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While his name is often associated with some of the most terrifying moments in modern popular culture, Stephen King’s work as an author is not inherently tied to the horror genre. King has always shown an interest in the perception of time, and generally uses supernatural components to rationalize existentialist questions. This is perhaps what has drawn Mike Flanagan to adapt his writing on such a regular basis, as he is a filmmaker who has benefited from emotional maturity, even when life itself seems irrational.

“The Life of Chuck” is loosely inspired by a 2020 novella written by King, which examines the life of a seemingly “average” man and the impact he had on his family, community, and strangers. Although King’s short story followed a sequential series of moments, building suspense as the worldbuilding grew more gloomy, Flanagan’s film is told in reverse. The viewer is aware of how Chuck’s story will end, and must spend time “waiting” to learn why he is of such importance. While this structure is generally conducive to a straightforward mystery, Flanagan is fixated on the small moments that have a ripple effect through time.

Initially, Flanagan’s approach is off-putting, as the world he’s created is both strikingly familiar and aggressively condensed. The world has finally approached its inevitable collapse, as a combination of environmental anomalies, technological breakdowns, and societal fissures has inspired a collective sense of dread that has spread throughout the globe. Making his way in a time without hope is the kind-hearted teacher Marty Anderson (Chiwetel Ejiofor), who receives a surprising message from his ex-wife, Felicia Gordon (Karen Gillan).

It’s not an apocalyptic vision that is epic, as the meltdown imagined is one that could easily have been anticipated based on the trajectory of recent events. Yet, Flanagan doesn’t need to flash throughout the globe to explore the various nightmares that have occurred, as information in “The Life of Chuck” is conveyed almost exclusively through dialogue. Nick Offerman voices an unseen narrator that describes the inner thoughts of the protagonists (presented in a way that feels like the omnipresent, third-person text of King’s writing), but a significant amount of exposition is revealed through conversations.

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Although he had spent the better part of his career making scathing political and social satires like “Peep Show” and “In the Loop,” Jesse Armstrong became a household name to American entertainment pundits thanks to “Succession,” the epic HBO drama series that became hailed as an instant classic.

With its Shakespearean themes, shockingly relevant material, and powerful performances, “Succession” proved to be a natural heir apparent to classic shows like “Mad Men” or “The Sopranos.” It’s been unsurprising that many of its key creatives have doubled down on their film careers in wake of the brilliant “Succession” finale; frequent director Mark Mylod made his cinematic debut with “The Menu,” Kieran Culkin took home an Oscar for “A Real Pain,” and Jeremy Strong has landed many acclaimed parts, and even recently served on the Cannes jury.

Armstrong may have been the creative instigator of “Succession,” but his new feature “Mountainhead” is a singular effort. Shot within the last few months on a tight script, reminiscent of the work of an early David Mamet, “Mountainhead” is the story of four tech billionaires who share an extended retreat together in the wake of a groundbreaking development in artificial intelligence. Ven Perish (Corey Michael Smith), also known as “Ven,” has launched the social media giant Traam, which has immediately caused a global catastrophe amidst an ongoing revolutionary crisis.

Ven’s getaway is hosted by Hugo Van Yalk (Jason Schwartzman), known to his friends as “Souper,” a comparatively less wealthy “tech bro” who has meticulously prepared his luxurious home for the arrival of his friends. ing the trip under duress is Randall Garrett (Steve Carell), a mentor to the group who was recently diagnosed with cancer. The wild card is Jeff Abredazi (Ramy Youssef), an AI specialist who has publicly feuded with Ven in the past. Although the two take the time to clear the heir before the evening commences, there’s a lingering sense of tension as Ven suggests to Jeff that Traam purchase his AI venture, Bilter.

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My belief about “Predator” as a franchise—and there is nothing original about this belief, just a result-oriented outlook at what is working—is that the ideal “Predator” movie starts as an entirely different genre film before the Predator interrupts the proceedings or operates in the fringes of the setting before it reveals itself and hijacks the setting, transmuting the genre. The Yautja (finally canonized to be the true name of the Predator species) codex, which opens this film, highlights how the Predator’s enjoyment of the hunt across the galaxy depends upon its choosing the strongest of its prey.

That statement invariably postulates questions that can be asked either in playgrounds or in nerding-out sessions: Who is stronger? Is it a Predator or a Samurai? Is it a Predator or a Viking? Even if those questions become boilerplate, the ethos should be how cool a battle sequence would look between a Viking warrior and a Predator, or better still, a samurai and a Predator. Director Dan Trachtenberg, from a screenplay by Micho Robert Rutare based on a story co-written by Rutare and Trachtenberg, answers all those questions in a bloody, pulpy anthology consisting of three tales, which later connect in a surprisingly impactful fashion.

The surprise doesn’t stem from the fact that Predator as a franchise could ideally produce installments set in different time frames of history, just interrupted by a Predator. The surprise stems from the conceptualization taking this long to come to fruition. Titled “The Shield,” “The Sword,” and “The Bullet,” after the primary mode of weapons used by the protagonists in their respective eras, these three anthologies comprise three different subsets of the action genre.

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Try as one might, you could hardly blame any Hollywood studio for holding onto the “John Wick” franchise for dear life; in an age of increasing financial uncertainty and endless failed attempts at burgeoning franchises, who could truly begrudge any studio executive for returning again and again to what seems like the one and only enduring Western action series born from scratch in the last decade? Having done the legwork to establish itself as a quality name brand, it was only inevitable that the Keanu Reeves-led saga would enter territory befitting any franchise once it reaches beyond the point of reasonable extension.

That means, of course, spin-offs, and in keeping with the times, the “Wick” series has thrown its first theatrical attempt (anyone that “Continental” show?) into the ring with a title so appropriately ludicrous in its desperation to recall the name we all recognize that viewers will be desperate to keep that name out altogether. “From the World of John Wick: Ballerina” (yes, that’s what they went with) hopes to make its own mark as a worthy competitor to the famed Baba Yaga, but in so doing, Len Wiseman’s film only finds its footing whenever invoking what Reeves and Chad Stahelski left behind.

Perhaps that’s because Reeves and Stahelski actually haven’t left this world behind, but I’m getting ahead of myself.

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Ana Cristina Benítez’s "MAMA" (2025) searches deep into her recesses in the wake of her late-stage breast cancer diagnosis. Just back from a trip, the 36-year-old Ana is carted into the most unexpected life, rife with chemotherapies and drastic upheavals. Everything she’s known about life becomes vulnerable, testy, and fraught. She takes a camera and begins to record everything that’s happening to her.

This is honest, wrenching work from Benítez. When she says she wants to turn the camera on herself in all her growing discomfort, "MAMA" never doubles down on it or renders that as a diminutive, trifling, empty assertion. Her body is changing, and she never cuts away from the ‘uglier’ abscesses of the chemotherapy. There are many times when doctors and authorities state she can’t bring the camera in; she keeps pushing back.

Through it all, the camera remains a constant friend, testament to the varied, tumultuous shifts in her life. There’s a vastness of love she receives from her parents, but they can never be enough to offset the harrowing vicissitudes, the specificity of her experience.

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“Hesitation Wound” (Original title: Tereddüt Çizgisi, 2023) is less a legal thriller and more a quiet, simmering study of a moral crossroads. Directed by Turkish filmmaker Selman Nacar, “Hesitation Wound” follows Canan, a criminal lawyer (played by Tülin Özen), who is defending Musa (played by Oğulcan Arman Uslu)—a man accused of murdering his former boss.

While Canan is in the process of defending her client, she’s also dealing with a deeply personal crisis: her mother is in a coma, nearing death. As these two worlds—professional duty of saving a man’s life and emotional vulnerability of seeing her mother’s slow death up close—begin to overlap, she makes a choice that impacts not only the case but her identity as a lawyer, and as a person.

The first act of the film focuses on the beginning of an important day in Canan’s life. We observe what she does, who she is, and what burdens she carries. The tone is observational, almost procedural. She handles everything on her own, taking care of her mom, preparing her statement, searching for the key witness, and even taking risks by leveraging her authority and legal expertise to postpone the court session. It all feels like too much for one person to bear in a single day, and yet she presses on, even when the odds seem stacked against her.

The film offers no exposition about Musa’s backstory or why Canan is so committed to defending him. She appears purely professional—neither emotionally entangled nor motivated by ego, ambition, or financial reward. Her resolve stems not from a desire to win but from a belief that her client deserves a fair shot at justice, trying to save a man’s life. The choice to leave Canan’s full backstory untold works in the film’s favour. It keeps the narrative tight, free from distractions, and allows space for interpretation and moral ambiguity.

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Jasmina Wójcik’s “King Matt the First” is an enthralling peek into childhood’s many pleasures. The taste of them may linger on even if the spirit has mostly receded. The film is a tussle with eventual loss, arcing from innocence to beguilement. So much blurs away with only a faint echo of the past. One clutches onto it, the grasp slipping.

Circling her two young daughters, Lea and Zoja, Wójcik’s film puts a gentle, searching gaze on the shifting, sparkling expanse of their thoughts, whims, and fancies. Lea reiterates not wanting to grow up. When people grow up, they forget to have fun, she adds, tinged with deep regret. Though the children say they don’t understand the melancholy that they see in adults, it washes over inevitably. It comes in the not-so-desired rhythms of life crashing on one, familiar sensations replaced by new ones dripping with adult awkwardness, emotions, and hormones caught in a mess. How does one deal with this onslaught of alien feelings?

Chief among the film’s pleasures is to partake in Jakub Wróblewski’s luminous camerawork. Nature is key to its rich imaginative, inner world, a boundless sense of freedom and bubbling life-embracing curiosity stealing through every frame. Weaving an immersive network of sights, Wróblewski’s camera traces each leaf, a flower, fruit’s lusciousness—embedded in the super-sized allure nature holds to the children. In its sensual engagement with the elements, the film creates an intimate space.

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Many movies have dealt with the period of the French Revolution, since it was a pivotal era in history, full of compelling stories that can be told at any time. Those films usually focus on the harsh life of poverty and hunger endured by the French people under the rule of King Louis XVI, or on the lives of Enlightenment thinkers and revolutionary leaders.

But the French film “Ridicule” (1996) is considered one of the most important movies that tried to make us understand why the Revolution happened in the first place, and why things took such a different turn—not by showing us the people’s suffering, but by focusing heavily on the noble society itself, especially on the idea of ridicule and the pranks they played on each other, which occupy the central space in their lives.

Director Patrice Leconte’s focus on that precise point reflects how trivial that class was, as they lacked anything meaningful to occupy their time. But don’t be fooled—just because this film revolves around jest and frivolity doesn’t mean the movie itself is comedic or silly. On the contrary, I would argue it is one of the most magnificent historical films ever produced in the 1990s.

The film’s atmosphere, costumes, and sets are crafted so professionally that they immerse you in the world of Versailles in the eighteenth century. The film was nominated for the Academy Award for Best Foreign Language Film and a Golden Globe, and it won four César Awards, which are ’s most prestigious film honors.

The events of the film take place in eighteenth-century under King Louis XVI. It follows the story of Grégoire Ponceludon de Malavoy (Charles Berling), a nobleman whose lands lie in a remote area mostly covered by polluted swamps where cholera spreads wildly due to mosquitoes. Most residents of the region die in their mid-thirties. In his role as a hydraulic engineer, he devises plans to drain the swamps by building dams and digging canals, but he lacks the funding and is nearly bankrupt.

