Shot from the movie

, 2019

A truly bizarre comedy that shoots far beyond the boundaries of what should probably be considered good taste, The Twentieth Century stands as one of the strangest movies ever made based on a historical figure. Adapted from the real Mackenzie King's (Canada's longest-serving prime minister) diaries, the film replaces any traces of reality with psychological projection and almost nonsensical stoner humor. It functions as a satire of the way Canadian society is often depicted as polite (when, according to writer/director Matthew Rankin, it's anything but) and as a portrait of how even the most powerful politicians are just little boys seeking approval and indulging in fetishes to compensate for the love they can never receive.

Genre: Comedy, Drama, Fantasy

Actor: Annie St-Pierre, Brent Skagford, Catherine St-Laurent, Charlotte Legault, Dan Beirne, Emmanuel Schwartz, Gordon Masten, Guillaume Lambert, Jadyn Malone, Kee Chan, Louis Negin, Marie Brassard, Martin Dubreuil, Mikhaïl Ahooja, Richard Jutras, Sarianne Cormier, Seán Cullen, Simon Lacroix

Director: Matthew Rankin

Shot from the movie

, 2021

A music documentary with its star as one of its main talking heads runs the risk of coming off like cheap PR, but Tina Turner's own articulate insights never restrict this retrospective on her life. If anything, she assists directors Dan Lindsay and TJ Martin in expanding the film's scope to cover the origins of rock music and the struggles of so many women in the public eye who only ever seem to be defined according to their abusers. Even if Tina is still ultimately a conventional doc that relies on interviews and archival footage, it has a strong emotional core that gives the film a relatively unique psychological edge.

Genre: Documentary, Music

Actor: Angela Bassett, Erwin Bach, Katori Hall, Kurt Loder, Oprah Winfrey, Roger Davies, Tina Turner

Director: Daniel Lindsay, T. J. Martin

Rating: R

Shot from the movie

, 2024

For better or for worse, we have no choice in the country we’re born in, the citizenship we first attain, and sometimes we’re forced to leave that country for our own safety. My Name is Loh Kiwan depicts a North Korean defector seeking refugee status in Belgium, but while the government deliberates, it’s a hard life he has to face, one that changes when he meets a fellow Korean who may not be an immigrant, but who’s just as lost as he is. While there are some subplots that falter halfway, My Name is Loh Kiwan still manages to stick the landing of being both a moving romance and an empathetic survival drama that highlights the struggles of refugees.

Genre: Drama, Romance

Actor: Choi Sung-eun, Heo Seon-haeng, Jo Han-chul, Kang Gil-woo, Kim Sung-ryung, Lee Il-hwa, Lee Sang-hee, Seo Hyun-woo, Song Joong-ki, Waël Sersoub

Director: Kim Hee-jin

Rating: R

Shot from the movie

, 2021

Imagine a fanboy makes a film about his hero—you’d expect something mawkish and fawning, a tribute that praises the icon but sidesteps the flaws. Maybe in less expert hands, that could be the case. But despite being a longtime admirer of writer Kurt Vonnegut, Robert B. Weide’s documentary isn’t any of those things. Sure, it’s lovingly made, but it’s balanced and objective as it sketches a profile of Vonnegut not a lot of us have seen before. It’s also more than just a chronological account of his life; it’s simultaneously a film about this film, which has been in the making for 40 years, ever since Weide first met Vonnegut in 1988 and followed him through his death in 2007. At some point, their lives become tightly intertwined, and it’s impressive to see not just that friendship blossom but to watch it seamlessly fuse into the documentary. When Weide pitches the documentary to Vonnegut, he optimistically promises that it’ll be the definitive guide to his life. He’s right, it’s all that and a bit more.

