Bernheim, the film follows a daughter who rushes to help her father after he has a debilitating stroke. In a shocking turn of events, he pleads to have his life ended. Will the daughter be able to honor her father's request? Fire Starring French acting royalty Juliette Binoche and Vincent Lindon and directed by Claire Denis, Fire surrounds a love triangle that forces a woman to choose between her long-time partner and former lover. Denis has had a long relationship with the festival, as she was the president of the board of the Cinéfondation and short films in 2019. Memoria Thai filmmaker Apichatpong Weerasethakul will likely return to the festival where he won the Palme d'Or in 2011 with the indescribable Uncle Boonmee Who Can Recall His Past Lives . Marking his English-language debut, Memoria stars Tilda Swinton as a Scottish woman traveling in Colombia who begins to hear eerily strange noises. This film is also a holdover from last year and is expected to fall in the same lane of Weerasethakul's previous filmography. Official Competition Just by the title alone, this seems like a Cannes selection. The film is by Argentinian duo Gastón Duprat & Mariano Cohn and stars Spanish superstars Antonio Banderas and Penélope Cruz. The synopsis is that of a wealthy businessman who impulsively recruits filmmaker Lola Cuevas (Cruz) to make a smash hit movie. Banderas plays the Hollywood heartthrob that will headline the picture. Expect a satirical comedy that pokes fun at the unglamorous task of creating a film. On a Half Clear Morning Bruno Dumont has been a staple of Cannes for nearly a decade, as he's premiered his last three films at the festival. Also, a recurring character at Cannes is actress Léa Seydoux, who stars in Dumont's newest film that he both wrote and directed. Listed as a comedy-drama, On A Half Clear Morning has Seydoux play a celebrity journalist who has her life turned upside down after she is in a freak car accident. Paris, 13th District A previous winner for Dheepan in 2015, Jacques Audiard returns with a new film that also happens to be co-written by Portrait Of A Lady On Fire director Celinne Sciamma and stars Noémie Merlant. The film follows four young adults as they navigate their friendships and love lives in modern Paris. Petrov's Flu Another holdover from last year, Russian writer/director Kirill Serebrennikov adapts the novel of the same name that follows a family living ordinary lives with extraordinary secrets. At the head of the family is the titular Petrov, who seems to be fading in and out of reality as he battles the flu. Serebrennikov wrote the movie under house arrest, and an early teaser trailer showcases some of the visual bizarreness. Three Floors Italian national treasure Nanni Moretti has had a very successful career at Cannes, winning the Best Director award for Dear Diary in 1994 and the Palme d'Or for The Son's Room in 2001. His newest film is a holdover from last year and follows the intersecting story of three families who each live on different floors of a bourgeois condo. Triangle of Sadness Expect Swedish auteur Ruben Östlund to return to Cannes after winning the Palme d'Or with The Square in 2017. His follow-up is said to be in that same satirical vein as the story takes place on an uber-rich yacht captained by a crazy Marxist (Woody Harrelson). The boat becomes shipwrecked, flipping the social hierarchy as everyone fights for survival. Tromperie With this movie, along with The French Dispatch and On a Half Clear Morning , the question becomes how many Léa Seydoux films will play at the festival? Seydoux is reteaming with another Cannes-favorite in Arnaud Desplechin, who's competed six times in the official competition. The title translates to deception, as the film is about an American novelist navigating his relationship with several women in his life, including his wife, mistress, and other characters he has dreamed up. LIKELY After Yang Starting with video essays, writer/director Kogonada had a remarkable feature-film debut with Columbus in 2017. That success allowed the enigmatic director to work with Colin Farrell and Jodie Turner-Smith on his newest film. Set in the near future, the story tracks a family as they must try to save the life of their A.I. helper, who unexpectedly breaks down. Given the low-key nature of Kogonada's work, an out-of-competition spot may be a more likely place for it to debut. Benediction It's usually Ken Loach's job to be the British representative at Cannes, but this year that duty may fall to Terence Davies, who premiered a slew of his earlier films at the festival. Davies' film tells the true story of Siegfried Sassoon, an English poet, writer, and soldier in World War I. Jack Lowden plays the younger Sassoon, while Peter Capaldi takes over in the later years. After A Quiet Passion made waves a few years ago, all eyes will be on what Davies can do with his next biopic. C'mon C'mon For his first feature since winning the Best Leading Actor Oscar for Joker , Joaquin Phoenix is teaming with writer/director Mike Mills ( 20th Century Women & Beginners ) for what seems to be another acting showcase. Phoenix plays an artist who must embark on a cross-country road trip after he is left to take care of his precocious nephew. Shot in black-and-white by the great Robbie Ryan, the movie was forecasted to premiere at the virtual Sundance Film Festival in January but was quietly absent. Was it because they wanted to premiere it at Cannes? De Son Vivant Catherine Deneuve is one of the finest French actresses ever to grace the silver screen. Any of the projects she's attached to surely deserves festival buzz. Her newest film is a reteaming with director Emmanuelle Bercot and tells the story of a mother coming to terms with her terminally ill son, who has one year to live. Flag Day Sean Penn is extremely loved by the Cannes brass, as he won Best Actor in 1997 for She's So Lovely and premiered two of his directorial efforts at the festival. His newest project stars himself, along with Miles Teller and Josh Brolin. It'll be interesting to see if Penn is welcomed back after his latest film, The Last Face , was one of the most reviled films in festival history. Huda's Salon Palestinian writer/director Hany Abu-Assad has had two previous films at the festival, winning the Un Certain Regard Special Jury Prize in 2013 for Omar . His newest film is based on real-life events as a woman's experience entering a hair salon becomes a living nightmare after the owner blackmails her. The filmmaker has plans to return to Cannes, hopefully with the promotion that comes with being selected to the Official Selection. Joan Verra It's an unofficial rule at Cannes that at least one movie selected stars, Isabelle Huppert. This time she stars as the titular character who retreats to the countryside with her son when a figure from her past unexpectedly returns. Writer/director Laurent Larivière's last film, I Am a Soldier , premiered in Un Certain Regard in 2015. The coupling of Larivière's experience at the festival and Huppert's prestigious reputation gives the film a good shot of being selected. Mona Lisa and The Blood Moon Rumored to be a part of the selection in 2020, Ana Lily Amirpour's newest film promises to be unique. Set in contemporary New Orleans, a girl breaks out of a mental asylum and must use her supernatural powers to survive. Considering the stylism found within Amirpour's previous features, A Girl Walks Home Alone At Night and The Bad Batch , it's safe to assume there is more than meets the eye here. The Card Counter Longtime Martin Scorsese scribe Paul Schrader received a career resurgence in 2017 with the critically acclaimed First Reformed premiering at the Venice Film Festival and received his first Oscar nomination for Best Original Screenplay. Schrader used his goodwill to stack the cast for his newest film, which has Oscar Issac starring as a reformed gambler who attempts to mentor a young man (Tye Sheridan) seeking revenge on a mutual enemy (Willem Dafoe). Also in the cast is Tiffany Hadish as a mysterious casino financier. The film has also been invited to Venice, so there is the likelihood it premieres there instead. The Souvenir Part II Joanna Hogg took Sundance by storm in 2019 with her semi-autobiographical take on young love in The Souvenir . With a UK release date set for late 2021 and A24 acquiring domestic rights, the time is right for Hogg to unveil the sequel. Filming has been completed for a while, with Honor Swinton Byrne and Tilda Swinton returning. This may be Hogg's time to shine under the brightest lights. The Tragedy of Macbeth The Coen brothers are the cream of the crop when it comes to Cannes royalty, winning the Best Director award a record three times and winning the Palme d'Or for Barton Fink . The last two films by the brothers that premiered at Cannes were No Country For Old Men and Inside Llewyn Davis , which both became prominent Oscar players, with the former winning Best Picture. For the first time, Joel Coen is the sole director of his upcoming adaptation of The Tragedy Of Macbeth , which stars Denzel Washington in the titular role and Frances McDormand as his wife. With its subject matter and leading stars, the film has high Oscar prospects, begging the question of whether Apple will wait to premiere it near a friendlier award season date. The Worst Person in the World Norwegian director Joachim Trier has debuted two films at Cannes, most recently his star-studded English-language debut Louder Than Bombs in 2015. Trier is returning to his native language for his newest