The relatively straight-forward coming-of-age tale of Miles Morales, a Brooklyn teenager who takes on the powers and responsibilities of Spider-Man following the death of Peter Parker, gets a remix built around an increasingly absurd parallel dimension plotline that introduces a cast of other Spider-Heroes like Spider-Woman Steinfeld , Spider-Man Noir Nicolas Cage , Peni Parker Kimiko Glen , and, most ridiculously, Spider-Ham John Mulaney , a talking pig in a Spider-Suit. The convoluted set-up is mostly an excuse to cram the movie with rapid-fire jokes, comic book allusions, and dream-like imagery that puts the rubbery CG imagery of most contemporary animated films to shame.
It can be exhausting, particularly in some of the drawn-out action beats, but the unchecked imagination on display is enough to keep the spider-senses tingling. It flirts with parody at points and gleefully crosses over into absurdity in others. Towards the end of the movie, the two main characters -- an ex-mercenary for the Triads named Ito Taslim and his old friend turned rival Arian Uwais -- basically slash at each other's flesh like Itchy and Scratchy, their bodies carrying on long past the point of what conventional medicine would deem possible.
Similarly, a brawl in a butcher shop just goes on and on, like the fight choreographer version of an extended one-liner run in a Judd Apatow movie. Is it overwhelming? But the dedication to mayhem makes this essential viewing for action fans with strong stomachs. Where to see it right now: Stream it on Netflix watch the trailer. The sequel is an even funnier and sillier refinement of the first chapter, ditching some of the heavier elements and going all-in on the gags.
Though other entries in the Marvel Cinematic Universe have been filled with sitcom-ish banter -- and Taika Waititi's Thor: Ragnarok was happy to deflate its own self-important genre trappings -- this is the first one that really plays like a proper comedy. It recalls Ghostbusters in the way it combines special effects and irreverence. Luckily, it's the rare blockbuster with charming human moments that doesn't feel the need to overcompensate with scenes of mass destruction or constantly apologize for its modest scale. It's content with being small. The Ritual , a horror film where a group of middle-aged men embark on a hiking trip in honor of a dead friend, understands the tension between natural beauty of the outdoors and the unsettling panic of the unknown.
The group's de facto leader Luke an understated Spall attempts to keep the adventure from spiralling out of control, but the forest has other plans. Maybe brush up on your Scandinavian mythology before viewing. Like a backpacking variation on Neil Marshall's cave spelunking classic The Descent , The Ritual deftly explores inter-personal dynamics while delivering jolts of other-worldly terror.
It'll have you rethinking that weekend getaway on your calendar. The story follows brothers Justin and Aaron Smith -- played by the unrelated directors -- who grew up in a Southern California cult with connections to UFOs, but when we meet them in the movie's awkwardly paced opening stretch they've escaped, living directionless, dull lives on the outskirts of society. A video cassette the pair receives in the mail leads them back to the compound and the community they left behind, where they begin to question the group's intentions and eventually the laws of time and space.
Circles pop up throughout the movie as a visual motif, centered in wide shots and tossed in the margins of the frame, and the plot itself can resemble a blob of slinkies tied together in knots. Like with Primer or Looper , theory-prone viewers will be tempted to untangle the temporal mess, but Benson and Moorhead are more concerned with creating a mood and delivering an emotional payoff than providing logical answers. Rewinding the loop only reveals so much.
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Long Island year-old Camille Vinberg has a disapproving mother and a yearning to escape the rhythms of her day-to-day existence, so she joins up with an Instagram famous clique of young women posting skate trick videos, memes, and photos. Like Bo Burnham's Eighth Grade , Skate Kitchen is curious about how social media complicates IRL social dynamics, but Moselle isn't looking to condemn behavior or harshly judge her characters.
That laid-back, observational approach can lead to some inert dramatic beats, especially as Camille argues with her mom and pursues a relationship with Jaden Smith's stockroom buddy Devon. Still, the camaraderie between the performers, which appears to be very real , and the skating footage makes this a hang-out movie that more than makes up for the occasional botched trick. Though there's plenty of online screen time, allowing for subtle bits of sharp commentary and mischievous moments of biting satire, the looser style allows the filmmakers to really explore the life and work conditions of their protagonist, rising cam girl Alice Brewer.
