The commandant of Auschwitz, Rudolf Höss, and his wife, Hedwig, strive to build a dream life for their family in a house and garden next to the camp.
Director: Jonathan Glazer
Cast: Christian Friedel, Sandra Hüller, Ralph Herforth, Daniel Holzberg, Sascha Maaz, Freya Kreutzkam
Release Date: February 2, 2024
Genre: Drama, History, War
Rated PG-13 for thematic material, some suggestive material and smoking.
Runtime: 1h 45m
Review:
Jonathan Glazer's The Zone of Interest is a fascinating study in subtle insinuation of horrific events juxtaposed against the seemingly mundane. Glazer's distinctive style gives the film an almost clinical detachment from the central family and characters as the audience follows their day to day lives. It’s unnervingly routine even as smatterings of screams and gunshots linger in the background as the family enjoys parties or birthday celebrations. Small tidbits or comments from the family members as the film progresses exemplifies the level of causal complicity to horror show playing out over the walls. Christian Friedel and Sandra Hüller play the Höss couple with a lived in authenticity of a pair of people who have been together for a decent amount of time. If not for the discussions about building a new crematorium or rifling through people's luxurious belongings from the camp, they'd feel like an average couple trying to raise their kids. The film doesn't shy away from the fact that the evil seeps into the aforementioned children even if they don't have direct exposure to it. The film is methodical in its approach which may not make it the most accessible experience for the causal movie goer since it doesn't hold your hand and its finale is sure to confounding its share of viewers. The Zone of Interest isn't an easy film for a variety of reasons, but it is the kind of film that will linger in your mind long after you've watched it.
In 1972, a Uruguayan flight crashes in the remote heart of the Andes, forcing survivors to become each other's best hope.
Director: J. A. Bayona
Cast: Enzo Vogrincic, Matías Recalt, Agustín Pardella, Tomas Wolf, Diego Vegezzi, Esteban Kukuriczka, Francisco Romero, Rafael Federman, Felipe González Otaño
Release Date: December 22, 2023
Genre: Adventure, Drama, History, Thriller
Rated R for violent/disturbing material and brief graphic nudity.
Runtime: 2h 24m
Review:
J. A. Bayona’s Society of the Snow is a harrowing retelling of the 1972 Uruguayan flight disaster which strips away the gloss of previous adaptations and replaces it with grim authenticity. Bayona's film is a visceral experience on multiple levels as he places you in firmly in the life or death situation these people experienced. He wastes very little time with quick introductions at the airport serving as the entryway into the film and moving on to jolting recreation of the crash. Once on location, portions of the film were shot in the actual location, he uses the environment and elements to create a beautiful but unforgiving setting. It’s a masterstroke that makes the mountains and elements an ethereal but ominous entity unto itself. The ensemble cast each deliver strong committed performances throughout with each doing the most with their screen time. Enzo Vogrincic's Numa Turcatti is the closest the film offers as a main character, with his voiceover giving the film a meditative approach to their struggle for survival and the legacy of those lost. There's a tangible sense that Bayona intends to give the survivors and those that lost their life during the tragic events their due in respectful manner. There's very little levity here as the story is focused on the most basic levels of survival, never shying away from the physical toll the experience took on the individuals with the cast going through a similar transformation. It’s stark, impactful and makes the rescue land with an earn sense of veracity with the film's latter moments serving as a mournful rumination on the survivor's guilt. Society of the Snow proves to be a raw, authentic examination of the survivor's will to live in the most impossible of situations.
Despite an amazing first date, Bea and Ben's initial attraction quickly turns sour. However, when they unexpectedly find themselves at a destination wedding in Australia, they pretend to be the perfect couple to keep up appearances.
Director: Will Gluck
Cast: Sydney Sweeney, Glen Powell, Alexandra Shipp, GaTa, Hadley Robinson, Michelle Hurd, Dermot Mulroney, Darren Barnet, Bryan Brown, Rachel Griffiths
Release Date: December 22, 2023
Genre: Comedy, Romance
Rated R for language throughout, sexual content and brief graphic nudity.