film, which follows the life of Julie, who must take a hard look at herself after years of navigating love and careers. The cast comprises almost all newcomers, opening the possibility of the festival being a launchpad for a few young stars. Titane Writer/director Julia Ducournau made a splash at Cannes in 2016 with her debut, Raw , which won the first place prize in the Director's Fortnight section. After years away, she's back with Titane , a mystery film surrounding a child returning home after being missing for nearly a decade. There's also a murder element as a series of gruesome killings has been ravaging the area. The question is if Ducournau will be promoted to the official competition or if she'll remain in the sidebars. The Velvet Underground Todd Haynes' Velvet Goldmine made a splash for its cast and crew when it hit the Croisette in 1998. Twenty-three years later, Haynes is returning to rock music with a documentary on the famous titular American band. The documentary is an Apple TV+ production, and a big festival push may be just the thing the streamer needs to break into the awards conversation. UNLIKELY, BUT POSSIBLE Big Bug Director Jean-Pierre Jeunet delivered a one-two punch with Amelie and A Very Long Engagement at the beginning of the century. He hasn't done much since, meaning it could be time for Cannes to welcome him back to the international stage. His newest film is an adventurous comedy where an android uprising causes a bickering suburban family to be locked in their home. Like many other films in this section, Netflix holds the distribution rights. Given the lighter nature and Jeunet's inexperience at the festival, an out-of-competition spot may be possible. Blonde Andrew Dominik has made his way around the festival circuit, hitting up Venice in 2007 with The Assassination Of Jesse James By The Coward Robert Ford and going to Cannes in 2012 with Killing Them Softly . His next film looks to be a prime Oscar contender as it tells a fictionalized story about the inner life of Marilyn Monroe. Burgeoning superstar Ana de Armas plays the iconic Blonde Bombshell, with Adrien Brody, Julianne Nicholson, Bobby Cannavale, and Scoot McNairy rounding out the supporting cast. Again, this movie has a Netflix problem, so a Venice premiere seems to be the most likely outcome. Cry Macho Contrary to his all-American image, Clint Eastwood is quite beloved over in France, as he has debuted several films at the festival, such as Mystic River and Changeling . He even served as jury president in 1994, awarding Quentin Tarantino's Pulp Fiction the Palme d'Or. Being as Eastwood's upcoming Cry Macho very well could be his final outing, it would be fitting for it to make a splash at the festival that has welcomed him for decades. Decision to Leave Along with Bong Joon Ho, director Park Chan-wook has helped popularize South Korean cinema in recent decades. Chan-wook has won the second and third place prizes at the festival, doing so with Oldboy in 2003 and Thirst in 2009, respectively. After some time away since his last effort, The Handmaiden , Chan-wook is diving into the detective genre with a story following an investigation about man's mysterious death and his equally mystifying wife. Filming began in October, making a Cannes premiere very difficult in such a short time. Soggy Bottom Sources say that Fremaux has been trying his best to get Paul Thomas Anderson to debut his newest film at the festival, a sentiment that Anderson also shares. This would mark the second time PTA has debuted a film at Cannes, as he first did it in 2002 with Punch-Drunk Love . Starring Philip Seymour Hoffman's son Cooper Hoffman, Benny Safdie, and Bradley Cooper, this would easily be the most anticipated premiere. The recently announced Thanksgiving release date does put a damper on things, as distributor MGM may want to wait a while to premiere the film closer to Oscar season. The Hand of God After helming both seasons of The Young Pope and The New Pope over at HBO, Italian auteur Paolo Sorrentino is making a return to the silver screen. Little is known about the plot, except that it is a very personal film set in Naples that centers on the legend of Diego Maradona and his miracle play. Toni Servillo, who has frequently participated in Sorrentino's movies such as the Oscar-winning The Great Beauty , leads the cast. Netflix holds the distribution rights for the film, which does put a dent in any premiere plans. With Sorrentino's lauded history at the festival, hopefully, some arrangement can be made. 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. Little is known about his next film, except that production began in the fall of 2019. If filming were completed before the pandemic, Sissako would likely be invited back to the festival he has called home for so many years. The Power of the Dog New Zealander Jane Campion remains the only woman ever to direct a Palme d'Or winning film, doing it in 1993 with The Piano . Campion's newest film stars Benedict Cumberbatch and Jesse Plemons as Montana ranching brothers who both pine after the affection of Kirsten Dunst. What makes this a tricky situation is that Netflix is treating this as their prize Oscar contender. It has also been invited to the Netflix-friendly Venice Film Festival, which could very well be its eventual landing spot. The Way of the Wind There's no way to figure out when a Terrence Malick film will be released. All you can do is wait and pray. Malick premiered his last movie, A Hidden Life , at Cannes in 2019, and he also won the Palme d'Or for his magnum opus The Tree Of Life in 2011. He once again has saddled himself with another weighty topic, as The Way Of The Wind will tell several episodes of the life of Jesus Christ, led by a cast of Mark Rylance, Ben Kingsley, Joseph Fiennes, and Matthias Schoenaerts. Several of Malick's films have been delayed for years as he endlessly tinkers in the editing room, so there's no telling when this film will be seen. Where is Anne Frank? Ari Folman took the world by storm with his 2008 animated documentary, Waltz With Bashir , which played at Cannes and was nominated for the Best International Feature Oscar. Announced just after that film premiered, Folman's newest animated effort will tell the story of Anne Frank through Kitty, the imaginary friend from Frank's diary. Considering the already long production cycle of the film and that no new information has been released in quite some time, it seems unlikely that the film would be ready. 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

Explore the captivating world of cinema through our insightful essay collection, containing thought-provoking analyses and interpretations of your favorite movies, shedding new light on their themes, characters, and artistic brilliance. Essays Button Button Tyler's Takes: In Defense of Pixar's 'Elemental' June 22, 2024 By: Tyler Banark The American New Wave of 1970s Hollywood May 4, 2023 By: Hunter Friesen Button Button The Influence of Howard Hawks in 'Assault on Precinct 13' April 5, 2023 By: Hunter Friesen 1967: A Dramatic Shift in American Film March 29, 2023 By: Hunter Friesen 'Bonnie & Clyde' and New Sentimentality Button 1967: A Dramatic Shift in American Film Button How 'The Godfather' Signaled Hollywood Change 50 Years Ago Button The American New Wave of 1970s Hollywood Button Tyler's Takes: In Defense of Pixar's 'Elemental' Button 'Night of the Living Dead': The First Liberal Horror Film Button Cassavetes & Newman: Hollywood Stars, Art Cinema Auteurs Button Poitier and Hoffman: The Dueling Kings of 1967 Hollywood Button The Influence of Howard Hawks in 'Assault on Precinct 13' Button

2023 Losers January 2, 2024 By: Hunter Friesen We’ve crowned our winners for the year, so now it’s time to perform the autopsies on some of this past year’s biggest victims. No one should want to see pain inflicted on others, but some of these parties got what was coming to them, and may have deserved worse. The best-case scenario is that they all use their failures as motivation for 2024, or take it as a sign to pack it up and change course. Disney In true monkey’s paw fashion, the Mouse House grabbed a ton of headlines during their 100th-anniversary celebration as almost all of their blockbusters went belly up. After producing 7 $1 billion hits in 2019, the studio wasn’t able to churn out a single one in 2023. Their losses may have reached as high as $1 billion between the lackluster results of Indiana Jones and the Dial of Destiny , The Marvels , and Wish . A string of delays and reworkings means Inside 2, Deadpool 3 , and Mufasa: The Lion King will be their only offerings in 2024. The Future of the MCU 2023 turned out to be the straw that broke the camel’s back for the MCU, with silver screen projects like Ant-Man and the Wasp: Quantumania and The Marvels falling well below expectations, both creatively and financially. Even the one shining light that was Guardians of the Galaxy Vol. 3 can’t be touted too heavily as that was a franchise conclusion. Interest and optimism are at an all-time low, with no direction or clear finish line in sight. Whether it was out of necessity or fear (or a bit of both), the delaying of almost all their future projects leaves Deadpool 3 as the lone property in 2024. Here’s hoping Kevin Feige can use the time he bought himself. WB's Reptuation (If They Had Any) Each year it seems that WB is trying to one-up itself as the most hated studio to both creatives and fans. Between elongating the WGA and SAG-AFTRA strikes, significantly reducing the HBO Max catalog, shelving the