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It would be hard to believe that “A Desert” is Joshua Erkman’s feature-length debut. The kind of masterful buildup the first act of his film manages to conjure up is no short of brilliant. Taking inspiration from Hitchcock’s “Psycho,” David Lynch’s “Lost Highway,” and Tobe Hooper’s “Texas Chainsaw Massacre” with an original visual language to accompany those subtle nods, Erkman’s slow-burn horror has a sense of mystery that keeps you engrossed. However, it also slides away so much from where it’s aiming that much of it gets diluted as the narrative progresses into anti-narrative territory.

It all begins with Alex Clark’s (Kai Lennox) off-road adventure. He is an old-time photographer whose weapon of choice is an antique camera—the ones we only see now in period films. We get little to no introduction to him. Still, his communication with wife Sam (Sarah Lind) allows us to understand that he was once a great landscape photographer whose work has dried out like all the artists who weren’t ready for the transition into digital. We know that he has embarked on this solo road-trip to get ‘intentionally lost’ in the landscapes out north – something that he wishes to capture on film for a project that will help him revive the emotional side of his hustle again.

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India’s presence on the European film festival circuit has been relatively–and worryingly–muted, especially given the nation’s seismic, almost self-sustaining movie industry. It appeared as though this might finally begin to change in 2024 when Payal Kapadia’s masterfully tender “All We Imagine As Light” broke through the barrier of the Cannes competition after a 30-year drought and emerged as a major standout through the rest of the season (in addition to the from “Santosh” in the Un Certain Regard section). But one calendar year later, it appears as though we’re right back where we started; back in Cannes, one lone Indian film appears in a secondary sidebar, left adrift in a sea of Euro-American dominance.

At least this time, the film comes from a director with experience in this arena, as Neeraj Ghaywan’s debut “Masaan” was given the same Certain Regard treatment just a decade ago as his latest “Homebound” is now. Once more, the filmmaker’s soft approach to the interpersonal hardships of caste discrimination takes the forefront in a story whose basic framework remains steadfast in its dramatic push, if somewhat staid in its delivery.

Set in a small North Indian village, “Homebound” features a pair of lifelong Muslim friends, Chandar (Vishal Jethwa) and Shoaib (Ishaan Khatter) in their attempts to pursue a lifelong dream of becoming police officers. From the very start, Ghaywan paints this goal as an extremely popular career play, as the train station greeting applicants is absolutely flooded to the brim with idealistic young men and women eager to take the entrance exam.

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Needless to say, remaking one of the greatest films of all time by arguably the greatest filmmaker of all time for an American crowd is a recipe for probable cinematic sacrilege. Add to this the fact that the American doing the remaking happens to be a director who’s already famously desecrated one classic of Asian cinema, and the prospects for Spike Lee’s “Highest 2 Lowest” appear rather dim from the outset.

Fortunately, while his rehash of “Oldboy” was the work of a man clearly indifferent to his product, his reinterpretation of “High and Low” indicates a man who knew what made the original work, and what else could benefit from a modern update.

In a sense, “Highest 2 Lowest” can very well describe the trajectory of Lee’s entire career—a man who, over the course of his storied history, has made unimpeachable classics in between baffling misfires—but through it all, the charm of an unrestrained visionary pushing his ideas to the limit has remained a defining element of his time as a seminal American artist. In taking on a beloved Japanese thriller given decades of exaltation, Lee has once again found himself with a daunting personal challenge; this time, the stakes are matched by an enthusiasm to meet them head-on and stamp his own Spike-isms all across the screen.

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Sandra Beerends’ “Neshoma” is an invocation of a bygone era, lives endured and lost, by turns wondrous and affecting. A real panoply of emotions bubbles to the fore as we are invited into the life and times of a fictional woman called Rusha. Culled from a compendium of Jews’ memories, lived experiences, Rusha’s experiences are an encapsulation. As persevering and resilient as she is, there are also multiple surprises that she encounters.

They could have run her down, but she chose to soldier through. Placed against a largesse of archival footage, Rusha is introduced as a teenager in Amsterdam with a promising future before her. Daniella Kertesz’s extensive voiceover stitches the film into a coherent form. Sprawling over several years, “Neshoma” props up the conceit of letters that Rusha writes to her brother Max, who’s away in the Dutch East Indies. Chess moves, bookending the letters, become a promise of further communication, a relationship nurtured over time and honed with due attention.

We witness a community spread through a flowering resolve. The documentary picks up the Jewish narrative in the wake of the first world war. Debris are still fresh but there’s an optimistic surge. The Jewish community slowly but surely seeks to head into carving out its place. Things seem to be proceeding with a tinge of determination. Along with Rusha’s testimony is splayed a vivid, immersive portrait of her community.

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My first brush with the anthropomorphic rendering of everyday objects was, in all probability, through the wildly popular children’s TV show “Blue’s Clues.” In “Blue’s Clues,” the host, the only human character, invites his audience to an eccentric world where everyday objects like a mailbox, a soap, a clock, and a line of pepper and salt shakers sing, talk, feel, and even reproduce! Subversion and unpredictability are particular features of this imaginative world created solely for children.

Rohin Raveendran Nair’s MAMI Select: Filmed on iPhone short film, “Kovarty,” shares little of the mentioned American show’s cultural circumstances and bears little similarity with its distinctive intellectual energy. However, it is not surprising that the short film tugs on the memory of the show, for both of them locate the grand gestures of life in the modest, ubiquitous materials. What sets “Kovarty” apart is Nair’s finely tuned creative tact in deploying and using the point of view of its protagonist, a typewriter. However, upon scratching the surface of the previous analogy, I find for “Kovarty” a better companion.

It is also undeniable how “Kovarty” consistently echoes the insistent ideological propensity of Vladimir Mayakovsky’s work. In his play, “Mystery-Bouffe,” machines are endowed with life: they are the actors of the Promised Land, “the Communist paradise of material plenty on earth.” Mayakovsky recognizes the true kinship amongst the proletariat and the machines and their intrinsic ties to the question of revolution.

In the preface to his socialist play, he writes, “In the future, all persons performing, presenting, reading or publishing Mystery-Bouffe should change the content, making it contemporary, immediate, up-to-the-minute.” Nair’s half an hour long “Kovarty” unknowingly and partially lives up to the testament of the poet.

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Movies about hijacked planes or runaway trains are nothing new. The concept of a speeding vehicle wired with a bomb that detonates if it slows down immediately brings to mind Speed (1994) or the original Japanese thriller The Bullet Train (1975). Bullet Train Explosion (2025) is no exception to this familiar template. Yet, director Shinji Higuchi makes an effort to ground the story in realism, crafting a tense, drill-like simulation—with logical possibilities that could only happen, well, in movies.

The film follows the East Japan Railway Company’s bullet train, Hayabusa 60, as it speeds from Shin-Aomori to Tokyo. Somewhere along the four-to-five-hour journey, a bomb is secretly planted onboard without the crew’s knowledge. If the train’s speed drops below 100 km/h, the bomb will detonate. The perpetrator demands a ransom of 100 billion yen. How the bomb is handled—and how the people aboard a train running over 260 km/h survive—is the premise of Netflix’s latest Japanese thriller, tinged with a healthy dose of corporate propaganda.

Takaichi (Tsuyoshi Kusanagi) is the head conductor of Hayabusa 60—a man of deep principles, experience, and quiet professionalism. He loves his job not out of ambition, but pure ion for the train itself. In an early scene, he gives a tour to schoolchildren, delivering a philosophical answer when asked why he chose to become a conductor instead of a driver. It leaves the children puzzled, but gives the audience a glimpse into the film’s deeper emotional core.

In contrast, his assistant Keiji Fujii (Kanata Hosoda) is young, ambitious, and eager, but less seasoned. Rounding out the key crew are Matsumoto (Non), the most cautious and paranoid driver imaginable, and a female conductor. Matsumoto spends much of the runtime glued to the driver’s seat, hands tense over the accelerator and brake, her face a mask of mounting panic.

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Director Kalyan Shankar’s follow-up to his 2023 comedy “Mad” is neither fun nor funny. Titled “Mad Square,” with square as in the algebraic expression, the Telugu film is supposed to multiply with itself. It is understandably an effort at exaggerating the entertainment quotient of the sequel. With a string of bland, repetitive gags coming one after another, “Mad Square” is one flat joke. There is very less to feel entertained by, but a whole lot to be ‘mad’ about. To quote Math, instead of raising to the power of two, the film should have subtracted itself from itself.

The sequel places itself some four years after the events of the first film. With a nod towards the engineering college setup of the first film, “Mad Square” shows a band of engineering students being taken to a high-security prison. It is baffling why those students, possibly taken in for unruliness or some petty misdemeanor, are thrown in together with hardened criminals. But it is not that kind of movie.

So, this Reacher-like setup is simply a plot device to throw a curveball towards the audience of the first film. Through the eyes of these engineering boys, we find Laddu (Vishnu Oi) is in jail. So, it piques your interest to see the beloved character from the first film, the friend of the ‘MAD’ gang, in jail.

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Robbie Grewal and Kookie Gulati’s “Jewel Thief: The Heist Begins” is one of the most insufferable films to emerge in recent times. There are bad films, and then there’s something like this, which throws you into existential angst. Has Hindi cinema sunk this low that such capable actors have to do such films — joyless and overtly manufactured and deathly silly-to continue their careers. This film is one of those that everyone involved would likely distance themselves from just a few years down the line. Other than a great offer of money, no other reason justifies anyone choosing to star in this film, especially Saif Ali Khan and Jaideep Ahlawat.

One is an impossible-to-nab world-class thief, the other a dishonourable art collector with an appetite for grotesque violence and swindling. Khan’s Rehan Roy purports to give up on his thieving when he’s ed by his helpless brother, who says their father has been robbed of a ton of money. The father disowned Rehan after an ugly spat when he came to discover Rehan’s shady pursuits. Rehan insisted that if they hadn’t all been so noble like his father, their mother would have had a better operation without a financial crunch. Hence, Rehan had long detached himself from his family, living abroad.

Once again, returning to India, Rehan realizes he has to partner up yet again with Ahlawat’s Rajan Aulakh, who was the one swindling the father. The deal is to steal some expensive African diamonds. What could have been a breezy heist caper turns quickly dull and is almost dead on arrival. To make a heist film work, the thefts and escapes should hold some intrigue, credibility, and a breadth of sustained tension.

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Duncan Skiles’ “Neighborhood Watch” (2025) shows a cranky old man teaming up with an anxious young man to solve a mystery about a kidnapping case. Although an investigative crime thriller, it is just as much a buddy dramedy that follows the tropes of the latter genre. It shows these two characters as an unlikely duo that slowly warms up to each other’s company. That might be a treat for ‘The Boys’ fans who barely saw these two together in the show. Their dynamic here is much more subdued, and their performances are more grounded than in the heightened satire.

Jack Quaid plays Simon McNally, a 20-something man who seems like a version of Hughie Campbell. He is just as reserved and emotional, and often seems just a few moments away from breaking into tears or a scream. However, unlike Hughie, Simon’s fears are rooted in a traumatic childhood that offered him more challenges than a child could handle. So, he has grown socially anxious and unable to work through his life like a responsible adult. With no parent in sight, his sister DeeDee (Malin Akerman) becomes his partial caretaker and system.

