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.
From The Telegraph’s ultra-generous film Critics Tim Robert:
“Most persistent rumours around the Croisette: Cronenberg's CRIMES OF THE FUTURE is way less shocking than Ali Abbasi's HOLY SPIDER, Östlund's TRIANGLE OF SADNESS is a bust, and Lukas Dhont's CLOSE is an emotional wipeout that's going to win the Palme d'Or.”
Response from “Hanimal”:
“CLOSE is indeed an emotional wipeout but not the Palme d’Or material. Best actor or Jury prize very likely.”
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.