Author: Amy Diaz

Joaquin Phoenix has some fun with the hat in the Ridley Scott-directed biopic Napoleon.

It’s not a practical hat, that big angry taco of a bicorn Napoleon wears, and figuring out what to do with it seems to be part of the “in this scene, I’m feeling…” prep for building the character. Sometimes it falls off, sometimes he yanks it off, sometimes he puts it on top of an Egyptian sarcophagus. The hats are busy in this movie.

Headwear in general is a thing here, from the frizzy hair of a guillotined Marie Antoinette to the Caesar-like golden laurels Napoleon wears as he crowns himself Emperor of France. When he first meets Josephine (Vanessa Kirby), she has the hairdo of an aristocrat about to be beheaded. It’s a whole spikey hair thing and she’s sporting it at a Survivor’s Ball, which I Wikipedia-ed and it is apparently a rich-kid party of people who inherited the fortunes of their Reign of Terror-felled relatives and these events may or may not have actually happened. I did a lot of Wikipedia-ing after (and occasionally during) this movie, which assumes I know a lot more about the French Revolution and its aftermath than I do.

Napoleon distinguishes himself at the siege of Toulon, recapturing a port from the British (who were supporting the Royalists). All flush with victory, he wins over Josephine, who seems like she knows how to pick boyfriends on the come up, and then heads off to I think Italy and Egypt. Going on a prolonged work trip right after getting married isn’t great for their relationship — Josephine starts an affair with some handsome young rake. Napoleon returns to France to pout about it — he puts her stuff on the lawn of their house and then they yell at each other for a while — but this visit home also gives him an opportunity to participate in a coup. After getting himself elected as in charge (with the help of some soldiers pointing guns at the representatives doing the electing), he allows himself to be talked into taking a more kingly title to better hang with the other heads of state in Europe. Also, clearly, republican loyalties aside, he wants to be solo ruler. He crowns himself Emperor and crowns Josephine Empress and they live happily ever after for like 10 minutes until he decides that since no amount of sex is leading to a Josephine pregnancy, it’s time for him to find a new, more fertile wife. But he also still likes Josephine, who maybe still likes him? I’d say the jury is out, in the way this movie portrays it, as to whether she was ever all that deeply in love with Napoleon or she just liked the proximity to power and doesn’t like the humiliation of being set aside.

The movie is all over the place with how it feels about this relationship. On the one hand, it uses Napoleon’s letters to Josephine before, during and after their marriage as a way to narrate both military events and his thoughts and feelings. After their divorce and then later after she dies, the movie seems to indicate that Napoleon is increasingly lost without her.

But the movie also doesn’t really seem to care much about their relationship. We don’t often see them relate to each other as husband and wife, and her great influence on him is never really explored. Napoleon’s real interest is in the battle scenes. And they are cool — whether it’s a sneak attack on a fortress or an open infantry charge in a snow-covered clearing, the movie is great about building tension and excitement with these battles. There are times when everything that’s not a battle feels like just time-killing until we get to the next battle.

There is about an hour of movie after the Napoleon/Josephine divorce and I feel like the movie gets a little more unhinged but also more interesting in that hour. While we get two great Phoenix “Napoleon as angry baby” line readings before this point — him yelling “you think you’re so great because you have boats” at a British representative and him snotting that “destiny has brought me this lamb chop” during a dinner fight with Josephine — it’s this last hour where he really starts to flail around in his alternative truth world and become more of a compelling character: his “we’re winning” statements to his troops while they Eeyore around in the rain at the Battle of Waterloo, his holding forth about his greatness with a group of young boys while he’s being held captive. The movie gives us a portrait of a man who, whatever his actual skills and strengths, is being consumed by his ego and his inability to look beyond himself at the objective truths of a situation. Not surprisingly, it’s in these moments where Phoenix feels like he has the best handle on what he wants to do with the characters.

At two hours and 38 minutes, it’s hard to recommend Napoleon for just its weirdo aspects and lovingly constructed battles. But I’m also not sorry I watched it. C+

Rated R for strong violence, some grisly images (for people who can’t take bad stuff happening to animals, be warned that this movie features some real bad days for a lot of horses), sexual content and brief language, according to the MPA on filmratings.com. Directed by Ridley Scott with a screenplay by David Scarpa, Napoleon is two hours and 38 minutes long and distributed by Apple Films, which means that while it is currently available for rent or purchase it will probably eventually be available on Apple TV+.

The Color Purple (PG-13)

The life of Celie Harris gets the all-singing, all-dancing, full Technicolor treatment in the film adaptation of the stage musical The Color Purple, based on the Alice Walker novel.

Celie (Phylicia Pearl Mpasi as a teen, Fantasia Barrino as an adult) and her younger sister Nettie (Halle Berry as a teen, Ciara as an adult) are growing up in the very unhappy home of their father, Alfonso (Deon Cole). A widower since their beloved mother died, Alfonso has been raping Celie for so long that when the story starts she’s pregnant with his second child. Though Celie longs to have these children with her, Alfonso “gives them to God” after they’re born — with the sisters uncertain of exactly what that means until Celie happens to see a baby girl in town wrapped in a blanket she made. Alfonso basically sells Celie in marriage to Albert Johnson, who calls himself Mister (Colman Domingo), a widower with three small children he doesn’t take care of and a house that’s a wreck. Mister had wanted Nettie, but Alfonso refused and sort of strong-arms him into taking Celie, who is unwanted for anything other than her labor.

Though she cares for Mister’s children and brings order to his home, he is abusive to her and unkind even when they are in bed together, always pining for his mistress, the blues singer Shug Avery (Taraji P. Henson). When Nettie comes to live with Celie — escaping Alfonso’s attempts to rape her — Mister is equally awful to Nettie. He attacks her, she fights him off and he throws her out of the house, thus depriving Celie of the only kind person in her life. Which is perhaps why Celie daydreams about Shug, whose photo is on the table next to their bed. When, years later, Shug comes to town, Celie is just as excited to see her as Mister is.

Though plot descriptions call Shug Mister’s mistress and in the movie he makes some statement about how she’s the woman he should have married, you don’t get the sense that Shug feels at all this way about Mister. He is her extremely occasional fling who she can only stand so much of. As such, she seems to take a shine to (and take the side of) Celie, with the women even ending up at a movie theater enjoying some very sweet makeout time.

Though Celie is besotted with Shug, Shug eventually leaves to continue her music career and Celie remains stuck in her soul-crushing life with Mister, whose family now includes Sofia (Danielle Brooks), wife of Mister’s son Harpo (Corey Hawkins). Sofia’s take-no-poop attitude very slowly teaches Celie that she can also stand up for herself.

That song is called “Hell No!” and it’s peppy and upbeat and features some nifty choreography and the whole sequence is, like so many of the musical sections of this movie, fine. Not objectionable, not spectacular, fine. As with several of the musical numbers, the scene is of the “crowds of people singing and dancing along as a character delivers story information” variety. For me, much more successful were the sequences where the songs and settings were expressing something that Celie was feeling, as though we were going inside her head to see her, for example, falling in love with Shug while she helps to bathe and dress her. These songs, usually more intimate and featuring only Barrino singing, pull us close to the character in a way that is the opposite of the “scene on a big stage” feel of the crowd numbers. While those are pretty to look at they don’t offer quite the same charge. The one exception to that is maybe “Miss Celie’s Pants,” a group song about Celie’s pants store (selling some pretty awesome pants, by the way; I will take at least one pair of the red ones Barrino is wearing). Everybody in the scene has a narrative purpose beyond just filling out the stage.

