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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?
Ezra (USA, 2023. Dir: Tony Goldwyn): The portrait of autism on screen has improved slightly since the days of Rainman (1989 Oscar for Best Picture, embarrassingly). Alas, it continues to be presented as a superpower more often than it should. The Accountant, The Good Doctor, and the execrable Music come to mind. Would you like to know more?
You Can Call Me Bill (USA, 2023): William Shatner is a complex character. He is both a hammy actor and sci-fi icon; avuncular know-it-all and problematic figure (he’s a supporter of Autism Speak, on organization detested by many in the autistic community); environmental activist and corporate shill. Given the many angles available, I doubted director Alexandre O. Philippe (78/52) would be able to fully capture the Shat in 96 minutes of footage, more so since he would be the only interviewee. Nobody to challenge his perception of himself or his surroundings. Would you like to know more?
High and Low - John Galliano (UK, 2023): Few careers have come to a more abrupt ending than House Dior’s artistic director John Galliano. After dominating the fashion industry for nearly two decades, two antisemitic tirades in 2011 (one captured on camera) got him kicked out of the industry he helped transform and in hot water with the French justice system. Would you like to know more?
The Beasts (Dir: Rodrigo Sorogoyen. Spain, 2022): After telling a Spanish friend in passing about my dream of buying a summer house in the Iberian Peninsula, his only comment was “do you have twenty bucks?” It was his way of saying acquiring property isn’t a problem per se, but there are issues that come with buying cheap.
Watching The Beasts reinforced his point. A superb thriller winner of last year’s Goya for Best Picture, the issues the film trades on (bigotry, gentrification, social stagnation) are all so palpable, they make the story hit harder. Would you like to know more?
(The Flash. Dir: Andy Muschietti. USA, 2023): The DCEU in its current incarnation is coming to an end. The creative team headed by James Gunn and Peter Safran is bringing new ideas to the fore and, while they claim it won’t be a clean break, it won’t be the same as imagined early on by Zack Snyder. Would you like to know more?
The End of Sex (Dir: Sean Garrity. Canada, 2022): Sex farces are a complicated affair. Unless the movie is extremely funny (The 40-Year-Old Virgin), daring (Y tú Mamá También), or has something interesting to say (The Graduate), odds are stacked against it. Would you like to know more?