The Best of 2024

With 2024 now in the books, it’s time to look back on the year in movies. In this first of two blogs, I spotlight my Top 10 Films of 2024, followed by 10 Honorable Mentions and an open-ended list (in alphabetical order) of other releases that I found noteworthy. As much as possible, I’ve included web site and trailer links, as well as links to my own reviews, either those that have been published or are to come. In a separate blog post, I examine my Worst Films of 2024. And, in both blogs, I have included looks (albeit abbreviated compared to previous years) as my favorite and least favorite documentaries of 2024. 

So, with that said, check out what I thought about 2024’s crop of movies. You may not agree with me, and I respect your opinions, regardless of whether our views align. I hope you’ll respectfully grant me the same. And your feedback, as always, is welcome. Here goes!

The Top 10 Countdown

10.  “The Brutalist” (USA/UK/Canada/Hungary)

Web site Trailer

Pursuing the American Dream is an ambition of almost every immigrant who manages to make it to this country’s shores. Its realization can take many forms, too, depending on one’s circumstances. But, as many new arrivals discover for themselves, there’s no guarantee of success (or, at the very least, they may find that the journey can be more problematic than anticipated). One such story that provides the focus for this optimistic undertaking is the latest offering from writer-director Brady Corbet. The film follows the odyssey of László Tóth (Adrien Brody), a fictional Jewish Hungarian architect who flees Europe in 1947 after being interred in a concentration camp during World War II. He initially struggles to assimilate, to re-establish his career, and to find a way to bring his wife, Erzsebét (Felicity Jones), to America. But, despite these sundry challenges, his fortunes change drastically when he’s commissioned to design a high-profile mixed use community center with the generous support of a wealthy and powerful benefactor, a capricious, enigmatic industrialist (Guy Pearce) whose many impulsive, emotionally charged whims provide László with a firsthand introduction to the many possibilities and pitfalls tied to that elusive American Dream. In telling this story, the filmmaker explores the ups and downs associated with these themes, as well as an array of additional diverse story threads involving the protagonist’s professional pursuits and personal life. These combined elements make for an engaging and intriguing tale, even if some of the story arcs and character traits are unevenly developed. That sometimes includes the nature of László himself, which is somewhat perplexing given the production’s hefty 3:35:00 runtime (with an included intermission), a duration that should have provided more than ample time for the picture to sufficiently flesh out its core narrative elements and character attributes. That shortcoming aside, though, “The Brutalist” has myriad strengths to its credit, including the fine performances of Oscar nominees Pearce, Jones and Brody, as well as a host of capable supporting players, along with its superb cinematography, stirring original score, and ably sustained pacing (quite a commendable feat for a film of this length). Admittedly, this offering’s solid opening act is far superior to its back half, which tends to sag at times as it wears on, but, on balance, this nominee for 10 Oscars generally holds up well. In an awards season that had more than its share of dismal disappointments, it’s heartening to finally find a release that comes closer to approaching the standards that a film should embody to merit the kinds of accolades and attention such honorees truly deserve. It may not be perfect, but it’s a far sight better than many of its other 2024 cinematic peers.

9.  “Color Book” (USA)

Screened at the Gene Siskel Film Center 30th Annual Black Harvest Film Festival

Web site Blog (To Come)

I always find it amazing when a movie comes along that’s effectively able to warm and break one’s heart at the same time, but that’s precisely the feat accomplished by writer-director David Fritz Fortune’s impressive debut feature. This simple but powerful, moving tale tells the touching story of a recently widowed single father (William Catlett) who goes to tremendous lengths to take his Down Syndrome-affected son (Jeremiah Alexander Daniels) to his first baseball game in hopes that it will help cheer him up in the wake of the untimely death of his mother (Brandee Evans). Beautifully filmed in black and white, the picture follows the adventures and misadventures of a devoted Atlanta father doing everything he can to care for his special needs child while simultaneously attempting to bring a little joy into his life, all the while dealing with his own grief at the loss of the wife he truly adored. In doing so, the filmmaker serves up a thoroughly engaging story about love and the challenges to maintain it under trying circumstances such as these, a film filled with laughs, tears, setbacks and milestone victories. There’s nothing especially fancy about this offering, but its sustained, earnest authenticity is palpable and enveloping without ever becoming manipulative, melodramatic or schmaltzy. It’s no exaggeration to say that it earns whatever feelings it evokes among viewers, an accomplishment magnificently achieved through cinematic devices as basic as powerful facial expressions, the undeniable warmth and chemistry between father and son, and gorgeous, unpretentious imagery. Admittedly, this release feels a little stretched out in the final act, almost as if the filmmaker wasn’t quite sure how to wrap things up. But, that minor shortcoming aside, it’s easy to see how “Color Book” captured the Chicago International Film Festival Audience Favorite Award for US Features – it’s truly that good. This festival offering may be a little difficult to find at the moment, but it deserves a general release, showing us what’s possible where there’s love – and plenty of it – the kind of story that we could all stand to see more of these days.

8.  “Omni Loop” (USA)

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Possessing profound philosophical, metaphysical and theoretical scientific knowledge can provide us with unique insights into the nature of existence and how reality comes into being, and aspiring to the attainment of that wisdom is undoubtedly a noble and worthwhile goal. But, in all truthfulness, what good is that knowledge if we lack the practical, plainspoken common sense to know what to do with it, particularly when it comes to shaping the destinies of our own lives? Does such a lofty objective truly lead to meaningful satisfaction and genuine fulfillment? Those are the questions faced by fifty-something writer and scientist Zoya Lowe (Mary-Louise Parker) when confronting her impending mortality, an outcome she’s successfully been able to circumvent by employing novel means to avoid it. The catch, however, is that she can only use these enigmatic measures to rewind the clock of her life by a week, a pattern that keeps repeating nearly identically in each case. They may help her stave off death, but do they produce an innately satisfying result? And why can she only go back in time for one week – why not longer and why not past the same restart point in each case? After becoming bored with this endlessly repeating scenario, she decides to pursue a different course by launching an investigation into the mechanics of time travel with the aid of an ambitious laboratory assistant (Ayo Edibiri) with whom she has an unexpected chance encounter. However, once their work begins, they come no closer to finding a solution, prompting Zoya to engage in some heavy-duty introspection about such issues as did she make the most of her life up to the start of her final fateful week and what, in fact, constitutes the nature of bona fide corporeal fulfillment? Indeed, she must ask herself what really matters in life and does her extensive knowledge truly help her understand it. Writer-director Bernardo Britto packs a great deal of genuinely thoughtful material into this intelligently conceived, smartly written, at times poetic story that explores heady sci-fi topics from an intensely personal, extremely intimate standpoint, something rarely seen in films from this genre. It accomplishes this without relying on an abundance of glitzy special effects, instead employing some of the most effective film editing I’ve ever seen, presenting vivid imagery with dazzling, dramatic, rapid-fire precision to captivate audiences and hold viewer attention. It also features what’s arguably Parker’s best on-screen performance, revealing a dynamic range of emotions from joy to sadness to vulnerability not often seen in characters in narratives such as this. There’s a fair amount of well-placed comic relief, too, inspired by the narratives of films like “Groundhog Day” (1993) but without being an obvious copycat. Admittedly, the picture drags a bit at times in the second half (at least by comparison to the sustained frenetic pace of its opening act), but that’s more than made up for by the emotionally affecting closing sequence, one that’s sure to melt viewers’ hearts. “Omni Loop” is unlike most other science fiction offerings that most of us have probably seen, but it’s one well worth a look, especially for the lingering impressions it’s likely to leave on us and the soul-searching it’s destined to prompt, considerations we should all bear in mind when it comes to the lives we create for ourselves, undertakings that we should strive to handle skillfully, with a sense of joy and an aim for achieving the greatest degree of fulfillment attainable.

7.  “Maria” (Italy/Germany/Chile/USA)

Web site Trailer Blog (To Come)

When one achieves greatness at his or her craft, it’s difficult to walk away when the skills behind it begin to fade. Moreover, facing the hard truth that one’s peak may indeed be irretrievably in the past can be even tougher to accept, no matter how passionate one’s desire might be for it. Such was the anguish that befell Maria Callas (1923-1977) (Angelina Jolie), one of the greatest operatic talents of all time, as she approached the end of her successful but stormy life. Having not performed in nearly four years, with her mental and physical health and singing ability failing, she contemplated a comeback but was torn between taking on the rigors of such an arduous task and living the life of personal contentment she always wanted for herself. It was also a time when she reflected upon her professional accomplishments and personal pursuits, aspects of her past filled with triumphant highs and agony-ridden lows, told through poignant flashbacks shot in stunning black and white. And, as portrayed here, in between these opposing aspects of her life, she veers off into imagined scenarios in which she struggles to distinguish reality from suspected hallucination. In telling this story, director Pablo Larraín provides viewers with a thematically interpretive character study of the grand diva’s storied life, not a by-the-numbers biographical checklist, much like what the filmmaker did in two of his previous releases, “Jackie” (2016) (about First Lady Jacqueline Kennedy) and “Spencer” (2021) (about Princess Diana Spencer), both of which, when combined with this offering, present a trilogy about the lives of three strong, powerful women who lived extraordinary but turbulent lives. What sets this one apart from its predecessors is the career of its protagonist, whose broad range of operatic performances is beautifully captured in an array of grandly staged sequences. It also showcases Callas’s reputation for being a prima donna but does so without going over the top. In fact, some have criticized the picture for being too subdued in its portrayal of the grand dame. But I personally appreciated the restraint exercised here, an approach that could have easily turned Callas into a caricature. This outcome is largely made possible by the positively stellar Golden Globe and Critics Choice Award-nominated performance of Jolie, who has turned in her best work in years in this offering, a comeback of sorts of her own. Add to this the film’s superb production design, stunning costuming, gorgeous Oscar-nominated cinematography and capable supporting cast, and viewers have an opportunity to witness yet another fine work from an underappreciated director who, in my opinion, is one of the best auteurs in the business these days. Admittedly, the film’s screenplay could have used some work, especially in the depth of its back story, but I’m willing to forgive that in the face of everything else “Maria” has to offer. That’s particularly true in its highly emotive opening and closing sequences, musical montages that are sure to move anyone who doesn’t have ice water running through his or her veins. Indeed, pay no heed to the nitpickers when it comes to this one and savor it for what it’s worth.

6.  “His Three Daughters” (USA)

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Sitting in on a loved one’s death watch can be a trying time in more ways than one can count, circumstances that many of us can probably relate to all too well. It can also be an especially stressful, even hostile, experience when incompatible family members are brought together for such an ordeal, one whose duration and developments are impossible to predict. That’s the scenario here faced by three very different (and often-contentious) sisters (Carrie Coon, Elizabeth Olsen, Natasha Lyonne) who begrudgingly assemble for the waning days of the life of their father (Jay O. Sanders), who has been placed in home hospice care. During this reluctant, duty-bound “reunion,” tempers routinely flare in confrontations stemming from the rehashing of old, unresolved issues, disagreements about current responsibilities, and the seemingly endless wait for the inevitable to arrive. These matters all wear on the distraught siblings as they struggle to sort out what’s transpiring and try to arrive at better, more civil understandings of one another. In his latest feature outing, writer-director Azazel Jacobs has created an authentic story about what often occurs under such difficult conditions, astutely blending intense drama, scathing personal interactions, dark humor and hopes for reconciliation against a backdrop of edgy anguish, searing emotional pain and pervasive uncertainty. The picture’s crisp writing and stellar performances (especially Lyonne’s widely overlooked stand-out portrayal) drive the unfolding of this gripping domestic saga, often leaving viewers uncomfortably squirming in their seats as raw, long-repressed feelings surface. To be sure, some of the transition sequences in the narrative could use better refinement to get the overall story on track for what follows, but, then, their handling in this manner could arguably be chalked up to the ubiquitous doubt lingering over this situation, a determination that audience members will have to make for themselves. Still, “His Three Daughters” is indeed one of the better releases of 2024, one that deserved (but inexplicably failed to receive) serious awards season consideration (particularly in the writing and acting categories) other than the Independent Spirit Awards’ Robert Altman Award for outstanding casting and a National Board of Review acknowledgment as one of the year’s Top 10 Independent Films. It’s also a powerful cautionary tale for any of us who may be faced with having to undergo a scenario like this at some point, providing us with valuable insight into how we might want to conduct ourselves when these trying times arise.