I haven’t really sketched out all of the story here or even all of the significant characters. There is so much story packed into this movie that I feel like we’re speed-walking from this run-in with the corrupt legal system to that tale of early 20th-century colonial oppression in Africa to domestic abuse, picking up speed because we have to get to that long-buried family secret over there before the next big musical number. Which means that nothing feels like it has room to breathe or really leave an impact.

These criticisms aren’t a reason not to watch the movie, more an explanation of why I found myself not feeling more enthusiasm as the movie got to its (soulful, moving) conclusion. From the performances — Barrino, Henson and Brooks in particular — to the very lovely cinematography, The Color Purple is a movie worth experiencing. B

Rated PG-13 for mature thematic content, sexual content, violence and language, according to the MPA on filmratings.com. Directed by Blitz Bazawule with a screenplay by Marcus Gardley, The Color Purple is two hours and 21 minutes long and distributed by Warner Bros. It is available for rent or purchase.

Past Lives (PG-13)

Childhood friends reunite in their 20s and again in their 30s in Past Lives, a charming story about memory and connection.

Twelve-year-olds Na Young (Seung Ah Moon) and Hae Sung (Seung Min Yim) are best friends and sort-of sweethearts in Seoul. Na’s mom (Ji Hye Yoon) suggests they go on a “date” — which is more playdate than anything else, with the kids running around a park while the moms watch. As Na’s mom explains, the family is emigrating and she wants Na to have some happy memories of her friend in Korea. And then, abruptly, Na says goodbye to Hae Sung after school one day and the family moves to Canada, where she becomes Nora.

Some 12 years later, after Nora (Greta Lee) has moved to New York City and Hae Sung (Teo Yoo) has finished his mandated military service, she discovers a note on the social media page of her father, a filmmaker, from Hae Sung. He’s looking for Na Young, his childhood friend. She looks him up and responds. They begin a Skype relationship, talking about their lives and just sort of happy to see each other and the grown people they’ve become. Neither seems particularly able or willing to cross half the globe to visit the other and soon Nora decides that they need to take a break. She goes to a writers retreat and meets Arthur (John Magaro); we see Hae Sung meets someone too.

Another 12 years later and Nora and Arthur are married, with Nora attending casting sessions for the play she wrote and Arthur attending readings for his book. They live in New York City and Arthur is trying to learn Korean. Hae Sung comes to New York “for a vacation” — as he tells his friends and Nora tells Arthur. But Arthur, Hae Sung, his friends and maybe even Nora know that he’s coming to see her, even though he knows she’s married and he has no particular plans for, like, whisking her away.

At one point, Arthur talks about how in a story, Nora and Hae Sung would be lovers fated to be together. They weren’t lovers, Nora reminds him, and she’s meant to be where she is, in New York, with Arthur. And she means this, and yet it’s undeniable that Hae Sung is something to her, he’s connected. Maybe not, as Hae Sung says, in this life but in other lives. Their relationship gets to the heart of how people and our connection to them, especially if there’s a physical break in the relationship, get all tangled up in who we were when we knew them, where we were in life. Hae Sung is Nora’s childhood sweetheart, a boy she liked for a certain set of reasons then, but he is also herself at 12 and her life in Korea and how she felt before emigrating. When she sees him, first in her 20s and later in her 30s, she says a sort of astounded “whoa,” which feels like a “whoa” not just at seeing Hae Sung but at seeing that version of herself again. It’s some delicate work, getting us to see that story and perspective, but the movie and Greta Lee do a masterful job. There is a sweetness and kindness and sadness between these friends at every point in their lives (so far) and the movie gives both of them their emotional due. Lee and Teo Yoo have excellent chemistry, as do Lee and John Magaro, who have conversations that sound like real things married people might say to each other (a movie/TV rarity).

Past Lives is a soft, bittersweet story that has a joyfulness about it as well. A

Rated PG-13 for some strong language, according to the MPA on filmratings.com. Written and directed by Celine Song, Past Lives is an hour and 45 minutes long and distributed by A24. It is available for rent and purchase.

Featured photo: Napoleon.

Fetch becomes retro cool in Mean Girls, a Tina Fey-penned feature film musical adaptation of the stage musical comedy based on the 2004 movie (also by Fey) based loosely on the nonfiction book Queen Bees and Wannabees by Rosalind Wiseman.

Once again, Cady Heron (Angourie Rice) has spent her life living in Africa and being homeschooled by her mother and now, in her junior year, arrives at an American high school. She finds the cliques and social rules and boys — particularly Aaron Samuels (Christopher Briney), who sits in front of her in math class — overwhelming. Luckily, she meets Janis ‘Imi’ke (Auli’i Cravalho) and Damian Hubbard (Jaquel Spivey), two “art freaks” as they’re later labeled, who check on her when she takes her lunch to the bathroom. Genuinely kind, Janis and Damian try to warn Cady about the Plastics — Regina George (Reneé Rapp) and her two followers, Gretchen Wieners (Bebe Woods) and Karen Shetty (Avantika). This trio of girls dominates the school’s social structure with queen bee Regina inspiring awe and fear in her fellow students. (Plus, she and Janis have an old beef.) But when Cady is invited to sit with these popular girls, Janis and Damian encourage her to do it so they can get a window into the world of the Plastics. Cady, trusting and unaware of what she’s getting into, goes along with the plan and gets sucked into the Plastics’ world. When Regina actively tanks Cady’s chances at dating Aaron, Cady decides to wholeheartedly participate in Janis’ plan to arrange for Regina’s downfall.

Returning as math teacher Ms. Norbury is Tina Fey, with Tim Meadows returning as Principal Duvall. Other grown-ups: Busy Philipps is Regina’s “cool mom” mom and Jon Hamm plays the coach.

There are moments of fun in this adaptation, many of them involving Cravalho’s Janis or Spivey’s Damian, and moments when those little Tina Fey sparkles of strategic weirdness hit their mark. But overall I got a real “flat soda” feel from this movie. The spikey bits of the original feel ironed out and replaced by earnestness that somehow made it feel darker and less specific. Instead of the “evil takes a human form in Regina George”-style exaggeration, we get Gretchen Wieners singing about how she feels deeply unloved and unlovable. I’m not sure if the act of having song replace Cady’s narration is what seems to throw a wet blanket of sincerity over things or if it is the result of replacing the elder millennial/Gen X sensibilities with Gen Z ones. I do think there are elements of the story that don’t quite fit because an earlier generation’s high school experience is being shoved into the present. TikTok, for example, is sort of wedged into the movie but it feels more like an excuse for jokey montage than some expression of how life is for Today’s Youth.

The 2004 Mean Girls was a broad, commercial comedy, sure, but it also had some insightful observations about girl world. Mean Girls 2024 feels more like high-quality IP. B-

Rated PG-13 for sexual material, strong language and teen drinking, according to the MPA on filmratings.com. Directed by Samantha Jayne and Arturo Perez Jr. with a screenplay by Tina Fey, Mean Girls is an hour and 52 minutes long and distributed in theaters by Paramount Pictures.

Wonka (PG)

Timothée Chalamet is surprisingly charming in the surprisingly fun Wonka.

I’ve been “ugh, really?” with the best of them since I started seeing Wonka trailers. But Chalamet captures the personality of the eccentric chocolate maker we know from the 1971 Gene Wilder movie and gives him a youthful cast that is believable and not creepy or off-putting (cough, Johnny Depp, cough). There is genuine wonder and delight in this musical — none of which is what I expected from early images of this project or even after reading the “this movie is … good?”-type review headlines.

