Hulu Suggestions - Highly-Rated Movies & Shows on Hulu
Dying for Sex feels like two shows in one. Mainly, it follows Molly (Williams), a 40-something diagnosed with Stage 4 breast cancer, and Nikki (Jenny Slate), her messy but fun-loving best friend who is trying to keep up with Molly’s increasing needs. It gets into the gritty reality of Molly’s emotional and physical pain and explores how her relationship with Nikki both fractures and solidifies as her cancer advances. But the show is also largely about sex. It sheds light on the unique struggle people like Molly have to go through to satisfy sexual needs, which, if anything, only intensifies when one is ill. Instead of being desired, Molly is pitied by her husband, who is too afraid to be intimate with her. So Molly, with nothing to lose, explores sex and sexuality. She touches herself, watches videos, goes on dating apps, and starts a BDSM-esque relationship with her neighbor. The series is raunchy and mines a lot of humor from Molly’s journey, but it’s equally sobering and enlightening. It expertly blends these seemingly opposing scenarios and still comes out feeling solidly made. It will make you go through a roller coaster of emotions, which feels apt for a show about life and death.
It’s easy to laugh about an old lady being an unwitting lead in an action film, the joke being that they can’t possibly be that. But June Squibb’s Thelma is. She refuses to be infantilized and undertakes a journey that’s dramatized to great effect. It’s still funny, but without Squibb’s character being the butt of the joke. It’s also immensely charming, smart, and moving, without ever being too saccharine or pandering. The performances are wonderful across the board, but it’s Thelma’s intergenerational bond with her 24-year-old grandson Daniel (Fred Hechinger) that’s at the heart of the film. In some ways, both Thelma and Daniel have to prove their worth to a world that gives them little credit for their idleness, even though they’re both happy and make other people happy that way. Parker Posey, who plays Thelma’s daughter and Daniel’s mother, is equally commendable as the seeingly stable but perpetually harried “adult” that keeps the two grounded in reality. Equal parts sweet and bad-ass, Thelma is the movie to see if you want to feel the warm fuzzies (minus the cheese) with the family.
This bittersweet comedy centers on Sam Fox (Pamela Adlon), a single mother and working actress doing her best to get by in LA. In between juggling the pressures of both parenthood and Hollywood, Sam lets loose in brave and funny ways. Things often get the better of her and her three young daughters, but her bold, funny, and always loving approach to life is what makes Sam—and indeed the show—a true knockout.
Better Things is a semi-autobiographical story, with Adlon also having daughters of her own, so it’s no surprise that many things ring true in this big-hearted show about single motherhood.
Masculinity can look like different things, and Big Boys reminds us of that in hilarious and poignant ways. The British series follows best friends Jack and Danny, university students who seem happy enough on the outside but who are dealing with their own issues. Jack still mourns the sudden loss of his dad while struggling to start his journey as a freshly-out gay man. Danny, an expert in social situations, happily helps him even though he’s secretly depressed himself. They’re joined by Corrine and Yemi, characters who blossom slowly but surely in the next seasons. Their friends and family give them a boost, but it’s Jack and Danny’s rare friendship that holds the show down and gives it a solid emotional core. In an era when “No Homo” jokes are still rampant, Jack and Danny are proof that men can explore their emotions and forge deep friendships without breaking under the pressure of gender norms. And men being in touch with their feelings doesn’t always have to be a joke. It can be funny, sure, but also real and true, like this show.
La Chimera is often meandering. Scenes flitter about and move at different paces, resembling dreams more than they do reality, but they’re hardly trivial. Just the opposite, they enchant you with their beauty and confront you with deep, existential questions that haunt you long after the film’s run. You won’t find obvious answers here though, and you might even leave more perplexed than when you began. But that is the beauty of a film like La Chimera, it cracks you open to different realms and possibilities.
What’s great about this highly inventive film is that it doesn’t look like it was shot through three iPhone 5s. Instead of using shaky cameras and static shots, Tangerine glides us through saturated, orange-toned scenes that evoke the Los Angeles sunset. Launching director Sean Baker into prominence, Tangerine is an innovative film that, at heart, is a nuanced comedy about the trans sex worker community. Newcomers Kitana Kiki Rodriguez and Mya Taylor run the show, and their performances create a vivid, electric drive that powers the whole movie. But it’s the quieter moments, the moments after betrayal, the moments of recovery, that make this movie truly special.
Since the 1990s, Japan has offered the service of pretending to be one’s family, friend, or lover. Rental Family isn’t the first time the West has ever depicted this service, but at a time of increased isolation, division, and loneliness worldwide, the very concept directly addresses that need for perceived connection. Why is there a need to fake it, rather than to form it for real? With Hollywood’s own Brendan Fraser, this comedy-drama considers how that perception has been tied closely to the outcomes of one’s life, gently recognizing how difficult it is to balance it with other concerns. Rental Family doesn’t fully resolve its client characters, but like director Hikari’s previous work, it asks its audience to reconsider the notions surrounding the rental family service.
You don’t have to be a theater kid to enjoy this feel-good mockumentary set in a summer camp for junior thespians. While there are plenty of in-jokes here for those who might have spent a summer or two somewhere like AdirondACTS, Theater Camp also good-naturedly lampoons every instantly recognizable stereotype of theater kids and the classic failed-performer-turned-teacher.
Amongst the note-perfect ensemble, particularly hilarious standouts include co-writer Ben Platt and co-director Molly Gordon as camp instructors and best friends Amos and Rebecca-Diane. Both are Juilliard rejects with codependency issues and a classic case of actorly self-indulgence — as encapsulated in the moment they accuse a young attendee of “doping” for using artificial tears during a performance (“Do you want to be the Lance Armstrong of theater?”). But even seasoned performers like Platt and Gordon can’t pull the spotlight away from the film’s absurdly talented young ensemble, who are just as game for poking fun at their passion: standouts include Luke Islam, Alexander Bello, and Minari’s Alan Kim as a pint-sized “aspiring agent” who skips dance class to make business calls. All this self-satirising never obscures the movie’s heart, though; what begins as a self-deprecating ribbing of theater-heads ultimately becomes a rousing love letter to those very same misfits.
At once cynical and still in love with the glamor of show business, Difficult People puts a comedic target on absolutely everybody—celebrities, executives, and fans who love media as much as they hate it. Much of the series’ comedy comes from how its two protagonists (played with undeniable chemistry by Julie Klausner and Billy Eichner) constantly sabotage their own opportunities at success, as they get swallowed up in a self-cannibalizing ecosystem of fleeting trends and failed ideas. But even as Julie and Billy almost always come home defeated, there’s something touching about the unwavering strength of their friendship that gets them through each day. It’s an unexpected reminder of the real things and real people who are here now, laughing with us about the absurdity of it all.
There are only two main characters in Good Luck to You, Leo Grande: Nancy, a retired teacher who was recently widowed, and Leo, an adept sex worker with a mysterious past. They’re almost always in one place and work on a single goal: pleasure. But despite the seeming monotony, the movie is crackling with wit and sensuality every step of the way. It doesn’t waste any time getting to the heart of the matter. Nancy and Leo go back and forth about their past, with Nancy divulging much about the stigma of aging and Leo about the stigma of sex work. They also dive into the shame attached to pleasure, ultimately revealing more than just their naked bodies to each other and to the audience.