Simon hears voices in his head that make it nearly impossible to get over his trauma. They limit his skills and keep him at odds with reality. He doubts anything and everything he comes across, unsure whether it’s the truth or a figment of his imagination. In that mental state, he spots a young woman getting abducted in broad daylight. Despite his best efforts to report it, he cannot convince others that he actually witnessed it. That’s when he seeks help from Ed Deerman (Jeffrey Dean Morgan), his retired security guard, who looks like he is always a step away from calling you by the vilest expletives you can think of.

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Dea Kulumbegashvili’s powerful sophomore feature "April" opens up to a creature in a void, lit dimly enough for the viewer to observe its disfigured body. Offscreen, the sound of trickling water is mixed with children playing and cheering. The camera retains its position, unwaveringly static, observing the monstrosity achingly stagger in what sounds like puddles of water. It’s too dark to know what’s happening (or not), so the dread picks up as Kulumbegashvili lets the shot linger in the monster’s oblivion.

The creature (an alien? or a humanoid?) breathes painfully; perhaps it’s not an enemy, and it’s weak and scared and what escapes its mouth are pleas for help. It continues to stagger, achingly moving its limbs in unpredictably slow motions. Phlegmy breathing echoes in the dark, and so do children laughing and playing. Years of cheap horror movies have conditioned the average moviegoer for a gnarly jumpscare, it’s what the scene must be leading to. The shot lingers, and the anxiety peaks, only to cut to a puddle collecting rain. And the scene after it is real footage of a woman in the throes of delivering a newborn.

"April" is replete with scenes whose horror, such as the opening frame, bombards your senses with incomprehensible doubt more than fear — each shot is foreboding, unsettling, some surreal and not, all constructed realities whose connection between plot, more than character, are disparate and hard to judge. One moment we see a field of poppies in a storm, the next a monster in a room.

Add to the fact you're on high alert, courtesy of its excellent audio-visual trickery, and forced to put the pieces of a seemingly straightforward story among a watery narrative. All this makes "April" both frustrating and rewarding to watch — it demands everything and nothing from the viewer, with each frame more perplexing than the next. But in the end, Kulumbegashvili’s frames stir a profoundly intellectual whiplash that subtly racks your brain long after the credits spell.

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Although great novels do not always translate perfectly to the screen, using a profound piece of literature as inspiration is rarely a mistake. Many of the hardest aspects of storytelling are crafting characters with interiority, developing a world that feels like it could exist beyond the confines of the specific narrative, and detailing a time and era that informs the context of the situation.

As a novel, “On Swift Horses” may have been pitched as an attempt to recapture the spirit of the “Great American Epic,” as there are innumerable comparisons to be made with the work of William Faulkner, John Steinbeck, and F. Scott Fitzgerald. As a film, Daniel Minhan’s directorial debut is absorbing and understated, even if it often feels overexerted in trying to bring to life every detail from the page.

Set amid the Korean War, “On Swift Horses” explores the lives of the veteran Lee (Will Poulter) and his lover Muriel (Daisy Edgar-Jones), who agrees to marry him after a ionate plea to start a new life together. Although Lee believes that they have a future together in San Diego, the dynamics of his relationship with Muriel are subverted upon the return of his brother, Julius (Jacob Elordi), a charismatic card shark who wants to travel to Las Vegas.

Although they end up going their separate ways, Muriel and Julius share a brief moment of intimacy that offers them an escape from the societal boundaries that hold them back. However, their respective journeys to find new homes led them both to ask fundamental questions about their identities.

“On Swift Horses” is novelistic in every sense of the word. Between recurring symbols that speak to the characters’ societal status, the breathtaking visuals of the American landscape, and the divergent story structure, the film is dead set on reaching a poignant conclusion, which at times is a fault.

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Those unacquainted with Kleber Mendonça Filho’s particular tonal may find themselves bewildered that a film titled “The Secret Agent” The Secret Agent (O Agente Secreto, 2025) may be anything other than a conventional, tightly wound political thriller. Those of us familiar with his languid, context-dependent Brazilian works, meanwhile, can only be left to smirk at just how far the critic-turned-filmmaker is willing to take his alienating tactics in service of a greater framework that yields, up to now, his most challenging and rewarding results yet.

As the Brazilian public continues to reckon with the reverberating traumas of a military dictatorship (ed by the United States, for the record) that lasted a grueling 21 years, the nation’s cinema continues to reflect the ion of a people whose widespread pride in their endurance has only proven more and more poignant in a global landscape so willing to backslide into conservative chaos. “The Secret Agent,” on that front, proves a potent examination of just how unassuming—and, consequently, life-threatening—the scales of power can be for those who find themselves opposing repression in even the most modest of ways.

“The Secret Agent” begins as Marcelo (Wagner Moura, finally returning to his Brazilian roots after a hefty detour in American cinema and TV) pulls into a gas station on his way to his childhood hometown of Recife in Northern Brazil. A dead body lies a few feet away, covered lazily with a piece of cardboard; the station attendant is not allowed to move the body, but the cops haven’t shown up in the days since the death was called in. When they finally arrive, all they can be bothered to do is check on Marcelo to see if his papers are legit.

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One of the most quietly quintessential American directors of our time, Kelly Reichardt has cemented her position on the international festival arthouse scene largely by way of a consistent, unassuming deconstruction of genre. Oftentimes, this comes with an unmistakable feminist slant, at once casual in its presentation and radical in its implication—a point worth noting given Reichardt’s position in a festival scene largely male-dominant—but with “The Mastermind,” the director foregrounds the masculine quest for capital to paint a view of America headed towards its lowest point.

A director who once described her masterful “Meek’s Cutoff” as “A Western from the perspective of the woman who pours John Wayne’s coffee,” there’s no denying that the deconstruction of how different genres uphold masculine power structures are a real point of fascination for Reichardt; westerns, historical dramas, espionage thrillers, road movies—even the story of a struggling artist caring for a wounded pigeon can be viewed as a play on auteurist self-reflection that the male-headed festival scene would adore.

With “The Mastermind,” Reichardt shifts her sights towards her most conventional genre examination yet, but every second of it rings with her usual serenity that underpins a sinister tension at the highest levels of society.

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Sivaprasad’s “Maranamass” shoots off from a serial killer who targets old people and leaves a banana as his defining trace. He lets loose a string of manic unrest in Kerala. The needle of suspicion spins in several directions, especially towards the good-for-nothing, Luke (Basil Joseph). He is the ‘sigma male’ whose trail of erupting public disorder is well-known.

A YouTuber, he proclaims to do whatever he does for the well-being of the community, no matter if it brings a lot of headaches and recklessness. He’s being sent off to Czechoslovakia, so he says, so that he can no longer bother anyone. He’s also in a complicated situation with his on-off girlfriend Jessy (Anishma Anilkumar). She’s clearly fed up with him and doesn’t want to have anything to do with him, but he’s insistent on being around. He wants to show he’s available for every need of hers.

The serial killer’s identity isn’t dangled as a secret in the narrative; rather, you are made privy to his agency and commitment to his crimes. The screenplay, written by Sivaprasad and Siju Sunny, features a bus driver (Suresh Krishna), a bus conductor (Siju Sunny). The former is on the anvil of marriage, the latter still pining for his long-lost father. There’s even a police officer nursing psychological issues. He’s mourning his lost dog and is also involved in searching for the serial killer. However, the film is so absorbed in its comic impulses that it entirely sidelines or, rather, forgets the investigation, pushing it to the periphery.

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Entertainment—sometimes, just like God—works in mysterious ways. It’s like throwing spaghetti at the wall; you never know what trends will stick and which will not. There’s a very good argument to be made that when YouTube Red ( that?) launched a sequel to “Karate Kid,” the chances it would last more than one season were very low. Damn! The chances that this new venture on YouTube will last very long were even lower.

In theory, it sounded like a great idea; then again, when you get something for free, it’s hard to convince people to pay for it despite all the best efforts. Six seasons later (one could argue they were at least a season too long), “Cobra Kai” proved to be so much of a success. Its blend of teen soapy melodrama and some solid fight choreographies was quite engaging. There are very few shows that had me binge-watching the whole thing in pretty much one sitting.

All of this prelude leads us to the first movie in the “Karate Kids” franchise in 15 years, in which we follow, you guessed it, a new “karate kid” (though just like Jaden Smith’s lead entry, he also does kung fu and other forms of martial arts), Li Fong, who moves from Beijing to the Big Apple to start a new life with his mother, played by the great Ming-Na Wen.

After the ing of his brother, her mother forbids him to get himself into any fighting, but this is a Karate Kid so obviously this doesn’t last very long as he falls in love with a girl who, of course, was dating a bully who also happens to be an ace in the martial arts, even more than our lead. But don’t go expecting a Johnny/Daniel situation here; this dude is truly a goon. As events unfold, Li finds himself entangled in a tournament that will determine the fate of his newfound friends.

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While the words “trauma” and “grief” are often overused when discussing the horror genre, writer/directors Danny Philippou and Michael Philippou delivered an interesting twist on the concepts with their astounding directorial debut “Talk To Me,” which explored acceptance and obsession in a haunting manner.

The brilliance of “Talk To Me” was in its specificity, as the Philippo brothers were able to create a unique vision in which “speaking to the dead” was made into a tangible plot device. “Talk To Me” wasn’t just impressive as a small, independent project that made use of its limited resources; it was also genuinely surprising how graphic, and often cynical the duo allowed themselves to be with a debut feature.

Their follow up film, “Bring Her Back,” is even more disturbing on a visceral level, its ability to unify the original mythology with compelling characterization leaves something to be desired. “Talk To Me” may not have cared much about explaining the “rules” of its supernatural threat, as the pain felt by its characters was enough to carry the story. “Bring Her Back” certainly features some compelling characters, but often falls into cliche when it makes its key revelations; themes of abuse, loss, and gaslighting are depicted rather conventionally, especially when compared to the creativity on display in the moments of gore.

“Bring Her Back” is the story of the step-siblings Andy (Billy Barratt) and his stepsister Piper (Sora Wong), who are forced to enter a foster care program after Andy’s father unexpectedly dies in an enigmatic accident. Although Andy is nearly close enough in age to be Piper’s legal guardian, he has to convince the legal system to allow them to stay together.

The two are paired with the upbeat foster mother Laura (Sally Hawkins), who is herself grieving the loss of her own daughter. Although Andy and Laura are at odds with one another from the beginning, he tries to maintain a sense of comfort in order to ensure that Piper is comfortable; this tense agreement is further threatened when Andy finds his new guardian’s behavior to be increasingly erratic.

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For the longest time, I’ve always wondered what bravery means, especially in cinema. Is bravery trying new things with filmmaking? , Is it making art almost selflessly at a great personal and physical risk? Is it saying the quiet part out loud not knowing the consequences? Perhaps it’s knowing what you’ll face, what wrath awaits and committing regardless.