Willy Wonka (Chalamet) is just a guy with fluffy hair, some fun luggage and big dreams when he arrives in, er, Town where the speech patterns are London, the royalty is Bavarian and the big power is held by the chocolate cartel of Mr. Slugworth (Paterson Joseph), Prodnose (Matt Lucas) and Fickelgruber (Mathew Baynton). They use their exclusive high-end chocolates to bribe the police chief (Keegan-Michael Key) into doing their dirty work, like shooing away itinerant chocolatiers. Wonka is a particular threat to the cartel because his chocolates are very good, perhaps the best anybody has ever had, and affordable to all. Plus some of them briefly confer weightlessness, so they’re real crowd-pleasers.

After the police chase him out of the town square and take his chocolate proceeds, Wonka doesn’t have enough money to pay Mrs. Scrubitt (Olivia Colman, absolutely relishing this very Roald Dahl-esque kind of villain) for the room he leased from her. Or rather, he has enough for the room but not all of the extras he didn’t realize he’s on the hook for because he didn’t read the fine print of the lease. Soon he learns that he’s basically an indentured servant to Scrubitt and must work in her laundry with other trapped lease-signers (played by the likes of Jim Carter, Natasha Rothwell, Rich Fulcher and Rakhee Thakrar) and tween-aged orphan Noodle (Calah Lane), whom Scrubitt took in as an infant and who now owes Scrubitt for all that “kindness.” Because Noodle goes into town with the laundry, Wonka strikes up a deal with her wherein she smuggles him out during the days so he can sell his chocolate and he helps her pay down her debt to Scrubitt. With the help of the rest of the laundry gang — who are enjoying some down time thanks to a Wonka invention of a dog-powered scrubbing machine — Wonka is able to sneak through the town staying ahead of police, especially the increasingly out-of-shape chief whose recent payment from the cartel was so much chocolate that he is gaining pounds by the hour.

Meanwhile, cutting into Wonka’s chocolate supply is a small, green-haired orange man who Wonka claims to Noodle has been following him for years and who sometimes breaks into his room at night to steal his chocolates. Even after Wonka catches the man, who explains he is an Oompa Loompa named Lofty (Hugh Grant), Noodle isn’t quite sure she believes Wonka isn’t just eating the candies in his sleep.

Rowan Atkinson shows up as a chocolate-addicted cleric, a giraffe figures into the plot and Wonka half expects success at selling chocolate will lead his late mother (Sally Hawkins) to appear to him. And, shockingly, all of this comes together and works as something that feels if not exactly like a Roald Dahl creation, very close to it, very sweet-bitter-sweet in that Matilda kind of way, but perhaps with a less bleak world view. Noodle tells Wonka that the “greedy beat the needy” in a very Dahl-like recognition that the world isn’t fair, but there’s lots of credence given to good-hearted dreams and helping one another too.

Wonka also makes a good argument for seeing a movie in a theater — its big colors and storybook town are charming and particularly cinematic. The color of the Wonka candy factory here spreads out to every interesting element of the world, from the bright pink uniforms Wonka’s staff wears on their brief foray into running a shop to the fantastical hair colors created by tainted chocolate.

Wonka is a warm-hearted movie that actually delivers on the “world of pure imagination” promise. B+

Rated PG for some violence, mild language and thematic elements, according to the MPA on filmratings.com. Directed by Paul King with a screenplay by Simon Farnaby & Paul King, Wonka is an hour and 56 minutes long and distributed in theaters by Warner Bros.

Poor Things (R)

Emma Stone plays a kind of baby-brained Frankenstein’s monster in the steampunk horror comedy Poor Things.

Bella Baxter (Stone) is basically a toddler in a woman’s body when we first meet her, sitting in a high chair and clapping at the loud burps of Dr. Godwin Baxter (Willem Dafoe), the man who acts as her surrogate father. Baxter is a Victorian-era-esque surgeon, enthralled with anatomy (and disfigured by his own father, who passed off his torture as science), who has successfully, based on the creatures wandering his house, sewn goose heads on dogs and vice versa, with living results. Bella, we learn, is the result of an experiment by which the brain of an infant was placed in the body of its mother after the pregnant woman jumped off a bridge. A few “it’s alive!”-style jolts of electricity and Bella — not quite an adult, not quite a baby — opens her eyes.

Quickly Bella begins to talk, to reason to some degree and to ask questions of “God,” as she calls Dr. Baxter, and of Max McCandles (Ramy Youssef), an assistant he brings in to document her mental growth. Eventually Baxter feels her maturity has progressed enough that he suggests that Bella and Max get married, though he intends for them to basically live with him, never leaving his London house, forever even though Bella is of a more adventurous, see-the-world mindset.

Then Duncan Wedderburn (Mark Ruffalo), a lawyer Baxter calls in to read the marriage contract, seduces Bella into running away. Or maybe she just decides to run away and have an adventure before returning to marry Max. They travel first to Lisbon and then on a ship to Greece. Duncan is in it entirely for the passion, which Bella also enjoys, but Bella also wants to learn about the world. Thus when they’re detoured, penniless, to Paris and she’s offered a job by the madame (Kathryn Hunter) of a brothel, Duncan is horrified but Bella just sees it as an opportunity for study.

Ever seen the TV show Bones? As Bella goes from child-brain to adult brain or something, she starts to play like a kind of Temperance Brennan, Emily Deschanel’s scientist Bones of Bones. “What is this ‘emotion’ of which you speak?” is the vibe — though not always because Bella also becomes sort of enamored of philosophy and socialism and heartbroken by the horrors of poverty. She loves anatomy and discussions of Emerson but she doesn’t understand Duncan’s emotional whininess — not his ego about his romantic prowess nor his supposed great love for her nor his “heartbreak” (or bruised pride) at her brothel work. It’s — I don’t know, weird? Unsettling? Infantilizing in a way that makes all the sex cringey? All of those things? Throughout this movie’s two hour and 21 minute run time, I maybe did a “ha” once or twice or thought “neat visual” or “Stone’s doing an interesting thing” but I was never entirely certain how I felt about what I was watching. (Stone’s performance in particular both has its moments and feels like you’re watching a prolonged exercise in an acting class.) I wasn’t bored but also not delighted or all that amused or “hmm, this makes me think.” And though the movie presents everything as kind of a dry comedy lark, scratch half a millimeter into what is being said or done and the movie really does feel like a kind of horror movie, a horror movie where one of the horrors seems to be the movie periodically telling you it’s doing feminism and you’re welcome. (No thank you.)

This movie feels like a bunch of ideas and visuals sort of mushed together in the hope that they’ll congeal into something living and breathing but ultimately missing that jolt of energy that would make it a world I was fully invested in. C-

Rated R for strong and pervasive sexual content, graphic nudity, disturbing material, gore and language, according to the MPA on filmratings.com. Directed by Yorgos Lanthimos with a screenplay by Tony McNamara (from a book by Alasdair Gray), Poor Things is two hours and 21 minutes long and distributed in theaters by Searchlight Pictures.

Featured photo: Mean Girls.

A man dies after a fall at his home and his wife becomes the prime suspect for his murder in Anatomy of a Fall.

“Fall” and “murder” are two potentially inaccurate words in that sentence. When Daniel (Milo Machado Graner), a boy with limited vision, comes home from a walk with his guide dog, all he knows is that his father, Samuel (Samuel Theis), is on the ground, bleeding and not breathing in front of the family’s home, a chalet in a small French town. Daniel calls for his mother, Sandra (Sandra Hüller), who frantically calls an ambulance.