Two incredibly funny women are the stars of this authentic and heart-felt British comedy: writer, stand-up comedian, and main actress Aisling Bea, and the amazing Sharon Horgan (Catastrophe), who also co-produced the show. Irish teacher Áine (Bea) lives in London, yes, like Sharon Horgan’s character in Catastrophe, and works as an English-as-a-foreign-language teacher, but instead of getting knocked up by an American, she suffers a nervous breakdown and goes to rehab. When Áine checks out, she has to re-navigate all the aspects of real life that brought her to rehab in the first place. She does so with her sister Shona (Horgan) at her side. This is very clever and honest comedy about mental health, recovery, and loneliness, and about creating meaningful connections with the people around you. In true Bea and Horgan style, though, the humor is dark and will make you flinch and laugh at the same time. The chemistry between them is incredible!
Co-created and co-produced by an amazing duo, Maya Erskine and Anna Konkle, who play fictional versions of their 13-year-old selves among a bunch of actual adolescents, Hulu’s PEN15 is a painfully funny teen sitcom about two friends going through middle-school together. With meticulous detail, it is set in the 2000s, including the discmen, the khakis, and the AOL dial-up sounds, but you certainly don’t have to be 30+ to enjoy the masturbation, boys, overall awkwardness, and other superbly spun teen comedy tropes. Erskine and Konkle’s middle-school experience was obviously all about being the lesser cool kids and they embody this to the fullest. It’s hilarious and cringey, sometimes gross, but also insightful. A lot of fun!
Rivals is a heady dose of 1980s maximalism set against the backdrop of a seemingly quiet British countryside. The result is intoxicating: bored wives and polite language conceal carnal desires and immoral methods to reach the top. There’s a lot of sex, but it’s not necessarily sexy. It’s more campy than steamy, even though some characters do forge relationships that turn out to be romantic and true. There’s a lot of shouting and slapstick humor, as well as messages advocating sexual empowerment, which went against the conservatism that was rampant in the ‘80s. It’s reminiscent of Netflix’s Sex Education in that way, even and especially in terms of its bingeability (I finished the first season in one sitting). There’s a lot to like, after all. For every David Tennant and Aidan Turner screaming their heads off, there are more subtle performances from the likes of Nafessa Williams, Bella Maclean, Claire Rushbrook, Danny Dyer, and the ever-lovely Katherine Parkinson.
Created by Peaky Blinders showrunner Steven Knight, A Thousand Blows zooms in on the London Victorian underworld and follows three outsiders trying to uplift themselves in different, often illegal ways. There’s Mary Carr (Erin Rachael Doherty), an ambitious pickpocket who heads an all-female crime syndicate; Sugar Goodson (Stephen Graham), a merchant by day and bare-knuckle boxing champion by night; and London newcomer Hezekiah Moscow (Malachi Kirby), a Jamaican lion tamer who gets roped into Mary and Sugar’s complicated world. The conflicts the show takes onshow’s conflicts are as old as time: wealth inequality, gender divide, and racial discrimination. But Knight gives them a modern refresh so, coupled with razor-sharp dialogue, impressive choreography, gorgeous 1880s details, and stellar performances (particularly from Kirby), the show is invigorating to watch. Peaky Blinders fans who are missing the show will especially appreciate its grit and dark humor.
You’ll have to trust us on this: it’s best to know absolutely nothing about this show before you start watching. There’s a reason all the promos you see on it say near to nothing about it, and it’s a reason you’ll be thankful for at the end of the first episode. What we will say is that Paradise is a refreshing take on political thrillers, and the cast–mainly Sterling K. Brown and Julianne Nicholson–are compelling in their flexibility, confidence, and vulnerability. The show is genre-defying, but what drives it above all else is mystery. Creator Dan Fogelman (This Is Us) might have slightly gone haywire with the flashbacks, but he’s careful not to give anything away too quickly. Instead, we’re left with mysterious puzzle pieces, unpredictably solved by Brown’s character.
Deli Boys moves fast. It starts out as a simple succession story, then it quickly evolves into a crime caper that’s also, subtly, a commentary on being brown and Muslim in America. It’s impressive enough in those respects, but above all else, Deli Boys is a well-written comedy. The fast pace helps, but it’s the characters’ ability to effortlessly quip and riff off one another that makes it highly watchable, if not downright addictive. The only downside to the show’s easygoing humor and cool capers is that the characters, though likable, lack real depth. But that’s easy enough to mine if the show is (hopefully) given a shot at another season.
Let’s get this out of the way: Love Story isn’t an accurate retelling of the marriage between John F. Kennedy Jr. and Carolyn Bassette, just ask their living relatives about it. However, historical accuracy is not really the point. Much like the other franchises under American Story, Love Story feels more like a portrait of what America used to be– this time, through the closest thing the United States had to a royal marriage. Indulging in the 90s-00s nostalgia, this whirlwind romance takes on familiar themes of celebrity and public scrutiny with all the high-fashion glamor, a semblance of curated taste, and none of today’s social media clout chasing. It helps that Sarah Pidgeon and Paul Anthony Kelly look so good together, with their classic visages and old-school vibes. Love Story doesn’t present something new or true, but the show is nonetheless very watchable.
Warning: this film is incredibly gory, terribly gruesome, and horrendously disgusting. We urge you to go in without any food. However, if you do have a strong stomach, Send Help is such a fun ride. Flipping the corporate dynamic through an island survival tale, Send Help gleefully toys with the nature of power, as the new environment proves who truly has the capability, smarts, and guts to survive. It certainly brought out another side to Rachel McAdams, whose previous polished roles make her unkempt Linda rather unexpected, but she thrives in her character, totally transforming from awkward office worker to self-reliant final girl with a dark twist. Send Help isn’t afraid to get nasty, especially at the expense of a workplace bully.
In fantasy worlds, races with different lifespans are a given, but rarely does a work actually contemplate how these variations would affect relationships between them. Frieren: Beyond Journey’s End starts after a great war, at the moment of peace, and to the titular elf, her shared journey with the human Himmel and their party feels like a blip in her life, their ten years of friendship blurred amongst her thousand years… until Himmel dies, which shifts her perspective on mortality. Frieren won’t have that much extravaganza we’re used to in other fantasy shows, but the way Frieren tries to reconnect with her former comrades, and the way she remembers their memory through flashbacks, all become a gentle and moving meditation on purpose, meaning, and connection, all paired with outstanding art and some of the best worldbuilding we’ve seen in anime.
The Artful Dodger’s leads might literally come from a Charles Dickens novel, but there’s something more playful about the way it deals with its historical social issues. Where Oliver Twist would change his fortune with fairytale-like goodness, former pickpocket Jack Dawkins aims to carve it out through quick amputations, which give him some status, though no wealth, and gambling bets, which risks his limbs. While the narrative isn’t as complex as the social criticism Dickens is known for, the series is undeniably entertaining with its novel approach, even if it pokes fun a little too often at the actual horrific hygiene practices of the 1800s.
Will Trent is a crime procedural that tackles a new mystery every few episodes. It doesn’t differ from other detective shows in that way, but what makes Will Trent interesting is that the intrigue of each case never takes away from the intrigue of the personal lives of the lead characters.
