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Review November 23, 2023 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. Read More List November 5, 2023 TCFF23: Ranked and Recapped The festival prides itself on its mixture of established studio contenders and up-and-coming independent projects, and this year was no exception. Read More Award November 29, 2023 Awards Update: No More Contenders in the Shadows Everything has either been publicly unveiled or has rumors swirling around that it has been seen by a select number of people. Read More 2024 Oscar Predictions 1 Oppenheimer 2 Killers of the Flower Moon 3 Poor Things 4 The Holdovers 5 Maestro 6 Barbie 7 American Fiction 8 The Color Purple 9 The Zone of Interest 10 Past Lives Best Picture movie review website film review website movie news coverage movie blog movie website Reviews 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP Lists TCFF23: Ranked and Recapped The festival prides itself on its mixture of established studio contenders and up-and-coming independent projects, and this year was no exception. SHOP Twin Cities Film Fest: A Preview of the Selection Seven films that have me intrigued SHOP Top 10 Martin Scorsese Films With a career spanning over five decades, he has crafted a body of work that is as diverse as it is profound. SHOP TIFF23 Ranked After watching 27 movies, it's time to see who came out on top SHOP TIFF23 - Everything I'll Be Seeing Make sure to pay attention to this site for immediate reviews and reactions to the biggest titles! SHOP Essays & Awards Awards Update: No More Contenders in the Shadows Everything has either been publicly unveiled or has rumors swirling around that it has been seen by a select number of people. SHOP Awards Update: The Eye of the Awards Season Hurricane We’re at a fascinating lull in the awards season, past all the fall festival premieres and before the onslaught of precursor nominations. SHOP Awards Update: Making Sense of the Fall Festival Frenzy The first phase of the race has officially started SHOP Awards Update: Fall Festivals Are Upon Us Some predictions can be written in pen, while others still should be done lightly in pencil. SHOP The New Hollywood of the 1970s How Scorsese and Coppola revolutionized the concept of the American director and the connection audiences had with cinema SHOP

Cannes Predictions - Part 1: The Festival Masters April 1, 2023 By: Hunter Friesen As one of the most prestigious film festivals in the world, the Cannes Film Festival always attracts the attention of cinephiles and industry professionals alike. Each year, the festival presents a diverse lineup of films that represent the best of international cinema, including both established and emerging filmmakers. With the 76th edition of the festival set to take place in May, film enthusiasts around the world are eagerly anticipating the announcement of the official selection on April 13th. While the festival organizers keep their cards close to their chest, there are already some strong players emerging as likely contenders for the coveted Cannes spotlights. In this four-part series, I’ll take a closer look at some of the films that are generating buzz and predict which ones are likely to make it to the Croisette this year. Each part will represent a category of films, which are: The Festival Masters Hollywood Makes a Splash The Festival Mainstays The Irregulars and Up-and-Comers This first part will cover films from people I like to call “Cannes Masters.” These are filmmakers that have either debuted several high-profile films at the festival and/or won an award such as the Palme d’Or. Cannes is a festival built upon relationships, and these auteurs have been steady as a rock for so many years. Which of these films are you most interested in? I'll be keeping you all posted on my adventures and sharing my thoughts on the films that I see. Stay tuned for more updates! Monster After making his Korean-language debut last year with Broker , Japanese auteur Hirokazu Kore-eda returns to his native language with Monster. Plot details are scarce, with only an international teaser giving us glimpses into the story. Kore-eda has been a mainstay at the festival for over twenty years, with Shoplifters winning the Palme d’Or in 2018, so a return to the festival is nearly certain. About Dry Grasses As one of the most lauded filmmakers in modern festival history, Nuri Bilge Ceylan has more than earned himself a lifetime membership to the official competition. The Turkish director has won a Palme d’Or, The Grand Prize of Jury twice, and the Best Director award. His newest film will likely be another philosophical slow-burn, as it tells the story of a teacher who regains his perspective on life after he has been given mandatory duty in a small village. The Captain Matteo Garrone hopped on the Pinocchio trend before it was cool, delivering his own charmingly creepy version of the famed fairy tale in 2019. The film marked a break from Cannes after four consecutive films in competition, with Reality and Gomorra both winning the Grand Prize of the Jury. His new film, The Captain , will follow two men as they immigrate to Europe from Senegal. Kidnapped If Kidnapped is selected for the official competition, it would mark the fifth consecutive decade where Marco Bellocchio has a film competing for the Palme d’Or. He last made an appearance in 2021 with a documentary on his twin brother called Marx Can Wait and in 2019 with the crime biopic The Traitor . Announced to be his final film, Kidnapped is an adaptation of a story Steven Spielberg was set to make years prior, about a Jewish boy who was kidnapped and converted to Catholicism in 1858. The Old Oak The only certain things in life are death and taxes… and a Ken Loach film will compete for the Palme d’Or. The famed British director has had sixteen of his films in the Official Competition, a festival record he certainly expanded with his newest film, which sees him reteam with writer Paul Laverty for the thirteenth time. Together they’ll tell the story of a town in northern England adjusting to a wave of Syrian refugees. A Brighter Tomorrow Not even the career-worst review for Three Floors will be able to keep Nanni Moretti out of the competition. The Italian multi-hyphenate has had an extremely lucrative relationship with the festival, winning the Best Director award for Dear Diary in 1994 and the Palme d’Or for The Son’s Room