Sandra is pretty sure Samuel fell from the attic he was renovating some three stories off the ground. As she is telling this theory to defense attorney Vincent Renzi (Swann Arlaud), clearly this story is not one the authorities are buying. Vincent suggests they pursue the idea that Samuel jumped to his death — the most believable possible alternative to the police and prosecuting attorney’s theory that Sandra pushed him. As Sandra stands trial, the story quickly becomes the anatomy of a marriage, with both sides pointing to “evidence” that feels subjective at best. The prosecutor’s expert says a blood splatter could only have been caused by Samuel being struck in the head before he fell; the defense’s expert says the splatter is clearly the result of Samuel having hit a small shed after he jumped. A recording that features Samuel and Sandra fighting about the state of their lives is either evidence of successful author Sandra’s controlling nature (they even speak English at home because Sandra, a native German, is still not super comfortable in French) and general dishonesty (she’s had affairs and blames Samuel for the accident that caused Daniel’s vision impairment) or it’s evidence of Samuel’s professional disappointment and inability to finish anything he starts. Even Daniel is dragged onto the stand, to talk about the day Samuel died and the general state of his parents’ marriage. The prosecutor (Antoine Reinartz) goes at him pretty hard despite his young age, getting him to weigh in about the likelihood that his father would try to end his life or that his mother would try to kill him.

Jack McCoy would never.

Admittedly, most of what I know about sensationalistic American trials comes from TV, largely from Law and Order, so who knows if the “Real Housewives reunion” vibe of the French criminal court pictured here has any connection to reality. Though we spend much of the movie’s runtime in court, I don’t think the legal case is the point so much as the perspectives on a relationship that even the two people in the relationship never truly get a full picture of. Samuel paints himself as a selfless martyr but also acts a bit like a sullen jerk. Sandra blames Samuel for a lot of his own misfortune but she doesn’t exactly seem like a fountain of empathy for her spouse. The movie does a good job of showing how, even in cases where people are being completely honest (and we get the sense that these two are never completely honest, not with each other or themselves), they can tell two completely different stories about what’s happening between them with both stories being basically true. Hüller gives a good performance as a woman who is sort of sliding down a muddy slope of trying to prove something as unquantifiable as her intentions while also trying not to lose her confused, devastated child. Even if there are moments when you feel like some of the movie’s nuance is being lost in language and cultural translation, the commentary on the complex nature of a marriage comes through clearly. B+

Rated R for some language, sexual references and violent images, according to the MPA on filmratings.com. Directed by Justine Triet and written by Justine Triet and Arthur Harari, Anatomy of a Fall, which won Golden Globes for Best Screenplay and Best Foreign Language Film, is two hours and 32 minutes long and distributed by Neon. It is available for rent or purchase.

Saltburn (R)

A poor boy at Oxford befriends the son of a wealthy family with a giant estate in Saltburn, a comedy.

Like, a trashy, pitch black comedy full of purposeful shocks and pushing the limits of an R rating but still, this bawdy, violent song bellowed through the halls of Downton Abbey definitely feels like a comedy.

Dickensianly named Oliver Quick (Barry Keoghan) must give off the pheromones of “poor” because the kids at Oxford seem to instantly know to shun and make fun of him, especially Farleigh Start (Archie Madekwe), who we later learn is himself poor but a different kind of poor. Farleigh’s mother is the sister of the very wealthy Sir James Catton (Richard E. Grant), who pays for Farleigh’s education. So Farleigh is money-adjacent — all of which we learn from golden boy Felix Catton (Jacob Elordi), James’ son and Farleigh’s cousin. Felix and Farleigh are studying at Oxford together — well, studying and partying. Oliver, with his sad clothes and his general slouchiness, is very much on the outside looking in at all of this but then, due to a busted bicycle tire, Oliver befriends Felix. Felix sort of takes him under his wing, and brings him along into the popular crowd. We learn that Felix has a tendency to do this sort of thing, eventually dropping the kid for a new person to serve as adoring audience. Before that happens with Oliver, though, Oliver turns to Felix to tearfully recount the news he has received about the death of his father, who, like Oliver’s mother, has long struggled with drugs. Felix feels sorry for Oliver and the poor, poor, poverty-filled impoverished background Oliver has mournfully told him all about. Felix invites Oliver to spend the summer in Saltburn, the family’s large estate in the country.

There Oliver quickly becomes enmeshed in the Catton family, which also includes Felix’s mother Elspeth (Rosamund Pike), Felix’s bundle-of-neuroses sister Venetia (Alison Oliver) and Elspeth’s visiting friend Pamela (Carey Mulligan) — whose presence suggests that Elspeth also likes to collect poor poor friends. The family, who are the personification of that The Great Gatsby quote that was all over the internet in late 2020 and early 2021 about people who retreated into “their money or their vast carelessness,” seems to more or less take a shine to Oliver. Farleigh, who is also at Saltburn for the summer, and the butler Duncan (Paul Rhys) are actively hostile to Oliver. Dressing for dinner and lounging louchely by the pool and just generally cosplaying Evelyn Waugh, the group gets along mostly until Felix makes a, gasp, shocking discovery.

Well, gasp shocking if you’ve never seen a soap opera before or weren’t really paying attention to the first half of this movie.

The bits of not-great reviews I heard about Saltburn had me dragging my feet to watch it until I heard Joe Reid on his This Had Oscar Buzz podcast paint it as, like, think of it as a Cruel Intentions type movie. So maybe I went in perfectly primed to not expect much and ready to enjoy some oversexed trashiness. My suggestion would be to approach this movie that way and you won’t be disappointed — grossed out maybe but not disappointed because this movie really leans into its trashiness. Saltburn is vaguely Brideshead Revisited-ish, says me, a person who doesn’t really remember Brideshead Revisited (and the movie knows the stuff it’s playing with, based on an in-film reference to Waugh and also the song “Common People”), in its outward trappings. But its heart is pure soap opera camp and mean humor.

And to this it adds solid performances. Pike and Grant are excellent at giving us the askew version of the empty-headed rich; they are so at an angle that I feel like their presence alone gives away the game if you think the movie is handing you a straightforward English manor drama. Keoghan is also doing perfectly calibrated work — serving up a never-not-(meanly)-funny blend of sad puppy and psychopath.

Saltburn might appear to be an exquisitely plated beef Wellington but is a good time if you enjoy it for the cheese-filled hot dog it really is. B

Rated R for so, so many things, like really, this is a capital R rated R movie but specifically, according to the MPA on filmratings.com, with my notes: for strong sexual content (also, weird sexual content), graphic (but hilarious?) nudity, language throughout, some disturbing violent content (also puking) and drug use. Written and directed by Emerald Fennell, who probably had a great time with this whole thing, Saltburn is two hours and 11 minutes long and is distributed by Amazon Studios. It is streaming on Prime Video.

Society of the Snow (R)

A flight carrying 45 people, including a Uruguayan rugby team, crashes in the Andes in 1972, with a dwindling number of people surviving for months, in Society of the Snow, which is, yes, based on the same true story as the 1993 movie Alive.

The one fact about this historical event that you probably know, even if you didn’t know “Uruguay” or “rugby” or “1972,” is that eventually the survivors had to eat the bodies of their deceased friends and teammates in order to stay alive in the snowy but otherwise barren environment (so, plenty of water but nothing else). Actually, “eventually” happens pretty quickly, at least as portrayed here, where after maybe a week or so of no food (there was a small amount of snacks from the plane) many of the survivors made the calculation that this would be the only way they’d live until a rescue. Not all of the survivors, mostly rugby teammates and a few people who traveled with them hoping to get a cheap vacation in Santiago, Chile, agree with the plan to use the, ahem, available protein to keep up their strength. But eventually, on a radio they’re able to get working, they hear that the search for the missing plane has been called off due to weather. With the prospect of no immediate rescue, it seems pretty much everybody makes the choice to survive.