During the 78th Cannes Film Festival, there were many films you could call powerful, but only one felt brave. Shot in secret without permits around Tehran and Iran, while also being in defiance of the head covering rule. A Simple Accident (Original title: Yek tasadef sadeh, 2025) is cinematic political resistance in the purest form, a film that left me slack-jawed and dumbstruck when the credits hit. This is Panahi’s first film as an unrestricted man after years of torture and torment from Iranian authorities.

After accidentally hitting a stray dog with his car damaging his engine, an Iranian family man with a prosthetic leg gets kidnapped by Vahid. A mechanic who believes that the family man is Peg-leg a once notorious torturer for the Iranian regime who ruined Vahid’s life. Vahid ends up kidnapping the man but isn’t sure if he is Peg-leg causing him to bring in other victims of Peg-leg’s barbarity to figure out if this is the demon behind all their nightmares.

The motley crew of ex-detainees of Peg-Leg that Vahid assembles includes Shiva a wedding photographer, Goli and Ali a couple in the middle of their wedding photos and Hamid an erratic and angry worker. The collection of odd characters is now left weighing up the morality of what they might have to do if the man sitting in the trunk of the van is indeed Peg-leg but also the conundrum and guilt they face.

What if he isn’t Peg-Leg and they’ve just kidnapped a family man with a heavily pregnant wife? The film takes place over a day with tensions rising as every second es as the characters start to wonder what to do, but also what this thirst for vengeance has turned them into. What follows is an incredible balancing act that is mournful, funny and incredibly angry.

Panahi has never been one to shy away from directly challenging the Iranian government through cinema. Most of his work, however, would blur the lines between documentary and fiction, even his prior film No Bears (which stars Panahi) was made when he was prohibited from filmmaking and follows a director trying to make a film in secret, despite the ban.

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A drunken night of teenage debauchery ends with a couple sneaking off from their wild rager to get freaky out in a remote farmland pasture (as you do). They stumble out, horny as all hell, as the boy lags behind, no longer hearing the enthused calling of his would-be conquest; out of nowhere, a deadly clown pops out with a pitchfork and paints the cornfield with his blood. Cue the title card: “Clown in a Cornfield.”

This is just about the level of bluntness you’re in for with Eli Craig’s latest secluded slasher, and while the director’s resume—namely, his work on “Tucker and Dale vs. Evil”—would incline you towards an expectation of comedy sprinkled among the kills, you may be surprised to find how much social commentary lies at the core of this Adam Cesare adaptation. That said, “Clown in a Cornfield” makes no pretenses about aiming high with the detail of its societal observations. The film is happy enough to spell it all out for you, and hopes you’re happy enough with its lukewarm thrills to be impressed with its willingness to say anything at all, no matter how late to the barnyard party it truly is.

Our first scene after this opening kill introduces us to Quinn Maybrook (Katie Douglas) and her father (Aaron Abrams) driving into the remote midwestern town of Kettle Springs. Quinn’s father has just taken on a job as the local doctor, and her acclimation to these new isolated surroundings proves challenging for a 17-year-old adjusting to single-parent life in a new town. It doesn’t take long, however, for Quinn to make some friends with the local troublemakers, and even less time for her to realize how easy it is for this crew to get on the bad side of the local adults.

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Expectations couldn’t possibly be higher for Trier’s follow-up to “The Worst Person in the World,” and if initial word-of-mouth is to be believed, “Sentimental Value” (Original title: Affeksjonsverdi) has more than delivered. Maybe—just maybe—the overwhelming sweep of Palme d’Or buzz (culminating in an eventual second-place Grand Prix win) and annual NEON exhalation might be due in part to Trier’s chosen approach that has resonated with the artistic crowd: healing through the artistic process.

Yeah, this is gonna be one of those movies, and given Trier’s Bergmanian touches to the overlap of life and art, it might not be presumptuous to compare “Sentimental Value,” in some way, to Mia Hansen-Løve’s own art-reckoning project “Bergman Island.” In Trier’s case, the attempted reconciliation takes on his usual millennial quirk in such a way that sometimes risks diverting the emotional power of the ideas he’s working with—the same issue clung to his previous film—but like Hansen-Løve’s film, “Sentimental Value” posits that if art is a living, breathing thing, then like life itself, there may be no satisfying resolutions to be found at all.

Taking the lead for Trier’s view of millennial angst, once again, is Renate Reinsve as Nora, a theatre actress who, alongside her estranged sister Anna (Inga Ibsdotter Lilleaas), is forced to reckon with the sudden ing of her mother. Reentering the picture is the pair’s father Gustav (Stellan Skarsgård), a famous film director who returns to make amends with his daughters after a prolonged absence that had marked their childhoods.

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Wes Anderson is a filmmaker whose trademark style is entirely distinct, drawing both iration and frustration from those who have noted the similarities within his work. Anderson’s symmetrical composition, matter-of-fact dialogue, and hand-crafted architecture may give all of his films a similar aesthetic, but there has been a great diversification within the types of genres that he has tackled.

Within the last decade of his career, Anderson’s ambitions have turned international. “The Grand Budapest Hotel” was a wholesome celebration of a ing pre-war era, “Isle of Dogs” spotlighted the figures of a revolution, and “The French Dispatch” offered an anthology of stories that celebrated the importance of international journalism.

The one exception to this transition was Anderson’s last feature, “Asteroid City,” which reverted to the more familial themes that dominated his early work on “The Royal Tenenbaums” and “Fantastic Mr. Fox.” Anderson’s newest film, “The Phoenician Scheme,” merges this intimate family drama with a rip-roaring adventure that breezes through the spectacle of Old Hollywood. While not quite as emotionally dense as “Asteroid City” or as politically profound as “The Grand Budapest Hotel,” “The Phonecian Scheme” is an encouraging step forward for Anderson, and is also one of his funniest films ever.

While Benicio del Toro is an actor most closely associated with dark, brooding anti-heroes, he is cast in “The Phonecian Scheme” as Zsa-zsa Korda, an eccentric billionaire who tasks himself with determining the future of his empire. Despite having nine sons (including a few that were adopted), Korada decides to appoint his daughter, Liesel (Mia Threapleton), as his heir, even though she is studying to be a nun. Accompanied by the charming tutor Bjørn Lund (Michael Cera), Korda and Lisel meet with many of his co-financiers as they determine how his wealth will be dispersed.

The notion of contract negotiations as a narrative hook may not seem appealing, but Anderson constructed a story in which various actors are given the opportunity to give scene-stealing performances. The pacing in “The Phoenician Scheme” is kinetic, even by Anderson’s standards, as there is an urgency for Korda to slowly win over his fellow investors.

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Guy Ritchie’s ‘Fountain of Youth’ revolves around the Purdue siblings who reunite a while after drifting apart for some unsurprising reasons. Their father was a known explorer. So, they chose to follow his legacy, but their lives took different turns. Charlotte (Natalie Portman) became an art historian, while her brother Luke (John Krasinski) became an art thief. She spends her days at a respectable job in an English art gallery while he secures artifacts for his clients. She wants to use her knowledge to help others learn, while he wants it to benefit a select few who hire him. Apart from that, Luke seeks the thrill and the excitement of the act itself. He wants to explore often for the fun of exploration.

That’s essentially the emotional hook for this Guy Ritchie actioner, written by the ‘Zodiac’ scribe James Vanderbilt. Their characters are driven by the pursuit of the unknown for clearly different reasons. Some want it for personal benefit. Others want to preserve its sanctity. Luke mostly wants to enter the heist for the kicks of it. Charlotte, however, resists because she doesn’t want to get in any trouble. No matter what, their search for the unknown revolves around the chapters of mythology and history. So, the film has a clear case of ‘Indiana Jones’ hangover, which becomes evident even through its promotional material.

It puts these Hollywood stars in carefully coordinated costumes that convey their lust for adventure, especially in the Middle Eastern regions. For them, these places represent a sense of natural mystique, where anything and everything is possible. That leads at least some of the characters to believe that they are on a journey to the sacred Fountain of Youth. It holds immense power beyond human comprehension, which makes it all the more appealing. Ritchie’s film is mainly about this sense of allure that Steven Spielberg’s adventure films are known for. They capture a sense of wonder that kids are usually drawn to.

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I had the pleasure of rewatching Miami Vice the other day and was reminded of what a great experience this film is. I wondered if I’d still enjoy it after years away, but within the first five minutes, I caught myself thinking, “Oh right, this is a classic.” One thing I love about this movie is that it throws you right into the action. It doesn’t hold your hand—you’re expected to let go of any preconceived notions and just ride the wave. You hear a few seconds of music, and suddenly you’re inside a seedy Miami nightclub, right as things are about to get intense. The two protagonists, played by Colin Farrell and Jamie Foxx, carry themselves with a cool, subdued demeanor that feels authentic rather than over the top.

Miami Vice was released in 2006 to a lackluster response, but its appreciation has steadily grown over the years. Critics, filmmakers, and fans have come forward to sing its praises, and I think that says a lot about the depth of this film. What some initially saw as just another disposable Michael Mann movie reveals itself, on closer inspection, to be layered and rich in design. It practically begs for rewatching. I guarantee that on your second or third viewing, you’ll catch details that went unnoticed the first time around.

This may not be Mann’s most famous work—or even his best—but it’s my personal favorite. The cinematography is sublime and ahead of its time. Mann shot most of it using digital cameras, and he places you directly in the thick of things. You feel like a fly on the wall during tense conversations. The spontaneous boat trip to Havana, underscored by a haunting Moby track, is a standout—visually and emotionally powerful. That sequence alone gave me chills. The atmosphere lingers long after the credits roll.

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Paul Feig’s 2016 remake of “Ghostbusters” wasn’t even remotely the disastrous insult to comedy that the misogynistic smear campaign of the time would have you believe—though it would be difficult to classify the film as “good” in any case—but the resulting shit-storm of publicity surrounding its release seemed to have left its mark on the one studio director who saw real comedic potential in Melissa McCarthy beyond cheap punchlines about her weight. This much was apparent in the immediate aftermath, when “A Simple Favor” rolled around as Feig’s answer to the internet chauvinists, switching gears and doubling down on the feminine sensibilities for a sweet and sour twist on the domestic mystery film.

A film that aimed for elegant and delightfully twisty melodrama, Feig’s 2018 adaptation of Darcey Bell’s novel read more like an entire season of daytime soap opera condensed into feature length: too convoluted for its own good and disposable as all hell, but competent enough to a few idle hours. “Another Simple Favor,” meanwhile, comes seven years later and smack in the middle of the streaming era (this one being a Prime Video original), meaning that everything must be more—more lavish, more intricate, and more bloated. What’s decreased in the interim is the willpower to stay invested.

“Another Simple Favor” picks up roughly where its predecessor left off, as part-time internet sleuth Stephanie Smothers (Anna Kendrick) has spun her investigative antics into a successful career of partial fame. Her crowning achievement is the true-crime novelization of her experience with the murderous Emily (Blake Lively); cue the “Previously On…” montage that would have fit right in. It’s at a public reading of this very book that Emily saunters into the room to the flash of cell phone cameras and indulgent slow motion to announce her sudden conditional release from prison.