Will Trent, in particular, remains the biggest mystery in the series. Much like Sherlock Holmes or Monk before him, he’s troubled but kindhearted, gifted but hated by all. He’s one of the most awkward detectives you’ll meet, but what he lacks in social graces he more than makes up for in outstanding smarts. Unraveling Trent, his colleagues, and his subjects is a fun ride, one that makes the 40 minutes or so of watching well worth it.
Tell Me Lies is a soapy college drama, but it’s a soapy college drama done right. It’s steamy and realistic (apart from the fact that no one seems to really be studying), capturing that moment in your life when you start freely exploring your identity and sexuality. As in most melodramas, it’s the mess and the titular lies that make the series exciting to watch, but it ultimately doesn’t hold enough substance to keep you engaged beyond that. It’s spicy candy—hot and exciting when consumed, but it’s neither nourishing nor filling. No harm in taking a bite though.
It’s easy to laugh about an old lady being an unwitting lead in an action film, the joke being that they can’t possibly be that. But June Squibb’s Thelma is. She refuses to be infantilized and undertakes a journey that’s dramatized to great effect. It’s still funny, but without Squibb’s character being the butt of the joke. It’s also immensely charming, smart, and moving, without ever being too saccharine or pandering. The performances are wonderful across the board, but it’s Thelma’s intergenerational bond with her 24-year-old grandson Daniel (Fred Hechinger) that’s at the heart of the film. In some ways, both Thelma and Daniel have to prove their worth to a world that gives them little credit for their idleness, even though they’re both happy and make other people happy that way. Parker Posey, who plays Thelma’s daughter and Daniel’s mother, is equally commendable as the seeingly stable but perpetually harried “adult” that keeps the two grounded in reality. Equal parts sweet and bad-ass, Thelma is the movie to see if you want to feel the warm fuzzies (minus the cheese) with the family.
This bittersweet comedy centers on Sam Fox (Pamela Adlon), a single mother and working actress doing her best to get by in LA. In between juggling the pressures of both parenthood and Hollywood, Sam lets loose in brave and funny ways. Things often get the better of her and her three young daughters, but her bold, funny, and always loving approach to life is what makes Sam—and indeed the show—a true knockout.
Better Things is a semi-autobiographical story, with Adlon also having daughters of her own, so it’s no surprise that many things ring true in this big-hearted show about single motherhood.
What’s great about this highly inventive film is that it doesn’t look like it was shot through three iPhone 5s. Instead of using shaky cameras and static shots, Tangerine glides us through saturated, orange-toned scenes that evoke the Los Angeles sunset. Launching director Sean Baker into prominence, Tangerine is an innovative film that, at heart, is a nuanced comedy about the trans sex worker community. Newcomers Kitana Kiki Rodriguez and Mya Taylor run the show, and their performances create a vivid, electric drive that powers the whole movie. But it’s the quieter moments, the moments after betrayal, the moments of recovery, that make this movie truly special.
You don’t have to be a theater kid to enjoy this feel-good mockumentary set in a summer camp for junior thespians. While there are plenty of in-jokes here for those who might have spent a summer or two somewhere like AdirondACTS, Theater Camp also good-naturedly lampoons every instantly recognizable stereotype of theater kids and the classic failed-performer-turned-teacher.
Amongst the note-perfect ensemble, particularly hilarious standouts include co-writer Ben Platt and co-director Molly Gordon as camp instructors and best friends Amos and Rebecca-Diane. Both are Juilliard rejects with codependency issues and a classic case of actorly self-indulgence — as encapsulated in the moment they accuse a young attendee of “doping” for using artificial tears during a performance (“Do you want to be the Lance Armstrong of theater?”). But even seasoned performers like Platt and Gordon can’t pull the spotlight away from the film’s absurdly talented young ensemble, who are just as game for poking fun at their passion: standouts include Luke Islam, Alexander Bello, and Minari’s Alan Kim as a pint-sized “aspiring agent” who skips dance class to make business calls. All this self-satirising never obscures the movie’s heart, though; what begins as a self-deprecating ribbing of theater-heads ultimately becomes a rousing love letter to those very same misfits.
At once cynical and still in love with the glamor of show business, Difficult People puts a comedic target on absolutely everybody—celebrities, executives, and fans who love media as much as they hate it. Much of the series’ comedy comes from how its two protagonists (played with undeniable chemistry by Julie Klausner and Billy Eichner) constantly sabotage their own opportunities at success, as they get swallowed up in a self-cannibalizing ecosystem of fleeting trends and failed ideas. But even as Julie and Billy almost always come home defeated, there’s something touching about the unwavering strength of their friendship that gets them through each day. It’s an unexpected reminder of the real things and real people who are here now, laughing with us about the absurdity of it all.
Two incredibly funny women are the stars of this authentic and heart-felt British comedy: writer, stand-up comedian, and main actress Aisling Bea, and the amazing Sharon Horgan (Catastrophe), who also co-produced the show. Irish teacher Áine (Bea) lives in London, yes, like Sharon Horgan’s character in Catastrophe, and works as an English-as-a-foreign-language teacher, but instead of getting knocked up by an American, she suffers a nervous breakdown and goes to rehab. When Áine checks out, she has to re-navigate all the aspects of real life that brought her to rehab in the first place. She does so with her sister Shona (Horgan) at her side. This is very clever and honest comedy about mental health, recovery, and loneliness, and about creating meaningful connections with the people around you. In true Bea and Horgan style, though, the humor is dark and will make you flinch and laugh at the same time. The chemistry between them is incredible!
Co-created and co-produced by an amazing duo, Maya Erskine and Anna Konkle, who play fictional versions of their 13-year-old selves among a bunch of actual adolescents, Hulu’s PEN15 is a painfully funny teen sitcom about two friends going through middle-school together. With meticulous detail, it is set in the 2000s, including the discmen, the khakis, and the AOL dial-up sounds, but you certainly don’t have to be 30+ to enjoy the masturbation, boys, overall awkwardness, and other superbly spun teen comedy tropes. Erskine and Konkle’s middle-school experience was obviously all about being the lesser cool kids and they embody this to the fullest. It’s hilarious and cringey, sometimes gross, but also insightful. A lot of fun!
This is a hilarious political comedy starring the ever-great Steve Buscemi. Set in the last days before Stalin’s death and the chaos that followed, it portrays the lack of trust and the random assassinations that characterized the Stalinist Soviet Union. Think of it as Veep meets Sacha Baron Cohen’s The Dictator. Although to be fair, its dark comedy props are very different from the comedy that comes out today: where there are jokes they’re really smart, but what’s actually funny is the atmosphere and absurd situations that end up developing.
Unlike Lovesick, which rightfully changed its name from Scrotal Recall, Schitt’s Creek is still called Schitt’s Creek many seasons in. After flying under the radar for a while, the sitcom about a wealthy, Arrested-Development-style family coping with the sudden loss of their fortune is starting to get the attention it deserves. Warm and witty writing, very gif-able catchprases, and a great main cast have turned this slightly slim-sounding premise into a long-running cult classic. The great Catherine O’Hara plays Moira Rose, the cynical matriarch, while many of you 00s kids will immediately recognize the male lead, Eugene Levy, as “Jim’s dad” from American Pie aka them most embarrassing dad ever to grace a screen. In all its simplicity, the steadily fleshed out riches-to-rags plot is hilarious, undemanding, and witty, exactly what you want a sitcom to be.