in 2001. His new film is described to be a “complex and costly costumer” set in Rome between the 1950s and the 1970s amid the city’s circus world, but will also involve the world of cinema. Red Island Robin Campillo will likely return to the festival that awarded 2017’s BPM (Beats Per Minute) with the Grand Prize of the Jury along with the Queer Palm. He also has the Palme d’Or sitting on his trophy shelf for 2008’s The Class . His newest film will also be set in recent history as it follows the upbringing of a young boy during the French colonial rule of Madagascar in the 1960s/1970s. L'Empire Cahiers du Cinéma darling Bruno Dumont has been a staple of Cannes for nearly a decade, premiering his last four films at the festival, with the most recent being 2021’s France with Lea Seydoux. His new film will be a slight departure from his usual work as it takes place within the science fiction genre. Camille Cottin and Lyna Khoudri (one of the many stars within The French Dispatch ) headline as inhabitants of a small town that becomes a battleground for undercover extraterrestrial knights. The Perfumed Hill Hailing from Mauritania, Abderrahmane Sissako has released only three films this century, but they all premiered at Cannes, with 2014’s Timbuktu also being nominated for the Best International Feature Oscar. Production was supposed to begin in late 2019, but was first delayed by financial difficulties, and then by the pandemic. He will tell a globe-trotting story as a girl leaves her fiancé on the altar and suddenly moves from the Ivory Coast to China. Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

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'Night of the Living Dead': The First Liberal Horror Film March 22, 2023 By: Hunter Friesen The 1960s and 1970s marked an era of transformation within cinema. No longer did the studio system out in Hollywood dominate the industry as it had in the previous decades. A new era of auteur-driven cinema was burgeoning around the world, starting in Europe with François Truffaut and Jean-Luc Godard in The French New Wave. America finally showed up to the party in the 1960s, as directors John Cassavetes, Mike Nichols, and Arthur Penn made films for a different generation of moviegoers, a generation that was at the forefront of social change. Also adding him to this exclusive list is George Romero. At first glance, you would think Romero’s Night of the Living Dead was nothing more than a cheap horror movie looking to make a quick buck and fade from existence. But through ingenious directing and writing, Romero and co-screenwriter John Russo were able to elevate the horror genre and tell a compelling story that incorporates elements from today’s society. First and foremost, Night of the Living Dead is a B-picture that was part of thedime-a-dozen crowd back in the drive-in era. It has an ultra-low budget and is almost filled with no-name amateur actors. For 99% of films, those characteristics would be the death knells, but Night of the Living Dead is part of that 1% where its “faults” are part of its charm. I’m also not trying to say having a low budget and no movie stars is a bad thing. Even with the low budget, Romero shows off technical prowess with his grainy camera. He incites genuine fear with tilted close-ups and manipulation of the sound effects. The musical score (if you can even call it a “score”) fades in and out of the movie as it intercuts with the horrifying diegetic sound effects. This technique peaks with the infamous trowel scene where the camera shakes and careens as we follow a zombie child as she murders her mother, whose screams are amplified as she is repeatedly impaled by a blunt object. It’s a terrifying scene to watch because of the technical and shock-value aspects. It’s inspirational to see someone make an effective movie for little money. At a timewhen Hollywood was spending tens of millions of dollars on giant productions, someone was able to make something just as good (if not better), for a fraction of the cost. Even though the word “zombie” is never used within the film, Romero also laid out the groundwork for the ever-popular zombie subgenre. The idea of going for the head, burning them with fire, and zombies eating brains are a few of the ideas that he either originated or popularized. But what makes this film stand out from the rest after all these years is the socialmessaging that works in conjunction with the horror elements. Throughout his career, Romero often cast African-Americans as the heroes in his movies, going against the stereotype at the time where the black character dies first. For our hero, Ben, the horror comes from two different fronts. The first is obvious as the world is being attacked by zombies. The second is a problem one wouldn’t think he'd have to face in a world-gone-mad scenario, which is that he is a black man being discriminated against by other white survivors. Despite being the calmest and skilled survivor of the group, Ben is still regarded assecond-class by the whites who are also trapped in the house. Ben must battle for his life against the zombies and his humanity against the prejudiced survivors. Romero shows the deep prejudice that America shows for African-Americans as Ben is never fully given the respect he deserves by his group members. Romero caps this point off with the shocking ending. An earlier line from the filmdescribes the zombies as “...looking like people, but acting like animals . " As the sole survivor after a night of endless death, Ben is about to leave the house and regroup with the local police. As he climbs out the window, the police shoot and kill him, thinking him a zombie. That description of the zombies earlier can be seen both literally and metaphorically as a way that white people have put down black people for centuries. The police treat Ben’s death like putting down an animal, laughing and walking away as nothing happened. It’s an infuriating way for ourhero to meet his demise. As entertaining and as it is timeless, George Romero’s Night of the Living Dead shows that society can be even scarier than zombies. Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