Runtime: 1h 43m
Review:
Anyone but You is a fairly paint by the numbers rom-com that toys with being a raunchier romp before settling into the usual genre clichés that we've seen plenty of times before. To his credit, Will Gluck delivers a slick looking, breezy film that unabashedly uses Shakespeare's Much Ado About Nothing as its basic template while occasionally lifting full lines of dialogue from the play. It’s an interesting choice that never works since those moments are played off as a running joke with the characters stating they just made up the rather robust bit of dialogue lifted from the Bard. It would have been an interesting approach if they'd leaned into it instead of just sporadically shoehorning it randomly with little pretext or payoff. The film does something similar with its random forays into raunchy territory while never committing to it. Paired with the random Shakespearean lines, the film never finds its own flow or rhythm since everything in between is overly familiar and broad. Gluck has proven capable of making a memorable genre film like Emma Stone's Easy A but this film relies far too heavily on tired tropes. It’s a shame since the cast seems up for pretty much anything especially the overly attractive onscreen couple. Sydney Sweeney and Glen Powell are clearly having fun with the material which makes the film an easy watch even if decidedly forgettable. Sweeney and Powell have solid chemistry, but you never buy the fact that the characters supposedly have a certain level of disdain for each other which makes it readily apparent they'll end up together. The supporting cast is made up of familiar faces like Dermot Mulroney, Rachel Griffiths, Michelle Hurd and Bryan Brown but the film doesn't take advantage of the talent instead being mostly satisfied with them delivering broad strokes of comedy. It all leaves Anyone but You as a passable but forgettable rom-com that could have been far more memorable.
Tensions flare in the near future aboard the International Space Station when a worldwide conflict breaks out on Earth. Soon, the U.S. and Russian astronauts each receive orders from the ground: take control of the station by any means necessary.
Director: Gabriela Cowperthwaite
Cast: Ariana DeBose, Chris Messina, John Gallagher Jr., Maria Mashkova, Costa Ronin, Pilou Asbæk
Release Date: January 19, 2024
Genre: Sci-Fi, Thriller
Rated R for some violence and language
Runtime: 1h 35m
Review:
I.S.S. uses its hypothetical situation and claustrophobic setting to deliver some solid moments of tension thanks, in large part, to focused performances from its ensemble cast even though it struggles to nail the landing. Gabriela Cowperthwaite shows a steady hand throughout, delivering an efficient thriller that's laser focused on ratcheting up the tension while managing to keep the human side surprisingly grounded. This is the type of film that could have easily devolved into a clichéd 80's cold war era film turning the characters into caricatures with little to no shades of grey. Cowperthwaite manages to avoid most of those pitfalls thanks to a script that's elevated by its committed cast. Ariana DeBose is solid in the lead role, giving her character far more depth than what's on the page. Chris Messina and John Gallagher Jr. play her compatriots with varying degrees of effectiveness since certain turns are telegraphed a mile away. On the other end, Maria Mashkova, Costa Ronin and Pilou Asbæk play the Russian crew with surprising effectiveness with Ronin being saddled with the most generic character of the group. Mashkova and Asbæk are given more latitude to give their characters more texture and humanity. Asbæk, in particular, is incredibly watchable throughout as his character's trajectory follows an unexpected path as the film moves on. Asbæk's performance is fascinating even as the film starts to move into goofier, anti gravity fights aren't cool looking, territory in its final act. The last act struggles to find a way to wrap up the story, so it ends in a purposely ambiguous way that's sure to annoy more than a few viewers.
One man's brutal campaign for vengeance takes on national stakes after it's revealed he's a former operative of a powerful and clandestine organization known as Beekeepers.
Director: David Ayer
Cast: Jason Statham, Emmy Raver-Lampman, Josh Hutcherson, Bobby Naderi, Minnie Driver, Phylicia Rashad, Jeremy Irons
Release Date: January 12, 2024
Genre: Action, Thriller
Rated R for strong violence throughout, pervasive language, some sexual references and drug use.