Full of twists on classic horror themes, this hilarious and gory comedy will have your sides aching, and still you’ll want more. The plot centers on two rednecks who are trying to have a good time while fixing up a summer home. True to horror movie form, a group of college kids set up camp nearby, and naturally evil begins to happen. This well-written, entertaining story even has some heart to it.
During adolescence, teenagers get to learn and discover themselves and the world, but for most people, this means going through puberty, maybe taking up a sport or hobby, and not the occult vs alien shenanigans of DAN DA DAN. The science fiction-fantasy mix is unhinged and chaotic, throwing Momo and Ken directly into the worlds they didn’t believe in, and with each crazy encounter, they gain insane powers that are rendered into (literally) out-of-this-world, kaleidoscopic animation. But it’s their comedic dynamic that makes the show work, as each absurd situation pushes them to share what makes them vulnerable and challenge each other on their beliefs. DAN DA DAN is spectacularly unpredictable, and is a standout from 2024’s anime fall lineup.
Aptly for a film partly set in a fortune cookie factory, Fremont deals with luck — specifically, the other side of good luck: survivor’s guilt. Donya (played by real-life Afghan refugee Anaita Wali Zada) is a former translator for the US Army who fled her home city of Kabul on an emergency evacuation flight when the Taliban took over in 2021. Now living a safe, if drab, existence in the titular Californian town, insomniac Donya struggles to embrace her freedom, tormented by the knowledge that she lost some of her old colleagues to reprisal attacks and that her loved ones are still living under repressive rule in Afghanistan.
As Donya shuttles between her little apartment in Fremont, her job writing cryptic one-liners for a fortune cookie factory in San Francisco, and appointments with her eccentric psychiatrist (Gregg Turkington), Fremont balances a moving study of her melancholy with deadpan humor. Despite its black-and-white cinematography and tight Academy ratio, this is no austere drama, but an endlessly warm and understated portrait of someone rediscovering themselves and all of life’s unexpected moments of connection, like chance romantic encounters and sudden tears at karaoke.
Two incredibly funny women are the stars of this authentic and heart-felt British comedy: writer, stand-up comedian, and main actress Aisling Bea, and the amazing Sharon Horgan (Catastrophe), who also co-produced the show. Irish teacher Áine (Bea) lives in London, yes, like Sharon Horgan’s character in Catastrophe, and works as an English-as-a-foreign-language teacher, but instead of getting knocked up by an American, she suffers a nervous breakdown and goes to rehab. When Áine checks out, she has to re-navigate all the aspects of real life that brought her to rehab in the first place. She does so with her sister Shona (Horgan) at her side. This is very clever and honest comedy about mental health, recovery, and loneliness, and about creating meaningful connections with the people around you. In true Bea and Horgan style, though, the humor is dark and will make you flinch and laugh at the same time. The chemistry between them is incredible!
This is a hilarious political comedy starring the ever-great Steve Buscemi. Set in the last days before Stalin’s death and the chaos that followed, it portrays the lack of trust and the random assassinations that characterized the Stalinist Soviet Union. Think of it as Veep meets Sacha Baron Cohen’s The Dictator. Although to be fair, its dark comedy props are very different from the comedy that comes out today: where there are jokes they’re really smart, but what’s actually funny is the atmosphere and absurd situations that end up developing.
Full of twists on classic horror themes, this hilarious and gory comedy will have your sides aching, and still you’ll want more. The plot centers on two rednecks who are trying to have a good time while fixing up a summer home. True to horror movie form, a group of college kids set up camp nearby, and naturally evil begins to happen. This well-written, entertaining story even has some heart to it.
In an early scene in Such Brave Girls, Josie (Kat Sadler) compares herself and her sister Billie (Lizzie Davidson) to a more attractive woman. “She’s live, love, laugh,” she says, “We’re death, silence, hate.” At this point, you’d think Sadler, who is also the creator and writer of the show, and Davidson, who is Sadler’s real-life sister, are the types to indulge in their sadness and romanticize their dysfunction. Though that happens to some degree, Sadler is self-aware enough to steer clear of wallow territory and offer something insightful about mental health and the ways we cope (or fail to, anyway). Parents who dismiss depression are called out, as are social workers and supposed experts who stereotype people with the illness. But weirdly enough, the show is never downright cynical. Josie is sweet enough to cut through the darkness, as are her ignorant and selfish though ultimately well-meaning family members. You’ll probably recall Broad City and Fleabag while watching Such Brave Girls because of its unapologetic approach to both sex and suicide, but maybe more than those two shows, Such Brave Girls is willing to root its themes deeper into reality. It almost never brings up mental health without contextualizing it in the family’s low-income state, making it one of the most relatable and urgent shows you can watch right now.
The Square is a peculiar movie about a respected contemporary art museum curator as he goes through a few very specific events. He loses his wallet, his children fight, the art he oversees is does not make sense to an interviewer… Each one of these events would usually require a precise response but all they do is bring out his insecurities and his illusions about life. These reactions lead him to very unusual situations. A thought-provoking and incredibly intelligent film that’s just a treat to watch. If you liked Force Majeure by the same director, The Square is even better!
Twinless starts off something like one of those quirky indies in the 2010s about awkwardly navigating grief and sharing that with someone, unexpectedly. Roman meets Dennis in a support group like The Fault in Our Stars, though with a sibling dynamic a la The Skeleton Twins, filling the void of losing their other half. It’s wholesome, it’s cute, and Dylan O’ Brien and James Sweeney have an instant chemistry that makes their friendship easy to root for. But after the twenty minute mark, this comedy veers into an unexpected direction. For the sake of spoilers, we won’t elaborate, but Twinless cleverly twists what could have been a millennial mumblecore drama into a clever, provocative Gen Z dark comedy that isn’t afraid to go there. Twinless is truly one of its kind.
Amongst the google searches for this one you’ll find “Is Slotherhouse a real film?” and that says a lot. When the first poster and trailer dropped, I suspected it the work of AI, but now that the film is out on streaming, we should be glad it exists. A ludicrous horror-comedy that hits all the right notes in gore, cringe, and puns, Slotherhouse is quintessential fun cinema. It may be set in a college where internalized misogyny is completely off the charts as young women bruise and batter each other’s egos in service of the queen bee Brianna (Sydney Craven) and may attempt just a tiny bit of character development to keep the ball rolling, but honestly, who cares? It’s a film that completely leans into the absurd, the over the top, the ridiculous, and it does it surprisingly well.
We’ve all heard of journalists digging up random things to generate headlines, but never to this extent. Obituary follows a freelance obituarist, paid per article, who generates more work through killing. It’s an interesting premise, and Siobhán Cullen excellently portrays Elvira Clancy, with a specific, but believable obsession of death that keeps her interested in her work, but concerns her dad, who pushes her to bereavement counseling. On top of it all, a cute colleague of hers is onto who’s behind the crimes. Elvira is a unique character, one that has potential, but the show’s other characters, the lack of consistency between each episode, and the way information is relayed keeps the series from being totally hilarious and emotionally resonant.
