18 Best Releases From the Genre War
The Zone of Interest
SimilarAli: Fear Eats the Soul (1974), Almost Famous (2000), Anatomy of a Murder (1959), Apocalypse Now (1979), Apollo 13 (1995), Belle de Jour (1967), Ben-Hur (1959),
Blade Runner (1982) Blood and Chocolate (2007),
Boys Don't Cry (1999) Cat on a Hot Tin Roof (1958), Contact (1997), Contempt (1963), Crouching Tiger Hidden Dragon (2000), Cruel Intentions (1999), Dances with Wolves (1990), Desert Hearts (1985), Driving Miss Daisy (1989), East of Eden (1955), Enough (2002), Finding Forrester (2000), Forrest Gump (1994), Gandhi (1982), I Am Not a Serial Killer (2016), I've Always Liked You (2016),
Jackie Brown (1997) Just Cause (1995), La Haine (1995), Metropolis (1927), Oldboy (2003), Raging Bull (1980), Random Harvest (1942),
Rebecca (1940) Shall We Dance? (2004), The Art of Racing in the Rain (2019), The Bridges of Madison County (1995), The Elementary Particles (2006), The Elephant Man (1980), The Good German (2006), The Last Emperor (1987),
The Name of the Rose (1986) The Outsiders (1983), The Pianist (2002), The Silence of the Lambs (1991), The Straight Story (1999), The Tin Drum (1979), To Die For (1995), What's Eating Gilbert Grape (1993), Wonder Boys (2000),
Watch afterAmerican Fiction (2023), Anatomy of a Fall (2023), Dune: Part Two (2024), Joker (2019), Napoleon (2023),
Oppenheimer (2023) Poor Things (2023),
StudioA24, Film4 Productions,
Jonathan Glazer's first feature in 10 years is a near-unclassifiable work of patience and intentional distance from its historical horrors.
What am I to say here? What can I say?
I feel as if I’m to say nothing at all. My mind has gone and I feel sick, and while that’s due to the film in question, another degree of it comes from a deeper truth. I feel wrong in my reaction to it; it can’t help but feel inadequate. The Zone of Interest has leveled me like few things ever have, but that’s not the point. That’s not its point. Continue Reading →
Napoleon
SimilarA Beautiful Mind (2001), A Real Young Girl (1976), Almost Famous (2000), Apollo 13 (1995),
Boys Don't Cry (1999) Brubaker (1980), Copying Beethoven (2006), Dances with Wolves (1990), Erin Brockovich (2000), Freedom Writers (2007), Gandhi (1982), GoodFellas (1990), Gridiron Gang (2006), Manhattan (1979), Mississippi Burning (1988), Monster (2003), Moulin Rouge! (2001), Paris Can Wait (2016), Raging Bull (1980), Schindler's List (1993), Sissi (1955), The Elephant Man (1980), The Last Emperor (1987), The Pianist (2002), The Straight Story (1999), Titanic (1997),
Watch afterAquaman and the Lost Kingdom (2023),
Barbie (2023) Killers of the Flower Moon (2023),
Oppenheimer (2023) Society of the Snow (2023), The Hunger Games: The Ballad of Songbirds & Snakes (2023), The Killer (2023), The Marvels (2023), Wonka (2023),
StudioApple Studios,
Ridley Scott’s surprisingly hollow biopic of the French military commander falters as a character piece and comes shy of victory as an epic.
For a film with as many contradictions as Napoleon, it’s odd for it to be so straightforward. It covers 28 years, but it never feels like a lot of changes. It’s over two and a half hours, which, while not a herculean runtime, never entirely slows down. Perhaps it’s because it never really gets started. Ridley Scott’s latest opens with a public decapitation of Marie Antoinette (Catherine Walker), giving way to the 1793 Siege of Toulon. The violence is often unsparingly graphic, so why, then, does it feel so cosmetic? Shouldn’t a live horse eviscerated by a cannonball to the chest do something to the viewer?
Maybe not when there’s such little context. If Napoleon is one thing, it’s episodic—ahistorical, even. David Scarpa’s script begins in the trenches and is content on staying there. Everyone and everything are simply window dressing. That includes Napoleon Bonaparte himself (Joaquin Phoenix), whom the film oversimplifies from intrinsically flawed leader to wholly externalized man-child. After the Siege, he wins the affections of Joséphine de Beauharnais (Vanessa Kirby). The two soon marry. Continue Reading →
ほかげ
Watch afterAvatar: The Way of Water (2022),
Shinya Tsukamoto's film attempts to explore hope and sorrow in post-war Japan, with mixed results.
To make Shadow of Fire, Shinya Tsukamoto stitched together two films. As a result, it proves both unpredictable and unable to satisfyingly hit the tragic and devastating notes it aims for.