5.  “A Real Pain” (Poland/USA)

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Finding ourselves – particularly the process of finding what we’ve lost about ourselves – can be an eye-opening, enlightening but sometimes-painful ordeal, especially if we’re unclear about where to look. For many of us, though, this is a challenge we often attempt to resolve by examining our past, specifically that of our family and its legacy, in hopes that it provides the answers we seek. Such is the quest embarked upon by two once-close cousins, David (Jesse Eisenberg) and Benji (Kieran Culkin), who journey to Poland on an intimate Jewish heritage tour to visit the homestead of their beloved deceased grandmother, a Holocaust survivor who made her way to America after World War II. While David and Benji were at one time as thick as thieves, they’ve drifted apart over time, each becoming significantly different from one another, but they hope to reestablish their longstanding connection through this intensely personal pilgrimage. As their odyssey unfolds, though, they come face to face with the changes that have arisen both in their relationship and in their understandings of themselves, from life goals to their cultural background as the descendants of Polish Jews to how they fundamentally relate to the world. It’s an often-difficult process for these earnest seekers, especially in light of their discovery that, if they truly wish to better understand themselves, they can only go so far in looking outward, instead needing to look inward for guidance and meaningful insight. And its aptly selected title is an ably suitable metaphor on multiple levels, not only in describing Benji’s often-manic, irrational and unpredictable behavior, but also in characterizing the anguish that he and David undergo in making their way through this emotional minefield. This second feature effort from actor-writer-director Eisenberg is indeed an impressive offering, even if its Oscar-nominated road trip/buddy movie script could use some periodic tweaking in terms of focus and its balance between comedy and drama. More significantly, however, this is a breakout performance for Oscar nominee and Golden Globe Award winner Culkin, who shows just how adept he can be with the right material. Add to this the film’s gorgeous cinematography of Polish landmarks and the country’s landscapes, as well as its fittingly appropriate Frédéric Chopin soundtrack, and you’ve got a profoundly thoughtful release, one that should give anyone in the cousins’ shoes pause for reflection, something from which we can all benefit from time to time, no matter what we’re ultimately looking for.

4.  “Civil War” (USA/UK)

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Cautionary tales often have some of the most significant impact when brought to life on the big screen, and that’s certainly the case with the latest offering from writer-director Alex Garland. The filmmaker’s gripping tale of a quartet of journalists (Kirsten Dunst, Wagner Moura, Stephen McKinley Henderson, Cailee Spaeny) covering a civil war in a dystopian version of America of the near future follows the reporters as they make their way from New York to Washington via a circuitous route that shows them all sides of this nightmarish scenario. Essentially a road trip film, “Civil War” provides the principals and viewers with an array of images and situations graphically depicting what’s left of the US as a distraught population attempts to make sense of the circumstances and find ways to survive. The purpose of the protagonists’ journey is to secure an interview (likely the last one) with a corrupt, egomaniacal third term President (Nick Offerman) as rebel forces close in on the capital. They set out on this treacherous odyssey despite the dangers involved both in making the trip and in their roles as journalists, a profession looked on with suspicion as a result of accusations of fanning the flames of the hostilities. While some have complained that the film doesn’t provide enough social and political background about the conflict, I submit that this consideration is fundamentally unnecessary and irrelevant: Garland is making an unadulterated statement here that, when the bullets start flying, ideology won’t matter and no one will care, a point driven home with chilling clarity over and over, especially in a particularly chilling sequence with a cold-hearted mercenary (Jesse Plemons in a stunning uncredited performance). The madness that consumes the population is all that’s important at that juncture, one driven by bald-faced hostility on steroids both among the combatants and the overzealousness of the reporters in seeking to “get the story,” no matter what. In achieving this end, the filmmaker holds nothing back, making this an often-difficult watch, one definitely not for the squeamish or faint of heart. But the picture’s message is one of grave importance, especially in today’s trying, polarized sociopolitical climate. We’d be wise to pay attention to what’s being said in this important, underappreciated work, handily one of the best releases of 2024.

3.  “Green Border” (“Zielona granica”) (Poland/USA/Czechia/France/Belgium/Germany/Turkey)

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Escaping tyranny to find a better life is a process frequently riddled with challenges, frustrations and desperate measures. So, when refugees hear about an allegedly credible way to more easily escape their circumstances and make their way to freedom, they often enthusiastically jump at the chance to avail themselves of the opportunity. Such was the case in 2021 with the supposedly unblemished promise accorded the “green border” crossing from Belarus into Poland, a port of entry into the European Union said to offer a comparatively less problematic escape route for those fleeing the Middle East and Africa. However, given that neither nation wanted to deal with a flood of refugees at the time, combined with swirling rumors that the new arrivals posed a serious security threat to the well-being of a conservatively governed Poland, the border patrol guards in both countries engaged in an aggressive campaign of brutally rounding up and unceremoniously dumping escapees back and forth on each other’s territory, repeatedly subjecting those caught in the middle to inhumane treatment and unspeakable perils with each switch, a practice little known outside the region at the time. This latest offering from acclaimed writer-director Agnieszka Holland sheds light on what happened during this turbulent time, a troubling scenario that, despite some significant reforms in the wake of the Russia-Ukraine War, still continues to this day. This Independent Spirit Awards nominee for best international film explores this scenario through four interwoven story threads showing the impact of the green border on the lives of refugees, border guards, activists seeking to assist refugees in transit, and everyday citizens looking to make a difference in Polish government policies and practices. The picture’s superbly crafted narrative and poignant screenplay provide an excellent, in-depth examination of the connections involving these four constituencies through a well-integrated combination of engaging, emotion-filled sequences and its captivating, edge-of-the-seat treatment of the principals’ diverse yet linked experiences. However, given the subject matter and its gritty, realistic depiction, sensitive viewers should be aware that this release can be a difficult watch at times. Nevertheless, despite its cinematic candor, this offering is also riveting in holding viewing attention, quite an achievement for a film with a 2:32:00 runtime, an artistic accomplishment largely made possible by its fine performances across the board and its stunning black-and-white cinematography. At the risk of overstatement, “Green Border” is handily one of the most important releases of 2024, one that should be on every cinephile’s must watch list for its hard-hitting impact and eye-opening revelations, disclosures that anyone with a conscience should find impossible to ignore.

2.  “Wicked: Part 1” (USA/Canada/Iceland)

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It’s quite a rare occurrence these days when a much-anticipated film actually lives up to all of its pre-release hype, but this screen adaptation of the hit Broadway musical truly does so in every regard. Director Jon M. Chu has brilliantly brought to life the back story behind the lives and relationship of the two witches from the original L. Frank Baum novel The Wonderful Wizard of Oz (1900) and its 1939 classic screen adaptation, as well as Gregory Maguire’s 1995 prequel novel, Wicked: The Life and Times of the Wicked Witch of the West. In this stunningly beautiful and delightful big-screen production, viewers learn how the supposedly evil Elphaba (Oscar nominee Cynthia Erivo) came to know the purportedly Glinda the Good (Oscar nominee Ariana Grande-Butera), sorcery students and college roommates whose relationship initially went through a series of changes from unabashed contempt to solid friendship. However, as high-level political intrigue unfolds in their homeland of the magical land of Oz – efforts clandestinely spearheaded by the supposedly all-powerful Wizard (Jeff Goldblum) and university headmistress Mme. Morrible (Michelle Yeoh) – Elphaba and Glinda become unwittingly caught up in the high-stakes subterfuge playing out around them, a development that jeopardizes the future of their friendship and the stability of Oz itself. The filmmaker thus subtly but effectively presents audiences with a fable on the nature of good and evil, particularly in terms of what actually constitutes wickedness, especially when it’s skillfully veiled. The result is a thoughtful and thoroughly entertaining tale replete with stunning musical numbers, excellent choreography, ample humor, gorgeous cinematography, an inspired production design and superb performances by the four principals (quite a recommendation coming from someone who unapologetically makes no claim to being a fan of musicals). More than that, though, “Wicked” is an insightful treatise on the quest for power and learning how to make judicious use of it, both in personal dealings and in matters of wider consequence, a fitting cautionary tale for our times (or any time, for that matter). If I had any complaint here, it would be my concern that this is yet another example of a story that’s been questionably divided into two installments, a growing trend that I don’t believe will ultimately serve the movie industry well. However, according to the director, this was seen as a necessary step to do justice to the source material, given that it would have been nearly impossible to cram everything into one picture without doing major damage to the content. And, to give the filmmaker the benefit of the doubt, perhaps that will ultimately prove true with the release of part 2 in 2025 (but I’ll reserve judgment on that for the time being). In the meantime, though, this recipient of 10 Academy Award nominations comes through as promised, and, in this day and age, that’s a cinematic miracle in itself.

1.  “I’m Still Here” (“Ainda Estou Aquí”) (Brazil/France)

Web site Trailer Blog (To Come)

Films featuring dark political themes are an acquired taste for many moviegoers, but, when they tell personal stories within such a context, they generally become more accessible for audience members, even those who might not ordinarily gravitate to pictures in this genre. That’s a goal expertly accomplished in the latest from director Walter Salles. This superb fact-based offering tells the heart-wrenching story of former Brazilian politician Rubens Paiva (Selton Mello), who, in 1971, was seized by, and subsequently disappeared at the hands of, the military dictatorship that overran in the country at that time. Paiva, who was working as an engineer when captured, was taken because of his liberal-leaning politics, especially in his clandestine efforts to assist those opposed to the oppressive policies and practices of Brazil’s hard-line right-wing authorities. His seizure subsequently led to the detainment of his wife, Eunice (Oscar nominee Fernanda Torres), and daughter, Eliana (Luiza Kosovski), in an effort to find out who their husband and father may have associated with, as well as what activities he may have been engaged in. This harassment by officials, though, was not enough to stop the determination of Eunice and her family from trying to find out what happened to their loved one. In telling this story, the filmmaker not only relates a tale of high suspense, but also presents a compelling chronicle of a tightly knit family committed to remaining hopeful and uncovering the truth, no matter how horrendous it might ultimately prove to be. In carrying out this mission, “I’m Still Here” successfully fires on all of its cinematic cylinders, perpetually engaging viewers in a gripping, emotionally charged odyssey, not unlike the films of famed filmmaker Costa-Gavras, most notably “Missing” (1982). In my view, this is the film most deserving of this year’s Oscars for best picture, lead actress and international picture, hands down, not to mention a bushel of overlooked nominations in other categories. By all means, do not pass this one up.

