Top 30 movies on Redbox right now (2023)

Among the best Redbox movies are many of Paste's movies.The best movies of 2020mi2021🇧🇷 Redbox is still a bit slow to add new movies to its selection, mainly because studios haven't brought their releases to theaters for about a year. Those who have gotten streaming deals are making the most of it, but when it comes to physical rentals, things will pick up speed in early 2022.

Our guide to the best movies to rent on Redbox right now includes Oscar-winning, kids, comedy, independent, musical biopics, and horror movies. And all of the Redbox rentals listed here are available now on DVD for $1.80 ($2 if you want Blu-Ray). If you're more inclined to go broke and watch commercials, you can also check out our tips for them.The best free movies on demand from RedboxService.

In addition to Redbox releases, you can also check out our guides to the world's best movies.netflix,Amazon Prime,hbo,Hola,Show time,Cinemax,YouTube,On demandmiour theater🇧🇷 Or visit all of oursinsert film guide.

Here are the 30 best new movies from Redbox:

1.the candy man

Release date from:27. August 2021
Principal:Nia DaCosta
Narrow:Yahya Abdul-Mateen II, Teyonah Parris, Colman Domingo, Tony Todd, Vanessa Estelle Williams
Evaluation:R
Duration:91 minutes

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The problem of writingthe candy manis that you inevitably have to type "Candyman" five times. What if my monitor suddenly goes blank and I see a paranormal entity wielding a long sheepskin behind my dark reflection? Unlike many of the white Chicagoans in writer/director Nia DaCosta's horror sequel, I'm not stupid enough to try the Near North Side Bloody Mary. However, I'm still drawn to its update on the legend, which manages to take the pieces of the original film and put them back together into a salvageable and compelling collage. ignore the restthe candy manSeriously in favor of a direct sequel to Bernard Rose's allegorically rich 1992 slasher, DaCosta casts smart-pants artist Anthony (Yahya Abdul-Mateen II) in the same urban legend that consumed graduate student Helen Lyle. Clive Barker adapted the original story to America's racism and wealth inequality, particularly in Chicago and even more specifically Chicago's Cabrini-Green projects. Now their houses and skyscrapers have been demolished or abandoned. A huge Target overlooks the northwest border, where you can pick up sporting goods and grab a Starbucks inside before heading to Panera Bread. Gentrification may have been commonplace throughout history, but that history cannot be easily erased. “A story like that, a pain like that, takes forever,” says Burke, Colman Domingo's longtime laundress. "That's Candyman." DaCosta makes it clear that Anthony is more drawn to the legend, the story, than Helen, and in turn actualizes his fears. The nightmarish apartments and rotting bathrooms Helen crawled through and photographed vividly reflected the creature that was after her; but the projects were paved and Candyman insists. DaCosta films the city accordingly, splitting straight lines or distorting it entirely – you realize how the towers of Marina City look like beehives until you flip them. Spurred by Anthony's interest, Candyman is now an inevitable part of all reflective surfaces. You can't take your eyes off DaCosta's inspired compositions and designs, your eyes drifting from one dark corner to the next at a time.invisible Man-as the domain of negative space. One day you think he'll run out of ideas on how to kill a mirror. Not so, especially in his world of pervasive, physically and psychologically painful self-reflection. While the deaths committed by a being mostly seen in mirrors are sometimes overshadowed by their antics to be viscerally satisfying, they fit right in with the film's themes and aesthetic, even if they don't spill cascades of blood. The power of martyrdom, cycles of economic exploitation, the expected blood price of progress: even if these ideas are poorly packaged, they are presented with such conviction that they solidify.the candy manas an unmissable horror and an unmissable tragedy.—Jakob Oller

2.over there

Release date from:22. October 2021
Principal:denis villeneuve
Narrow:Timothy Chalamet, Rebecca Ferguson, Oscar Isaac, Zendaya, Josh Brolin, Stellan Skarsgard, Dave Bautista, Jason Momoa
Evaluation:PG-13
Duration:155 minutes

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Denis Villeneuve's book is technically innovative and narratively faithful to the original textover therehe is aided by his impeccable special effects and star power. Taking into account the previous work of the director in these fields, that is,Enemy,arrivalmiBlade Runner 2049– Must be fully up to the challenge. However, there's one nagging question that needs to be quelled: how much of this movie is based on the simple fact that the movie trailers have finally given way?over therean achievable possibility? While staying true to the leisurely pace and detailed world-building of the first part of the text, Villeneuve's adaptation feels overlong and lacks subtext. It's important to note that the film only adapts the first part of Herbert's novel, which is quite convoluted. Much of the story focuses on world building and gradually delving into the intangible political hierarchies that shape this unfamiliar yet familiar world. It is true that Villeneuve evokes and embraces this slowness, a choice that can be a predicateover therefuture wealth. By limiting the scope to Part I, Villeneuve's proposalover thereIt maintains a consistent tone and sense of time, though it invariably goes on for more than two and a half hours. However, the meandering pace may appeal to fans of the original novel, which captures a certain reflective density indicative of the text. To be fair, there's a clear reason Villeneuve opts for a quiet, subdued setting.over there🇧🇷 With so many failed attempts to adapt Herbert's novel, how could the project fully accommodate the author's artistic risk? This means Villeneuve is playing it safe and putting all his energy into making sure the new version of him doesn't flop. Howeverover thereis faithful and fantastic in its vision, its existence just proof that the enduringly popular novel can be adapted into a blockbuster.Natalia Keogan

3.the suicide squad

Release date from:6. August 2021
Principal:james gunn
Narrow:Margot Robbie, Idris Elba, John Cena, Joel Kinnaman, Jai Courtney, Peter Capaldi, David Dastmalchian, Daniela Melchior, Michael Rooker, Nathan Fillion, Steve Agee, Sylvester Stallone, Viola Davis
Evaluation:R
Duration:132 minutes

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How come James Gunn is one of the few people who actually seems to know how to make a comic book movie look like it's made from a comic book? of course excellentSpider-Man: In den Spider-VersIt did, but it took one of the most impressive animated movies in recent years. Writer-director Gunn, who moved to DC after filming.Guardians of the GalaxyMovies for Marvel, with live action, achieves some of the same enthusiastic multimedia fidelitythe suicide squad, your bombastic, silly, and self-aware revisionist approach to the supergroup of idiots who are forced into jobs that are too difficult, dangerous, and/or undesirable for conventional workers in our modest government. Gunn's action is so clean and confident in tone that it could bring a cinematic irony to life - how fast!Bourne- as zooms in as Task Force X director Amanda Waller (Viola Davis) god plays with the lives of costumed thugs from the safety of her command center - to add a bit more visual flair to the already over-the-top R rating, Frankly, a pleasant adaptation. Part of the joke is the sheer volume of silly Legion of Doom rejects thrown into the mix. Of course, joining the new A-listers (the pastiche of) is the familiarly chaotic urban clown Harley Quinn (Margot Robbie, whom he once played in full), Captain Boomerang (Jai Courtney) and military man Rick Flag ( Joel Kinnaman). Captain America, John Cena's Peacemaker; The Brutish Sniper by Idris Elba, Bloodsport). But there's also a Golden Corral buffet of questionable rabble including, but not limited to: King Shark (Sylvester Stallone channeling a dumber, hungrier Groot), Polka-Dot Man (David Dastmalchian), Ratcatcher 2 (Daniela Melchior), Blackguard (Pete Davidson) and a human-sized weasel (Sean Gunn). They are all different and most of them are different and happily hateful. and continuallythe suicide squadThe solid tropical island action flick, whose politics are almost as cynical as its faithful treatment of supervillain leads, Gunn isn't afraid to dish out the kind of relegated episodes for fun. Poke, irreverently metacritical superhero TV franchises likethe young manmiInvincible🇧🇷 These are not strangerssuicide squadreaders, but they are increasingly shocking, weird and exciting (not to mention fun!) to find in AAA studio movies. As the team transitions from FUBAR's beach operations in Corto Maltese to sabotaging the superscience of their local lab, a real tension develops, a rarity between them.the suicide squadis contemporary Regardless of the additional poweroThere were some that couldn't completely separate it from some of the expected limitations of the genre, but it helped continue and solidify the way Warner Bros. Comics.-Jakob Oller

4.the green knight

Also:2021
Principal:david lowery
Narrow:Dev Patel, Alicia Vikander, Sarita Choudhury, Sean Harris, Ralph Ineson, Barry Keoghan, Joel Edgerton
Gender:show, fantasy
Evaluation:R
Duration:130 minutes