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Enjoyment of “Nonnas” is dependent on whether or not a viewer is charmed by the notion of “old-fashioned” filmmaking, as Stephen Chbosky’s latest biopic is the type of light-hearted crowd pleaser that Hollywood has effectively abandoned. While it’s squeaky clean, earning the rare PG rating, “Nonnas” is unwavering in its sincerity, as the film explores the feelings of guilt, shame, and depression that can emerge upon the death of a loved one. There are deeper ideas about intercommunity resistance and loneliness among the old people, but “Nonnas” opts to tell a straightforward, inspirational story that rewards the viewers with catharsis. While a cynic may claim that Chbosky has bent a real story into a formulaic Hollywood picture, “Nonnas” coast on the charm of its endearing cast.

Vince Vaughn stars as Joe Scaravella, a construction worker from Staten Island who is dealing with the recent death of his mother, with whom he shared a close bond. Although Joe has a community of friends at his job, he finds that the best way to save himself from feelings of disparity is to cook for his best friend Bruno (Joe Manganiello) and his wife, Stella (Drea de Matteo), as it allows him to utilize his mother’s recipes. Although Bruno encourages Joe to use the money from his mother’s life insurance to do something that brings him joy, he doesn’t anticipate his friend’s seemingly erratic new plan; Joe intends to start a new Italian restaurant, in which he invites several “nonnas” (Italian grandmothers) to serve as his chefs.

Joe’s belief is that food made with love and history will resonate with customers far more than the notion of prestige; within each recipe are memories, and helping a group of older women allows Joe to process what life will look like without his matriarchal figure. Thankfully, Chbosky managed to give comeback roles to each of the actresses cast as the “nonnas” that Joe hires; included in the ing cast are Susan Sarandon as Gia, Lorraine Bracco as Roberta, Talia Shire as Teresa, and Brenda Vaccaro as Antonella. Perhaps these actresses, all of whom have appeared in some of the most influential films of the 21st century, are overqualified for the material. Nonetheless, “Nonnas” is reliant upon their chemistry, and Chbosky made the smart gamble in dedicating a majority of the film’s runtime to scenes of these characters learning and working with each other.

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It’s safe to say that the “Mission: Impossible” franchise is the most consistent recurring saga in Hollywood’s recent history, as nearly every installment in the series contains the type of creative storytelling, stylistic flourishes, and inventive spectacle that most blockbusters are devoid of. While John Woo’s “Mission: Impossible II” stood as the only real failure in the series, the franchise took on a more serialized format with the fifth entry, “Mission: Impossible- Rogue Nation,” the first of which to be directed by Christopher McQuarrie. By deepening the character arcs and adding more insight into the psychology of Ethan Hunt, McQuarrie was able to heighten the stakes with each subsequent entry, with the final two installments serving as a grandiose sendoff to the series that began in 1996.

“Mission: Impossible- The Final Reckoning” may have originally been intended to be “Part Two” of 2023’s “Mission: Impossible- Dead Reckoning,” as the “Part One” from the latter entry has been dropped from its digital releases. Nonetheless, “The Final Reckoning” picks up immediately after the events of its predecessor, as Ethan (Tom Cruise) is tasked with tracking down the assassin Gabriel (Esai Morales) before he can unleash the power of a dangerous artificial intelligence program known as “The Entity.” Ethan has the help of his longtime allies Luther (Ving Rhames) and Benji (Simon Pegg), as well as his new team Grace (Haley Atwell), Paris (Pom Klementieff), and Degas (Greg Tarzan Davis). However, the United States government is considering radical action in order to prevent the world from erupting into a global war, which could result in millions of lives sacrificed for “the greater good.”

The brilliance of the “Mission: Impossible” franchise has been how Ethan deals with personal stakes amidst his obligations to save the world. In the aftermath of the death of his entire team in the first film from 1996, Ethan has made it a priority to never let his friends down. While “Mission: Impossible- The Final Reckoning” shows how Ethan’s unwavering belief that he can save the world without any “necessary losses” has put increased pressure on his back, the interpersonal dynamics between the ing characters are severely lacking. Although Ethan’s mentorship of Grace was a key aspect of why “Dead Reckoning” feels like an injection of excitement, Atwell is mostly saddled with delivering exposition throughout “The Final Reckoning.”

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Bridging the gap between George Lucas’ highly influential & much revered original Star Wars Trilogy and his equally detestable prequel series, Rogue One: A Star Wars Story had no valid reason to exist and so when it was green-lit for production, the move was seen by many as yet another cash-grab attempt from Lucasfilm’s new parent company and, apart from bringing more cash into the studio’s reserves, it was also aimed at prepping the viewers to keep the juices flowing during the void between the two episodes of the ongoing sequel saga of this epic space opera.

However, it is this self-contained existence of Rogue One only that works in favour of this unnecessary chapter and sets it apart from the rest of the entries in the Star Wars saga, for it allowed the filmmakers the creative freedom to take the story in any direction they desired as long as it concluded where the original Star Wars commenced. Frankly, this ambitious project could’ve gone horribly wrong but director Gareth Edwards takes full advantage of the blank canvas to deliver an endlessly entertaining, action-packed & delightfully dark space extravaganza that’s thoroughly satisfying on most levels.

Set in a galaxy far, far away, the story of Rogue One follows Jyn Erso, the daughter of the chief architect of the Galactic Empire’s latest weapon, the Death Star, who’s been living the life of a renegade and has operated under various aliases over the years. Freed from her captivity by the Rebel Alliance who are aware of her real identity, she is recruited along with several other on a mission to steal the plans for the Empire’s superweapon from their very archives so that the Alliance can learn more about this new weapon of mass destruction and exploit any of its weaknesses.

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It is no secret that the Marvel Cinematic Universe has suffered a decline in quality in the aftermath of “Avengers: Endgame,” the conclusion to the “Infinity Saga” that briefly attained the status of being the highest-grossing film of all time. Although Kevin Feige and the team at Marvel Studios attempted to insert energy into the franchise through the introduction of the “Multiverse,” subsequent installments have included disappointing sequels (“Thor: Love and Thunder”), misguided creative swings (“Eternals”), botched crossover events (“The Marvels”), and many post-credit scenes that have not paid off. This era’s most commercially successful films have included nostalgia-heavy films like “Spider-Man: No Way Home” and “Deadpool & Wolverine,” which coasted on the audience’s goodwill for the established characters.

While saying that “Thunderbolts*” (2025) is a significant step forward for the MCU might seem to be damning with faint praise, it’s irable how self-aware Jake Schreir’s team-up adventure is. Instead of overwhelming the viewer with endless scenes of exposition, “Thunderbolts*” opts to take a more character-centric focus on a group of outcasts, criminals, and self-itted “losers” that are hastily assembled to form a new team. In a world where the Avengers no longer exist, the world is in need of heroes who have the power to inspire. In a clever twist, the protagonists of Thunderbolts* all need to be heroes in order to save themselves from feelings of despair, grief, and depression.

Although it’s impressive that “Thunderbolts*” is not completely reliant on preceding films in order to be comprehensible, it is most directly related to “Black Widow,” which introduced Florence Pugh as the Red Room’s assassin Yelena Belova. While Yelena has picked up assignments for the CIA director, Valentina Allegra de Fontaine (Julia Louis-Dreyfus), she suffers a crisis of confidence as she considers the terrible things she did in her former life. Yelena attempts to break the news that she is quitting to her surrogate father, Alexei Shostakov (David Harbour), when she finds herself on a dangerous mission in which she comes to face-to-face with several covert agents; Ava Starr (Hannah John-Kamen) is a vigilante that can phase through objects, John Walker (Wyatt Russell) was fired from his position as the new Captain America, and the enigmatic “Bob” (Lewis Pullman) has been given powers through an illicit experiment.

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The initial unpredictability of the order and the overall knowledge of how death picked up its targets made the first few entries of the “Final Destination” series as worthy as that of a well-crafted suspense thriller, which had a ticking time bomb set to go off at any moment.

It creates a dual tension – of the possibilities of an immediate death and the lack of an explanation as to who, how, or why. It is a metaphysical puzzle. And to top that, the audiences are also given a God-like perspective as they get to see the death trap being laid, which the characters themselves are not aware of.

But after the logic and the design of death is put forth, the game pretty much shifts to the unimaginably horrifying circumstances that can lead to gruesome and crushing fatality in airplanes, theme parks, expressways, shopping malls, barbeque parties, and cinema halls.

It now serves as a fulfilling guide to the sadistic pleasures of watching people get crushed under logs and sucked into swimming pools and the various little ways the dropping of a nail or a coin can snowball into a trap. And this approach is true for the new film as well. But in the new film, there is no puzzle as such, and the characters get easy access to all the resources they need to understand their situation.

In “Final Destination: Bloodlines,” the latest entry in the series, a young Iris (Brec Bassinger) uses her premonition to a larger benefit when she stops a crowd of people from meeting their ultimate fate in a newly opened Skywalk tower. But in doing so, she disrupts the cosmic to-do list of death, and as a result, the multiple lives that she saved are hunted down creatively one after the other.

But these lives aren’t the focus of the new film here, but Iris’ family, which now includes multiple grandsons and granddaughters. A lot of time has ed by, and Iris is still alive, challenging death with every breath she takes. She lives in seclusion, fortifying herself in her small but well-guarded shelter.

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Natja Brunckhorst’s “Two to One” (Original title: Zwei zu eins, 2025) is a social comedy taking potshots at the interval between East and West ’s reunification. In the 1990s, the Berlin Wall collapsed, and there were these intense months of upheaval. The future looks terribly uncertain, grim, and unsalvageable. Financially, it’s a mess. People’s lives are caught in doldrums. Is there any chance of recompense? This irretrievability is what the film taps into all its abundant exasperation, desire to rebuild life and surge forth despite umpteen hurdles. Who knows what the future holds?

Maren (Sandra Hüller) is keenly aware of her life being perched on standstill. She wants more, restless and aching, though she tries to keep up a happy family front. You can see the strains in her façade, how much she’s trying to be happy and complacent even when she’s creasing and in knots. She needs time to break out of the bubble of domesticity and reach out to exploration. Life holds many pleasures. She wants to plunge right into them. Her desires get further stoked when Volker (Ronald Zehrfeld), who used to be close, returns and causes palpable unease, inserting himself between Maren and her partner, Robert (Max Riemelt).

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It’s no secret that Hollywood has been somewhat reluctant to dump resources into comedies that do not have a definitive genre slant, as these projects were among the first to be sent directly to streaming services during the fluctuation of distribution methods. Despite the emergence of more unique, diverse comedic voices than ever before in the history of cinema, a straightforward comedy isn’t enough to solidify a theatrical release; those coveted spots are typically reserved for films that appear to be definitely “cinematic” due to some moment of spectacle. While the time may have ed in which defining 21st-century comedic filmmakers like Adam McKay, the Farrelly brothers, David Gordon Green, or Paul Feig could generate buzz based solely on their name, it has encouraged the next generation of humorists to embrace their idiosyncrasies in hopes of standing out.

There’s no other way to describe the style of Tim Robinson than “uncompromising;” while Robinson’s awkward, surrealist style of breaking down social normalities proved to be too avant garde for the “Saturday Night Live” writer’s room, he eventually found success of Netflix with a sketch show that fixated on the escalation of gags. Robinson’s delivery does not just consist of a straightforward punchline, in which he intends to elicit expected laughter. Instead, he pushes every moment to the extreme, revels in the uncomfortability, and manages to turn his audience’s awkward chuckles into wild howling.