Honorable Mentions

11.  “The Apprentice” (Canada/Denmark/Ireland/USA)

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In the interest of full disclosure, originally I had not intended to watch this film, a decision I’ll freely admit was governed by my politics, especially after reading several mistaken early reviews claiming that the picture presented a “sympathetic” look at its protagonist (a conclusion that, in hindsight, truly escapes me). However, I changed my mind after hearing about the Oscar nominations bestowing accolades on Sebastian Stan for lead actor and Jeremy Strong for supporting actor for their performances in this picture. And it was through that viewing experience that I realized I should not have let my politics get in the way of my screening decisions. Director Ali Abbasi’s fourth feature outing is truly one of 2024’s surprise stand-outs, one that certainly deserves more attention and recognition than it has received. This “origin story” about the meteoric rise of New York real estate mogul Donald Trump (Stan) in the 1970s and ʼ80s candidly illustrates how he became the individual he is today under the tutelage of lawyer Roy Cohn (Strong), the infamous, underhanded political fixer who rose to prominence as Sen. Joseph McCarthy’s “trusted” associate during the 1950s Congressional anti-Communist hearings. Cohn, a man who would stop at virtually nothing to get his way for himself and his clients, groomed his impressionable apprentice on how to do the same for himself in business and in life, developments chronicled here in unreserved detail. In that sense, then, one could probably best characterize this offering as “instructive” about the nature of the man who went on to be elected to two terms as President, despite his many obvious and highly public failings. This story is brought to life thanks to the superb (and largely overlooked) screenwriting of Gabriel Sherman in only his second feature film outing, along with the picture’s fine editing, spot-on period piece production design, and outstanding performances of its two principals, particularly Strong. While the film indeed presents an excellent depiction of Trump’s apprenticeship in the business world, it could have been stronger when examining his personal life, particularly his stormy courtship of and arm’s-length marriage to wife Ivana (Maria Bakalova) and his rocky relationship with his family, both of which could have used some bolstering. Nevertheless, “The Apprentice” genuinely is one of the year’s best releases. It’s just a shame that more viewers didn’t see it before the last election.

12.  “Turtles” (“Les Tortues”) (Belgium/Canada)

Screened at the 42nd Reeling Chicago International LGBTQ+ Film Festival

Web site Trailer Blog (To Come)

Is love enough to sustain a relationship? It can certainly provide a powerful bond to keep partners together, but is that sufficient to maintain that connection when other issues arise (e.g., day-to-day life challenges, disagreements and disconnects about fundamental goals and aspirations, cohabitation conflicts, a growing lack of sexual intimacy, etc.)? These matters often come to a head when certain turning points in life are reached, such as retirement, especially when each partner holds different views about what that next stage of life is supposed to be all about. These are among the challenges faced by Henri (Olivier Gourmet), a recently retired Brussels policeman, and his longtime partner, Thom (Dave Johns), a former drag queen and seller of secondhand merchandise who now spends most of his time as a househusband. Thom has been looking forward to this new phase in the couple’s lives, but Henri has been pulling away, seeking to follow a more individualized path, one that even includes encounters with other men (a practice he doesn’t try to hide, either). Needless to say, Thom is heartbroken and tries to reingratiate himself into his husband’s life but to no avail, an outcome that turns their relationship bitterly (though often hilariously) contentious. So what does the future hold for this long-term duo? It looks like divorce is certainly not out of the question. But is that what they really want? These are questions insightfully, honestly and sensitively explored in writer-director David Lambert’s fourth feature effort, a bittersweet romantic comedy-drama about what can happen when “things change.” It thoughtfully examines the soul searching and reevaluations that come with retirement, much the same way as in the Swiss comedy-drama “Golden Years” (“Die goldenen Jahre”) (2022), as well as the open hostility that can emerge between partners, as depicted in the dark comedy classic “The War of the Roses” (1989). The picture’s meticulously assembled, well-paced screenplay effectively examines all angles of this scenario through a narrative that’s touching, wickedly funny, heartbreaking and heartwarming all at the same time. This is backed by the superb performances of the film’s two leads, as well as the heart-tugging presence of an adorable police dog named Sherlock, who plays an integral role in how this story unfolds. This release is handily the best offering I screened at the 2024 Reeling Film Festival (if not in all of the years I’ve been attending the event), as well as one of the best movies I’ve ever watched about relationship discord, regardless of sexual orientation. As the old song “Breaking Up Is Hard To Do” so astutely observes, the film definitely follows suit when it comes to that sentiment and does so with an eloquence and realism rarely seen on screen. Couples of all kinds faced with issues like these should give this one a look, as it will ultimately probably provide more hands-on insight into how to address their problems than any course of marriage counseling could ever do. Like the creatures cited in the film’s title, “Turtles” draws attention to the issues often encountered in these circumstances – and candidly shows that partners can’t afford to avoid confronting them by simply hiding in their shells.

13.  “Thelma” (Switzerland/USA)

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According to playwright David Mamet, “Age and treachery will always beat youth and exuberance.” And, if 93-year-old Thelma Post (Independent Spirit Award nominee June Squibb) has anything to say about it in this fact-based action-comedy-drama, you can take that notion to the bank. In this story of a spry but sometimes-gullible widowed retiree living on her own, we watch – often in jaw-dropping awe – a feisty, independently minded senior determined to get her money back when she’s scammed out of her funds in a phone-based phishing scheme. Thelma says nothing about her plan to her family (Fred Hechinger, Parker Posey, Clark Gregg), who are already concerned about her ability to continue living on her own, and recruits the assistance of a wily old friend (Richard Roundtree) to join her in her quest to retrieve the stolen cash. The result is an uproarious farce featuring humor that’s clearly outlandish but never implausible or over the top. But there’s more to this offering than laughs – the sight of capable, underestimated elderly folks taking charge over their lives (and, in the case of this picture, even performing their own stunts!) is truly inspiring. This is backed by a potent, poignant (though never preachy) underlying look at what it’s like to grow old and the losses that come with it, a bittersweet meditation on the inevitable changes that come with age and how all too quickly they arrive, material that’s deftly and often philosophically interwoven with the comedy. Director Josh Margolin’s debut feature represents an impressive premiere for the writer-actor, featuring a superbly penned, well-balanced, evenly paced script relating the experiences of his own 103-year-old grandmother, who’s still alive and kicking and whose real-life home was used as one of the film’s principal movie sets. It’s also a triumph for 94-year-old Squibb in her career’s first-ever lead role, one worthy of (though largely ignored for) award contention, a performance that effectively depicts a wide-ranging talent that’s been bottled up for far too long. This Critics Choice Award nominee for best comedy is also a fine showcase for Roundtree in his final feature film performance, one in which we see him in a different light from many of his previous roles and in which he’s perfectly matched with his cunning co-star. My only issue with the picture is with the portrayal of Thelma’s overly dysfunctional family, in which the development of its three principals never comes off quite right, seemingly reaching for something that doesn’t gel properly, an aspect of the narrative that clearly could have used some further refinement. Otherwise, though, “Thelma” (or “Thelmaf” as it was previously known in an alternate version of the title) is one of the funniest, best produced releases that I’ve seen in quite some time. So hop on your scooter and get your behind to see this one – or else.

14.  “Exhibiting Forgiveness” (USA)

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No matter what anyone might say, and regardless of how virtuous its intent and impact may be, extending forgiveness to another is nevertheless often difficult. While it’s true that the benefits to come from it can be considerable, reaching that point generally requires overcoming significant pain, resentment and disappointment. Such is the case for Tarrell Rodin (André Holland), a gifted and successful artist whose work is in great demand. However, the profound artistry behind his paintings stems largely from his difficult upbringing, having been raised mostly by his loving mother, Joyce (Aunjanue Ellis-Taylor), after Tarrell’s abusive, drug-addicted father, La’Ron (John Earl Jelks), left them to fend for themselves. Despite the departure of the source of that agony, the pain of Tarrell’s youthful existence has lingered ever since, and his painting has served as an important form of de facto art therapy. But the roots of his anguish remain, and he has difficulty getting past his past – that is, until his long-absent dad reappears in his life. Trying as it might be, this unexpected reunion presents an opportunity for Tarrell, Joyce and La’Ron to work through their ordeal, but are they up to it? That’s what writer-director Titus Kaphar’s debut feature seeks to do, a story drawn in part from his own experience and featuring paintings created by the filmmaker himself. Through this story, the act of forgiveness is explored from myriad angles, unflinchingly depicting the pain and difficulty involved in achieving it. The picture also shows how the impact of such torment can unwittingly extend to others, including ostensibly innocent bystanders like Tarrell’s wife, Aisha (Andra Day), who puts her own career as a musician on hold while she attempts to help her husband sort out his issues, a simmering source of strain in their marriage. This is all effectively brought to life through an artistically beautiful, gorgeously photographed production, backed by an emotive and engaging soundtrack. Admittedly, the pacing could use a little shoring up in spots, and the emotional depth that seemingly should have infused the writing for certain scenes doesn’t quite reach the peak that it could have, but those drawbacks are well camouflaged by the fine performances of the ensemble, especially Holland and Ellis-Taylor, who deliver some of the best work of their careers. Most importantly, though, “Exhibiting Forgiveness” is definitely a movie with a powerful message, and it makes no effort to conceal it. It drives home its point with forcefulness and clarity, as well as fearless, unapologetic candor, successfully avoiding the pitfall of sugarcoating, soft peddling or sanitizing how challenging a process extending forgiveness can be. We could all learn a lot from that – and, considering the state of affairs in our world these days, it would behoove us if we did.

15.  “Hard Truths” (UK/Spain)

Web site Trailer Blog (To Come)

As many of us can attest, the strains of daily living and the ghosts of our past can take their toll on us in myriad ways, leaving us frazzled, frustrated, depressed and perpetually angry. We may not like the emergence of those outcomes, as they can effectively isolate us from others, including those we’re thought to care most about. But those conditions can become so overwhelming that we can’t cope nor allow well-meaning others to step in and help us. Such is the case for fifty-something middle class British housewife and mother, Pansy Deacon (Marianne Jean-Baptiste), who constantly complains about, yells at and criticizes everybody and everything around her, including her hard-working husband, Curtley (David Webber), and emotionally withdrawn 22-year-old son, Moses (Tuwaine Barrett). Curtley and Moses have been so beaten down by her incessantly irate nature that they no longer put up a fight with her, reconciled to her unendingly ornery persona. In fact, the only family member who tries to understand Pansy is her younger sister, Chantelle (Michele Austin), who worries about her sibling’s state of mind and increasingly shaky mental health. It’s never made completely clear why Pansy acts out as she does, especially in terms of the exacting standards to which she holds others for everything, though there are hints that much of her relentless discontent is rooted in the pain of a past from which she can’t relinquish herself. Some onlookers also contend that her behavior is little more than a way to attract the attention and sympathy of others, but there comes a point where their patience and tolerance run out, prompting them to give up and leave her to stew in her own anguish, a solution that brings her no closer to meaningful resolution. As with many of his other film projects, writer-director Mike Leigh again presents viewers with a character study of an individual who fruitlessly wrestles with her circumstances without direction and ultimately comes no closer to resolving them than where she was when the opening credits rolled. Consequently, some may find this a frustrating, repetitive cinematic experience, yet, to its credit, the film also paints a realistic, candid portrait to which many of us can probably quietly relate. In telling Pansy’s story, the filmmaker concocts an intriguing mix of comedy and drama, though the laughs generated here may prove to be not so funny as the protagonist’s sad saga plays out, particularly in terms of the impact she has on others and herself. To that end then, some might argue that “Hard Truths” offers us no easy answers or plausible solutions, but isn’t that often the case where working through life’s hard truths is concerned? While the character development here could stand to be a little stronger at times (especially in terms of back story) and some ancillary narrative threads could have been easily eliminated – elements not uncommon in Leigh’s pictures – this is arguably the director’s most intimate, heartfelt and accessible release. In large part that’s thanks to the film’s National Board of Review Award-winning screenplay and its excellent performances, most notably Jean-Baptiste’s award-worthy portrayal, one that deservedly earned her BAFTA and Critics Choice Award nominations. Given the foregoing, this may not be the easiest picture to watch, but it’s sure to provide us with much to reflect upon both for others – and ourselves – as we seek to figure how to assess life and the challenges it presents us.