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When Sir Gawain leaves Camelot, he goes through a scene of desolation. A once thriving forest that has been stripped of its lush vegetation by man, leaving only splintered wood and dust. Throughout his journey, Gawain (Dev Patel) is greeted by similar, if not identical, images that are a constant reminder of humanity's strange and unwanted presence in the natural world. A year earlier, the Green Knight (Ralph Ineson) approached King Arthur (Sean Harris) and his Knights of the Round Table, summoned by Gawain's mother, Morgan Le Fay (Sarita Choudhury), to find a competitor for his work. christmas. If one of Arthur's knights hits him, the knight receives the mighty ax from him, but he must search for it exactly one year later to receive an equivalent hit in return. When Gawain, reluctant to agree yet eager to live up to his name, agrees to the Green Knight's terms, the humanoid creature simply drops the ax and tilts its head to reveal an oak neck, which it willingly offers to Gawain. Gawain succeeds, of course, but at what cost? The Green Knight recovers his head and rides off into the night. Gawain understands that he cannot do the same. Leaves sprout from cracks in the stone floor of the hallway where the Green Knight's blood was spilled. by David Lowerythe green knightit is a modern reckoning with a medieval fable. It is a haunting, mystifying and surprisingly erotic fantasy epic; a confrontation between man and nature, nature and religion, man and himself Adapted from an anonymous Arthurian poemSir Gawain and the Green Knight, Lowery's austere but intriguing version of the simple 14th-century legend raises the same questions as the original work, questioning the cost of a human life for honor when there is only the certainty that they will die. "Greatness? Why isn't kindness enough?" pleads Donkey (Alicia Vikander), Gawain's lover, a sex worker whom she keeps in line. But the film and Gawain's quest deliver a message that goes far beyond the fantastical world of King Arthur, about humanity's inherent fragility in the face of widespread environmental destruction and what gods they foolishly chose over nature.the green knighthow Lowery embraces the ambiguity of the original text and replaces it with his own equally mysterious visual interpretations. Mixing up her 2017 abstract sensibilitiesa ghost storywith the great imagination of your live actionpeter dragon, Lowery has created an exciting and impressive adaptation of folklore with a resolution that can bear the weight of the real world.—brianna zigler

5.world News

Also:2020
Principal:Pablo Greengrass
Con:Tom Hanks, Helena Zengel, Bill Camp, Elizabeth Marvel
Gender:theater
Evaluation:PG-13
Duration:118 minutes

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Paul Greengrass and his writing partner Luke Davies may have adapted Paulette Jiles' 2016 western novel.world Newsat least in part considering the extent to which the United StatesThere is notCome as a Nation: At the time of the book's publication, curse terms like "fake news" and "alternative facts" were being smuggled into popular parlance by fascists and con artists trying to deceive the American people. Neither of these terms, nor their equally grotesque cousins, appear in Greengrass's film, but the spirit that conjured them four years ago is alive and well in its reinvention of the American frontier. Its hero is Captain Jefferson Kyle Kidd (Hanks), a veteran of the Confederate Civil War who, after being on the losing end of history, wanders the Lone Star State reading foreign newspapers to the locals at every bus stop. your trip. . 🇧🇷 The movie doesn't exactly encourage viewers to be ignorant of which side of the war Kidd was on: in fact, the less it's directly spoken about, the more inevitable the truth of Kidd's past loyalties becomes. This is Texas. A former soldier in Texas could only have fought on one side of the aisle.world Newshe curses Kidd without having to say a word. But once the movie convicts him, he presents a chance for redemption in the form of a girl, Johanna (Helena Zengel). Zengel is a new spark in an old-fashioned production, but old-fashioned here is a compliment.world Newsit has no interest in subverting or updating classic Western formulas: content to function as a beautiful studio film, ostensibly built around Hanks but offering plenty of room for its young star to make his mark. What modernizes the film has more to do with the context than the content. Anyone caught in the morass of social media—Twitter, Facebook, Instagram, or worse yet, other people's Twitter, Facebook, and Instagram accounts—should take this comforting two-hour respite from the inevitable noise in which publishers and platforms are found today. appreciate. There is too much news, for better or worse, andworld Newsjust try to give us the best.–Andy Crump

6.Pig

Also:2021
Principal:Michael Sarnowski
Narrow:Nicolas Cage, Alex Wolff, Adam Arkin
Gender:theater
Evaluation:R
Duration:92 minutes

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In the woods outside of Portland, a man has his pig stolen. Rob (Nicolas Cage) is a truffle hunter turned chef, a Michelin-starred Baba Yaga, a foodie Radagast, who sells his pig's finds to support his lonely life. What follows is not a revenge thriller. that's not a pigSold out.Pig, the ambitious debut from writer-director Michael Sarnoski, is a blind, measured discourse on the male response to loss. Starring Nicolas Cage in one of his most successful permutations of recent times, EvolvingMandythe silent power of nature to an extinct volcano of healed pain,Pigdiscover broad themes by sniffing out the details of their microcosm in detail. The other component that makes this Pacific Northwest terrarium, aside from Rob and the intriguing Golden Fur Brandy abbreviated connection, is the guy Rob sells his truffles to, Amir. Alex Wolff's Little OnesuccessorThe Business Idiot is a bunch of jagged blemishes, and only Rob's callous wisdom can handle such irritations. They are extraordinary contrasts to one another, classic tonal opposites that have much in common beneath the surface of age. Together, the two search for the kidnapping victim, which inevitably leads them out of the woods and back into the city. There they collide with the most miserable, that of John Wickconfidential kitchenkind of industrial underbelly you can imagine, in a series of confrontations, soliloquy and strange looks. It's a bit over the top, but in a forgotten, constructed way that feels more mysterious than fantastical. The sparse and extensive writing allows the actors to fill in the blanks, especially Cage. Where some of Cage's most fascinating experiments were once basedmanic deliveries and expressionist faces, what seems to interest him now is the opposite: silence, stillness, realistic pain and downcast eyes. You can hear Cage scraping the rust from Rob's voice and grinding down interpersonal corridors like the rickety truck he tries (and fails) to drive into town. Wolff, along with much of the cast, projects an intense desperation for validation: a palpable desire to win the rat race andto besomeone. It's clear that Rob was part of this world before his self-imposed exile, and of course he knew the looks and social cues, as well as the scenarios that lead hog hunters through basements and kitchens. part ofPigThe distinctive and moving charm of lies in its restraint. It's a world only hinted at in 87 minutes, but with satisfying emotional depth. We see this world turn slightly, but all the dramatic arcs of life are seen. A sad movie, but not hostile and certainly not pessimistic,Pighe relies on an insightful audience to look beyond his premise.—Jakob Oller

7.paper tigers

Also:2021
Principal:tran
Narrow:Alain Uy, Ron Yuan, Mykel Shannon Jenkins, Roger Yuan, Matthew Page, Jae Suh Park, Joziah Lagonoy
Evaluation:PG-13
Duration:108 minutes

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If you are a martial artist and your master dies under mysterious circumstances, avenge his death. How are you. It doesn't matter if you're young or if you're stuck living the middle-aged life. Your teacher's suspicious passage cannot go unanswered. So grab your classmates, put on your knee pads, pack a bottle of IcyHot and some ibuprofen, and stick your nose to the ground for clues and who's to blame while your soft, exhausted muscles scream for a breather. . Namelypaper tigersIn short, a martial arts film directed by Bao Tran about the distance between three men and their past glory in the rigors of quarantine. It's also about good old-fashioned whooping ass, because a martial arts movie without whooping ass isn't exactly a movie. But Tran balances the meat of the genre (fight scenes) with potatoes (drama) plus a healthy dose of spice (comedy), with a Stephen Chow-esque impact on his own kung fu pastiches a laLuta de Kung-Fumishaolin player, the latter ispaper tigers“spiritual relatives. Tran uses close-ups in his fight scenes to give every punch and kick real impact. Amazing how showing the actor's reactions to face slapping suddenly conveys a sense of action and gravitas, which in turn gives the film meaning to reinforce his audience-loving qualities. We need more movies likepaper tigers, movies that understand the joy of a well orchestrated fight (and also how to orchestrate a fightWe will do it) who celebrate the "art" of "martial arts" and know how to turn a sore knee into a killing gag. The reality that Tran weaves into his story is welcome, but the artful filmmaking makes up for it.paper tigersa delight from beginning to end.—Andy Crump

8.red rocket

Release date from:December 10, 2021
Principal:be baker
Narrow:Simon Rex, Bree Elrod, Suzanna Son, Brenda Deiss, Ethan Darbone, Judy Hill
Evaluation:R
Duration:128 minutes

