86 Best Warm Movies On Itunes (Page 2)

In Things to Come, life tests a philosophy professor on the very same subject she teaches. For Nathalie (Isabelle Huppert) — who has two grown-up children, a husband of 25 years, and a recurring publishing contract — the future isn’t something she gives much thought, because she assumes it’ll be more of the same. When her students protest against a law to raise the pension age, this middle-aged ex-anarchist can’t bring herself to engage with their apparently far-sighted cause; unlike them, all she can think about is the present. But then a series of events overturn her life as she knew it and she finds herself, at middle age, staring at a blank slate.

This is a movie about our surprising ability to deal with disaster — the instincts that emerge when we least expect them to. What’s more, it’s about the insistence of life to keep going no matter how difficult a period you’re experiencing — something that might initially seem cruel but that is, actually, your salvation. The film’s academic characters and philosophical preoccupations never feel esoteric, because Hansen-Løve’s gentle, intelligent filmmaking puts people at its center as it explores human resilience — not through stuffy theory, but an intimate study of someone coming to terms with a freedom she never asked for.

Genre: Drama

Actor: André Marcon, Charline Bourgeois-Tacquet, Edith Scob, Edward Chapman, Elie Wajeman, Élise Lhomeau, Grégoire Montana-Haroche, Guy-Patrick Sainderichin, Isabelle Huppert, Jean-Charles Clichet, Julianne Binard, Lina Benzerti, Lionel Dray, Margaretta Scott, Olivier Goinard, Rachel Arditi, Ralph Richardson, Raymond Massey, Roman Kolinka, Sarah Le Picard, Solal Forte, Yves Heck

Director: Mia Hansen-Løve, Mia Hansen-Løve, William Cameron Menzies

Rating: Not Rated, PG-13

The sunniest installment of Éric Rohmer’s Tales of the Four Seasons series is a sly, slow burn of a character study. Everything looks sensuously beautiful in the honey-toned French sunshine, except for the ugly egotism of Gaspard (Melvil Poupaud), the full extent of which is gradually revealed over the film’s runtime to amusing — if maddening — effect.

A brooding twenty-something, Gaspard has the traumatic task of having to decide between three beautiful and brilliant young women while vacationing alone on the French coast one summer. He dithers and delays his choice, each woman appealing to a different insecurity of his — but, as frustrating and plainly calculating as he is, you can’t help but be charmed by Gaspard. That’s partly because of Poupaud’s natural charisma, but also because Rohmer grants Gaspard as many searingly honest moments as he does deceitful ones. These come through Rohmer’s hallmark naturalistic walking and talking scenes (a big influence on the films of Richard Linklater), coastal rambles that produce conversations of startling, timeless candor. That inimitable blend of breeziness and frankness is never better matched in the director’s films than by the summer setting of this one, the sharp truths going down a lot smoother in the gorgeous sunlight.

Genre: Comedy, Drama, Romance

Actor: Aimé Lefèvre, Amanda Langlet, Aurelia Nolin, Gwenaëlle Simon, Melvil Poupaud

Director: Éric Rohmer

If you’ve never seen Walk Hard before but still get déjà vu from just its first 10 minutes, that's the point. This riotous pastiche parodies every musician biopic ever made — and even many that came after it. Its ability to predict the future is thanks to its sharp observation of all the clichés that are typically wheeled out when a musical artist’s life story gets the big screen treatment. Walk Hard skewers everything from the tropes of preternatural musical abilities and galvanizing childhood trauma to the formulaic three-act structure that follows the musician’s rise, inevitable fall, and triumphant rise again.

Absolutely no chances are left unseized to lampoon the genre: the film is told in an incredibly long flashback, for example, and features multiple groan-including moments in which characters say the movie’s title out loud, all but winking at the camera. The danger with a parody is that the joke can get old quickly, but Walk Hard is blessedly full of laughs that would stand up even outside of the spoof framework, displaying incredible devotion to even the most throwaway of jokes (as when The Temptations make a cameo for one five-second gag). Not just a brilliant satire, then, but a terrific comedy of its own.