Genre: Documentary

Actor: Edie Vonnegut, Kurt Vonnegut Jr., Morley Safer, Robert B. Weide, Sam Waterston

Director: Don Argott, Robert B. Weide

Shot from the movie

, 2024

Set at a time when humans can travel as far into space as Jupiter, Spaceman looks delightfully retro-futuristic. It’s as if the people and tech of the ‘60s were transported to a faraway future where things like long-haul space flights and nebulous pink clouds exist, and so visually, Spaceman is not tiring to look at. Unfortunately, the same cannot be said about most of the film’s other elements, including its dialogue and story. Jakub is sent to space to collect mysterious ancient dust, but since we never know why he should exactly, it never feels consequential if at all necessary. In fact, this is less about his mission than it is about coming to terms with existential truths like pain, loss, and love. And what better way to confront all that than with a wise primordial arachnid? Now, the idea of a therapy session between a spaceman and a spider sounds intriguing enough, and with strong enough writing, it could fly. But the dialogue is too sparse to be thought-provoking. The main message, that you should appreciate what you have while you have it, is also too simple to carry the weight of this expansive film, especially since we have very few details about the story and character to go on with. But Sandler, Carrey Mulligan (who plays his wife), and even Paul Dano (who voices the spider) do the best with what they can, and if anything, you leave the film stunned by the visuals and moved by their empathetic performances.

Genre: Adventure, Drama, Science Fiction

Actor: Adam Sandler, Carey Mulligan, Isabella Rossellini, Jessica Bechyňová, John Flanders, Kunal Nayyar, Lena Olin, Marian Roden, Mikuláš Čížek, Paul Dano, Sinéad Phelps, Sunny Sandler, Zuzana Stivínová

Director: Johan Renck

Rating: R

Shot from the movie

, 2020

A great example that you don't necessarily need millions of dollars to deliver something technically brilliant, Residue takes a simple story of a man coming home and layers its images and sound design together until it becomes something else entirely. And even with its aesthetic sophistication, the performances behind it still come off as nothing less than genuine—as if writer/director Merawi Gerima was filming a documentary or just a bunch of people hanging out in their neighborhood. The film's experimental nature does, unfortunately, somewhat get in the way of the protagonist having a more well-defined worldview or philosophy to his own filmmaking. But overall the film remains an entirely unique gem for anybody willing to tru something different.

Genre: Drama

Actor: Dennis Lindsey, Derron "Rizo" Scott, Jacari Dye, Obinna Nwachukwu, Taline Stewart

Director: Merawi Gerima

Shot from the movie

, 2024

Written by Diablo Cody (Jennifer’s Body) and directed by Zelda Williams (daughter of the late Robin Williams), Lisa Frankenstein is a playful, funny, and stylish take on ‘80s horror and coming-of-age romcoms. Unfortunately, those traits alone are not enough to give the film the weight it needs to stand the test of time. There’s a clumsiness to the direction that, ironically enough, makes the film seem like parts lousily stitched together, instead of a coherent whole. There are pauses that are too long, transitions that feel off, and questions left unanswered. Why does it feel natural for Lisa to kill people? Was she close to her mom? What does her relationship with The Creature indicate, apart from the trite and obvious “outcasts must stick together”? Lisa Frankenstein doesn’t have to answer all these to be a good film, but when things are shallowly rendered, they become hard to ignore. It prioritizes pulpy gimmicks and visual gags that are admittedly fun to watch, but leaves behind equally important matters that flesh out Lisa as a person.

Genre: Comedy, Horror, Romance

Actor: Ashton Leigh, Bryce Romero, Carla Gugino, Charlie Talbert, Cole Sprouse, Donna DuPlantier, Geraldine Singer, Henry Eikenberry, Jenna Davis, Jennifer Pierce Mathus, Joe Chrest, Joey Harris, Joshua Montes, Kathryn Newton, Liza Soberano, Luke Sexton, Paola Andino, Ray Gaspard, Ritchie Montgomery, Shane Partlow, Summer Selby, Sylvia Grace Crim, Trina LaFargue, Walker Babington, Wendy Miklovic

Director: Zelda Williams

Rating: PG-13

Shot from the movie

, 2024

When it comes to ghosts, plenty of films are centered around personal, unresolved business in the living world, but rarely do films examine how the spirit world would be, unless it’s for fantastical fights or horrific terror. The Parades instead focuses on a world of lost, but ordinary, and thankfully kind, souls. And as the film builds its calm world, Minako (and the viewers) get to meet the people who would form her eventual found family, whose various lives uncover the intimate and personal hopes of ordinary people, shaped by the events of their respective times. While the film doesn’t fully resolve all their stories, The Parades celebrates life, in all forms, and the powerful ways storytelling and community helps us go through it.