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A wave of early nostalgia immediately saturatesred rocket, Sean Baker's latest exploration of true Americana via NSYNC's long-running hit "Bye Bye Bye," which erupts as Mikey Saber (Simon Rex) steps off a bus heading to his Texas hometown. Unfortunately for Mikey, that wave is the same one that brought him here. After leaving his small Gulf Coast town 20 years earlier to pursue adult film acting in Los Angeles, his return is essentially an admission of defeat. But Mikey seems anything but bitter, upbeat in his footsteps as he makes his way through the deserted streets despite his precarious position. Portrayed with seductive (if sometimes unflattering) ease by Rex, Mikey is the focus of Baker's most complex character study to date, while maintaining the director's focus on power dynamics, American disillusionment, and those in need in the fringes of society (albeit with an added touch of compelling moral ambiguity). With no way to secure an honest job or receive unemployment benefits as a foreigner, Mikey returns to his old job selling marijuana for local caterer Leondria (Judy Hill), who is equally shocked by his return. Almost plunged into a period of regression, Mikey falls deeply in love with a 17-year-old cashier at The Donut Hole named Strawberry (Suzanna Son). youngsters as their ticket back to the sex industry. While that description makes it easy to write Mikey off as a hopelessly slimy villain, Rex infuses the role with an impenetrable air of endearing heboism that makes it completely impossible to hate Mikey, a feat that points to Rex's indelible talent. The actor's vulnerability when it comes to revealing an embarrassing showbiz sensibilities while wearing fur (forehead) is intrinsic to Rex's adult film background and his integration with the VJ star andScary Moviesequence periods. He brings to the film the kind of documentary realism Baker is constantly seeking, only this time he chooses to portray an individual traversing, transcending, and distorting his own position of power. Through heartfelt humor, a magnetic performance from Rex, and Baker's meticulous attention to authenticity,red rocketis a nice profile of a porn star past her prime. Despite his hideous nature, Mikey Saber is a charming character whose pride (and relative privilege) shields him from the relative confusion of those around him, both hyperlocally and nationally. However, Mikey is hilarious and genuine through his flaws: sometimes suspicious people are the funniest, cutest, sexiest there is, and isn't he just wonderful?Natalia Keogan

9.Judas and the Black Messiah

Also:2021
Principal:Shaka Rei
Narrow:Daniel Kaluuya, Lakeith Stanfield, Jesse Plemons, Dominique Fishback, Ashton Sanders, Darrell Britt-Gibson, Lil Rel Howery, Algee Smith, Martin Sheen
Gender:theater
Evaluation:R
Duration:126 minutes

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"Not all skinfolk are related" is a colloquialism used among blacks to address the fact that, while they share a racial identity and corresponding experiences of racism, intra-communal ideas about the path to black liberation are rarely in sync. Furthermore, the spread of capitalist individualism through white supremacy as the standard social structure positions black collective action as an inherent threat to the United States. Director Shaka King concentrates all these tensions in his brilliant filmJudas and the Black Messiah, a period drama in dazzling shades of caramel and crimson that chronicles the calculated FBI murder of notorious black panther Fred Hampton (Daniel Kaluuya). When car thief Bill O'Neal (LaKeith Stanfield) is caught posing as a federal agent, FBI agent Roy Mitchell (Jesse Plemons) gives him an ultimatum: if O'Neal will help the FBI agents, the black party Infiltrating Panthers and offering him information. on them is a tactic that could avoid a significant jail sentence and handsome compensation for their cooperation. As O'Neal is drawn into the world of the Black Panthers, his commitment to his own self-interest is affected by communitarianism and radical Panther politics.Judas and the Black Messiahfocuses superbly on the betrayal of the whistleblower character Judas who serves as the liaison between the Panthers and J. Edgar Hoover's (Martin Sheen) FBI, while expanding on the experiences of the messianic Hampton and his fellow prominent Panthers, set in presents a great movie. common cast. Although I would love to see Kaluuya take on a leadership role where he never has to fight for his life (Salida,widows,Black Panther,queen and thin) is a Fred Hampton model. COPY. From the tilt of the head to the Chicago lilt to the soulful gaze, Kaluuya manages to embody Hampton's physicality and voice without falling into the trap of pure mimicry or impressionism. This is no small feat, especially considering Hampton's lack of fictional depictions. On the other hand, Stanfield sinks into O'Neal's paranoia and trembling soul in a way that simultaneously evokes both appropriate disgust for the character and intermittent bouts of empathy. Understanding that black liberation cannot keep pace with the comfort of white supremacy is the price of this film's mental and emotional admission. as it should beJudas and the Black MessiahIt amazingly shapes a world in which O'Neal's behavior is contextualized by the ethos of American institutions, and in which the efforts of Hampton and the Panthers have ample room to be boldly witnessed.sorry tomas

10The Matrix Resurrections

HBO Max Release Date:December 22, 2021
Principal:Lana Wachowski
Narrow:Keanu Reeves, Carrie-Anne Moss, Yahya Abdul-Mateen II, Jessica Henwick, Jonathan Groff, Neil Patrick Harris
Evaluation:R
Duration:147 minutes

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As excitingly fresh and ambitious asmatrix matrixIt was in his approach to cyberpunk cinema in 1999,The Matrix Resurrectionsis equally dedicated to his bold and disruptive vision in 2021. Returning us to Neo (Keanu Reeves), Trinity (Carrie-Anne Moss) and The Matrix in a framework molded, fun, and ultimately intrigued by remake/reboot culture. .resurrectionsit's a moving, often light-hearted metanarrative, all dressed in a sci-fi suit and tie conventional enough to be Mr. Anderson to those who like blue pills. This witty commentary is wrapped up in the life of old Thomas Anderson (Reeves), a famous programmer who makes a living playing his revolutionary but elusive video game.matrix matrix🇧🇷 Anderson is seeing a therapist for that pesky splinter in her head, and we have a feeling the hot mom coyly squinting at Tiffany (Moss) at her local coffee shop might be suffering from a similar affliction. They need to be rescued, which means going back down the rabbit hole and facing their past together. To unite, to find that ancient magic, tooresurrect, they, and the film, have some obstacles to overcome. But as you do, you start to see the way you feel about yourself change: what was once a simple joke morphed into a Super Bowl commercial in which Neo dons virtual reality gear and says "Woah." , recovering character. Sci-fi work that plays with new and relevant phenomena (fandom, author expectation, canon, idolatry of intellectual property) just as the original trilogy played with the burgeoning cyberpunk and hacker scene. Bugs and his royal team like The One. How do they relate to this new matrix, how do the citizens of Zion live, how is the difficult relationship between machines and humans post-The revolution(or, to be more precise, post-an online matrix) - we get a glimpse of everything, but it is not aimed at fans. They are at your service. It's a shift from corporate pessimism (whose own analysis and identification and other similar themes are affectionately ridiculed in the same montage-laden opening) to subversive positivity. The returned characters don't have to be just callbacks. Winding hallways or secret fights can be more than just reference material. There is value in looking back as long as that experience moves you forward. At their best, which is often the case when Reeves and Moss share the canvas and their fiery chemistry and intimate warmth can embody these abstractions,resurrectionsJump from impressive heights and fly with confidence. Sometimes literally.—Jakob Oller

11The Wolf of Snow Hollow

Also:2020
Principal:jim cummings
Narrow:Jim Cummings, Robert Forster, Riki Lindhome, Chloe East, Jimmy Tatro, Kevin Changaris, Skyler Bible, Demetrius Daniels
Evaluation:R
Duration:83 minutes