16.  “Lee” (UK/USA/Australia/Singapore/Hungary)

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There are times when many of us feel compelled to pursue something for reasons that we don’t fully understand but that we can’t walk away from, either, no matter what the personal cost may be. So it was for former fashion model Elizabeth “Lee” Miller (Kate Winslet), who, after a successful career of sporting haute couture, became a battlefield photographer for the British edition of Vogue magazine during World War II. Admittedly, she could have enjoyed a life of luxury in her retirement, but she felt a strong need to fulfill a purpose, a decision that led her to willingly immerse herself in this dangerous venture, one in which her life was frequently on the line. However, in doing so, she captured some of the most iconic images of the war in Europe, the stories behind which are recounted and re-created in this engaging biopic from director Ellen Kuras. In chronicling Miller’s life, the film details the hard choices she made, both personally and professionally, as well as her drive to document the hard truth about a conflict for which the world didn’t always have ready access to news about, at least not in the on-demand way we do today. While the picture has a tendency to be somewhat episodic at times, it nevertheless presents a series of intriguing back stories behind a variety of incidents from the storied career of this unlikely but widely regarded journalist. This offering’s fine period piece production design effectively captures the differences between the two diverse worlds in which the protagonist lived – the elegance of high fashion and the gritty wartime landscape – backed by Winslet’s superb Golden Globe Award-nominated performance and the fine supporting portrayals from an excellent ensemble cast, including Andrea Riseborough, Marion Cotillard, Samuel Barnett and a surprisingly effective Andy Samberg. These attributes aside, though, it’s somewhat mystifying how this release came and went from theaters as quickly as it did and failed to capture much attention among moviegoers. “Lee” truly deserved wider recognition than it received, but, thankfully, it’s available for streaming. It takes courage to stick to one’s convictions in a time of combat, especially when the potential cost to oneself is as high as it was for Miller, but the world is better off for her valiant efforts in showing us what we might have missed but about which we all desperately needed to know.

17.  “The Black Sea” (USA/Bulgaria)

Screened at the Gene Siskel Film Center 30th Annual Black Harvest Film Festival

Web site Trailer Blog (To Come)

Being a stranger in a strange land can be an uncomfortable, exasperating experience. At the same time, though, it can also be just what one needs, especially for those seeking to turn their lives around. Such is the case with Khalid (actor-director Derrick B. Harden), a genial, ambitious, opportunistic African-American dreamer from Brooklyn who, sadly, just doesn’t seem to be able to get his act together. But, when he’s offered a lucrative new opportunity – one he finds on Facebook of all places – to relocate to Sozopol, a small Bulgarian resort town on the Black Sea coast, to become the “companion” of a woman in desperate “need” of finding a Black man to help her with her troubles (on the advice of a fortune teller), he jumps at the chance. There’s just one hitch – hours before his arrival, she dies, thereby stranding him without his payment and the means to return home. Those circumstances are further complicated when his passport is stolen, leaving him stuck and unable to book a flight back to the US. He thus reluctantly becomes reconciled to the idea of having to stay put for a while as he attempts to sort out his circumstances. However, the more time he spends in his unexpected new home, the more he finds himself easily fitting in and making friends with the locals, especially Ina (Irmena Chichikova), the owner of a travel agency and his eventual business partner in a popular café/night spot. And, except for some menacing dealings with a powerful local godfather (Stoyo Mirkov) who’s accustomed to being the community’s top dog (and resents being upstaged by the popular new arrival), things generally go well for the unwitting transplant. But will they stay that way? Directors Harden and Crystal Moselle have put together a real charmer in this warm, funny comedy-drama chronicling the evolution of an infectiously likable character beset with a seemingly impossible challenge but who aggressively hustles to successfully make lemonade out of the big bushel of lemons that life’s handed him. The story’s focus on a hapless but amiable everyman who’s unceremoniously marooned in a wholly unfamiliar setting (one that most American viewers are also likely unfamiliar with) in which he doesn’t speak the language gives this film a distinctive character all its own, a refreshing development in light of the current sagging state of the domestic movie industry. Despite some occasional narrative meandering, this offering is otherwise a real gem, a heartwarming comedy in which one can’t help but pull for the underdog, no matter how much he might slip up or inadvertently get in his own way. “The Black Sea” is indeed a rare find, one that now genuinely deserves to have an audience find it.

18.  “Turning Tables” (“Klandestin”) (Germany)

Screened at the 60th Annual Chicago International Film Festival

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Movies that tell the same story from multiple standpoints are among my personal favorites. With each retelling, new information is revealed that, when considered collectively, provides viewers with an intriguing overview perspective, almost as if it were a case of putting together the pieces of a puzzle. And that’s precisely what writer-director Angelina Maccarone has expertly accomplished in her latest feature, a thriller told from the standpoints of four characters set against the backdrop of a terrorist bombing in the heart of Frankfurt’s financial district, an incident that hangs over all of them despite not having anything directly to do with any of them. The picture follows the experiences of a young Moroccan refugee (Habib Adda) seeking a better life in Europe who’s unwittingly illegally smuggled onto the continent from Tangiers by his would-be lover (Lambert Wilson), a renowned English painter getting ready for a gallery opening in Frankfurt. As this unexpected, clandestine episode unfolds, the artist seeks the discreet help of his longtime friend, a powerful, influential, and often-cold, roundly disliked conservative German politician (Barbara Sukowa), and her savvy executive aide (Banafshe Hourmazdi), the German-born daughter of Moroccan immigrant parents who’s an expert in European Union law. Their individual stories are presented in chapters devoted to each of them, with a concluding sequence that ties them all together. The film’s masterfully penned screenplay keeps viewers on their toes as the narrative unfolds, leaving us riveted and wondering how events will ultimately play out, particularly the impact that the outcome will have on each of them and a host of supporting players in the shadow of the larger story that has all of Frankfurt on edge. That’s true on multiple levels, too, given that the revelation of the picture’s often-public ramifications is driven by highly personal concerns relating to interpersonal affairs, national and ancestral identity, political clout, sexual orientation, and various other considerations, making for complex, multidimensional characters who are effectively brought to life by this offering’s superb ensemble cast. “Turning Tables” is a genuine knock-out, one on par with any of the best thrillers produced by major Hollywood studios and clearly illustrating that many of the contemporary challenges faced by Europeans aren’t all that different from what many of us might like to think of as purely American concerns. Give this one a look, and don’t be surprised if it takes your breath away.

19.  “Touch” (“Snerting”) (Iceland/UK)

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Many of us have experienced situations in life that have left us wondering “what might have been,” especially in matters of romance. And sometimes these scenarios can linger in our psyche for a lifetime, gnawing away at us and potentially leaving us with feelings of profound regret. Some of us, though, vow not to succumb to such disappointment, taking action to resolve these matters before it’s too late. Such is the case of a 75-year-old Icelandic restaurateur (Egill Ólafsson) suffering from the onset of dementia during the early days of the COVID pandemic. With the clock running out, his health faltering and stringent quarantine measures being put into place, he’s nevertheless desperate to learn what happened to the long-lost love of his life, a beautiful young Japanese immigrant (Kōki) he met 51 years earlier while his younger self (Pálmi Kormákur) was living in London. After a brief, passionate love affair, she suddenly vanished and returned to Japan without an explanation, an event that has haunted him ever since. He decides to search for her before health and travel restrictions prevent him from doing so, an impulsive journey that takes him back to London and then on to Japan to find out what happened. To say much more would reveal too much about the secrets driving this compelling romance/mystery, suffice it to say, though, that the protagonist’s tale is an engaging one, told through an absorbing story line deftly peppered with flashbacks to different points in the characters’ lives. In telling this story of love and intrigue, writer-director Baltasar Kormákur presents a colorful mix of genuinely original characters in a variety of circumstances not depicted on the big screen before. Admittedly, the pacing could stand to be stepped up in a few sequences (an outcome that could have been accomplished with some judicious editing), and further enhancement of the back story and character development might have provided more meaningful depth to the overall narrative. However, given the captivating trail of bread crumbs that the filmmaker doles out for viewers, this heartfelt release leaves audience members continually wondering what’s coming next. And, in doing so, the picture serves up a number of little-known, eye-opening cultural revelations that add spice and diversity to a genre that seldom ventures into such unfamiliar territory, an objective carried out with a tremendous sense of warmth without becoming unduly sentimental. In my view, this is the picture that the vastly overrated “Past Lives” (2023) was trying to be (and could have been), one that entertains, enlightens and educates all at the same time while providing audiences with a tale that’s sure to tug at the heartstrings – and shows us how “what might have been” could have actually been brought into being.

20.  “A Quiet Place: Day One” (USA/UK)

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Smart horror films are one movie genre from which not nearly enough offerings are produced. These pictures are proof positive that edgy, spooky stories can be successfully made without having to kill off the cast or engage in spectacles of gratuitous gore. The works of filmmakers like Jordan Peele and Alex Garland exemplify this, as do the three releases in this impressive franchise. And this latest entry is, without a doubt, the best of the lot. “Day One” draws upon the mythology introduced in the series’ first two films, but it takes matters in a new, more insightful direction and does so, ironically, by way of a prequel going back to the origin of this gripping, ongoing saga. What separates this film from what preceded it, however, is that it presents yet another story in the franchise but from an entirely new angle, with new characters, a new setting, and a new, more profound, more nuanced focus. Instead of small-town America, where the first two pictures were set, this offering takes place in New York City, showing what happens when the Big Apple is attacked by the now-familiar aliens that hunt by way of sound as the means for finding their prey – and the measures that surviving humans must take to stay silent to keep from being spotted. The narrative principally follows a terminally ill poet (Lupita Nyong’o) living in hospice care who has become resigned to the fate of her impending death but now seeks to stay alive at all costs, most notably in helping a frightened Englishman living in Gotham (Joseph Quinn) and protecting her beloved (and adorable) comfort cat. These circumstances give her a new purpose at a time when she might have otherwise completely given up hope. In telling this story, the film also examines the perils of having to suddenly adjust to a “new normal” under unpredictable conditions, as well as the need for all of us to pull together in a united front in the wake of these trying circumstances. But there’s more to it than that, including metaphorical themes and symbolic imagery that truly make this more than just a horror film (and even more than just a smart horror movie at that). While it’s true the story meanders somewhat at times, it nevertheless presents viewers with a thoughtful tale, punctuated by excellent camera work, a fine soundtrack and a superb, award-worthy performance by Nyong’o. Even if you haven’t seen the two previous films in this series or don’t have much interest in this genre, writer-director Michael Sarnoski’s second feature outing is well worth your time. It’s a smart, smart, smart film that rises far above what one might typically expect from a horror flick – and one that will leave you with a lot more than just a few good scares upon exiting the theater.

