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(Rust. USA, 2024. Dir: Joel Souza): There’s one thing I wasn’t expecting from Rust, the infamous western in which cinematographer Halyna Hutchins lost her life when a prop gun loaded with live ammunition went off: a good movie.
Yet that’s exactly what I got. Would you like to know more?
It was a reasonable next step, yet it felt unexpected.
Two days after the President of the United States slapped tariffs on dozens of countries reportedly to bring manufacturing jobs back into the country, Industrial Light and Magic (the VFX giant initially created by George Lucas to support his Star Wars efforts) officially opened new studio space in Vancouver, BC, the largest of the five hubs ILM has around the world. Would you like to know more?
The Penguin Lessons (UK, 2024. Dir: Peter Cattaneo): Steve Coogan is the ultimate acquired taste. Casual observers might dismiss him as a self-absorbed jerk. People who have followed his career a bit are aware Coogan can be extremely funny (see Alan Partridge in any of his incarnations). Avid Coogan fans know there’s an undercurrent of melancholy that runs deep in his work and he’s capable of greatness (The Trip saga, Philomena). Would you like to know more?
Misericordia (France, 2024. Dir: Alain Guiraudie): As America continues going through something and their movies reflect it, it’s a good time to remember there’s provocative and nuanced cinema to be found, if you know where to look. Would you like to know more?
The Substance (USA, 2024. Dir: Coralie Fargeat): Following a relatively muted response at the North American box office (US$16 million, compared to 29 million abroad), The Substance hits streaming and on-demand services. It still packs a punch and seems designed to send your in-laws running during the holidays (“what about this movie, The Substance? Nothing says middlebrow like Demi Moore.”) Would you like to know more?
Blitz (UK, 2024. Dir: Steve McQueen): There’s one advantage that Blitz has over most “Battle of England”-inspired films: it has Steve McQueen at the helm. Not only the filmmaker can create poignant tableaux about the black experience (most notably Twelve Years a Slave) and urban malaise (Shame). He also makes them look good. Would you like to know more?
The Critic (United Kingdom, 2023. Dir: Anand Tucker): Because of his personal appearances and undoubtedly The Lord of the Rings trilogy, the general public thinks of Ian McKellen as an avuncular, charming figure. Even his Magneto in the X-Men saga was great company. Would you like to know more?
Strange Darling (USA, 2023. Dir: JT Mollner): Thrillers that rely heavily on a twist have a limited shelf life (remember The Uninvited? A Perfect Getaway? The Invitation? Relax, nobody does) The ones that remain transcend the gimmick by providing more substance, usually in the form of well-rounded characters (The Sixth Sense) or good writing (Fight Club). Would you like to know more?
National Anthem (USA, 2023. Dir: Luke Gilford): A low-key talent, Charlie Plummer is one of the most exciting young actors out there… for those paying attention. His forlorn turn as a teen craving stability in Andrew Haigh’s Lean on Pete should have made him a star. Instead, Plummer has been bouncing around indies of dubious quality. Would you like to know more?
Robot Dreams (Spain, 2023. Dir: Pablo Berger): Don’t be fooled by the clean, simple lines of the Academy Award nominee for Best Animated Feature. Robot Dreams is a poignant dramedy about companionship and how relationships can both tear you to pieces and build you up. It’s also an indictment of the culture of disposability, a main force behind the climate crisis that currently enfolds us. Would you like to know more?