La Chimera is often meandering. Scenes flitter about and move at different paces, resembling dreams more than they do reality, but they’re hardly trivial. Just the opposite, they enchant you with their beauty and confront you with deep, existential questions that haunt you long after the film’s run. You won’t find obvious answers here though, and you might even leave more perplexed than when you began. But that is the beauty of a film like La Chimera, it cracks you open to different realms and possibilities.
The Last Duel propped high expectations as the Closing Film at the 2021 Venice Film Festival, but its theatrical release later that year proved to be a flop. Ridley Scott blamed it on millennials, but both critics and streaming audiences have been much more favorable than moviegoers. As a film, it’s a rather monumental project: quite a dark period piece set in Medieval France, dealing with harsh and offensive themes. Or better said, it deals with ethics and morality through these harsh and offensive themes. There are many ways where this could have gotten wrong—and it’s evident from the labels that have been circulating from the very beginning, that Scott has made his “MeToo” movie—but the truth is much more nuanced. From Eric Jager’s 2004 book to a script co-written by Ben Affleck, Matt Damon, and (most importantly) the astute Nicole Holofcener, The Last Duel is really the best of both worlds: action-packed and devoted to the right side of history.
Good movies usually aren’t lengthy movies, unless we’re talking about cases like Toni Erdmann. It’s a supremely smart German-Austrian comedy that depicts the story of a Father-Daughter tandem in light of life’s weirdest, most inconvenient moments. Deciding to visit his daughter on a whim after his dog dies, Winfried (Peter Simonischek)—a man known for his outrageous pranks and many a disguise—flies to Bucharest. Ines (Sandra Huller), the daughter, buzzing with work to the brim in a very challenging job, to say the least, isn’t impressed. This leads to even more uncomfortable encounters as the estranged father poses as the title character, life coach to the disapproving daughter’s boss. On top of being a shrewdly observed and relevant movie, the brilliant writing by Maren Ade crafts something thoroughly enjoyable and heartfelt here, highlighting the importance of family bond in an oddly sweet way, and criticizing modern-day work ethic and the toll its taking on us. The beginning is a bit slow, but if you’re a bit patient you will be surprised how much this movie will reward you.
More a showcase of various styles of animation than an expansion of Star Wars lore (and all the better for it), Visions finds some of the freshest expression for these tired tropes—rendered in what are easily the best visuals this franchise has ever seen. Across the 18 episodes of its first two seasons, the series communicates the mystical nature of this universe with much more ease than the live-action films do. And even as Visions begins to repeat some of the exact same ideas and story structures in multiple episodes, the repetition also begins to feel like the reinforcement of a universal narrative throughout time and space: there will always be light that will counter the darkness, often coming from the bonds between family and friends.
At 80 minutes, Smoking Causes Coughing is another slice of perfectly paced absurdist fun from Quentin Dupieux, the zany mind behind Rubber (in which a car tire turns serial killer) and Deerskin, the tale of a motorcycle jacket that wants to rule the world. This time around, the protagonists aren’t inanimate objects: they’re Tobacco Force, a Power Rangers-style band of lightly idiotic superheroes who harness the toxic power of cigarettes to defeat Earth’s enemies, and are each named after one of their harmful components (Benzene, Nicotine, Mercury, Ammonia, and Methanol). They’re led by Chief Didier, a rat who inexplicably dribbles green goo — and, even more inexplicably, casts an intense erotic spell over Tobacco Force’s female members.
Smoking Causes Coughing leans deliriously, hilariously far into its absurdist premise. Citing a lack of “group cohesion,” Chief Didier sends the Force to the woods on a team-building retreat. While they swap “scary” stories over a campfire, however, a reptilian galactic supervillain plots to put Earth “out of its misery” because it’s a “sick planet” (can’t really argue with that). Full of insane plot twists and without a tired trope in sight, Smoking Causes Coughing never approaches the realm of predictability — no small achievement in this era of superhero fatigue.
If it’s true that to cook is to love, then Dodin and Eugenie must be enraptured by one another. They use the exquisite language of food to express their feelings for one another, and watching their exchange, you can’t help but feel honored, if not embarrassed, to witness such an intimate and love-filled act. Food is everywhere here, delicately prepared and sumptuously consumed, but the film is more than just a glorified Food Network program. It’s a painting come to life, a love letter to craft, and a beautiful example of a life fully lived.
Jim Jarmusch’s latest film is the story of a pair of vampires, Adam and Eve (Tom Hiddleston and Tilda Swinton), married for thousand of years and living thousands of miles apart, subsequently reunited in modern-day Detroit to find Hiddleston in state of disrepair and depression. Their lives are shaken up by the sudden appearance of Swinton’s wayward young vampire sister Ava (Mia Wasikowska) that sets their lives into tumult. It’s the type of evenly-paced and wryly amusing dramedy that only Jarmusch could craft. I loved the atmosphere and sensibility of this film, not to mention the various literary allusions along with the dark, somber soundtrack. Less of a narrative and more of a modern-day-vampire-slice-of-life, this is one of those films that gets under skin and stays awhile (and not in a bad way).
When Cristobal Balenciaga was in his prime, the courtier was lauded for his technique. More than anything, his dedication to the tiniest detail of dressmaking, not just design, made his sculptural dresses stand out. This titular miniseries about his years in Paris is made in the same vein. It has a strong foundational form, from smart camerawork and beautiful lighting to period-accurate backdrops and tight storytelling. But it has plenty of substance too as it’s clearly, and endearingly, in love with haute couture. Every scene is dripping with elegance, and every gown (even the supposed bad ones!) is so gorgeous that you must pause and take a moment to marvel at it. But perhaps the most impressive thing about the series is that it doesn’t shy away from history; in fact, it welcomes it fully, even the controversial parts of Balenciaga’s past. What we get isn’t a glorified icon, but a flawed human being who is all the more resplendent in his wholeness.
Becoming Karl Lagerfeld gets many things right—the fashion is spectacular, the drama is gripping, and the details feel true to the time. It’s never over-the-top and cartoonish, which seems to be a problem in most other biopics. But for all it has going for it, Brühl is the real star of the show. He seems to operate on a level beyond his peers where he’s no longer acting but simply inhibiting. Lagerfeld is a distant and wealthy designer, unavailable even to those closest to him, but Brühl manages to ground him with deeply relatable traits, like bitter jealousy, crushing loneliness, and unapologetic ambition. He doesn’t need a big scene or wordy dialogue to get these across, either, just a flicker of the eyes will do the trick. The only downside to the show is the occasional uneven tone. It’s as if the directors were unsure how to maximize the wealth of material they have on hand, so they crammed and juggled as much as they could into six episodes. Still, if you’re a fan of period pieces, powerfully subtle performances, and luxury fashion, then you’re in for a treat.
Kenneth Branagh’s third Hercule Poirot movie does everything it can to divorce itself from the quaintness of a typical Agatha Christie adaptation. Loosely based on the novel Hallowe’en Party, this outing swaps exotic locales for the claustrophobic confines of a gothic Venetian palazzo and flirts outright with horror. The film, shot through more Dutch angles than an Amsterdam maths class has ever seen, uses the genre’s visual language to credibly suggest that this mystery might actually have paranormal undertones. Forcing Poirot to reconsider his die-hard loyalty to rational explanations is an interesting twist — it punctures the idea of him as a mystery-solving god and gives the film bigger questions to chew on than whodunnit.