Recently, Tsukamoto has turned his attention away from the subversive and pulpy shock-oriented cinema that made him a cult figure among cinephiles. Instead, he’s pursued more soulful lamentations on the state and history of Japan. In particular, he seems preoccupied with stories about those who experience an aching sense of trauma following encounters with crushing violence. Continue Reading →
Rules of Engagement
Even William Friedkin's most loyal fans would admit the Nineties were not a particularly fertile artistic period for him. That decade saw him putting out the laughable horror film The Guardian (1990), the eventual release of his long-on-the-shelf and heavily recut 1987 death penalty drama Rampage (1992), the tepid sports drama Blue Chips (1994), and the resoundingly unnecessary (save for a nifty car chase) Jade (1995). On the small screen, he helmed two made-for-cable remakes, the Roger Corman production Jailbreakers (1994) with Shannen Doherty, Antonio Sabato Jr., and Adrien Brody, and 12 Angry Men (1997) with a powerhouse cast that included Jack Lemmon, George C. Scott, Ossie Davis, James Gandolfini and, perhaps inevitably, Tony Danza. Continue Reading →
Irena's Vow
SimilarAlmost Famous (2000), Anna and the King (1999), Apollo 13 (1995),
Boys Don't Cry (1999) Brubaker (1980), Donnie Brasco (1997), Driving Miss Daisy (1989), Erin Brockovich (2000), Freedom Writers (2007), Gandhi (1982), GoodFellas (1990), Gridiron Gang (2006), Manhattan (1979), Mississippi Burning (1988), Random Harvest (1942), Schindler's List (1993), The Cider House Rules (1999), The Godfather (1972), The Last Emperor (1987), The Pianist (2002), The Pursuit of Happyness (2006), The Straight Story (1999), The Tin Drum (1979), Titanic (1997),
This year's TIFF featured three tales of lost souls forging their own paths -- some of them bloodier than others.
Tales of transformation are the order of the day at this year's TIFF, signposted by a trio of European films acutely concerned with the struggles women and AFAB people undertake to thrive -- or, in many cases, just survive. Take Héléna Klotz's spellbinding second feature, Spirit of Ecstasy, an icy but enthralling coming-of-age story centered around Jeanne Francoeur (Claire Pommet, best known under her French pop star alias Pomme) a non-binary child of a French gendarme who struggles to break through the glass ceiling of the French wealth management firm they work at as a quantitative analyst.
Jeanne cuts a mysterious figure, with their black bob, turquoise suit that acts like armor ("the new proletarian uniform"), the bindings that cut into their skin and make them bleed. At all times, Klotz paints Jeanne as a figure constantly struggling to break free of their environment, whose abusive upbringing in the French gendarmerie barracks pushes them inexorably towards a cutthroat, ambitious business environment ready to chew them up and spit them out at a moment's notice. Continue Reading →
Unicorn Wars
SimilarBorat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006),
Watch afterBlack Panther: Wakanda Forever (2022),
Director Alberto Vazquez has said his latest work of animated annihilation, Unicorn Wars, is inspired by three tentpole texts: Apocalypse Now, Bambi, and the Bible. We rarely see a film that’s such a clear summation of its sources. Vazquez has taken these familiar stories and ran them through an organ grinder made of rainbow-colored steel. Continue Reading →
Campanadas a medianoche
SimilarBelle de Jour (1967), Four Weddings and a Funeral (1994),
At Midnight goes by a formula that really should have worked. Set in some of the most gorgeous spots in Mexico, with two charmingly attractive leads and a premise worthy of a zany 1930s rom-com, At Midnight has everything going for it, but the pieces never quite fit. Writer-director Jonah Feingold’s script borrows from more ambitious romcoms like Jane the Virgin and Notting Hill, with limited success. Continue Reading →
정이
SimilarResident Evil: Apocalypse (2004),
Watch afterBlack Panther: Wakanda Forever (2022),
What would you do to know your parents? Not just as parents, but as people—even long after their deaths? How would you make the most of a horrendous moral quagmire you had no choice in getting dragged into—and what would you do when that quagmire, for all its familiarity, finally became too much to bear? On a broader level, what makes us human—and what remains when we're gone? Director/writer Yeon Sang-ho asks and answers these questions in his out-now-on-Netflix science fiction film JUNG_E. It's a solid, thoughtful film that shines thanks to its leading trio and Sang-ho's skill at depicting and delving into the uncanny. Continue Reading →
The Greatest Beer Run Ever
SimilarBrubaker (1980), Fried Green Tomatoes (1991), Mississippi Burning (1988),
Primal Fear (1996) What's Eating Gilbert Grape (1993),
Watch afterBullet Train (2022),
“What is Vietnam?” is not a question with an easy answer, but The Greatest Beer Run Ever tackles the challenge anyway. Like the plethora of media featuring the country—in any capacity—Peter Farrelly’s film runs headlong into the notion that what is an S-shaped piece of land in Southeast Asia can also be a dream after the Fall of Saigon. Or that the starry banner that international bodies recognize is not the triple-striped one flying overseas. Or that any example henceforth will possess the same gist: try to ring up nuance when discussing Vietnam. Continue Reading →
Sisu
SimilarPredator (1987),
Watch afterEvil Dead Rise (2023), John Wick: Chapter 4 (2023), The Super Mario Bros. Movie (2023),
Jalmari Helander's WWII action flick glues Inglourious Basterds to Mad Max Fury Road, and it's a fist-pumping blast.
