Expect clever twists, slow-burn suspense, and enough double-crosses to keep you guessing. Celine Song made a powerful debut as a writer-director with this calmly pulverising drama following two childhood friends across decades and continents as they try, vainly, to manifest their feelings for each other. Ke Huy Quan’s follow-up to his improbable Oscar-winning comeback in Everything Everywhere All At Once isn’t the best showcase of his talents, but he and costar Ariana DeBose make for a charming twosome in this romantic action-comedy. He’s a former assassin turned real estate agent whose old life – and an old flame – comes back to haunt him. Phoenix, Arizona, may seem like an odd setting for a bitter feud between wannabe kingpins, but that’s exactly where this documentary takes place.
Punk-rock drummer and recovering addict Ruben starts experiencing hearing loss, and it threatens to upend his entire life. Faced with an impossible choice between giving up his hearing or giving up his career, Ruben begins to spiral, until his girlfriend Lou checks him into a rehab center for the deaf, forcing him to confront his own behavior as much as the future he faces. Riz Ahmed is in spectacular form as the troubled Ruben, while Olivia Cooke’s turn as Lou, who suffers with her own demons, including self-harm, is riveting. Fittingly enough, Sound of Metal also features incredibly nuanced use of sound—and its absence—as director Darius Marder crafts one of the finest dramas in recent years.
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In the meantime, audiences have Gunn and his DC Studios co-CEO Peter Safran (partly) to thank for bringing this long-overdue documentary about the ultimate superhero actor to worldwide audiences. Directors Ian Bonhôte and Peter Ettedgui deliver a heartfelt, moving tribute to Reeve—as an actor, yes, but even more so as a person who never gave up. Alexandra Reeve Givens, Matthew Reeve, and Will Reeve—Reeve’s children—share their own stories about their dad, giving the project yet another layer of intimacy. Up until now, most of what you’ve heard about Juror #2 is how it’s one of Clint Eastwood’s most accomplished directorial efforts—and yet somehow it got shafted when it came to its theatrical release. Justin Kemp (Nicholas Hoult) is a journalist and recovering alcoholic who is making every effort to maintain his sobriety. That becomes a bit of a challenge when he’s put on the jury of a high-profile murder trial … only to realize that he may have inadvertently played a part in what happened.
After drunkenly sharing the story of the time she kissed a female friend as a teen, she begins to realize that the problem in her love life might not be the men she’s choosing, but that she’s choosing men at all. Former Saturday Night Live writer Lauren Pomerantz penned the script for the film based on her own experience of coming out in her thirties. Tig Notaro and her wife Stephanie Allynne do an admirable job as codirectors, treating Lucy’s journey of self-discovery with the respect it deserves—and plenty of humor. But who’s using the town as a petri dish, and why is there a cloning lab buried underground? This lethally sharp satire from writer and debut director Juel Taylor masterfully blends genres, from the use of visual motifs and dated clichés from 1970s Blaxploitation cinema to its frequent steps into sci-fi territory and laugh-out-loud comedy.
Set in a fantasy world where oceanic leviathans terrorize humanity, those who hunt down the giant monsters are lauded as heroes. Jacob Holland (voiced by Karl Urban) is one such hero, adopted son of the legendary Captain Crowe and well on the way to building his own legacy as a monster hunter—a journey disrupted by stowaway Maisie Brumble (Zaris-Angel Hator), who has her own ambitions to take on the sea beasts. However, after an attempt to destroy the colossal Red Bluster goes disastrously wrong, Jacob and Maisie are stranded on an island filled with the creatures, and they find that the monsters may not be quite so monstrous after all. A rollicking sea-bound adventure directed by Chris Williams—of Big Hero 6 and Moana fame—it secured its standing as one of Netflix’s finest movies with a nomination for Best Animated Feature at this year’s Oscars. Despite the presence of the eponymous kaiju, Godzilla Minus One is a film rooted in the humanity of its protagonists, deserter kamikaze pilot Koichi Shikishima (Ryunosuke Kamiki) and Noriko Ōishi (Minami Hamabe), a survivor of the bombings of Tokyo.
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She lashes out at everyone — her husband, her adult son, even her sister, Chantelle (Michelle Austin), who takes her outbursts in stride — and she never seems happy with the life she’s got. But when she visits her mother’s grave, some old feelings — and yes, hard truths — rise to the surface, forcing her to confront some buried trauma that may be the cause of her discontent. The Last Showgirl is a compelling drama that chronicles what it’s like for a performer when the stage lights are turned off for good. As the proud yet humbled Shelly, Anderson gives her best performance ever, one many thought deserved an Oscar nomination (in a crowded year, the Baywatch alum was snubbed). It would’ve been easy for the audience to pity Shelly, but Anderson instills just enough dignity in her fading showgirl to make her sympathetic and defiant. Equally impressive is Jamie Lee Curtis as Shelly’s friend Annette, who left the profession years ago to become a casino cocktail waitress.
