We're only a few months into the year, and Sundance and the Berlin Film Festival have already announced some truly delightful films and performances that are sure to have people talking, from Teyana Taylor's heartbreaking role as single mother fighting for her son to this one from Greta Lee. Or, if you prefer camp-animated robots, the year is already over with fan-favorite M3GAN. Do your part: see them on the big screen to bring the art of cinema to life. (But we won't be mad if we sneak into some couch showings.) Here, we take a look at the best movies of the year so far, and a look at some we're looking forward to. impatience.
January
One Fine Morning
We're only a few months into the year, and Sundance and the Berlin Film Festival have already announced some truly delightful films and performances that are sure to have people talking, from Teyana Taylor's heartbreaking role as single mother fighting for her son to this one from Greta Lee. Or, if you prefer camp-animated robots, the year is already over with fan-favorite M3GAN. Do your part: see them on the big screen to bring the art of cinema to life. (But we won't be mad if we sneak into some couch showings.) Here, we take a look at the best movies of the year so far, and a look at some we're looking forward to. impatience.
M3GAN
You'd be right to think that there's no way a movie about a robot doll that does TikTok dance moves between murders could be one of the best of the year. But if you're looking to have a good time at the movies, then M3GAN has it in abundance. (When I visited a few weeks after it opened, the theater's reaction to its wacky mix of horror and comedy was strong enough to rival a midnight screening of The Rocky Horror Picture Show.) Special thanks to Allison Williams for his performance as the engineer behind the titular cyborg, delivered with just the right amount of campy confusion, and like Williams, the film knows exactly what it is and tries to be. Leave your prejudices at the door and indulge in the sweet tones of Sia's "Titanium" mad robot. -Liam Hess
Blue Jean
Blue Jean is set in the North East of England in the late 1980s, when Margaret Thatcher's proposed Section 28 legislation helped fuel a growing climate of homophobia in schools. Blue Jean follows a gay teacher, Jean (played in a stunning performance by Rosy McEwen). lives a double life. First, she must negotiate how to handle the arrival of a queer student who seems to have a sixth sense for Jean's sexuality, and then the resulting tensions with her friend over the hostility of the world around her. A moving and atmospheric character study of the protagonist's struggle to come to terms with her identity, and deftly interwoven with nods to the wider global ramifications of Jean's story, the film marks McEwen and director Georgia Oakley as serious emerging talents. —L.H.
Saint Omer
From the opening scene of a woman and baby walking on the beach in the menacing moonlight, Saint Omer draws you into its mysterious and elegant world and holds you there until the very last shot - you instinctively know that it is. is the work of a master operator. That talent is Alice Diop, the French documentary filmmaker who won the Silver Lion at the Venice Film Festival last year for her feature debut. The two protagonists meet the sensitive gaze of Diop, Kayije Kagame (as a journalist obsessed with a grim murder trial and traveling to a town in the region to see how it unfolds) and Guslagie Malanda (as a woman who appears onstage to explain how they murder their own 15-month-old daughter and leave her on the beach), whose delicate performances throughout the extended, dialogue-filled audience scenes make this one of the most compelling films ever. 'year. Saint Omer tackles a handful of important themes: loneliness, motherhood, race, and justice, but the sweetness with which she explores them is as compelling as the themes themselves.
Infinity Pool
“We are in an isolated island nation, in a highly guarded luxury resort, where a couple of wealthy tourists – handsome and restless – are on vacation,” wrote Taylor Antrim in her review for Infinity Pool. "There was an air of menace in the empty streets of the city, the signs of riots are barely held back." uh oh What unfolds in this fever dream of a horror movie by Brandon Cronenberg (son of author David Cronenberg) is for strong stomachs. Starring Alexander Skarsgärd as the novelist, Cleopatra Coleman as his wife, and Mia Goth as a guest who vacations in much darker territory.
February
Baby Ruby
As author Liz Appel wrote in an interview with playwright-screenwriter Bess Wohl in January, Baby Ruby is a film between genres: "On the one hand, it's a simple horror film, with a spooky mid-century modern mansion." Wald and a very handsome husband. On the other hand, it's a scathing commentary on the realities of being a mother in America. The film is an otherworldly psychological thriller inspired by the daily struggles of new parent Kit Harington.
