37 Best Movies To Watch After Mississippi Burning (1988)

Try as hard as one might, there is no objective evaluation of art. First, there are all the biases—conscious and unconscious—each person brings to the work. Then there are factors like mood, health, comfort, and company. Finally, there are current events. The latter is especially relevant to Joy, which chronicles the development of In vitro fertilization in 60s and 70s Britain. It’s hard not to think about the parallels to the current state of reproductive rights in America. On its own, Joy is a perfectly adequate film. Handsomely, if conventionally, shot under the direction of Ben Taylor, the film centers its point of view on nurse Jean Purdy (Thomasin McKenzie). The script, written by the husband-and-wife team of Jack Thorne and Rachel Mason from a story by Emma Gordon and Shaun Topp, is deliberate and methodical. It drops the occasional rhetorical flourish but mostly sticks to the facts and lets the actors do their thing. It’s the kind of film that is accurate enough to be shown in class and interesting enough not to bore the students to death. But Joy doesn’t exist on its own. It wasn’t released in 2021 or in June. It’s hitting theatres in the UK and Ireland a week and a half after the American Presidential election and Netflix streaming stateside a week after that. It’s impossible to view the film without that in the back of one’s head. And in that context, Joy has a bruised, rebellious heart beating in its chest. It doesn’t provide catharsis, per se, but a perhaps heartening reminder of the previous struggles and triumphs. Continue Reading →

“Every fucking story about Belfast starts like this…” star Mo Chara bemoans in the opening lines of Kneecap as a barrage of footage from the Troubles flashes by on screen. “But not this one,” he adds with a smirk we can feel. And it seems writer and director Rich Peppiatt is taking the same stance when it comes to music biopics, tossing the playbook solidified by movies like Walk the Line in the trash.  Instead, we’re going to get a stylish, sexy, political, and hilarious story about how the Irish-language hip-hop trio Kneecap was formed that cares less about being accurate and a lot more about the fight for Irish identity in a world where only around 71,000 people call themselves daily Irish speakers. Set in 2019, right when the Official Languages (Amendment) Bill 2019 was first introduced, tensions between Irish and English speakers in Northern Ireland are high. Street hoods Mo Chara (himself) and Móglaí Bap (himself) are petty drug dealers and wannabe hip-hop stars. After a scuffle, Mo Chara is arrested and questioned by the police, but he refuses to speak English with the cops, and JJ Ó Dochartaigh (himself) is brought in as an interpreter. Continue Reading →

It’s disappointing and fitting that director Ti West’s MaXXXine is undone by its sheer ambition. Throughout West’s licentious slasher series, his films have always featured titular heroines whose dreams were never commensurate with the limitations of their present circumstances (cue Mia Goth’s iconic “Please, I’m a star!” diatribe in 2022’s Pearl). In a similar vein, MaXXXine follows Maxine Minx (played once again by a show-stopping Goth) as she struggles to make a name for herself in Hollywood despite a less-than-savory past (for starters, she’s the sole survivor of a brutal massacre, as depicted in the first film of the series, X). Like its titular protagonist, MaXXXine has high ambitions, attempting to weave in commentary about the dignity of sex work, the glamor and exploitation of Hollywood, the soul-crushing dogmas of conservative Christianity, and the pitfalls of fame all while delivering bloody genre thrills. It’s an admirable attempt, but, unfortunately, that desire to cover so much thematic ground does a disservice to the film as a whole, ultimately rendering MaXXXine a sizzle reel of iconic 1980s set pieces in a desperate search for a more compelling story to thread them together.  Taking place in 1985 and six(xx) years after X, the film follows Maxine as she carves a successful name for herself in the pornographic film industry. Still, she’s convinced that she’s meant for greater things, hoping to make the leap into non-stag films. She gets her big break when she lands the lead role in the horror film The Puritan II, but cannot rest on the laurels of her inchoate movie career. A serial killer known as the Night Stalker has been brutally murdering young LA hopefuls, and after three of the victims have a direct connection to Maxine, she realizes that her past has caught up with her. In between her blossoming movie career, she strives to stop the Night Stalker, lest her dreams are thwarted. Continue Reading →