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Snow Hollow police officer John Marshall (Cummings) balances Alcoholics Anonymous meetings with the difficulties of raising his teenage daughter Jenna (Chloe East), caring for his ailing father Hadley (Forster), maintaining diplomatic ties with his ex and maintain a loving relationship. . Cover your vulcan temper. When a woman (Annie Hamilton) is wrecked on a weekend visit to John's ski resort hometown just before her boyfriend (Jimmy Tatro) is about to propose, John will push himself to the limit. and beyond in his search for the killer. from which everyone concludes with astonishing speed that he is more of a werewolf than human. The stumbling nature of his companions and subordinates and the backwardness of Snow Hollow itself seem like gasoline just as they are. The consensus that the city is under attack by a mythical creature is the straw that makes John's veins clench with anger.The Wolf of Snow Hollowlands where horror and humor meet, bringing laughter to bereavement and custody battles. Cumming's laugh is the kind that indicates unease: his jokes are fresh, which makes the unpleasant things in the movie disappear more easily. Watching a cop get physical with someone who pushes their buttons long enough is windy. When his colleague Bo (Kevin Changaris) accidentally talks too much about the murders in front of reporters, John calls him into a snowdrift and proceeds to beat up the poor idiot, a moment that would have been plunged into total darkness without the help of a neglected. the lead, the sound and the antics of his argumentation. Still, the point is clear: John is nervous, and his sensitivity is surprisingly funny. The ironic and ill-tempered joke givesThe Wolf of Snow Hollowskin tingles, and moderate use of FX gives it excitement. At just under 80 minutes, this saving is crucial. The horror is not so much heightened as controlled. But instead of vibrating with the innate ferocity of the werewolf niche, Cummings' mastery of his own material lends the film a certain freshness. He tames the monster in man so that man is all that is left, for better or worse. John isn't perfect, but an imperfect human doesn't have to be an animal.–Andy Crump

12The invisible man

Also:2020
Principal:Leigh Wannell
Narrow:Elisabeth Moss, Oliver Jackson-Cohen, Harriet Dyer, Aldis Hodge, Storm Reid, Michael Dorman
Gender:Horror, Mystery and Suspense, Science Fiction and Fantasy
Evaluation:R
Duration:110 minutes

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With the help of elemental powers, her extremely wealthy Silicon Valley friend's house is covered in the deafening roar of ocean waves, Cecilia (Elisabeth Moss) slips smoothly out of bed, through the high-tech lab, he escapes through the wall of his campus, and gets into his Sister (Harriet Dyer) car. We wonder: why would she run like this if she wasn't being abused? Why would she have a secret compartment in her closet where she could keep a purse? Then Cecilia's friend appears next to the car and knocks on the window. His name is Adrian Griffin (Oliver Jackson-Cohen) and according to Cecilia, Adrian made his fortune as a leading figure in "optics" (OPTICS!) when he met the self-proclaimed "suburban girl" at a party a few years earlier. . Leigh Whannell is never subtle with her subjects, making her villain a genius at "seeing" technology.Whatwe see James Whale's 1933 Universal Monster movie update, and H.G. Wells: Embracing digital technology as our primary method of modern vision. Security cameras line every inch of Adrian's house; Later, he will use a simple email to ruin Cecilia's relationship with her sister. He has the money and resources to examine every corner of Cecilia's life. His gaze is uninterrupted. Cecilia knows that Adrián will always find her andThe invisible manhe is imbued with the pathetic terror of such vulnerability. Whannell and cinematographer Stefan Duscio have a knack for letting their images linger in space, drawing our attention to where we and Cecilia know an unseen danger lurks. Of course, we will always reveal: the corners of the rooms and the doors without a silhouette are not empty, they are not.Negative, but full of assumptions - until they are, the invisible man is never exactly where we expect him to be. We start to doubt ourselves; We are punished by stress and we feel that we deserve it. It's all wonderful, both a well-oiled genre machine and another showcase of Elisabeth Moss' herculean skill.– Sinacola House

13Ad Astra

Also:2019
Principal:James Grau
Narrow:Brad PittTommy Lee JonesRuth Negga
Gender:Science fiction
Evaluation:PG-13
Duration:124 minutes

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Brad Pitt stars as Roy McBride, an astronaut from "our near future" who, when we meet him, somehow survives an explosion on an international space station using his supernatural ability to control his heart rate and breathing and stay calm. in the face of mortal danger. The explosion was caused by a series of solar flares known to have been caused by an experiment conducted years earlier by Roy's father, Griffin (Tommy Lee Jones), who was presumed dead but may be alive and might actually have sabotaged the mission. Government officials, fearing that the flames could eventually destroy all life on planet Earth, want Roy to send a message to Griffin's ship, hoping to convince him to stop the flames and return home. Roy, who hasn't seen his father since he was young, isn't sure if the mission will work... but his own demons are after him, demons that aren't completely separate from his father. If this sounds like a thrilling space story, know that director James Gray is in a much more meditative state here: the movie is more about the mystery of the human soul than the mystery of the universe, or even any great human struggle. The universe is the backdrop to a man's story and his frustrated problems with his father and his inability to connect with anyone in the world because of it. Like many of Gray's films,Ad Astrait's about the abysses you can find within yourself, how far you can climb and hide. Pitt doesn't seem ideal for a role like this, the charisma oozing from him so easily it leaves a mark, but he's impressive as a man who doesn't understand himself but has an idea of ​​the answer to the riddle that troubled him. for so long, all of life must be in this man who gave her life but whom she never knew. Here's a stock Pitt uses that works well for him; It's a serious feat, but it never feels flashy. He's looking for something, knowing that he probably won't find it. Greydisapproving gesturethey provide thrills as the father searches for the son and are extremely well crafted, particularly a battle with space pirates on the moon that takes place in a world without gravity or noise. And in Pitt he has a solid emotional center that audiences will still follow anywhere, even going to the far reaches of the solar system just to face his father's problems.- Want Leich

14F9

Also:2021
Principal:justin lin
Narrow:Vin Diesel, Michelle Rodríguez, Tyrese Gibson, Ludacris, John Cena, Nathalie Emmanuel, Jordana Brewster, Sung Kang, Charlize Theron
Gender:Plot
Evaluation:PG-13
Duration:143 minutes

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This latest entry marks the return of director Justin Lin, who has helped direct the series' development since its inception.Tokyo DriftProFast and Furious 6, and while I was struggling with it, how difficultF & Fwhat keeps the film roaring is his undeniable understanding of what makes these movies tick. Lin continues to add new characters and twists to this high-octane soap opera, just as often as she adds prefixes, narrates deaths, and introduces long-lost brothers with as much ease as she transitions from the simple challenge of physics to the challenge of astrophysics. with the same ease. her as she spies on street racers all over the world - jogging super spies. The crew, including the newly tamed Dom and Letty, return to the world of...whatever.disapproval gesture...once again and their mission impossible (which they always accept) involves another globally destructive techno MacGuffin and globally destructive carnal MacGuffin: Dom's younger brother Jakob (John Cena), who is excommunicated from the family for his sins are made apparent in extensive flashbacks. As Dom's rocky relationship with Jakob becomes clear, over the course of explosive jungle runs, rooftop chases, and stylish living room brawls,F9the relationship of knowledge with the caricature itself compensates for this. One of the funniest jokes is that Tyrese Gibson's novel openly speculates on whether he and the rest of the team have plot armor. Are they really invincible? The gang, realizing they're all in a movie, feel like turning their cars towards the camera and stepping out of the fiction as if Daffy Duck could honestly be the next step.pato amuck🇧🇷 While both are late to the movie for my liking (and let much of the movie depend on how excited you are to see Sung Kang and Lucas Black's hilarious comeback), two innovations remain.F9Leading the ridiculous action: magnets and rockets. But these winning ideas, timed to energize a relatively dramatic entry like last-minute nitro boosts, have a hard time standing out amid the meandering plot and narrative pool of cameos. Perhaps the most revealing way of saying thisF9What's a bit overwhelming is that the standout moment in the movie is purely dramatic. A surprisingly well-directed "life flashes before your eyes" sequence allows Diesel to play down a host of emotions with little more than a pursed mouth as Lin weaves her past, present and future around her. There is a large separate entrance in theFastcanon, but as the franchise rushes toward its finish line, it's still satisfying to know it's in the hands of someone who understands the series' strengths and is still willing to think of new ways to use their toys to bump into each other. .Jakob Oller

quince.knife

Also:2019
Principal:Rian Johnson
Narrow:Ana de Armas, Daniel Craig, Chris Evans, Jamie Lee Curtis, Michael Shannon, Don Johnson
Gender:Drama, Mystery
Evaluation:PG-13
Duration:130 minutes