Genre: Drama

Actor: Akari Takaishi, Ayumu Nakajima, Daiken Okudaira, Denden, Go Ayano, Hana Kino, Hiroshi Tachi, Kentaro Sakaguchi, Kotone Hanase, Lily Franky, Mai Fukagawa, Masami Nagasawa, Nana Mori, Ron Mizuma, Ryusei Yokohama, Shinobu Terajima, Shun Sugata, Suon Kan, Takuya Wakabayashi, Tetsushi Tanaka, Yuina Kuroshima, Yukiya Kitamura

Director: Michihito Fujii

Rating: PG-13

Shot from the movie

, 2021

The main subject that Hold Your Fire promises to be about—negotiation tactics first used in resolving a New York City standoff at a sporting goods store—is ultimately its most least interesting aspect. These supposed tactics aren't too well, and they end up putting a damper on all the human drama that comes before it, which proves strikingly three-dimensional. As the film revisits the details of the hostage situation from the perspective of those who were actually there, it also complicates the situation by compelling us to think of it in a dense, sociopolitical sense rather than a reductive lens of crime and punishment. It's this build-up to the actual negotiation that may actually hold more insight into these kinds of crises.

Genre: Documentary

Director: Stefan Forbes

Shot from the movie

, 2023

Monster is a deceptively simple story about growing up and the many misunderstandings that come with it. It’s told through different points of view, a technique that could easily feel gimmicky in the hands of a lesser director. But with director Hirokazu Kore-eda at the helm, it feels natural and inevitable, as if there was no other way to tell this specific story. It’s a masterful mystery, but Monster is less about suspense and answering the whodunnit question than it is about navigating the murky waters of truth and real life. As corny as it sounds, watching Monster is an experience unto itself: you’ll find yourself believing something one moment and dismantling it the next, learning and unlearning in a span of two hours. But as with past Kore-eda films, it’s the story’s heartwarming sensitivity that trumps everything. You’ll likely come for the mystery but stay for its heart.

Genre: Drama, Thriller

Actor: Akihiro Kakuta, Ayu Kitaura, Daisuke Kuroda, Eita Nagayama, Hinata Hiiragi, Kayo Noro, Mitsuki Takahata, Moemi Katayama, Pee, Ryu Morioka, Sakura Andô, Shidô Nakamura, Soya Kurokawa, Yûko Tanaka

Director: Hirokazu Kore-eda

Rating: PG-13

Shot from the movie

, 2021

Though it only really serves as a recounting of events from 1971 rather than a much thorough analysis, Attica is a great example of that type of documentary that can be incredibly difficult to pull off well: that is, the archival documentary mainly told with already existing material. Thanks to plenty of detail (and the good instinct to know how to deploy these details), this documentary avoids feeling like a mere history lesson and begins to feel almost as dramatic as a radio play. And the film knows better than to be detached from its subject; it makes sure to characterize the inmates of Attica as an intelligent, passionate group that set aside their differences to stand up for their rights—and were summarily punished for it.

Genre: Documentary

Actor: Clarence Jones, Elizabeth Gaynes, Herman Schwartz, James Asbury, John Johnson, Nelson Rockefeller, Richard Nixon

Director: Stanley Nelson, Traci A. Curry

Shot from the movie

, 2023

Not to be confused with James Cameron’s 1989 film, The Abyss isn’t the worst disaster film, but it could have been so much more. Inspired by the earthquake that actually happened in the real life town of Kiruna, there’s an important story here about worker safety, responsible mining, improving emergency protocols, and preserving the environment. However, like plenty of disaster movies, the film plays out in the most predictable ways, attaching a frankly irrelevant family drama that takes time away from the terrifying, claustrophobic nightmare that could have been. It does have decent effects, and even some decent scenes, but The Abyss is more interested in using the real life earthquake to manufacture drama, rather than actually looking into the manmade disaster.