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2023 Sundance Film Festival Preview January 19, 2023 By: Hunter Friesen After months of Oscar movies from leading auteurs, the Sundance Film Festival offers a nice break to discover some of the brightest talent of the future. The festival has also been one of the most accessible since the start of the pandemic, with the entire 2021 and 2022 lineups being available online throughout the world. Unfortunately, that amount of openness is being slightly pulled back for the 2023 edition, with some of the "bigger" films being in-person only. No matter, there are still plenty of exciting films that I plan to catch as part of the online platform from January 24-29. You can read about each one below, and pay attention to this site for reviews and other coverage. *Descriptions and images for all films supplied by the Sundance Film Festival program* Bad Behaviour Lucy (Jennifer Connelly) seeks enlightenment. The former child actress makes a pilgrimage to join her guru, Elon Bello (Ben Whishaw), for a silent retreat at a beautiful mountain resort with a Tesla-crammed parking lot. Before she shuts off her phone to the world, Lucy reaches out to her daughter, Dylan — a stunt person training for a dangerous fight scene — to interrupt her concentration and announce that she will be unavailable and out of range, and that she is very worried about her, and that she might extend her stay. It is codependent, bad behavior. When a young model/DJ/influencer at the retreat is paired up with Lucy to do a mother/daughter role-playing exercise, hellfire stokes Lucy’s bad behavior to an astonishing low. Run Rabbit Run Fertility doctor Sarah begins her beloved daughter Mia’s seventh birthday expecting nothing amiss. But as an ominous wind swirls in, Sarah’s carefully controlled world begins to alter. Mia begins behaving oddly and a rabbit appears outside their front door — a mysterious birthday gift that delights Mia but seems to deeply disconcert Sarah. As days pass, Mia becomes increasingly not herself, demanding to see Sarah’s long-estranged, hospitalized mother (the grandmother she’s never met before) and fraying Sarah’s nerves as the child’s bizarre tantrums begin to point her toward Sarah’s own dark history. As a ghost from her past re-enters Sarah’s life, she struggles to cling to her distant young daughter. Magazine Dreams Killian Maddox (Jonathan majors) lives with his ailing veteran grandfather, obsessively working out between court-mandated therapy appointments and part-time shifts at a grocery store where he harbors a crush on a friendly cashier. Though Killian’s struggles to read social cues and maintain control of his volatile temper amplify his sense of disconnection amid a hostile world, nothing deters him from his fiercely protected dream of bodybuilding superstardom, not even the doctors who warn that he’s causing permanent damage to his body with his quest. The Starling Girl Seventeen-year-old Jem Starling (Eliza Scanlen) struggles to define her place within her fundamentalist Christian community in rural Kentucky. Even her greatest joy — the church dance group — is tempered by worry that her love of dance is actually sinful, and she’s caught between a burgeoning awareness of her own sexuality and an instinctive resistance to her mom’s insistence that the time has come to begin courting. She finds respite from her confusion in the encouragement of her youth pastor Owen, who is likewise drawn to the blossoming Jem’s attention. Theater Camp As summer rolls around again, kids are gathering from all over to attend AdirondACTS, a scrappy theater camp in upstate New York that’s a haven for budding performers. After its indomitable founder Joan (Amy Sedaris) falls into a coma, her clueless “crypto-bro” son Troy (Jimmy Tatro) is tasked with keeping the thespian paradise running. With financial ruin looming, Troy must join forces with Amos (Ben Platt), Rebecca-Diane (Molly Gordon), and their band of eccentric teachers to come up with a solution before the curtain rises on opening night. Fair Play Hot off the heels of their new engagement, thriving New York couple Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich) can’t get enough of each other. When a coveted promotion at a cutthroat financial firm arises, supportive exchanges between the lovers begin to sour into something more sinister. As the power dynamics irrevocably shift in their relationship, Luke and Emily must face the true price of success and the unnerving limits of ambition. Sometimes I Think About Dying Lost on the dreary Oregon coast, Fran (Daisy Ridley) wastes her daylight hours in the solitude of a cubicle, listening to the constant hum of officemates, occasionally daydreaming to pass the time. She is ghosting through life unable to pop her bubble of isolation. And then Robert starts up at the company. He is new to town and the dynamics of the office. He is a naturally friendly person who keeps trying to chat with Fran. Though it goes against every fiber of her being, she may have to give this guy a chance. Cat Person Margot (Emilia Jones), a college student working concessions at an art house theater, meets frequent filmgoer — and rather older local — Robert (Nicholas Braun), on the job. Flirtation across the counter evolves into continuous texting. As the two inch toward romance, shifts between them, awkward moments, red flags, and discomforts pile up. Margot feels both attached and reticent, as her gnawing hesitations blossom into vivid daydreams where Robert realizes his most threatening potential. As her distrust and uncertainty mount, an evening, their relationship, and possibly their lives unravel. Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