already completed Coyote vs. Acme , and cutting funding for TCM, this year turned out to be their best at producing hatred. The world isn’t prepared for the witchcraft CEO David Zaslav is cooking up in 2024. The AMPTP Corporations didn’t earn much credibility in 2023, and the AMPTP did everything in its power to destroy whatever minuscule amount they had. No one was ever going to be on its side during the WGA and SAG strikes, but its tone-deaf messaging and bully tactics made it impossible for anyone to see their side of the argument. They’ve shown their hand when it comes to AI, with the future not looking too bright for creatives. Belated Sequels Top Gun: Maverick and Avatar: The Way of Water proved that long-in-development sequels can make just as much, if not more, money than their predecessors. Studios took that lesson to heart in 2023, except they forgot the part where you have to make a good movie. Magic Mike's Last Dance , Indiana Jones and the Dial of Destiny , Expend4bles , My Big Fat Greek Wedding 3 , and The Exorcist: Believer were just some of the warmed-over leftovers studios thought would pass for full course meals. Audiences rejected them, and will hopefully do the same in 2024. Fan Screenings Studios are already having a tough time getting audiences in seats, so it seemed like a brain-dead idea to confuse people as to when a movie would be available to them. Sony originally announced wide releases for Gran Turismo and Dumb Money before changing course to platform releases with later wide expansions. All audience interest vanished by the time of wide release, leaving these bombs hanging out to dry. None of those compared to the debacle that was The Flash , with over a dozen fan screenings taking place weeks before the general release. All of that work amounted to one of the biggest bombs in history. Comedians Going to Film Nothing’s worse than a comedy that isn’t funny, which is what these comedians delivered this year on the silver screen. Bill Burr and Charlie Day unsuccessfully tried their hand at directing with Old Dads and Fool’s Paradise , respectively. Sebastian Maniscalco ( About My Father ), Brett Kreischer ( The Machine ), and Please Don’t Destroy ( The Treasure of Foggy Mountain ) also missed the mark. There’s nothing funny about failure, although that might have been the best joke each of them wrote this year. Streaming Action Movies Let’s get one thing straight: Extraction 2 was pretty good. But it was made to look like Citizen Kane when compared to everything else that was available. Netflix may have scored decent viewership with The Mother and Heart of Stone , although I’d bet an unseemly amount of money that almost all those viewers couldn’t remember a single thing that happened. But at least those titles got eyeballs, as Apple’s Ghosted and Amazon’s Shotgun Wedding may as well have never existed. Movie Posters Were poster artists given the year off? From terrible photoshopping to uninspired designs (anyone up for the millionth floating head layout?), no one was flocking to see some of these movies based on their artwork. My Big Fat Greek Wedding 3 easily took the cake as none of the actors’ heads were connected to their bodies. But even big-name projects like Oppenheimer and Killers of the Flower Moon were left with boring layouts. More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen

2026 Golden Globes Awards Predictions January 10, 2026 By: Hunter Friesen This year’s Golden Globes ceremony feels like a warm-up round for the two heavyweights that are One Battle After Another and Sinners , who will then have to clash at the main event that is the Oscars. Technically, both films are on the same team (Warner Bros.), so they should be very chummy with each other as they likely dominate their respective genre categories. The last time a studio won both Best Motion Picture - Drama and Best Motion Picture - Musical or Comedy in the same year was 20th Century Fox in 2015 for The Revenant and The Martian , respectively. Like any good wrestling match, there are plenty of spoilers waiting in the wings. If this new version of the Globes has taught us anything, it’s that they’re not afraid to get weird. The old version of the Globes would never contemplate nominating Sebastian Stan for A Different Man or Fernanda Torres for I’m Still Here . Now those performances are (deservedly) winning prizes, a pleasant step in the right direction for an organization that perpetually deserves ridicule. Below is a breakdown of each category for the film-related categories, delving into who the likely winner is expected to be and what other nominees have the potential to disrupt the competition. Best Motion Picture - Drama Sinners Hamnet Frankenstein Sentimental Value It Was Just an Accident The Secret Agent Neon is entering the night with a three-headed dragon, comprised of three foreign language films. It’s almost impossible to determine which one of those films has a better shot than the others, so it’s probably best to rule them all out. Hamnet and Frankenstein are worthy contenders, but neither has positioned itself as a winner throughout this precursor portion of the season. It’s clearly going to be Sinners , which seems to be amassing more acclaim in the nine months since its release. Best Motion Picture - Musical or Comedy One Battle After Another Marty Supreme Bugonia No Other Choice Blue Moon Nouvelle Vague Let’s give it up for Richard Linklater for directing two films nominated in this category, a feat that has never happened before. It won’t mean a whole lot for the chances of either film winning, but it’s a nice thing to see. Despite all the other achievements of the other nominated films, none of them is even close to matching One Battle After Another . It’s my lock of the week(end)! Best Director Paul Thomas Anderson (One Battle After Another) Ryan Coogler (Sinners) Jafar Panahi (It Was Just an Accident) Chloé Zhao (Hamnet) Guillermo del Toro (Frankenstein) Joachim Trier (Sentimental Value) Actually, never mind. This category is going to be my lock of the weekend, as Paul Thomas Anderson is finally being avalanched with the flowers he’s been deserving of for the past thirty years. Best Screenplay One Battle After Another (Paul Thomas Anderson) Sinners (Ryan Coogler) It Was Just an Accident (Jafar Panahi) Sentimental Value (Joachim Trier & Eskil Vogt) Marty Supreme (Josh Safdie & Ronald Bronstein) Hamnet (Chloé Zhao & Maggi O’Farrell) It’s a two-horse race at the top, with One Battle After Another and Sinners being the runaway favorites in the adapted and original screenplay categories, respectively. Luckily for the loser and unluckily for the winner, this probably won’t have much effect on the Oscar race then. The mantra this season has been to bet on One Battle After Another , and it hasn’t steered me wrong yet. A real, yet fully plausible, shocker would be for Jafar Panahi to come from behind with It Was Just an Accident . Best Lead Actor - Drama Wagner Moura (The Secret Agent) Michael B. Jordan (Sinners) Dwayne Johnson (The Smashing Machine) Joel Edgerton (Train Dreams) Oscar Isaac (Frankenstein) Jeremy Allen White (Springsteen: Deliver Me From Nowhere) The Secret Agent making it into Best Motion Picture - Drama feels like it means something, especially when we’re only a year removed from Fernanda Torres winning Best Lead Actress - Drama here and starting the surge for I’m Still Here . But Michael B. Jordan is also right there, and his winning here would be a perfect compliment to the film’s eventual win in the Best Motion Picture - Drama category. Best Lead Actress - Drama Jessie Buckley (Hamnet) Renate Reinsve (Sentimental Value) Jennifer Lawrence (Die My Love) Julia Roberts (After the Hunt) Tessa Thompson (Hedda) Eva Victor (Sorry, Baby) This is a shockingly light year for this category, which is usually stacked with Oscar contenders. Jessie Buckley and Renate Reinsve are the only ones with higher aspirations; the rest likely to be relegated to future episodes of the “This Had Oscar Buzz” podcast. Although I do want to give a shoutout to Eva Victor’s inclusion, as that’s a great nomination. Buckley seems like she’ll be the sweeper of the televised awards, having already started that train at the Critics' Choice Awards last weekend. Best Lead Actor - Musical or Comedy Timothée Chalamet (Marty Supreme) Leonardo DiCaprio (One Battle After Another) Ethan Hawke (Blue Moon) Jesse Plemons (Bugonia) Lee Byung-hun (No Other Choice) George Clooney (Jay Kelly) As one of the most impressive lineups this category has ever seen, it’s a shame that only one nominee can win. Chalamet has delivered a career-best performance, both in the movie and on the campaign trail. His effort in the latter secured a mightily impressive box office performance, which confirmed his status as a major star. With that done, now it’s time for him to be awarded on the critical front. Best Lead Actress - Musical or Comedy Rose Byrne (If I Had Legs I'd Kick You) Chase Infiniti (One Battle After Another) Amanda Seyfried (The Testament of Ann Lee) Emma Stone (Bugonia) Kate Hudson (Song Sung Blue) Cynthia Erivo (Wicked: For Good) The craziness of the past year can be illustrated by the fact that both of the lead performance contenders in the Musical or Comedy category stem from projects written by a Bronstein. Written and directed by Mary Bronstein, wife of Marty Supreme co-writer Ronald Bronstein, If I Had Legs I'd Kick You has come a long way since its premiere nearly a year ago at the Sundance Film Festival. Despite being initially written out of the awards conversation for