Runtime: 1h 45m
Review:
The Beekeeper is a lean, 80's style action film that's solely concerned with delivering mindless mayhem via a perfectly cast Jason Statham. David Ayer's film waste very little time with set up before he unleashes Statham on his rampage of revenge. The script doesn't concern itself much with too much backstory with the majority of the background of Statham's character being relayed via exposition dumps provided by a rather game Jeremy Irons. Statham is perfectly in his element with the film asking him to maintain a steely determined gaze while he plows through an endless barrage of adversaries while never breaking a sweat. Its all rather ridiculous but undeniably entertaining at the same time. What makes it work as well as it does is the fact that Ayer and his cast know exactly what kind of film they are making and they go all in with rather impressive gusto. The supporting cast is populated with a handful of familiar faces such Minnie Driver, Phylicia Rashad and Jeremy Irons with the latter getting the most substantial role. Josh Hutcherson gets the role of the main villain, a pampered trust fund tech baby, and he's clearly relishing the chance to play against type as he chews up scenery every time his character gets on screen. Emmy Raver-Lampman and Bobby Naderi have a fun buddy cop chemistry going as FBI agents on Statham's tail. These performance all come together to make The Beekeeper the kind of film that doesn't ask much of you but to sit back and enjoy.
New student Cady Heron gets welcomed into the top of the social food chain by an elite group of popular girls called the Plastics, ruled by the conniving queen bee Regina George. However, when Cady makes the major misstep of falling for Regina's ex-boyfriend, she soon finds herself caught in their crosshairs.
Director: Samantha Jayne, Arturo Perez Jr.
Cast: Angourie Rice, Reneé Rapp, Auliʻi Cravalho, Jaquel Spivey, Avantika, Bebe Wood, Christopher Briney, Jenna Fischer, Busy Philipps, Tina Fey, Tim Meadows
Release Date: January 12, 2024
Genre: Comedy, Musical
Rated PG-13 for sexual material, strong language, and teen drinking.
Runtime: 1h 52m
Mean Girls, The film adaptation of the Broadway musical of the original film, is a strange concoction of musical numbers paired with a slavish devotion to the original material that never lets it find its own footing. Samantha Jayne and Arturo Perez Jr. directorial debut is solid but noticeably listless for large portions of time, particularly when they are recreating scenes verbatim from the original film. The musical numbers fare far better, injecting a solid sense of energy into the film with well choregraphed sequences that are fun even if they aren't terribly memorable except for "World Burn" and "I'd Rather Be Me" being the best of the bunch. The main cast lead by Angourie Rice are all solid with a few stand outs leaving a lasting impression. Rice is adequately mousy to start before she starts her rise through the Plastics. Reneé Rapp, who played the role on Broadway, brings a different sort of energy to Regina than Rachel McAdams did in the original role which makes it one of the more interesting performances since it brings something new to the production. Avantika and Bebe Wood take over the Karen Shetty, who's even dumber than Karen Smith in the original which is a strange choice, and Gretchen Wieners roles and fare worse than Rapp. Their performances are little more than hollow impressions of the originals with Wood's even emulating Lacey Chabert's vocal inflections multiple times. Auliʻi Cravalho and Jaquel Spivey take over the Janis and Damian with both doing strong work even if Cravalho doesn't quiet have the edge that Lizzy Caplan brought to the role while Spivey steals every scene he's in. Tina Fey and Tim Meadows return from the original film but both are surprisingly flat through with both just going through the motions which only reminds you of the fact that there's already a pretty solid version of the film elsewhere. Most properties that go from screen to stage and back do their best to find their own voice while capturing the spirit, Hairspray comes to mind, but Mean Girls does the exact opposite which doesn't do this version any favors.
Monk is a frustrated novelist who's fed up with the establishment that profits from Black entertainment that relies on tired and offensive tropes. To prove his point, he uses a pen name to write an outlandish Black book of his own, a book that propels him to the heart of hypocrisy and the madness he claims to disdain.
Director: Cord Jefferson
Cast: Jeffrey Wright, Tracee Ellis Ross, Issa Rae, Sterling K. Brown, John Ortiz, Erika Alexander, Leslie Uggams, Adam Brody, Keith David
Release Date: September 8, 2023
Genre: Comedy, Drama
Rated R for language throughout, some drug use, sexual references and brief violence.