Cannes Predictions - Part 2: Hollywood Makes a Splash Overseas April 5, 2023 By: Hunter Friesen As one of the most prestigious film festivals in the world, the Cannes Film Festival always attracts the attention of cinephiles and industry professionals alike. Each year, the festival presents a diverse lineup of films that represent the best of international cinema, including both established and emerging filmmakers. With the 76th edition of the festival set to take place in May, film enthusiasts around the world are eagerly anticipating the announcement of the official selection on April 13th. While the festival organizers keep their cards close to their chest, there are already some strong players emerging as likely contenders for the coveted Cannes spotlights. In this four-part series, I’ll take a closer look at some of the films that are generating buzz and predict which ones are likely to make it to the Croisette this year. Each part will represent a category of films, which are: The Festival Masters Hollywood Makes a Splash The Festival Mainstays The Irregulars and Up-and-Comers This second part encompasses the biggest fish in the pond, which are the Hollywood blockbusters from the major studios. Cannes may be a Mecca for international cinema, but that doesn’t mean they exclude the big boys. The festival thrives on star power, and nothing rolls out the red carpet more than a blockbuster with lots of names attached to it. Both Top Gun: Maverick and Elvis started their journeys on the Croisette, as well as Mad Max: Fury Road and The Da Vinci Code in the years prior. Let’s take a look at which big tent poles might debut in the Palais. Which of these films are you most interested in? I'll be keeping you all posted on my adventures and sharing my thoughts on the films that I see. Stay tuned for more updates! Asteroid City With Asteroid City a certainty to debut on the French Riviera, Cannes now replaces Berlin as the film festival to debut the most Anderson films. Moonrise Kingdom opened the festival in 2012, and The French Dispatch sat on a shelf throughout the pandemic to ensure it debuted at the 2021 edition. Cannes thrives on star power to fill its historic red carpet, and Anderson’s films have plenty to spare. His newest cast will feature no less than Tom Hanks, Scarlett Johansson, Margot Robbie, Bryan Cranston, Steve Carell, Adrien Brody, Tilda Swinton, and Jeffrey Wright. May December A rumor has been slowly spreading over the past few years that Todd Haynes’ Carol was a near lock to win the Palme d’Or in 2015, but was snubbed at the last minute by jury member Xavier Dolan. The film had to settle for a joint Best Actress prize for Rooney Mara. His newest film finished production in November, reuniting him with Julianne Moore, and bringing Natalie Portman back into the fold. Poor Things Coming off the blazing Oscar success of The Favourite , all eyes are on what Yorgos Lanthimos will do next. He’s keeping his partnership with leading lady Emma Stone and screenwriter Tony McNamara for Poor Things , which will be set in Victorian England and about a mad scientist who brings a woman back to life. Willem Dafoe, Mark Ruffalo, and Margaret Qualley mix into the supporting cast. 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. Now that Oscar buzz follows Lanthimos wherever he goes, Searchlight Pictures will have to make a decision of sending the film to a festival with an already established fandom for Lanthimos or wait and debut it in the fall with the rest of the Oscar bunch. Killers of the Flower Moon With extensive reshoots and release date delays, Martin Scorsese’s epic western has become one of his longest projects to get to audiences. Rumors started to swirl late last year that the film was eyeing a premiere on the Riviera, followed by a fall festival tour. With CODA becoming the first streaming film to win Best Picture, Apple will do everything in its power to repeat that success. The Little Mermaid The timing lines up perfectly for Disney to use the festival as a launching pad for the international release of their newest live-action remake. The film packs plenty of buzzy names such as Javier Bardem and Melissa McCarthy and an acclaimed director in Rob Marshall. Hitman While we’ll have to wait almost another two decades for Richard Linklater’s ambitious adaptation of Merrily We Roll Along , the famed Texan filmmaker has something up his sleeve to tide us over. Top Gun: Maverick star Glen Powell, a frequent collaborator of Linklater’s, co-wrote the screenplay with him for this story of a hitman who turns the tables on those that hire him. It’s been twenty years since Linklater last competed on the Croisette (2005’s Fast Food Nation ), so it might be time for him to be brought back into the fold. Oppenheimer Very few filmmakers carry as much name value as Christopher Nolan, who will be potentially delivering a more stripped-down story about the trials and tribulations of the titular father of the atomic bomb. Nolan has never shown one of his films at Cannes, but he did introduce his 70mm restoration of 2001: A Space Odyssey before it was pushed into theaters. If Nolan does decide to bring his material this time, then a glitzy out-of-competition premiere would be the most likely route taken. The Bikeriders Austin Butler, Tom Hardy, Michael Shannon, Jodie Comer, Norman Reedus, and Boyd Holbrook star as members of a Midwestern motorcycle club in writer/director Jeff Nichols’ return to feature filmmaking after a brief hiatus. Nichols served on the jury last year and brought both Mud and Loving to the Croisette. Indiana Jones and the Dial of Destiny Cannes thrives on a small batch of Hollywood blockbusters looking to make a splashy international premiere, as evidenced by Top Gun: Maverick and Elvis grabbing headlines last year. Indiana Jones and the Kingdom of the Crystal Skull debuted at the festival back in 2008, so there is precedent for the famed archaeologist to stop by. Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

Top 10 Martin Scorsese Films October 16, 2023 By: Hunter Friesen In the realm of American cinema, few names resonate as powerfully as Martin Scorsese. With a career spanning over five decades, he has crafted a body of work that is as diverse as it is profound. He’s bigger than the gangster films he’s mainly known for, adapting himself to deliver quintessential entries within the sports, noir, biopic, and kids subgenres. It was an extreme challenge to narrow this list down to only ten movies, as a director of his stature has so many masterpieces that even the great ones don’t make the cut. A ranking of the 11-20 entries would still tower over 99% of other filmmakers. Honorable mentions that just missed inclusion were Raging Bull , Hugo , and New York, New York . 10. Gangs of New York Gangs of New York is an epic about the battle for American democracy, often paralleling some of the modern struggles within our government. It features some of Scorsese’s best world-building as he weaves us in and around the catacombs and rickety tinderbox buildings of 1860s New York. Leonardo DiCaprio’s performance may not rank as the highest in his filmography, but it doesn’t matter when Daniel Day-Lewis is chewing every scene as the violently charismatic Bill ‘The Butcher’ Cutting. 