Genre: Comedy, Drama, Music

Actor: Adam Herschman, Amber Hay, Angela Little, Cheryl Ladd, Cheryl Tiegs, Chris Parnell, Clement Blake, Conner Rayburn, Craig Robinson, David Doty, David Krumholtz, E.J. Callahan, Ed Helms, Eddie Vedder, Frankie Muniz, Gerry Bednob, Gerry Black, Ghostface Killah, Gregg Lee, Harold Ramis, Ian Roberts, Jack Black, Jack Kehler, Jack McBrayer, Jack White, Jackson Browne, Jacques Slade, Jane Lynch, Jason Schwartzman, Jenna Fischer, Jewel, John C. Reilly, John Ennis, John Maynard, John Michael Higgins, Jonah Hill, Justin Long, Kristen Wiig, Lyle Lovett, Margo Martindale, Martin Starr, Matt Besser, Molly C. Quinn, Morgan Fairchild, Nat Faxon, Neil Ironfield, Odette Annable, Patrick Duffy, Patrick Faucette, Patrick J. Adams, Paul Bates, Paul Feig, Paul Rudd, Philip Rosenthal, Rae Sunshine Lee, Rance Howard, Raymond J. Barry, Ron Tyson, Serria Tawan, Simon Helberg, Skyler Gisondo, Stacey Scowley, Steve Bannos, Terrence Beasor, Tim Bagley, Tim Meadows, Tyler Nilson, Willow Geer

Director: Jake Kasdan

Rating: R

For public toilet cleaner Hirayama, “enjoy the little things in life” is more than just an adage: it’s a philosophy. Every day, he follows a strict routine of watering his plants, going to work, taking a break at a nearby shrine, and having dinner at his favorite stalls. It seems unexceptional, and yet Hirayama manages to find small, meaningful joys in between (and at) those very moments. A tree branch dancing in the breeze and shadows making funny shapes are enough to make him chuckle, while it seems like a good book and a trusty cassette are all he needs to be at peace. Hirayama’s mundane miracles are life-affirming, but make no mistake: this isn’t one of those cheesy films that push you to be happy no matter what. Director Wim Wenders (Paris, Texas, Wings of Desire) infuses the film with a certain gloom so that the overall tone is one of deep, poignant melancholy. Through vague clues about Hirayama’s past, we learn that his attempts at capturing joy might also be bids to escape a traumatic life. All this builds to a powerful ending that speaks to the complexity of human emotion. We can be happy and sad, peaceful and troubled, lonely and content all at the same time, and it’s okay. At the end of the day, we’ll still have our favorite book passage, our favorite singer, a great artwork, or a beautiful park to return to, and sometimes that’s all the reminder you need that life can be worth living.

Genre: Drama

Actor: Aki Kobayashi, Aoi Iwasaki, Aoi Yamada, Arisa Nakano, Atsushi Fukazawa, Bunmei Harada, Daigo Matsui, Gan Furukawa, Hairi Katagiri, Hiroto Oshita, Inuko Inuyama, Isao Matsui, Kisuke Shimazaki, Kōji Yakusho, Makiko Okamoto, Masahiro Koumoto, Mijika Nagai, Min Tanaka, Miyako Tanaka, Morio Agata, Morooka Moro, Motomi Makiguchi, Nao Takahashi, Naoko Ken, Nari Saitô, Nijika Tonouchi, Sayuri Ishikawa, Shunsuke Miura, Soraji Shibuya, Taijirō Tamura, Tamae Ando, Tateto Serizawa, Tokio Emoto, Tomokazu Miura, Tomoyuki Shibata, Yasushi Okuwa, Yoneko Matsukane, Yumi Asou, Yuriko Kawasaki

Director: Wim Wenders

Rating: PG

Other People’s Children wrestles with some very tricky life experiences: bonding with a partner’s child in the agonizing knowledge that that attachment is entirely contingent on the fate of your romantic relationship; being a woman of a certain age and wanting a child but becoming keenly aware of the ticking of your body clock. For all the sharp points of pain the movie zones in on, though, there is remarkable cheerfulness in it, too. Writer-director Rebecca Zlotowski captures a wide spectrum of mood here, fusing lighthearted laughs and swooning romance with bitter disappointments and grief in a way that feels organic to life itself. The buoyant moments don’t undermine the sincere, intelligent consideration given to Rachel’s (Virginie Efira) perspective as a woman navigating a situation for which there are no real rules, and vice versa — because the film considers her as a whole from the outset. Neither reducing Rachel to her childlessness nor ignoring its emotional impact on her, this is a deeply empathetic movie that never questions the completeness of its protagonist’s life.