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knifeIt's the kind of movie that isn't so much an endangered species as it is unusually "set in the wild." Hollywood is ready to release a new version of the classic (for example, printed by Agatha Christie) that does not know the crime thriller, in which an eccentric detective tries to find out who in a room full of suspects committed the dirtiest murder: five of them. each up to -10 years. For most viewers, the joys of such movies go beyond trying to figure out the killer before the detective does; there's usually a star-studded cast chewing up the set, too. As well as trusted Christie's stores likedeath on the nile(1978) miMord im Orient-Express(2017), haybribe(1985),Gosford-Park(2001) and now by Rian Johnsonknife🇧🇷 Johnson's latest novel begins in classic I don't know style: acclaimed mystery writer Harlan Thrombey (Christopher Plummer) is found apparently dead the night after summoning his family and delivering a series of unpopular messages. He enters the local police force (led by Lakeith Stansfield Det. Elliott) and eccentrically suave (c'mon!) private investigator Benoit Blanc (Daniel Craig). The suspects are interrogated. The secrets are revealed. Then, just as the viewer prepares to take a Sherlock Holmes/Hercule Poirot/Encyclopedia Brown look at it all, Johnson reveals what happened to the elderly Thrombey. This changes the entire experience for the viewer as he tries to figure out what happened and wonders if the truth will ever be known. Like Dashiell Hammett's noir debut,brick, Johnson shows wonder and a willingness to play with the tropes and formulas that underlie his story. Everything is delicious to look at. yes at the endknifeit achieved what it set out to do - which may sound like weak or even scathing praise for another film or genre - here's the heartiest applause.-Michael Burgin

sixteen.X

Release date from:March 18, 2022
Principal:your west
Narrow:Mia Goth, Jenna Ortega, Martin Henderson, Brittany Snow, Owen Campbell, Stephen Ure, Scott Mescudi
Evaluation:R
Duration:106 minutes

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Xis a remarkable and unexpected return for director Ti West, who is a decade away from his former life as an "up-and-coming" aspiring horror writer, who has worked primarily as a hit-and-run television director for the last few years. 10 years. To return in such stunning fashion through an A24 remake of the classic horror film set to be the first of a new trilogy or even longer is the most impressive revival we've seen of the horror genre in recent memory.XIt's a dazzling mix of the pleasantly familiar and the wildly exotic, instantly recognizable in structure but deeper in theme, richness, and contentment than almost any of its peers. How many attempts at retro slasher styles have we seen in the last five years? The answer would be "countless," but few scratch the surface of tension, suspense, or even excitement.Xfills in one of a dozen or more scenes. It's a film that unexpectedly makes us yearn alongside its characters, exposing us (graphically) to their vulnerabilities and even establishing deeply sympathetic "villains," for reasons that become increasingly clear once we realize this is just the first chapter of a bigger story. these are horror movies that ironically comment on how cinema shapes society. With riveting cinematography, excellent sound design, and characters that go beyond the broad archetypes that initially resonate with stunned horror audiences,Xoffers a modern meditation on the bloody savagery of Mario Bava or Lucio Fulci and brings old hits back fresh, contemporary and rugged. In 2022, this movie is quite a gift for the slasher movie concept. 🇧🇷he told them

17weird

Also:2020
Principal:christoph landon
Narrow:Kathryn Newton, Vince Vaughn, Alan Ruck
Gender:Horror/Comedy
Evaluation:R
Duration:102 minutes

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At first glance, the prospect of reviving two franchise IPs that have been endlessly remade decade after decade seems mundane and unimaginative. However, director Christopher Landonweirdeffortlessly weaves the conventions ofcrazy fridaymiFriday the 13th, eschewing the limitations of the "remake" and instead creating a unique genre hybrid that is witty and endlessly entertaining, while maintaining a smart confidence that animates the film's horrors and gags without falling into the trap of comedy. What follows is a comedic exercise in binary inflection in sexual fluidity and gender expression that juxtaposes Vince Vaughn's stocky build with Kathryn Newton's petite build to provoke the horror genre's earlier notion of who is perceived as weak, both in attitude and in character and appearance. Vaughn and Newton give excellent performances, channeling each other's manners while poking fun at their own physical limitations and immediate (dis)comfort in their new ships. It's heartening to see the horror genre, still undeniably male-dominated, staying true to its commitment to pushing boundaries. When these limits mark what violence we can bear or what we can unpack in our own internal notions of gender and sexuality,weirdcombines these principles to create a horror story filled with unexpected and imaginative deaths while subverting societal expectations of who we should truly fear and why.Natalia Keogan

18Those who wish me dead

Also:2021
Principal:taylor sheridan
Narrow:Angelina Jolie, Nicholas Hoult, Finn Little, Aidan Gillen, Medina Senghore, Tyler Perry, Jake Weber, Jon Bernthal
Gender:Action film
Evaluation:R
Duration:100 minutes

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There are few things about a thriller that excites me more than realizing that the film is not based on some convoluted MacGuffins plot, but on a fully realized setting and characters finding their homes or finding themselves there helplessly. From writer/director Taylor Sheridan,Those who wish me deadIt's one of those thrillers, and those two elements, setting and character, are two that Sheridan is best at. Based on the 2014 novel of the same name by Michael Koryta, the film's strong story of survival is enhanced by its enchanting setting and impressive style. This stripped-down adaptation (which Koryta co-wrote with Sheridan and Charles Leavitt) blends good and evil with the same confidence as a barnyard shootout. A forensic accountant (Jake Weber, who plays a very tough accountant, but notCounterbadass level) and his son Connor (Finn Little) are on the run. Why? Well, from what we know, Connor's dad has discovered something pretty incriminating, and the suspects aren't too happy. "What did you do?" Connor asks. All he really gets for an answer is: "The right thing to do." Quickly, this old harsh reality establishes that the right thing to do may not be what it claims to be without consequence. Everything is carried by its cast, and Angelina Jolie is its best member. She plays Hannah, who Connor bumps into in the middle of the woods after Plan A is scrapped for B. A Smokejumper (basically like a regular firefighter is there)breaking point) with PTSD, Hannah was racked with guilt and haunted after a particularly horrible burn. She, too, was caught in a dead end: alone on guard duty, high above the forest in a remote fire tower. Among the other visual masterpieces by Ben Richardson (Sheridan's cinematographer onnitrogenmiGelbsteinthat recentlyhalf mare aus easttown"[which] hardens our little collective suffering") is the height, loneliness and wonder of this guardian of the sky high above the green treetops. The sets collide, bounce and get tangled likeThose who wish me deadhe builds his emotions brutally, when expected, and it's almost impossible to look away. It's the dense forests, the smart character work, the moral core that's optimistic and pessimistic enough to hold up their modern black and white hats. It extracts the kind of complexity and aesthetic cohesion that makes it soMercilesslymiSicario: Tag des Soldado(Sheridan's final script works) There's a lot missing. committed and intelligentThose who wish me deadis revitalizing.—Jakob Oller

19shout out

Release date from:14 January 2022
Principal:Matt Bettinelli-Olpin Tyler Gillett
Narrow:Neve CampbellCourteney CoxDavid ArquetteMelissa BarerraJack Quaid
Evaluation:R
Duration:120 minutes

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Among many things that convinced me to run Radio Silence were group members Matt Bettinelli-Olpin and Tyler Gillett.shout out, the main thing was that, like its predecessors, it understood how we would feel before we saw it. He knew that he would be torn by his existence. And that, friends, only scratches the surface of why the newshout out, with all its modern goodness, is the best thing since Wes Craven's original. Set 25 years after the original, the fifth installment doesn't hold back when it comes to dissecting the inner workings of a classic reboot to the bone.shout outIt's always been a movie lover's franchise, and it's never been afraid to be meta as hell, as meta as it had to be to make its point. Big questions arise that remain in the air: Are we really the monsters we create? Are we the monsters that made us and do we have to be? What's so toxic about loving something with everything you have and wanting it to stay good? As you'd expect from the franchise, it doesn't necessarily provide answers to these questions, but asking them feels good. It's a welcome dimension to the films, highlighting the larger themes that have emerged as Woodsboro's legacy has aged. Of course, the jokes about amplified horror and the return to the slasher roots, the movie trivia, the dedication to the art of cinema, it's all part of the show. but it's himquintomovie, and seriously, why send fans just a love letter?—brisco's law

20el nordic

Release date from:April 22, 2022
Principal:roberto egger
Narrow:Alexander Skarsgård, Nicole Kidman, Claes Bang, Anya Taylor-Joy, Ethan Hawke, Willem Dafoe, Björk
Evaluation:R
Duration:140 minutes