9. Taxi Driver Taxi Driver sees New York as it truly was in the 1970s: a cesspool of crime and villainy that no decent person should visit, let alone live in. Scorsese bridges the gap between our thirst for the unseen on screen and how it plays out in reality. There’s a smoky focus on the physical and mental damage done, and how the media can twist evil into a morbid story of vigilante justice. 8. Silence Faith-based movies are often met with skepticism, but the power of Scorsese’s filmmaking is always able to appeal to both sides of the coin. He transports us the 17th-century Japan, a place of clashing cultures that becomes the backdrop for the soul-searching journey of Father Rodrigues. Andrew Garfield painfully captures the inner turmoil of a man battling his faith and the system that surrounds him. 7. The Departed Not many directors can claim that their seventh-best film was the one that netted them both the Academy Awards for Best Director and Best Picture. Scorsese blends a taut and intricate plot with stellar performances from its ensemble cast, including Leonardo DiCaprio, Jack Nicholson, Matt Damon, and Martin Sheen. It was, and still is, one of his most straightforward films, offering escapist thrills through a refined lens. 6. The Irishman At 209 minutes, The Irishman is a true-crime epic. Telling the story of mob hitman Frank "The Irishman" Sheeran, the long-gestating project is packed with an all-star cast of Robert De Niro as the titular character as well as Joe Pesci and Al Pacino in career-defining roles. Instead of rehashing his usual gangster formula, Scorsese flips the script and fully exposes the audience to the doom and gloom that a life of crime brings to someone. 5. Goodfellas Goodfellas is the shining testament to Scorsese’s unparalleled brilliance at bringing the world of organized crime to life on the silver screen. It showcases an unapologetic and unflinching portrayal of the mafia lifestyle. We are in the same position as Lorrain Bracco’s Karen Hill, always weary of what’s going on and what’s around the corner, but too blinded by lights to do anything about it. And even when we spin out of control, there’s still a piece of us that wants to do it all over again. 4. The Wolf of Wall Street The exuberance and moral decay of 1980s Wall Street never felt more alluring than it does in The Wolf of Wall Street . But that excitement is also a powerful teacher, showcasing that greed isn’t good. It’s a car crash that you can’t look away from, filmed so kinetically that almost want to be in the driver’s seat. It also took extreme talent from Scorsese and his whole team to set a Guinness World Record for the most instances of swearing in a film, with the word “fuck” said 506 times. 3. Casino Like the story itself, Casino is as excessive as possible. It was the most Scorsese-like movie Scorsese had made up to that point, featuring all the hallmarks: Robert De Niro and Joe Pesci, the rise and fall of the mob, smooth camera movements, an absolute fuckton of swearing, and a roaring soundtrack. It’s compelling and thrilling to watch from minute one to minute one-hundred and seventy-nine. 2. The Aviator This biographical masterpiece flawlessly captures the tumultuous life of aviation pioneer Howard Hughes. Leonardo DiCaprio is perfectly cast here as he was miscast Gangs of New York , brilliantly showcasing Hughes's genius, eccentricity, and inner demons. Scorsese’s meticulous attention to detail recreates Classical Hollywood as we witness the rise and fall of one of cinema’s first titans. 1. The Age of Innocence The costume drama is not a genre one would normally associate with Martin Scorsese. But Scorsese is not a director confined to certain genres. Tender, yet brutal, The Age of Innocence burns with fiery passion while also being extinguished by icy repression. It's a battle of yin and yang that Scorsese perfectly balances with his sumptuous staging and set design. But what always separates Scorsese from the pack is the performances he can bring out. He always seems to find a new level for even the very best such as Daniel Day-Lewis. Winona Ryder radiates and Michelle Pfeiffer incites yearning with her performance. Never has such a naked performance been given under so many layers of clothes. Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

The Greatest Irish Filmmakers March 17, 2023 By: Hunter Friesen Happy St. Patrick’s Day! If we’re going by the past few years worth of Oscar nominations, it would seem that the Irish film industry is going through a renaissance period. The dark humor and rough political history of the land lend well to complex films, most recently seen in The Banshees of Inisherin and Belfast . Along with celebrating those films, I want to take a look at some of the top filmmakers to hail from the “Old Country.” Because of the close geographical proximity and political intertwining, it can sometimes be a bit difficult to distinguish someone as either Irish or English. Of course, there’s no law against being both, but I’d like my list to be narrowed down to only filmmakers that identify as Irish and mostly create Irish films. This excludes people such as Kenneth Branagh and John Boorman, as they tend to be more British with their identity and work. Fear not though, as there are still several venerable names that will be featured here, with all of them building up a distinct filmography ripe for discovery. Neil Jordan Jordan has long been fascinated by unconventional sexual relationships, which makes sense when you consider that The Crying Game was his big breakout, netting him an Oscar for his screenplay. Jordan has split his time between his homeland and Hollywood over the decades, with Interview with a Vampire, Michael Collins, The End of the Affair , and Breakfast on Pluto being some of his more popular works. He’s also helped launch the careers of several famous Irish actors such as Stephen Rea, Liam Neeson, Cillian Murphy, Colin Farrell, and Saoirse Ronan. Martin McDonagh McDonagh has become the central representative for Irish cinema through his absurdist black comedies, with almost all of them containing acts of savage violence. Yet there’s always a little bit of humanity that gleams through the bloodshed. Colin Farrell has been his most loyal compatriot, appearing in In Bruges, Seven Psychopaths , and The Banshees of Inisherin . McDonagh has also successfully transferred his style to America, directing Oscar-winning performances from Frances McDormand and Sam Rockwell (also in Seven Psychopaths ) in Three Billboards Outside