Runtime: 1h 57m
Cord Jefferson's big screen debut, American Fiction, is a wonderfully nuanced satire led by a multifaceted performance from Jeffrey Wright. Jefferson, who also wrote the script, shows a steady, confident hand behind the camera as he delivers a film that's easy to enjoy even as it covers some expansive racial issues and themes. He allows his actors to shine by giving them plenty of quieter character moments that gives the film and story an impressive level of depth. His cast is more than up for the task led by Jeffrey Wright who's never been better. Wright is the kind of actor that's always brings a certain kind of authentic intelligence and pathos to his roles which is tailor made for playing this role. Wright adds so much nuance and layers playing an incredibly intelligent man who's seething with resentment over his talents being overlooked. In the hands of a lesser performer, the character could have come off more one dimensional and one note, but Wright is able to make him a complicated, living breathing human being while still deftly handling the more comedic moments. The supporting cast is no less impressive with each leaving a noticeable impression on the film with stand out performances from Erika Alexander with an endearing turn as the love interest and Sterling K. Brown playing against type as Monk's chaotic and equally complicated brother. There is a natural chemistry together from the cast as a whole which makes the story and film as a whole connect on another level. The pacing that hit a slight hiccup in its final act which is I suspect is intentional in order to reflect the complexity of the racial discussions at play which has no easy or straight forward answers much like the film's conclusion. American Fiction proves to be the kind of film that works on multiple levels either as comedy, drama or dissection of social issues thanks to the collective talent assembled.
My dear reader(s), it's a common complaint of mine that I never have time for the movies anymore, but when Circus of the Scars turned up somewhere accessible to me, you better believe I found the time immediately.
Circus of the Scars-the Documentary follows the unlikely rise and probably predictable fall of the Jim Rose Circus Sideshow.
There is nothing slick or polished about Circus of the Scars, and I suppose it would be inappropriate if there were. The sideshow itself started out as a bar attraction that picked up performers (and momentum) as it rolled along, ultimately hitting its highest high as a second-stage attraction on the 1992 Lollapalooza tour.
The movie mixes old show footage and new interviews with Jim Rose and his merry band of misfits: Joe Hermann (the Amazing Mr. Lifto), Tim Cridland (Zamora the Torture King), Matt "the Tube" Crowley, and Paul Lawrence (the Enigma). The rifts that ultimately derailed the sideshow are evident, but there's a good-naturedness among the performers that makes the film an easy watch. Many of the interviews look like they were recorded on someone's phone (or via Facetime), giving the film a fitting DIY vibe. If everyone probably saw the ending coming, that does nothing to undermine the electric thrill of watching these unique performers grow from humble beginnings to the biggest, worldwide stages.
Circus of the Scars-the Documentary clocks in at 95 minutes and is unrated. It is not - I repeat NOT - for the faint of heart or weak of atomach.
I was one of the fortunate folks who witnessed the Jim Rose Circus Sideshow on Lollapalooza '92, and the experience is one I'll never forget. You do not want to miss this opportunity to know these amazing artists through this terrific documentary feature. (And look for some of them on tour in a city near you!) Of a possible nine Weasleys, Circus of the Scars-the Documentary gets all nine.
Circus of the Scars-the Documentary is now available to rent or buy on Amazon Prime.
Forced into early retirement by a degenerative illness, former baseball player Ray Waller moves into a new house with his wife and two children. He hopes that the backyard swimming pool will be fun for the kids and provide physical therapy for himself. However, a dark secret from the home's past soon unleashes a malevolent force that drags the family into the depths of inescapable terror.
Rated PG-13 for terror, some violent content and language.
