Quentin Tarantino doesn't usually put modern-day filmmakers on his level. That’s just how he is. David Fincher seems to be the one exception.
At the top, it's John Malkovich's to lose. He is a lock for Martin McDonagh's "Wild Horse Nine.” This would be his first lead nod. A late-career Malkovich comeback in a McDonagh movie? I'm all for it.
I'm going to say what a lot of people think, and won't say out loud: I don't believe Tom Holland can be a movie star outside of Spider-Man. That's been my genuine hunch for a few years now.
Under Lin, the quality of Netflix's movies got worse. The Lin era was defined by mid-budget, algorithm-friendly fare and a wobbly relationship with the filmmakers who actually gave Netflix its prestige.
This year’s 12th edition of the Scary Movies festival at Film at Lincoln Center premiered Ari Aster’s extended version of “Midsommar” this past Saturday.
Bruno Dumont’s darkly satirical ”France” received the first major boos of Cannes 2021. I dug it. A nihilistic portrayal of humanity through the eyes of a clinically depressed TV journalist. A Lynchian score by composer Christophe seems so out of place, but it only adds to the dramatic ambiguity of Dumont’s vision (his best since 2015’s “Li’l Quinquin”). The moral of this movie seems to be that life is shit.
More to come …
Nathan Fielder and Lance Oppenheim's "You Can See Everything" has been in theaters for, what, three days? And it's already the highest-rated feature film of all time on Letterboxd.