Ebbing, Missouri . Although he does technically have an Oscar for his 2006 short film Six Shooter , the world still awaits McDonagh to climb the Dolby Theatre steps for one of his feature films. Jim Sheridan Only a select few directors have had the pleasure of working with Daniel Day-Lewis on multiple occasions, with Sheridan being the only one to work with him on three films. Their first collaboration was for Sheridan’s directorial debut My Left Foot , which netted both of them Oscar nominations, with Day-Lewis winning for his lead performance. After a brief intermission with The Field , which got Richard Harris an Oscar nomination, the pair would reunite for In the Name of the Father and The Boxer . Sheridan would amass another surprise Oscar hit a few years later, with his warm immigrant tale within In America receiving double acting nominations along with a nod for his screenplay. Lenny Abrahamson Abrahamson was originally going to have a career in philosophy, but he abandoned his doctorate studies to pursue a career in filmmaking. While his parents may have been initially disappointed in him, the decision proved to be the right one, as he was the recipient of the award for Best Director at the Irish Film and Television Awards for his debut feature, Adam and Paul . He’s won the award another four times since, most recently for Room , for which he also received a surprise Oscar nomination. His work on the small screen has been just as fruitful, with 2020’s Normal People containing two breakout performances in Paul Mescal and Daisy Edgar-Jones. Terry George George started out as the writing partner with Jim Sheridan, sharing credit on the screenplays for In the Name of the Father and The Boxer . Sheridan would even co-write the screenplay for George’s directorial debut, Some Mother’s Son , starring Helen Mirren. He would make a splash on his first solo endeavor, 2004’s Hotel Rwanda , chronicling the Rwandan genocide of 1994. Don Cheadle and Sophie Okonedo would be nominated for their performances, along with George’s script. George would also lend his talents to HBO, working on prestige dramas such as In Treatment and Luck . John Carney Nobody loves folk music more than John Carney. He entered the scene with Once in 2007, a love story about two struggling musicians in Dublin. While a tiny production, the film was able to win the Oscar for Best Original Song for “Falling Slowly.” 2013’s Begin Again shifted that story to American, with Keira Knightly playing a singer and Mark Ruffalo as a down-on-his-luck record executive. Another Oscar nomination would be earned for the song “Lost Stars.” He moved back to Dublin for Sing Street in 2016, which rode the indie circuit to enthuse reviews for its youthful exuberance. Now the two lands have come together for his latest film, where American Joseph Gordon-Levitt stars alongside Eve Hewson in a Dublin-set story about a mother and musician coming together through song. The film premiered at this year’s Sundance Film Festival, where it received strong reviews. Apple is set to release it sometime this year. John Crowley Crowley assembled an all-star cast consisting of Cillian Murphy, Kelly Macdonald, and Colin Farrell, for his debut feature film Intermission . The grungy aesthetics of that Dublin-set story would be translated into his next feature Boy A , which announced the talents of Andrew Garfield to the world. Saoirse Ronan would be the next young actor to work with Crowley, with Brooklyn netting her an Oscar nomination along with one for Best Picture. Unfortunately, Crowley wouldn’t reach the next level with The Goldfinch , but I’m hoping it’ll only be a brief stumble followed by a confident rebound. Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

Top 10 Films of 2020 February 18, 2021 By: Hunter Friesen For the past two years, I’ve led this article by saying how crummy the year has been. Well, 2020 doesn’t even deserve to be joked about as it was such a terrible year that I’m glad has passed, even though I don’t have much hope for 2021. Even with the pandemic shutting down theatres and several tentpole films being delayed indefinitely, there were still quite a few movies worth celebrating. In an effort to give praise to those that deserve it, here is my list of the ten best films of 2020. Honorable Mentions Possessor Tenet The Truth On the Rocks Let Them All Talk 10. Ammonite What can be considered dull to some is romantic to others. Set in 1840s England, writer/director Francis Lee tells the story of a forbidden lesbian romance between a lonely fossil hunter and a young woman burdened by a loveless marriage. Ammonite has all the tropes of the romantic drama genre, but none of its clichés. Lee avoids these traps by trusting his leads in Kate Winslet and Saoirse Ronan, who are a winning combination as they give amazing performances with little dialogue. Everything comes from just a look or a glance, enough to describe a whole scene and carry a film. 9. One Night in Miami After many successful years in front of the camera, Regina King proves she’s just as skilled in the director’s chair. What could have been an overly stagey experience is turned into a fiery character drama featuring some of the most influential figures in history in Muhammad Ali, Malcolm X, Jim Brown, and Sam Cooke. Screenwriter Kemp Powers takes these four larger-than-life figures and brings them down to Earth and connects their lives to the present-day African-American experience. Special praise goes to the performances by British-born Kingsley Ben-Adir as Malcolm X and Hamilton star Leslie Odom Jr. as Cooke, as well as his contribution to the song “Speak Up." 8. The Prom The cinematic equivalent of a sugar rush, director Ryan Murphy assembled an all-star cast for his Netflix adaptation of the hit Broadway musical. The story of a lesbian teen who is denied the ability to tale her girlfriend to her conservative town’s prom is told exuberantly through flashy song & dance numbers. While it does have its cake and eat it too, the guilty pleasure that this film brings is in the wonderfully campy performances from its main troupe and its earworm-inducing tunes. 7. Wolfwalkers Hailing from Ireland, this fantasy adventure beat Pixar’s Soul to be the best-animated film of the year. Aspiring adventurer Robyn stars as our hero as she befriends a free-spirited “wolf walker” named Mebh, who has the power to become a wolf at night and defends the ever-shrinking forest. Beautifully animated in various styles and boasting a great lyrical soundtrack, Wolfwalkers also touches our minds with its authentic philosophical message about deforestation and the bridging of cultural differences. 