What that does, however, is sap the satisfaction of watching him expertly crack the puzzle, because the movie spends so much time centering Poirot’s crisis of confidence. A Haunting in Venice’s tone switch to serious horror is also at odds with the campily bad accents and mostly overwrought acting from the (much less starry than usual) cast. It’s not the same kind of reliable guilty pleasure we expect these vehicles to be, then, but this outing of Branagh’s Poirot is at least an interesting experiment in expanding these stories’ usual limits.
Diane von Furstenberg has no doubt lived a rich, fascinating life, but the documentary struggles to strike a balanced tone and instead comes off as an advertisement of DVF’s (admittedly beautiful) dresses. It’s not that the designer doesn’t merit the glowing praise given to her by friends, family, and experts in the documentary, but that the other side of the coin is never explored in depth. The creases to her character (and there are plenty) aren’t given any airtime as von Furstenberg is portrayed as an admirable albeit flat role model. The only exception here is when daughter Tatiana recalls the time her mother has been absent virtually all throughout her childhood, but even then, the documentary just glosses over this thorny part of their past. The film is fun and aspirational, loaded with delightful collages of home videos and designer clothes, but it’s hardly inspiring or relatable. Even in her old age, von Furstenberg seems to admit that she carries no business sense, and only stumbles into financial success with luck and plenty of help. Thankfully, she doesn’t feign ignorance about her privilege, even if the directors bafflingly insist on a rags-to-riches narrative.
When your parent decides to marry another person with kids, it can feel like you’re not really part of the family, more so, if you’re forced to move to a completely different country altogether. This is the unsettling feeling that drives Cuckoo, directly inspired by the way some cuckoo species engage in brood parasitism, or rely on other birds to raise their young. It’s an interesting concept, and the feeling of exclusion and being out of place is evoked expertly by Hunter Schafer of Euphoria fame, but why Gretchen’s antagonists would bother to do all of this is over-explained yet still feels quite nonsensical. For horror fans willing to go on this bizarre ride, Cuckoo is visually inventive, unnervingly scored, and decently performed, and would be enjoyable, as long as you don’t really think about the logistics of this strange parenting situation.
Dying for Sex feels like two shows in one. Mainly, it follows Molly (Williams), a 40-something diagnosed with Stage 4 breast cancer, and Nikki (Jenny Slate), her messy but fun-loving best friend who is trying to keep up with Molly’s increasing needs. It gets into the gritty reality of Molly’s emotional and physical pain and explores how her relationship with Nikki both fractures and solidifies as her cancer advances. But the show is also largely about sex. It sheds light on the unique struggle people like Molly have to go through to satisfy sexual needs, which, if anything, only intensifies when one is ill. Instead of being desired, Molly is pitied by her husband, who is too afraid to be intimate with her. So Molly, with nothing to lose, explores sex and sexuality. She touches herself, watches videos, goes on dating apps, and starts a BDSM-esque relationship with her neighbor. The series is raunchy and mines a lot of humor from Molly’s journey, but it’s equally sobering and enlightening. It expertly blends these seemingly opposing scenarios and still comes out feeling solidly made. It will make you go through a roller coaster of emotions, which feels apt for a show about life and death.
It’s easy to laugh about an old lady being an unwitting lead in an action film, the joke being that they can’t possibly be that. But June Squibb’s Thelma is. She refuses to be infantilized and undertakes a journey that’s dramatized to great effect. It’s still funny, but without Squibb’s character being the butt of the joke. It’s also immensely charming, smart, and moving, without ever being too saccharine or pandering. The performances are wonderful across the board, but it’s Thelma’s intergenerational bond with her 24-year-old grandson Daniel (Fred Hechinger) that’s at the heart of the film. In some ways, both Thelma and Daniel have to prove their worth to a world that gives them little credit for their idleness, even though they’re both happy and make other people happy that way. Parker Posey, who plays Thelma’s daughter and Daniel’s mother, is equally commendable as the seeingly stable but perpetually harried “adult” that keeps the two grounded in reality. Equal parts sweet and bad-ass, Thelma is the movie to see if you want to feel the warm fuzzies (minus the cheese) with the family.
This bittersweet comedy centers on Sam Fox (Pamela Adlon), a single mother and working actress doing her best to get by in LA. In between juggling the pressures of both parenthood and Hollywood, Sam lets loose in brave and funny ways. Things often get the better of her and her three young daughters, but her bold, funny, and always loving approach to life is what makes Sam—and indeed the show—a true knockout.
Better Things is a semi-autobiographical story, with Adlon also having daughters of her own, so it’s no surprise that many things ring true in this big-hearted show about single motherhood.
What’s great about this highly inventive film is that it doesn’t look like it was shot through three iPhone 5s. Instead of using shaky cameras and static shots, Tangerine glides us through saturated, orange-toned scenes that evoke the Los Angeles sunset. Launching director Sean Baker into prominence, Tangerine is an innovative film that, at heart, is a nuanced comedy about the trans sex worker community. Newcomers Kitana Kiki Rodriguez and Mya Taylor run the show, and their performances create a vivid, electric drive that powers the whole movie. But it’s the quieter moments, the moments after betrayal, the moments of recovery, that make this movie truly special.
Since the 1990s, Japan has offered the service of pretending to be one’s family, friend, or lover. Rental Family isn’t the first time the West has ever depicted this service, but at a time of increased isolation, division, and loneliness worldwide, the very concept directly addresses that need for perceived connection. Why is there a need to fake it, rather than to form it for real? With Hollywood’s own Brendan Fraser, this comedy-drama considers how that perception has been tied closely to the outcomes of one’s life, gently recognizing how difficult it is to balance it with other concerns. Rental Family doesn’t fully resolve its client characters, but like director Hikari’s previous work, it asks its audience to reconsider the notions surrounding the rental family service.
Taking the violence and offbeat comedy of the original movie and adding constantly expanding narratives on top of it, Noah Hawley’s TV adaptation of Fargo arguably becomes an even richer portrait of the dark side of human nature hiding inside modern, polite society. All four complete seasons of the anthology series (with a fifth currently ongoing at the time of this writing) are an exercise in seeing how many dominoes can topple from a series of mismanaged coincidences. The resulting chaos then becomes more of a reflection on the kind of facades these characters would rather maintain for the sake of some semblance of control.
And perhaps with the exception of the show’s ambitious but sluggish fourth season, every Fargo story is dripping in suspense and cinematic polish, with plenty of chilling visuals and intricate music and sound design—not to mention ensemble casts who are almost always at the height of their powers. Each season has at least one stand-out, be it Alison Tolman and Billy Bob Thornton in season one, Carrie Coon and David Thewlis in season three, Ben Whishaw in season four, and practically everybody from season two. These are all actors who understand exactly how to inhabit the world Hawley has deepened, through wry humor and surprising pathos.
In the hands of a lesser artist, something like The Choe Show might have come off as a vanity project or an excuse to show off one’s art and one’s thoughts about art. But David Choe seems to want the opposite: together with an eclectic mix of guests, he lays bare his most shameful feelings and hardest struggles without ever asking the audience for sympathy and forgiveness—all the while using paint and performance to carve a path toward healing and mutual understanding.