Runtime: 1h 38m
Night Swim has a fun concept paired with strong performances, particularly Kerry Condon, but the execution is little more than a bland, uninspired Amityville Horror knock off with a sprinkle of Cocoon for some reason. Bryce McGuire's big screen debut, based on his short film, is initially intriguing as we are introduced to the general concept and central family. A series of well staged jump scares provide the sort of scares you'd expect from a film of this ilk. The issues start popping up fairly quickly there after as the script struggles to stretch the concept out for a full length feature. The reveals are fairly uninspired, mostly consisting of well worn horror tropes that we've seen countless times before. With few twist and turns there are telegraphed so loudly that you'd be hard pressed not to see them coming from a mile away. Wyatt Russell and Kerry Condon play it deadly serious throughout which works better in the first half of the film before things get progressively more ridiculous as the family battles the evil pool. Condon brings a level of commitment to the role which speaks to the level of talent she brings to the production even as she confidentially utters some unintentionally funny lines in the film's final act. Russell is a solid screen partner early on but once he's overtaken by the evil his performance makes Jack Nicholson's Jack Torrance look like a study in subtly. Amélie Hoeferle and Gavin Warren play the pair's children with both bringing an authentic air of sibling chemistry together which the film would have been wise to use to greater effect especially since there are slivers of interesting character traits for each. As is, Night Swim will fall into the massive wasteland of utterly forgettable horror films dumped into January.
Now that 2023 has come to an end I can look back at the 79 movies I reviewed during the year and reflect on which ones I enjoyed the most. This list below is in no specific order and not necessarily reflective of my original letter grade, additionally I’ve missed some critical darlings like Past Lives and Anatomy of a Fall among others.
Like everything I’ve published, this is all subjective and I could probably be convinced to add and remove certain films which is why I’m terrible at making lists in general.
So, with that, here are my 10 favorite films of 2023.
Infinity Pool
Brandon Cronenberg's latest film is the kind of film that reveals is screwing with your mind throughout its runtime. It’s gory, grimy but beautiful in a strange, psychedelic way. Mia Goth turns in another performance that’s cements her status as a rising star in the horror genre.
The Creator
The plot of The Creator covers some well-worn territory in the sci-fi genre, but Gareth Edwards direction elevates it above the predictable plot. Visuals and solid turns from the cast makes this one of the more entertaining sci-fi films in recent memory.
Beau is Afraid
Ari Aster’s Beau is Afraid isn’t made for everyone and he doesn’t really seem to care. It’s a behemoth of themes and ideas with some working far better than others during the film’s three-hour runtime. A committed performance from Joaquin Phoenix as the sad sack who embarks on a cinematic journey that you won’t soon forget.
Mission Impossible: Dead Reckoning
In any other year, Mission Impossible: Dead Reckoning, would have been one of the biggest blockbusters of the year. Tom Cruise’s latest entry into the long-running series is another bit of well-orchestrated, big screen spy madness that keeps upping the game on the genre.
Barbie
If you had told me at the start of the year Barbie would be on my year end list I probably would have chuckled and said no. I didn’t know what to expect from the film or story, but I didn’t expect much so it was a pleasant surprise such a fun, vibrant and heart felt even if some felt the message was heavy handed.
Oppenheimer
The other half of the cultural phenomenon that was Barbenheimer was even better with Christopher Nolan’s Oppenheimer delivering a serious, adult blockbuster that was built on performances and dialogue. Nolan and his cast are laser focused throughout, making the dialogue heavy film feel brisk even at three hours long.
Killers of the Flower Moon
Martin Scorsese’s long gestating epic is a tragic, heartbreaking journey that ponders on a handful of themes buoyed by some excellent turns from its star-studded cast lead by Leonardo DiCaprio. Lily Gladstone proves to be a revelation as the film’s beating heart fighting through the series of tragedies laid at her feet.
The Holdovers
Alexander Payne’s The Holdovers is a throwback on multiple levels as it evokes memories of dramadies from the 70’s and 80’s. Paul Giamatti, Da'Vine Joy Randolph and Dominic Sessa each deliver stellar turns as we follow their emotional journeys as part of their pseudo family.
Wonka
Paul King’s prequel, Wonka, proved to be one of the more pleasant surprises of the year. King brings that same sense of joy and optimism to this franchise that’d he’d brought to his Paddington films. Timothée Chalamet proves far more capable and endearing than expected, which results in a film that’s sure to leave a smile on the face of even the biggest cynic.
Poor Things
Yorgos Lanthimos’ unapologetic, gothic fantasy is bold on multiple levels. Its stark, inventive visuals give it a distinctive style that makes it a visual feast for the eyes. Emma Stone’s fearless performance makes the whole thing work as she deftly creates a multifaceted character from start to finish. Mark Ruffalo and Willem Dafoe are just as good in memorable supporting turns.