Noteworthy (in alphabetical order)

“All Shall Be Well” (“Cong jin yihou”) (Hong Kong/China)

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They say that “blood is thicker than water,” an observation that can manifest in many ways. This often becomes most apparent during times of crisis, such as when a death occurs or an inheritance is involved (money being on the line frequently speaks volumes). So it is in the fourth feature outing from writer-director Ray Yeung, which tells the touching story of long-tenured same-sex couple Angie (Patra Au) and Pat (Maggie Li Lin Lin), a duo very much in love. They’ve lived in the same Hong Kong apartment for 30 years and have enjoyed reasonably good relations with their relatives, most notably Pat’s extended family. However, when Pat unexpectedly dies, matters become complicated, particularly when it comes to recognizing Angie’s status and her relation to her late partner. That includes such issues as deciding the handling of Pat’s remains, as well as the final dispensation of her considerable assets, including those she jointly held with her beloved. Relations suddenly become strained, if not downright ugly, with a woman they’ve long seemed to accept as a member of the family. This is especially apparent when Pat’s relations try to grab all they can in an effort to solve the many fiscal problems that they’ve brought upon themselves. As all of this plays out, viewers thus witness the stark contrast that exists between the loving bond that the couple forged for one another and what Pat’s relatives have created for themselves in their largely failed attempts at making a supposedly healthy and successful family, a comparison deftly and sensitively yet candidly presented by the filmmaker. While this story may not be especially original, its pacing can be a tad slow and its overall handling may at times be a little too deliberate, this picture nevertheless packs quite a powerful emotional punch, superbly depicted in the stellar performances of the excellent ensemble cast, backed by beautiful cinematography and a subdued atmospheric background score. “All Shall Be Well” is, without a doubt, one of 2024’s underrated gems, a film that will both move and incense audiences, particularly when it comes to distinguishing what’s legally permissible and what’s ethically proper, especially in matters of love and what constitutes “family.”

“Daaaaaalí!” (France)

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Biopics are among the most common films being made these days. Some are great, some are decent, and others are more than a little conventional, following rote formats so meticulously that they can turn out shallow or dull. But, when it comes to telling the story of someone wholly unconventional, someone larger than life and the embodiment of surrealistic sensibilities, the tried and true simply won’t work. And that’s certainly the case with enigmatic artist Salvador Dalí, whose unusual paintings nearly always defied description and classification. He was also a shameless self-promoter with an ego the size of the planet and a capricious personality as eccentric as his creations. He often spoke about himself in the third person and spouted statements that required those skilled in the cryptic arts to decipher. So, with a subject like this, a formula biography simply would not work. Fortunately, that’s precisely the thinking that writer-director Quentin Dupieux employed in coming up with this outrageously funny, eminently bizarre offering about a one-of-a-kind individual. In many ways, the film is a cinematic experiment in storytelling, enlivening its narrative in a manner as surreal as one of Dalí’s works. It’s rarely grounded in the straightforward, taking on dream-like qualities with running jokes, repeated but altered sequences and recurring characters that intertwine with one another in unexpected, truly out-there ways. The picture loosely follows the efforts of an aspiring journalist (Anaïs Demoustier) to secure an interview with her subject but who is routinely met with unrealistic, unforeseen obstacles (nearly always whimsically implemented by Dalí himself) in her attempts to pull it off. And, as the movie unfolds, it becomes impossible to follow any sense of reason in trying to figure out what’s going on and where it might be headed (so don’t even try). Instead, just sit back and enjoy the absurdity of it all – the very same attitude that one needs to employ when gazing upon one of the artist’s paintings. This highly fitting approach to telling Dalí’s story works brilliantly, especially coming from a filmmaker who has his own offbeat sensibilities about art, as seen in such prior releases as “Deerskin” (2019) and “Smoking Causes Coughing” (2022). In fact, “Daaaaaalí!” is so quirky and breaks the mold in so many ways that it even features five different actors (Edouard Baer, Jonathan Cohen, Gilles Lellouche, Pio Marmaï and Didier Flamand) portraying the protagonist. And, to his credit, the director thankfully keeps the runtime short at 1:18:00 so as not to overstay his welcome and let the innate joke become tiresome. Still, some might find this a frustrating offering to watch, but, if you’re willing to suspend logic and convention (as you’re clearly supposed to do), you’re likely to find that this hilarious little gem will tickle your funny bone in myriad, unanticipated ways. After all, if the film’s subject defies easy categorization, the last thing a director should do is needlessly confine him to a claustrophobic little box. And, fortunately, that’s exactly the pitfall this release successfully manages to avoid.

“Flow” (“Straume”) (Latvia/Belgium/France)

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Sometimes the simplest yet most profound messages we can receive come from the unlikeliest of sources. So it is with the second animated feature from writer-director Gints Zilbalodis, a stunningly beautiful, inspiringly insightful odyssey about a band of animals seeking to find their way and survive in a new world. When a great flood essentially destroys the world of man, a wide-eyed black cat must figure out how to get by when this consuming deluge wipes out the existence he has known, armed with only his own wits and the cooperation of fellow animal kindreds, including a capybara, a meerkat, a secretary bird and a pack of dogs, most notably a yellow Labrador retriever. Together this band of different creatures navigates the waters of this new world in an abandoned sailboat, learning how to work together to support one another and to stay alive, surmounting an array of challenges along the way. In the process, they collectively learn valuable life lessons that we as humans can all stand to follow, especially when confronted with circumstances not unlike those that we all must contend with in a world on the edge, conditions to which most of us can probably relate these days. The answers that these creatures come up with are often patently obvious, but the film thoughtfully prompts us to ask ourselves that, if these simple solutions are so readily apparent, why aren’t we doing more ourselves to embrace them in addressing our own current challenges? That’s a very good question and one of the greatest strengths of this widely acclaimed release. This dialogue-free offering, whose only sounds come from the authentic utterances of its animal protagonists and its emotive background score, features exquisite animation in its depiction of a world in transition, one showing the remnants of what’s been left behind and the emergence of what’s coming into being. While the narrative takes a little time to initially find its footing and is occasionally episodic as it unfolds, the various incidents it portrays as the story plays out are instructive, touching, meaningful and spot on in conveying the picture’s myriad insights, crafted in a way that shows more than tells and successfully avoids the temptation to spoon-feed audiences. “Flow” may be animated, but it’s by no means a cartoon, an accomplishment to which more films in this genre should attempt to aspire. This Golden Globe Award winner and Oscar nominee for best animated feature is a true gem, one from which we could all stand to learn a lot – and, one would hope, before we’re faced with circumstances like these ourselves.

“I Like Movies” (Canada)

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It’s admirable when someone has obvious enthusiasm for a personal passion and is eager to share that sentiment with others. However, it’s something else entirely when that burgeoning zeal is expressed with condescension, arrogance and disdain toward others when they share their views on the subject. That’s the issue 17-year-old Canadian high school senior Lawrence Kweller (Isaiah Lehtinen) wrestles with when it comes to his love of movies. As an aspiring film student seeking to attend New York University after graduating as part of the class of 2003, he speaks about his obsession – often quite naively – as a pompous, self-absorbed aesthete who doesn’t know as much as he thinks he does (and doesn’t realize it either). He routinely puts down fellow students in his media studies class, co-workers at the video store where he works, his widowed, hard-working single mother who struggles to make ends meet, and even his supposed best friend and film project collaborator, Matt (Percy Hynes White). While it’s true that some of Lawrence’s behavior is attributable to psychological troubles and personal trauma, there are limits to what others will tolerate. The result of this is a series of hard lessons in comeuppance, especially when his inflated, entitled attitude is slapped back by those looking to put him in his place. Writer-director Chandler Levack’s debut feature serves up a smart, sassy, edgy comedy-drama about learning how to be legitimately inspired and impassioned without making an insufferable ass out of oneself, youthful inexperience notwithstanding. The picture is loaded with hilarious and poignant movie references that avid cinephiles are sure to love and appreciate, as well as an array of sidesplitting coming of age bits that probably take many of us back to the geeky ways of our own adolescence. Admittedly, some of the story threads seem a little implausible and don’t work as well as they might have (especially in the final act), and a few of the jokes – though funny – nevertheless stand alone like comic islands that seem disconnected from the main narrative. Nevertheless, “I Like Movies” is an otherwise-whimsical, delightful, engaging indie gem that will remind us of what it was once like to be idealistic yet blissfully ignorant, one that we can only hope will leave an indelible impression on younger viewers whose behavior tends to mirror that of the protagonist. Indeed, it’s one thing to love movies, but it’s something else entirely to think that life operates the same way.

“The Missile” (“Ohjus”) (Finland/Estonia)

Screened at the 60th Annual Chicago International Film Festival

Web site Trailer Blog (To Come)

Who would have thought that a reserved, homespun single mother of two married to an abusive imprisoned husband could turn her life around by writing about the dangers of nuclear proliferation? But, if you’re Niina Kuittinen (Oona Airola), a young housewife living in rural Lapland, that’s precisely what happens when she takes a reporting job with a local newspaper and unwittingly stumbles into a story that almost any intrepid journalist would kill for – the crash of an off-course Soviet missile in the Finnish wilderness in 1984. She eagerly investigates the incident, despite limited experience as a reporter, little knowledge of nuclear weapons and resistance from her publisher (Hannu-Pekka Björkman), who doesn’t want to upset the locals with such depressing talk, insisting instead on running only upbeat but innocuous human interest stories. Niina is undeterred, however, throwing herself into a story that garners international attention, regardless of the challenges she faces. In doing so, she grows and matures, finding her footing as a newly empowered woman, as well as finding new love in a handsome, adoring and attentive military man (Pyry Kähkönen). Niina’s transformation gives her purpose and helps her to prepare for the impending release of her incarcerated toxic husband (Tommi Eronen), who returns home promising he’s changed, despite evidence to the contrary. Niina’s new life thus begins, ironically, thanks to her immersion in a devastating subject – but one that ultimately imbues her with a healthier, more realistic outlook on the wider world and the nature of her existence. Writer-director Miia Tervo’s fact-based third feature outing is another of those unexpected cinematic gems that effectively mixes genres in coming up with a delightful and enlightening film. Much of the first half presents a colorful portrait of the protagonist’s hometown, family and neighbors, featuring ample humor that’s decidedly quirky, deliciously deadpan and superbly understated, not unlike the folksy, unassuming laughs prevalent in movies like “Fargo” (1996). But, as Niina’s story unfolds, it takes on more serious overtones as viewers witness the character develop into someone who leaves behind the crippling naivete and obsequiousness that have long been holding her back. Admittedly, the film begins to drag a bit in the last act, needlessly stretching out material that’s easy to predict without having to belabor it. Nevertheless, “The Missile” is one of those pictures that audience members are likely to come away from feeling as though they’ve been warmly welcomed into a community of loving family and friends whom they’ve known for a long time but without the unduly burdensome trappings of schmaltz and sentimentality. And there’s a lot to be said for that, even if it takes a little taste of Armageddon to get us there.

“Nightbitch” (USA)

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Motherhood – it’s one of those notions that, in the minds of many, is sacrosanct, inviolable and beyond reproach. Or is it? Indeed, isn’t it possible that some women who find themselves in this role aren’t cut out for it and innately regret having taken that step? “How dare they!” intolerant critics might exclaim. However, as this latest offering from writer-director Marielle Heller illustrates, there are those who feel motherhood is a calling they’re not cut out for and may, at best, feel highly ambivalent about. Such is the case of a former artist-turned-stay-at-home-mom (Amy Adams) who clearly loves her young son (Arleigh Patrick Snowden/Emmett James Snowden) but who also finds this role inherently limiting and creatively stifling, leaving her frustrated and unsure what to do. She also feels she doesn’t get the support and understanding that she needs from her husband (Scoot McNairy), prompting her to believe she’s trapped by her circumstances – like an animal. In fact, it’s a sensibility that gradually begins to manifest itself as more than just something out of her imagination, a surreal experience that reveals her “dog-ged” determination to find answers and solutions. Consequently, inexplicable changes in behavior arise that she desperately needs to understand, particularly if she wants to hold on to her sanity and remain a responsible and grounded parent. The protagonist thus launches into an odyssey of exploring the nature of motherhood, a multifaceted, occasionally contradictory exercise whose diverse realizations are often difficult to sort out – and one that’s simultaneously rife with an array of both frightening and inventively comedic possibilities. What’s most impressive about this film, though, is its uncompromising honesty in addressing its subject, an approach that yields a realistically revelatory view of the concept of motherhood, one that (as the protagonist so astutely observes) shows it as being about “more than just sunshine and baby powder.” While it’s true that the narrative sometimes tries to cover a little too much ground and doesn’t always link its assorted observations as effectively or cogently as it might have, it nevertheless uncovers the heartfelt beliefs that some women sincerely hold about being mothers, outlooks that the blinder-clad Pollyannas among us might consider inconceivable or even heretical despite their intrinsic truthfulness and viability. Credit the authenticity behind this to the filmmaker and to Adams, who turns in yet another stellar portrayal, one that earned her Golden Globe and Independent Spirit Award nominations. Kudos also go out to McNairy, as well as the two young brothers cast in the role of the son, all of whom provide superb support. To be sure, “Nightbitch” may not appeal to everyone, and some could even find it shocking in some regards. But at least the picture doesn’t try to pull any punches, and there’s much to be said for that given the naïvely unassailable qualities often associated with the idea of what it’s actually like to be a mom.

