The Friendly Film Fan Ranks All 10 Films in the Famed “Planet of the Apes” Franchise. By Jacob Jones One of cinema’s most long-standing and storied series, the Planet of the Apes films have one of the most consistent hit records in the history of franchise filmmaking, especially wherein the sci-fi genre is concerned; only once has the series ever put out a generally agreed-upon bad film, and even those entrants that are less beloved than others all have something valuable to offer, whether that be an ambitious swing that doesn’t always pan out or a further exploration of philosophical concepts. Having been around since 1968, when the original Charlton Heston film wowed audiences with its twist ending, the themes and ideas examined by this world and explored by the characters within it continue to resonate with audiences to this very day. Those same audiences now have the opportunity to experience the series’ latest release, Kingdom of the Planet of the Apes, in all its visual glory on the silver screen, and re-immerse themselves in the world of their favorite intelligent simians, courtesy of director Wes Ball (you can find my full review for the film here). In light of this new Apes film finally hitting screens after a seven year hiatus for the series, I binge-watched all nine previous entries in the franchise over the course of three days. Now having seen Kingdom twice, I have ranked all ten Planet of the Apes films below, beginning with the worst, and of course, ending with the best. Apes Together Strong! Let’s get started. 10. Planet of the Apes (2001) The only outright bad entry on this list, Tim Burton’s perhaps always doomed remake of Planet of the Apes features none of the things that made the original great or any of its follow-ups even passible at their worst. Most notably lacking in the series’ core tenets of philosophical science and exploration of humanity’s nature, the film substitutes these ideas with a generic sci-fi action story which – to be fair – features terrific makeup effects but essentially nothing else worthwhile. The iconic lines are irreparably altered, clunkily-scripted, and none of the performances really land (Tim Roth is particularly bad here). Still, this Planet of the Apes is only a generically-bad sci-fi movie…until the ending happens and throws the entire thing off-balance. In trying to replicate the “it was Earth all along” twist, the story sees Mark Wahlberg’s character (whose name I have yet to recall without having to look it up) actually leave the planet he has been on the entire time in order to re-enter the time-warp storm that sent him there, eventually ending up on what’s implied to be Earth at the end. There’s just one (or several) major problem with this; in the original film, Charlton Heston’s character Taylor never leaves the planet of the apes, which is then revealed to have been Earth all along; how are we supposed to infer that the planet Mark Wahlberg leaves was even Earth in the first place? Did he just go forward in time? Why would the apes just make the same society humans did; isn’t the whole point of their being intelligent apes that they make a different society for themselves? If he went backwards in time as intended, how does General Thade even factor into the Lincoln Memorial in terms of the timeline implied by the film? WHY DO THE APES HAVE A LINCOLN MEMORIAL? Every answer to each question only introduces three new questions, the answers to which all contradict the previous question’s entire premise, fundamentally breaking the film – and my brain – in the process. I long for who I was before the ending of this movie. 9. Beneath the Planet of the Apes On the whole, Beneath the Planet of the Apes isn’t the outright disaster that the 2001 remake of the previous film eventually becomes, but it lacks the vision of its immediate predecessor, failing to make good on that film’s ending or explore further elements of the planet of the apes itself which were previously unseen, at least for most of its runtime. It certainly tries some interesting ideas with having an entirely new protagonist suffer the same introduction to this world that Taylor did and have to navigate it himself (albeit with a lot more help from Nova), but the film fails to explore anything else that Charlton Heston’s Taylor hadn’t already experienced; Nova simply finding John Brent and taking him back to the same ape colony with the same characters we’re familiar with is an understandable choice, but too safe for what this sequel could offer. Most of the film’s runtime after Taylor disappears in the first five minutes is spent above ground as Brent hides out with Zira and Cornelius, re-treading what happened with Taylor during the third act of the previous film in a less interesting way. It’s not until we get to the third act of this film that anything new happens at all, when – in a thoroughly ambitious and bizarre swing – we’re introduced to an underground mutant human society that worships an atomic bomb. (They have magical powers which they say are only illusions, but the mechanics of these illusions are never demonstrated, so it’s still more or less magic.) This part of the movie is definitely the most interesting, but doesn’t feel as though it matches at all with what we’ve experience to that point in terms of any sort of natural progression, and by then, the