Survival, not cannibalism, is the focus of this movie, which doesn’t sensationalize the fact but puts it in the context of what is happening with the group and the struggle each person goes through to get over the taboo. One thing that seems to make a difference is when everybody offers their friends to “use” them if they die. And quite a few do die after the initial crash — from injuries suffered during the crash, from infections following injuries, from an avalanche. How they keep themselves and each other going in the face of these losses and relatively slim odds that they’ll make it back home is the story that keeps the movie going.

The movie does a good job of making this group of mostly men feel like real people stuck in a horrible situation. Some heroes go the extra mile, some people nearly break from the direness of what’s happening — sometimes these are the same people at different times. The movie gives a fairly engrossing and realistic portrait of young men (mostly) who have to figure out how to save themselves. B

Rated R for violent/disturbing material and brief graphic nudity, according to the MPA on filmratings. Com. Directed by J.A. Bayona with a screenplay by J.A. Bayona and Bernat Vilaplana & Jaime Marques-Olarreaga & Nicolás Casariego, Society of the Snow is two hours and 24 minutes long and streaming on Netflix.

Featured photo: Migration.

A scaredy duck overcomes his fears of the unknown to take his family on an adventure in Migration, a totally acceptable, completely fine 97 minutes of kid-friendly entertainment.

Mack (voice of Kumail Nanjiani) tells his ducklings Dax (voice of Casper Jennings) and Gwen (voice of Tresi Gazal) cautionary bedtime tales about little ducks who venture out on their own only to be killed horribly by assorted predators. Mom Pam (voice of Elizabeth Banks) doesn’t appreciate these nightmare-inducers and she wishes Mack could just cool it with the constant anxiety. When a flock of migrating ducks visits the family pond, Pam is enchanted by tales of the glowing waters of Jamaica and Dax is enchanted by the girl duck in the flock who’s about his age. The family tells Mack it wants to migrate but Mack is dead set against it — until the agreement of an even more homebodied Uncle Dan (voice of Danny DeVito) has Mack rethinking his determination to never leave the pond.

Thus the next morning the whole family, including Uncle Dan, sets out on their trip to Jamaica — though, this being their first migration, they get a little lost and wind up flying into first a storm and then New York City.

In New York the family befriends a pigeon named Chump (voice of Awkwafina) and a tropical bird who is himself from Jamaica named Delroy (voice of Keegan-Michael Key). There is also a side trip to a somewhat too perfect duck paradise and the occasional menacing by a chef who is really dedicated to fresh duck a l’orange.

There are some slow moments but there are also pratfalls, bird goofiness and at least one poo joke. This wasn’t a laugh riot for my kids like the recent Leo but nor was the audience loudly fidgeting as during parts of Wish. The animation, without being particularly revolutionary, is very good and the flight of the birds and the brilliance of their feathers is very eye-catching. The message, such as it is, hits some very general ideas about trying new things and not getting stuck in fear but we don’t get traumatic backstories or disturbing psychology. It’s all very, well, fine. B-

Rated PG for action/peril and mild rude humor, according to the MPA on filmratings.com. Directed by Benjamin Renner and Guylo Homsy with a screenplay by Mike White (yes, that one), Migration is an hour and 37 minutes long and distributed in theaters by Universal Pictures.

Maestro (R)

Bradley Cooper presents his Leonard Bernstein for your consideration in Maestro, a biopic focused on Bernstein’s relationship with his wife Felicia.

The movie bookends itself with an elderly Bernstein (Cooper) giving a television interview — with the movie starting with him playing the piano and talking about seeing the ghost of Felicia (Carey Mulligan) and ending with him saying “any questions?” and I was exhausted before we even jumped to the black and white 1940s flashback.

There we see Lenny, as he’s mostly called, meet Felicia at a party that seems to be filled with theater and literary luminaries as well as friends and family, such as Lenny’s sister Shirley (Sarah Silverman). The movie gives Lenny and Felicia’s relationship the feel of a whirlwind romance (even though Wikipedia and other sources suggest a more “it’s complicated” state of things for some four or five years before getting married); Felicia ultimately seems to propose marriage with a charming “let’s give it a whirl.” The gist seems to be that they are genuinely deeply in love and that Felicia is well aware that Lenny has had relationships with men and will likely want to continue having relationships with men into their marriage.

They live a very chic life, with a lovely mid-century modern apartment in the city and preppy country house in Connecticut and it’s all very fashionable with cigarettes and erudite conversation about art. Over time, though, Felicia, who takes care of the couple’s three children and tries to balance her own career with family and Lenny’s fame, starts to feel pushed aside by and resentful of Lenny’s affairs (and of his fame? The movie doesn’t address Felicia’s relationship with Lenny’s career as much as it feels like it should) leading to relationship turmoil that never seems quite resolved, but then she gets cancer and Lenny stays by her side until the end.

I don’t have a lot of firsthand experience with Leonard Bernstein but I do get the sense that Cooper is doing a very good Bernstein. There’s a voice, mannerisms, facial expressions, the mid-Atlantic whatever — it all has the feel of something exquisitely crafted. But all that production design of Cooper’s Bernstein really gets in the way of a view of Lenny as a person with an interior life who has this deep connection to music and at least one serious romance that he feels compelled to give up because even in his relatively more accepting world of the arts, he just couldn’t love who he wanted and still reach the heights in his career he wanted to reach. I found myself marveling at Cooper’s whole Bernstein creation without feeling much of a connection to the actual person.

In some ways we are seeing Lenny as Felicia saw him, but we also aren’t really getting much interiority of Felicia either. This movie feels oddly all on the surface — I feel like most of Lenny’s personality is delivered via recreations of interviews and Felicia has a few scenes where she sort of monologues her personality, like “here are all my current emotions.” The result is that, while these two people and their relationship are relatively interesting, I didn’t really feel like I was getting to know either of them.

Dream Scenario (R)

Nicolas Cage is the man of many people’s dreams in Dream Scenario, a fun little horror movie about going viral.

Paul Matthews (Cage) is at one point described as a “nobody man,” which feels accurate. A college animal-biology professor with a wife, Janet (Juliet Nicholson), and two daughters, Hannah (Jessica Clement) and Greta (Star Slade), Paul nevertheless has an aura of disappointment and neediness about him. He meets up with someone he knew years ago to confront her about using his research in her upcoming paper and the conversation quickly devolves into him basically begging to be credited. When his daughter dreams of him, he stands by passively as she is sucked into the sky; later he tries to convince her of his real-life (very minor) heroism years earlier.

It turns out a passive Paul has been getting around. An old girlfriend runs into Paul and Janet and tells Paul that she has also had dreams about him, where he is just sort of walking through a scene. Later he overhears two students talking about his appearance in their dreams. An acquaintance tells him about a conversation he had where two women realize they’d been seeing Paul walk through their dreams. When the ex-girlfriend publishes a piece about her Paul dreams, he receives messages from countless other people who say he has also appeared in their dreams. At an ordinary lecture, he suddenly faces a packed auditorium with college students eager to ask him questions, tell him their dreams and later take selfies with him. He does an interview with a TV news show; he is told by a marketing firm that there may be an opportunity for him to do a sponsorship with Sprite. Yes, a man also shows up at his house and tries to kill him, but overall Paul seems to be enjoying his weird fame as a sort of quirky cameo in people’s dreams.

Then something happens. Does it have to do with his groupie-like encounter with a young woman from the marketing firm? Or is it just the inevitable arc of this kind of random fame? Whatever happens, the Paul in people’s dreams goes from benign to violent and Paul the real person finds himself receiving the vitriol earned by his dream doppelganger.