We meet her constantly online friends, her aloof but concerned family, and her loyal customers. As you'd imagine, some of those patrons are unnerving, untrustworthy obsessives straight out of a DePalma movie. That type of immersion in the seemingly accurate, hyper-granular details makes the scarier flourishes -- like a terrifying confrontation in the finale between Alice and her evil doppelganger -- pop even more.
In the ripped-from-the-headlines crime melodrama The Mule , the year-old filmmaker plays Earl Stone, an elderly horticulturist who falls on hard times and becomes a drug runner for a Mexican drug cartel, but this isn't a geriatric take on Breaking Bad or an ultra-violent shoot-em-up in the style of this year's loathsome drug war action movies Sicario: Day of the Soldado or Peppermint.
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Instead, Eastwood's patient camera floats across barren American landscapes; his gruff protagonist pauses to enjoy pulled pork sandwiches in local restaurants and beloved oldies on the car stereo along the way. Just don't ask Earl to send you a text message. There are frustrating and galling elements of this genuinely peculiar movie, particularly some of the edgelord-ey humor surrounding race, but Eastwood saves his sharpest critiques for the larger system and his most forceful jabs for the weary old-timer at the story's center.
No one gets away clean. There's a camaraderie and playfulness to the whole admittedly paper-thin enterprise. The story, which follows down-on-his-luck Footlocker employee Dax Howery as he helps Uncle Drew reassemble his now geriatric former streetball teammates for New York's Rucker Classic tournament, is a creaky road-movie set-up that director Charles Stone III, who helmed the '00s basic cable classic Drumline , tricks out with crowd-pleasing basketball sequences, "kids these days" comedy, and poignant interactions between the old-timers.
Even Uncle Drew, paradigm of the old school, can still learn a thing or two; similarly, most film comedies could pick up some lessons from this movie's easy, kind-hearted touch. The twist here is that the story is mostly told from the adults' perspective: Single mother Lucy Mann discovers her daughter has made a quasi-jokey "sex pact" with her two best friends and quickly recruits the friends' parents, the initially reluctant slacker Hunter Barinholtz and the more gung-ho goofball Mitchell Cena , to spoil the evening. Like American Pie and Superbad before it, the script mixes sentimental emotional beats with the requisite gross-out set-pieces, like a scene where Cena drops his pants and butt-chugs beer as a crowd hollers in encouragement.
These movies often live or die depending on the casting; luckily, Blockers features three endearing lead performances, gifted comedic actors playing the teens, and friendly faces like Hannibal Buress and Gary Cole in key small roles. You forgive the occasional groan-worthy line because you're always rooting for the actors -- even when their characters are doing things you probably shouldn't cheer on and definitely shouldn't try at home.
That movie's cast of feckless teens were brutally and systematically picked off by the spirit of a girl they bullied, and the script found dark humor and cheesy tension in watching them die. The bleaker sequel, Unfriended: Dark Web , suggests that our digital lives are not under threat from supernatural forces.
Instead, the movie's protagonist, a driftless twenty-something dude named Matias Woodell who likes to Skype with his friends online, is pursued by a secret society of hackers and trolls that should feel stomach-churning-ly familiar. Many of the scares are ridiculous and the story takes some wildly implausible twists, but, as with the first Unfriended , the hyper-detailed approach to re-creating your average desktop experience makes this a revealing, fascinating snapshot of our current technological moment.
Or should I say screenshot? This adaptation of Kevin Kwan's bestselling novel of the same name is built around a central romance between NYU professor Rachel Chu Wu and mega-wealthy heir Nick Young Golding , but the movie's most potent material concerns the intergenerational struggles between Rachel and Nick's skeptical mother, played with nerve by Yeoh.
Each verbal slight stings; each withering glance leaves a mark. When the two face off over a game of mahjong at the film's conclusion, it's as gripping as any white-knuckle gambling movie showdown. Even in this rarified rom-com world, the stakes are high and the actresses are unquestionably playing for keeps. Released: December 6 Cast: Paula Niedert Elliott, Chris Elliott, Abby Elliott, Bridey Elliott Director: Bridey Elliott Why It's Great: Casting your own famous family as thinly veiled stand-ins for themselves and shooting a movie at your parents beautiful Connecticut home is the type of indulgent indie movie cliche that might send movie-goers running for the exits.