being too abrasive, Rosy Bryne has been the critical darling, receiving awards from NYFCC, LAFCA, NBR, and being a runner-up at NSFC. This will be another win to get her to an Oscar nomination, which will be quite the accomplishment for such an anti-awards film. Best Supporting Actor Benicio del Toro (One Battle After Another) Stellan Skarsgård (Sentimental Value) Jacob Elordi (Frankenstein) Paul Mescal (Hamnet) Sean Penn (One Battle After Another) Adam Sandler (Jay Kelly) This is an insanely tough category to predict, with the top three all having a seemingly equal chance of winning. Benicio del Toro has the majority of the critics’ prizes, with Stellan nabbing the LAFCA prize. And then Elordi just surprisingly won at the Critics’ Choice Awards last weekend. There’s no right decision here, but the least wrong one feels like Benicio. Either way, this will be an exciting Oscar race for a category that has been quite stagnant over the past decade. Best Supporting Actress Amy Madigan (Weapons) Teyana Taylor (One Battle After Another) Inga Ibsdotter Lilleaas (Sentimental Value) Ariana Grande (Wicked: For Good) Elle Fanning (Sentimental Value) Emily Blunt (The Smashing Machine) Not to be outdone by their male counterparts, the ladies are also bringing some chaotic energy to this category. Teyana and Inga have been splitting the critics’ prizes, with Madigan winning at the Critics’ Choice Awards. Despite what I just said for Best Supporting Actor, this scenario seems to favor Madigan, who really seems to have a lot of passion around her. Then again, betting against One Battle After Another is a fool’s errand. Best Foreign Language Film The Secret Agent (Brazil) It Was Just an Accident (France) Sentimental Value (Norway) No Other Choice (South Korea) Sirāt (Spain) The Voice of Hind Rajab (Tunisia ) A majority of the nominees in this category are also nominated in the Best Motion Picture - Drama or Best Motion Picture - Musical or Comedy category, which kind of negates the competitive advantage that is usually only given to one film per year. Just as I said for Wagner Moura in Best Lead Actor - Drama, The Secret Agent leaping into Best Motion Picture - Drama feels like it means something. I have a feeling that a lot of Brazilian voters feel like they missed out on a moment by not giving this prize to I’m Still Here last year. Given that practically every other nominee has a decent shot at winning, I’ll have no shame in getting this wrong. Best Animated Feature Film KPop Demon Hunters Zootopia 2 Arco Little Amélie or the Character of Rain Scarlet Elio While it always seemed like KPop Demon Hunters was going to eventually win the Oscar, the race was virtually over before it even began when the usually stuffy New York Film Critics Circle gave the film their Best Animated Feature prize. The Globes like to throw curveballs in this category, like when Missing Link beat Toy Story 4 in 2019. But the competition doesn’t seem to be there this year, so that's not likely to happen. Best Original Score Sinners (Ludwig Göransson) One Battle After Another (Jonny Greenwood) Sirāt (Kangding Ray) F1 (Hans Zimmer) Hamnet (Max Richter) Frankenstein (Alexandre Desplat) In a battle between Ludwig Göransson and Jonny Greenwood, I’ll probably give the edge to the former nominee since his film is specifically about the power of music. There’s also the distinct possibility of an upset by Kangding Ray for his rave music from Sirāt , which has a similar techno vibe to last year’s surprise winner of Challengers . Best Original Song Golden (KPop Demon Hunters) I Lied to You (Sinners) The Girl in the Bubble (Wicked: For Good) Train Dreams (Train Dreams) No Place Like Home (Wicked: For Good) Dream as One (Avatar: Fire and Ash) Your kids can’t stop singing it, it’s on the radio every day, and TikTok has been flooded by tribute edits. “Golden” is the cinematic song of the year, and everyone wants to be a part of its victory lap. Cinematic and Box Office Achievement Sinners Avatar: Fire and Ash KPop Demon Hunters F1 Weapons Zootopia 2 Wicked: For Good Mission: Impossible – The Final Reckoning Over this category’s brief two-year history, it's been won by Barbie and Wicked , two films that were nominated in their respective Best Motion Picture category. That leaves Sinners as the only viable candidate this year, and it’s got quite the box office story to bolster its chances. Of course, if you want to talk about overall big dollars, then that would certainly be Avatar: Fire and Ash . I’d also give a decent shot to KPop Demon Hunters , which feels like the movie with the most cultural impact this year. 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

Ranking the Planet of the Apes Franchise May 7, 2024 By: Tyler Banark As one of the most unsung yet successful franchises in film, the Planet of the Apes franchise, much like its subject material, has evolved. It all started as a sci-fi adventure film that took the world by storm in 1968, which inevitably led to a hit franchise in the 70s. The sequels weren’t as critically successful as the original (as you’ll see reflected in this ranking), but they still made a big enough splash to warrant four of them. Tim Burton attempted to revitalize the franchise in 2001 but failed in doing so (also reflected in the rankings). However, his flop provided a silver lining in the form of a catalyst for another reboot that changed the franchise forever. Now, the newest series is looking to continue with its fourth entry, Kingdom of the Planet of the Apes . Now is the best time to look back and rank all nine films in this primal franchise once and for all. Spoiler Warning: Specific story points will be mentioned when talking about some films 9. Planet of the Apes (2001) I admire Burton for twisting the synopsis of the original to avoid being a scene-for-scene remake, but then he also fails to follow through by making overt callbacks that now feel out of place (what was up with that twist ending!?!). The combination of Wahlberg and Burton is one of the oddest pairings since De Niro and Tarantino. But while the latter worked against expectations, this one unsurprisingly struggled. There’s also Tim Roth doing way too much behind pounds of unconvincing makeup. Thankfully, this single entry can be easily forgotten. 8. Battle for the Planet of the Apes (1973) As the final part in the original series, Battle finds itself recycling several elements from the previous outings, all of which at least tried to further a theme within this universe. The story sees apes and humans living in peace, but when Cornelius learns of his past, he brings light to the mutant humans from Beneath . There’s also corrupt general Aldo leading an uprising against Caesar in hopes of planting Apes at the top of the food chain. What unfolds between these plots makes for numerous continuity errors in the franchise, specifically how this prequel ties into the 1968 original. It’s never a great sign when you’re franchise’s big send-off poses more questions than it answers. 6. Conquest of the Planet of the Apes (1972) Taking place years after the deaths of Zira and Cornelius, Conquest sees their son Milo (now named Caesar for some reason) grown up and living in a world where apes have become slaves to humans. Cats and dogs are a thing of the past, and apes have become popular pets, leading Caesar to lead an uprising (take a shot every time that word gets mentioned in this ranking) that starts the downfall of humanity. Roddy McDowall, who played Cornelius in Escape and the first movie, plays Caesar and gives a noteworthy monologue to end the movie. But the run-of-the-mill plot and lazy casting choices make this into a rote entry. At least Rise was able to improve upon the basic premise decades later. 6. Beneath the Planet of the Apes (1970) Sure, the idea of talking apes is inherently weird, but Beneath is just plain absurd. Although it continues to build and expand upon the ape world, there are some serious “jump the shark” moments such as mutant humans worshipping an atomic bomb. On the other hand, the technical aspects were improved by the bigger budget, with the makeup design still being impressive. Charlton Heston’s screentime was drastically reduced, with new addition James Franciscus taking over the main human role. Was it all worth the effort? Perhaps, even if what it's showcasing raises an eyebrow amongst its viewers. 