“Problemista” (USA)

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Isn’t it amazing how failures can often lead to unexpected successes? Those missteps frequently have a way of opening meaningful doors, even if it doesn’t seem that way at the time they occur. But how readily are we aware that such developments can occur? Such is the whirlwind experience of Alejandro Martinez (Julio Torres), a young, idealistic, inventive Salvadoran toy designer who emigrates to New York in search of a job in an incubator program at a major American toy manufacturer. But, to apply for the position, he must be present stateside, which means he needs a work visa to reside here long enough to make his pitch. That possibility seems to evaporate, though, when he loses his job as a client curator at a cryogenics company. Fortunately, however, as he’s making his exit from the workplace, he meets and befriends a flamboyant art critic (Tilda Swinton) upset with the way the cryogenics company is handling the care of her late partner (RZA), an eccentric artist known for specializing in paintings of eggs. To raise funds for the painter’s curation, she wants to stage an exhibition of his work but needs help to pull it off, which is where Alejandro enters the picture. He volunteers to assist with staging the show in exchange for her sponsorship so that he can obtain a new work visa to stay in the US. It sounds like a simple, straightforward arrangement, but, as he soon finds out, that’s far from the case, as he launches into a wild and crazy odyssey filled with any number of outlandish personal and professional incidents, many of them ludicrous and comical yet surprisingly beneficial. This debut feature from actor-writer-director Torres tells an unconventional yet hilarious and insightful story of commitment, empowerment and imagination filled with colorful characters and enigmatic situations. Its clever production design, imaginative cinematography, and inclusion of surreal and symbolic sequences make for an edgy yet entertaining watch, an impressive first offering from the former Saturday Night Live staff writer. While there are some instances where the narrative tends to become a little too outrageously self-satisfied for its own good, the bulk of the film stays on course and features an array of fine performances from Torres, Swinton and a host of supporting players. “Problemista” was originally scheduled for release in summer 2023 but was delayed by the SAG-AFTRA strike. However, as this delightfully quirky offering shows, the wait was indeed worth it, as it often is for those who encounter seemingly endless snafus on the way to achieving their greatness. If you’re fond of the irreverent, as I am, you’ll get a kick out of this one, an engaging tale that both enlightens and entertains while giving your mind a lot to play with.

“Rent Free” (USA)

Screened at the 42nd Reeling Chicago International LGBTQ+ Film Festival

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Most of us have no doubt heard the old saying (adapted from the famous poem by Robert Burns), “The best laid plans of mice and men often go awry.” And, in the case of a pair of hopelessly lost Gen Z misfits (Jacob Roberts, David Treviño), truer words couldn’t have been spoken. The two longtime friends from Austin, TX attempt to relocate to New York, but, when their plans fall through, they return home to regroup and figure out a way to get back to the Big Apple. They “decide” to land good-paying jobs (without any realistic prospects) from which they can diligently (or so they believe) stash away bundles of cash for a year and, simultaneously, multiply their savings by finding ways to live rent free with (i.e., shamelessly sponge off of) friends, family and even strangers, a plan they’re thoroughly convinced will work. However, the reality turns out to be far different from their hopelessly misguided wishful thinking, straining their friendships with others and one another. Their wickedly funny story (with a few touching moments) turns out to be a damning exploration of improbable, unworkable thinking, unbridled irresponsibility, inflated entitlement and generally bad form between themselves and with those who offer to help them out (but who subsequently prove to have self-serving agendas of their own). One would like to hope that this experience will work out (or at least provide them with a much-needed wake-up call), but will it? In that sense, “Rent Free” is a brutally telling story about a generation that not only hasn’t come of age, but that is in serious need of growing up. Writer-director Fernando Andrés’ second feature offering delivers a bitingly blistering modern-day road trip/buddy movie of sorts about two lost souls seeking to find themselves but who perpetually get in their own way. It’s particularly noteworthy for the fact that this is a film involving individuals who are part of the LGBTQ+ community but whose sexuality is more ancillary than integral to the narrative, allowing their other personal attributes and actions to carry the picture and not relying exclusively on scenarios related to their gay and bisexual orientations to define them or the nature of the story. Some viewers (particularly younger ones) may be insulted or offended by some of the content here, but perhaps that’s because the filmmaker holds up a highly polished, undeniably scrutinous mirror to them and their lifestyles, providing a profoundly revelatory look at why their lives don’t live up to their assumed expectations. Indeed, there is no such thing as a free lunch, and this inspired, razor-sharp offering proves that – whether viewers want to see that or not.

“The Room Next Door” (Spain/USA/France)

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To live or to die is a decision many of us are probably reluctant to address. The fear of this great unknown is enough to keep the notion at bay. But what if we were to find ourselves dealing with a terminal illness with little hope for the future? Would we be willing to nobly soldier on, knowing that our circumstances are only going to get worse, or would we choose to transition to what’s next on our own time and under our own terms? Such is the scenario involving two old friends, Martha (Tilda Swinton), a former war correspondent who has lived a rich, full life but is now afflicted with terminal cancer, and Ingrid (Julianne Moore), a successful author who recently penned a book detailing her personal fear of death. When Martha’s condition takes a turn for the worse and her joy of living rapidly begins vanishing, she decides she wants to pass on before she significantly deteriorates. She willfully chooses to die with dignity in a comfortable and beautiful setting of her own choosing. But she doesn’t want to be alone when the time comes: She wants to be in the presence of a compassionate soul in those final moments, someone not to act as a facilitator but who can provide company, comfort and support “in the room next door” as she slips away. And so it’s indeed ironic when Martha asks Ingrid to be that person. It’s a proposal about which Ingrid has serious reservations, but she also recognizes that she can’t in all good conscience turn her back on a good friend. These circumstances also provide her with an opportunity to face firsthand the fears she’s just written about. But, those well-intentioned considerations aside, how will matters unfold for all concerned when events are no longer theoretical and turn real? That’s what writer-director Pedro Almódovar explores in his latest feature offering, providing viewers with a thoughtful, profound yet practical and eminently moving take on a controversial subject, one that’s been surfacing more candidly and more frequently in public discourse than it once did and that carries myriad ramifications ethically, emotionally and legally. While the film periodically veers off onto somewhat unrelated narrative tangents and occasionally becomes a little too talky for its own good (qualities that often encroach upon Almódovar’s works), this is arguably one of the filmmaker’s finest efforts both in terms of the sensitivity employed in the treatment of its subject, as well as in raising questions about the validity and propriety of right to die matters. It’s particularly noteworthy for the superb performances of its two principals, both of whom turn in some of the best work of their careers, as evidenced by Swinton’s Golden Globe Award nomination for best lead actress in a drama. It’s long been believed that none of us will know the time when we’ll pass, that it’s something left up to fate. But must it be that way, especially if we deliberately put our minds to our circumstances? “The Room Next Door” gives us much to ponder in this regard, showing us how leaving matters to chance ultimately might not be the wisest or most fulfilling course for all of us to follow.

“Sing Sing” (USA)

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When everything gets taken away from one’s life, it must be nearly impossible to find something that provides a reason to carry on. So it is for the incarcerated, individuals faced with an uncertain future of indeterminate duration. And, under conditions as difficult as these, realistically speaking, one can’t help but wonder whether rehabilitation will actually pan out as a viable option. But, for some, there’s hope through a seemingly unlikely source – the arts – as chronicled in this fact-based drama about the participants in the inmate theater program at New York’s Sing Sing maximum security prison. With a cast featuring both professional actors and alumni of this gifted incarcerated troupe, viewers witness the highs and lows of these men as they strive to bring meaning – and hope – to their time behind bars. Director Greg Kwedar’s second feature provides an up-close look at the lives of these aspiring actors, both in terms of their on-stage pursuits and their everyday lives under conditions most of us probably can’t even begin to imagine. While the picture’s narrative is admittedly a little thin and meandering at times, that’s more than made up for in the film’s superb performances, led by Oscar nominee Colman Domingo, Critics Choice Award nominee Clarence Maclin, Paul Raci and Sean San Jose, who, like virtually everyone else in this fine ensemble, bring an unmatched depth to their characters and interpersonal relationships, easily among the best work in these areas that I’ve seen in quite some time. In doing so, this offering also takes audiences on a rollercoaster ride of emotions, from uplifting joys to heartfelt disappointments, revealing the tremendous strength of character driving these individuals. That’s particularly poignant knowing that many of those in this production can relate to their circumstances from firsthand experience, thereby infusing this release with a level of unabridged authenticity seldom seen on the big screen. For its efforts, “Sing Sing” has become a viable awards season contender, especially in the acting categories, capturing three Oscar nods and multiple nominations in many other awards competitions. Most importantly, though, the film shows us what’s possible when we allow our passions to surface for their own sake, especially when we have nothing to lose by doing so, a genuine source of inspiration from whom we might least likely expect it.

“Tuesday” (UK/USA)

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Fables often make for intriguing storytelling and engaging cinematic experiences. And such is the case for the debut feature from writer-director Daina Oniunas-Pusić, a whimsical yet profound tale about the acceptance of death (or, more precisely, the ability to move beyond that and learn how to make friends with death). It’s told through the experience of 15-year-old Tuesday (Lola Petticrew), a terminally ill adolescent whose mother, Zora (Julia Louis-Dreyfus), is struggling to accept the inevitable. Zora looks for excuses to avoid spending time with her daughter, because she’s unable to face the impending truth. But, when death itself suddenly and unexpectedly appears to claim Tuesday, taking the form of a talking, shape-shifting parrot (voiced by Arinzé Kene), Zora’s hand is forced. Somewhat surprisingly, Tuesday reconciles herself to her fate rather easily and subsequently ends up spending most of her remaining time trying to help her mother understand the nature of what’s about to happen – and what will unfold if it doesn’t, consequences with larger implications. In doing so, the film gets into some deeply meaningful material, presenting insights that most of us probably have never considered, let alone explored, shedding an entirely new light on the essence of death, as well as the tremendous burden it has placed on its ornithological messenger. The result is a truly moving story, one that deftly mixes joy and sadness, pathos and humor, and anger and sympathy, not only for mother and daughter, but also for death itself and the wider world of which we’re all a part. The narrative certainly gives viewers much to contemplate, introducing notions that might well raise eyebrows and perhaps even ruffle a few feathers (no pun intended) for those accustomed to more conventional interpretations of this subject. But, in the end, the picture provides a fresh, more mature take on these concepts. Admittedly, the pacing sags a touch in the middle, and the flow of the story may seem somewhat strange or a tad unfocused at times. What’s more, some may question the reasoning behind why death appears as a talking parrot (but, then again, why should it necessarily take some of the more familiar forms we have seen in other stories, such as the grim reaper, for instance?). The film features fine performances, most notably the best screen work Louis-Dreyfus has ever turned in. It also respectfully recalls material presented previously in such perceptively prescient tales as the moving Australian comedy-drama “Baby Teeth” (2019) and the classic Twilight Zone episode “Nothing in the Dark” (1962) featuring a very young Robert Redford. Still, the premise may strike some as odd, absurd or implausible, but, then, when have fables, fairy tales or opera librettos ever faithfully stuck to the tried and true? Suspend your disbelief for this one, and sit back and immerse yourself in what it has to say. You may never look at death the same way ever again.