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Forged in Flame and Fury, the work of Robert Eggersel nordicis an exquisite tale of violent revenge that takes no prisoners. Written by Eggers and Icelandic poet Sjón (who also recently co-wrote A24's Icelandic creatures feature).lamm), the film is always compelling and imbued with the director's longstanding penchant for historical accuracy. Visually stunning and meticulously choreographed,el nordicperfectly measures up to its epic expectations. The legend counts inel nordicit looks new and quite familiar at the same time. King Aurvandill (Ethan Hawke) is assassinated by his brother Fjölnir (Claes Bang), who in turn ascended the late ruler's throne and Queen Gudrún (Nicole Kidman) to hers. Before Aurvandill succumbs to fratricide, he names his son Amleth (Oscar Novak) as his successor, making him the next target of his uncle's blade. Narrowly escaping capture, Amleth rows a wooden boat through the rough waters off the coast of Ireland, tearfully singing of the purpose of his new life: "I will avenge you, father. I will save you mother. I will kill you, Fjölnir.” Years later, Amleth (played by a muscular but singularly humble Alexander Skarsgård) became known as a ruthless warrior among a clan of berserker Vikings who dons bearskins and pillages a series of villages in a furious stupor.el nordicis an accessible and compelling Viking epic filled with the dissonant, tandem power of human brutality and fated connection. However, it's worth noting that the film is noticeably less Eggers-like in execution compared to his previous work. It has a much larger set, apparently at the cost of fewer continuous shots and less atmospheric terror. However, it also avoids the filmmaker's interest in New England folktales.el nordicembodies Egger's fascination with forestry and ocean tides. However,el nordiccombines the best of Egger's established style - impressive performances, accurate historical landmarks, intriguing folklore - with a new promise of thrilling extended action sequences. The result is consistently entertaining, often shocking, and full of scholarly focus. It would be totally surprising if the public considered this to be Eggers' definitive work. For those who have already fallen in love with the director's previous efforts,el nordicmay not seem as revealing asThe witchor as dynamic inthe lighthouse🇧🇷 However, what the film lacks in Eggers' cinematic ideals, it more than makes up for in its untouchable status as a fast-paced but meticulous Viking revenge story.el nordicit is utterly incomparable with existing epics, and perhaps even with those to come, probably inspired by the painstaking vision of a filmmaker in his prime.Natalia Keogan

21Raya and the last dragon

Also:2021
Principal:Don Hall, Carlos Lopez Estrada
Narrow:Kelly Marie Tran, Awkwafina, Izaac Wang, Gemma Chan, Daniel Dae Kim, Benedict Wong, Sandra Oh, Thalia Tran, Lucille Soong
Evaluation:PG
Duration:107 minutes

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From his intricate and exciting swordsmanship to his detailed portrayal of styles and cultures underutilized by the House of Mouse,Raya and the last dragonis one of Disney's best action adventures. His first foray into a Southeast Asian setting combines his traditional "Princesses" movies with an experimental quest asKubo and the two strings🇧🇷 Raya (Kelly Marie Tran), after a teenage tragedy turned her father (Daniel Dae Kim) to stone and destroyed her country, must jump from community to community piecing together a magical jewel and wacky new members from team Sisu (Awkwafina), the last dragon, can stone anyone and fix the world. There's a well-intentioned but poorly executed lesson in trust from writers Qui Nguyen and Adele Lim at the heart of the film, almost spelled out as an argument for nuclear disarmament: Basically, mutual animosity doesn't get any better if no one is willing. . To combat it take the first step. But really it's just an excuse to show us some of the best environmental work from Disney's 3D era and some of the best fight sequences of all time. A messy but gritty ending holds uprayato be a tour de force, but Kumandra is still worth a tour.—Jakob Oller

22nomad country

Also:2020
Principal:Cloe Zhao
Narrow:Frances McDormand, David Strathairn, Linda May, Swankie, Bob Wells
Evaluation:R
Duration:108 minutes

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A chilling, in-depth look at the downside of the American Dream Chloé Zhaonomad countrywill be nonfiction by Jessica BruderNomadland: Surviving America in the 21st Century(and some of its themes) into a complex folk song about survival, pride, and the beauty of walking the open road. The film focuses on older Americans who have somehow given up, or been forced to leave, their traditional homes parked in pickup trucks and trailers, and looks at everything that has led them to this point (an ugly and crowded rises above the natural of the film). landscapes and impressive views) and everything that awaits you now that you are here. Several of Bruder's sources appear in the film and threaten to steal the show from the fictional Fern (Frances McDormand) at every turn, and McDormand becomes one of them.best performancesOf the year. That's how honest and convincing Linda May and Swankie are. As the immigrant community expands at lightning speeds, gathering wherever temporary jobs pop up, Zhao creates an intricate mosaic of fundamental freedom. It's the vast American landscape, a "wonderful backdrop of canyons, open deserts, and purple skies," as our reviewer put it, and the American mythological promise that you can fend for yourself within it. But you can't, not really. The links between the nomads are a stark refutation of this individualist idea, just as Amazon's financial control over them is a condemnation of corporate dominance. Things are difficult, as Fern's fellow travelers share stories of suicide, cancer, and other problems, but they do the best they can. Here you have at least a little more control. The optimism that comes from a recovered sense of autonomy is beautiful to behold (and devastating when it clashes with those seeking a return to the old way), even if it's inherently short-lived.nomad countryThe majestic portrait of a country reveals a country's ultimate weaknesses, its corrupting poisons, and those who take advantage of its position and carve their own path.-Jacob Oller

23in the heights

Also:2021
Principal:Jon M Chu
Narrow:Anthony Ramos, Corey Hawkins, Leslie Grace, Melissa Barrera, Olga Merediz, Daphne Rubin-Vega, Gregory Diaz IV, Jimmy Smits
Evaluation:PG-13
Duration:143 minutes

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In 2018, director Jon M. Chu dove into the standard rom-com story.crazy rich asiansClassic Hollywood decadence adaptation that hooks everything into a well-constructed, culturally specific structure. It was big, spectacular, and embarrassingly new for an American movie of its kind. Now, in 2021, we will have Chu's version ofin the heights, the musical that launched Lin-Manuel Miranda (and earned him his first Tony). It is wonderful. The heady electricity of a cast of non-white blockbusters who become superstars before your eyes, the maximalist style of a modern blockbuster updating its influences, the interweaving of hyper-specific and broad themes: the strengths of Chu and his cast they shoot.in the heightsas strong as ever. It's the best Hollywood musical in years. After a few muggy days in Washington Heights, New York, the film connectsdo the right thingthe hot thrill of summer withdazed schoolhis provocative fondness for his musical genre. It turns out that the corner we are on is the collision point of the lives and romances of two couples: the head of the winery Usnavi (Anthony Ramos) and the aspiring designer Vanessa (Melissa Barrera) and the dispatcher Benny (Corey Hawkins). ) and recent Stanford dropout Nina (Leslie Grace) - who serves as the neighborhood's most eloquent example of those who have left the rigged lottery of life by putting their patience and faith in a daily scratch card. There really isn't a central fight (especially between Sharks and Jets, though it wouldn't be surprising if Steven Spielbergwest side storyWhat were two great New York musicals in 2021?) plus the ever-present and myriad fears of the umpteenth generation of Americans living in a racist country. Yes, those familiar with the themes of Miranda's work.HamiltonYou'll find a similar rhythm and thematic flavor here, albeit with a showtunes flair that slips into a salsa or bolero as easily as rap bars do in and out of Spanish, but with a purity of form and meaning that inspires lyrical criticism and observation. even more clearly entangled in the historical metaphor of the phenomenon. In fact, nearly every song is a din that keeps emotions high: you'll cry, cheer, hum the tunes as you leave the theater, bolstered by an orchestration that's understated when it's limited to its lovers erupting as the choruses finally involve the neighborhood in general. Slamming bops and soulful melodies are paired with rhythmic editing and an appropriately populous thumping background that is a constant choreography that maintains the continuous organic flow of a community.in the heightsit is grand, and its greatness is magnified by the joy it will inspire in packed theaters for years to come.—Jakob Oller

24Everything everywhere at once

Release date from:March 25, 2022
Principal:Daniel Kwan, Daniel Scheinert
Narrow:Michelle Yeoh, Stephanie Hsu, Ke Huy Quan, James Hong, Jamie Lee Curtis, Jenny Slate, Harry Shum Jr.
Evaluation:R
Duration:146 minutes

