When a lonely fisherwoman’s wish for a husband made out of wicker comes true, his presence and their newfound relationship threaten to upend the foundation of their small yet oppressive village.
This film takes its bizarre concept to break down the ideas of masculinity, femininity, and the family unit, with Olivia Colman delivering a performance that’s as tremendous and lovable as always. Alexander Skarsgård gives a patient and committed performance that just avoids ridiculousness by being realistically tender. Elizabeth Debicki and Peter Dinklage are also huge standouts as eccentric and integral parts. Though the story and pace sometimes slow down, the jokes never miss and the visual storytelling always works. The humor is as absurd as it is crude, digging deep into what really makes a true partner with real substance, all while poking fun at its setting and characters without end.
Shooting a feature-length stop-motion animated film (a process taking several years, hundreds of thousands of individual photographs, hundreds of puppet designs, and thousands of 3D-printed faces) is already a breathtaking technical feat. But with Wildwood, it’s almost impossible to wrap your head around the sheer labor, time, and relentless passion evident in every single frame. A majestic experience like no other, Wildwood pushes the boundaries of the medium and tests just how dark animated storytelling can get, all while capturing the pure, vulnerable wonder of a child navigating the frightening ways of the world beyond her familiar home.
The voice cast is stacked and completely stellar, led by Peyton Elizabeth Lee, who is devoted and determined as young Prue and will go to all lengths to save her brother. Her empathy is what changes the woods she enters as much as they change her. Carey Mulligan is brilliant as Alexandra, written with such intricate layers that you understand her fragility even as her choices turn destructive. Mahershala Ali is another standout, while Jacob Tremblay gets many of the film’s funniest and sharpest lines. The rest of the ensemble, including Awkwafina, Maya Erskine, Charlie Day, Angela Bassett, and Richard E. Grant, each serve a distinct purpose in populating this world.
It’s mind-blowing just how much skill and craft it took to breathe so much life into these characters. There is something truly miraculous in how it all comes together, making us completely forget the sheer length of time it took to build frame by frame. It’s also very violent and shows the harshness of grief and war, but its reflection of loss and familial drive also makes the film incredibly poetic. It may one day have the same artistic impact that Spirited Away had on a generation of storytellers and viewers, transporting us to another world to help us make sense of our own as we grow up. Even if you thought Laika’s previous films like Coraline and Kubo and the Two Strings were extraordinary, prepare yourself: you’ll already be floored by the storytelling and visual achievements here by the first few minutes.
Directors Joel Crawford and Januel Mercado took inspiration from their own friendship to create Forgotten Island, one of DreamWorks’ strongest films in over ten years. The animation is gorgeous, with a beauty you won’t find in any other film, live-action or animated, this year. Not to mention, the central friendship and Filipino representation illuminate this film, making it one of the most distinctive recent major-studio animated films. It’s pretty easy to get quickly invested in the two main characters and their bond, way before they travel to the titular island.
The lively animation style balances rapid movement and color, and the striking score by Nathan Matthew David does an incredible job of blending global influences and tones at light speed. H.E.R., Liza Soberano, Dave Franco, and Jenny Slate are all great in the voice cast, but it’s the animators who are the true stars here, having created something so eye-popping that it should be seen on the big screen, and it works well for all ages. Anyone who’s experienced friendship, old or young, near or long-distance, will likely enjoy the messages. Even if some jokes are overdone and the middle act does slightly drag, Forgotten Island is equal parts colorful and mature, covering visual, musical, and cultural ground that no animated film has quite like this before.
It’s never a surprise when a Christopher Nolan film proves to be the most epic theater experience of the year. But what constantly continues to impress is his ability to transport us on journeys that feel so much bigger than our own lives, even though they look so much like our own world. Majestic, nail-biting, and outright spellbinding, The Odyssey turns one of the great mythological stories into one of the greatest cinematic journeys ever told. Homer’s epic proves the perfect battleground for Nolan’s love of telling stories out of linear order, and the movement of different storylines and events across time is thrilling to follow and creates an even more powerful experience than if we were to have discovered the story in sequence. Nolan also assembles a massive ensemble cast led by Matt Damon, who leads with a loyalty mixed with a dangerous hubris Odysseus has, who desires to “defy the gods”. Tom Holland gives possibly his best performance yet as Odysseus’ son Telemachus, though Anne Hathaway steals the show in that corner of the story as Penelope. Robert Pattinson and Jon Bernthal are also excellently cast, and Elliot Page is also a special standout, no matter how minor his role is. The many big players who also leave a huge impression include Himesh Patel, John Leguizamo, Lupita Nyong’o, Samantha Morton, and Charlize Theron.
