49 Best Movies To Watch After Rebecca (1940) (Page 3)

If you have finished watching the film Rebecca (1940) and are looking for other movies like it, here is a list of options to consider.

Sam Levinson’s gorgeously shot but obnoxious and exhausting relationship drama Malcolm & Marie is filled with plenty of big ideas — about film, about art criticism, about authenticity, about the relationship between artists and their muse. But more often than not, those big ideas are just big ideas that go unexplored. Instead of trying to make solid arguments about what it wants to say at the beginning, Malcolm & Marie is too busy being angry and whiny. So what could’ve been a compelling two-hander drama examining art and a fractured relationship instead ends up as a movie struggling to find itself, made by a man with nothing but pettiness in his mind. Continue Reading →

Nick (Nick Sasso) is a bouncer. Once he was a Muay Thai boxer, a rising talent. Those days are long done. Now he’s drifting through life, lonely and purposeless. Nomi (Nomi Ruiz, lead singer of Jessica 6) is a pop star. She’s doing what she loves, and she’s aimless and lonely. When Nick rescues Nomi from a would-be rapist and loses his bouncing gig, she hires him as a bodyguard. Together, they travel the world and begin to fall for each other. But they’re very different people, with very different needs. Their future could be wonderful. But it’s an open question. Continue Reading →

David Fincher's meticulous anti-murder-mystery is a curious marriage of thriller and romantic comedy. When glancing at David Fincher’s filmography, romance may not come to mind. There are the gruesome murders in Se7en, the unsolved mysteries in Zodiac, and the rise of social media titans in The Social Network. In 2014’s Gone Girl, adapted for the screen by Gillian Flynn from her own novel, Fincher dives deep into the marriage of Amy (Rosamund Pike) and Nick Dunne (Ben Affleck), a picturesque couple suddenly thrust into the national spotlight when Amy goes missing. As the film unravels, it becomes clear that Amy orchestrated her disappearance to teach the philandering Nick a lesson. Amy and Nick may have deceived each other, but the real master of deception Fincher. Gone Girl is packaged as a psychological thriller, but it’s also Fincher’s most romantic film, the director flirting with us by using both the conventions of the thriller and rom-com genres. As a result, it woos the audience with a twisted love story. Continue Reading →

After Ukraine Is Not a Brothel and Casting JonBenet, Kitty Green makes her first scripted feature in one of the year’s very best. Julia Garner plays Jane, a Northwestern University graduate and aspiring film producer. Now she works as an office assistant for an industry executive. She does the work one would expect her, but it’s over the course of a day that she becomes aware of the predation going on. Comparisons to Harvey Weinstein have already been made, but to relate the two is to simplify the issues on screen here. Continue Reading →

Splat! In the first sixty seconds of Along Came Polly, Philip Seymour Hoffman eats pavement. Make that wax: his character, the self-absorbed Sandy Lyle, slips on the dance-floor of his best friend’s wedding, tumbling to the ground in classic slapstick fashion. Hoffman does a great drop, instantly putting a smile on my face – a smile that (unlike the actor) would rarely fall for the remainder of the runtime.  Continue Reading →

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 February, we’re celebrating acclaimed genre-bender Jonathan Demme. Read the rest of our coverage here. Jonathan Demme’s The Truth About Charlie is a miscalculation on every level. As a meat-and-potatoes thriller, it fails utterly. As an exercise in style, it’s disjointed and unimpressive. A remake of Stanley Donen’s 1963 Hitchcockian comic mystery, Charade, could’ve brought out Demme’s humor, something largely absent from his films post-1990. Instead, the movie is a joyless, dull affair, resulting in something completely unnecessary. The film follows the broad plot of the original movie: a woman on holiday in Europe meets a mysterious man. When she finds out her husband has been murdered, she gets caught up in a game of international intrigue, fortune-seeking, and mistaken identity. While the original starred Audrey Hepburn and Cary Grant, The Truth About Charlie stars Thandie Newton and Mark Wahlberg. Already the film has an issue—namely, that Newton and Wahlberg are no Hepburn and Grant. A simple comparison to the original movie is warranted only because The Truth About Charlie is so hollow and unmotivated that the comparison has to be made. Otherwise, it's incomprehensible as a work of art. Continue Reading →

Though cinematographer Reed Morano shows some directing chops, the Blake Lively thriller is uneven in style & tone. It shouldn’t be a surprise that Reed Morano’s bracing The Rhythm Section follows its own beat. Misleading marketing and the dreaded late January dump positioned it as a gender-reversed thriller in the vein of Liam Neeson’s recent run of revenge thrillers with expert journeyman Jaume Collet-Serra -- but the film is exhilaratingly out of step with the autopilot assassin stylings of the John Wicks of the world. Whereas Keanu Reeves’ multiplex conquering series has largely thrived as moody but absurdist routines of grotesque precision; nothing about the capabilities of Stephanie Patrick (an unusually wan Blake Lively) could be considered automatic. If anything, DP Sean Bobbit and Morano shoot every scene with a life-or-death urgency – all trembling limbs and determined close ups – that refuse to shy away from the physical realities of a brittle frame faced with hardened professionals who won’t hesitate to pull the trigger, let alone, level a young woman with a body blow to the gut. Stephanie isn’t a damsel in distress by any means, but the film has been almost completely drained of the usual power fantasy element that courses through these tales of vengeance to the point that she begins the film coded at her rock bottom as a sex worker and addict beaten down by losing her whole family in a mysterious plane crash. That choice outlines the film’s occasional jarring limits of empathy, but it’s nonetheless telling in placing the first half of the film closer to melodrama than genre film. Continue Reading →