My dear reader(s): Yesterday I finally had an opportunity to catch up with the year's most talked-about movie, Barbie.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
Barbie suffers a crisis and must brave a world outside Barbieland if she hopes to resolve it.
At this point, it feels like poor form to dislike Barbie. Fortunately, I liked it well enough, even if if I'm more "enheimer" than "Barb" in the Barbenheimer sweepstakes.
Pluses start with the divine Margot Robbie as Barbie and Ryan Gosling as Ken. Despite its many other attributes, I believe the movie would have fallen flat had they not leaned into their roles with such gusto. Vibrant costumes and sets team with upbeat music to sell a perfect world...even when it isn't. There's plenty of nostalgia for those of us who loved our Barbies, and some funny (if mean-spirited) digs at other pop culture icons who have fallen into...if not exactly disfavor, at least a perceived lack of coolness.
Barbie is a great deal more than a film about a doll. It's cleverly written and well acted, with an important message about autonomy and empowerment. Heavy-handed delivery of its message is the picture's only real flaw, but it's a pervasive one that kept me from loving Barbie as much as everyone else seemed to. I don't believe beating people over the head with a point faciliates real change; it only makes them tired of hearing about it, and by the end of this I was pretty tired of the word "patriarchy." Still, Barbie is a solid movie that's greatly enhanced by sparkling performances and a sensible runtime.
Barbie clocks in at 114 minutes and is rated PG13 for "suggestive references and brief language."
Barbie is a good movie made great by stellar lead performances, and any shortcomings are easily forgiven once the Indigo Girls start singing. Of a possible nine Weasleys, Barbie gets eight.
My dear reader(s): In my attempt to wallow in holiday revelry until they drag me kicking and screaming back to work on Tuesday, on New Year's Eve I checked out an older (but new to me) holiday flick, the Man Who Invented Christmas.
Spoiler level here will be mild.
Charles Dickens juggles family and artistic struggles while writing a Christmas Carol.
The Man Who Invented Christmas intertwines fantasy with reality, as characters from the story Dickens is writing appear in a real world where he's fighting both family and professional difficulties. Downton Abbey's Dan Stevens leads a cast of familiar faces through the serviceable story. The trailer sells the film as a comedy, which it isn't, but it's entertaining enough despite not feeling very Christmasey until the very end.
The Man Who Invented Christmas clocks in at 104 minutes and is rated PG for "thematic elements and some mild language."
It's not the most festive holiday film around, but the Man Who Invented Christmas is an engaging tale that will help you keep the spirit of the season alive. Of a possible nine Weasleys, the Man Who Invented Christmas gets five.
The Man Who Invented Christmas is now streaming on Prime.
My dear reader(s): If, like me, you seek a bit of cinematic Christmas cheer, but want to steer clear of holiday-themed horror and romance (some would say they're the same), it can be challenging to find anything that fits the bill. May I invite you, then, to Candy Cane Lane?
Spolier level here will be mild, nothing you wouldn't know from the trailer.
A man obsessed with Christmas goes to imprudent lengths to win a holiday decorating contest in his neighborhood.
Candy Cane Lane is a feel-good family film that doesn't try to reinvent the starlight mint. Eddie Murphy (a favorite in our house since we wore out our VHS copy of Raw!) leads a likeable cast through an adventure that teaches the true meaning of Christmas. The movie features gorgeous and festive sets, cute animation, and some great Christmas tunes. It's more amusing than laugh-out-loud funny, and it even throws proper shade at retailers putting out Valentines before Christmas, one of my particular pet peeves! Candy Cane Lane isn't anything revolutionary, but it's easy, comfortable, and promotes that warm, fuzzy feeling that's perfect for the holiday season.
Candy Cane Lane runs 117 minutes and is rated PG for "language throughout, and some suggestive references."
If you're looking for a fun family movie to close out your holiday break, Candy Cane Lane is just the ticket. Of a possible nine Weasleys, Candy Cane Lane gets seven.
Candy Cane Lane is now streaming on Prime.
Until next time, I wish you all safe celebrations and the happiest of New Years!
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