film has burned up most of its good will by wasting too much time getting there and making Nova an essentially useless character. The tail end of it, with Taylor’s poetically-tragic killing setting off the ultimate doomsday weapon after he’d been so distraught about the results of nuclear warfare in the last film does offer a slight good note for the movie to end on, but it feels like part of a better third act the film doesn’t have. I’ve certainly seen worse sci-fi sequels, but for a franchise this storied, with such an iconic opening film, it’s hard to recommend this follow-up to anyone who asks. 8. Escape from the Planet of the Apes For many, this is considered the best of the original sequels, but for my part, it is without doubt my least favorite. The only reason I’ve listed it above Beneath despite how it frustrates me more is due to my admiration for the hugely ambitious swing it takes with the premise: having Cornelius and Zira go back in time to 1973, before the John Taylor mission ever launched. Reversing the formula to place the intelligent apes into regular human society is an inspired decision, even if the spoof comedy style it introduces at first it has no actual intentions of committing to. The tone switch, once our main characters are on the run in the latter portion of the film, becomes far less interesting after the story has spent the past hour of zaniness rendering Zira less intelligent than any of the humans around her, and the addition of yet another “twist” ending – which by this point one could see coming a mile away – made this one a little more annoying to sit through than its immediate predecessor, even if it does have a little more to offer on the whole. 7. Battle for the Planet of the Apes Many may call this the least successful of the original Apes sequels, due to its looking extremely low-budget and not having a ton going on apart from its battlefield skirmish, but overall, it’s the most well-balanced of any of the sequels offered by the original set of films, even if it’s not the most exciting overall. The story is well-told across the runtime, without ever feeling too long or as though the structure of the film leans too heavily in one direction or the other. The ape/human society discussions are further rooted in the more philosophical musings the series began with, and even though Aldo’s whole plan for the humans makes no sense once you think about it too long, all the Caesar stuff is generally pretty solid. Plus, there’s a certain charm to the human army rolling up to the battle with a school bus as one of their transport vehicles, all Mad Max-style. This one has a lot more in common with the future Dawn of the Planet of the Apes than any other film in the franchise, and while we’ll get to that film later on down the list, this one is not a half-bad prototype on which to base that kind of story. 6. Conquest of the Planet of the Apes While Battle may be overall more well-balanced and a generally better movie than this one, Conquest’s second half goes so hard that I can’t deny its innate power, which elevates it slightly over its sequel. The first half is a bit wonky though, especially in the editing. That’s not to say that nothing about that first half works; the Orwellian ape slavery society we see is interestingly set up, especially since we’re only privy to what we can see in the Century City portion of the world, but what doesn’t work kind of overwhelms whatever is working. At two points, by my count, it seemed as if there were entire transitional scenes missing from the film; a character would say something and the movie would immediately cut to the result of what was said, but without any indication that a cut was even coming. The film also starts rather slow, with Caesar (renamed from “Milo,” thank god) simply biding his time in learning about the ape society itself, meaning he has to spend a lot of time with the human characters that aren’t especially interesting. All that said, once the second half of this one gets going and the revolution begins, the film doesn’t stop until the credits roll. The prison break sequence is one of the great set pieces across the Apes franchise, and while the plaza showdown is overlong, it remains surprisingly tense and thrilling to watch play out, all culminating in Roddy McDowall actually getting to show off some acting chops under the mask and deliver a killer monologue which sets up the next film beautifully. Of all the original sequels, this one is my personal favorite. 5. Planet of the Apes (1968) Though a few of its sequels have terrific individual elements or thrilling sequences in a vacuum, the best of the original Apes films remains the 1968 classic starring Charlton Heston. It’s not exactly as flawless as one might hope on a rewatch – the interior sets seem a little too closed off even for this world, and the pacing isn’t exactly smooth sailing the whole way through (plus Heston’s performance is a tad wooden, even for him) – but it holds up rather well when compared to its immediate counterparts, and is still one of the best sci-fi films of its era full-stop. It really mostly feels more like a series of interesting scenes set in different rooms than one fully fleshed-out story from beginning to end, but that could also be due to what we know is coming later on down the line, and the film’s notorious twist ending buys the movie a lot of good will – it’s all too rare to see a twist like that executed as well as this one was. If you haven’t revisited this one since seeing it the first time, I don’t think a rewatch would be too disappointing. 