The interviews are already impressive on their own, pitched somewhere between a casual chat and an exorcism of personal demons. But it’s around these conversations about addiction, abandonment, and family trauma where the show truly comes to life. With a whole team of animators and illustrators, Choe lets every pointed statement and loaded anecdote leap off the screen. Noise, color, photographs, home video tapes, and performance art footage constantly invade what we’re watching, as if the show is being created and reinvented right before our eyes. Fun, chaotic, boundlessly imaginative, and always open to change—if that’s how it is with art, that’s how it should be with people, too.
It’s hard not to watch The Unknown Country and think of Nomadland: along with similarities in their Terrence Malick-inspired visuals, both films follow lone women seeking catharsis on the road as they grieve profound losses. But Morrisa Maltz’s debut feature is a decidedly lower-key, more spiritual affair — and is all the better for it.
The film is light on plot exposition, but it’s clear from her soft melancholy that Tana (Lily Gladstone) has set off on this road trip following a personal loss, a meandering journey that takes her from freezing Minnesota to Oglala Lakota reservations in South Dakota and down through Texas. Along the way, she reunites with loved ones and crosses paths with total strangers, all of whom are played by charismatic non-professional actors whose real life stories earn as much of the spotlight as Tana’s impressionistically shot journey. These moments of documentary, Gladstone’s naturalistic performance, Andrew Hajek’s contemplative images of lush American landscapes, and the film’s aversion to outright drama enrich the fictional elements by grounding them in earthy reality. There aren’t many more emotionally rewarding ways to spend 80-ish minutes than watching this poignant meditation on the tangled richness of human lives and the land we live on.
The Royal Hotel sees Hanna (Julia Garner) and Liv (Jessica Henwick) resorting to take up a dire live-in job behind the bar in a remote desert part of Western Australia. Although they’re warned that they’d “have to be okay with a little male attention” in the outcast mining town, their financial precarity overrides the potential fear. Curiously enough, the fiction film is based on a real story, already told in the 2016 documentary Hotel Coolgardie by Pete Gleeson, but The Assistant director Kitty Green pulls no punches when representing how suffocating it must feel to be encircled by such unmediated male aggression. The brawls, the spilled beer, the c-word as a greeting all form the unnerving paraphernalia of life then and there. For Australian independent film devotees, there is actor Toby Wallace, who reprises his bad boy role from Babyteeth, and he’s joined by the ranks of Herbert Nordrum (The Worst Person in the World) and an utterly terrifying Hugo Weaving (The Matrix).
You don’t have to be a theater kid to enjoy this feel-good mockumentary set in a summer camp for junior thespians. While there are plenty of in-jokes here for those who might have spent a summer or two somewhere like AdirondACTS, Theater Camp also good-naturedly lampoons every instantly recognizable stereotype of theater kids and the classic failed-performer-turned-teacher.
Amongst the note-perfect ensemble, particularly hilarious standouts include co-writer Ben Platt and co-director Molly Gordon as camp instructors and best friends Amos and Rebecca-Diane. Both are Juilliard rejects with codependency issues and a classic case of actorly self-indulgence — as encapsulated in the moment they accuse a young attendee of “doping” for using artificial tears during a performance (“Do you want to be the Lance Armstrong of theater?”). But even seasoned performers like Platt and Gordon can’t pull the spotlight away from the film’s absurdly talented young ensemble, who are just as game for poking fun at their passion: standouts include Luke Islam, Alexander Bello, and Minari’s Alan Kim as a pint-sized “aspiring agent” who skips dance class to make business calls. All this self-satirising never obscures the movie’s heart, though; what begins as a self-deprecating ribbing of theater-heads ultimately becomes a rousing love letter to those very same misfits.
At once cynical and still in love with the glamor of show business, Difficult People puts a comedic target on absolutely everybody—celebrities, executives, and fans who love media as much as they hate it. Much of the series’ comedy comes from how its two protagonists (played with undeniable chemistry by Julie Klausner and Billy Eichner) constantly sabotage their own opportunities at success, as they get swallowed up in a self-cannibalizing ecosystem of fleeting trends and failed ideas. But even as Julie and Billy almost always come home defeated, there’s something touching about the unwavering strength of their friendship that gets them through each day. It’s an unexpected reminder of the real things and real people who are here now, laughing with us about the absurdity of it all.
The incredible script for this Hulu-produced series comes courtesy of Lawrence Wright, who wrote the Pulitzer-winning book the series is based on, and Dan Futterman, the Oscar-nominated writer who gave us Capote. It is an eye-opening, semi-fictional account of how the CIA and the FBI took conflicting approaches to counteract Al-Qaeda in the lead-up to 9/11, withholding information from each other, and obstructing a unified strategy to combat terror. The disagreements between the two security services are numerous and the relationship between their staff is hostile. At the top, Jeff Daniels plays John O’Neill, the seasoned head of the FBI’s Counterterrorism Center, while Peter Sarsgaard stars as Martin Schmidt, the chief of the CIA’s respective facility, who are both amazing. Then there’s Ali Soufan, played by Tahar Rahim, who is one of only handful FBI agents who speak Arabic back in 1998, just three years before the Towers fell. With all this testosterone flying about, the women in this show are marginalized to the fairly weak romantic storylines, but other than that the series gets a lot of stuff right. Writing, acting, and action are on point and make The Looming Tower a gripping as well as insightful watch.
In an early scene in Such Brave Girls, Josie (Kat Sadler) compares herself and her sister Billie (Lizzie Davidson) to a more attractive woman. “She’s live, love, laugh,” she says, “We’re death, silence, hate.” At this point, you’d think Sadler, who is also the creator and writer of the show, and Davidson, who is Sadler’s real-life sister, are the types to indulge in their sadness and romanticize their dysfunction. Though that happens to some degree, Sadler is self-aware enough to steer clear of wallow territory and offer something insightful about mental health and the ways we cope (or fail to, anyway). Parents who dismiss depression are called out, as are social workers and supposed experts who stereotype people with the illness. But weirdly enough, the show is never downright cynical. Josie is sweet enough to cut through the darkness, as are her ignorant and selfish though ultimately well-meaning family members. You’ll probably recall Broad City and Fleabag while watching Such Brave Girls because of its unapologetic approach to both sex and suicide, but maybe more than those two shows, Such Brave Girls is willing to root its themes deeper into reality. It almost never brings up mental health without contextualizing it in the family’s low-income state, making it one of the most relatable and urgent shows you can watch right now.
A crazy, anxiety-inducing thriller that turns Adam Sandler into a thrill-generating machine, which in its own speaks volumes about the rhythm of this movie. It follows a jeweler who gets himself in trouble with what feels like all of New York – a gang, Kevin Garnett (the NBA player), other jewelers, his family, odd twins that appear out of nowhere – everyone. This all happens in the backdrop of him feeling he has “hit big” and is on the verge of receiving a lot of money.
If you watched Good Time, you know what to expect from directors Safdie brothers: excruciating tension that keeps building up when you thought it wasn’t possible. And that might be the only problem with Uncut Gems; the tension doesn’t feel that different from Good Time, and having watched one you can guess where the other one is going.
This exploration of the complex and loving relationship between a mother and her son will take you through a variety of emotions: it’s uplifting, disturbing, provocative, sad, and hopeful. We don’t get many of these middle-class-budget films anymore, and this one might be one of the category’s best.