Luckily, Bridey Elliott has a secret weapon: her family is blazingly, riotously funny. So, it's no surprise that Chris Elliott and Abby Elliott excel at playing gleefully obnoxious versions of themselves, with Chris telling crude jokes while drinking his life away and Abby unleashing brutal one-liners while stressing out about her upcoming wedding. But Bridey's smartest move in concocting this familial ghost story was pushing those two scene-stealers to the margins, taking a supporting role herself, and focusing on her mother, Paula Niedert Elliott, who plays the titular Clara.
More than a little unhinged, Clara finds herself neglected by her show-biz-obsessed offspring and dismissed by her bitter husband, but Bridey's roving camera sees her with poignant and hilarious clarity. Whether she's watching a dog video on her phone, searching for a missing shoe, or leaving a heartbreakingly sweet voicemail for a wine company, Clara is a star, the type of complex woman Hollywood too often ignores.
As the night spirals out into a ritualized bender right out of a Eugene O'Neill play -- but with way more stoned Haley Joel Osment -- the movie takes flight.
As geriatric felon Forrest Tucker, the former Sundance Kid gets to lay on the charm in his signature low-key manner, flirting with bank tellers and building a relationship with his no-nonsense love interest Jewel Spacek , and Lowery shoots it all in a grainy, nostalgic style that stops just short of coming off as too precious. Towards the end, Lowery even incorporates footage of Redford from old movies for a moving, clever montage. There's very little grit or tension to this story -- Tucker doesn't like using his titular gun and the grizzled cop chasing him, played by a typically drowsy Affleck, isn't exactly obsessed with catching him -- but that ephemeral quality works to Lowery's advantage as a filmmaker.
Even when the movie feels like it might float away, you want to float with it. Grant, Dolly Wells, Jane Curtin Director: Marielle Heller The Diary of a Teenage Girl Why It's Great : The dark interiors of early '90s Manhattan bars, a terrain free of smartphones and conversations about whatever happened on Twitter that day, are the lovely, comforting backdrop of this literary con artist story. Like a more landlocked take on Catch Me If You Can , Heller's endlessly perceptive true crime comedy understands the care and affection that goes into meticulously creating the perfect fake.
Israel has a gift, one that the larger publishing apparatus fails to recognize, and so does McCarthy: She draws the viewer into thrill and desperation of each transaction. Shot with the bright colors of a 90s music video and the roving camera movements of a Michael Bay blockbuster, Coralie Fargeat's ultra-slick reinvention of the rape-revenge sub-genre follows Jen Lutz as her romantic getaway with a married man Janssens is interrupted by his two loathsome hunting buddies. One of the friends assaults Jen, violating her in the morning after a night of partying, and later the three men push her off a cliff, leaving her to die in the sweltering desert heat.
She springs back to life. Her violent retribution is often simultaneously stomach-churning and ridiculous -- the hallways of the chic rented house get turned into a bloody slip-and-slide by the ending -- but the performers and the filmmakers are zeroed in on a shared sensibility that does more than simply shock and provoke.
The trailers and marketing made it look like yet another studio comedy in the post-Apatow mold, filled with improv-juiced banter, zingy pop culture references, and predictable emotional beats about battling middle-age ennui. The slapstick sequences have the visual wit and spatial playfulness of an Edgar Wright movie, especially as the movie speeds into its twist-filled conclusion.
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McAdams in particular sells each joke with a studied earnestness. Like the movie surrounding her, she attacks even the dumbest task with surprising rigor. Gemini , which stars Kirke as a personal assistant to Kravitz's famous actress, is set in the same wealthy universe of fame-adjacent underlings, but instead of taking a supernatural route it stumbles down the path of a low-key stoner noir. Katz's version of a murder mystery in Los Angeles isn't sweaty or sunny. He envisions the city as a chilly, neon-drenched world of small transactions, petty squabbles, and the occasional violent outburst.