Genre: Comedy, Drama

Actor: Anne Berest, Antonia Buresi, Callie Ferreira-Goncalves, Chiara Mastroianni, Fadila Belkebla, Frederick Wiseman, Guillaume Verdier, Henri-Noël Tabary, Marlène Saldana, Mireille Perrier, Roman Kolinka, Roschdy Zem, Sébastien Pouderoux, Véréna Paravel, Victor Lefebvre, Virginie Efira, Yamée Couture

Director: Rebecca Zlotowski

Rating: NR

To Hollywood's shame, it wasn’t until 1998 that a major feature made by Native American filmmakers was released. It was this charming indie gem that belatedly broke that new ground: based on author Sherman Alexie’s The Lone Ranger and Tonto Fistfight in Heaven, Smoke Signals retains the irreverent humor hinted at in its source material’s title while also being a genuinely heartfelt drama. Set across two cleverly interweaving timelines, it follows the fraught relationship between Victor and Thomas, two young men living on Idaho’s Coeur d’Alene Reservation who are forever linked by tragedy: as a baby, Thomas was saved from the house fire that killed his parents by Victor’s father Arnold (a great Gary Farmer), who soon spiraled into alcoholism and abandoned his young son. When Arnold dies suddenly, then, the duo embark on a perspective-changing road trip to collect his ashes.

Thomas’ nerdy earnestness and happy-go-lucky personality have always gotten on the nerves of the stoic Victor — who’s eaten up by resentment at his father for leaving — but the trip brings the disparate duo together. Though the movie honors their meaningful journey with a serious dramatic focus, it’s also shot through with sharp humor satirizing clichés about Native American people — a tonal complexity that makes it uncommonly accomplished, even without the added value of its all-too-rare perspective.

Genre: Comedy, Drama

Actor: Adam Beach, Cody Lightning, Cynthia Geary, Elaine Miles, Evan Adams, Gary Farmer, Irene Bedard, John Trudell, Michael Greyeyes, Molly Cheek, Perrey Reeves, Robert Miano, Simon Baker, Tantoo Cardinal, Tom Skerritt

Director: Chris Eyre

Rating: PG-13

Surreal, strange, yet wondrous, Penguin Highway never takes a straightforward approach to its story. Penguins pop up out of nowhere, leading the nerdy and precocious Aoyama to study them via empirical observation and logical deduction. These studies don’t end up with a feasible explanation– in fact, by the final act, the film abandons all laws of physics. But the journey to that act feels intuitively right. This journey feels like an indescribable formative experience. Aoyama may be obsessed with growing up and committing to the reasonable adult mindset, but he is still a child. From fending off bullies to forming connections with others, his childhood imagination served him better than science could. The film reveres this discovery as well as it should.

Genre: Adventure, Animation, Comedy, Drama, Fantasy

Actor: Hidetoshi Nishijima, Kana Kita, Landen Beattie, Mamiko Noto, Megumi Han, Miki Fukui, Misaki Kuno, Naoto Takenaka, Rie Kugimiya, Winston Bromhead, Yu Aoi

Director: Hiroyasu Ishida

Rating: Not Rated

You don’t have to be a theater kid to enjoy this feel-good mockumentary set in a summer camp for junior thespians. While there are plenty of in-jokes here for those who might have spent a summer or two somewhere like AdirondACTS, Theater Camp also good-naturedly lampoons every instantly recognizable stereotype of theater kids and the classic failed-performer-turned-teacher. 

Amongst the note-perfect ensemble, particularly hilarious standouts include co-writer Ben Platt and co-director Molly Gordon as camp instructors and best friends Amos and Rebecca-Diane. Both are Juilliard rejects with codependency issues and a classic case of actorly self-indulgence — as encapsulated in the moment they accuse a young attendee of “doping” for using artificial tears during a performance (“Do you want to be the Lance Armstrong of theater?”). But even seasoned performers like Platt and Gordon can’t pull the spotlight away from the film’s absurdly talented young ensemble, who are just as game for poking fun at their passion: standouts include Luke Islam, Alexander Bello, and Minari’s Alan Kim as a pint-sized “aspiring agent” who skips dance class to make business calls. All this self-satirising never obscures the movie’s heart, though; what begins as a self-deprecating ribbing of theater-heads ultimately becomes a rousing love letter to those very same misfits.