Genre: Action, Drama, Thriller

Actor: Angela Kovács, Edvin Ryding, Felicia Truedsson, Jakob Hultcrantz Hansson, Jakob Öhrman, Kardo Razzazi, Katarina Ewerlöf, Peter Franzén, Tintin Poggats Sarri, Tuva Novotny

Director: Richard Holm

Rating: R

Shot from the movie

, 1988

Break-ups aren’t the easiest thing to overcome, but how we deal with them usually doesn’t get as ludicrous as the events Pepa goes through in Women on the Verge of a Nervous Breakdown. The film makes said nervous breakdown chaotic– it includes spiked gazpacho, a frantic call to the police, and being held at gunpoint– but as Pepa and the women around her try to put off each fire, at least one of them literally, writer-director Pedro Almodóvar ensures sympathy for them, with Pepa's snappy dialogue cutting through the lies of a smooth-talking womanizer refusing to face them. And it’s all paired with a suitably dramatic score, meticulous staging, and exaggerated, colorful frames mostly occurring in the wreck of a fabulously styled penthouse.

Genre: Comedy, Drama

Actor: Agustín Almodóvar, Ana Leza, Ángel de Andrés López, Antonio Banderas, Carmen Maura, Chus Lampreave, Eduardo Calvo, Fernando Guillen, Francisca Caballero, Gabriel Latorre, Guillermo Montesinos, Imanol Uribe, Joaquín Climent, José Antonio Navarro, José Marco, Juan Lombardero, Julieta Serrano, Kiti Manver, Loles León, Lupe Barrado, María Barranco, Rossy de Palma, Yayo Calvo

Director: Pedro Almodóvar

Rating: R

Shot from the movie

, 2024

Jennifer Lopez believes that her latest album and its movie accompaniment, This Is Me…Now, are her magnum opus, so she gives the joint project her all. She funds, writes, produces, directs, and choreographs everything with the help of her team, which amusingly includes her lover and muse Ben Affleck. Whether or not it actually is her greatest work of all time doesn’t matter; it doesn’t even matter that people get it. What matters is that she creates it with the undivided fervor of an artist possessed with the knowledge that this is their last chance to make a mark. And it’s that energy that makes this documentary, which is a behind-the-scenes look at This Is Me…Now, so captivating. Lopez is in her element directing the movie-musical of her life. At 54 years old, she’s completely candid (sometimes, amusingly, to Affleck’s dismay) and abandons all need to conform to industry norms. She follows her heart first and her mind second, which explains why her project is as big-hearted and relatable as it is bonkers and all over the place. It’s a bit like The Disaster Artist in that way: watching Lopez’s creative chaos is far more interesting than the creation itself.

Genre: Documentary

Actor: Ben Affleck, Elaine Goldsmith-Thomas, Jane Fonda, Jennifer Lopez

Director: Jason B. Bergh

Rating: R

Shot from the movie

, 2024

You can see what director J.J. Anderson is trying to do with Sacred Soil: chronicle the lives of current Piney Woods students and connect them with their school’s storied past. It’s an admirable task that speaks to how, despite all the innovations we’ve made since the school’s founding in 1909, we still have a ways to go to achieve true racial equality. And it’s a story worth telling, set in a school brimming with bright minds unafraid to engage in important discourse. However, these ideas are muddled in Anderson’s unfocused storytelling. There is no narrator, so we’re left listening to clips of conversations and meetings that go on for too long (it often feels like sitting in a forum we’re not invited to). There are inserts of archival photos and beautiful shots of the school, but there’s little context provided to them, so those of us outside of the Piney Woods ecosystem are left feeling confused. Is the documentary about Black teenhood or is it about the history of the school? I imagine there’s a smoother way to interweave the two, but Sacred Soil ultimately fails to bridge the gap between the then and now.

Genre: Documentary

Director: J.J. Anderson

Rating: PG

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