It's the perfect backdrop for this sly comedy of careful negotiation. There was little in his previous two directorial efforts, the indies Brief Interviews With Hideous Men or The Hollars , that suggested Jim from The Office was a budding genre filmmaker. And yet: A Quiet Place is a top-notch roller coaster in the Spielberg-ian mold. After sound-hating monsters take over the planet, a husband Krasinski and wife Blunt live a life of extreme caution with their two children, protecting them in a carefully maintained world of hushed whispers and relative silence.
As you'd guess, the monsters have other plans.
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The political allegory component of the story isn't particularly compelling -- it's been interpreted as a commentary on the hysteria of Trump era -- but as a movie about parental anxieties, it's steely and effective. This Netflix-funded set of old West stories gets off to an odd start -- the chapter starring the title character played by Tim Blake Nelson is a little ridiculous and the Franco-led bank robbery tale is too brisk -- but soon the movie finds its footing.
In addition to finding death, cruelty, and despair in the West, the Coen's also find romance in the people and beauty in the landscape. What's the best chapter? In a movie that's not afraid to make you laugh or make you ponder some deep existential questions , the moments that leave you misty-eyed are what make it rocky terrain worth exploring. Kayla Fisher is in many ways a typical teenage outcast: She endlessly scrolls through her carefully maintained social media feeds, desperately wants to be liked by her peers, and physically recoils at every remark from her well-meaning father played with an almost supernatural tenderness by Hamilton.
That can lead to some beautiful places -- a social media binge scored to Enya's "Orinoco Flow" will be recognizable to many -- but it can also lead to some clumsy, obvious symbolism. When Kayla breaks her phone's glass screen and then pricks her finger while trying to scroll, it's hard not to roll your eyes.
You see, technology can deliver pleasure and pain! But once the tears start flowing in the film's moving final third, you'll likely overlook those flaws.
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What's a movie about puberty without some growing pains? The Favourite , which follows Queen Anne of Great Britain and Ireland Colman, who won a Best Actress Oscar for her performance and the two women Weisz and Stone vying for her attention and affection, is aware of that tension and appropriately plays it for brutal laughs. Stone's newly arrived Abigail manipulates and humiliates herself to acquire power; Weisz's more experienced Lady Sarah schemes and triangulates to preserve her status; Colman's easily irritated Queen Anne simply lets her whims dictate her actions.
Watching the three of them clash is a vulgar pleasure. As was the case with his previous arthouse hit The Lobster , Lanthimos's gift for finding the absurd in human cruelty is at its most potent when it remains in a deadpan, almost affect-less comic register. Despite the endlessly game performances from the three leads, the movie wobbles in its second half as the story builds to an obtuse conclusion.
The claustrophobia of the court -- and the general disinterest in looking too far beyond the castle walls -- becomes a liability as the movie attempts to arrive at larger truths. And yet, the story of Isabelle, a middle-aged French artist Binoche struggling through a series of frustrating and alienating romantic encounters, is unapologetically, swooningly romantic. Many of the scenes between the endlessly charming Binoche and her often odious suitors, like a petty lout who demands "gluten-free olives" at a bar, are poignantly, wickedly funny.
Denis's simultaneously sensual and heady film, which is loosely based on a philosophical work by the writer Roland Barthes, is about being stuck in behavioral patterns. Many of the conversations in the movie are circular, with flirtation and blame getting passed around in a verbal dance, and Isabelle always appears on the verge of a major emotional or psychological breakthrough. She remains open to life's possibilities, a mindset that also helps one enjoy this calming and loopy movie.
The pair are back in high-octane Agatha Christie mode with The Commuter , a mystery that begins with Farmiga's chatty passenger Joanna presenting Neeson's haggard ex-cop and loyal transit-enthusiast of the title Michael MacCauley with a bizarre hypothetical: If you could perform a seemingly insignificant task that would have disastrous consequences for another commuter in exchange for a generous financial reward, would you do it?
It's a convoluted twist on Richard Matheson's "Button, Button" short story, which was adapted into a classic Twilight Zone episode and the bonkers Richard Kelley movie The Box , but Collet-Serra is less interested in the moral dilemma. Instead, he simply wants to strip the giant locomotive -- and his star's lumbering frame -- for parts, finding Hitchcockian tension in each padded seat, empty corridor, and nervy patron.