A kidnapped girl (Brie Larson) has a son after being raped by her abductor. She tries to provide a “normal” environment for the kid in the room where they’re being held captive until they can escape. Brie Larson won an Oscar for Best Actress in Room, so make sure to also check out Short Term 12, an equally impressive performance by her in an equally amazing movie.
What’s great about this highly inventive film is that it doesn’t look like it was shot through three iPhone 5s. Instead of using shaky cameras and static shots, Tangerine glides us through saturated, orange-toned scenes that evoke the Los Angeles sunset. Launching director Sean Baker into prominence, Tangerine is an innovative film that, at heart, is a nuanced comedy about the trans sex worker community. Newcomers Kitana Kiki Rodriguez and Mya Taylor run the show, and their performances create a vivid, electric drive that powers the whole movie. But it’s the quieter moments, the moments after betrayal, the moments of recovery, that make this movie truly special.
It’s been acclaimed as one the best Kung Fu movies ever made. You are probably wondering why this contemporary movie made that short list when its genre had its peak decades ago: it is visually striking and at the same time surprisingly story-oriented. As you would expect of course, there is quite a fair amount of action scenes, but the characters are also brilliant which is very uncommon in this type of movie. It is an exciting movie, and worthy of any compliment or good rating it may get.
The Royal Hotel sees Hanna (Julia Garner) and Liv (Jessica Henwick) resorting to take up a dire live-in job behind the bar in a remote desert part of Western Australia. Although they’re warned that they’d “have to be okay with a little male attention” in the outcast mining town, their financial precarity overrides the potential fear. Curiously enough, the fiction film is based on a real story, already told in the 2016 documentary Hotel Coolgardie by Pete Gleeson, but The Assistant director Kitty Green pulls no punches when representing how suffocating it must feel to be encircled by such unmediated male aggression. The brawls, the spilled beer, the c-word as a greeting all form the unnerving paraphernalia of life then and there. For Australian independent film devotees, there is actor Toby Wallace, who reprises his bad boy role from Babyteeth, and he’s joined by the ranks of Herbert Nordrum (The Worst Person in the World) and an utterly terrifying Hugo Weaving (The Matrix).
There are only two main characters in Good Luck to You, Leo Grande: Nancy, a retired teacher who was recently widowed, and Leo, an adept sex worker with a mysterious past. They’re almost always in one place and work on a single goal: pleasure. But despite the seeming monotony, the movie is crackling with wit and sensuality every step of the way. It doesn’t waste any time getting to the heart of the matter. Nancy and Leo go back and forth about their past, with Nancy divulging much about the stigma of aging and Leo about the stigma of sex work. They also dive into the shame attached to pleasure, ultimately revealing more than just their naked bodies to each other and to the audience.
This is a hilarious political comedy starring the ever-great Steve Buscemi. Set in the last days before Stalin’s death and the chaos that followed, it portrays the lack of trust and the random assassinations that characterized the Stalinist Soviet Union. Think of it as Veep meets Sacha Baron Cohen’s The Dictator. Although to be fair, its dark comedy props are very different from the comedy that comes out today: where there are jokes they’re really smart, but what’s actually funny is the atmosphere and absurd situations that end up developing.
Full of twists on classic horror themes, this hilarious and gory comedy will have your sides aching, and still you’ll want more. The plot centers on two rednecks who are trying to have a good time while fixing up a summer home. True to horror movie form, a group of college kids set up camp nearby, and naturally evil begins to happen. This well-written, entertaining story even has some heart to it.
On the one hand, How to Blow Up a Pipeline is a tense thriller—an excellently set-up heist that makes you wonder, until the end, whether the low-budget operation succeeds or not. On the other hand, it’s a thoughtful rumination on the evil and influence of Big Oil, which despite its relentless destruction of environments and communities, continues to run scot-free.
Together, these parts make for a powerful, nerve-racking film about both the danger and necessity of eco-terrorism—a radical act that is impressively humanized and spared from caricature here. How to Blow Up a Pipeline’s themes may be big and its means explosive, but its rich characterizations of the young activists ground it into a relatable reality. One is dying due to toxins released by the nearby plant, another is forced to give up his property to make way for the construction of a pipeline. All are tired of the fruitlessness of government promises and peaceful protests. Rousing and relevant, there’s never been a more timelier film than this.
A wonderful, witty teen comedy—possibly the best the genre has known in a long time! In a powerhouse performance, Hailee Steinfeld plays Nadine, a high school junior at peak angst and awkwardness. Her roller coaster journey through family, friends, lovers, or lack thereof, gives her that all-too-common impression for people her age that life is unbearable. Things get more complicated when Nadine’s dad passes and her only friend hooks up with an unexpected person. Her temperament and humor will help her see past her demons to understand what’s important in life, putting you in privileged spectator mode to this highly smart and exciting coming-of-age story.
A calm and cute story about a manic-depressive father in late 70’s Boston taking care of his two daughters. Starring familiar-face Mark Ruffalo in the lead. The film is inspired by its director’s own experience as one of the two daughters, which added to the amazing performances, makes for a movie made and filled with love. But as it manages to keep a smile on your face most of the time, it also doesn’t shy away from hard and moving sequences. A Sundance movie filled with heart.
The Last Duel propped high expectations as the Closing Film at the 2021 Venice Film Festival, but its theatrical release later that year proved to be a flop. Ridley Scott blamed it on millennials, but both critics and streaming audiences have been much more favorable than moviegoers. As a film, it’s a rather monumental project: quite a dark period piece set in Medieval France, dealing with harsh and offensive themes. Or better said, it deals with ethics and morality through these harsh and offensive themes. There are many ways where this could have gotten wrong—and it’s evident from the labels that have been circulating from the very beginning, that Scott has made his “MeToo” movie—but the truth is much more nuanced. From Eric Jager’s 2004 book to a script co-written by Ben Affleck, Matt Damon, and (most importantly) the astute Nicole Holofcener, The Last Duel is really the best of both worlds: action-packed and devoted to the right side of history.
Andy Samberg, Cristin Milioti (Modern Love, Black Mirror), and J.K. Simmons star in this easy but original rom-com that takes place in a wedding time loop. Nyles (Samberg) finds himself living the same day over and over again, so he gives in to the monotony and the fact that there is no way to escape it.
When he is about to hook up with one of the guests, Sarah (Milioti), he is attacked by a mysterious character. The routine of his time-loop is broken.
Palm Springs is often surreal and philosophical, which are not adjectives usually used to describe rom-coms. It offers just enough twists to be original without jeopardizing the things that make it a good rom-com.
A crazy, anxiety-inducing thriller that turns Adam Sandler into a thrill-generating machine, which in its own speaks volumes about the rhythm of this movie. It follows a jeweler who gets himself in trouble with what feels like all of New York – a gang, Kevin Garnett (the NBA player), other jewelers, his family, odd twins that appear out of nowhere – everyone. This all happens in the backdrop of him feeling he has “hit big” and is on the verge of receiving a lot of money.
If you watched Good Time, you know what to expect from directors Safdie brothers: excruciating tension that keeps building up when you thought it wasn’t possible. And that might be the only problem with Uncut Gems; the tension doesn’t feel that different from Good Time, and having watched one you can guess where the other one is going.