The word for Rose Glass (Saint Maud) and Weronika Tofilska's Love Lies Bleeding is "precise." From the individual and combined performances of leads Kristen Stewart and Katy O'Brian (whose turn as a cunning Imperial agent was a bright spot in the often dreary third season of The Mandalorian) to DP Ben Fordesman's chameleonic camera work and hair department lead Megan Daum's wide-ranging design work, everyone on the project knew exactly what they wanted to do and how to get it done. The result is a bracing, clear-eyed noir thriller, and a fraught, swoon-worthy romance. It's my favorite movie of 2024 so far. It's the late 1980s. The reserved and insightful Lou (Stewart) manages a grimy bodybuilding gym in a sunbleached western suburb. She does not talk to her father, the cruel, cunning crime lord Lou Sr. (Ed Harris). She loves her sister, fraying housewife Beth (Jena Malone), and hates that she will not leave her loathsome slimeball husband JJ (Dave Franco). The closest person Lou has to a romantic partner is the aggressively cheerful Daisy (Anna Baryshnikov), and their on-off something or other boils down to, in Bart Simpson's words, "geographical convenience, really." Enter Jackie (O'Brian), a drifting bodybuilder aiming for a Las Vegas contest where victory can leap passion into profession. The sparks are immediate. Jackie (Katy O'Brian) strives for bodybuilding stardom. She's doing the work, but the events of Love Lies Bleeding bend the barrier between her reality and her dream. A24. Jackie's drive lights a fire in Lou, and Lou's methodical care grounds Jackie. Simultaneously, Lou's desire to help Jackie achieve her dream and Jackie's desire to make Lou happy lead them to make bad calls—the sort of bad calls that lead to worse calls that lead to blood. And neither JJ's venality nor Lou Sr.'s mercilessness should be discounted. Continue Reading →

The film's biggest highlight is the actor as an unlikely hero: a beekeeper-turned-assassin. Bees, scammers, and a hive of lies. Jason Statham’s latest record-breaking feature The Beekeeper is honey-soaked, with wisdom that leaves the viewer wanting more and learning to be wary of scammers, stop elder abuse, and save the bees. As he aggressively fights to save the bees (and society) from total destruction, Statham serves up the same kind of grizzled Brit-buster vibes he's given us through decades of punch-em-up action. But this one's something special, a caper that leans into the meme of both Statham's curious star power and his apian brethren. Directed by David Ayer, The Beekeeper tells the story of Adam Clay (Jason Statham), a beekeeper and retired member of the crime-fighting organization of the same name. But when his elderly neighbor Mrs. Parker (Phylicia Rashad) is subject to scammers and loses everything, Adam goes on a mission to find the scammers and kill their operation to “protect the hive.” His journey leads him all the way to the White House, even involving the FBI and CIA. Continue Reading →

Adam Driver does insightful, searching work as auto legend Enzo Ferrari in the filmmaker's study of a pivotal year in his life. Michael Mann’s 21st-century work is, first and foremost, a cinema of feeling. When it comes to the details, he remains as much of a nerd as he was when he choreographed the thrilling terror of Heat’s climactic blowout. But Collateral, Miami Vice, and Blackhat pay special mind to the senses, to connection. It’s Colin Farrell and Gong Li finding a rare moment of joy as they dance to live music in Havana. It’s Jamie Foxx, Jada Pinkett Smith, and Tom Cruise taking in the stillness of daybreak on an L.A. train. It’s Chris Hemsworth and Tang Wei clinging to each other on a near-empty subway as they try and fail to block out grief for survival’s sake. In Ferrari, it’s Adam Driver and Penélope Cruz sitting across from each other, laying out what they need from each other in their business partnership and estranged marriage. But while Ferrari is unmistakably in conversation with Mann and his creative collaborators’ earlier work, it’s more emotionally reserved than much of his 21st-century filmography. While his John Dillinger picture Public Enemies is certainly a cousin (a period piece built on a specific period in the life of an iconic man), it’s as much about the time and place and the ensemble. Ferrari is, first and foremost, a character study. Continue Reading →