It's action filmmaking as controlled demolition -- and the best train potboiler since Steven Seagal's Under Siege 2: Dark Territory. What makes this movie tick? When her elderly mother dies, Annie's family, which includes Byrne as her distant husband, Wolff as her aloof son, and Shapiro as her troubled daughter, is thrown into a crisis. For its first 40 minutes or so, the film plays like a strange psychodrama in the vein of Michael Haneke, but then an unspeakable event occurs about halfway through and the tension skyrockets.
She sleepwalks and has terrifying nightmares; a supernatural force has descended upon the house. Aster directs the hell out of the movie's harrowing final stretch , which will likely leave some viewers scratching their heads, but Collette is the real MVP, throwing herself into a demanding role with unwavering commitment. It's also a form of socializing, with the long gaps between tricks serving as a time to crack jokes, kill time, and make friends.
One member of the trio is actually the filmmaker Bing Liu, and his level of involvement in the narrative changes as the film progresses and the years pass. What starts as a movie about slackers lighting off fireworks and drinking beers on rooftops becomes a nuanced, carefully modulated study of domestic abuse, particularly the way violence cycles through generations of family members. It's a thoughtful film about race and class, too. Liu doesn't announce his ambitions or telegraph his themes right from the jump; he doesn't abandon his curiosity about skateboarding to chase these bigger ideas, either.
Instead, he allows our knowledge of the lives and histories of the skaters to inform the often beautiful footage of their movements. By the end, both skating and filmmaking are revealed as forms of therapy. Reportedly shot through the lens of an iPhone, which gives the film a discombobulating and flat look, Unsane follows Sawyer Valentine Foy as she gets checked into a hospital's psych ward against her will and battles with an insurance system that wants to drain her bank account with little regard for her wellbeing.
You could call it a quasi-sequel to Soderbergh's pharma-thriller Side Effects. The reveals that come in the third act will leave some viewers shaking their heads in disbelief -- the story sets up narrative turns it doesn't follow through on -- but this isn't a movie looking to be reduced to a single twist or slogan.
It's a story as layered, inscrutable, and prickly as Foy's commanding lead performance. You can't look away. Or, perhaps more accurately, it's a re-creation of its former self, which makes it fertile ground for director Robert Greene, who specializes in projects that blur the line between reality and fiction. In examining the Bisbee deportation of -- a shameful chapter in America's labor history, when 1, striking miners were forced out of the town under threat of violence -- he's found a subject that perfectly matches his larger philosophical concerns and aesthetic tendencies.
More importantly, it also allows him to expand his scope; this is a big, wildly ambitious movie. It builds toward a dramatic re-staging of the deportation, with the present day citizens of the town playing the roles of workers and deputized anti-union police force. Bisbee '17 is timely in the ways it interrogates notions of freedom, identity, and justice. In Greene's vision of the world, those who don't learn from history are bound to not just repeat it -- they reenact it, too. The story of Ron Stallworth, the first black detective hired at a Colorado Springs precinct in the early s, is relatively straightforward on the surface -- the cop, skillfully played by Washington , infiltrates the local chapter of the Klu Klux Klan by phone and attempts to gather intel on the organization -- but Lee's approach is complicated.
Often, the film plays like the pilot episode of a TV show given an essayistic overhaul. In addition to drawing connections to cinematic history, from Gone with the Wind and Birth of a Nation to Super Fly and Cleopatra Jones , he makes more than a handful of knowing nods to the political present, having characters mimic the catchphrases of President Donald Trump and ending the film with actual footage from last year's Unite the Right rally in Charlottesville, Virginia.
Lee's message is proudly, defiantly blunt; his stylistic approach is multi-layered and tonally ambitious. The most powerful, absorbing stretches of the movie are literally speeches: Civil Rights leader Kwame Ture Corey Hawkins from Straight Outta Compton addresses a crowd of student radicals; later, an old man Harry Belafonte describes a horrific lynching. Lee lets these and other moments linger, allowing the viewer to sit with the language and consider the broader implications. But Happy as Lazzaro , a winsome and beautiful fable concerning the residents of a hilly town in the Italian countryside, uses the tools of the genre to poke and prod at provocative and contemporary conversations about exploitation, labor, and class.