“Two to One” (“Zwei zu eins”) (Germany)

Screened at the 60th Annual Chicago International Film Festival

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Stories based on the notion that “truth is stranger than fiction” often provide a great foundation for comedy, and writer-director Natja Brunckhorst’s second feature is evidence of that. This fact-based tale set in 1990 during the transitionary days of German reunification follows the newly uncertain lives of a group of working class residents in the city of Halberstadt as they seek to cope with the emerging social, economic and political paradigm that has been thrust upon them. As their East German homeland is absorbed into its Western counterpart, the socialist nation begins evolving into a new capitalist enclave. But this process is fraught with serious fiscal consequences with hard-hitting impact on East Germany’s citizens, many of whom now find themselves without work or a source of income, prospects that are likely to persist for at least a year, if not longer. And, unless they swap their soon-to-be-worthless East German currency for Deutsch Marks by a fast-approaching deadline, they’ll be without savings and working capital, too. So, in the face of these pressing circumstances, it’s truly ironic that a quartet of financially strapped locals should stumble into a huge stash of East German money that’s been casually disposed of in an underground (and surprisingly easily accessible) bunker, left to decay – and available for the taking, for what it’s worth. They impulsively grab as much as they can carry, but they’re nevertheless left with the question of what to do with it in the face of the impending exchange deadline. The answer lies in a creative money laundering scheme cleverly cooked up with a host of similarly situated community residents who seek to not only trade in the newly acquired cash without drawing undue attention, but also to expand upon the legitimately scrubbed reserves to build an even larger mutually held nest-egg. Doing so has its share of challenges, though, both economically and personally, yielding more than its share of surprises, conflicts and hearty belly laughs. While the film is a little slow to get started and has a few moments that either could have been eliminated or executed more deftly, “Two to One” otherwise delivers on all fronts. The picture’s fine ensemble cast, crisp writing, catchy soundtrack and spot-on period piece production values mesh well, spinning an inspiring, touching and humorous underdog yarn about hard-pressed everyday folks rising up to address extraordinary circumstances. It’s also a feel good, family-oriented tale told in an unlikely setting under unlikely conditions that are probably little known to those outside of Germany, but one that effectively proves once again that the truth really is often stranger than fiction.

“Wicked Little Letters” (UK/France/USA)

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Just about everyone loves a good mystery, but, in the case of director Thea Sharrock’s latest, viewers are treated to one that’s both intriguing and utterly hilarious. Based on a true story, this delightfully offbeat offering tells the head-scratching tale of a small seaside community in 1920s England in which residents begin receiving anonymously sent letters filled with graphic profanity of a highly colorful and creative nature. The chief suspect is a recently arrived salty-tongued Irish immigrant (Jessie Buckley) who never hesitates to speak her mind or act out when she thinks it appropriate. The primary recipient is her neighbor, a cheery but conservative Christian woman (Olivia Colman), a prim and proper spinster who lives with her stern, judgmental father (Timothy Spall) and elderly, faint-of-heart mother (Gemma Jones). But is the accused really at fault? When a plucky, resourceful policewoman (Anjana Vasan) who’s supposed to stay out of the investigation gets involved, she uncovers evidence that circumstances may not be what they seem. The result is a sidesplitting thriller with loads of twists, turns and misdirections, a clever, original and outrageously waggish release that will tickle the funny bone of anyone who appreciates the wit and wisdom of good, old-fashioned, foul-mouthed cursing (sensitive viewers take note). The positively superb ensemble cast is outstanding across the board, particularly among the aforementioned principals, as well as a host of flamboyant supporting players. It’s obvious that everyone involved in this production had to have had fun making this film, and it shines through loud and clear in the finished product. There are a few sequences where the pacing drags slightly, but who cares? “Wicked Little Letters” is such a good time watch that you won’t really care. What’s perhaps most intriguing, though, is that this is a fact-based story – one that garnered national attention at the time – that had largely been lost to time but that, thankfully, has been brought back to life through this deliciously devious indie gem. Hell, yeah!

“Widow Clicquot” (USA)

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Combining all of the elements that go into making a fine film and blending the various ingredients in just the right proportions is akin to the practice of crafting a fine wine – and quite an irony here given the subject matter of this engaging cinematic biography of Barbe Nicole Ponsardin Clicquot (1777-1866) (Haley Bennett), the French winemaker who became better known as “the Grand Dame of Champagne.” Having inherited the business of her husband, François (Tom Sturridge), after this death, she vowed to continue operating the winery, carrying on his vision for innovation in the face of stiff competition from the rival Moet organization. But doing so was quite the challenge in light of financial difficulties, vintage failures, the questionable business practices of competitors, the responsibility of raising a young daughter (Cecily Cleeve) as a single mother, onerous operating conditions during the Napoleonic Era and the profound doubts of others (most notably her skeptical sexist father-in-law, Philippe (Ben Miles)) about whether a woman could successfully run an organization like this. Director Thomas Napper’s latest chronicles the Widow Clicquot’s inventive efforts to address these issues, as well as her ambitious initiatives to live up to the dreams of her late husband, in large part with the assistance of her loyal distributor, Louis (Sam Riley). In telling this story, the filmmaker seamlessly blends challenging events of everyday operations with flashbacks of a more personal nature, exploring the heartfelt feelings that provided the basis for the Clicquot philosophy of winemaking. The picture’s superbly crafted narrative and screenplay, combined with exquisite period piece production values and excellent performances (particularly Bennett in one of her best on-screen portrayals), make for an involving, multifaceted watch.  Admittedly, there are times in the second half where the story meanders somewhat, and some may find that this release gets a little too detailed when discussing the technical particulars of vinification. However, much of this offering is evenly balanced, effectively holding viewer interest about a subject that’s not especially common in the annals of filmmaking. What’s more, though, on a more philosophical level, this release celebrates the inherent joy and passion involved in the act of creating, ideas applicable to the manifestation of any artform, be it wine or painting or whatever else we’re capable of envisioning and bringing into being. And, if that’s not worth drinking a toast to, I don’t know what is.

“The Wild Robot” (USA)

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There are times in our lives when nearly all of us exceed the limits of our capabilities (and often quite unexpectedly at that). But that can be a tremendous blessing, especially when we’re confronted by circumstances where such aptitudes are called for. So it is for Roz (Lupita Nyong’o), a robot who inadvertently ends up stranded on a remote island when the vessel transporting her crashes without warning. Roz isn’t alone, though; she finds herself surrounded by a diverse array of forest animals who, curious though they might be, don’t quite know what to make of the mysterious metallic stranger. Meanwhile, the somewhat bewildered new arrival is out of her anticipated element, too, expecting to be in the company of humans for whom she’s been programmed to function as a domestic servant. However, the fundamental disconnect between these parties gradually dissipates as they each get to know one another, particularly when Roz needs to grow beyond her innate programming to overcome a series of challenges and bond with her new organic familiars, most notably a young goose (Kit Connor) whom she’s charged with raising when the gosling’s parents are accidently killed. Before long, Roz develops a sentience that helps her evolve beyond a collection of circuits and microchips, a development that proves valuable in a world beset by even bigger issues. In his latest animated feature outing, writer-director Chris Sanders has created a thoughtful, entertaining tale with an uplifting message we can all draw upon when life ups the ante on us. The picture’s stunningly gorgeous animation, solid writing, and delightfully amusing voiceover performances by the likes of Nyong’o and co-stars Pedro Pascal, Bill Nighy, Mark Hamill, Catherine O’Hara, Ving Rhames and Stephanie Hsu collectively deliver a fine mix of hearty laughs, inspiring insights and touching moments, all without becoming silly or saccharine. Admittedly, the film has a little trouble finding its footing at the outset, and a few story threads feel a little underdeveloped, such as subplots related to important but underexplained environmental themes. What’s more, it can be somewhat mystifying at times trying to figure out exactly who this offering was made for, as the material often comes across as a little more mature and decidedly more intense than what one might expect for younger viewers (despite its adorable depictions of its funny, furry forest creatures). However, these modest shortcomings are more than made up for the further one gets into the story, growing progressively stronger as the narrative unfolds. Most importantly, though, it’s gratifying to see a production that genuinely rises above the low bar that has been set for many releases in this genre these days. As the nominee for three Oscars, “The Wild Robot” is one of those films that’s sure to please a wide range of moviegoers, including those who generally aren’t particularly enamored with animation. It’s a feel-good movie that doesn’t resort to wearing that trait on its sleeve – but that nevertheless achieves such an admirably heartwarming effect anyways.

Documentaries

In the past, I’ve typically posted a blog all its own about the best and worst in documentaries for each year. However, in my opinion, 2024 saw a somewhat surprising dearth of significant, worthwhile documentary releases, and many of those I managed to screen were far from impressive. This is reflected to a certain degree in the wide variance of the nominees found in the documentary feature categories of this year’s awards competitions. Consequently, all of this has translated into a considerably more limited list of recommended releases in this genre. With that said, then, here are the documentaries from 2024 that I believe are worth your time. They aren’t the only ones I saw, but they’re the only ones that I believe merit a watch.

The Top 6 Countdown

6.  “Super/Man: The Christopher Reeve Story” (USA/UK)

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“Hero” is a revered term that, regrettably, is often overused, one that should be reserved for those truly deserving of the recognition. What’s more, somewhat surprisingly, it’s a label that is frequently most applicable to those who may not seem like the larger-than-life figures to whom it’s most usually accorded. But, in the case of actor and activist Christopher Reeve (1952-2004), “hero” is an attribute most definitely warranted. Having burst onto the scene in the lead role of “Superman” (1978), he embodied the very notion of movie superhero, a character whose uplifting impact was definitely needed in a society deflated by many daunting challenges at the time. He would subsequently draw upon his success in this film as a springboard to a variety of other, more diverse roles, such as the lead in pictures like the mystical romance “Somewhere in Time” (1980) and the mystery thriller “Deathtrap” (1982), as well as a supporting part in the Merchant/Ivory historical drama “The Remains of the Day” (1993). However, his life took a drastic turn in 1995, when he was nearly fatally injured in an equestrian accident that rendered him a paraplegic. The shock of the incident required a period of difficult adjustment for Reeve, but it would not ultimately deter him from carrying on in various pursuits with the unflinching support of his family and wife, Dana (1961-2006). He returned to acting in a made-for-TV version of “Rear Window” (1998) and assumed directorial responsibilities for the TV movies “In the Gloaming” (1997) and “The Brooke Ellison Story” (2004). He also became an ardent advocate for spinal cord injury care and research that gave hope – and, later, positive results – to many afflicted with this condition, leading to the establishment of an immensely successful charitable foundation and the passage of federal legislation bearing his and Dana’s names for furthering these worthy causes. Reeve’s inspiring story is now the subject of this BAFTA Award-nominated DC/HBO/CNN documentary from writer-directors Ian Bonhôte and Peter Ettedgui. It features a wealth of archive footage from interviews with the actor, family home movies, and clips from his screen and stage performances, along with a variety of current and past conversations with his three children and his many friends and colleagues in the entertainment industry, including Robin Williams, Susan Sarandon, Whoopi Goldberg, Glenn Close, Jeff Daniels and director Richard Donner. Admittedly, the narrative can become somewhat redundant at times, suggesting the need for some judicious editing, but this release provides viewers with an insightful and heartfelt look at the values and virtues that made Reeve who he was – a true hero and a bona fide super man.