6. The Nest Similar to the calculated and observational style of Stanley Kubrick and Yorgos Lanthimos, Sean Durkin’s newest feature is a drama/horror tale about the dangers of greed and ambition. Jude Law and Carrie Coon each give career-best performances as a couple that is forced to come to terms with their increasingly meaningless lives. With the gap between the haves and the have-nots becoming wider every day, this social critique is timely in the present and I suspect it will continue to be in the future. 5. First Cow First Cow is the most gentle “bro movie” out there. Writer/director Kelly Reichardt calmly guides us through this frontier-set story of friendship and opportunity. As unpredictable as it is gorgeous, Reichardt balances various genres as the film eventually spins itself into a heist film with high tension and stakes. Even with all these changing elements, Reichardt never loses the emotional connection with her characters. I’m still hoping Evie the Cow can get an Oscar nomination for Best Supporting Actress. 4. The Trial of the Chicago 7 The words “the whole world is watching!” still ring in my head even after six months since seeing Aaron Sorkin’s newest Netflix film. The Trial of the Chicago 7 is a nostalgic old-school courtroom drama bolstered by strong modern filmmaking and terrific performances from its cast. The timeliness and importance of its message make it a must-see as our nation faces a turbulent path of healing after a disastrous year. Full Review 3. Nomadland With Nomadland , writer/director/editor Chloé Zhao has crafted something special, something that pulls you in and never lets you go. Many times you catch yourself just basking in the imagery. The plains, the mountains, the natural landscapes. It doesn't feel like a movie, but a feeling that just carries you all the way through. With a lead terrific performance from the legendary Frances McDormand and a supporting turn from the reliable David Strathairn, Zhao combines so many complex things to create a true piece of art. 2. The Vast of Night Amazon’s The Vast of Night is a director's showcase for Andrew Patterson. With long takes and tracking shots that are near Cuarón level, Patterson fully immerses us in this 1950s-set small-town alien invasion mystery. Spookier than any conventional horror movie and brimming with an abundance of talent from its cast and crew, The Vast of Night is a startlingly well-made debut that will surely lead to fruitful careers for all those involved. 1. Never Rarely Sometimes Always Written and directed by indie-darling Eliza Hittman, Never Rarely Sometimes Always is an authentic and upsetting coming-of-age story. Taking place over a trip to New York City to abort an unwanted pregnancy, Hittman did an impeccable job of exuding sympathy and connecting me to a process I am biologically unable to relate to. The title of the film comes full circle near the end in a scene that left me with no dry eyes. Newcomer Sydney Flanigan is a star in the making with her lead performance. Her career will be one to watch. Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

The Influence of Howard Hawks in John Carpenter's 'Assault on Precinct 13' April 5, 2023 By: Hunter Friesen Bridging over the changes of New Sentimentality in the late 1960s, the early 1970s was a time of seismic cinematic change. It was a time when a new batch of filmmakers was looking to create something new while also honoring those that came before them. This new group, better known as The Film School Generation, consisted of names like George Lucas, Steven Spielberg, Brian De Palma, Francis Ford Coppola, and Martin Scorsese. They were heralded around for making films such as The Godfather, Carrie, Taxi Driver , and Star Wars . Each of these films took clear inspiration from its predecessors. Lucas mentioned the influence of Akira Kurosawa’s samurai films, Spielberg was indebted to David Lean and John Cassavetes, and Scorsese revered Federico Fellini. This same period also saw the rise of the career of John Carpenter, who broke onto the scene with his action crime-thriller, Assault on Precinct 13 . Like those in The Film School Generation, Carpenter lovingly borrowed several elements from those that influenced him to be a filmmaker. But he also wanted to be an auteur, reimaging and adding new aspects to classic stories. Carpenter’s film took inspiration from a few different sources, most notably the works of Howard Hawks. Hawks was one of the most prolific filmmakers of the 40s and 50s, churning out top-notch John Wayne westerns and a few comedies. Carpenter took particular interest in Hawks’ Rio Bravo when finding inspiration for his film. Hawks’ Westerns were always known for how they branded their heroes through a rite of passage. The good guys had to prove to the other characters, and the audience, that they were good. Dean Martin’s character in Rio Bravo isthe central character who goes through this arc. Carpenter directly uses this within his film, having his characters prove their heroicness through acts of valor against the odds. We as the audience identify and lift these characters who are good at their job and do it in the name of honor. Physically, Carpenter also uses Hawks’ model of staging his film within a limited number of locations. A fact that can be hinted from the title of the film, the majority of the action takes place within Precinct 13. The setting becomes familiar and we understand why the police are protecting it. The precinct almost becomes a castle that must be defended from invaders. Speaking of invaders, Carpenter directly took a page out of another filmmaker's book when he decided how to portray the gang members. While Hawks was the older teacher, Carpenter’s contemporary George Romero was the inspiration for that element. Only a few years earlier did Romero make waves with his independent horror film, Night of the Living Dead . Like how Romero dehumanized the zombies in his film, Carpenter adopted that style for his villains. By not giving them any dialogue and never showing their faces, Carpenter strips the gang oftheir humanity, creating them into a pack of remorseless killers. At the same time being indebted to Hawks and