This is the latest Oscar-nominated movie by Spain’s highest-regarded director, Pedro Almodóvar. It’s his most personal work to date, being a slightly fictionalized account of his youth and then the last couple of years. He is mostly portrayed by Antonio Banderas, who was also nominated for an Oscar for this role; while another star performance comes from Penélope Cruz who plays his mother in the flashback scenes. Pain and Glory is about life in the arts: how a tormented artistic personality is formed, the days of focusing on work over relationships, and dealing with the consequences later in life. It begs the question: in Almodóvar’s life, was the glory that got him to making as great of a movie as this one worth the pain?

This film really satisfied my craving for an original thriller, despite the fact that I spent most of it thinking about how Logan Marshall-Green looks like a budget Tom Hardy.

He plays a guy whose wife is killed during a violent mugging that also leaves him paralyzed in the aftermath. When a billionaire approaches him with an Artificial Intelligence solution that would “upgrade” his body, he has a chance to take vengeance.

This is Robocop meets Ex Machina meets Blade Runner. It’s original, low-budget without feeling low-budget, and honestly just so thrilling. It gives the genre of sci-fi a much needed upgrade.

This movie is gentle and utterly chaotic, intimate and massive, beautiful and ugly… it tries to be so many things and somehow pulls it off. It tells two stories parallel in time, based on the real-life diaries of two European scientists who traveled through the Amazon in the early and mid-twentieth century. Their stories are some of the only of accounts of Amazonian tribes in written history. The main character and guide in the movie is a shaman who met them both. At times delicate to the point of almost being able to feel the water, at times utterly apocalyptic and grand… to watch this movie is to take a journey through belief systems, through film… and to be brought along by cinematography that is at times unbelievably and absurdly beautiful. Meditative, violent, jarring, peaceful, luminous, ambitious, artful, heavy handed, graceful… it’s really an incredible film.

Nebraska is a poem distilled into a film. Peter Travers from Rolling Stone says “is it a comedy or a drama? Both at the same time, as life itself.” Everything about it is perfect: the acting, the photography, the story. In case that’s not enough and you need to know the plot to get convinced, I’ll tell you that it’s a road movie about a senile old man and his son. If you still want more information, you can Google it, but come on! You’ll just be wasting time that would be better spent on watching this masterpiece.

Adam Sandler, though currently imminently marketable, incredibly played out and boring, used to be a real actor. This is the film by which his legacy will be judged, where we see the funnyman drop the mask and actually show real feelings besides bumbling rage. Sandler’s hurt and confused performance is beautifully vulnerable and true and is complimented by P.T. Anderson’s incomparable direction (the man behind Boogie Nights and There Will Be Blood), creating a true masterpiece of American cinema. This beauty also stars Philip Seymour Hoffman and Emily Watson.

Many films have tried to decipher the indecipherable bond between mothers and daughters. Lady Bird, Everything Everywhere All at Once, and Turning Red, to name a few, center on this particular relationship, which to outsiders may seem strange at best and dysfunctional at worst. How can mothers yell at their daughters one second and coddle them the next? How can daughters treat mothers like their best friend and enemy all at once? 

One of the best films to explore this complexity is Petite Maman, a fantasy-like film that brings together mother and daughter in a unique situation, forcing them both to regard the other in otherwise impossible ways. It succeeds where others haven’t precisely because it accepts that this relationship is beyond dissecting, and the only way to honor it is in the poignant, poetic, and otherworldly way that it does. It’s a quiet film that manages to say a lot, not least of which is that it’s okay to feel and love and hurt as much as one does.

When asked about starring in First Reformed, Ethan Hawke said it’s the kind of role he would have never dared to audition for 10 years ago. This is coming from the same goatee icon who did Gattaca 22 years ago, and Training Day 18 years ago. 

Needless to say that his performance in this movie is exceptional, and we hope that it will be rewarded with an Oscar. The film centers around his character, a reverend of a church in New York, who is trying to help a couple with marital issues (deciding the fate of a pregnancy). Instead, he uncovers a deeper story and becomes unexpectedly involved. 

Religion intersects with ethical questions on activism, abortion, and environmental issues. I know that sounds like a lot, but First Reformed delivers on everything. The writing by Paul Schrader is delicate yet ensures that the movie keeps a gripping pace.

A relevant and deeply entertaining movie that only has the appearance of being about politics. In reality, it is about television, and one brilliant journalist’s pursuit of the perfect interview.  Richard Nixon stepped away from the public eye after the Watergate scandal, and was counting on a series of interviews three years later to redeem himself. His team assigns an unlikely reporter to sit in front of him, a British reality TV host named David Frost. Both men have everything to gain from this interview by going against each other, as Frost tries to extract a confession of wrongdoing in Watergate that Nixon never gave.  Who will win? The master manipulator or the up-and-coming journalist? Frost / Nixon was originally a play, and this adaptation is full of drama and boosts great dialogue.

From Steven Spielberg, Munich is the sharp and thrilling depiction of Mossad agents on a mission to avenge the Munich Massacre, the killing of 11 Israeli Olympic team members at the 1972 Summer Olympics. Despite being based on real events, it’s a work of fiction. This allows the film to stand on clear yet nuanced grounds, focusing on the moral dilemmas that may rise for the secret agents and the perpetrators, now targets. The ensemble cast including Daniel Craig and Eric Bana allow Spielberg to deliver the film you can tell he wanted to make. A personal and striking effort.

An inspired by true events tale about an elderly Irish woman trying to find the child she was forced to give up many years earlier. Steve Coogan co-wrote the script and, though the base story is a tragic one, his special brand of very subtle, wry wit is apparent in the dialogue throughout. Judi Dench plays the mother who had kept her “sinful” past a secret for fifty years and, being Judi Dench, I don’t need to bother going on about her exemplary talent, suffice to say she’s charming beyond measure in the role. Steven Frears directs, as usual, deftly, and keeps the story compelling scene after scene, intensifying the emotions inherent to each, whether they be heart-warming, comedic, or outright enraging. Whoever decided to let Steve Coogan have his way with the script, it was a brave and wise choice and together this cast and crew have produced a wonderful and important piece of cinema.