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Everything everywhere at oncefollows Evelyn Wang (Michelle Yeoh), a middle-aged laundromat owner who may or may not be involved in a petty tax fraud. However, her tedious and repetitive life is thrown into utter chaos when her husband Waymond (Ke Huy Quan), or at least a version of him, alerts her to the existence of the multiverse in the elevator to a IRS meeting. She then explains that a powerful villain named Jobu Tupaki is building a universe-destroying force that only Evelyn can stop. And so, Evelyn reluctantly plunges headlong into the multiverse. The facts: There are infinitely many universes co-existing, containing just about anything imaginable. The Rules: In order to acquire various abilities, you have to imagine a universe in which you inhabit that ability, be it inhumanly strong little fingers or mastery of knife fighting. (If you can imagine it, there is.) What follows, then, is a frenetic 140 minutes packed with dense and complex science, colorful backgrounds, and scenes that seem like they came straight out of a dream. to describe the abstract. as you can probably tellallnot dissimilar to its title, and plenty to rack your brains with. If all of this sounds intimidating (which, let's face it, how could it not?), rest assured.allit is backed by a simple and effortless emotional outcome. In fact, there's just as much emotional maturity in the film as there are great concepts and eye-catching visuals (yes, including a giant butt plug and a raccoon chef). At its core, it's a story of love and family told by the stunning Yeoh in an understated, unsentimental performance. From whereallEvelyn's emotional thread is Evelyn's relationship with her family, her visual thread manifesting as a series of fast-paced, hypnotic action sequences choreographed like a ballet by Andy and Brian Le. As a bonus, these sequences are reminiscent of Yeoh's iconic role in Ang Lee's wuxia movie.Hidden Dragon Crouching Tiger🇧🇷 Directors aren't afraid to use blinding lights or rapidly changing light sources that confuse the viewer. They're also not afraid to implement exaggerated imagery, like a person's head exploding in confetti or a naked man flying towards the camera in slow motion. At the same time, Paul Rogers' meticulous editing makes the movement between the verses feel fluid, as does the simple way the different ratios blend together. YeahEverything everywhere at oncecan be reduced to a simple question that would be a reflection of its own title: Can you really have everything everywhere at the same time? Whatever the characters' answers (I'll let you find out for yourself), I'm sure the Daniels would say yes, of course you can.—aurora amidon

25Top-Gun: Maverick

Release date from:27. mayo 2022
Principal:Josef Kosinski
Narrow:Tom Cruise, Jennifer Connelly, Miles Teller, Jon Hamm, Monica Barbaro, Ed Harris, Val Kilmer, Jay Ellis, Glen Powell, Lewis Pullman, Danny Ramirez, Greg „Tarzán“ Davis
Evaluation:PG-13
Duration:137 minutes

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not exactly four yearsMission: Impossible - Falloutand much of Tom Cruise's purpose remains the same, if not exactly growing in religious fervor. In itTop-Gun: Maverick, the sequel to Tony Scott's 1986 original, Cruise is Captain Pete "Maverick" Mitchell, a man stuck in the past who refuses to pursue his career as determinedly as he refuses to do anything but continue to prove that He is the best pilot in the world. world. world - a title the film never forgets to remind audiences that Maverick conquered long ago - and mourn the loss of his best friend Goose (Anthony Edwards) who died 35 years ago in an accident for which Maverick still feels responsible. . Tom Cruise is also, quite simply, "Tom Cruise," the only notable heir to show business, who left his body in paralyzing danger to prove that it could be done, to show a younger generation that movies could do it. be what superstars can do. It must do. The more modern action movies are replete with synthetic bodies exploding at the synthetic seams, the more Tom Cruise builds his movies as an age to smear the beautiful slaughtered meat of him. To that end, Joseph Kosinski is the perfect director to helm the sequel to Cruise's legacy. Like Kosinskitron: legacy,Independentit seems to exist to justify its existence to update an IP that only seems to work in the past. Fortop gunThat means translating Scott's vision of sweat-soaked beach volleyball and pure military spectacle into a more sober IMAX adventure that moves from the quiet days of Reagan America to a world that no longer needs a man like Maverick. "The future is coming and you are not in it," they told him; every one of his superiors seems to have no patience with him. One can't help but wonder that each new Tom Cruise vehicle is a way to deal with it. Kosinski's dogfights are incredible, flawless cinematic feats, inexpensive and orbiting a recognizable space but subject to occasional, inexplicable crashes of sheer chaos. Then quickly connected again. If Scott's action was a hodgepodge of moves that was never intended to be fully cohesive and lived up to the American Dream, then Kosinski strives to give audiences a path of experience. With his usual cinematographer, Claudio Miranda, he plays with symmetry to captivate the public. A wide view of a full-length dogfight, similar to an earlier scene on the beach, appeared so suddenly, silently, in the large theater and like I had never seen it before, I gasped.sinacola house

26The father

Also:2021
Principal:Florian Zeller
Narrow:Anthony Hopkins, Olivia Colman, Rufus Sewell, Mark Gatiss, Imogen Poots
Gender:theater
Evaluation:PG-13
Duration:97 minutes

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The best reading line given by Anthony Hopkins during his monumental performance in Florian Zeller's playThe fatherit comes in the final scene of the movie, which is both a blessing and a bummer. All anyone should do is live in this reading, be amazed by the way Hopkins names the one thing that can ease his character's angst and make him look sad, knowing that all he needs is all he can. I did not do it. The entire film is an exercise in pain, but it's that final dialogue that interrupts the drama that precedes it, eventually releasing the pain that simmers beneath its surface. Hopkins' character, also known as Anthony, spends most of his time in thisThe fatherFighting for his independence like a wolf cornered by hunters, he stubbornly refuses to accept his apparent mental decline and his need for professional help. Her daughter Anne (Olivia Colman), as the photo begins, made several unsuccessful attempts to find a caretaker to take with him, and with her announced intention to move to Paris, the search for her became urgent. Anthony is not happy with the news. Sitting together in their well-appointed London flat, he even hands her the deal and gives her his take on his dog-free plans. He is not happy. But deep down, in the parts of him that are still self-aware, all he fears is fear. adjusted zellerThe fatherfrom his award-winning play Le Père, and while he left the script material intact, he transitioned to his new medium with subtle adjustments: cinematographer Ben Smithard uses his lens like a bolt pistol and erects figurative walls around the cast of Zeller on Beyond the Set's Literal Walls. The visual claustrophobia complements the spatial claustrophobia, trapping the viewer in the apartment and, more importantly, Anthony's crumbling psyche. A simple open-concept apartment becomes labyrinthine from your point of view, and that's before supporting characters start wandering hallways and doorways, slipping in and out of your perception, assuming they were there all along. Just as the characters are there to serve Anthony, the supporting cast is there to serve Hopkins. The stage is yours. What he makes of him is something special, an unmissable performance from an actor with a filmography loaded with it.—Andy Crump

27no

Release date from:July 22, 2022
Principal:jordan peele
Narrow:Daniel Kaluuya, Keke Palmer, Steven Yeun
Evaluation:R
Duration:130 minutes

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Among his funnier driving manners, Jordan Peele appreciates the melodrama of a good Biblical quote: the 2019 assassin-like vehicle.ustirelessly draws on Jeremiah 11:11 and his final effortnoit begins with Nahum 3:6, "I will cast abominable filthiness upon thee, and will make thee an abomination, and will make thee a spectacle."no, a clever and tactile story about a brother and sister farming duo searching for video evidence of a UFO orbiting their home. While Peele routinely mocks the Hollywood machine and its spectacles, here he reveals it all: the emergence of images of brutality, catharsis, posterity, surveillance, homage, indulgence. Six months after their father died in a freak accident, brothers OJ (Daniel Kaluuya) and Emerald Haywood (Keke Palmer) take over Haywood's Hollywood Horses, Agua Dulce's intergenerational horse racing business that specializes in show business. equestrian. Working in beautiful contradictions, Kaluuya plays OJ as stoic and reserved, the true big brother type, and Palmer's Emerald is incredibly magnetic and full of mischievous banter. After a series of strange events (power outages, horses fighting, painful cannon sounds), OJ watches what appears to be a flying saucer gliding across the dark night sky. The next day he discovers a cloud that doesn't move an inch. Suspecting a connection between the saucer and their father's death, OJ and Emerald enlist the help of clumsy and unstable technician Angel (Brandon Perea) and renowned documentarian Antlers Holst (Michael Wincott, excellent scraper) to gather evidence of the UFO obtained with intent. of making a profit. of the shooting. In a way, the Haywoods want to make a movie. In doing so, Peele rewrites the American film canon and questions what it means to deal with such an exclusive medium. Shot in IMAX by Dutch cinematographer Hoyte Van Hoytema, a Christopher Nolan regular, responsible for the graceful and embellished landscapes ofInterstellar,That's whymiprinciple—nocreate a world of vast dusty landscapes and bloody dwellings. Steven Spielberg is less of a reference point than the emotional script. EITHERClose Encounters of the Third KindComparisons are written, but theoreticallynoit's more likeKieferin the sky. Share neo-western, family drama, sci-fi and cosmic horror,noPeele sees more lines balanced here than ever before: aliens, Muybridge revisionism, undigested pain, chimpanzee carnage, a meticulous documentarian pursuing the impossible.noit's possibly one for Peele: a show in the least contemptuous sense; a palimpsest of nostalgic blockbusters and Peele's justifiably confident vision of the future of Hollywood; but above all a solution and a company of the modern era.—maeve safran