(This review is part of our 2022 Toronto International Film Festival coverage.)
Inglourious Basterds' Lt. Aldo Raine would be pretty proud of Jalmari Helander's gonzo spaghetti-Western-meets-WWII actioner Sisu; like he, the film is interested in "one thing, and one thing only... killin' Nazis." And so it goes with the TIFF 2022 Midnight Madness pick, a roaring rampage of revenge that commits to its stylized schtick -- even if that means it feels a little thin. Continue Reading →
Master and Commander: The Far Side of the World
Even after the umpteenth re-watch, I feel I’m only starting to scratch the surface of Paul Thomas Anderson’s The Master. Initial reviews and reactions gravitated towards the film’s relationship with Scientology and its co-founder L. Ron Hubbard. In the decade since, this fixation has dissipated, depriving confused viewers of an easy handhold while scaling this towering cinematic achievement. Make no mistake: Philip Seymour Hoffman’s Lancaster Dodd is a character clearly inspired by Hubbard. But labeling The Master “a movie about Scientology” is about as silly as thinking you can cure leukemia by accessing past lives. Continue Reading →
Hell Hath No Fury
Occupied France. 1941. The egomaniacal, romantic SS Colonel Von Brückner (Daniel Bernhardt) and his supposed French mistress Marie (Nina Bergman) are ambushed by the Resistance on their way to secret away gold pilfered from Von Brückner’s superiors. They survive. Continue Reading →
The Tragedy of Macbeth
Watch afterNightmare Alley (2021), The Power of the Dog (2021), West Side Story (2021),
StudioA24,
(This is part of our ongoing NYFF coverage.) Continue Reading →
Firebird
(This review is part of our 2021 coverage of Reeling: The Chicago LGBTQ+ International Film Festival./) Continue Reading →
Pearl Harbor
80 minutes into Michael Bay’s Pearl Harbor, the titular surprise attack finally arrives. It is, without a doubt, one of the most virtuosic action set pieces ever committed to the screen, a flawlessly orchestrated symphony of carnage that burns for close to 40 minutes. Everything that you could possibly hope for from a maximalist, hyperkinetic blockbuster spectacle is here. There’s fire cascading, plumes of black smoke rising, bullets and bombs raining down, planes tumbling from the skies, boats being torn asunder, and bodies being flung about like ragdolls. Annihilation and national tragedy have never looked so stunning or—and it feels gross saying this—felt so exhilarating. Continue Reading →
Tom Clancy's Without Remorse
Continue Reading →
Apocalypse Now
Every month, we at The Spool select a filmmaker to explore in greater depth — their themes, their deeper concerns, how their works chart the history of cinema, and the filmmaker’s own biography. For April, we revisit both the game-changing hits and low point misses of Francis Ford Coppola. Read the rest of our coverage here.
Burrow into a man’s soul and see what you find. You may discover a darkness beyond comprehension or a light as bright as the flares that cut against the night sky. But if you mangle that soul in the throes of war, maim it through acts of killing, expose it to enough raw horror to blight mind and body, you can never really know. The parts of ourselves we hold dear become wrenched and twisted within that grim crucible, until they become unrecognizable.
That’s the overwhelming feeling that washes over you during Apocalypse Now, Francis Ford Coppola’s seminal 1979 masterpiece. Set during the Vietnam War, the film sees Captain Willard (Martin Sheen), a U.S. Army assassin, dispatched to travel upriver into Cambodia and take out the infamous Colonel Kurtz (Marlon Brando). Kurtz is a decorated officer who’s gone rogue and cultivated a following all his own, one which strikes fear into the hearts of all sides of this conflict. In that framework, the movie peers into the souls of these two men and considers what, if anything, can be gleaned from their war-ravaged psyches. Continue Reading →
Au revoir là-haut
SimilarAlex Strangelove (2018), The Party (1980), The Party 2 (1982),
Two old flames reuniting, a harried nursing home worker, and Dante Basco's family affair mark SXSW's Narrative Spotlight.
(This dispatch is part of our coverage of the 2021 SXSW Film Festival.)
One year ago, the idea of doing a virtual version of the South by Southwest film festival would have sounded like an insurmountable task. Now, it’s just one more piece of “normal” life that we take for granted. For the second year in a row, SXSW has gone online and though that’s led to a lot of changes, that hasn’t altered the fact that the festival is still home to distinctly-rendered indie projects. Some of those films can be found in the Narrative Spotlight section of the festival, which kicked off with a trio of titles, including See You Then. Continue Reading →