Return to Seoul
Quirky and unexpectedly powerful, Return to Seoul tackles familiar themes (identity and orientation) through a refracted lens. It centers on 25-year-old Freddie, who was born in South Korea but was put up for adoption by French parents as a baby, and is portrayed by newcomer Park Ji-Min as confident and fearful. Freddie finds himself in Seoul seemingly by accident, searching for his biological parents in the same random spirit. The character defies all stereotypes: she is calm but poorly educated, speaks only French (a little broken English) and is not afraid of chaos. It's not entirely likable, and the film, written and directed by young French filmmaker Davy Chou, wisely confronts Freddie on her own terms without judging or pitying her. "Return to Seoul" jumps in time, charting Freddie's journey to adulthood and a connected sense of self. It's a patient film that deepens over time, and the ending is surprisingly human. –Taylor Antrim
The Quiet Girl
I was intrigued and then blown away by this quiet and charming Irish film, which earned a surprise International Feature Film nomination at the 2023 Oscars. Based on the story "Foster" by Claire Keegan, the story follows a nine-year-old girl year-old named Cait who is sent by her overwhelmed and neglectful parents to stay with close childless relatives in the Irish countryside for the summer. It's a simple story of loneliness and conflicting needs, but it fills with soul and never turns into tearful sweetness. Young star Catherine Clinch has a whole world written on her silent, expressive face, and the middle-aged couple who care for her (played by Carrie Crowley and Andrew Bennett) exude incredible compassion even as they struggle with the Family circumstances and commitments are reduced. I challenge you not to be moved to tears at the end. - ARMY OF RESERVE.
March
Palm Trees and Power Lines
A disturbing film about seduction, manipulation and power that depicts a summertime relationship between 17-year-old Lea, played by newcomer Lily McInerny, with natural trepidation, and 34-year-old Tom (Jonathan Tucker), who takes advantage of she bored without themes. Set in the sprawling suburb of the American Southwest, filmmaker Jamie Dack's debut film perfectly captures the youthful longing and vulnerability it exposes (especially) to young women. - ARMY OF RESERVE.
Luther: The Fallen Sun
British police show Luther brought Idris Elba into the mainstream through five outrageously dark (and increasingly ridiculous) seasons on the BBC. The titular detective John Luther was a well-known figure (restless, brilliant, irresistibly handsome) and a cliché for an anti-hero, but not all clichés are inhabited by an actor as attractive as Elba. The show unfolded (with the demonic help of Ruth Wilson as a psychopath) as a sort of corny diversion. And now it's getting the feature film treatment thanks to Netflix. In The Fallen Sun, Luther is brought to prison and organizes an escape to prevent a brutal serial killer from terrorizing London. Luther has been a guilty pleasure since 2010; At this point, you are either in or out. - ARMY OF RESERVE.
A Thousand and One
One Thousand and One is filmmaker A.V. Rockwell, who won the Grand Jury Prize at Sundance in January. It stars Teyana Taylor as Inez, a mother who steals her son Terry from foster care and raises him in Harlem during New York's tough times in the 1990s and early 2000s. Taylor brings a natural authenticity to a difficult role: an essentially survival story of a black woman who dedicates her life to a gifted son charged with a horrific history. Atmospheric, dark and heartbreaking, with a standout performance from its lead actor that's sure to be a buzz this awards season. - ARMY OF RESERVE.
A Good Person
Florence Pugh stars in A Good Person as Alison, a young pharmaceutical saleswoman whose life is turned upside down when her car crashes and accidentally kills its passengers, a couple thought to be her future in-laws. The engagement is broken and Alison soon descends into despair and addiction. Much of the film is about his struggle to pull himself together, with Morgan Freeman playing his unlikely and somewhat hesitant leader. As we wrote about Pugh in our cover story, the film offers "a message of hope about the power of redemption."
Read Also : Where can I watch Dungeons and Dragons honor among thieves?