5. Escape from the Planet of the Apes (1971) Without a doubt the best of the original sequels, Escape took the franchise in a vastly different direction. It sees Zira and Cornelius getting out of Ape City and traveling back to 1973 when the humans ran the world. Through seeing the world differently, Zira and Cornelius get a slight taste of their own medicine as the humans look down on them. The only difference is that other humans are more welcoming to them than the Apes treated Taylor, Nova, and the other humans. Escape also takes the approach of being more character-driven, as we see Zira and Cornelius undergo development, as well as their side of the fallout seen in Beneath and navigating an Earth run by humans. The only fluke was the extended runtime and lack of action, although that ended up being the least of the franchises’s problems the longer it went on in this era. 4. Planet of the Apes (1968) The one that started it all, 1968's Planet of the Apes is a feat of grand filmmaking. Giving the tone and stakes of a blockbuster (before the term was ever coined), director Franklin J. Schaffner crafts a sci-fi adventure of epic proportions. The Oscar-winning makeup design is impeccable, even if it later becomes dated as the franchise turned to sleek CGI in the 21st Century. Charlton Heston leads the cast as Taylor, an astronaut who's lightyears from home and gets caught in an alien world where humans are feral to apes. Michael Wilson and Rod Serling's script remains timeless as it discusses themes of social class that can also be interpreted as metaphors for a political conversation. The same goes for the iconic plot twist, which left much to explore in the years to come. 3. War for the Planet of the Apes (2017) The conclusion to Caesar’s story, War for the Planet of the Apes is a heartfelt sendoff to one of the most impressive character arcs in recent memory. Andy Serkis gives it his all in his final outing as Caesar who, at this point, is fed up with humans. The war that started at the end of Dawn is now in full swing, which reaches a pivotal moment when Caesar’s wife and eldest son are killed in a raid. Woody Harrelson makes for a great antagonist, and Steve Zahn is a nice addition as the comedic Bad Ape, although a lot of the humor around the character can be repetitive. That feeling of spinning wheels also extends to the plot as much more time was spent at the Colonel’s base than was needed, preventing the fulfillment of the title. Still, it was more than a fitting ending to the reboot trilogy. 2. Rise of the Planet of the Apes (2011) The movie that changed it all for the better, Rise of the Planet of the Apes reignited a fire that wasn’t seen in the franchise since the 1968 original. Only this time, Rise provides a much stronger origin to how the apes got their intelligence. Andy Serkis may have been working in this industry for years up until this point, but it was Rise that cemented himself as a movie star. He captures Caesar perfectly and, thanks to his production company The Imaginarium, presents special effects that had never been seen beforehand. Serkis isn’t alone in front of the camera as he’s joined by a great ensemble consisting of John Lithgow, Freida Pinto, Brian Cox, Tom Felton, David Oyelowo, and James Franco. Contrary to almost every other entry in the overall franchise, Rise could have benefited from a longer runtime. 1. Dawn of the Planet of the Apes (2014) As the top dog (or ape) of the entire franchise, Dawn not only ups the ante from Rise , but also makes for one of the best modern sequels. It tells a compelling story that sheds light on both sides of the apes vs. humans conflict, with director Matt Reeves making quite the statement for himself. Everyone is at the top of their game, including Serkis, Jason Clarke, Toby Kebbell as the villainous Koba, and Michael Giacchino sneakily turning in one of his best scores. Rise may have kicked off the excitement for the new series, but Dawn was the one that made it something truly special. 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

Top 10 Films of 2022 January 3, 2023 By: Hunter Friesen The world of cinema didn’t paint a lot of pretty pictures in 2022. Studios continue to merge, consolidating power in the hands of the few, resulting in some poor decisions that favored the dollars over artists. Save for Everything Everywhere All at Once , small to mid-budget movies floundered at the box office, continuing the dark trend of only blockbusters surviving at the cinemas. But the beginning of a new year should not be a time to reminisce about all the bad stuff that happened over the past twelve months. It should be a time when we look at all the positives and figure out a way for them to continue in the future. So, in an effort to give credit where it’s due, I’ve listed out my favorite films of 2022. Some of these films I expected to be on this list, while others came out of left field. It goes to show that you can experience something truly incredible if you dig a little deeper. Honorable Mentions The Batman Everything Everywhere All at Once Blonde Aftersun The Menu 10. After Yang After Yang is full of grace and compassion, with a touch of melancholy to make it a truly reflective experience of the human soul. It merges American sci-fi with the softer side of independent cinema, which makes it a perfect project to be under the A24 umbrella. With only two films to his name, writer/director Kogonada is already entering the conversation as one of the best humanistic directors of the modern era. Full Review 9. The Banshees of Inisherin Equally hilarious as it is disturbing, The Banshees of Inisherin finds Martin McDonagh, as well as his troupe of actors, in top form. There’s nothing quite like it, and it serves as another reminder that we should all be a little kinder to one another. Full Review 8. Broker Hirokazu Kore-eda has always been more interested in the human drama coming from each character, how they intersect, and what decisions they ultimately make rather than inserting any kind of thriller-like elements to entice the story to a more mainstream audience. The result is another solid, if not outstanding, effort from the Japanese filmmaker, backed by a flawless ensemble led by the subtly nuanced and exceptional Song Kang-ho. Full Review 7. Glass Onion: A Knives Out Mystery A sequel to 2019’s Knives Out , the great igniter to the revitalization of the whodunit genre, was always going to be a tricky obstacle to overcome. In stepped Netflix, who gave writer/director Rian Johnson the necessary blank check to indulge in his wildest fantasies. And because of that, he has crafted a whodunnit that is grander, funnier, stranger, and perhaps better than the original. As the first of two planned sequels, I can only imagine what Johnson is going to serve up next. Full Review 6. TÁR As our guide through a world of classical music and power dynamics, Cate Blanchett reaches another echelon in a career whose peaks have only been marked. If TÁR is meant to mark the second coming of Todd Field’s career, then we should all be in for a lengthy treat for the mind, body, and soul. But if this was only a brief blip and we’re subjected to another sixteen-year absence, then I at least know what my most anticipated film of 2038 will be. Full Review 5. Decision to Leave Park Chan-wook’s Decision to Leave is often a paradox in itself. It’s classical, yet modern. Cold, yet sexy. Unsatisfying, yet enthralling. Luckily, it finds the near-perfect balance between all of those things, creating a wondrous genre exercise that must be seen to be wholly believed. Full Review 4. Nitram Justin Kurzel's Nitram was one of the best films of the 2021 Cannes Film Festival (where I first saw it) as it explores a real-life tragedy with both grace and severity. While it may be an experience that wrecks people's bodies due to its humanistic intensity, there is hope that there will be a greater understanding of this dark chapter in human history upon leaving the theater. Full Review 3. The Fabelmans The Fabelmans is a collection of Spielberg's greatest hits, all delivered to their greatest effect. There’s laughter, tears, and wonder in this story that is much more than the sum of its parts. If Spielberg climbs the Dolby Theatre steps to collect his third Best Director Oscar, then it will be one of the few long overdue wins that came at the right time for the right project. Full Review 2. All Quiet on the Western Front In the film’s harrowing opening sequence, we follow a coat worn by a German soldier. The man dies in battle, and the coat is plucked off his corpse. It’s then shipped back to a factory to be washed of the blood, mended, and given to a new recruit. It’s moments like this, of which there are many, where director Edward Berger masterfully illustrates the futile self-fulfilling cycle of death that war creates. All Quiet on the Western Front is not just the best film of the year, it’s one of the best of its genre. Full Review 1. Babylon With dashes of Singin’ in the Rain, Boogie Nights, The Wolf of Wall Street, Uncut Gems , and Mulholland Drive , Damien Chazelle’s Babylon is a true auteurist epic in every sense of the word. It’s a 188-minute deconstruction of Old Hollywood mythology, complete with cocaine, fast cars, projectile vomit, glitzy actors, underground sex dungeons, and buckets of style. There isn’t anything like it this year, or any year for that matter. 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