4. Kingdom of the Planet of the Apes As alluded to in the intro for this piece, Kingdom of the Planet of the Apes is the most recent addition to the Apes canon, and falls for me about where the next entry on this list does, though the pacing isn’t quite as strong and some of the character work seems too broadly-painted by the film’s end. Still, these are largely minor complaints in a film which is clearly the first entrant in a series of new Apes stories set many generations after Caesar’s trilogy, and which still features some terrific cinematography, excellent visual effects, and expert-level compositing, as well as really solid performances from the entire cast (especially Owen Teague and Kevin Durand). I don’t want to spoil too much of what goes on in this one, given how new it is, but the journey it takes the viewer on is much more of an adventure film than anything that came before it, and the confidence Wes Ball clearly has in his ability to not lose the audience despite the long runtime is something that can’t be taught to many directors. This is the largest scale at which these films have ever been made and you can see the money spent very wisely up on screen. The official word is that the producers of this new set of Apes films want this to be a nine-film saga, the beginning of which would have been Rise of the Planet of the Apes, and if the storytelling for this second trilogy in that saga can improve enough from here to whatever comes next, in the same fashion the previous trilogy improved, we’re in for something really, truly special. 3. Rise of the Planet of the Apes The first chapter in the Planet of the Apes franchise’s first prequel trilogy, Rise of the Planet of the Apes has us bear witness to the origins of Caesar, the original intelligent ape, as he’s brought up by Will Rodman (James Franco) following an ill-begotten test of a brain repair drug which is implied to have the ability to cure Alzheimer’s. The subsequent rise of Caesar from intelligent ape to leader is one of the great protagonist formations in one of the great starts in movie trilogy history, a start which would only be surpassed by the film’s immediate sequels. Above all else, this movie is exceptionally well-paced, clocking in at just over one hour and forty-five minutes, the efficiency in storytelling never waning for a second. To be fair, this can cause one or two edits to feel a little off, and the speed at which the film moves does cost somewhat in terms of the quality of CG compositing and some backgrounds still looking digitally-rendered, but even the early visual effects on the apes look remarkable for where they began. Hearing Caesar say “no” for the first time still takes my breath away, and the Golden Gate bridge finale is a fantastic action set-piece. The film’s other flaws are a little more noticeable, like the fact that Frieda Pinto’s character feels fairly inconsequential to the story beyond just being James Franco’s girlfriend and isn’t present at all for the Redwoods finish despite having been with Will and Caesar for five years to that point, and the fact that David Oyelowo’s fun scenery-chewing character eventually just morphs into straight-up cartoon capitalism villainy (then again, art imitates life, so what are you gonna do), but they’re not heavy enough to detract from what the film has going for it positively. This is still a terrific first film for this trilogy to open with, and an incredibly fun watch for first-time viewers just now getting interested in this franchise. 2. Dawn of the Planet of the Apes For a long time, this was my favorite of the most recent Apes trilogy, and on some days, it still is, with good reason. Dawn of the Planet of the Apes is the first of the two Matt Reeves films in this franchise, and it’s under his astute vision for this world and the characters within it that everything is elevated to another level, from the visual effects to the characters themselves, to the conflicts they have with each other, to the tension from scene to scene, to the performances from both ape and human actors to some of the franchise’s greatest action set-pieces and image-making. At no point during my first ever watch of this movie in theaters did I know exactly where it was going, and on no viewing since have I wanted it to go anywhere else. There are two or three shots in this film that are absolutely goosebump-inducing: the 360 one-shot on the tank, the crane shot above the tower as Caesar and Koba are about to face off, and of course, Toby Kebbell’s Koba – the greatest antagonist in Planet of the Apes franchise history – on horseback, bursting through a wall of flames with a machine gun like a demon spawned straight from hell. Kebbell’s performance matches Andy Serkis’ evolved character of Caesar with a tragic rage no villain in this franchise, or most sci-fi series, has ever had in such nuanced terms, and it can be so easy to get lost in just how good a character Koba is before remembering that it’s all being done by an actor in a mo-cap suit. He still never outperforms Andy Serkis as the mo-cap king, a more insurmountable task