Sean Durkin’s biopic about the Von Erich wrestling dynasty features stellar performances in a script that can’t quite find its footing. In 2008, Mickey Rourke made a surprise and stunning comeback in Aronofsky’s The Wrestler. His once pretty-boy face distorted from years of drugs and plastic surgery suddenly felt tailor-made for the role of Randy “The Ram” Robinson — a wrestler on the outs, clinging to the only thing he knows while the rest of his life crumbles around him. 2023's The Iron Claw offers us a similar story, right down to the comeback for its lead. Zac Efron may be fortunate enough not to have a tawdry past to overcome like Rourke, but he’s never really found his footing since leaving his teen heartthrob days behind. That said, thanks to complications from a broken jawbone, his face is radically different from the one we knew in High School Musical, even sparking gossip of plastic surgery gone wrong (another insult often lobbed at Rourke, though in his case it’s certainly true). But just like Rourke, his new jawline perfectly suits him in The Iron Claw, which may finally prove to be his breakthrough role as an adult, dramatic actor. Continue Reading →

Bradley Cooper pays respectful homage to Leonard Bernstein in this lavish passion project. The problem inherent to most biopics is one of balance. Err too far on the side of worshipful and you get nonsense like Oliver Stone’s The Doors. Or you could swing in the other direction and you end up with an “oops, all warts” camp disaster like Mommie Dearest. Most linger somewhere in the middle, at a respectful distance, so that they’re ultimately kind of boring, and offer nothing new or particularly insightful about its subject matter. Bradley Cooper’s Maestro, about the life of legendary composer Leonard Bernstein, isn’t boring. It’s too visually dazzling for that. It does not, however, leave one feeling like they’ve really gotten to know more about Bernstein other than he was a complicated, workaholic genius who struggled with his sexuality, which is all information that could be gleaned from his Wikipedia page. But it sure is lovely spending time in his world for a little while. Continue Reading →

Blitz Bazawule's adaptation of the Alice Walker classic (and the Broadway musical) is a more joyful, celebratory film than its predecessor. The Color Purple has taken on a musicality ever since Steven Spielberg and Quincy Jones adapted Alice Walker’s 1983 Pulitzer Prize-winning novel for the screen. When the first film was released in 1985, Spielberg already referred to it as a “musical.” In a behind-the-scenes interview about the film's musicality included in Warner Bros’ sumptuous new 4K release, Walker, Spielberg, and Jones conduct us through the “diverse places” that music appears in the original film. There are rail work songs, African dance, juke joint blues, and revival gospel; all tonally matched together in a near seamless “immersion” of sound. In an age where nearly every popular and cult film gets a Broadway adaptation, The Color Purple is a particular no-brainer. Celie’s journey of self-discovery through systematic abuses and struggles at the turn of the twentieth century lends itself to the kind of emotional bigness a musical requires. With music by the legendary Brenda Russell and the late queer songwriting icon Allee Willis, The Color Purple: The Musical also showcases a diverse range of musical styles and modes, especially those well suited for the stage, like swing and Greek chorus. Continue Reading →

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 →

To talk about The Killer is to strip away pretense. Well, one can try. Cold it may be, but David Fincher's latest is an incredibly open film. The houses are made of glass; the windows are ceiling-high; the voiceovers from the title character (Michael Fassbender) give infallible insight into his worldview. The film is his worldview, simple in its machinations and complex in its philosophy. In most other circumstances, this would unfold over time. And it does here, at least to an extent. Continue Reading →

In such films as Superstar: The Karen Carpenter Story, Velvet Goldmine and I’m Not There, filmmaker Todd Haynes has taken the stories of famous people and utilized what we know—or think we know—about them to explore ideas about celebrity and our all-consuming need to render their often-complex stories into straightforward narratives. That strange compulsion to explain, understand, and commodify the lives of real people is at the heart of his latest work, May December, and it certainly seems to have sparked something in him because the end result is the strongest work that he has done in quite some time.  Continue Reading →