So maybe Sprite is out but how would he feel about going on Tucker Carlson to talk about cancel culture?

The movie touches on issues of social media and the commodification of everything, even infamy, but I feel like it’s the performances, specifically Cage’s, that really makes it work. Cage is great as the always slightly sad, figuratively sweaty Paul. You almost feel sympathy for him but Paul’s response to everything, from being briefly “cool” to suddenly being shunned, is just the right mix of entitlement, desperation and helplessness. It’s a performance that manages to be unflattering and somewhat mean to Paul but also give us glimpses of relatable humanity. The movie is also packed with very good smaller parts: Tim Meadows as a college dean, Dylan Baker as the friend whose dinner parties Paul deeply wants to attend but is never invited to, Michael Cera as the wonderfully insincere marketing guy. B

Rated R for language, violence and some sexual content, according to the MPA on filmratings.com. Written and directed by Kristoffer Borgli, Dream Scenario is an hour and 42 minutes long and is distributed by A24 and available for rent or purchase.

American Symphony (PG-13)

Jon Batiste holds an armful of Grammys and later visits his wife in the cancer ward in the heartbreaking and lovely documentary American Symphony.

Suleika Jaouad has a book on the New York Times bestseller list at the same time her health is failing, Jon Batiste explains. She had leukemia about a decade ago, the subject of her memoir Between Two Kingdoms, and in 2021 she learns she’s had a recurrence. Batiste wins Grammys, works on a symphony he will play at Carnegie Hall and spends his days in hospitals as his wife attempts to regain her health after chemotherapy and a bone marrow transplant. The whiplash of these different worlds is acute but Batiste hangs on, sometimes curling up in bed and talking through the suck of his situation to his therapist but then getting up and going to work. He also balances what must be the weirdness of the photoshoots and the fashion and the talking to Anna Wintour of it all with the work of pulling together a symphony that draws from a wide swath of American musical traditions. We see snippets of the finished work here, enough to make the performance seem deeply cool and I spent a good amount of time looking for that PBS American Masters-like presentation of it (couldn’t find it, yet).

For those who just enjoy watching someone make something, this documentary is thoroughly engrossing. Batiste clearly has ideas about what he wants but also gives his symphony space to develop as the many musicians dip into it. It’s fascinating to watch the process. Equally engrossing is Jon and Suleika’s relationship. They both have their work but Suleika’s is sort of pushed out of reach by the effects of her medications and she has to find other outlets (she turns to painting, and just the idea that she has to find some way to create while medicine sort of happens to her is interesting to contemplate). In the middle of these new troubles this longtime couple decides to get married, and the movie gives you a window into what that means for them, with all the difficulties and optimism.

American Symphony manages to be honest but hopeful, occasionally sad but not maudlin. And it’s a great little window into an artist I think I only really knew on a surface level. A

Rated PG-13 for some strong language, according to the MPA on filmlistings.com. Directed by Matthew Heineman, American Symphony is an hour and 44 minutes long and distributed by Netflix, where it is streaming.

Featured photo: Migration.

Considering the many facets of the cinematic landscape in 2023

Barbie is my favorite movie of 2023.

Why pretend otherwise? It’s solid gold (solid pink gold) all the way to its core, with excellent performances, writing, casting, camera work, production design and use of music. It has great details happening in every shot. It excellently captures the toy element of the Barbie world, from the way people move (that Margot Robie sideways flop when she sits down despondently is perfect) to how extremely secondary Ken is in kid Barbie play. I rewatched Barbie recently (it’s available for rent and purchase and streaming on Max) and caught little moments that I don’t think I did the first time. I also gained a new appreciation for the absolutely knockout performance by Ryan Gosling; if ever Oscar wants to award a comedic (at least, on the surface) performance, this would be the one. Watch it — watch it and be impressed that Greta Gerwig could get this all done and put so much of her own sensibility in a toy tie-in movie.

As much as 2023 is the year of Barbie and as much as a Barbie is a movie I’m certain I’ll watch again, probably before we even make it to this March’s Oscar ceremony, which better have some serious Barbie representation among the nominees, that wasn’t the only delightful, gleeful memorable movie watching experience I had this year. I speak, of course, of Slotherhouse, a Hulu movie about a killer sloth. No, let me back up, Slotherhouse is a mostly (at least for its first two-thirds) played-straight movie about sorority house drama where some of the sorority sisters mysteriously disappear and also a sloth adopted by one of the girls is giddily murderous. I described the sloth, named Alpha, in my review thusly: “Alpha is a little shy of standard teddy bear size and has a ‘sloth puppet stretched over Teddy Ruxpin frame’ look.” This movie perfectly balances tone and it is an absolute blast.

What else is worth a mention from 2023?

• Movie is absolutely, wonderfully, as advertised: Part of what is great about Slotherhouse is that it is exactly what you think it is and it does that — that being sorority-sister-murdering sloth — perfectly. And, I will take that over half-assed execution of Serious Film That Wants to Say Something any day. (Is it unfair to put Oppenheimer, now available for rent or purchase, in that latter category? You watch and decide; I thought it was well-made but also, just, sigh, eyeroll, OK, movie, calm down.)Other movies that do well with a goofy, as-stated concept include Plane (rent or purchase and streaming on Starz), the Gerard Butler movie about action on and related to an airplane. Sometimes Butler is doing “plane” (he says stuff like “thrust” and “landing gear”), and sometimes he is off the plane fighting bad guys in order to save the plane passengers. Sink into this dumb movie like a comfortable chair and enjoy how little thought it requires of you.

Also in this category: Cocaine Bear (rent, purchase and on Prime Video). As is stated by Alden Ehrenreich’s character in the trailer “the bear, it did cocaine.” Elizabeth Banks masterfully directs this movie where, yeah, there are some side plots about drug dealers and a cop and forest rangers and some kids cutting school, but mostly a bear does cocaine and chases people. Adults like the late Ray Liotta and Margo Martindale and Keri Russell show up and have an absolute blast.

• Horror and comedy — two great tastes that taste great together: That you might hurt yourself laughing is the scariest element of nominal horror movie Slotherhouse. But several movies this year proved that comedy and horror work great together. The Blackening (rent, purchase and streaming on Starz) features a group of friends spending Juneteenth weekend together and finding themselves the target of both systematic racism and a murderous psycho. Leave the World Behind (Netflix) is not as big in its comedy but you can’t convince me that comedy isn’t largely what it’s doing in this seemingly cool psychological thriller about, maybe, the end of the world? Totally Killer (Prime Video) takes a modern teenager (played by Kiernan Shipka) back to 1987 to the Halloween when her mother’s high school friends were murdered — and back to her mother as a teenage Heathers-esque jerk. From the Gen Z shock at the “Hooters waitress”-like gym uniforms to the perfect fringed white jacket Shipka wears, the movie is a hoot. Of course, the blend of absurdity and horror this year truly belongs to M3gan (rent, purchase and on Prime Video), the early-year release about a kid-sized robot doll and the horrors of same. This movie seems to hate technology and have no redeemable characters and I enjoyed both of those aspects. As I said in my review: “When I first saw the trailer for this movie, I probably thought something like ‘ugh, what ridiculous nonsense.’ After seeing it, though, my reaction is ‘What ridiculous nonsense! 10 out of 10! Four stars! No notes!’”