White Clover Markets
We're only a few months into the year, and Sundance and the Berlin Film Festival have already announced some truly delightful films and performances that are sure to have people talking, from Teyana Taylor's heartbreaking role as single mother fighting for her son to this one from Greta Lee. Or, if you prefer camp-animated robots, the year is already over with fan-favorite M3GAN. Do your part: see them on the big screen to bring the art of cinema to life. (But we won't be mad if we sneak into some couch showings.) Here, we take a look at the best movies of the year so far, and a look at some we're looking forward to. impatience.
January
One Fine Morning
We're only a few months into the year, and Sundance and the Berlin Film Festival have already announced some truly delightful films and performances that are sure to have people talking, from Teyana Taylor's heartbreaking role as single mother fighting for her son to this one from Greta Lee. Or, if you prefer camp-animated robots, the year is already over with fan-favorite M3GAN. Do your part: see them on the big screen to bring the art of cinema to life. (But we won't be mad if we sneak into some couch showings.) Here, we take a look at the best movies of the year so far, and a look at some we're looking forward to. impatience.
M3GAN
You'd be right to think that there's no way a movie about a robot doll that does TikTok dance moves between murders could be one of the best of the year. But if you're looking to have a good time at the movies, then M3GAN has it in abundance. (When I visited a few weeks after it opened, the theater's reaction to its wacky mix of horror and comedy was strong enough to rival a midnight screening of The Rocky Horror Picture Show.) Special thanks to Allison Williams for his performance as the engineer behind the titular cyborg, delivered with just the right amount of campy confusion, and like Williams, the film knows exactly what it is and tries to be. Leave your prejudices at the door and indulge in the sweet tones of Sia's "Titanium" mad robot. -Liam Hess
Blue Jean
Blue Jean is set in the North East of England in the late 1980s, when Margaret Thatcher's proposed Section 28 legislation helped fuel a growing climate of homophobia in schools. Blue Jean follows a gay teacher, Jean (played in a stunning performance by Rosy McEwen). lives a double life. First, she must negotiate how to handle the arrival of a queer student who seems to have a sixth sense for Jean's sexuality, and then the resulting tensions with her friend over the hostility of the world around her. A moving and atmospheric character study of the protagonist's struggle to come to terms with her identity, and deftly interwoven with nods to the wider global ramifications of Jean's story, the film marks McEwen and director Georgia Oakley as serious emerging talents. —L.H.
Saint Omer
From the opening scene of a woman and baby walking on the beach in the menacing moonlight, Saint Omer draws you into its mysterious and elegant world and holds you there until the very last shot - you instinctively know that it is. is the work of a master operator. That talent is Alice Diop, the French documentary filmmaker who won the Silver Lion at the Venice Film Festival last year for her feature debut. The two protagonists meet the sensitive gaze of Diop, Kayije Kagame (as a journalist obsessed with a grim murder trial and traveling to a town in the region to see how it unfolds) and Guslagie Malanda (as a woman who appears onstage to explain how they murder their own 15-month-old daughter and leave her on the beach), whose delicate performances throughout the extended, dialogue-filled audience scenes make this one of the most compelling films ever. 'year. Saint Omer tackles a handful of important themes: loneliness, motherhood, race, and justice, but the sweetness with which she explores them is as compelling as the themes themselves.
Infinity Pool
“We are in an isolated island nation, in a highly guarded luxury resort, where a couple of wealthy tourists – handsome and restless – are on vacation,” wrote Taylor Antrim in her review for Infinity Pool. "There was an air of menace in the empty streets of the city, the signs of riots are barely held back." uh oh What unfolds in this fever dream of a horror movie by Brandon Cronenberg (son of author David Cronenberg) is for strong stomachs. Starring Alexander Skarsgärd as the novelist, Cleopatra Coleman as his wife, and Mia Goth as a guest who vacations in much darker territory.