Cannes 2024 Predictions - Part 3: The Loyalists April 9, 2024 By: Hunter Friesen With Oscar season firmly behind us (although it never really ends), it’s time to set our sights on the next white whale barreling toward us: festival season! Sundance and SXSW have provided the appetizer with their concentration of indies and spring studio releases, opening the doors for Cannes to take center stage with glitzy red carpets and world-class talent. Last year’s edition proved to be one of its best, with Palme d’Or winner Anatomy of a Fall and Grand Prize winner The Zone of Interest being two of the most acclaimed and rewarded films of the year. Also featured were About Dry Grasses , Fallen Leaves , La Chimera , May December , and The Taste of Things . Last year’s SAG and WGA strikes will likely put a damper on the presence of Hollywood on the Croisette (and potentially at the later fall festivals), but it shouldn’t prevent Delegate General Thierry Fremaux and his team from assembling some of the best that world cinema has to offer. The festival will announce its full lineup on April 11. Until then, I’ll take a closer look at some of the films that are generating buzz and predict which ones are likely to make it up the coveted steps this year. This final part will cover films from directors who are just as much stars as the actors that feature in their films. 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. Kinds of Kindness It was only a few weeks ago that Yorgos Lanthimos and Emma Stone were triumphing at the Oscars with Poor Things , and now there’s potential that they’re going to do it all over again. Lanthimos’ unique arthouse sensibilities have matched well with Cannes in the past, with Dogtooth, The Lobster , and The Killing of a Sacred Deer , all winning various prizes. He partnered with Searchlight on his two previous films, both of them premiering at Venice and garnering a combined 21 Oscar nominations. The June 21 release date immediately squashes that possibility, all but confirming the Greek auteur's return to Cannes. Emilia Perez A previous winner for Dheepan in 2015, Jacques Audiard returns with a Mexican-set opera musical featuring Zoe Saldaña, Selena Gomez, and Édgar Ramírez. Karla Sofía Gascón will play the titular role as her character helps “an escaped Mexican cartel leader undergo sex reassignment surgery to both evade the authorities and affirm her gender.” The Shrouds Cannes has been the birthplace for six of David Cronenberg’s films, with Crash wreaking havoc with vehicular-related sex 25 years before Titane . The Canadian icon has been outspoken in the past about his desire to debut his films on the Croisette, and his newest should be no exception. A festival-favorite cast composed of Vincent Cassell, Diane Kruger, and Guy Pearce headline this story of a widower building a device to speak to the dead. Bird Andrea Arnold doesn't make movies often, but she goes to Cannes every time she does. Her latest one lured Barry Keoghan away from Gladiator 2 , and has him paired up with rising star Franz Rogowski. A24 will be handling distribution, with a Palme d’Or certainly being in their sights. Hard Truths Mike Leigh is one of the most revered British directors of all time; competing for the Palme d’Or on four occasions, winning it in 1996 for Secrets & Lies . The last few years haven’t been kind to him, with Cannes rejecting Peterloo in 2018 and new financial backing not being easy to come by. The money eventually came in for his new story about a black British family grappling with life after the pandemic. Will he come back to Cannes after being shunned, or stick with the more welcoming fall festivals? Anora Sean Baker is in the company of Jerry Lewis and James Gray as American directors who are more greatly respected in France than at home. The Florida Project made its premiere in the Directors’ Fortnight, with Red Rocket netting Baker a promotion to the Official Competition. Neon has backed his latest feature, which tells the story of a sex worker between New York and Las Vegas. Limonov: The Ballad of Eddie / The Disappearance Cannes has shown loyalty to Russian auteur Kirill Serebrennikov during its multi-year banishment of his country’s government. His next film will continue the biopic streak from Tchaikovsky’s Wife , this time in the English language and focusing on the life of Soviet poet Eduard Limonov. Serebrennikov co-wrote the screenplay with Cold War director Paweł Pawlikowski and Ben Hopkins, and Ben Whishaw will play the titular character. And if that’s not enough, Serebrennikov has also shot a feature about notorious Nazi doctor Josef Mengele during his fugitive years in South America. I’d put money down on the former premiering this year, and the latter holding out for next year, or the fall festivals. Spectateurs! Although Arnaud Desplechin has competed for the Palme d’Or on seven occasions (plus a few times in the sidebar), his last few films have been disappointments. Still, there’s no indication he'll be rejected for his new film, especially with its cast featuring Anatomy of a Fall star Milo Machado Graner and Mathieu Amalric. Megalopolis Sure, Francis Ford Coppola hasn’t made a decent movie in over 25 years. But when you’re the director of The Godfather trilogy and a two-time Palme d’Or winner for The Conversation and Apocalypse Now , you get a free pass for life. The famed director revealed recently that his long-gestating film would be getting a large IMAX push in the fall, which keeps the door open for a long overdue return to the Croisette. More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen

2026 Golden Globe Awards Nomination Predictions December 6, 2025 By: Hunter Friesen The Golden Globes have always been a surprising bunch. Luckily, those shocking nominees and winners have tended to lean more positively in the last few years. Inspired choices like nominating Payal Kapadia for All We Imagine as Light in Best Director, or Sebastian Stan winning Best Lead Actor - Musical or Comedy for A Different Man , have shown that a new leaf has turned. Because of this, I’m widening the scope of potential nominees, no longer just lazily name-checking big stars. Granted, there are still plenty of heavyhitters that can, and probably will, be nominated. It should all make for a fun nomination morning. Here are my predictions on what names will be called in each category, complete with a full breakdown detailing the seemingly endless combinations. Best Motion Picture - Drama Sinners Hamnet It Was Just an Accident Sentimental Value Frankenstein The Secret Agent Until the 2021 awards season, non-English language films were not allowed to compete in the top categories of Best Motion Picture - Drama and Best Motion Picture - Musical or Comedy. The group has slowly embraced this extra freedom in the years since, granting nominations to Anatomy of a Fall , The Zone of Interest , and Emilia Pérez . This is the year where they have the chance to blow the floodgates wide open, with several prominent contenders coming from outside the United States. Coincidentally (or not considering the company's strategy), that lot is almost all represented by Neon and premiered at the Cannes Film Festival. They've got the pedigree, so why shouldn't I go all in? More traditional choices would be Avatar: Fire and Ash and Is This Thing On? . Best Motion Picture - Musical or Comedy One Battle After Another Marty Supreme Wicked: For Good Jay Kelly No Other Choice The Testament of Ann Lee Similar to last year, this year's crop of musicals and comedies seems just as intertwined in the Oscar race as the dramas. Both Wake Up Dead Man: A Knives Out Mystery and Bugonia are just on the outside, as their buzz feels a little muted, and the reviews aren't any better than the other contenders. Yorgos Lanthimos and the Knives Out films have been consistent nominees in this category before, so one or both could easily make their way in. Best Director Paul Thomas Anderson (One Battle After Another) Ryan Coogler (Sinners) Chloe Zhao (Hamnet) Jafar Panahi (It Was Just an Accident) Josh Safdie (Marty Supreme) Guillermo del Toro (Frankenstein) This category gave us a pleasant curveball last year with Payal Kapadia from All We Imagine as Light . Considering all the heavyweight talent in contention this year, I don't foresee another one of those surprises. The only upset I'm predicting is for Joachim Trier to miss out, although he still has just as much of a chance of being nominated as Josh Safdie and Guillermo del Toro. Best Screenplay One Battle After Another Sinners It Was Just an Accident Hamnet Sentimental Value Marty Supreme Since the start of the decade, Being the Ricardos and Women Talking remain the only two films to receive nominations in this category without a corresponding Best Motion Picture nomination. There's also an equally strong correlation between this category and Best Director, which is why I'm predicting a Joachim Trier and Guillermo del Toro to swap seats. Best Lead Actor - Drama Wagner Moura (The Secret Agent) Michael B. Jordan (Sinners) Joel Edgerton (Train Dreams) Jeremy Allen White (Springsteen: Deliver Me From Nowhere) Dwayne Johnson (The Smashing Machine) Daniel Day-Lewis (Anemone) Dwayne Johnson and Jeremy Allen White were at the top of my predictions in the early fall. Now they've fallen (pun intended) down to fringe contenders after their respective films bombed at the box office and received lukewarm reviews. The same is even more true for Daniel Day-Lewis in Anemone , although I can't bring myself to doubt his legendary status. Best Lead Actress - Drama Jessie Buckley (Hamnet) Renate Reinsve (Sentimental Value) Jennifer Lawrence (Die My Love) Laura Dern (Is This Thing On?) Jodie Foster (A Private Life) Julia Roberts (After the Hunt) Veterans like Laura Dern, Jodie Foster, and Julia Roberts are all hanging onto the last slots, each of them, along with Jennifer Lawrence, likely to be the lone representatives for their respective films. Both critically and commercially, After the Hunt has been one of the biggest bombs of the year. Roberts was given high marks for her work, and voters may reward her for emerging from that mess with some dignity. Jodie Foster seems to (deservedly) be in an era where people are eager to reward her for anything. She won Best Supporting Actress for her work in The Mauritanian , which didn’t even lead to an Oscar nomination. Plus, she speaks French! Best Lead Actor - Musical or Comedy Timothee Chalamet (Marty Supreme) Leonardo DiCaprio (One Battle After Another) George Clooney (Jay Kelly) Lee Byung-hun (No Other Choice) Jesse Plemons (Bugonia) Ethan Hawke (Blue Moon) The leads for each of the male-centered nominees I have for Best Motion Picture - Musical or Comedy are all here. That leaves two slots left, which I'm giving to Jesse Plemons for Bugonia and Ethan Hawke for Blue Moon . Plemons was nominated last year for