with each passing film in this trilogy, but he more than holds his own, as does Gary Oldman despite rather limited screen-time. Jason Clarke, Keri Russell, Kodi Smit-McPhee, and all the other human actors also turn in good work, but it’s the previous three mentioned that steal the show. And even with all of that, no one steals the show here from Matt Reeves’ directing. From the first moment after the film’s brief virus recap to the last frame, Reeves has total control over this narrative, and knows exactly how to evolve this story organically without playing a single false note, and I have no doubt that it’s this movie that got him the job for The Batman in 2022 (it certainly was the reason I wanted him for it, anyway). If this one is still your favorite, you will not hear an argument from me. 1. War for the Planet of the Apes Having gained some distance from initial pre-release expectations and marketing which didn’t really sell the right movie, War for the Planet of the Apes is my new #1 film in this franchise, and in bingeing them all concurrently, it was an amazing thing to see the final film in the series to this point be the franchise’s strongest. Everything in this film is operating at the top of its game. Somewhat victim to the same misnaming issue that Battle for the Planet of the Apes suffered, the film opens explosively before reminding us that the war we’re witnessing affects characters we care about in deeply personal ways, and it only gets more personally affecting from there. The choice to journey inward, to reckon with the darker parts of Caesar after all this time, instead of forcing a grand-scale spectacle purely off of audience expectation rather than organic storytelling, is a bold choice that reminds the viewer why Matt Reeves was chosen to conclude this story, Caesar’s story. Between Reeves’ direction and Serkis’ understanding of these characters, the filmmaking and narrative storytelling has never been better for this franchise. This is Andy Serkis’ best performance as Caesar bar none (maybe Serkis’ best performance ever), especially in how it’s juxtaposed against Woody Harrelson’s menacing Colonel character, and every expression on his face, be it the best visual effects the franchise has ever had or the performance in itself, is full of unprecedented depth. In fact, so powerful is the sheer level of detail in this film’s visual effects, it’s still a bit baffling that this franchise has never won an Oscar for them (which this one lost to Blade Runner 2049 in an entirely understandable but unfortunate blow for this movie). Steve Zahn’s “Bad Ape” provides some really great comic relief while also still being somewhat of a tragic character himself, and of course, I have to shout out the underrated MVP of this trilogy in Karin Konoval as Maurice. The cinematography and compositing in this one is note-perfect, the pacing moves exactly as fast as it needs to and slows down when appropriate, the film contains some of the trilogy’s most quietly sweet and tragic moments, and this is easily Michael Giacchino’s best score in a live-action film prior to The Batman. Without a doubt in my mind, this is the best film in the Planet of the Apes prequel trilogy and the best Planet of the Apes movie ever made. What a conclusion. And that’s my ranking of the entire Planet of the Apes franchise! How would you rank these films? Any you think are more underrated than others? Let us know in the comments section below, and thanks for reading!
- The Friendly Film Fan
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2022 has been quite the ride so far. From superhero films that both exceeded and fell slightly short of expectations to the most unlikely of perfect legacy sequels and a few surprises along the way, the year in film has yielded some pretty great stuff, and (so far) not a ton of outright letdowns. Even the movies that haven’t really worked, such as Baz Luhrmann’s Elvis or Netflix’s Spiderhead, have at least had some interesting individual elements for viewers to dig into. Then again, I haven’t exactly sought out many of the year’s worst-reviewed films either, so for this piece, there will be no top five in that respect. Instead, I’ve opted to recommend five shows I’ve watched so far this year – although they are exclusively shows that were available to watch at the halfway point – as we begin the second half of 2022. There’s a lot more still to come, so let’s reflect, reassess, and revisit some of the year’s best efforts thus far. FILMS 5. Cha Cha Real Smooth Cooper Raiff’s sophomore follow-up to his underrated debut Shithouse finds the young filmmaker attempting to expand his understanding of the dichotomy between purpose and passion, largely succeeding thanks to Raiff’s uncanny ability to make both himself and the other characters he writes extremely likeable. Both Raiff and Dakota Johnson have an easy chemistry with each other that makes their on-screen friendship engaging to watch, but it’s Raiff’s unexpected yet heartwarming connection with Vanessa Burghardt’s Lola that ultimately serves as the film’s most thoroughly beautiful non-romantic love story. Cha Cha Real Smooth Review 4. The Northman Robert Eggers is an uncanny filmmaker in that his ability to commit to absolute authenticity in storytelling can only be surpassed by the choices he makes when he desires to challenge that authenticity for the sake of story. A feature adaptation of the Norse tale of Amleth (the story upon which Shakespeare’s Hamlet is based), Eggers crafts a tale of vengeance which is blood-soaked mythos wrapped in a cloak of rage so boiled it could break open a volcano. Alexander Skarsgård is an absolute beast in one of his most thoroughly appropriate roles as Claes Bang and Nicole Kidman nearly steal the show right out from under him. If anything can be counted as a drawback for it, The Northman is relatively light on action sequences, and the sports segment towards its middle can take some of the wind out of its sails, but as that’s not the story it’s telling anyhow, it’s an easy thing to forgive. Plus, Anya Taylor-Joy is there to put the wind right back in anyway. The Northman Review 3. Top Gun: Maverick After multiple Covid-related delays and a general worry of whether the public might ever actually get to see it, 2022’s first $1 billion movie is still in theaters and thriving. And why shouldn’t it? The most perfect legacy sequel since Blade Runner 2049, Top Gun: Maverick is everything to loved about the original Top Gun wrapped in a better movie with a more emotionally-resonant story and a whole lot of “hell yeah!” filmmaking. The heart, the action, the humor – pretty much all of it works exactly the way it’s supposed to. Honoring the legacy of the original without sacrificing anything it needs to do in order to bring these characters into the modern day, Maverick finds the heart of its story and never lets go even as Tom Cruise and co. pull up to 10 Gs just trying to fly up the side of a mountain. To see these planes really flying and know it’s all there on screen is a special thing, and that combined with a healthy dose of honoring Anthony Edwards’ late Goose and Val Kilmer’s Iceman in the most appropriate ways it can makes Top Gun: Maverick one of the best movie of 2022, as well as one of the best legacy sequels ever made. I can’t wait to watch it again (and I’ve already seen it three times). Top Gun: Maverick Review 2. The Batman Matt Reeves near-perfect detective noir featuring the Caped Crusader has a lot more on its mind than just being easily one of the best-looking and best-sounding comic book movies ever put to screen (Greig Fraser’s cinematography really pops in this one and that Batmobile chase is an all-timer set piece). Accompanied by Michael Giacchino phenomenal score – an Oscar-worthy effort in my eyes – the story of The Batman redefines who the character is understood to be as a pop culture artifact, re-contextualizing his quest for vengeance not as a force for inspiration but for infection. Paul Dano’s unsettlingly plausible Riddler is the perfect foil for the Robert Pattinson version of the character, a near mirror image reflection of what Batman has been in his first two years on the job with a different target in mind and a purpose which challenges the viewer to reckon with whether or not the most-lauded kind of Batman in the mainstream is really all that much of a hero in the first place. Given all that, plus Zoë Kravitz’s instantly iconic Catwoman and the murderer’s row of character actors like Jeffrey Wright, Colin Farrell, and John Turturro just lining the edges of the frame around all the heroes and villains, The Batman is easily the closest any DC adaptation has come to capturing the lightning-in-a-bottle movie magic of The Dark Knight, even if it doesn’t quite get to that level (maybe one rung under on the ladder). The Batman Review 1. Everything Everywhere All at Once The only film on this list for which we never published a review, the second collaboration between A24 and the Daniels directing duo is an ingenious, creative, moving, and all-consuming effort featuring some of the most insane and original storytelling I have ever seen in my life. Given how brilliant its script is, how fun it is to watch Michelle Yeoh, Stephanie Hsu, Jamie Lee Curtis, and a resurrected Ke Huy Quan churn out some of the year’s best performances, and how insane this multiverse movie gets with everything that can happen via its stellar visual effects (from a team of no more than 5 people, I might add), it’s no surprise that it recently became the indie studio’s highest-grossing film ever. In fact, its only real drawback the first time watching it is that there’s so much to absorb, you might need to watch it a second or third time to truly appreciate everything it’s doing. And with A24 seemingly pushing some of their late 2022 hopefuls into 2023 according to recent press releases, it seems like they’re going all in on the Oscar campaigns for this one in every conceivable category, which they should – it could win as many as it wants to, and I wouldn’t be the least bit surprised. Honorable Mentions: The Bad Guys, Brian and Charles, Hustle, Marcel the Shell with Shoes On, Scream (2022), The Unbearable Weight of Massive Talent TELEVISION 5. We Own This City A fast-paced, slickly-written investigation of the Baltimore PD’s corruptions post-Freddie Gray, We Own This City may not feel like something entirely new to those familiar with co-creator David Simon’s work on The Wire, but it is as excellent as it could be in its own right, and marks a triumph in direction for Renaldo Marcus Green. Jon Bernthal, Wunmi Mosaku, Jamie Hector, and McKinley Belcher III all excel in their parts, and even if it is a little hard to follow at first, this miniseries is one HBO’s mist thoroughly underrated. 4. Hacks: Season 2 While not as underrated as the previous entry, Hacks continues to feel like the best show that no one I know is actually watching. A shortened season does leave a little bit to be desired in terms of smoother resolution, but in season two, the writers bring out nearly all the stops they have, as each single episode has something new to offer all of its characters, both in growth and in absurdity. Jean Smart and Hannah Einbinder continue to be inarguably the most iconic comedy duo on TV right now, and even if Carl Clemons-Hopkins isn’t given a ton to do this season, he’s still immensely fun to watch (and does eventually get things to do). Please bring season 3 fast! 3. Under the Banner of Heaven When I started FX’s miniseries Under the Banner of Heaven, I thought for sure it would be just another run-of-the-mill detective story cosplaying a True Detective aesthetic and Mare of Easttown pace in order to disguise the fact that it just didn’t have much else to offer. But when the show started leaning – in its pilot episode – into exploring the depths of how organized religion can be used to warp minds searching for purpose and driven by ego, I became hooked. Having grown up in a religious household, I am familiar with a lot of the same beats this series touches upon, though this series explores the Mormon church rather than the Christian one, especially those by which religiosity is perverted under the guise of righteousness by those most eager to serve their own power, and what they’re willing to do (or not do) to attain and keep it. In many ways, but especially that one, this is a horror show. Andrew Garfield manages to wring gravitas out of his understated performance – yet another win for him – but although Daisy Edgar-Jones and Joel Edgerton (in fact, the whole cast) is excellent, it’s Sam Worthington who walks away from this series on everyone’s minds. We all wondered if there was more to the actor than simply having starred in the biggest movie ever made, and it turns out, there is more…a lot more. If you can stomach religious trauma and enjoy true crime storytelling that wants to explore something more than just the central murder mystery, this is definitely one you should check out. 2. Stranger Things 4: Part 1 Yes, I have now seen Part 2 and wrapped the season, but as Part 2 released a day after the halfway mark, I am not able to include it in my recommendations here, nor can I include season four of Stranger Things as a whole (but don’t worry, Part 2 is very good and I will be releasing my thoughts on it soon). For now, however, I can say that Part 1 of Stranger Things season four is an excellent return to form for the hit series, and easily the closest it’s gotten to capturing the proper Amblin horror vibes from the micro-miracle of season one. Yes, Sadie Sink is amazing and should be up for an Emmy. Yes, Eddie is a fantastic new character, and yes, Kate Bush’s resurgence into the mainstream of American music is something only this show could have pulled off in the way it did, but the best part of this season – for me at least – has been the editing, especially in episodes three and four. Each camera motion rolling right into the next, each scene cutting to the other at just the right time, each action directly reflecting or predicting the one on either side of it. They really popped off this season with how it’s all cut together. I’ll say more once I release my review of the season as a whole, but for now I’ll simply say: hell yeah, Stranger Things is back. 1. Severance What is it with AppleTV+ and constantly giving us my favorite shows of each year that I honestly had no to minimal anticipation for before they aired? Between Ted Lasso and this, their track record with unexpected successes couldn’t be more clean, and yet, when watching the mostly Ben Stiller-directed Severance, one would never suspect its success as being unexpected at all. Everything in this series is so tightly managed, so thoroughly thought-out, and near-perfectly written. As good an actor as Ben Stiller has always been, he might be an even better director, and it’s a testament to his immense skill that Severance doesn’t feel as if it has to wrap up any story in its debut season just to tell a new one the next. There is an ending, absolutely, and one that rockets my anticipation for next season sky high, but it doesn’t resolve every little thing the season introduced so it could be somehow tied off into a miniseries if necessary. Apple is playing the long game with this one, and if they keep playing it this well, with something this well-designed, this well-acted, and this well-paced, this game could go on for a long time. In fact, I hope it does. And those are my Top 5 Movies and Series Recommendations for the first half of 2022! (Unfortunately I haven’t yet seen RRR, so I can’t include it on this list, but maybe it will make an appearance somewhere down the line.) What are your favorite things you watched this year? Any I missed that you’d recommend? Let me know in the comments section below, and thanks for reading!
- The Friendly Film Fan |
AuthorFilm critic in my free time. Film enthusiast in my down time. Categories
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