The most incredible effect The Odyssey has is making everything feel real, thanks to Nolan’s disdain for CGI, while we also don’t have the same sweeping extreme wides we’re used to in almost all his other films, at least not the same amount. We’re immersed in the sets that are right in front of our eyes and often look visionary. The action is so thrilling it’ll have you leaning forward into your seat, while maintaining that brutality and harshness that never make the fighting look outright entertaining the way they might in other action epics. Part of what makes the magic so breathtaking is Ludwig Göransson’s score. It’s exhilarating, overwhelming, and grandiose in new ways every scene. Hoyte van Hoytema’s cinematography allows everything to feel real, even though the imagery stems from mythology, and Jennifer Lame’s editing is expertly meticulous. Despite its long runtime, the film moves at a fast pace, and every second matters. Everything we love about Nolan is here: the epic scale, the practical sets, the jumps in time, but the film is so much greater than the sum of its parts. It’s a once-in-a-lifetime adventure that delivers in beauty and scope, demanding to be seen on the world’s largest movie screens, then unpacked, before going back to watch it again, and again, and again.
A terrific cast is pivotal for a film to entertain at this level, and I Love Boosters boosts a dream cast as well as Boots Riley’s signature critiques of capitalist systems and surrealist imagery. Far less haunting and just as glowing and fun as Sorry to Bother You, the film follows a group of shoplifters decide to take aim at a renowned fashion mogul’s empire, and chaos soon ensues. Riley’s films never obey others’ rules of typical visual storytelling, and his dialogue is hilarious. Keke Palmer continues to shine as a terrific leading star throughout cinema in the last few years, while her dynamics with her group of “booster” friends, played by Taylour Paige and Naomi Ackie, make the film. Paige always stands out, even when she isn’t center frame, she’s always bringing something really entertaining to the performance. Poppy Liu is a huge standout as a character who comes in and shakes things up greatly for the lead characters, and Eiza González is another great addition to the mix. Though Demi Moore’s character occasionally dives into a caricature of conceited affluent fashion voices, Moore’s performance is great and makes what could’ve been a one-note antagonist very interesting.
One other thing that personifies the film’s identity is the stunning costume design. Every setting and scene becomes unique through the stories the costumes tell and the work there is honestly awards-worthy. The film’s twists and turns are engaging, and while some more ambitious scenes get a little confusing when it comes to editing spatially, the surrealism all works and elevates the themes of the abuse of the workforce, and the voice taken from a majority of the population to make the few richest even richer. Riley’s films deconstruct our society with an irreverence but still retain an optimistic heroism at their center. Even when the characters are deeply flawed, they’re so likable, and the ride holds nothing back to create something really original and certainly worth everyone’s time and takes, no matter whether they vary.
In the age of the New Republic hunting down the remnants of the fallen Empire after the events of Return of the Jedi, Mandalorian Din Djarin and his adopted son Grogu embark on an exciting new Star Wars adventure.
The Mandalorian’s big-screen debut isn’t his most dramatic or revealing, but honestly, it’s refreshing that the stakes are changed up from “fate of the galaxy” level to focused more on crime syndicates and bounty hunters. The Neo-Imperial and Mandalore stories from the series aren’t revisited or touched on much, but that’s honestly a breath of fresh air to see Mando go in a new direction this time. The visuals are splendid, as always with Star Wars, and the action is expertly choreographed. Grogu is absolutely adorable and everything he does is a standout here, and Ludwig Goransson’s excellent score elevates the whole movie.
Jeremy Allen White also stands out in a motion capture role, playing Rotta the Hutt, who’s far gentler than any of the other Hutts we’ve met in Star Wars lore. Sigourney Weaver is no stranger to space action, and is yet again a delightful badass who gives much heart and authority to her character of Ward.
The Mandalorian and Grogu might not end up changing the game for the franchise, but it’s got just enough fun visuals and action, as well as the touching father-son dynamic at its center, to be worth a watch for action/sci-fi/fantasy fans and those who are invested in the galaxy far, far away.
Wicked: For Good‘s rushed pacing feels like quite a whiplash from the slow burn of the first film that allowed its story to breathe much more, but it’s still a big, loud, and rewarding musical experience. The events are moving at such a fast pace that if you think about it too much, it starts to fall apart. The cinematography and editing don’t get that same patience that made the execution in the first movie so beautiful. The first act of For Good does feel a bit like its embracing the spectacle more than the soul, and if Part I felt more like its stage musical adaptation roots, this movie is the big fantasy action blockbuster. That said, it rises up to the challenge with truly great visual effects and breathtaking production design. The musical numbers are no less impressive, and the film’s heart is strong, and the chemistry between its two leads is electric.