Her relentless training led her to become the first woman in U.S. history to win an Olympic gold medal in boxing. The addictive show takes place in a world overrun by “portals” to dungeons from other dimensions full of deadly monsters and valuable loot. While many humans have had “awakenings” as hunters with super powers, there’s no way for these warriors, mages, and healers to boost their power… In other words, Havoc rocks, and it makes you want to see Hardy and Evans collaborate again on another crazy action movie like this one. Vaughn is effective as the morose Joe, while Susan Sarandon, Talia Shire and Brenda Vaccaro are massively appealing as the grandmas who bicker with each other as much as they make pasta.
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A raucous spin on the traditional romcom, Shotgun Wedding lures viewers with a cliché setup—a ceremony on a tropical island, with hijinks courtesy of bickering in-laws—before exploding, literally, into an action escapade as the wedding party is taken hostage by violent pirates. With a solid supporting cast, including the ever-entertaining Jennifer Coolidge as the mother of the groom stealing every scene she graces with her gloriously chaotic presence, this is a wedding worth RSVPing to. Nominated for three Oscars, including Best Picture and Best Actress, I’m Still Here is one of 2024’s best movies. It’s a political thriller rooted in reality (it’s based on a memoir by Marcelo Rubens Paiva) and methodically documents one woman’s experience in a time and place characterized by violent social change.
Plot details are still scarce, but the film stars the always-great Sally Hawkins as a foster mother with some curious interests. The biggest box office flop of the year and one of the biggest ever, Better Man, grossed just over $20 million worldwide against a $110 million budget. The extraordinary loss is much more on marketing failures, however, than on the actual quality of the movie, which has received good reviews. Based on British pop star Robbie Williams’ rise, fall, and resurgence, Williams made the somewhat bizarre call to cast himself as a CGI monkey in the largely autobiographical film. Nonetheless, The Brutalist is true cinema, following László Toth’s (Brody) escape from post-war Europe to America to rebuild his life, work, and marriage to his wife Erzsébet (Felicity Jones) after the chaos of war.
Stuck between abusive extended family and the sheer desperation of scavenging around the ruins of their destroyed hometown, it’s a bleak existence—and also the basis for one of Studio Ghibli’s finest works. Directed by Isao Takahata and based on a short story by Akiyuki Nosaka, Grave of the Fireflies is unapologetically harrowing in its exploration of how war and nationalism chew up the most vulnerable, yet peppered with moments of unwavering love as Seita attempts to protect Setsuko’s innocence. This searing wartime drama is sobering but essential viewing, a film that’s more than earned its ranking in the upper echelons of the Best Studio Ghibli films. When keeping the living terrified is the economy of the afterlife, death becomes a literal capitalist hellhole.
As Coop, Hartnett is all too convincing as the charismatic killer, and by the end, you actually want him to get away with it. What to Watch is part of Future plc, an international media group and leading digital publisher. Anticipated titles like Jewel Thief, Havoc, Black Mirror Season 7, and The Last of Us Season 2 are all lined up, along with some promising newcomers (The Bondsman, Pulse, Dying for Sex) and returning fan-favorites (You, Hacks). April’s releases are a melting pot of genres, tones, and storytelling styles—exactly what you want when searching for your next binge. Show them this classic, also about a man (Robin Williams, the Jack Black of an earlier generation) trapped inside a game.
It was there, in the 1990s, that two young men—Liverpool-born stockbroker Shaun Attwood and New York mafia royalty Gerard Gravano—found themselves at violent odds as both attempted to become the preferred supplier of ecstasy to local nightclubs and desert raves. For Gravano, son of Sammy “The Bull” Gravano, there’s a legacy to uphold. For Attwood, getting burned out by his day job led to the desire to become something more. Both men sat down with directors Elli Hakami and Julian P. Hobbs to tell their own stories. Jason currently resides in Seattle but has yet to appear in a Cameron Crowe movie. He loves hot coffee with cream and sugar, video games, bread, napping, and movies (duh), but not necessarily in that order.
But a group of journalists (led by Kirsten Dunst) is determined to document the downfall of America at any cost, anime quiz so they set about heading to the White House in order to interview the embattled president. Oscar nominee Alex Garland (Ex-Machina) writes and directs this dystopian drama that often hits uncomfortably close to home. James Gunn’s new version of Superman won’t arrive in theaters until July.