Kinds of Kindness , a film that was much further outside the awards conversation than Bugonia is. And Hawke has received career-best reviews in a showcase role. Daniel Craig has been nominated both times as Benoit Blanc, and he's still just as great in Wake Up Dead Man: A Knives Out Mystery . But there's less of him this time around, and the extra competition seems like it will be too much. Best Lead Actress - Musical or Comedy Cynthia Erivo (Wicked: For Good) Amanda Seyfried (The Testament of Ann Lee) Chase Infiniti (One Battle After Another) Rose Byrne (If I Had Legs I'd Kick You) Emma Stone (Bugonia) Kate Hudson (Song Sung Blue) This is less competitive than the rest of the other lead acting categories. The seemingly only other viable contender would be Eva Victor for Sorry, Baby . As much as I would like to see that happen, I can't find a spot to slot her in. Best Supporting Actor Stellan Skarsgard (Sentimental Value) Sean Penn (One Battle After Another) Paul Mescal (Hamnet) Adam Sandler (Jay Kelly) Benicio del Toro (One Batte After Another) Jacob Elordi (Frankenstein) I see no reason not to predict the top six contenders for the Oscar, especially when all are (potentially) appearing in Best Motion Picture nominees. That logic could also mean that Delroy Lindo could get in for Sinners . Best Supporting Actress Teyana Taylor (One Battle After Another) Ariana Grande (Wicked: For Good) Inga Ibsdotter Lilleaas (Sentimental Value) Amy Madigan (Weapons) Elle Fanning (Sentimental Value) Wunmi Mosaku (Sinners) Emily Blunt is one of this organization's favorite actresses, nominated seven times throughout the past twenty years. However, I don’t think that amount of preferential treatment will help her get nominated this year for her role in The Smashing Machine . I’m going out on a limb a little bit and predicting Wunmi Mosaku to get in over her, an actress who’s been steadily praised throughout the year in a juggernaut film. Best Foreign Language Film It Was Just an Accident (Iran) Sentimental Value (Norway) The Secret Agent (Brazil) No Other Choice (South Korea) The Voice of Hind Rajab (Tunisia) Left-Handed Girl (Taiwan) Considering that I’m predicting four of these films to be nominated for Best Motion Picture - Drama or Best Motion Picture - Musical or Comedy, I feel compelled to also slot them in here. That leaves two slots left to fill in a category that likes to deviate from the expected Oscar front-runners. The Voice of Hind Rajab and Left-Handed Girl have been making waves since their festival debuts. Several other contenders could make their way in instead, such as Sirāt , Sound of Falling , or Nouvelle Vague . Best Animated Feature Film KPop Demon Hunters Zootopia 2 Arco Little Amélie or the Character of Rain Scarlet Elio Pixar has been nominated each year since 2016, when Finding Dory found itself kicked to the curb. While it didn’t have the best reviews, that movie at least had a monster box office haul to stand behind, something that Elio sorely lacks. But the expansion of this category and the lack of bigger contenders will probably allow it to sneak in. The Globes are much friendlier to anime than the Oscars, which should bode well for the several high-profile films that have come out this year. Any combination of Ne Zha 2 , Demon Slayer: Infinity Castle , or Chainsaw Man could take that spot. I’m going to give the edge to the previous nominee, Mamoru Hosoda and Scarlet , which has Sony Pictures Classics behind it. Best Original Score Sinners One Battle After Another Hamnet Frankenstein Jay Kelly The Testament of Ann Lee Once an Oscar perennial, Alexandre Desplat hasn’t received a nomination since Little Women back in 2019. That hasn’t stopped his momentum at the Globes, as he’s received three more nominations since then. Even more beloved are Trent Reznor and Atticus Ross, who pulled off the wild upset last year with their victory for Challengers . Their work in Tron: Ares is great, but the movie probably doesn't have the juice to push them over contenders from more acclaimed films. Best Original Song I Lied to You (Sinners) Golden (KPop Demon Hunters) The Girl in the Bubble (Wicked: For Good) Dream as One (Avatar: Fire and Ash) Train Dreams (Train Dreams) Drive (F1: The Movie) The top three predictions come from music-centric films, so I feel pretty secure about that. Miley Cyrus received a nomination last year for her song in The Last Showgirl . Seeing as how Avatar: Fire and Ash will be exponentially more popular than that film, she’ll probably be back again. Everything else is kind of a wild guess, leaning more towards big names in big commercial or critical movies. Cinematic and Box Office Achievement Avatar: Fire and Ash KPop Demon Hunters Zootopia 2 Wicked: For Good Sinners Superman F1: The Movie Demon Slayer: Infinity Castle In this category’s short and shameless existence, it has yet to honor a streaming film. That will probably change this year with KPop Demon Hunters dominating the culture for months, which includes muscling its way to the top of the box office weekend in late August despite a limited release. From there, I’m going down the domestic box office charts, picking each film that had some sort of critical and cultural significance. 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

Tyler's Favorite Musicals November 21, 2024 By: Tyler Banark When done right, musicals have a beauty to them that can't be beat. This niche interest was a pillar of my upbringing, as I was a theater kid heavily involved in choir before I was a cinephile. Luckily, these two passions often collided. With Wicked and The End singing their way into theater very soon, I figured now would be a great time to sit down and reflect on the movie musicals that have hit the best notes. 10. Willy Wonka and the Chocolate Factory (1971) As the original film adaptation of Roald Dahl's classic book, Willy Wonka and the Chocolate Factory , sees the enigmatic Gene Wilder step into the shoes (and hat) of the titular chocolatier. Although his signature introduction immediately established his remarkability, what sealed the deal was his profound performance of "Pure Imagination." Other numbers, such as "The Candy Man," "Cheer Up Charlie," "I’ve Got a Golden Ticket," and the Oompa Loompa songs stand out. Visually, the film captures the fantastical essence of Roald Dahl’s original story with vibrant set designs, imaginative visuals, and various candy-themed wonders that make the factory come alive. 9. All That Jazz (1979) All That Jazz masterfully mixes autobiographical storytelling, intense choreography, and dark themes into a mesmerizingly raw visual style. Director Bob Fosse's exploration of his own life dives into the highs and lows of a driven artist struggling with obsession, addiction, and mortality. Roy Scheider is charismatic and haunting, precisely capturing the character's relentless ambition and self-destructive tendencies. The thrilling and sophisticated musical numbers embody Fosse’s signature style: sharp, sensual, and complex. 8. The Umbrellas of Cherbourg (1964) With entirely sung dialogue, a radiant color palette, and emotionally resonant storytelling, The Umbrellas of Cherbourg marked a redefinition of the movie musical. Directed by Jacques Demy, the film tells the bittersweet love story of Geneviève and Guy, two young lovers whose romance is tested by separation and circumstance. The perpetual singing creates an operatic feel that intensifies the characters' emotions. The film’s vibrant visuals—featuring bold, pastel-colored sets and costumes—heighten the dreamlike quality of the story, making each frame feel like a painting. And Michel Legrand’s beautiful, sad score, especially the recurring theme "I Will Wait for You," perfectly captures the yearning and heartbreak at the story's core. 7. Hamilton (2020) I know, I know. If animated films didn't qualify for this list, then why did a Broadway recording find a spot? Until we get a proper film version, I believe this Disney+ special was a perfect way to bring Lin-Manuel Miranda’s groundbreaking musical to the masses. It simply can't be ignored, with the original cast (Leslie Odom Jr, Phillipa Soo, Daveed Diggs, Renee Elise Goldsberry, etc.) bringing a charm that translates Miranda'a material to life. As for the music, many of Miranda’s numbers strike a chord, but none do as well as "Wait For It", "Burn," "You’ll Be Back", and "The Room Where It Happens." Once the movie begins, the adrenaline Hamilton brings is non-stop. 6. Sing Street (2016) The best rendition of John Carney's musically-infused oeuvre remains 2016's Sing Street , a coming-of-age drama about a group of prep school boys that start a rebellious band in 1985 Dublin. It’s a soulful movie capitalizing on themes of teen angst, defying expectations, and finding love in the unlikeliest places seen through the leads, played tremendously by Ferdia Walsh-Peelo and Lucy Boynton. Many 80s pop-rock tunes run amuck, with standouts including numbers like "The Riddle of the Model," "Brown Shoes," and the movie’s most famous song: "Drive It Like You Stole It." None of Carney's other works have me wanting to go back and listen to the film’s music. When a movie does that, that’s how you know it’s unique. 5. Hairspray (2007) The 2007 film adaptation of Hairspray is a delightful musical that combines infectious energy, memorable songs, and a heartfelt message about acceptance and social change. The vibrant choreography and bold costumes perfectly capture the era's spirit while underscoring the film’s themes of individuality and equality. The cast, including Nikki Blonsky, John Travolta, Queen Latifah, and Zac Efron, bring a contagious enthusiasm to their roles, balancing humor with the film’s more profound messages (did anyone know this movie got a SAG nod for Best Ensemble?). 