30 Best Movies To Watch After Brubaker (1980) (Page 2)

While they say that love is eternal, eventually, even the greatest of love stories come to an end. Marriage vows foretell the reality of “to death do us part.” It’s an inevitability rarely explored in cinema, and even then, only in schmaltzy melodramatic weepers. Fortunately, Michael Showalter’s Spoiler Alert is free of schmaltz. Instead, the film deftly explores the process of a couple dealing with a terminal illness amid all the usual messiness of a real relationship.  Continue Reading →

“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 →

In the opening seconds of Baz Luhrmann’s Elvis, viewers are blasted with the sight of the Warner Bros. logo – a variant glowing in gold and crimson, practically exploding with flair and moving parts – accompanied on the soundtrack by a remix of “Suspicious Minds.” Within the first few minutes, sweeping shots of Las Vegas clash with Ocean’s 11-style split screens, and the editing juggles between slowmo and cranked-up fast motion, in classic Luhrmann fashion. Continue Reading →

Justin Kurzel’s Nitram rarely features violence. Instead, it’s often subdued in anger, existing in long stretches of loneliness and isolation. The tone follows its lead, played by a phenomenal Caleb Landry Jones. He wanders through a small Australian town without friends or steady way to spend his time outside of fireworks. He exists in a muted state of prolonged sadness, taking enough medication to dampen his emotions. He's unable to make any lasting relationships. Kurzel’s film, based on the 1996 mass shooting in Port Arthur, Tasmania, simmers towards an inevitable conclusion, constructing and examining the events leading to a tragedy, frightening in its intimacy.   Continue Reading →

By most accounts, Alex Cox’s Sid & Nancy is not a particularly accurate depiction of the relationship between Sid Vicious, the most notorious member of the Sex Pistols, and Nancy Spungen, the American with whom he had a relationship that began in a state of anarchy, was sealed in a haze of drugs and ended with him allegedly stabbing her to death in a bathroom only a few months before he would himself die of a heroin overdose at the age of 21. Continue Reading →

When Anthony “Tony” Soprano first appears in Alan Taylor’s The Many Saints of Newark, he’s just a kid, hanging on the shoulder of his Uncle Richard “Dickie” Moltisanti (Alessandro Nivola). Much like the show it precedes, Taylor’s crime drama focuses on family, a group of related and unrelated men and women influencing and subsequently controlling various parts of New Jersey. Billed as a Tony Soprano origin story, a prequel that wasn’t needed but wanted, the film never feels inherently necessary or emotional. It coasts upon characters it has already set up, actors with pedigree playing said characters, and the understanding that this David Chase-created world is still connected and worth our time. Continue Reading →

As if chomping at the bit to show its true self, Annette immediately disrobes. Director Leos Carax, off-screen during the opening credits, tells the audience to stay silent. Audio tracks spray over shots of Los Angeles and, in a studio, he asks his musicians, “So, may we start?” He’s now speaking not to us but Ron Mael and Russell Mael of Sparks. Both of them share a story by credit, the latter having written the screenplay, and already, the film has dived feet first into its own joke. But Carax’s latest doesn’t just strip itself naked. It takes off its own skin, as a rock opera and as a movie. Continue Reading →

Toni Collette has recently made a name for herself in the broader movie-going culture as a queen of creepy, suspense cinema, with her fantastic performances in Ari Aster’s Hereditary and Charlie Kaufman’s dark and whimsical I’m Thinking of Ending Things. It’s fun to see this resurgence of popularity nearly two decades after she gave what I consider her best performance of her career in M. Night Shyamalan’s The Sixth Sense.  Continue Reading →

(This review is part of our coverage of the 2021 Sundance Film Festival.) Continue Reading →