• The freshest popcorn: It was not a banner year for sequels, in my opinion. I left movies like Magic Mike’s Last Dance (rent, purchase, Hulu and Max) andCreed III (rent, purchase, Prime Video, Sling, Philo and, ha, MGM+) feeling like they were fine, a notch above OK, but not quite up to the standards of their predecessors. I had warmer feelings toward John Wick: Chapter 4 (rent, purchase and Starz), The Equalizer 3 (rent or purchase) and Mission: Impossible — Dead Reckoning Part One (rent or purchase), both of which deliver rollercoaster fun even if they aren’t the standouts of their series. My favorite of the sequel-franchise outings from this year is probably The Marvels (still in theaters; the internet predicts February as when it will land on Disney+). The Kamala Khan/Ms. Marvel-focused series Ms. Marvel is the only one of those Disney+ Marvel TV shows I’ve been able to bring myself to watch all episodes of and I loved it. Though this movie, a sequel to the story of Capt. Marvel/Carol Danvers (Brie Larson) and a movie introduction to adult Maria Rambeau (Lashana Lynch), didn’t have as much Kamala and the Khans as the show, we do still get her excellent mother Muneeba (Zenobia Shroff) and we get these three women working together and learning how to be part of a team. Carol and Kamala also have some of that Tony Stark and Peter Parker mentor/mentee energy, which is cute. And there are some nice weird moments that make this feel like more than just another interlocking piece of the MCU (unlike this year’s Ant Man and Guardians of the Galaxy movies, which I found to be a slog — they’re both on Disney+ if you want to see for yourself).

• “I am the fury”: The hands down best action-packed, save-the-day movie I saw this year was not part of a major franchise but it was part of what I think of as the Nida Manzoor cinematic universe. Manzoor is the creator of the excellent TV show We Are Lady Parts (worth the price of a month of Peacock, where you can find all six episodes of the so-far sole season; it is also available for purchase). She also wrote and directed this year’s Polite Society (rent, purchase and Prime Video). Would-be stuntwoman teenage Ria (Priya Kansara) is horrified when her big sister Lena (Ritu Arya) seems to be putting aside her art to settle for a marriage to a too-perfect Salim (Akshay Khanna), son of the suspicious (but awesome in her evilness!) Raheela (Nimra Bucha).

• “Let me be normal and regular like everybody else”: There is a spectacular triple feature to be had in Barbie, Polite Society and, to kick it off, Are You There God? It’s Me, Margaret (rent, purchase and Starz). This excellent adaptation of the Judy Blume classic features three strong performances in three stories of characters finding their way — Margaret (Abby Ryder Fortson) dealing with being 12 in a new school and the horrors of “your changing body” along with big questions about religion; her mom Barbara (Rachel McAdams) trying to figure out her place as the mom of an older kid and as a newly stay-at-home mom, and Margaret’s grandma/Barbara’s mother-in-law Sylvia (Kathy Bates), whose family is no longer in the city and who has to reconstruct her life for herself. Strong work all the way around, from the acting to the story adaptation.

• “You are so not invited…”: Honorable mention in the “taking tween/young teen girls and their feelings seriously” category goes toYou Are So Not Invited to My Bat Mitzvah(Netflix), starring Adam Sandler and his real-life daughters Sadie and Sunny. The way this comedy portrays the highs and lows of 13-year-old girl friendships is smart and funny and — triggering? Let’s just say it left me very happy to be decades away from 13.

• Animated: When I made my Vulture Movie Fantasy League picks (vulture.com; Joe Reid of This Had Oscar Buzz runs it and it’s great fun), I found myself struggling to limit my animated films. I personally loved Nimona (Netflix), a plucky adventure with a sophisticated heart about what makes a hero and what makes a monster. Teenage Mutant Ninja Turtles: Mutant Mayhem (rent, purchase and Paramount+) and Spider-Man: Across the Spider-Verse(rent, purchase and Netflix) both feature solid storytelling and eye-catching animation that play with the visuals of their respective comic book origins. My kids loved Trolls Band Together (in theaters and available for purchase) because they love all loud, bright Trolls content and they cracked up at Leo (Netflix), the Adam Sandler-starring/co-written weird but sweet animated tale of a classroom pet lizard.

• Big Important Movies: There are a fair number of Big Important Movies from the end-of-the-year rush that I haven’t caught up with yet, either because I haven’t had the nearly three hours (looking at you, Napoleon, which is still in theaters but, honestly, I’m waiting for its Apple TV+ debut in the hopefully near future) or because they only recently became available locally (Wonka, Poor Things, The Color Purple, Ferrari, ha Aquaman and the Lost Kingdom — all in theaters now) or on streaming (Maestro and Nyad on Netflix). But, if you’re looking for some serious fil-uhm, may I recommendThe Holdovers (in theaters and available for purchase), a bittersweet Alexander Payne-directed dramady starring Paul Giamatti as a seemingly unlikeable professor at a boys prep school in 1970s New England. Da’Vine Joy Randolph gives an excellent performance as a grieving mother in this “found family at Christmas” tale. Asteroid City(rent, purchase and Prime Video) is an extremely Wes Anderson Wes Anderson movie, all typewriters and rotary dial phones, that folds a stage play into a teleplay into, I don’t know, a music box of melancholy. The more I think about Sofia Coppola’s Priscilla(rent or purchase) the more impressed I am about what she’s saying about the 14-year-old girl who is pulled into Elvis Presley’s orbit. Flora and Son(Apple TV+), another movie from Once and Begin Again writer-director John Carney, is a delightful movie about a mom and teenage son working through their own life stuff and their difficult relationship with each other by making music (it is way less corny than that sounds).

My favorite of the Big Deal movies in 2023 — after Barbie, which I’d put up against auteur production — might be Martin Scorsese’s Killers of the Flower Moon (rent and purchase). This is not a perfect movie; it has its issues in structure, in focus and in how it tries to compensate for the struggle between the most compelling character (Lily Gladstone’s Molly) and the central characters (played by screen charisma runner-ups Leonardo DiCaprio and Robert De Niro). But Gladstone’s performance is one of the year’s best and when she’s on the screen the movie holds your attention absolutely.

2024, maybe, at the movies
With all the usual caveats about movie schedules being as unsettled as weather predictions at this point, here are some of the 2024 films I’m excited about:

Mean Girls (Jan. 12) The film adaptation of the stage musical adapted from the 2004 movie was “meh” to me until I saw the trailer; now I’m excited (and for the return of Tim Meadows and Tina Fey in their original parts, along with the addition of gym teacher Jon Hamm).
Lisa Frankenstein (Feb. 9) It’s a new Diablo Cody-penned movie!
Dune: Part Two (March 1) I guess I’ll be seeing this one — which is hopefully as visually dazzling as the Part One — on the big screen.
Kung Fu Panda 4 (March 8) Always good to have a reliable kid movie during the cabin fever part of winter.
Godzilla X Kong: The New Empire (April 12) These movies have thus far been fun.

Featured photo: Barbie.

A look at new family films

Need to entertain an all-ages crowd? There are several new streaming movies geared at family audiences — though the exact ages of who is in that audience may vary.

Chicken Run: Dawn of the Nugget (PG) is probably good for most elementary schoolers and up (Common Sense Media pegs it at 7+), though it is a movie with chicken heroes and chicken nugget-making villains, so be forewarned if you have picky eaters and you don’t want to knock nuggets off an already small list of acceptable foods.

The original Chicken Run came out forever ago in 2000, but in the time of the movie it hasn’t been quite as long. The original crew of chickens who Great Escaped from Tweedy Farm now live a pleasant life on an island well away from people. Coop leader chicken Ginger (now voiced by Thandiwe Newton) and American rooster Rocky (now voiced by Zachary Levi) have a little chick of their own — Molly (Bella Ramsey), who as the real action of the movie gets going is a teenager chicken. She gazes longingly at the land across the water, especially when she sees a brightly colored truck for Fun Land Farm — a happy chicken has his very own bucket and is giving two thumbs up. Against her parents’ wishes, Molly decides to find out what Fun Land is all about and manages to get on a truck with her new friend Frizzle (voice of Josie Sedgwick-Davies). Ginger and Rocky and a gang of chickens are in hot pursuit and when it becomes clear where she’s gone — and that “Fun Land Farm” is a terrifying, nugget-making megafactory — they organize an attempt to break her out.