5.  “Merchant Ivory” (USA)

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In the annals of filmmaking, few cinematic collaborations can match the accomplishments of Merchant Ivory Productions, the brainchild of producer Ismail Merchant and director James Ivory, whose work together yielded a prolific 43 movies. While perhaps best known for such iconic period piece offerings as “A Room with a View” (1985), “Maurice” (1987), “Howards End” (1992) and “The Remains of the Day” (1993), the duo was also responsible for many other releases primarily filmed in the US, the UK and India, often with the participation of a “family” of regular contributors, including screenwriter Ruth Prawer Jhabvala and composer Richard Robbins. Their work is now showcased in this insightful documentary from director Stephen Soucy, featuring contemporary and archive interview footage with this team of creatives, along with numerous film clips and the observations of various crew members and a stellar lineup of actors featured in their films, including Emma Thompson, Anthony Hopkins, Vanessa Redgrave, Hugh Grant, Helena Bonham Carter, James Wilby, Rupert Graves, Samuel West and James Fox. However, this offering goes beyond presenting a mere litany of accomplishments, providing an in-depth examination of the sensibilities that characterized this team’s output and the back stories of how these productions came into being (often on shoestring budgets and under rigorous, sometimes-contentious filming conditions). The film also looks at the personal lives of its two principals, who were romantically linked as one of the movie industry’s first gay power couples at a time when such relationships weren’t looked on with the same degree of tolerance that’s in place today. What’s more, much of this material is punctuated with a healthy sprinkling of wry wit, providing viewers with many laugh-out-loud moments, a quality not often seen in documentary releases. Fans of these tremendous talents are sure to enjoy everything that’s on offer here, while those unfamiliar with their work can savor an excellent survey introduction to one of the movie industry’s formidable creative teams, as well as an array of film classics well worth seeing. In an age where cinema has been experiencing its share of letdowns, it’s heartening to see a showcase for the repertoire of what truly great filmmakers are capable of, giving avid moviegoers hope that this is not a declining artform but one that can be revived, one would hope, to match the accomplishments of those who contributed significantly to establishing its richly deserved legacy.

4.  “Remembering Gene Wilder” (USA)

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I find it ironic that sometimes it takes something serious, like a documentary, to showcase the somewhat less than serious abilities of someone gifted at comedy, like actor-writer-director Gene Wilder (1933-2016). But that’s just what viewers can expect from director Ron Frank’s reverent but often-hilarious tribute to this iconic talent, one whose accomplishments in film, on television and on stage haven’t always received the kind of recognition that they deserve. As documentaries go, this offering largely plays it straight in terms of its content and structure, exploring Wilder’s roots in Milwaukee and chronicling his rise to fame, told in chronological sequence. But, despite this conventional approach, “Remembering Gene Wilder” offers viewers much. The film features a number of recent interviews with such collaborators as Mel Brooks, Carol Kane and Eric McCormack, as well as friends Alan Alda and Harry Connick Jr., Turner Classic Movies host Ben Mankiewicz, wife Karen Wilder and an array of Hollywood production professionals. It also includes ample clips from Wilder’s films, including “Bonnie and Clyde” (1967), “The Producers” (1967), “Willy Wonka and the Chocolate Factory” (1971), “Everything You Always Wanted to Know About Sex (But Were Afraid to Ask)” (1972), “Blazing Saddles” (1974), “Young Frankenstein” (1974) and “See No Evil, Hear No Evil” (1989), along with his guest appearances on television’s Will & Grace (2002-2003). And then there’s plenty of archive video and still photograph footage of Wilder’s family, friends, influences and co-stars, those who helped shape him and that he, in turn, helped shape. Most importantly, though, this offering examines what made Wilder unique as an artist and as a private individual, someone known for his singular vision as a comedic (yet vulnerable) actor and as a compassionate, generous colleague toward those he loved and worked with. There’s also a touching segment examining his profound but bittersweet marriage to wife and co-star Gilda Radner (1946-1989), a heartbreaking love story that brought out these personal qualities in abundance and in a very high-profile way. The result is a surprisingly eye-opening look at its subject, revealing sides of Wilder personally and professionally that many outside of his inner circle may not have known. The overall approach of this offering may not be particularly inventive, but the result is well worth a watch nevertheless.

3.  “Your Fat Friend” (USA/UK)

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They say you can never truly understand what it’s like to feel what someone else experiences until you’ve walked a mile in his or her shoes. That’s often been said about many of those in minority communities, and, thankfully, some progress in understanding appears to have been made in those cases over the years. But one segment of society in which little advancement has been made involves those who are appreciably bigger than many in the mainstream (i.e., those who are fat). For some reason, fat folks continue to be systematically marginalized – if not outright derided – in countless ways, and there’s often been little that they can do about these pervasive attacks. Now, however, writer-director Jeanie Finlay’s documentary profile of author/podcaster/fat activist Aubrey Gordon sheds new light on what individuals affected by this condition face on a daily basis. This includes the persistent lack of meaningful accommodations in areas like effective health care, transportation and garment manufacturing, not to mention the ignorant, cruel, short-sighted and insensitive comments made by others, including those who mistakenly think they’re operating from a standpoint of good intentions. The film explores Gordon’s journey from an anonymous (and devastatingly ridiculed) blogger to best-selling author who came out of the closet about her weight circumstances and made public the often-overlooked anguish experienced by people of size. The film holds back little in terms of exposing the unbridled scorn thrust upon her and those who are similarly situated, while simultaneously celebrating the overflowing shower of support bestowed on her by others like her who now feel that there’s someone in their camp to make their feelings and the truth of their circumstances known. The picture also goes on the record exposing the many myths and lies that have been long perpetuated about fat people and the volumes of bad, uninformed advice they have received for decades, particularly from the medical community, many of whose members don’t have a clue when it comes to what they’re talking about. Admittedly, the material covered in the film could be a little better organized at times, especially when it turns redundant, as it does on several occasions. There is also a fair amount of unrelated incidental footage that probably could have been cut without losing much. However, this offering provides a wealth of information on the widely circulated misinformation about fatness, and, as anyone who has endured these conditions – like me, in the interest of full disclosure – can attest, it’s refreshing and liberating to see an advocate step forward who is not afraid to call out those who are hurtful, ignorant and deceitful when it comes to this subject. “Your Fat Friend” draws all of these issues into focus and delivers a polite but undeniably pointed middle finger to those who perpetuate misguided attitudes and ideas that ultimately serve no one – yet end up unintentionally or deliberately hurting so many.

2.  “No Other Country” (Occupied Palestinian Territory/Norway)

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Regardless of how one views the ongoing volatility between Israelis and Hamas in Gaza, there’s another little-known yet equally explosive crisis in the region that has been going on for far longer. This nearly 30-year-old conflict has been quietly but unsettlingly unfolding on the Palestinian Occupied West Bank involving parties not tied to the better-known current conflict, a confrontation that has not received nearly the same level of attention – that is, until the release of this troubling film. Shot over the course of four years, the writing-directorial team of Yuval Abraham, Rachel Szor, Hamdan Ballal and Basel Adra have compiled this shocking documentary about the atrocities that have been relentlessly and mercilessly inflicted upon West Bank Palestinians in the Masafer Yatta region. This collection of approximately 20 small villages was summarily seized by the Israeli government (with the blessing of its courts after a 22-year litigation battle) to develop it as a training ground for tank regiments, an undertaking that has involved the demolition of existing structures and the displacement of the area’s residents, some of whose families had occupied their land for nearly 200 years. Many of those who resisted were forcibly removed, imprisoned or subjected to the heartless, uncompromising wrath of Israeli troops, responses involving bald-faced hatred, severe injury and even death. To make matters worse, the displaced have often had nowhere to go in the wake of these actions, some being forced to live in caves in the adjacent mountains. To be sure, locals have consistently fought back, and some have even attempted to defiantly rebuild the homes and schools they have lost, only to have their hopes dashed by subsequent rounds of sanctioned destruction. It should be noted, as indicated above, that these actions predate the Hamas attacks, so not even retribution can be used as a convenient or “justifiable” excuse for these actions. In light of that, then, can those who profess to be humanitarians realistically call themselves by that name in the wake of an immoral tragedy like this, no matter how much its execution may have been declared legally permissible? Indeed, where is the compassion, the fairness, the justice? This on-the-ground account of events unflinchingly documents this horrific situation, an inexcusable exercise in overreach between the two factions, one that’s impossible to rationalize in the face of vastly uneven odds and especially when the real, previously undisclosed basis behind this land grab is disgracefully revealed. This scathing chronicle, primarily filmed by Palestinian activist Adra and Israeli investigative journalist Abraham, shows the degree of atrocity that has been unleashed in the area, as well as what’s conceivably possible when individuals from two opposing backgrounds begin working cooperatively to expose what’s happening and to concertedly look for a workable solution to stop this inhumane, indefensible madness. “No Other Land” is not an easy watch by any means (sensitive viewers take note), particularly in light of its graphic depictions of violence (some of which, in all honesty, become somewhat repetitive after a while, what some might arguably characterize as overkill). Nevertheless, this Oscar nominee for best documentary feature shines a very bright light on this wholly unacceptable act of barbarity, one that any supposedly civilized society should be completely ashamed of, especially now that the whole world is watching.

1.  “Will & Harper” (USA)

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Friendship is one of those subjects that doesn’t receive nearly enough attention in the movies. Yet, when we look at the many different forms it can take, it certainly provides plenty of fodder for engaging storytelling, given that it’s a topic we can all ultimately relate to. Films that explore particularly fascinating examples of this are among the best, as is the case with the latest documentary release from director Josh Greenbaum, a road trip/“buddy” movie about the friendship between actor Will Farrell and comedy writer Harper Steele. The longtime friends met years ago when they worked together on Saturday Night Live, but things were somewhat different at that time: Harper was Andrew back then, but he had been quietly harboring feelings about what it would be like to transition to become a woman. After years of hiding this consuming secret, in 2020, Andrew made the decision to step forward and become Harper, a revelation she candidly announced in a heartrending message to Farrell and other familars. The announcement admittedly came as a surprise to Farrell, but, given that Steele was his long-tenured compadre, he was naturally supportive. Simultaneously, though, he also wondered, how would a change like this impact the nature of their friendship? They were long accustomed to doing all kinds of “guy things” together, but could that continue with this fundamental shift in their circumstances? That’s what Farrell wanted to find out, so the duo elected to embark on a 16-day cross-country journey from New York to Los Angeles, with a variety of stops in between. The trip provided an opportunity to see how they could relate to one another under the conditions of this new paradigm, as well as for Harper to see if she could still comfortably enjoy and safely participate in the same kinds of activities she engaged in when she still self-identified as a man. The result is an insightful and touching exploration of finding a new friend in an old companion, examining how things have evolved while at the same time being fundamentally unchanged. Along the way, Will and Harper meet up with family, friends, strangers, transgender activists and former colleagues, such as Tina Fey, Tim Meadows, Kristin Wiig and Lorne Michaels. This BAFTA Award nominee and National Board of Review winner also delves into the varying attitudes and levels of acceptance transgender individuals encounter in their new lives, some decidedly uplifting and others stressfully agonizing, and not always in line with expectations either way. “Will & Harper” is thus a heartfelt celebration of friendship with moments that are touching, emotional, funny, silly and revelatory, presenting a wide range of feelings all wrapped up in one affecting package – not unlike what happens in the relationships between all longtime pals. Just because some things change, that doesn’t mean that everything else necessarily has to follow suit, no matter how dramatic the shift may be. But isn’t that what solid friendships are supposed to be all about?

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