Cynthia Erivo is again astounding and contributes to some of the film’s most awe-inspiring moments, while Ariana Grande is even better than she was in the first film. Glinda’s selfishness isn’t justified, but her softness and journey towards goodness make her so interesting to watch, even if it’s more thanks to Grande’s performance than where the script takes her. Jonathan Bailey also shines in one of the film’s most complex portrayals. There are some true show-stoppers in the soundtrack thanks to magnificent work from Erivo, Grande, and Jeff Goldblum. The music, vocals, and sets come together for some incredible musical moments that culminate the film’s emotion in great catharsis. It also very much enriches the story of the original Wizard of Oz in many creative and unexpected ways.
Wicked: For Good isn’t as subtle or as earth-shattering for the musical film genre as its predecessor, but the direction is still so lively and the spectacle is so, well, spectacular, that it’s an exciting and rewarding experience for film and theater fans alike. Together with the first film, it not only reignites but expands on and gives new life to a cultural moment like no other, and a trip to Oz that you have to see on a big screen.
A sharp, lively, and heartfelt rom-com set in the afterlife, Eternity asks questions about true love — is it forever? Can we have more than one in our lives? And how does love truly persevere over time?
Miles Teller and Elizabeth Olsen in particular stand out, offering emotionally rich performances while balancing humor and genuine shock at the situation they’ve found themselves in. I mean, not everyone is faced with a love triangle that will decide the rest of their existence in the afterlife. Callum Turner gives one of his most multi-dimensional performances, while Da’Vine Joy Randolph is also a magnificent standout here, giving the film much of its funniest and strongest moments.
The production design is beautifully imaginative, combining retro technology with something that’s lively and fantastical. Exploring the corners of this dimension or plane is fascinating, and it very creatively tackles its themes that may hit hard for some audience members. It’s a touching romantic comedy, but also colorful and oozing with imagination and heart, along with high levels of belly laughter and much comedic and dramatic range from its lead trio of actors.
An angel (Keanu Reeves) intervenes in the life of a man (Aziz Ansari) who’s about to give up on life, but things soon get uncontrollably out of hand very quickly.
Aziz Ansari’s fantasy comedy, which sees him directing, writing, producing, and starring, is clever, laugh-out-loud funny, relatable, and inspired. The concept plays a cross between Trading Places and It’s a Wonderful Life, while never feeling generic or derivative of those films, even if the idea’s similarities aren’t being hid. Ansari gives a flawed yet understandable frustration and hopelessness with his circumstance, and a charismatic humorous side. Seth Rogen gives an incredibly funny and physical performance as his character goes on quite an unexpected journey. Keke Palmer shines as Ansari’s love interest Elena, who’s passionate and humble, with Palmer providing lots of genuine heart to the film. The casting of Gabriel was perfect and Reeves was perhaps the only actor who could convey this emotional sweetness come off as effortless yet genuine and real.
The film’s best when looking at humanity’s relationship with materialism, and contrasting wealth with the the lower class trying to achieve the seemingly impossible task of making ends meet, including the unreasonable cost of living, the terrifying market of finding a job (and usually one isn’t enough), and the corporate greed that makes harsh conditions for minimum wage workers. The film feels like it’s missing a piece of the puzzle when it comes to its main character’s arc, but it’s got a real heart to it that’s boosted by it’s lovable actors and the humor’s attempt to keep one-upping what came before. Somehow, it still feels restrained enough to be a screwball comedy that’s not completely silly, and still very genuine while fantastical and uplifting.
This retelling of one of the most famous novels in history feels like Guillermo del Toro’s ultimate passion project, with a sweeping scale, and breathtaking cinematography. The production design is perhaps some of the greatest of all time here, with the attention to detail and color schemes serving as the source of much of the film’s beauty. Oscar Isaac is great as the titular scientist whose ambition becomes his own undoing, while Jacob Elordi is incredible, disappearing into the Creature but delivering much soul beneath the towering makeup work. The supporting cast stand out too, including Mia Goth, Christoph Waltz, and Charles Dance, and it feels like everyone is honored to have been given the chance to show up and work with the master of gothic fantasy.
Though its ambition is spellbinding, Frankenstein‘s first half suffers due to its pacing — some of the story feels drawn out to the point where it feels like del Toro showed us the extended version of his masterpiece before trimming some tedious details, with some events happening in the runtime much later than it feels they should have. But when a narrative turn comes in at the film’s midpoint, the themes all click into place and become very powerful — the script also forgoes big action where you’d expect it and allows these bigger themes to speak for themselves. Frankenstein feels like the culmination of Guillermo del Toro’s creative endeavors from a stylistic standpoint, though far from its best film; it could’ve been at least 10-15 minutes shorter and been an even better film, but its weight will also grow on you after the credits roll due to its beautifully expert storytelling.