Whenever a crowd pleasing movie hits theaters or streaming, people lament, “They don’t make ‘em like they used to.” Often, these people refer to middle-of-the-road movies from the 80s and 90s, the type of film that would play on cable television in the middle of a Sunday afternoon, something that people watch over and over again, simply because it makes them feel lighter. The Burial, the new courtroom drama from writer/director Maggie Betts, falls firmly into this category. It’s dad-fare, set in 1995 when it also likely would’ve had mainstream success in popular culture.  Continue Reading →

Having earned just about every accolade there is and long cemented his position as one of the all-time great filmmakers, Martin Scorsese has nothing left to prove. Yet, on the cusp of 81–an age when most directors are either retiring to the Lifetime Achievement Award circuit or making films that are largely variations of their past glories–he is still out there challenging himself and audiences with bold and audacious projects. Continue Reading →

Thinking about getting into the Saw franchise 10 movies in? Here’s what you need to know. This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the work being covered here wouldn't exist. With an inevitability that is oddly comforting in such a scary and uncertain time, a new Saw movie is coming out at the end of this week. As you could assume by the “X,” Saw X is the tenth film in a franchise that, just based on its lack of continuity alone, could conceivably continue for the next three decades or so. If you’re thinking about now, after all this time, finally getting into the Saw franchise, here are a few tips to aid you in your journey towards redemption by way of giant bear traps clamping down on one’s skull. Continue Reading →

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 →

If anyone should be ripe for a huge comeback any minute now, it’s Mike Myers. Myers is largely responsible for two of the most iconic comedies of the 90s, Wayne’s World and Austin Powers: International Man of Mystery. If you weren’t there and cognizant of it then, it’s impossible to explain the grip both movies had on 90s pop culture, particularly Austin Powers. Even now, 25 years later, it’s very likely that you’ll occasionally hear someone say “One hundred…billion…DOLLARS” in the voice of Dr. Evil, or refer to a person’s lookalike child as their “Mini-Me.” Its closest competitor in the zeitgeist is probably Clueless, and Clueless didn’t get two sequels. Continue Reading →

The immediate issue with Tina Slatter’s debut feature, Reality, is how disengaging it is as a movie. A direct adaptation from Slatter’s theatrical piece Is This a Room, the conceptual background is probably the more interesting part. That show took the recorded transcript of FBI agents and former veteran and NSA translator Reality Winner (Sydney Sweeney) about Winner's leaking of classified information on Russian interference in the 2016 US Presidential election and used it as a verbatim dialogue. Everything uttered on the tape is replicated almost exactly in the play and, now, the film. The stutters, pauses, coughing, dog barking, doors opening. Everything. Recreated in minute detail.   Continue Reading →

What makes an object meaningful? The plans its creators had for it? The image that its consumers build into it? The purpose it serves? The one who wields it? Continue Reading →

First, some music to set the mood, with thanks to Paul Thomas Anderson. If it's 1985 and you've got something to do—say, going for a hike, cutting class to paint a waterfall with a pal, or retrieving a shipment of cocaine that your terrifying crime lord dad's good-for-nothing pilot dumped before getting himself killed— and it's a quiet day out, then Georgia's Chattahoochee–Oconee National Forest would seem like the place to go. The trees are tall, the grass is green, and the Cocaine Bear is on a murderous rampage. Continue Reading →

We’ve all been there. You turn on the radio and an incredible song is playing you’ve never heard before in your life. It’s a soaring rock anthem that chills you with goosebumps and makes you feel alive. Is this an Unforgettable Fire-era U2 song? Is this my new favorite band? The music ends, and the DJ jumps in with something like, “Praise be to God. That was Soul Eternal, with their hit single “Let the Spirit Thrive” only on your Christian Rock station 104.7!”  Continue Reading →