28Zola

Release date from:30. June 2021
Principal:janicza bravo
Narrow:Taylor Paige, Riley Keough, Nicholas Braun, Colman Domingo
Gender:comedy, suspense
Evaluation:R
Duration:90 minutes

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Ultraviral thread from A'Ziah "Zola" King aka The Story aka Thotessy aka Dante's Infern-ho about stripping down, sex trafficking, and the dangers of braving the surreal, almost mythological land of Florida with a white girl. I barely know white, it has it all. It's hilarious and disturbing, with noble, treacherous, and pathetic characters that condemn voyeurism while encouraging our participation and audience. The saga of social networks is also a storytelling treatise. Has beenembellished, deleted and republishedafter the black comedy inherent in captivating truth has been refined for the audience: an epic evolved and technologically modernized. Of course, writer/director Janicza Bravo had a lot of work turning her flashy weekend nightmare into a movie. But she responds in kind, adding her own adjustments and retelling to reinforce the fable.Zolait retains the seductive magic of its source, transforming us from spectators into mesmerized participants in the craziest cinematic ride of the year. In less capable handsZolait could have been a movie of morbid fascination. But Bravo, which adapted his second feature with Jeremy O. Harris, embraces the secondhand spontaneity of liveliness while immersing us in the humanity of its participants. we rarely searchnothem how can it happen during the florida dirty showspring breakersbut do it with them. Sometimes that means empathizing with Zola (Taylour Paige) and Stefani (Riley Keough) if they feel it when they take selfies in the strip club locker room. Sometimes that means laughing wistfully when Stefani's friend Derek (Nicholas Braun, whose gigantic offhand act of aMalibus Meistgesuchterpainting) boasts to a stranger in an empty liquor store that they "make money" in town. But money isn't free, and these girls don't get free, as the next few days evolve from a simple strip trip to a confusing clash between culture vultures, warring sex traffickers, and an ever-increasing desire to return home.Zolait continues the fairytale development of King's story while conveying the rich text in the same cheeky spirit: a level of respect most adaptations only aspire to.Jakob Oller

29or last duel

Release date from:15. October 2021
Principal:Ridley Scott
Narrow:Ben Affleck, Matt Damon, Jodie Comer, Adam Driver, Harriet Walter, Alex Lawther
Evaluation:R
Duration:152 minutes

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To tell a story that's been told before, Ridley Scottor last duelit does something a little familiar and a little different. His medieval epic based on Eric Jager's book of the same name, about France's last judicial duel, is broadcast in three chapters. In an easily comparable narrative deviceRashomonAnother film detailing conflicting accounts of rape, the script (co-written by stars Matt Damon and Ben Affleck along with Nicole Holofcener) takes us three times at the beginning.or last dueltrace the path already traveled, but each time with a different guide. In some cases, diplomatic action turns violent, unsuspecting glances become evidence of deceit, relationships change dramatically, words take on different meanings, and the world suddenly looks as if we are seeing it for the first time. Thus, when we are introduced to the knight Jean de Carrouges (Damon), we are dealing with a grizzled and esteemed war hero. He engages in brutal combat and bravely attacks the enemy forces. Spears pierce chests, guts split open, blood spurts out with almost comic effect. The crunch of meat, the crunch of bone and the rattle of metal are amplified by the film's impeccable sound design, while combat sequences are defined by the kinetics of Dariusz Wolski's cinematography. In this first chapter we see the world as Carrouges sees it, and it is a world in which he is a respected combatant and dutiful husband, wronged by his ex-boyfriend, expressing compassion and quick anger against the man who committed the sin. the rape of his young wife Marguerite de Carrouges (Jodie Comer). But when the narrative changes, we understand that this is not entirely true. Carrouges is seen as a stupid braggart in the eyes of Jacques le Gris (Adam Driver), Carrouge's former friend on the battlefield and squire of Count Pierre d'Alençon (Affleck). Pierre d'Alençon and his squire are notorious womanizers who engage in orgies and gossip about how much they hate Jean de Carrouges (which is often only funny because of Affleck and Damon's real-life friendship). Of course, the Marguerite chapter provides the most coherent account of the story, articulating a life lived solely by the whims of men. And in Marguerite's eyes, Carrouges is just a brute she was meant to love, and le Gris is a lascivious freak she's only superficially attracted to. The figure is gracefully handled by Comer, who carries Marguerite with aplomb and masks the ever-present gleam of terror in her eyes; the trembling but common fear of a man whose personality has become insignificant since his birth. It's easy to call Scott's film a medieval version of #MeToo, and that's okay. It's an openly modern and easy-to-apply allegory about the ramifications of sexual assault allegations: how women can be complicit in spreading rape culture while men are complicit in perpetuating it, and how the cost of speaking out can be as terrible as it is is not the caseWertSay something. But these are things we already know. Such a comment has been made ad nauseam at this point, and often in a way that seems tedious and hackneyed. Instead, Damon, Affleck, and Holofcener have written a clever illustration of how men see the world differently, and how rape culture is born out of these lived blind spots. The decision to tell the 150-minute story in three separate stories not only creates an incredibly compelling narrative that allows for multi-layered characters, but is also a ploy that gets to the heart of what the film is trying to say: if men He sees the world as fundamentally opposed to women, and if that world conforms to your whims, there can only be one truth. Directing a grandiose and gripping medieval epic that doubles as an analysis of the dynamics of the genre, Ridley Scott may be unexpected, butor last duelmanages to effortlessly blend Scott's action sensibility with an empathetic thread between past and present.—brianna zigler

30no time to die

Release date from:8. October 2021
Principal:Cary Joji Fukunaga
Narrow:Daniel Craig, Lea Seydoux, Rami Malek, Ben Whishaw, Lashana Lynch, Naomie Harris, Ralph Fiennes, Jeffrey Wright, Ana de Armas, Christoph Waltz
Evaluation:PG-13
Duration:163 minutes

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It is significant that Craig's swan songno time to dieBeing the longest Bond ever at 163 minutes, he probably won't elicit as much public self-flagellation as the skinniest, baddest.Quantum.no time to diehe is not skinny or bad; it's a careful attempt to reconcile the rituals of Bond with the emotional heaviness of the series finale that these films have accumulated since 2006 (with mixed success). rigid stewards of the Bond franchise) is so reluctant to abandon any aspect of this work that it often feels like two movies in one, both movies. The film's dual focus is so pronounced that many of the story elements feel duplicated: The opening sequence is a bit creepy, with a touch of horror, for Lea Seydoux's Madeleine Swann (first introduced in the middle mediocre).spectrum)mia great Bond action sequence that brings him out of retirement. It looks like there's still 30 minutes left before the opening titles are finally released. So after those credits, five years later, the movie gives us aOthersBond's retreat, this time in Jamaica and not in Italy. If it seems like the characters, locations, and plot twists keep coming back and it's impossible not to mention the other Craig Bonds that came before it, this is the experience to try.no time to die- and not always in an awkward way. If you can take a fictional Bond saga with callbacks, plots, and connections, at least it's less of a timeless franchise and more of endlessly self-provoking superhero mythologies (ironic, considering this is themostforever of the franchise). This movie really wants to bring together the extended era of Craig, the longest in years, although not in full production. Despite the exposed craftsmanship,no time to diePantheon-level Bond action sequences are missing. Kuba is incredibly entertaining, Fukunaga puts on a solid ranked match at the end of the movie, and the grandiose/late opening delivers. But the film is more about human things, a decision that is at once arrogant, heartening, and unprecedented. (Well, not quite.On Her Majesty's Secret Servicetry something else, and the filmmakers here show their belated appreciation for this once-maligned Bond classic.) The emotional weight he tries to impose on his loyal audience doesn't always feel deserved, if only because it's hard to parse what, if anything, the movie does. It's really trying to talk about a James Bond who spent the better part of five movies starting out. and ending, sometimes in a loop. However, fans may welcome the chance to see how the series fights against its conventions: are those performances good, for example, or are all the good ones just pretty? Is this film visually opulent or was it only shot on film? Was James Bond developed or just petered out? As much asno time to dieIt ends, its certainty ultimately limited to the last line of the credits: James Bond Will Return. As it is something else.—jesse hassenger