Genre: Comedy, Music

Actor: Alan Kim, Alexander Bello, Amy Sedaris, Ayo Edebiri, Ben Platt, Caroline Aaron, David Rasche, Dean Scott Vazquez, Donovan Colan, Jimmy Tatro, Kyndra Sanchez, Luke Islam, Max Sheldon, Molly Gordon, Nathan Lee Graham, Noah Galvin, Olivia Puckett, Owen Thiele, Patti Harrison, Priscilla Lopez, Tyrone Mitchell Henderson

Director: Molly Gordon, Nick Lieberman

Rating: PG-13

It’s hard not to watch The Unknown Country and think of Nomadland: along with similarities in their Terrence Malick-inspired visuals, both films follow lone women seeking catharsis on the road as they grieve profound losses. But Morrisa Maltz’s debut feature is a decidedly lower-key, more spiritual affair — and is all the better for it.

The film is light on plot exposition, but it’s clear from her soft melancholy that Tana (Lily Gladstone) has set off on this road trip following a personal loss, a meandering journey that takes her from freezing Minnesota to Oglala Lakota reservations in South Dakota and down through Texas. Along the way, she reunites with loved ones and crosses paths with total strangers, all of whom are played by charismatic non-professional actors whose real life stories earn as much of the spotlight as Tana’s impressionistically shot journey. These moments of documentary, Gladstone’s naturalistic performance, Andrew Hajek’s contemplative images of lush American landscapes, and the film’s aversion to outright drama enrich the fictional elements by grounding them in earthy reality. There aren’t many more emotionally rewarding ways to spend 80-ish minutes than watching this poignant meditation on the tangled richness of human lives and the land we live on.

Genre: Drama

Actor: Devin Shangreaux, Lainey Bearkiller Shangreaux, Lily Gladstone, Raymond Lee, Richard Ray Whitman

Director: Morrisa Maltz

Rating: NR

To plenty of countries around the globe, democracy has become so ubiquitous that we forget it’s relatively new, at least relative to the rest of human history. Bhutan is one of the last countries that became a democracy, and writer-director Pawo Choyning Dorji chose to depict a slice of how they made the shift in The Monk and the Gun. As Tashi sets out to obtain two weapons for his mentor, and Ron seeks a specific antique gun, Dorji presents slice-of-life moments of the beautiful Bhutan countryside, intercut with the subtle ways tradition still persists amidst modernity, and the funny ways change can clash with culture. It’s no wonder The Monk and the Gun was chosen as the Bhutanese entry for the Best International Feature at the 96th Academy Awards.

Genre: Drama

Actor: Choeying Jatsho, Deki Lhamo, Pema Zangmo Sherpa, Tandin Sonam, Tandin Wangchuk

Director: Pawo Choyning Dorji

Director Crystal Moselle based Skate Kitchen on NYC’s eponymous crew of young female skateboarders, who actually play fictionalized versions of themselves here. That real-life casting lends the film a documentary-esque quality: the girls’ bantering chemistry and die-hard loyalty feel warmly authentic, and the movie would be well worth a watch just to bask in this vibe alone.

The Skate Kitchen girls are an eclectic bunch, but what’s so refreshing — and therapeutic — about the film is that they’re also deeply, instinctively empathetic. These misfits don’t just tolerate but celebrate one another’s uniqueness and respect their differing boundaries (the way the girls and the movie treat shyness as a feature rather than a flaw to be resolved is particularly moving). What’s more, in its own low-key way, Skate Kitchen is an inspirational watch for its portrait of young women building the sanctuary they need themselves — not just in a largely male subculture but on a broader canvas, too. Rather than skulk anxiously on the sidelines, the girls use skating to carve out a space of their own in New York, a way to make the big, scary city feel warm and intimate. Amidst all the steezy ollies and clean rail grinds, these might just be the greatest tricks they pull off.

Genre: Comedy, Drama

Actor: Ajani Russell, Darlene Violette, Dede Lovelace, Elizabeth Rodriguez, Hisham Tawfiq, Jaden Smith, Javier Nunez, John Palumbo, Kabrina Adams, Kobi Frumer, Nico Hiraga, Nina Moran, Rachelle Vinberg, Samuel Smith, Tashiana Washington, Taylor Gray, Thaddeus Daniels, Tom Bruno

Director: Crystal Moselle