4. Tick, Tick... Boom! (2021) Tick, Tick... Boom! is a heartfelt movie musical that captures the raw intensity and vulnerability of an artist on the brink. Andrew Garfield’s career-best performance as Jonathan Larson is electric, bringing depth, passion, and relatability to a character driven by his creative ambition and haunted by the fear of time running out. Lin-Manuel Miranda’s direction, paired with Larson’s poignant music, brings the world of aspiring artists vividly to life, blending humor, warmth, and emotional gravity. The musical numbers are creatively staged, merging realistic and surreal elements to illustrate Jon’s inner turmoil and artistic vision, with "30/90" and "Therapy" being the standouts. 3. West Side Story (1961 & 2021) Both versions of West Side Story care cinematic triumphs in their own right, bringing a unique interpretation to a timeless story. The 1961 film, directed by Robert Wise and Jerome Robbins, set a high standard for musical adaptations with its electrifying choreography, striking visuals, and unforgettable score by Leonard Bernstein and Stephen Sondheim. Natalie Wood and Richard Beymer bring passion to Maria and Tony, while Rita Moreno’s portrayal of Anita earned her an Oscar for her passionate, layered performance. Steven Spielberg's 2021 reimagining of the original stage show infused greater cultural authenticity and modern sensibilities. Newcomer Rachel Zegler brought a fresh vulnerability as Maria, while David Alvarez’s Bernardo and Mike Faist’s Riff stole the show. Tony Kushner’s adapted script offered deeper character development and context, making the stakes feel higher and the tragic romance even more compelling. 2. Singin' in the Rain (1952) Singin’ in the Rain is a quintessential movie musical that remains a timeless masterpiece thanks to its infectious charm, dazzling performances, and brilliant fusion of humor, music, and dance. Co-director and star Gene Kelly delivers an iconic performance as Don Lockwood, combining charisma and extraordinary dance skills, most notably in the legendary title number, where his joyful routine in the rain captures the pure magic of the musical genre. Debbie Reynolds shines as the plucky Kathy Selden, while Donald O’Connor steals scenes with his hilarious physical comedy. The vibrant technicolor cinematography and timeless songs like "Good Morning" and the "Broadway Melody" sequence ensure that every frame is a visual and auditory delight. Beyond its entertainment value, Singin’ in the Rain is also a love letter to the Golden Age of Hollywood, blending satire and celebration in a way that continues to resonate with audiences across generations. 1. La La Land (2016) La La Land is the greatest movie musical because it redefines the genre with a perfect blend of nostalgia, innovation, and emotional depth. Writer/director Damien Chazelle masterfully weaves a contemporary narrative with golden-age Hollywood aesthetics, creating a cinematic experience that feels both timeless and fresh. Justin Hurwitz’s Oscar-winning score and the heartfelt lyrics by Benj Pasek and Justin Paul infuse every scene with a sense of wonder and yearning. Emma Stone and Ryan Gosling deliver career-defining performances, bringing authenticity and charm to their roles while navigating the bittersweet tension between love and ambition. But above all else, what sets La La Land apart is its willingness to embrace the imperfect and bittersweet nature of dreams and relationships. The bold, bittersweet ending—a “what if” montage of the life Mia and Sebastian might have had—cements the film’s status as a poignant exploration of sacrifice and the pursuit of art. La La Land resonates universally by celebrating the joy and pain of following one’s dreams, ensuring its place as a standout in the musical genre and a cinematic achievement for the ages. 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

A Brief History of Presidents' in Film February 15, 2022 By: Hunter Friesen February 15 marks President’s Day in the United States. Originally a holiday to celebrate George Washington’s birthday, the day was eventually changed to honor the service of all our nation’s leaders. In celebration of this national holiday, it’s time to look back at Hollywood’s history with the presidents and see which ones have been most prominently featured on the silver screen. Some of these men are portrayed by actors and some are merely a background figure in the movie. No matter the situation, their presence was felt both in front and behind the camera. Below are four presidents who, for better or worse, have had a major impact on cinematic history. Abraham Lincoln (1861-1865) Regularly ranked among scholars as our nation’s greatest leader, it’s no surprise that Abraham Lincoln holds the record for the most portrayals in film at an astounding 130 times, nearly double George Washington’s second-place tally of 70. Honest Abe was the focus of one of Hollywood’s earliest biopics with director John Ford and leading man Henry Fonda telling the story of Lincoln before office in Young Mr. Lincoln . While the events in the film are fictional, the story of Lincoln early in his law career gets the spirit of him right. It was a little over seventy years later when Lincoln got the biopic treatment again with Steven Spielberg’s aptly named Lincoln . Centralizing the time frame in the months before the end of the Civil War as Lincoln struggles to pass the much needed thirteenth amendment, Lincoln boasts a mesmerizing turn by Londoner Daniel Day-Lewis as the titular character, which won him his third Oscar as part of the film’s twelve total nominations. Even with the pacifistic stoicism that he’s known for, Hollywood still couldn’t help themselves as they tried to turn the sixteenth president into an action star with the historically incorrect Abraham Lincoln: Vampire Hunter . The less said about that movie, the better. John F. Kennedy (1961-1963) The youngest president ever elected, John F. Kennedy was the first television president as he used the newfound technology to win appeal from the masses. Because of his popularity, Kennedy has made all sorts of appearances in film. He had the conventional biopic detailing his navy heroics during World War II with PT 109 . Cliff Robertson plays young Kennedy who leads his crew on treacherous resume missions in the Pacific. Bruce Greenwood portrays the president in 2000 as he navigates the Cuban Missile Crisis in Thirteen Days . Unfortunately for Kennedy, his most famous moment was his assassination on November 22, 1963. That date is also the focus of several movies such as Oliver Stone’s inaugural presidential movie JFK , which peeks behind the curtain and tries to expose the conspiracies that cloud over what actually happened that fateful day. While most of the facts within JFK have been debunked, there’s no denying the power of Stone’s direction and the stacked ensemble led by Kevin Costner. 2013’s Parkland is set entirely within the day that Kennedy was assassinated, weaving together the perspectives of several people who were thrust into an extraordinary situation. A few years later, director Pablo Larraín and star Natalie Portman view the assassination through First Lady Jackie Kennedy’s eyes in Jackie . Richard Nixon (1969-1974) Much like in real life, Hollywood’s relationship with the thirty-seventh president is rocky, to say the least. As the only president to resign from office, the story of Nixon has been tackled several times by prominent filmmakers. Keeping him in the background, Alan J. Pakula’s All the President’s Men and Steven Spielberg’s The Post frame his presidency around the Pentagon Papers and Watergate scandal. Peter Morgan and Ron Howard approach Watergate from a different angle with Frost/Nixon , as a post-presidency Nixon (played by Frank Langella) conducts a series of interviews with David Frost. Only a few years after making JFK , Oliver Stone gave Nixon the full cradle-to-grave epic biopic with Nixon . Surprisingly not as damning as one would think, Stone’s movie plays out like a Shakespearean tragedy as our “hero” rises to the highest mountain, only to be eventually brought down to the lowest valley. George W. Bush (2001-2009) The 43rd president, George Bush has never been portrayed as the smartest person to occupy the Oval Office. Adam McKay’s Vice , which takes a lot of influence from Oliver Stone, makes Bush a dimwitted supporting character with daddy issues that is puppeteered by his vice president Dick Cheney. Complete with a fake nose and hairpiece, Sam Rockwell received an Oscar nomination for his performance. Ten years earlier, Stone was able to complete his presidential trilogy with W. , a surprisingly tame biopic with Josh Brolin as the title character. Again, Stone paints Bush as simply stupid who didn’t understand the full consequences of an Iraq invasion. While Stone partially acquitted Bush of Iraq, equally brash filmmaker Michael Moore eviscerated Bush with his Palme d’Or winning documentary Fahrenheit 9/11 . Moore attacks the Bush administration for using fear and paranoia to justify a war in Iraq rather than going after those truly responsible for the World Trade Center attacks. Moore produced and released the film with the sole intention of preventing Bush from being reelected in 2004, which proved unsuccessful. 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