What’s most remarkable about “Friendship” is that writer/director Andrew De Young has constructed a narrative in which Robinson’s persona is well-suited to be the protagonist. One of Robinson’s most endearing qualities is his ability to “say the quiet part out loud;” the notion of a character who doesn’t understand latent social codes, is unable to feign interest in dull topics, and can’t accept the rampant narcissism that everyone else abides by is the perfect point-of-view role for a comedy about the unspoken tenacity of adult relationships. Robinson’s brilliance is that he can raise insightful points, and generally has a corner of truth within his arguments. However, his behavior is so wild and overwhelming that at no point does the viewer grant him the level of sympathy that would usually be given to a character in such thoroughly humiliating situations.

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Amrita Bagchi’s recent short film, “Tinctoria” (a part of the four-film constellation of MAMI Select: Filmed on iPhone program), is not just an expression of the debilitating generational trauma or an imagining of class relations and their steady sustenance from the nineteenth century to the modern time. But with Vikramaditya Motwane as a mentor, Bagchi offers the film as an exploration of the nature of History, one which is sometimes faithful and other times blatantly treacherous. In documenting the genesis of a pigment, the short film effectively challenges the stifling tendency of prioritising the palatable ‘aesthetic’ by alienating the ‘repulsive’ political root. As the narrative unfolds, we realise that ‘the stain of indigo’ (the title appeared in Mahatma Gandhi’s My Experiments with Truth) metaphorically corresponds to the indelible stain on the collective memory, left by the shameful history of indigo slavery.

In the present day, Raka Sinha, a new age, elite fashion designer and pro slavery apologist, returns to her ancestral site, a nineteenth-century abandoned indigo factory which belonged to her great-grandfather. As she prepares to flag off a modern exhibition of her new collection, inspired by the dye of indigo, she channels her complacency in smugly speaking of her ancestors’ achievements in harboring bonded laborers for the indigo plantation. Raka recounts how ‘History’ has ed and remained faithful to her great-grandfather ‘Rai Bahadur,’ while casually adding its betrayal in the act, obliterating all traces of the workers from public memory as a footnote. According to Raka, the Raibahadur’s act of establishing an indigo factory in a village that was doomed to slink into oblivion anyway points to his indisputable heroism.

All drunk on the trend of sustainability, the fashion show turned art installation turns into a haunting site for Raka’s subconscious. The space around her begins to twist and turn, implode and explode curiously. At one point, she finds herself entangled in a mesh of indigo fibres from which she is rescued by her intern. As she tries to make sense of the trick that her mind just pulled on her, she finds herself in yet another mirage soon enough. The walls of the toilet that she occupies fall off, and she finds herself in a dark room. There is not one soul in the room– just the blaring screen of a computer that constantly flashes mysterious numbers and an ancient photograph.

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Friendships can develop over the smallest of commonalities. Jerry Seinfeld, the legendary comedian, acutely observed that in most cases, kids form friendships simply because they live near each other. In Jerry Schatzberg’s “Scarecrow” (1973), when Francis asks Max, “Why did you pick me as your friend and business partner?” Max earnestly responds, “Cause you gave me your last match. You made me laugh.” When these bonds form, they form for life.

“Scarecrow” won the Cannes Palme d’Or in 1973 but got lost in the crowd of movies now ed from that era. While it’s arguable whether it’s an important film, the fact remains that two of the greatest actors of all time give performances that remain singular in their filmography. Probably one of the strongest lead pairings of the 1970s in of acting prowess, Al Pacino and Gene Hackman chose this particular project to be their next after” The Godfather” and “The Poseidon Adventure,” respectively, both at the peak of their careers. In Pacino’s words, this is the best script he has ever read, whereas Hackman said that this was his favourite performance of his own.

The first scene perfectly sets up the characters. Hackman’s Max is in a rush to hitch a ride to go where he’s going. He doesn’t have time to waste. Pacino’s Francis, on the other hand, is first seen sitting quietly in a tree, observing Max. You can sense Francis thinking to himself, ‘I want to be friends with this guy. He seems interesting to me.’ They size each other up as the camera absorbs the beautiful landscape around them. From then on, they become fast friends.

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Marching Powder (2025) is British icon Danny Dyer’s return to the big screen with past collaborator Nick Love, and it’s also the first film that has felt reflective of Keir Starmer’s Britain. A crushed velvet, hyper machismo, misanthropic ninety minutes that is as dull as it is mean-spirited and dated. The film follows Jack Jones (Dyer), a forty-year-old grumpy cocaine addicted football hooligan who is now forced to turn his life around after all his violent, misanthropic behaviour and substance abuse catch up to him.

He gets told by a judge he has six weeks to become a new man, or he gets thrown into jail. His wife left him, taking the kids. What follows is a film that feels repetitive, dated, and cynical to a fault. For a comedy, it’s not very funny. It’s mean-spirited in the most boring way possible. The anger the film holds is something very perplexing; it truly feels like a 2008 Time Capsule, taking boring pot shots at hipsters, artists, the trans community, and minorities. Look, if you are gonna try to be edgy, at least be actually funny instead of shouting profanity every few seconds and more or less recycling the worst jokes you’d hear down the pub on a Wednesday at 4 pm.

This feels less like a unique look at British culture and more like a dull rehash of “Trainspotting” and “The Football Factory” in the vein of a crushed velvet-covered ugly new build. I knew this film would feel dated, but I was hoping it would feel dated in a way that harkens back to early 2000s british cinema, but this feels dated in the same way hearing a slur on broadcast tv feels dated or being told by an old white man in reference to your skin tone that “your one of the good ones”.

From the first two minutes, which feature some pretty bland animation with an art style that reminds me of WikiHow, you can tell what sort of film this is going to be. Very quickly it becomes clear this is a film that thinks it’s satirising the modern geezer life style (day drinking, beating up other men because of football, heavy substance abuse and being a deadbeat dad) but is too scared to say anything meaningful as it doesn’t want to alienate the same people it’s trying to satirise/confront. It’s supposedly a film about changing times, but it already feels like a relic. The film’s humour, politics, and caricatures make you slump into your seat and roll your eyes.

Just constant lowest common denominator humour that revels in dull cynicism, I feel like I was hearing the same joke played on loop for ninety minutes. Sure, one or two moments made me smirk, but that’s a pretty abysmal hit rate for a comedy film. The whole experience is coated in a sense of irony, a film about change. However, every joke feels like it’s doing its best to appeal to people who are permanently stuck in 2010 lad culture. For a film about a man trying to change, it’s pretty frustrating that he doesn’t actually change; there’s not really a character arc, Jack learns nothing, and we end at the exact same point as we started from. There’s no real payoff, there is no real consequence to anything.

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Set against the backdrop of the 2005 extremist strife that engulfed the Karbi Anglong district of Assam, the Karbi feature film, “Mirbeen” (2023), tells the story of a young woman’s dreams in a conflict-torn village of the state. Premiered at the 54th International Film Festival of India (IFFI), Goa, it also shows the political realities of its time and the human cost of revolution.

Life in the Karbi hills unfolds at a slow and steady pace, and likewise goes the rhythm of the film. The protagonist, Mirbeen (played by Malini Tisopi), lives in a village that is consumed by recurring inter-ethnic tensions between the Karbi, Dimasa, and Kuki tribes of Assam. These conflicts have led to frequent lockdowns and stagnancy in the developmental process of the region. The sad reality is that, under such conditions, higher education continues to remain a distant dream for many.

Mirbeen, a young girl and a weaver of traditional fabrics, aspires to become a fashion designer, a dream that is as ambitious as those of her close friend Kaban. Kaban’s brother, Longki, is an underground rebel who shares a romantic relationship with Mirbeen. However, things take a turn for the worse when Longki’s outfit kidnaps and kills one of Mirbeen’s college teachers, the fallout of which Mirbeen and the fellow villagers have to bear.

With “Mirbeen” (2023), director Mridul Gupta unfailingly sticks to his broader point of how women are always found at the crossroads in any kind of conflict. Beyond that, there are heinous atrocities committed against the collective existence of the people by unknown miscreants—burning down houses, destruction of the tribal villages, and forcing the villagers to flee to the woods. Some also subject women to sexual violence, along with killing men and women alike.

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In one of the more poignant moments of “,” Zee5’s latest original starring Babil Khan, the protagonist earnestly proclaims that social media is not a mere distraction for many. It is a world in itself. What “” proceeds to tacitly depict under the garb of a genre film is that the same world is not all sunshine and rainbows, so to speak. It has pitfalls and fate’s cruel hands that act as a twisted leveler, just like the real, physical world. Directed by Amit Golani and written by Biswapati Sarkar, “” attempts to cram most of the perils of the modern online world. A little too much perhaps; yet it remains an engrossing watch with a commendable leading performance.

Babil Khan plays Pratyush Dua, known as ‘Pratman’ online, a social media influencer who rose to popularity via his “Laila-Majnu” skits, where he plays both characters. With a house full of all the latest gadgets, Pratyush seems to have it made. The only headache for him, as his manager constantly reminds him over the phone, is to achieve the coveted 10 million followers count. ‘Pratman’ boasts 9.9 million plus followers. A few more are necessary. While Pratyush, with his manager, tries to achieve that milestone with relevant ‘content’ and ‘collabs,’ he loses his smartphone during a drunken night out. The next morning, he is reached out to by a female fan (going by the name ‘Pratmaniac1) online, who claims to have the phone.

Right from their early TVF (The Viral Fever) days, Biswapati Sarkar and Amit Golani have shown a keenness for digital observations. From parodying “Game of Thrones” to fit IIT fests to venturing into web series (For those who are not aware, TVF was one of the earliest Indian media services to produce web series), Sarkar and Golani are quite savvy in navigating the modern online ecosystem, especially in the Indian context. So, it is not entirely surprising to see ‘’ peppered with relevant hints of social (media) commentary. The influencer war and the constant drive to stay relevant, or better, read ‘viral,’ is deftly depicted in the initial fifteen to twenty minutes.

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The surface sheen of “Whenever I’m Alone with You” (2025), the directorial debut of Vesper Egon and Guillaume Campanacci, is so deliberately dark and familiar that it should not work at all. Set in the sunlit rot of the South of —not far from Cannes—the film follows a suicidal Frenchman named Guillaume. He’s everything a film-school dropout’s profile picture would ire: brooding, antisocial, quoting Godard, and spilling unsolicited monologues about society’s decay. Of course, he has an ex he can’t get over. Of course, he’s unable to love.

Enter Vedrana: a woman with Sarajevo roots, dominatrix aesthetics, and a thousand untold dreams flickering behind her silence. She’s just left a stale relationship. No prizes for guessing what happens when she collides with Guillaume’s existential haze. You’ve seen this story before. Except here, the clichés wear new skin—threadbare, grainy, but sewn with a strange pulse.

As generic as this sounds on paper, no narrative is too dead to be reawakened. Campanacci and Egon—also the film’s co-writers and editors—approach their material with the wide-eyed nerve of overindulgent film students. The result is a surprisingly affecting romantic comedy, crisscrossed with surrealistic self-reference and whispery detours into fantasy. Shot with a precise, low-budget indie flair by Nicolas Devienne, the film teases us with BDSM posturing before flipping the frame to its quietest edges. It opens its legs with confidence, then suddenly closes them to murmur secrets. Minimalism, in this case, is not restraint—it’s intention. Every muted moment, every overexposed flash, demands that the audience lean in.