Romero, Carpenter was still able to add his spin. Hawks also had the trademark of the “Hawksian woman”, often a tough character who acts more like “one of the guys” rather than a pure damsel in distress. Most of the women in Hawks films were progressive for the time, but still often seen as weaker than the men and needed saving from time to time. Carpenter took that idea a step further, making his women characters equal to the men. In Precinct 13 , Leigh is an equal badass compared to her male co-stars. She shoots bad guys, takes charge of situations, and even takes a bullet for her troubles.She even gets her moment at the end of the film when she walks off without medical help. By honoring the past and blazing a trail for the future, John Carpenter's Assault on Precinct 13 is a timeless classic. Its handling of themes, setting, depiction of villains, and women stereotypes make it a perfect example of how movies can be inspired by the past and how they can inspire the future. Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

Top 10 Films of 2018 January 24, 2019 By: Hunter Friesen With political and social upheaval, natural disasters, and the overall feeling of optimism fading away, 2018 was a rocky year that really never seemed to end. Fortunately for moviegoers, the year did offer a way of escape through some great films, ranging from record-setting blockbusters to genre-defying indies. Now that the year is finally over and all the films have been released, I can finally release my list of what I thought were the ten best films of 2018. Honorable Mentions They Shall Not Grow Old The Sisters Brothers Mission: Impossible - Fallout Thoroughbreds Wildlife 10. Private Life Coming out of Sundance, this film written and directed by Tamara Jenkins illustrates the challenges a forty-something couple goes through in order to start a family. Kathryn Hahn and Paul Giamatti star as the couple as they go through treatments, adoption, and every method to have a child. The gripping performances from the leads along with Jenkin’s touching screenplay gave this film a ton of comedy and tragedy that led to one of the most emotional films of the year. 9. Vox Lux Dubbed by many as the anti- A Star Is Born , this film tracks the unsettling career of Celeste as she becomes famous through tragedy and chooses to live in that dark moment. Raffey Cassidy and Natalie Portman play Celeste as a teenager and adult, respectively. They each do an incredible job of creating a conflicted character that holds a mirror up to a society that worships celebrities. With a soundtrack by Sia, this pop tale has some great music to go along with its disturbing subject matter. 8. First Man Damien Chazelle and Ryan Gosling follow up La La Land with another equally great film. Trading in his piano for a rocket ship, Gosling stars as Neil Armstrong and gives us an accurate look into the turbulent life of one of America’s most famous figures. Chazelle's impeccable directing made for some of the most terrifying sequences of the year and allow us to bear witness to the immense danger that many brave men experienced in the name of exploring the unknown. Full Review 7. Roma Probably one of the best directors working today, Alfonso Cuarón’s Roma is his most personal and epic film to date. The sweeping story is centered around a housemaid named Cleo. Through her eyes, we watch the domestic struggle a large family must go through in 1970s Mexico City. Along with directing, writing, and editing, Cuarón also manned the camera and gave us some of the most awe-inspiring cinematography of the century. Available on Netflix, this film is the most accessible must-see of 2018. 6. First Reformed One of the most influential writers of American cinema, Paul Schrader both writes and directs this film about a tortured priest and the inner turmoil he struggles with as he examines the world we currently live in. Boasting some of the best dialogue of the year along with a career-best performance by Ethan Hawke, this dark and metaphorical film challenges its audience to see the effects humans have had on this planet and how we cope with our misdoings. 5. BlacKkKlansman Spike Lee returns to form with a true story of black cop Ron Stallworth infiltrating the KKK in 1970s Colorado Springs. Both John David Washington and Adam Driver deliver great performances, and Lee’s powerful editing near the end of this comedy/drama serves as both a history lesson and a modern commentary on how our society really hasn’t changed as much as we think it has. Full Review 4. Leave No Trace Also out of Sundance, This small film also is a quiet character study of a father and daughter that have chosen to live in the woods rather than within the confines of civilization. Sporting spectacular performances from breakout star Thomasin McKenzie and Ben Foster, the film expertly explores the idea of how we identify with home and how society reacts to the life choices we have made. 3. Avengers: Infinity War The more you think about it, Infinity War had no right to even work, let alone be great. Credit should go to directors Joe and Anthony Russo who were able to take a project that culminated eighteen films rostering twenty-five characters and make it into a high-stakes thriller that never felt overstuffed. It also delivered the MCU’s best villain and was able to leave a permanent mark on pop culture with just one snap. Hopefully, Endgame will be just as good. 2. A Star Is Born More of a 1B than a clear #2, Bradley Cooper’s directorial debut more than lived up to its lofty expectations. The pairing of him and Lady Gaga in the lead roles was a match made in heaven as their chemistry lit up the screen both on and off the stage. With one of the best songs of the year in “Shallow”, this pitch-perfect retelling of a classic story left no dry eyes after its endearing tribute ending. Full Review 1. The Favourite My favorite film of the year (pun intended), this 18th-century piece can best be described as Barry Lyndon meets Mean Girls . The plot follows a spiteful struggle between two women, Abigail (Emma Stone) and Lady Sarah (Rachel Weisz), as they battle for the affection of the unhinged Queen Anne (Olivia Colman). Combining three excellent actresses, a whip-smart script, and the uniquely awkward style of director Yorgos Lanthimos, this dark comedy was by far the most enjoyable and unforgettable film of 2018. Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP