 by Jacob Jones Hello, all, and welcome back to The Friendly Film Fan! While 2025 has already begun, and most of last year’s films have wrapped their openings, there’s still a lot of ground to cover before the year in cinema can take on even half a shape. There have only been a few new releases to cinemas nationwide thus far, and 2024 still has a few expansions opening at some point next month, so there’s plenty left to look forward to as the year progresses and we move ever onward towards the 2026 awards season (even writing those words gets me excited about it). To that end, while much of that season’s contenders have yet to emerge from the woodwork, as so often happens with these things, a decent chunk of film has already been unveiled, and it’s looking like the year in movies will have cinephiles all over eating well for a good long while. Here are our picks for the Top 10 Most Anticipated Movies of 2025!  10. Wicked: For Good Wicked Part One’s sensational box office success was almost a foregone conclusion, considering the ubiquitous nature of the Broadway musical’s titanic popularity amongst the theater world, and the cultural foothold of the material as it related to the source texts and Wizard of Oz film. But if the movie adaptation from John M. Chu didn’t take great care to show real work and genuine effort went into making it, that box office success could have come with a much lower price tag. Luckily for Universal, the film received loads of critical acclaim for its use of practical sets, masterful makeup and costume design, and the quality of its two central performances, making it by far 2024’s biggest success story in terms of both having a cultural footprint and making a ton of money right as the holiday season began. Part Two, re-titled Wicked: For Good for entirely unnecessary and frankly rather stupid reasons, looks to replicate that success at the same time this year, concluding the story of Wicked with a genuine Part Two as its closer. Wicked was one of my favorite surprises of 2024, giving me the same feeling I had when I walked out of Dune (2021) for the first time in that I couldn’t believe they had actually managed to pull off the adaptation successfully with only a few hiccups along the way. If For Good can manage the same heights as its predecessor – and that is a BIG if – we can expect another major hit for Universal, and for the soundtrack to be blaring through young and gay households for months to come.  9. Marty Supreme While I have yet to revisit Uncut Gems or Good Time since finding them to be a little bit less baked than the impression I was given at first, I am fully aware of the cultural chokehold the Safdie brothers have on movie fandom as a whole, and with Timothée Chalamet on one of the all-time young movie star runs right now, I’m inclined to think that this is yet another inspired choice for the advancement of his already incredible career. While plot details are being kept under wraps, the idea seems to be that Chalamet is playing some sort of ping pong expert, co-starring alongside Gwenyth Paltrow, Fran Drescher, and even Tyler the Creator. Josh Safdie is directing solo on this one as Benny has leaned more into his acting work over the last few years, but with a Christmas Day release date and A24 distributing, we can certainly expect this one to be something very special.  8. The Battle of Baktan Cross You may not have known it if you’re not deep into the movie-sphere the way a lot of us cinephilic sickos are, but Paul Thomas Anderson has a new movie opening this year, and who’s his star but the one and only Leo. Yes, that Leo. DiCaprio is joined by Benicio Del Toro, Sean Penn, Teyana Taylor, Regina Hall, and returning PTA alum Alana Haim in a new film, the plot details of which remain under wraps, just like the last entry on this list. Licorice Pizza, for all the controversy that surrounded the age gap between its two lead characters, was one of my favorite movies released in 2021, and given PTA’s nearly impeccable track record, this one makes the top 10 on cast and director alone.  7. Mickey 17 After continuous delays and release date resets, including the most recent one which saw the film move back onto March 7, swapping dates with Ryan Coogler’s vampire thriller Sinners, Bong Joon Ho’s first movie after the sensational Parasite is finally (maybe) coming to the big screen. Starring Robert Pattinson as a man who volunteers to be what is essentially a death test dummy because his life on Earth sucks, the trailer indicated a wildly different tone than we’re used to from the Korean writer/director, but after Parasite’s historic Oscar wins all the way back in 2020, I’m fairly sure any fan of that film will show up for whatever he wants to make now. Of course, it does help that the supporting cast includes Steven Yeun, Naomi Ackie, Toni Collette, and Mark Ruffalo, who all seem like they’re having as much of a blast as the movie looks to be.  6. F1 Here’s my only concern when it comes to F1, which stars Brad Pitt and is directed by Top Gun: Maverick helmer Joseph Kosinski: despite the incredible racing footage and the sense of practicality involved in every element, plus the involvement of Kerry Condon, Javier Bardem, and Tobias Menzies in the film, and the mid-summer release date placing everyone’s eyes on the project (which shows faith in its ability to succeed), Kosinski doesn’t have the best track record as a director when it comes to original stories. Maverick was as much a success because of its star – if not more so – than because of its director. While this new “in the actual vehicle”…vehicle is not produced by Tom Cruise, however, who has an incredible track record as a producer in choosing which stories he tells and getting movies made, it is partly produced by Brad Pitt, who has nearly as strong a track record. Given all that, plus the film’s first trailer boasting that amazing racing footage, there’s reason enough to be especially excited for the mere experience of watching F1 on the big screen.  5. Mission: Impossible – The Final Reckoning With a first trailer full of exciting imagery, a remixed version of the now classic theme, and a few tidbits of vague but epic sounding dialogue the way this franchise knows how to do, the ostensibly final Mission: Impossible movie – formerly titled Dead Reckoning – Part 2, as it largely deals with the fallout (wink wink) of its predecessor’s plot – looks to be packing in and wrapping up the entire series and everything it’s represented to movies since 1996 in one last epic ride. It’s clear that between Top Gun: Maverick and this, plus the actor and producer’s new collaboration with Alejandro Gonzales Iñárritu, Tom Cruise is thinking about his legacy, his age, and how he wants this era of his stardom to be remembered. We see glimpses of the original Mission: Impossible film, what looks to be the rabbit’s foot from Mission: Impossible III, and a lot of adrenaline-pumping footage of Cruise hanging out of planes, being at the bottom of the ocean, doing shirtless close-quarters knife fights, and finally, asking his team to trust him “one last time.” I doubt this one reaches the highs of Fallout – itself one of the best examples of action filmmaking in modern history – but if it even comes close to something like Rogue Nation or even Ghost Protocol, Cruise and company will be sending this franchise off on an all-too-rare ending high note.  4. Guillermo Del Toro’s Frankenstein In the perfect marriages of directors and ideas, I’m not sure I’ve ever heard one as perfect as Guillermo Del Toro and Frankenstein. Starring Oscar Isaac as Dr. Victor Frankenstein, as well as Mia Goth, Ralph Ineson, Christoph Waltz, Burn Gorman, Charles Dance, Lars Mikkelsen, and Jacob Elordi as The Monster, the film is due to be released later this year, and while no official date has been set, the presence of a set photo from the production having been released does lead me to believe a 2025 release is very much in the cards. According to IMDb, the plot concerns Christoph Waltz' Dr. Pretorius, who tracks down Frankenstein's monster, believed to have died in a fire forty years prior to this film’s start, in order to continue Frankenstein’s experiments. With that premise, and one of the most visionary and artistic directors cinema has to offer behind the camera fresh off an Oscar win for his Pinocchio adaptation, there’s more than enough reason to include this one in the top five.  3. Avatar: Fire and Ash Is it now considered basic to have one of the Avatar movies on one’s most anticipated list? Or to have them on the list for every year they’re due to release, regardless of the length between them or the supposed plot details not always being the most original ideas, functioning primarily as allegories for environmentalism in the modern age? If so, I guess I’m just a regular basic bitch. The fact is, James Cameron is one of the most sure-fire hit makers in the business, claiming both the number one, three, and four spots for the highest-grossing movies of all time with both his Avatar films and Titanic (the second-highest is Avengers: Endgame). People love to claim that the Avatar films have no cultural footprint, but consistently forget what an international phenomenon they are every time they hit theaters, even on re-releases. Cameron is a visual storyteller through and through, showing moviegoers things they’ve either never seen before, or never seen before in quite that way, and has become the gold standard for blockbuster storytelling on a massive scale. It’s true that The Way of Water felt narratively more stretched and had more pacing issues than the first Avatar, but so much of that excess was dedicated to the most stunning visual effects I’ve ever seen that it was far from bothersome. And with a whole new world to explore and develop as the title suggests, following Jake Sully and his family through the rest of Pandora is sure to be yet another billion dollar roller coaster ride. In fact, the only reason this movie isn’t higher up on the list is because of exactly two movies that I can hardly contain my excitement for.  2. Wake Up Dead Man: A Knives Out Mystery The third film in Rian Johnson’s Knives Out Mystery series (and second Netflix collaboration), which features an ensemble cast as packed and loaded with talent as the last two, already has an air of intrigue around it so thick that it would make Benoit Blanc’s mouth water. The plot – like many of these films – is currently under wraps, but suffice it to say, with nothing more than a black-and-white photo of Daniel Craig with an entirely different hair style than he had in the previous films, I’m more than ready for a new murder mystery from the man who practically resurrected the genre from an Agatha Christie-less grave.  1. Superman To absolutely no one’s surprise, my most anticipated movie of 2025 is the one that brings back the man of steel in his own solo movie that has nothing to do with Man of Steel, a film that I have a light amount of affection towards for its efforts to take a different approach, but which nonetheless utterly fails in making that approach compelling or even worth continuing for the character. What Superman – my favorite superhero character of all time – needed was someone who understood both the super and the man, and if the Guardians of the Galaxy trilogy taught us anything, James Gunn understands duality within characters better than most comic book movie storytellers. But more than simply understanding Clark Kent and Superman, Gunn’s approach looks to be an answer not simply to all the ideas of what people assume Superman has to be but what comic book storytelling over the past twenty years has had to be. If the fantastic teaser trailer is any indication, gone is the cynicism of the DCEU, gone are the sarcastic wit-driven machinations of the MCU, and here is hope, sincerity, the big blue boy scout as he was always meant to be understood: a new, better way forward, for a better tomorrow. That’s something both superhero movies and superhero media over the past decade or so has been sorely missing in terms of plot or thematic resonance, and although the plot of Superman itself is nowhere to be found in the teaser, the iconic John Williams theme is, as are the red trunks that the character wears specifically to make him less intimidating to children. If Superman is truly meant to be a savior figure in superhero storytelling, then showing him saving someone, or showing people asking to be saved by him, shouldn’t be that novel of an idea, and yet when it happens, all I can think is what a relief that the darkness of Zack Snyder’s version of the character is nowhere to be found here. There’s a very large asterisk around whether or not this movie is a success, leading to a footnote that says “box office success and artistic success are two entirely different things,” but if this works as well as it could, it would be a meta event that could shake the foundations of this kind of storytelling for the next twenty years – as Superman saves the DCU from cynicism, James Gunn will be saving Warner Bros. and DC as a filmmaking studio from eating their own tails. And if that happens, we may just have hope again for the future of superhero movies. For all of that and so many other reasons – not the least of which is the debut of Krypto the Superdog – James Gunn’s Superman is my most anticipated movie of year. And those are our picks for the Top 10 Most Anticipated Movies of 2025! What are you most excited for this year? See anything in the Honorable Mentions you think should be on the list? Let me know in the comments section below, and thanks for reading! - The Friendly Film Fan Honorable Mentions:
0 Comments
 by Jacob Jones Greetings all, and welcome back to The Friendly Film Fan! Well, it’s finally that time: time to reveal our Top 10 Movies of 2024. It’s been a long and often uneven journey. We weren’t always able to review everything we liked, but we made a concerted effort to focus on what we loved as much as we possibly could. We also didn’t get to see absolutely everything we’d hoped to get to before the release of this list, but that doesn’t mean we’re done with 2024 movies once this list is public; there’s still a good deal to catch up on, and still a lot of quality cinema left to discover as we charge headlong into 2025. 2024 was a tough year for movies in some respects, with the SAG and WGA strikes affecting much of the intended release slate through the calendar year, forcing studios to delay major projects, films to shift release dates back, then forward, then back again, and generally gutting the summer release slate for tentpole projects, leaving a few films like Longlegs, Inside Out 2, Twisters, and Deadpool & Wolverine to hoist theaters aloft on their own shoulders and keep things moving as best they could (unintentionally allowing studios like A24 to fumble hard with release plans for otherwise immense awards-season undertakings like the botched rollout of Sing Sing). But if anything stays consistent in the big, beautiful world of cinema, it’s that nothing is certain, including the future. As we’re thrust into a new era in U.S. politics, Hollywood seems more poised than ever to become a target of the Trump machine, a machine that hates and fears stories that stand up for, celebrate, and acknowledge all different kinds of people while examining what makes humanity turn on itself in the way it has now and excavating how such vitriol and gleeful evil can propel itself to power. Who knows where movies will be four years from now, if indeed this nightmare is to end at that time? And who knows if movies will even be permitted to exist in the same way? In any case, we had 2024, and hopefully, later down the line, we’ll have those years of movies to look back on too. A few notes before we begin. These are not full reviews of the films included; for those films for which we did full reviews, we will link them next to the titles so as to make them easier to find. Secondly, these are not selections for what we believe are the objective ten “best” films of the year – no one can watch literally every single film released in a calendar year to accurately make that kind of judgement, no matter how objective they attempt to be – but rather a list of our ten favorites overall, ranked according to a blend of overall quality and personal taste. If readers would keep those two things in mind, they might understand why certain films which frequently appear on other Top 10 lists do not make appearances here. And now, it’s time. Here, at last, are our Top 10 Movies of 2024!  10. A Different Man Aaron Schimberg’s black-as-night comedy about self-image and insecurity is one of 2024’s most unconventionally entertaining movie experiences. Featuring Sebastian Stan as a man living with a facial deformity, the film turns after he gets a highly experimental surgery, leading him to look like…well, like Sebastian Stan. The face removing sequence in the film is one of the year’s most immediately memorable and genuinely upsetting moments as the audience is forced to sit with it as though a monster is being created rather than “defeated.” The real kicker comes in with the introduction of Adam Pearson to the film, who (both in the film and in real life) possesses the same facial deformity as Stan’s character, but whose life seems entirely driven by the upside of all he’s still able to do. Schimberg’s script and astute direction allow the film to walk an impossible tightrope, never veering into outright comedy but never letting go of its sense of humor about the whole situation. Stan and Pearson both are excellent in their parts, perfectly pairing off each other as Pearson’s charm only seems to drive Stan’s insecurity and deep-seated need for people to like him no matter what he looks like. The first of a few different A24 films on this list, it’s another in a long line of interesting projects for the studio, and a siren call to anyone unaware of Aaron Schimberg to keep a sharp eye out for whatever he does next.  9. Nosferatu Robert Eggers has become one of the great auteurs in movies, a director with a command of craft and dedication to authenticity in period storytelling not often found even through the storytelling medium’s centuries of existence, so when it was announced that he would direct a remake of the classic Nosferatu story, I stayed my mind’s reflexive disappointment that he wouldn’t be doing something original this time around, and allowed myself to look forward to his take on the material. While I don’t ultimately think it is his best work to date, however (that still belongs to The Lighthouse), it is by far his largest project with the most stunning attention to craft that I’ve seen in a film in quite some time. Eggers is not typically a jump-scare enthusiast, but the one time he utilizes the trick in Nosferatu is unexpectedly terrifying, and the implications of the titular character’s mission are not only gross but deeply uncomfortable. Where the film finds its great strength beyond crafts, though, is in the performances of Lily-Rose Depp and Nicholas Hoult, particularly Depp, whose work in the film should – in any just world – immediately thrust her into the Best Actress conversation. Depp’s performance doesn’t simply underscore the idea of women’s sexual desires in this time period being understood as manifestation of disease but accentuates it with a performance at once attracted to Count Orlok’s power and terrified by that same attraction. And speaking of Orlok, Bill Skarsgård is entirely unrecognizable as the iconic vampire, in both sight and sound. The makeup team did remarkable work, but credit should be given to Skarsgård as well for his terrific voice work. I’m sure there will be thing I notice and re-examine upon the home release of the film, especially in relation to the 1922 original, but for the time being, I can’t think of a better period horror film in recent memory than this.  8. Soundtrack to a Coup d’Etat The only documentary to make it onto this Top 10, Soundtrack to a Coup d’Etat is a remarkable combination of sound and image to tell a story many of 2024’s films aren’t bold enough to tell in such explicit terms. The film focuses on the political machinations of The film focuses on the 1961 assassination of Congolese civil rights leader Patrice Lumumba and all the political machinations that led to it, including and especially the involvement of the CIA in recruiting Black American musicians to infiltrate Lumumba’s inner circle. While the film itself can be overwhelming at first blush, throwing information at the viewer left and right to the point where one occasionally has to pause and rewind just to re-orient themselves in the narrative (if one even has that ability), the sheer level of editing and archival collecting it must have taken to put the whole thing together could land it on this list by itself. As it happens, it’s also incredibly engaging on a narrative level, and a wildly fascinating look into a seldom-discussed yet critical turning point in world events.  7. The Substance The fact that a hard-genre body horror film from the director of Revenge is openly competing for above-the-line Oscars is an amazing indication of just how far the Academy has come the last several years in its embrace of different kinds of storytelling, and Coralie Fargeat’s fast and furious rage-fest against the beauty standards women are held to as they age is more than worthy of whatever nominations AMPAS gives it come Thursday morning. Demi Moore turns in her best performance to date as Elizabeth Sparkle, able to meaningfully connect her own career having done many parts centering on her own body, and bringing all the fury of having dealt with casting directors, costumers, producers, executives, and gross men in positions of immense power to the fore. Meanwhile, Margaret Qualley ascends to superstardom as Sue, cementing herself as an essential actress to watch in whatever she chooses to do, and playing a perfectly self-involved foil to Elizabeth’s self-loathing. Beyond all of that, though, this is a body horror movie, and the second the viewer thinks they’ve seen a relatively tame effect, the film rachets up the makeup by a thousand, somehow topping itself scene after scene, though never getting more disgusting than Dennis Quaid loudly and messily eating shrimp at a lunch table. The makeup work in this movie is on a whole other level, with its wild third act serving as a both a capstone to the film’s ideas and a hard swerve into genre territory. If Coralie Fargeat is nominated for Best Director, it will be a historic moment for genre horror in movie history. Full Review Here  6. Furiosa: A Mad Max Saga Following up an action movie as perfect and unexpectedly masterful as Mad Max: Fury Road would be an impossible task for any other director, so credit given where credit is due; Furiosa may not be as perfect a film as Fury Road was on the whole, but it’s also aiming for something quite different, an epic revenge odyssey spread across decades which is much more character-focused than plot based. Magnificently directed by George Miller, the film is yet another example of how no one in the world understands the Mad Max universe, or indeed the balls it takes to really do this kind of action filmmaking, quite like he does. At 79 years old, Miller is directing sequences like the War Rig chase and the Bullet Farm escape better than even the most skilled people could at less than half his age, and to witness someone so in command of their craft that a nearly three-hour revenge odyssey remains as engaging as this one does is a privilege it’s a shame more people didn’t opt into when the film was in theaters. Anya-Taylor Joy shines as the film’s titular character, able to communicate so much in her face without speaking a word, but it’s Chris Hemsworth’s Dementus who ends up stealing the show in the actor’s finest performance to date, and the final showdown between the two will go down as one of the best endings in all of action filmmaking. Full Review Here  5. Challengers Between this and at the risk of spoiling our number four selection, there was seldom a better time to be a movie fan than this past spring, especially for those with particular admiration for Tom Holland’s new fiancée. Luca Guadagnino’s steamy sports drama starring Zendaya, Josh O’Connor, and Mike Faist as a trio embroiled in a lust triangle in which tennis plays the central cog on which it all turns is not simply the sexiest movie of the year by far, but also the only one without an outright sex scene in its entire runtime. Guadagnino understands the raw excitement of desire better than just about any director working today, and is able to use his skill to thrill his audience by turning the very idea of love and connection into its own tennis match, culminating the whole thing in what is easily the best ending in movies from the whole past year. Almost everyone in this movie is giving career-best performances, and are directed at the perfect pitch for the story being told as Trent Reznor & Atticus Ross’ best score since The Social Network blares across the speakers. Zendaya and Mike Faist both turn in some of their best work yet as Tashi Duncan and Art Donaldson respectively, but it’s Josh O’Connor’s Patrick Zweig who ends up stealing the show as the devious little shit-heel throwing a wrench into what would otherwise be a normal, healthy relationship dynamic. Between all of that and a crackling script chock-full of great dialogue (“you have a better shot with a handgun in your mouth” is an all-timer) and fully realized characters, it’s no wonder Challengers was easily one of the best movie theater experiences of 2024. If only the Academy felt the same way. Full Review Here  4. Dune: Part Two I’m already planning to crash out if the Academy refuses to recognize Denis Villeneuve’s efforts in directing once again, and the growing likelihood of Villeneuve being passed over – despite making an even better movie than he did with the first Dune – in favor of someone like Jacques Audiard makes it all the more infuriating that AMPAS wouldn’t consider Dune: Part Two one of year’s greatest directorial acheivements; after all, it’s not like some of them haven’t seen the movie or finished it, right?...Right?! In any case, Villeneuve’s second half adaptation of Frank Herbert’s beloved sci-fi novel (which I’m currently reading) is a masterful step up from where Part One left off, increasing the world-building, the story stakes, the character depth, and the level of artistry to such a degree that the film joins the conversation easily as one of the greatest sci-fi movies ever made. Villeneuve’s understanding of the source material is second to none, and there are more than a few action sequences in this film that made my jaw drop in the theater for how masterfully they were handled. But it’s not only the sound, the VFX, the costuming, the makeup, the editing, the cinematography, and Hans Zimmer’s new score that are improved upon from the last film; the expansions made to Chani's character in adapting the book only serve to further enhance the compelling story, which acts as a warning against the idea of charismatic leaders who would sooner burn the world down than bypass a chance at revenge (now where have we encountered that before?). The entire ensemble is giving it everything they’ve got, including and especially Timothée Chalamet and Rebecca Ferguson, who turn in even better performances here with more interesting stuff to do, but no one outsteps Austin Butler’s magnificent introduction as Feyd-Rautha Harkonnen, and once he’s on screen, almost every actor finds it difficult to match his freak no matter how good they are, try as Javier Bardem’s deceptively funny Stilgar might. To say much more would be spoiling the film for those who haven’t caught up to it somehow despite its $714 million gross at the box office, but in the shortest terms I can think to put it in, this is essential viewing for all sci-fi, movie, and Denis Villeneuve fans.  3. I Saw the TV Glow Now more than ever, it’s important that trans kids and trans people are seen, heard, and loved by those around them, and the first step in making sure all of those things happen is by recognizing the dysphoria that comes with questioning one’s sexual identity as a queer person in an environment where such things are frowned upon. Jane Schoenbrun’s masterful excavation of that dysphoria is what gives I Saw the TV Glow its power, especially as it relates to trans youth, as we’re shown what burying ourselves out of fear ultimately leads to. The ending of the film in the “Fun Zone” is one of the year’s most outright heartbreaking, shattering with intention the idea that one can truly live not being their full selves without ultimately suffocating themselves in the process. Justice Smith and Brigette Lundy-Paine are fantastic in this gorgeous-looking film with frames that will stop your heart, and while I wouldn’t necessarily call it an especially “scary” watch in the traditional or even indie sense, it belongs every bit to the horror genre for the queer community as The Substance or Nosferatu would for those outside of it. Looking at the whole of movies in 2024, there’s still nothing out there quite like this, and I hope sincerely that every person struggling with their sexual or gender identities gets a chance to see this film and feel as though they are not only understood, but cared for. Full Review Here  2. Sing Sing A24’s botched rollout of Sing Sing is the stuff of legend amongst cinephiles, as the film was meant to have a nationwide release over the summer following its TIFF premiere in 2023, which got turned into a limited release as the eventual nationwide date of August 2 only saw the film play a select number of theaters before a planned re-release to only 500 theaters on January 17. Suffice it to say, let’s hope those Academy screenings went off like gangbusters, because the lack of transparency around releasing the film to a wide audience that would have loved to actually get a chance to see it may have just cost it some key awards nominations, including Best Picture, if the PGA ten is anything to trust in that regard. (Amazon’s botched rollout of Nickel Boys is in the same boat.) Regardless of rollout though, Sing Sing is still one of the three best movies released at all in 2024, a film that revels in the fact that humanity needs art in order to be human, and to remind ourselves how we're all capable of dignity. Greg Kwedar’s drama about incarcerated persons at the Sing Sing correctional facility participating in an acting program for rehabilitation is the year’s most soulful and deeply felt film of the entire year, a film that revels in the fact that humanity needs art in order to be human, while art needs a human component to make it come to life, and to remind ourselves how we're all capable of royal dignity. It’s a miraculous achievement for everyone involved, especially those incarcerated who played themselves in the film. Colman Domingo turns in his best work to date, and Clarence “Divine Eye” Maclin is the acting discovery of the year, immediately ingratiating himself to the audience as the supporting performance of 2024. If and when you do get a chance to see this film in theaters, I would urge you to go immediately; you don’t want to miss how special this one is. Full Review Here  1. The Brutalist While it does seem the AI controversy for which the film received enormous backlash was blown way out of proportion, and despite my having put it at #1 when I was first drafting this ranking, I found myself struggling to justify keeping The Brutalist in this spot in the wake of such news. But then, I considered how I felt when I first saw the film all the way back in December, before anyone knew any of this, and well before director Brady Corbet had to set the record straight on the film’s minimalistic and (it would appear) quite industry-wide use of the tools at their disposal. For my own reasons, I find I cannot deny that experience, and the sheer power with which the film overtook my every waking thought for the week afterwards. The Brutalist remains, to put it bluntly, a monumental achievement of a film, an entirely new cinematic language in itself, harkening back to the epics of old like The Godfather or the ones of yester-year like There Will Be Blood, while simultaneously charting its own unique path forward, all to the sounds of Daniel Blumberg’s immediately iconic score, the best parts of which can all be found in the overture of the film. The epic three-and-a-half hour runtime – punctuated smartly by a 15-minute intermission – flies by in the viewing, and by the time it’s all over, one realizes that they’ve not felt a minute pass that didn’t absolutely need to be there. Personally, I love an epic that knows to embrace its length, rather than fear how many sales it will lose for lack of showtimes, and Brady Corbet is clearly not shy about how expansive his vision for the film – gorgeously shot by director of photography Lol Crawley on VistaVision – needed to be in order to tell this story. Adrien Brody turns in his best performance in the better part of twenty years as László Tóth, a Hungarian architect fleeing Europe post-WWII to come find a better life in America, only to discover that the mythical promise of the American dream is built by rich men on the backs of other people’s work, while Guy Pearce’s Harrison Lee Van Buren Sr. is not simply one of 2024’s most despicable characters, but maybe Pearce’s best ever. Special attention must be paid, too, to Felicity Jones as Erzsebet, who doesn’t really show up until the second half, but afterwards becomes the humanitarian focal point as László begins to slowly erode before our eyes. Even Joe Alwyn – while never matching these three – turns in great work here under Corbet’s direction, and while some may find his character a bit exaggerated, I never saw that exaggeration as anything but intentional on behalf of the character himself. There will be a lot to say about The Brutalist in the coming months leading up to the Oscars on March 2 (much of it bad-faith complaints rather than actual criticism, such is the way of film twitter), so I won’t spend too long on it here, but if I could urge readers one point of caution: do not let your first time seeing this be at home on your couch. Different viewing experiences can alter one’s perception of just about any movie, but to fully feel the power of certain films, they need to be experienced on the biggest screen with the best possible sound, and this is one of those films. As I did at my first viewing, I could sit in the corner of the front row again, and still feel amazed at what I was seeing and hearing, such is the sheer power and might of it all, which is just one of so many reasons why The Brutalist is my favorite movie of 2024. Full Review Here And those are our picks for the Top 10 Best Movies of 2024! What movies did you like best this year? Anything you’d recommend we catch up on? Let us know in the comments section below, and thanks for reading! - The Friendly Film Fan Honorable Mentions:
 by Jacob Jones Hello, all, and welcome back to The Friendly Film Fan! We’re mere days away from revealing our picks for the Top 10 Movies of 2024, but before that, I wanted to shout out some of my favorite scenes and sequences throughout the year. Whether they were watched in the theater or re-watched them at home, the five scenes listed here continued to impress and delight, and occasionally, even got a little scary; in any case, I just couldn’t wait to talk about them with everyone I knew that shared those experiences. To that end, and in case you haven’t read one of these before, the very nature of this list acts as its own SPOILER WARNING, as I’ll be going over these scenes in great detail so as to examine what makes them so remarkable. I also limited these choices to one scene per film, so at the risk of spoiling part of the list, the Harkonnen Spice Harvester sequence from Dune: Part Two will not be making an appearance among the five finalists. We’ve only selected one scene per film, so at the risk of spoiling part of the list, and as much as we would consider it one of the best single movie scenes of 2024, the Spice Harvester attack scene from Dune: Part Two unfortunately will not make an appearance among the Top 5. Also, while there were a great many films released in 2024 that I thoroughly enjoyed, those films are greater successes as the sum of their parts than they are as highlight reels for particular scenes or set-pieces; it’s for this reason that some of the films listed here won’t be found in our Top 10 of the year, and likewise, some of the films that are included in the Top 10 will not include any particular stand-out sequences by which to call attention to themselves. And now, with all of these disclaimers in mind, let’s take a look back at The Friendly Film Fan’s picks for the Top 5 Best Scenes & Movie Moments of 2024!  5. Gas Station Birth – We Live in Time While I wasn’t personally as high on John Crowley’s decades-spanning romance as a lot of people seemed to be, We Live in Time is still a lovely movie that any fan of romance stories should would enjoy watching, regardless of how many tissues they end up going through in the process. With stellar performances from Andrew Garfield and Florence Pugh, the film’s stand-out sequence sees Almut (Pugh) and Tobias (Garfield) stuck at a petrol station en route to the hospital as Almut is going into labor with their daughter. Unfortunately for both of them, and for the station employees who appear ready to close for the evening, the labor process is well underway and moving too fast for either Tobias or Almut to go anywhere else. The resulting birth sequence – which takes place in the station’s ladies restroom – is not the best sequence in the film, but one of the best sequences of 2024. Gross, hysterical, stressful, and magical all at the same time as the station attendants assist Tobias in delivering he and Almut’s child, it’s a true highlight of the film watching these two individuals bring a new life into the world they share, and the four people all stuck in the bathroom together feel like their own little family. It’s an inspiring picture of how, even in the most unusual of circumstances, people from all different walks of life can come together and facilitate the happening of a genuine miracle. 4. D.C. Raid – Civil War There was a lot written about Alex Garland’s Civil War when it opened in April of last year to largely positive reviews and some divisive letterboxd takes. Everyone wanted to see whether A24 could pull off supporting a movie of this budget scale, and how Alex Garland would follow-up his even more divisive Men with what would turn out to be his final directing project (at least for now) in an era where the U.S. seems poised to make its title a reality every other minute. What side would Garland take? What does a modern civil war in the United States even look like? What would the film say to audiences who were fearful of the plot in front of them being made manifest? Would the film capture the same nervous energy as its exceptional set of trailers? While the answers to those first questions vary from person to person as the film is more interested in excavating photo-journalistic responsibility amongst dramatically divisive political moments, that final question was met with a resounding “yes,” and in no sequence more so is the energy of the film felt than the arresting raid on Washington D.C. that begins the film’s terrifically intense finale. With gunfire everywhere, helicopters flying through the city streets as bombs topple monuments, and the team inching ever closer to the White House – where it’s rumored the sitting three-term President (Nick Offerman) is shored up – the sequence lasts right up to the minute the President is finally shot dead by the Western Forces military, ending his reign – and the film – on a note of ambiguity the viewer will never shake. It’s this sequence that cements Garland as one of the best filmmakers to ever do it from a craft perspective, and it’s likely to be the one that solidifies the film’s eventual Best Visual Effects nomination at the Oscars (even though it really should be in Best Sound too). 3. War Rig – Furiosa: A Mad Max Saga One has to give massive props to George Miller for not making Furiosa just a re-skin of the incredible Mad Max: Fury Road, but there is at least one 15-minute action sequence reminiscent of the franchise’s previous entry so epic that according to the actors and those involved with the production, it had to be shot over a 78-day period. The sequence in question shows viewers the birth of the iconic War Rig vehicle which Furiosa uses in Fury Road to transport the five wives of Immortan Joe across the desert. In Furiosa’s case, it’s the first time we see Anya Taylor-Joy as the titular character in action, as well as her companion Pretorian Jack, one of the coolest characters George Miller has yet introduced to this world, even if he is essentially a stand-in for Max prior to Fury Road. The scene itself is a mini-epic inside the greater revenge epic of the film, demonstrating Miller’s ability at 79 years old to still craft and execute on the most insane action set pieces one’s ever seen committed to film. It’s so epic, in fact, we had to get the whole thing from a YouTube video split into two parts. You can check it out above (Part One on top). 2. Match Point – Challengers The back-and-forth between this and my number one spot was almost as intense and uncertain as the volley between Art (Mike Faist) and Patrick (Josh O’Connor) as they trade tennis racket blows for victory in the New Rochelle challenger match. At one point during a set, Patrick reveals to Art in the most telling of ways between the two that he and Tashi (Zendaya) slept together during a time when she and Art – her husband – were at a crossroads of conscience. Art becomes furious, but the sequence may not play out exactly as one might expect. Every bit of craft in the film reaches its apex here. The score by Trent Reznor & Atticus Ross, the direction from Luca Guadagnino, the editing from Marco Costa. It is, no pun intended, the climax of the sexiest film of the year at its tail end, a release of all the frustration and games played between the two men, a game that Tashi has both orchestrated and participated in since the three met all those years prior. It was in that fateful meeting where Tashi mentioned the film’s ultimate thesis as she and an opponent of hers shared what she called a really beautiful moment together, both understanding the game and each other on a level no one in the crowd could, and it’s in this final match that Art and Patrick finally share that same feeling, at once understanding each other and the game in the fullest sense of each. Even as the number two movie scene on this list, it claims the top spot as the most electrifying ending of the year in movies. 1. Worm Ride – Dune: Part Two Although the Harvester attack sequence will go down as one of the finest sci-fi action sequences ever put to film and is a highlight of the movie in its own right, it’s Dune: Part Two’s masterwork of a centerpiece that sets itself apart from all other set-pieces to be the defining moment in movies of 2024. Having immersed himself in Fremen culture and taken up arms against the Harkonnens who slaughtered his family and attempted to wipe out his bloodline, Paul Atreides must face his final test to become a member of the Fremen clan by riding the great sandworm, what the Fremen call Shai-Hulud. It is the most dangerous task any Fremen can perform, and the way the sequence is shot and edited together, paired with Hans Zimmer’s magnificent score and sound design that likens the sandworm to a space shuttle taking off, practically lifts the viewer of their chair and ascends them to the heavens themselves. Dune: Part Two is a miracle of adaptation, one of the greatest sci-fi movies ever made, and this is the singular jeweled moment inlaid in its 2024 movie moments crown. The fact that moments from both Dune (2021) and Dune: Part Two landed atop my list of the best movie moments of their respective years should be reason enough for the DGA to re-evaluate their choice not to nominate Denis Villeneuve, and a stern warning to the Academy not to make the same mistake. And those were my picks for the Top 5 Best Scenes & Movie Moments of 2024! What scenes did you like best this year? How would you rank these five? Let me know in the comments section below, and thanks for reading! - The Friendly Film Fan Honorable Mentions:
 by Jacob Jones Hello, all, and welcome back to The Friendly Film Fan! As we rapidly approach the day upon which I will unveil my Top 10 Movies of 2024, I wanted to make sure I gave a special shout to some of the year’s more underrated films. While it wasn’t the strongest overall year for movies, there were plenty of them to celebrate, and a particular few that seemed to get passed over, whether by awards bodies or by critics – including myself – who perhaps don’t recognize their full value beyond the potential they provide for the filmmakers to improve with future projects. As is the case with every year, I haven’t seen everything that might qualify for placement on this list, so for those of you hoping to see things like Sasquatch Sunset or Snack Shack amongst the mentions may end up, this may be a disappointing journey; nevertheless, I do hope that the presence of these titles might prompt some of you to finally check them out or inspire you to give them a second look. After all, art is about constant evaluation and re-evaluation; maybe a few of these will mean something different to you now than they did when you first saw them! In either case, whether you’ve seen these films or not, I’m of the mind that perhaps they deserve a little more love than they’ve been given. Here are our picks for the Top 10 Most Underrated Movies of 2024!  10. Nightbitch Marielle Heller’s part genre, part drama tale of a woman being driven so crazy by motherhood that she things she’s turning into a dog may not sound like the basis for a successful project, and in some senses, that might be true – the harder genre bits don’t work as well when paired with the other half of the film, and a few of its supporting elements lack enough cohesion or development to really justify their inclusions – but on the whole, Nightbitch is far better than its marketing would lead one to believe. Amy Adams’ committed performance is among her best work to date, and could certainly be counted as her best in several years, to the point where I wondered considerably if she had a legitimate shot at a SAG nomination. The film itself also deals with the trials of early motherhood and raising a (way-too-well-behaved) toddler in a way that a lot of other films about the subject can’t seem to parse, at least not with the nuance this carries.  9. Juror #2 We are in serious danger of forgetting just how good a director Clint Eastwood can be when films like Juror #2 are unceremoniously released to only 50 theaters and then shuttered off to streaming as a Max Original (I will never forgive David Zaslav for that). The film is imperfect, absolutely, but it’s still a far better film than anything with this much hockiness and sincere faith in the American justice system has any right to be. This is one of Eastwood’s best movies in years, and it’s unfortunate to think that it very well could be his last. I go back and forth on whether the ending is good or not, but it’s everything before – including Nicholas Hoult’s incredible leading performance – that makes the film so consistently engaging and worth spending time on. The scene in the garage in particular is among my favorite acting moments in all of 2024, and Hoult nails every subtle expression required in that sequence to both make you empathize with him and believe him a coward, with no clear lean toward either end. If you haven’t checked this one out yet, I’d highly recommend giving it a shot.  8. Cuckoo Sometimes all one needs is a deeply weird, odd-feeling horror movie to remind you that the genre can still surprise you with just how strange it can still be, and Tillman Singer’s Cuckoo is exactly the right kind of odd-ball horror that the genre needs to stay interesting. The film may not succeed at every turn, but the always-engaging Hunter Schafer holds it all together with a central performance essentially confirming what anyone who’s seen her act before already knew: she has real star power, capably carrying the film largely on her own shoulders. Of course, it helps that she has Dan Stevens to play off of, who looks like he’s having the time of his life getting to sink his teeth into such a weird, off-putting character. The thing that makes Cuckoo so underrated, though, is that even when it misses amongst all the shots it takes, the miss leads to somewhere interesting, a new avenue to explore or idea to consider. Even if the whole thing doesn’t ultimately land the plane, at least it’s a memorable flight.  7. Transformers One Shame, shame, shame on all organizations and awards groups with animation categories that passed by the far better than it had any right to be Transformers One. While I won’t contend that it would’ve actually stood a chance at winning the category for any awards body or critics group, it being left off the list for almost all of them – even the Globes, who had six slots available – is completely unjustifiable. Josh Cooley’s origin story for the iconic rivalry of Optimus Prime and Megatron isn’t just far from the disaster its trailers made it look like, it’s actually a genuinely heartfelt story of betrayal, division, and what it looks like when the truth is more than meets the eye. The voice performances from Chris Hemsworth and Brian Tyree Henry carry some beautiful animation over the finish line, and the film’s final moments deserve to be answered by a sequel that unfortunately is unlikely to ever occur. This one deserves a lot more respect.  6. The Apprentice Trying to unpack the enigma of Donald Trump would be an impossible task even for the most seasoned of filmmakers. How do you even begin to understand someone so notoriously buffoonish that he wants to take over Canada, rename the gulf of Mexico, and keeps Elon Musk of all people close to the chest? How do you interrogate the character of someone so cartoonishly evil that he inspired a whole mob of people to attempt an insurrection after he lost his initial attempt at a second term as President? Well, as hard as he tries to convince us otherwise, Trump is a human being, and all human beings come from somewhere. Whether circumstantially or deliberately, he is the way he is for a reason. Ali Abbasi's biopic about Trump’s early life – and chiefly regarding his relationship with Roy Cohn, pitched here as the man who essentially created the Trump we know – doesn’t simply probe these uncomfortable questions, but refuses to give clear answers to them. It really is one of the most accomplished studies of a somewhat unknowable individual. It really is one of the most accomplished studies of a somewhat unknowable individual to come out in recent years, and major credit should go to star Sebastian Stan for keeping this movie in the cultural conversation regardless of how difficult the questions is asks are to face. Between Stan and co-star Jeremy Strong, there should be two guaranteed Oscar nominations, and all those publicists that refused to pair their stars with Stan for Variety’s Actors on Actors series should feel a deep shame in avoiding the elephant in the room – the exact opposite of what the best art does.  5. Between the Temples Starring Jason Schwartzman as a cantor in the midst of a crisis of faith whose former grade school music teacher approaches him to inquire about having her own Bat Mitzvah, Between the Temples is just as crazy, funny, discomforting, charming, strange, and deeply endearing as its plot can manage to allow. The chemistry between Schwartzman and his co-star Carol Kane is off the charts, the latter of the two absolutely radiating a bouncy energy that perfectly compliments Schwartzman’s trepidation around just about everything he does. The film also features some of the year’s most daring filmmaking moments, and resolves in a way that both enriches itself and leaves viewers to wonder: where do these characters even go from here?  4. Thelma No, this is not the International Feature contender from 2017 directed by Joachim Trier; this Thelma is hoping to steal Tom Cruise’s stunt crown and become the new Queen of Stunts. At 93 years old, June Squibb – whom most readers would probably know from her work in the film Nebraska – does all her own stunts in one of the year’s sweetest films with a sincere sense of humor about itself. Thelma is an absolute joy, boasting not only one of my favorite lead performances of the year from Squibb, but one of the most underrated supporting turns as well from the late Richard Roundtree in what would turn out to be his final part. Almost every joke lands, and any movie that joins Parker Posey, Clark Gregg, and Fred Hechinger together to make up the family taking care of June Squibb deserves not only a lot more respect, but a lot more attention.  3. Wicked Little Letters It came out relatively early in the year, so one could be forgiven for forgetting that it even released this year at all, but Wicked Little Letters – which had its U.S. release in March – is one of 2024’s most charmingly naughty tales. Starring Jessie Buckley as a woman accused of writing a series of heinous letters in a pious community, and Olivia Colman as the letters’ recipient, the film is a great deal of fun, especially in the back and forth between its leading stars. Give two of the U.K.’s best actresses working today a shot at a small-time script, and they’ll milk it for all its worth. The film is streaming on Netflix for those inclined to take a watch.  2. Strange Darling One of the things that excites me most as I grow as a critic and branch out through all different kinds of filmmaking is the discovery of a new voice I hadn’t yet known. That’s exactly what happened when I saw Strange Darling, a new horror film from J.T. Mollner that feels like the director – along with cinematographer Giovanni Ribisi, who shot the gorgeous-looking movie on 35mm film – emerging as a new voice in the horror space, and an exciting one to discover at that. Of course, it helps that scream king Kyle Gallner is involved to offer the project the notoriety it needs to get it off the ground, but its Willa Fitzgerald’s multi-layered lead performance that ended up taking me completely by surprise. Even in seeing the trailers for the film, I had no idea where it was supposed to go, and if you think you might wanna take a chance on it, I’d recommend – at the risk of spoiling an element of the plot – that you go in as blind as possible. The next film on the list might be more underrated overall, but this by far was my favorite surprise of the year.  1. Daddio Over the summer, in June, a little movie released nationwide called Daddio. It wasn’t a large release, and in fact I didn’t get to see it until much later, but I couldn’t believe how few people were talking about it. Dakota Johnson stars as a woman coming back home from a family visit, with Sean Penn giving his best performance in years as her cab driver. The whole movie, right up to its ending, takes place inside this New York taxi cab, a simple conversation between two people that becomes far deeper and more meaningful than any conversation between a cab driver and passenger has any right to be, let alone a conversation that lasts almost 90 minutes. Both characters unveil layers to themselves throughout that surprise in small ways, and yet we know both of them completely from minute one; they’re fully realized, but never fully evolved. Frankly, there’s not a lot else to say about Daddio because there’s not much to the filmmaking itself, but if readers are looking for a good, solid bottle movie that won’t eat at their time and will leave them feeling good at the end of the day, I can’t think of a more underrated film experience from 2024 than this one. And those are my picks for the Top 10 Most Underrated Movies of the 2024! What movies did you think were undervalued this year? Let me know in the comments section below, and thanks for reading! - The Friendly Film Fan Honorable Mentions:
 by Jacob Jones Well, ladies and gentlemen, that time has finally come – the time to reflect on the year’s end and celebrate all the cinematic gifts 2024 had to offer, and of course this means the beginning of the 2024 end-of-year Top 10 lists. While it hasn’t been the strongest movie year overall, there were plenty of films deserving of celebration (which we will get to in due time), and plenty of film marketing worthy of that very same praise. To that end, it’s time to unveil the first of these lists, and begin the countdown all the way to the Top 10 Best Movies of 2024. Whether the films on this list ultimately lived up to their advertising or not is another conversation altogether, but the participants in this particular countdown demonstrated once more that the craft of making advertisements in the first place is an art form in itself. Without further ado, here are our picks for the Top 10 Movie Trailers of 2024! 10. Superman | Official Teaser Trailer The production of James Gunn’s Superman (formerly titled Superman: Legacy) has been extensively covered by just about every entertainment news outlet on the planet, sometimes daily. Perhaps the most anticipated film of this year relative to box office expectations and tone-setting for an entirely new brand of DC films under Gunn’s new leadership, the pressure has never been more on to make a film which honors the titular character’s core faculties while also delivering on something entirely new. To that end, the trailer doesn’t give much of the film’s plot away at all; in fact, the title for the movie itself isn’t even included with all the footage we’re shown, so understood is the film’s subject and remix of John Williams’ iconic theme (perhaps the greatest singular piece of music the maestro has ever made). What we are shown are a lot of soon-to-be iconic images in brief flashes – a seemingly buffoon-ish Clark Kent towering over the other citizenry of Metropolis, a no-nonsense Lois Lane kissing both Superman and Clark, a never-balder Nicholas Hoult as Lex Luthor, Krypto the Superdog coming to rescue his owner after what’s clearly been a rough fight – as well as an establishment of tone as Superman puts himself between danger and a little girl walking the streets, and a young boy in an unknown warzone holds up a flag, willing the Man of Steel to come and save them. Given the gravity of its subject, the trailer’s placement may seem a bit low on this list, but with such limited footage and only vague glimpses at things we haven’t seen before, there’s not a whole lot higher a mere teaser for a film still seven months from release can fly. 9. Sinners | Official Trailer Ryan Coogler and Michael B. Jordan are a match made in movie heaven, much like Jordan Peele and Daniel Kaluuya, but as those latter two don’t have a film releasing until 2026 (at least on Peele’s part), the old south vampire thriller Sinners from the former team will have to do. The trailer – again merely a teaser for a film still months from release – went against many expectations viewers had for the film, chiefly by revealing the story’s setting and the fact that Jordan himself would be playing twin brothers in a dual performance alongside some terrific IMAX photography and a never-more-popular Hailee Steinfeld. I don’t know about you, but I don’t want to miss MBJ’s canon arms mowing down whatever’s on the other end of those final bullets in theaters. 8. Trap | Official Trailer As with the previous two entries on this list, the most exciting thing the first trailer for M. Night Shyamalan’s Trap revealed was the premise of the film: a man named Cooper attends a concert with his daughter in tow, only to be told that all the extra security present at the venue – and the concert itself – is an elaborate set-up to catch a notorious serial killer known only as The Butcher. The kicker? Cooper is that very same Butcher. Unfortunately, the film itself – while underrated in its own right as a meta commentary on involving one’s own family in your work – failed to live up to the expectations of its stellar marketing run, but that first trailer nonetheless was a bolt of lightning for exciting new thrillers in an otherwise rather underwhelming summer blockbuster season. 7. Saturday Night – Official Trailer (HD) Speaking of bolts of lightning, while I enjoyed Saturday Night a good bit, there’s no question that its first trailer captured the manic energy of producing never-before-attempted live television glory better than even the movie did. That may seem like harsher criticism than it’s meant to, but without a trailer as fast-paced as this, full of young stars and mounting complications in every second, and driven by a literal ticking clock as the first episode of SNL struggles to make it to air, the film would have been a total flop at the box office. The film is good, to be sure, but nothing in it can match the heights this trailer took us to on the silver screen. You can read my full review of the film here. 6. Juror #2 | Official Trailer Clint Eastwood is 94 years old and still churning out some of the most thrilling premises – and trailers – any fan of movies could ever ask for. The trailer begins with Nicholas Hoult, the protagonist of this story, recounting to a lawyer what happened a year before when he may have accidentally hit a deer during a rainy drive home from a local bar; the intrigue of the film is that he’s also one of the selected jurors in a murder trial, and may have hit the victim instead of an animal. That’s not only a great premise for moral conflict in a movie, it’s a built-in thriller ripe for theaters, which is what makes it so perplexing and frankly maddening that WB CEO David Zaslav opted to only put the film in 50 theaters before shoving onto the Max streaming service at the tail end of the year. Still, the trailer was an impressive one, and made us all wonder whether Eastwood had one more Oscar juggernaut in him before he left us for good. 5. Megalopolis – Teaser Trailer A project over 20 years in the making, Megalopolis is a fascinating misfire of a film for Francis Ford Coppola, but for a long time, people wondered if it was ever coming out at all. Produced by Coppola using his own money from decades of sales and doing other projects to pay debts accrued during previous productions, the ludicrously expensive film lacked distribution despite its stacked cast and well-regarded director. So when the teaser trailer for the film finally dropped on Coppola’s own YouTube channel, it felt like an old master declaring his return to once more to the silver screen, a triumphant comeback for one of the best to ever do it. It’s still one of my favorite trailers released in 2024, and if the film had lived up to all the glories it promised within those first minutes of footage we received, we might have been talking about one of the best films not only of the year, but of the decade to date. 4. Conclave – Official Trailer [HD] Coming off of All Quiet on the Western Front’s enormous Oscar success, Edward Berger had something to prove with his next feature. Was his success the result of his own talents or the product of adapting one of the great novels of all time for the modern age? And what was he going to do next? It could have been another grand-scale epic with large ideas and larger-than-life action sequences, but instead Berger turned his eye toward adapting an airport thriller like a lengthy toxic workplace episode, and Conclave is all the better for it. The trailer for the film lays it all out: Edward Berger directing, Ralph Fiennes starring, score by Volker Bertelmann, and a premise based on electoral politics during an election year – the timing could not have been more appropriate. That the film largely lives up to the expectations set by its initial unveiling is a miracle worthy of praise in itself. You can read my full review of the film here. 3. Monkey Man | Official Trailer In the early days of the year – January specifically – the first trailer for Dev Patel’s directorial debut, Monkey Man, dropped like a lit stick of dynamite and quickly became one of the favorite trailers of cinephiles the world over. The bone-crunching action, cut to the sounds of Panjabi MC and Jay-Z’s “Beware of the Boys,” echoed through the theater speakers and every. single. cut. counted for something. The trailer sent a jolt of anticipatory energy into the stratosphere of moviegoers’ worlds, and with Dev Patel in the lead part, having produced the film so hard that stories about him apparently breaking his hand during a take began to surface around the same time the trailer released, there was no way Monkey Man was going to be anything less than something special. The film itself doesn’t quite live up to the trailer’s revelatory editing, but there’s still some incredible work within it, including a dining room fight that still ranks among my favorite action sequences this year. You can read my full review of the film here. 2. Super/Man: The Christopher Reeve Story | Official Trailer To understand why Superman means so much even to people who didn’t grow up reading comics, such as myself, one has to understand Christopher Reeve’s embodiment of the character. Able to play both the shy and book-ish Clark Kent and the strong, towering personality of Superman simply by changing his voice and posture within a single scene, there was no one – and there’s likely to be no one ever again – who so thoroughly understood the dichotomy of the Super and the Man. What’s underscored by this film’s marketing is that Reeve in particular understood both his own iconography and how important it was for him to project his humanity to the world so that they might all feel super in their own ways, particularly with his work in paraplegic spaces following his tragic accident. The trailer for Super/Man: The Christopher Reeve Story, despite some text cutaways that seemed a tad generic for a documentary about a well-known celebrity, is a triumph of editing and musical composition as the Kryptonian and Superman themes comes together to celebrate the life of the original man of steel, at least in movie history. There’s a reason it inspired grown men to cry in reacting to it, and it's because of how much people still value Christopher Reeve as a person and Superman as an icon of hope. You can read my full review of the film here. 1. 28 Years Later – Official Trailer (HD) I have something of a confession to make: I’ve never seen Danny Boyle’s 28 Days Later (rectifying that soon), nor have I seen 28 Weeks Later, its purportedly less successful and less beloved sequel, though the latter does appear to have its defenders. That said, if anything was going to get me to watch them as soon as they were available and I found myself with a few hours to spare, it’s the stellar first trailer to the franchise’s third entry, 28 Years Later, which is once more directed by Danny Boyle and written by Alex Garland. While the initial moments of the trailer harken back to the series’ previous entries, the bulk of it is made of a cacophony of stunning images, set against the sounds of Rudyard Kipling’s “Boots,” a poem published in 1903, which is being recited in a 1915 recording by Taylor Holmes. The recitation of the poem has an incredibly eerie effect on the viewer, almost forcing them to reckon with the terror about to unfold, and if the accompanying imagery is anything to go by, this new trilogy starter could well be one of the most haunting moviegoing experiences of 2025. And those are my picks for the Top 10 Movie Trailers of 2024! What were some of your favorite trailers this year? Anything I missed in the Honorable Mentions? Let me know in the comments section below, and thanks for reading! - The Friendly Film Fan Honorable Mentions:
 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  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 |