Dialogues barely exist unless they must. When they do, they’re filtered through ambient clatter—clinks, caws, and the sort of background noise that makes you question what’s real. At a party, we don’t hear chatter—we hear crows. Characters clink wine glasses, mouths moving, but their conversations are ghosted out. It’s audacious, sure. But it’s also committed. There’s a punk edge to how the film mutes its world.

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“Call of the Void” revolves around Moray (Caitlin Carver), a 30-something woman who retreats to a cabin in the woods after her brother’s sudden death. Within the first few minutes, the film reveals much of what we need to know about her. We learn about her age and desire for a peaceful escape for the time being. We also get a peek into what is causing her to leave her life in the city and the type of relationship she shares with her parents and others. That introduction reveals plenty about her character and immediate emotional goals and needs.

Moray hopes for a quiet getaway, but these hopes get shattered by four college students who show up at the next house. They are more youthful and vibrant, almost the opposite of who she wants to be or be around. So, she tries to maintain distance, likely because they remind her of the enthusiasm she has lost toward her life. However, she changes her mind after they play a song that reminds her of her late brother. One thing leads to another, and she s them for a hike. That’s when things start to get bleaker for everyone.

The script lays out bare details about its 20-something student characters and their professor, who happens to live in a nearby cabin. Lucy (Mina Sundwall) is cheerful but flippant, possibly because of her age. She invites Moray to their house and becomes the bridge between Moray and her friends. Sterling (Richard Ellis) and Cole (Christian Antidormi) are self-righteous musicians who have youthful arrogance. They even wear their smirk with pride. Unlike them, Darryl (Ethan Herisse) appears meek but kind. He hopes to be a part of the group but is instead made to feel abandoned, rejected, or ignored.

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Ali Asgari’s “Higher than Acidic Clouds” opens in closed spaces with an eye to the boundless. Asgari’s voice can’t be contained, straitened, exploding into affiliations with other faraway places, Iceland and Italy, while home in Tehran feels like a ‘stranger’. This essay documentary transpires in the shadow of Asgari’s house arrest in 2023. It ensued on the heels of his return home from Cannes, where he presented his film “Terrestrial Verses.” Suddenly, he found himself severed from the world as the government banned his traveling and raided his house, digging for material to furnish baseless allegations.

In haunting monochrome captured by DP Arman Fayaz, a portrait of captivity emerges, one that however pushes beyond and surges across any spatial confine. Cooped up in his apartment, as he’s interrogated, he endures, his mind drifting elsewhere, dipping into memories of his mother, his childhood when he used to sleepwalk. The film imbibes his desire to fly, spanning Tehran from above.

For all the circumscribing put on Asgari, his imagination, the ‘inner vault’ of his memories, and his act of observing are impenetrable. It’s the final frontier that cannot be broken into even as government officials ransack his apartment, plough to pull up anything seditious. “Your hands can’t grasp my imagination”, he asserts. How he can be taken into custody is what colours every aspect of authorities and their attitude to him. Meanwhile, a looming lone polluted cloud stands witness, evoking the sheer absurdity of the clampdown.

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“New Beginnings” (2025), directors Isabelle Ingold and Vivianne Perelmuter follow Native American Al Moon’s journey while looking back at his past. Living on the Indian reservation of Yurok, his sustenance has taken a hit. Fishing feed has been drying up. Once, there used to be great catches; now, the salmon are dying in huge numbers. The ocean is sick, he says almost matter-of-factly. Like him, this film desists from any mawkish gestures, full of a simple, workmanlike insistence on chugging ahead, adapting to life’s uncertain, shaky rhythms.

Why do I say ‘them’ when I talk of Native Americans with me being one? He confronts himself. As he retraces his time fighting during the Vietnam War, he asserts war was just a personal thing, not tinged with any patriotism. Yet, why did he find himself consumed in working for the white man when his people have been oppressed by them since time immemorial? Now, he no longer washes his hands off guns or any kind of arms, even as Trump rails for looser gun control in the name of security.

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In “The Vanishing Point,” Bani Khoshnoudi stirs a tide of anger and grief into motion. It’s at once an intimate saga as well as a national overhaul of Iran, foregrounding voices stifled, bodies negated in all their patchwork. Her mother’s cousin was disappeared by the regime in 1988 at the age of twenty-seven. There never came an official statement. It was as if her existence was wiped out of memory one day. “The Vanishing Point” brings the train of cong her to oblivion to a juddering halt.

The director situates a weave of testimonies, building a portrait of public unrest. “The wall of fear has come down”, she reaches out across time and assures the disappeared relative. Many like her have been taken away; Khoshnoudi asserts that their severed lives and shattered futures aren’t in vain. The fury and profound agony, the charge of speaking out can no longer be kept to a leash, instead, repression bursts out and demands justice, ability.

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Stories of displacement are as ancient as time itself. They are inscribed in the annals of civilization, inextricably linked to the act of survival. Yet their brutal, forbidding power remains unshakable, insistent. To deny the price humanity and ecosystems have to bear in the name of urbanisation and development is to bring further moral corrosion and expedite our own collapse. Instead of escaping, we must confront the hard truths of our overreaching when we should hold back and assess the damage done. Natalia Pietsch and Grzegorz Piekarski’s documentary “The Town That Drove Away” underscores the horrid, pained reality of such uprooting, calling for a reappraisal.

We must name the crime, record it, and demand due ability. Centuries of peace and concord can be wholly shattered with incursions of development as it slashes through the village of Hasankeyf in Anatolia. Things can change in a day. With the Ilisu dam being erected, orders come in for immediate evacuation. Relocation to a new town a few miles away is promised, but it isn’t extended to single individuals. What of their lives? They are wholly pushed off any consideration; however, even the rehabilitated ones are riven apart.

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In “The Thing” (1982), John Carpenter doesn’t simply revive the alien-invasion narrative—he infects it. The film festers in its own paranoia, turning the genre inside out, stitching together a vision of horror that is less about the arrival of the other than the collapse of the self. On top of that, the movie is so much fun, and it still holds up well. Part of this has to do with the ample tension in the film—the story is on another level—and the practical effects have stood the test of time.

The film opens in the blinding white desolation of Antarctica. A dog runs across the ice, pursued by a Norwegian helicopter, shot at, and hunted. The Americans at Outpost 31 take the dog in, unknowingly inviting in something ancient and formless, something which does not kill to survive—it imitates. From there, the narrative dissolves into a study in suspicion. Who is still human? Who has been replaced? No answers. Only questions, and an increasing number of corpses.

John Carpenter’s directorial choices are as severe as the landscape itself. There is no warmth, no distractions from the increasing paranoia at the core of the film. Dean Cundey’s cinematography bathes the station in deep blues and surgical whites, while Ennio Morricone’s score pulses like a mechanical heartbeat—cold, slow, and alien. It’s worth noting that Morricone composed much of the score before seeing the film. That instinctual eeriness makes perfect sense in a story where knowledge itself is unreliable. Then there’s the creature. Or rather, creatures. Rob Bottin’s practical effects are grotesque poetry—heads sprouting legs like spiders, torsos splitting open into toothy maws, sinew stretching into impossible contortions. The monster never has a true form because it doesn’t need one. I think that is what makes this film unique: the monster is ever-changing throughout the narrative, keeping things fresh and keeping the audience on its feet.

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Tom Cruise is synonymous with gravity-defying stunts and blockbuster action, especially in the Mission: Impossible series, where his commitment to doing his own stunts has made him a cinematic force. But beyond the action, Cruise thrives in complex dramas, bringing emotional depth and a singular intensity to roles like Bill Harford and Jerry Maguire.

With over 40 films to his name, ranking his work isn’t easy. This list weighs both the film’s quality and Cruise’s performance, with a focus on the latter. Think of it less as a definitive ranking and more as a celebration of his incredible range as an actor.

Click here to read the write-ups on these films.

1. Born on the Fourth of July
2. Magnolia
3. Jerry Maguire
4. A Few Good Men
5. Collateral
6. Top Gun: Maverick
7. Eyes Wide Shut
8. Mission: Impossible – Fallout
9. Rain Man
10. Risky Business

...plus 35 more. View the full list on Letterboxd.

The 2025 Cannes Film Festival lineup, while packed with big names, was met with muted enthusiasm; disappointment sparked by the bloated Mission: Impossible – The Final Reckoning seemed to linger across an edition that never fully ignited. Still, Cannes is never without its gems, and 2025 delivered a handful of standouts poised to fuel film discourse for months.

This list of 10 must-watch titles includes some close contenders that just missed the cut—honorable mentions go to Joachim Trier’s Sentimental Value, Sebastián Lelio’s The Wave, Spike Lee’s Highest 2 Lowest, and Saeed Roustaee’s Woman and Child; flawed but undeniably compelling films that made their mark.

Click here to read the write-ups on these films.

1. Urchin
2. It Was Just an Accident
3. Sirât
4. The Mastermind
5. Resurrection
6. Die My Love
7. The Secret Agent
8. Yes
9. The Love That Remains
10. Sound of Falling

While prestige TV has boomed in the 21st century, Black Mirror remains unmatched. Moving from BBC to Netflix, it dissects how technology reshapes society, politics, and morality. Season 7 brings inventive sequels and soulful stories, proving the show still challenges and surprises. Here are the ten best Black Mirror episodes, ranked.

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...

What other Black Mirror Episodes would you add to this list?

1. Black Mirror: Bandersnatch
2. Black Mirror: USS Callister
3. Black Mirror: Hated in the Nation
4. Black Mirror: Fifteen Million Merits
5. Black Mirror: The Entire History of You
6. Black Mirror: San Junipero
7. Black Mirror: White Christmas
8. Black Mirror: Beyond the Sea
9. Black Mirror: Playtest
10. Black Mirror: Shut Up and Dance

In this list, an attempt has been made to put together a range of films that can prove to be great companion pieces to “Eternal Sunshine of the Spotless Mind.” The films on the list not only concern themselves with the loyalty and treachery of memory but encom everything that interrelates and interfuses with that elusive thing that is the human mind– dreams, desires, anxieties, and fears.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

• The Science of Sleep
• Apples
• Little Fish
• The Beast
• The Missing
• Sa
• Je T'Aime, Je T'Aime
• The One I Love
• Last Images of the Shipwreck
• Paperhouse

Whilst some dismiss his later work as aggrandizing self-parody, there’s plenty of value to be found in a great director’s autumnal spurts of inspiration. Film fans of all ages, on the other hand, can agree on the classic status of his masterpieces, films that are etched permanently into an alternative canon of American cinema where thoughtful and immersive storytelling eclipses Hollywood cliche.

Click here to read the write-ups on these films.

...

What other filmmaker's work would you like us to rank next?