February
Baby Ruby
As author Liz Appel wrote in an interview with playwright-screenwriter Bess Wohl in January, Baby Ruby is a film between genres: "On the one hand, it's a simple horror film, with a spooky mid-century modern mansion." Wald and a very handsome husband. On the other hand, it's a scathing commentary on the realities of being a mother in America. The film is an otherworldly psychological thriller inspired by the daily struggles of new parent Kit Harington.
Return to Seoul
Quirky and unexpectedly powerful, Return to Seoul tackles familiar themes (identity and orientation) through a refracted lens. It centers on 25-year-old Freddie, who was born in South Korea but was put up for adoption by French parents as a baby, and is portrayed by newcomer Park Ji-Min as confident and fearful. Freddie finds himself in Seoul seemingly by accident, searching for his biological parents in the same random spirit. The character defies all stereotypes: she is calm but poorly educated, speaks only French (a little broken English) and is not afraid of chaos. It's not entirely likable, and the film, written and directed by young French filmmaker Davy Chou, wisely confronts Freddie on her own terms without judging or pitying her. "Return to Seoul" jumps in time, charting Freddie's journey to adulthood and a connected sense of self. It's a patient film that deepens over time, and the ending is surprisingly human. –Taylor Antrim
The Quiet Girl
I was intrigued and then blown away by this quiet and charming Irish film, which earned a surprise International Feature Film nomination at the 2023 Oscars. Based on the story "Foster" by Claire Keegan, the story follows a nine-year-old girl year-old named Cait who is sent by her overwhelmed and neglectful parents to stay with close childless relatives in the Irish countryside for the summer. It's a simple story of loneliness and conflicting needs, but it fills with soul and never turns into tearful sweetness. Young star Catherine Clinch has a whole world written on her silent, expressive face, and the middle-aged couple who care for her (played by Carrie Crowley and Andrew Bennett) exude incredible compassion even as they struggle with the Family circumstances and commitments are reduced. I challenge you not to be moved to tears at the end. - ARMY OF RESERVE.
March
Palm Trees and Power Lines
A disturbing film about seduction, manipulation and power that depicts a summertime relationship between 17-year-old Lea, played by newcomer Lily McInerny, with natural trepidation, and 34-year-old Tom (Jonathan Tucker), who takes advantage of she bored without themes. Set in the sprawling suburb of the American Southwest, filmmaker Jamie Dack's debut film perfectly captures the youthful longing and vulnerability it exposes (especially) to young women. - ARMY OF RESERVE.
Luther: The Fallen Sun
British police show Luther brought Idris Elba into the mainstream through five outrageously dark (and increasingly ridiculous) seasons on the BBC. The titular detective John Luther was a well-known figure (restless, brilliant, irresistibly handsome) and a cliché for an anti-hero, but not all clichés are inhabited by an actor as attractive as Elba. The show unfolded (with the demonic help of Ruth Wilson as a psychopath) as a sort of corny diversion. And now it's getting the feature film treatment thanks to Netflix. In The Fallen Sun, Luther is brought to prison and organizes an escape to prevent a brutal serial killer from terrorizing London. Luther has been a guilty pleasure since 2010; At this point, you are either in or out. - ARMY OF RESERVE.
A Thousand and One
One Thousand and One is filmmaker A.V. Rockwell, who won the Grand Jury Prize at Sundance in January. It stars Teyana Taylor as Inez, a mother who steals her son Terry from foster care and raises him in Harlem during New York's tough times in the 1990s and early 2000s. Taylor brings a natural authenticity to a difficult role: an essentially survival story of a black woman who dedicates her life to a gifted son charged with a horrific history. Atmospheric, dark and heartbreaking, with a standout performance from its lead actor that's sure to be a buzz this awards season. - ARMY OF RESERVE.
A Good Person
Florence Pugh stars in A Good Person as Alison, a young pharmaceutical saleswoman whose life is turned upside down when her car crashes and accidentally kills its passengers, a couple thought to be her future in-laws. The engagement is broken and Alison soon descends into despair and addiction. Much of the film is about his struggle to pull himself together, with Morgan Freeman playing his unlikely and somewhat hesitant leader. As we wrote about Pugh in our cover story, the film offers "a message of hope about the power of redemption."
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