This sequel has the same British sweetness and can-do spirit of the previous Chicken Run (even if it doesn’t feel quite as clever) and other Aardman movies, though it isn’t quite as gentle as Shaun the Sheep outings. It’s a plucky adventure with enjoyable visuals. (B+, Netflix)

The Bad Guys: A Very Bad Holiday(TV-Y7) is set earlier in the Bad Guy timeline than the 2022 movie, back when the crew was still bad: Mr. Wolf (voice of Michael Godere), Snake (voice of Chris Diamantopoulos), Mr. Shark (voice of Ezekiel Ajeigbe) and Ms. Tarantula (voice of Mallory Low) — bad and not being voiced by their bigger-name movie actors. The crew is looking forward to their traditional Christmas Day heisting of loot, when the city is too focused on celebrating to notice. But then they accidentally destroy a beloved Christmas parade balloon, essentially crushing the holiday spirit of the city. Thus, in order to be able to rob on Christmas, they must first “save Christmas.” At a brisk 22 minutes, this lightweight bit of naughtiness and fun entertained my elementary-school-age kids even if it doesn’t have quite the cleverness or the finesse of the feature. (B, Netflix)

New Hampshire’s own Adam Sandler is the star voice and one of the writers on Leo (PG), a full-length (an hour and 42 minutes) animated movie about two classroom pets: Leo (voice of Sandler) the lizard and Squirtle (voice of Bill Barr) the turtle. Leo has ticked through the years eating lettuce while watching decades of fifth-graders go by, dreaming about life outside. Then he overhears a dad guess that lizards only live about 75 years; figuring he’s about 74, Leo is suddenly desperate to see the world. When a new teacher forces kids to bring home the school pets over the weekend, Leo sees a chance to escape. But instead he finds himself doing the thing animals aren’t supposed to do — he talks to human child Summer (voice of Sunny Sandler), who has trouble fitting in with the other kids. He helps her improve her conversation skills and make friends. He returns to the classroom determined to make a break for it the next week but soon finds that he likes talking with the kids during his weekends at their houses and enjoys helping them with their problems. The movie is peppered with strange but charming Adam Sandler songs — in one, to tell a girl she should stop crying, he croons “boo-freaking-hoo”; it’s weird but I liked it? Which is my overall feeling about this movie — it’s funny and also weirder and kinder than you’d expect. For my kids, the movie was comedy gold; they cracked up frequently. (Small note of caution: one song does have fifth grader wistfully singing about the joys of being age 9, when he used to leave out cookies and milk.) (B, Netflix)

Merry Little Batman (13+), like all Batman properties, feels older and darker than the vaguely Captain Underpants-ish cartooniness of the animation would suggest. Batman long ago ended crime in Gotham and thus Bruce Wayne (voice of Luke Wilson) hasn’t donned the Batsuit in quite a while; he spends all his time with his 8-year-old son Damian (voice of Yonas Kibreab). When a surprise call for superhero assistance lures Bruce out to Nova Scotia on Christmas Eve, Damian is left with a sleepy Alfred (voice of James Cromwell) at Wayne Manor. A chance burglary becomes something of a Home Alone situation, with Damian donning a paper bag Batman mask and makeshift cape to protect his home and, most importantly, the junior utility belt his dad gave him. Soon Damian is heading in to Gotham with a Batsuit of his own attempting to retrieve his belt from the thieves while the Joker (voice of David Hornsby), who is of course behind the initial theft, gets a more dastardly idea than just city-wide present-purloining after seeing the chaos Damian visits on his henchmen. I enjoyed the animation style here and the relatively sweeter Batman story but I would definitely save this for the tweens and up (B, Prime Video).

Getting into some live-action offerings, Genie(PG) features sad-dad Bernard (Paapa Essiedu) having lost his job due to the jerkiness of his boss (Alan Cumming), and alienated his family, wife Julie (Denee Benton) and young daughter Eve (Jordyn McIntosh), due to overwork. Sitting in his apartment alone, he glumly rubs the dust off an old jewelry and out pops Flora (Melissa McCarthy), a genie. She tells him the “three wishes” of lore are a myth — he gets unlimited wishes! Once she convinces him of her powers, he sets about trying to use his wishes to win back his family, accidentally getting in some light art-theft trouble along the way. The movie is sweet; McCarthy is good as a knowledgeable-but-distractable style of genie. (B-, Peacock or available for purchase).

Family Switch(PG) also trods familiar ground, with a family that feels disconnected from each other and find themselves Freaky Friday-ed after a run-in with a twinkly Rita Moreno. Mom Jess (Jennifer Garner) wakes up in the body of soccer star teen CC (Emma Myers) and vice versa; dad Bill (Ed Helms) swaps with 14-year-old son Wyatt (Brady Noon), and baby Miles (Lincoln and Theodore Sykes) swaps with the dog. That last swap has nice comedy potential — it’s hard at times to know whether we’re supposed to think the baby or the dog is smarter. The kid/parent swaps feature familiar beats about the olds trying to relate to “fellow teens” and the kids trying to pull off adultness. There are some nice moments of comedy: teens in the parent bodies wonder why they’re exhausted at like 7 p.m. and why everything close up is so blurry; the dad suddenly in his son’s body says he feels like Spider-Man in that he can run without cramping up. It’s cute but it also drags and there’s more talking than hijinks. (C+, Netflix)

The magic in Candy Cane Lane(PG)is also of the trickster nature: dad Chris Carver (Eddie Murphy) inadvertently signs a contract with naughty elf Pepper (Jillian Bell) for enchanted Christmas decorations in his attempt to win a big cash prize in a neighborhood holiday decorating contest. The “12 days of Christmas”-themed tree he buys features “lords a leaping” and the like that come alive and he must retrieve the “gold rings” in order to keep from joining Pepper’s collection of tiny Christmas village figurines — previous victims voiced by Nick Offerman, Chris Redd and Robin Thede. Eventually Chris has to bring wife Carol (Tracee Ellis Ross) and kids Joy (Genneya Walton), Nick (Thaddeus J. Mixson) and Holly (Madison Thomas) in on his unfortunate bargain. There are moments of nice holiday zaniness and geese-a’layin-related humor and David Alan Grier is a fun Santa Claus. (B-, Amazon Prime Video)

The Family Plan (PG-13) is decidedly an older teens and up movie but it has a goopier family movie sensibility, making it for — no one? Mark Wahlberg is Dan — suburban car salesman and dad of baby Max (Vienna and Iliana Norris) and teens Nina (Zoe Colletti) and Kyle (Van Crosby) and loving husband to Jessica (Michelle Monaghan). Before he became all that, though, he was a government assassin. When worlds collide he must first fight a dude in the supermarket while Max is Bjorn-ed to him and then trick his family into a “Las Vegas road trip yay!” that is really a meetup to get passports for new identities for them all. Along the way he has to fight off henchmen — discreetly — while trying to get up the nerve to tell his family about his past. Meanwhile, they are each dealing with issues of their own: Kyle is secretly a video game-playing superstar and Nina is a snotty jerk because of a clearly terrible boyfriend. The movie is too violent for younger kids and kinda too boring for anybody else. (C, Apple TV+)

Featured photo: Chicken Run: Dawn of the Nugget.