Like an enchanting mix of Being There and The Village , the movie tells the story of Lazzaro newcomer Tardiolo , a happy-go-lucky fool with a great work ethic and a tendency to go blank and stare off into the distance. He's being taken advantage, particularly by the obnoxious son of the village's secretive owner, but he doesn't seem to mind. His face remains placid, a surface for the locals and the audience to project their feelings onto. Even when the movie's big twist arrives and the circumstances become bleaker, Lazzaro's jolly demeanor never breaks.
In the same way, director Alice Rohrwacher's control of the movie's tricky tone doesn't falter. The contrast between the two vocal deliveries is part of what makes the film's Oscar-winning power ballad " Shallow " so immediately alluring, the sonic equivalent of your goosebumps getting goosebumps, and that same tension drives the film's most compelling scenes.
Yes, that includes the meme-able moments. A claustrophobic movie about fame, A Star Is Born works best in its tightly focused and completely captivating first hour, which explores the creative and romantic spark of Jackson and Ally's relationship. Cooper makes you believe in the fantasy of a black SUV providing a portal to another life of jam-packed festival stages, booze-soaked backstage parties, and tightly choreographed SNL performances. The second half doesn't exactly burn out -- the lead performers are too locked in -- but the flame flickers as the story hits the requisite notes dictated by the past.
Even with these new voices, the song remains the same. A technical craftsman of the highest order, the Children of Men and Gravity director, who picked up his second Best Director Oscar for the film, has an aesthetic that aims to overwhelm -- with the amount of extras, the sense of despair, and the constant whir of exhilaration -- and this autobiographical portrait of kind-hearted maid Cleo Aparicio caring for a family in the early s has been staged on a staggering, mind-boggling scale.
What are these different components in the painstakingly composed shots actually saying to each other? That remains harder to parse.
Still, there's an image of Cleo and the family eating icecream together after a devastating dinner in the foreground while a wedding takes place in the background that I haven't been able to shake since I saw it. The movie is filled with compositions like that, tinged with careful ambiguity and unresolvable tensions. Released: May 4 Cast: Vicky Chen, Zhou Meijun, Shi Ke, Liu Weiwei Director: Vivian Qu Trap Street Why it's great: A moment of inadvertent electronic surveillance, witnessed by a motel cleaner filling in for the receptionist at the front desk, drives the plot of this tense, incisive drama about sexual abuse and power dynamics in China.
Though pushy cops, shady businessmen, and low-rent criminals populate the film, Qu's curious camera remains focussed on her vulnerable, searching protagonists. It's thoughtful, unflashy filmmaking executed on a high level. When Stalin dies in the middle of the night, his middling underlings -- including Nikita Khrushchev Buscemi Georgy Malenkov Tambor , and Vyacheslav Molotov Palin -- are left with organizing his state funeral and scurrying to consolidate power.
The put-down's are as riotously funny as you'd expect -- "You smell like rendered horse, you burning asshole! Iannucci remains a master of finding humor in the bleakest scenarios imaginable, exposing the petty human foibles behind history's greatest horrors. Many of us casually refer to our phones as our life lines, but for actress Storm Reid in psychological thriller Don't Let Go, that term is literal. In the. Between Two Ferns is known for its acerbic and irreverent interviews with celebrities ranging from Brad Pitt to Barack Obama, but now, this bitesize talk.
Queer icon and soon-to-be Charlie's Angel Kristen Stewart was reportedly told to hide her sexuality so she could score bigger film roles, the actor told. Every 27 years, a shape-shifting entity known as IT crawls out of the sewers to prey on the children of Derry, Maine. IT plasters himself with an. Women who have been wronged in the past by men in positions of power are speaking openly. The thing about monsters is that they derive their power from the unknown. That shadow you can. Honey Boy. How To Build A Girl. But, many in the U. What does the latest installment of Blumhouse and Hulu's movie anthology series Into the Dark have in common with Ari Aster's brightly-lit horror flick.