There’s an unshakable feeling set in stone right from the opening black-and-white sequence of director Sean Durkin’s heart-wrenching new drama, “The Iron Claw.” It’s the sense that fate has something peculiar and unnatural in store for the Von Erich family. Something so terrible that it cannot possibly be put into words — until it must be.
“Mean Girls” (2024) delights in all the expected ways, and doesn’t try to reinvent the wheel. It occasionally lacks energy, and only Rapp’s solos are capable of going toe-to-toe with the Broadway cast recording, but it doesn’t disappoint as a happy median between its predecessors. Each version of Mean Girls is relevant to the time in which it came out, and this iteration delivers the same wit that fans have loved for 20 years. It’s fetch!
“Poor Things,” a masterpiece directed by Yorgos Lantimos and released Dec. 8, is inspired by the Alasdair Gray novel of the same name and is one of the most funky, refreshing movies to be made this decade. In an era of continuous biopics and stereotypically “relatable” characters taking center stage, witnessing a story full of characters that audiences can understand and resonate with is inspiring and monotony-breaking.
A24’s newest film, Kristoffer Borgli’s high-concept comedy “Dream Scenario,” is a timid and toothless commentary on a world where everyone is connected, with a searing study on what global backlash does to a person hidden underneath. The film follows Paul Matthews (played by an unrecognizable Nicolas Cage), a washed-up professor at a less-than-prestigious university.
The 33rd Japanese “Godzilla” film stomped through North American theaters Dec. 1, delivering a record-setting opening weekend. Grossing $11 million during its first three days in the United States, the latest entry in the gargantuan franchise delivered a classic theater experience packed with thrills, action and characters that commanded as much screen presence as the giant lizard.
Few film directors are able to balance so many conflicting tones at once while making a cohesive, unifying experience for viewers. Todd Haynes, one of our greatest American directors working today, brings elements of fierce dark comedy, deeply layered melodrama and an undeniable throughline of sorrow to his latest masterwork.
On Nov. 17, movie theaters nationwide returned to the world of Panem for the first time since “The Mockingjay Part II” came out in 2015. “The Hunger Games: The Ballad of Snakes and Songbirds” is a film that effortlessly dives back into Panem in a visually stunning and intrinsically intelligent manner.
Barry Keoghan was cast as Joker in a deleted scene from Matt Reeves’s “The Batman” (2022). The timeline doesn’t line up, but you could still probably get away with calling this movie his audition tape for the role.
Adding onto the impressive and long-running repertoire of the famous director and writer Ridley Scott comes one of the most widely anticipated films of November, released Nov. 22. Combining his talents with world-renowned actor Joaquin Phoenix, Scott casts his own dynamic portrayal of Napoleon onto the big screen.
It’s quite clear that Marvel is on a downward turn with the screenplay element of their productions, with “The Marvels” standing as clear evidence. Acting chemistry and dynamics, while important, cannot be the focal point of any film, and the low box office results in the tens of millions will prove this sentiment correct in time.
The Christmas spirit shines through in the touching, heartfelt movie “The Holdovers.” Directed by Alexander Payne, the film tells a tale of three lonely individuals coming unexpectedly together during the holidays. The companionship that the audience is able to see bloom across the film’s 133-minute runtime can best be described by one word — kind.
The titular killer (Michael Fassbender) in David Fincher’s new caper thriller, “The Killer,” never misses. Or so the man of walking contradictions claims.