1. The Thin Red Line
2. The Tree of Life
3. Badlands
4. A Hidden Life
5. Days of Heaven
6. Knight of Cups
7. The New World
8. To the Wonder
9. Song to Song

The best thing one can do when it’s raining is to watch a movie. Some of the greatest films in cinematic history owe their greatness to the presence of rain. Rain in cinema is often said to be the symbol of nostalgia, solitude, chaos, love, rejection, death, decay, and so on. But are not some things just simply what they are and nothing more? In the end, rain is just rain, water returning to its origin. The following list doesn’t feature movies with heavy rain, nor is it about movies in which rain is a central character. They’re just movies I think about when I think about rain.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. Rain
2. Rashomon
3. Andrei Rublev
4. Blade Runner
5. Withnail & I
6. Damnation
7. Glengarry Glen Ross
8. Memories of Murder
9. Raincoat
10. Sin City

...plus 5 more. View the full list on Letterboxd.

Cinema based on LGBTQ+ issues has become mainstream in the 21st Century, with films like Moonlight, A Fantastic Woman, and 120 BPM heading a much-required discourse on queer identity politics and representation. But, if we look at the history of LGBTQ+ cinema back in the 20th Century, we would see how this representation came into being.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. Mädchen in Uniform
2. Song of Love
3. Some Like It Hot
4. The Children's Hour
5. Victim
6. The Killing of Sister George
7. Death in Venice
8. The Bitter Tears of Petra von Kant
9. Pink Flamingos
10. Je Tu Il Elle

...plus 10 more. View the full list on Letterboxd.

While modern auteurs like Lee Chang-dong, Kim Ki-Duk, Hong Sang-soo, and Im Kwon-Taek have garnered praise for their masterful direction in the film festivals, they have carved an inviolable niche. South Korean cinema has found a balance between competitive contemporary mainstream and art films that shape world cinema. Here is the exhaustive list of the best South Korean movies of the 21st century that redefined the medium.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. Poetry
2. Memories of Murder
3. Peppermint Candy
4. The Wailing
5. The King and the Clown
6. Secret Sunshine
7. Treeless Mountain
8. Burning
9. Decision to Leave
10. The Handmaiden

...plus 30 more. View the full list on Letterboxd.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. A Ghost Story
2. Good Time
3. Uncut Gems
4. Minari
5. The Lighthouse
6. The Florida Project
7. Aftersun
8. Moonlight
9. 20th Century Women
10. The Green Knight

...plus 40 more. View the full list on Letterboxd.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

• The Maze Runner
• Resident Evil
• The Great Wall
• Pandorum
• The Mist
• Predator

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. Extremely Loud & Incredibly Close
2. Emilia Pérez
3. Crash
4. The Help
5. Wicked
6. The Reader
7. The Blind Side
8. Les Misérables
9. The Hours
10. Joker

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. Captain America: Civil War
2. Black Panther
3. Captain America: The Winter Soldier
4. Guardians of the Galaxy
5. Avengers: Endgame
6. Avengers: Infinity War
7. Thor: Ragnarok
8. Captain America: The First Avenger
9. Guardians of the Galaxy Vol. 3
10. Iron Man

Click here to read the write-ups on these films.

...

What other films would you add to this list?

• Two Night Stand
• Wristcutters: A Love Story
• The Big Sick
• Obvious Child
• What If
• About Time
• Much Ado About Nothing
• Celeste & Jesse Forever
• 2 Days in Paris
• Drinking Buddies

...plus 14 more. View the full list on Letterboxd.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

• Baksho Bondi
• Living the Land
• Kontinental '25
• What Does That Nature Say to You
• Blue Moon
• The Ice Tower
• Mickey 17
• The Light
• If I Had Legs I’d Kick You
• Reflection in a Dead Diamond

Click here to read the write-ups on these films.

...

What other films would you add to this list?

• Ikarie XB 1
• 2001: A Space Odyssey
• Solaris
• Silent Running
• The Secret of the Third Planet
• Event Horizon
• Frequency
• Voices of a Distant Star
• Sunshine

...plus 5 more. View the full list on Letterboxd.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

• Eyes Wide Shut
• Wild Things
• Bound
• Basic Instinct
• Single White Female
• The Talented Mr. Ripley
• Cruel Intentions

Click here to read the write-ups on these films.

...

What other films would you add to this list?

• Don't Look Up
• Barbie
• Logan Lucky
• Between the Temples
• The Dead Don't Die
• Kneecap
• Meet the Parents
• The Babysitter
• The Unbearable Weight of Massive Talent
• 21 Jump Street

The 2025 Sundance Film Festival will take place from January 23–February 2, 2025, in person in Park City and Salt Lake City, Utah, with all of the competition films and more available online from January 30–February 2, 2025, for audiences across the country.

Single Film Tickets for in-person and online screenings go on sale January 16 at 10 a.m. MT

Visit: festival.sundance.org for more info.

Official Selection:
1-10 | U.S. Dramatic Competition
11-20 | U.S. Documentary Competition
21-30 | World Dramatic Competition
31-40 | World Cinema Documentary Competition
41-47 | NEXT
48-75 Premieres
76-82 | Midnight
81-85 | Episodic (Missing: Bucks County, USA, BULLDOZER, Never Get Busted!)
86-87 | Spotlight
88 | Family Matinee
89-90 | From The Collection
91-97 | Short Program 1
98-105 | Short Program 2
106-112 | Short Program 3
113-119 | Short Program 4
120-126 | Short Program 5
127-134 | Animated Short Film Program
135-141 | Documentary Short Film Program
142-147 | Midnight Short Film Program

1. Atropia
2. Bubble & Squeak
3. Bunnylovr
4. Love, Brooklyn
5. Omaha
6. Plainclothes
7. Ricky
8. Sorry, Baby
9. Sunfish (& Other Stories on Green Lake)
10. Twinless

...plus 137 more. View the full list on Letterboxd.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. Pasolini
2. The Florida Project
3. Platoon
4. The Last Temptation of Christ
5. The Life Aquatic with Steve Zissou
6. At Eternity's Gate
7. The Lighthouse
8. Antichrist
9. Shadow of the Vampire
10. Light Sleeper

Most of these films are in the post-production stage with a release date.

Get more details here: www.highonfilms.com/most-anticipated-movies-of-2025/

• 28 Years Later
• A Big Bold Beautiful Journey
• After the Hunt
• All-Star Weekend
• The Alto Knights
• Black Bag
• Blue Moon
• Bugonia
• Die My Love
• Eddington

...plus 38 more. View the full list on Letterboxd.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. Into the Wild
2. The Motorcycle Diaries
3. Hunt for the Wilderpeople
4. Lion
5. Green Book
6. Zindagi Na Milegi Dobara
7. Wild
8. Y Tu Mamá También
9. Karwaan
10. Vicky Cristina Barcelona

...plus 10 more. View the full list on Letterboxd.

You can read the write-up on these films in the link below:
The 5 Best Bengali Movies of 2024 and 3 Honorable Mentions

...

What other films would you add to this list?

1. Shri Swapankumarer Badami Hyenar Kobole
2. The Cloud & the Man
3. Kaleidoscope Now
4. Bhootpori
5. Beline
6. Bohurupi
7. Pariah Vol. 1
8. Chaalchitro

It's recommended that you read the write-up on these films in the link below:
The 20 Best Indian Movies of 2024

...

What other films would you add to this list?

1. All We Imagine as Light
2. Kottukkaali
3. Vaazhai
4. Amar Singh Chamkila
5. Manjummel Boys
6. Merry Christmas
7. Ullozhukku
8. Anubhuti
9. Kishkindha Kaandam
10. Kill

...plus 10 more. View the full list on Letterboxd.

It's recommended that you read the write-up on these films in the link below:
The 30 Best Films of 2024

...

What other films would you add to this list?

1. Challengers
2. Dune: Part Two
3. I Saw the TV Glow
4. Anora
5. The Seed of the Sacred Fig
6. Furiosa: A Mad Max Saga
7. Oh, Canada
8. A Real Pain
9. The Brutalist
10. Bird

...plus 20 more. View the full list on Letterboxd.

We recommend you read the write-up on these films in the link below:
Best Bollywood Movies on Netflix Right Now

...

What other films should we add to this list?

1. Lakshya
2. Paheli
3. Dil Chahta Hai
4. Paan Singh Tomar
5. Soni
6. Gangs of Wasseypur – Part 1
7. Gangs of Wasseypur – Part 2
8. Kaminey
9. Barfi!
10. Milestone

...plus 16 more. View the full list on Letterboxd.

We recommend you read the write-up on these films in the link below:
10 Uplifting World Cinema Movies For The Family

...

What other films should we add to this list?

• The Red Balloon
• Mon Oncle
• My Neighbor Totoro
• The White Balloon
• The King of Masks
• Children of Heaven
• The Cup
• The Way Home
• The Cave of the Yellow Dog
• Wadjda

Checkout the complete write-up on these films here:
www.highonfilms.com/best-malayalam-movies-on-prime-video/

1. Kumbalangi Nights
2. Aattam
3. The Great Indian Kitchen
4. Aavesham
5. Joji
6. Ayyappanum Koshiyum
7. Kaathal - The Core
8. Drishyam 2
9. Pada
10. Jallikattu

...plus 5 more. View the full list on Letterboxd.

Checkout the complete write up on these films here:
www.highonfilms.com/best-horror-films-of-the-1970s/

1. Black Christmas
2. Suspiria
3. Dawn of the Dead
4. The Texas Chain Saw Massacre
5. Carrie
6. Eraserhead
7. Alien
8. Jaws
9. The Exorcist
10. Halloween

Checkout the complete write up on these films here:
www.highonfilms.com/the-best-films-from-italian-neorealism/

1. Umberto D.
2. Rome, Open City
3. La Strada
4. Bicycle Thieves
5. La Terra Trema
6. Shoeshine
7. , Year Zero
8. I Vitelloni
9. Paisan
10. Miracle in Milan

...plus 10 more. View the full list on Letterboxd.

Though it may not carry the same sense of cultural prestige as its younger French sibling, the Palme d’Or, the Venice Film Festival’s Golden Lion is nonetheless a towering marker of distinction.

We recommend you read the complete write-up on these films here:
www.highonfilms.com/best-golden-lion-winners-ranked/

1. Rashomon
2. Brokeback Mountain
3. Lust, Caution
4. Roma
5. The Shape of Water
6. Nomadland
7. Short Cuts
8. The Green Ray
9. Last Year at Marienbad
10. Poor Things

...plus 5 more. View the full list on Letterboxd.

1. 12 Angry Men
2. A Few Good Men
3. Inherit the Wind
4. Judgment at Nuremberg
5. The Verdict
6. A Dry White Season
7. Witness for the Prosecution
8. True Believer
9. My Cousin Vinny
10. A Soldier's Story

...plus 15 more. View the full list on Letterboxd.

1. Exhuma
2. How to Make Millions Before Grandma Dies
3. Dìdi (弟弟)
4. Twilight's Kiss
5. Not Friends
6. Twilight of the Warriors: Walled In
7. The Missing
8. Shanghai Blues
9. 12.12: The Day
10. Brief History of a Family

...plus 5 more. View the full list on Letterboxd.

All the Films that are scheduled to be screened at the 2024 Edition of the New York Asian Film Festival. The Festival will commence from July 12th to July 28th, 2024.

1: Day 1 (Opening Film)
2-10: Day 2
3-17: Day 3
18-19: Day 4
20-21: Day 5
22-25: Day 6
26-28: Day 7
29-33: Day 8
34-41: Day 9
42-46: Day 10
47-50: Day 11
51-52: Day 12
53-55: Day 13
56-57: Day 14
58: Day 15
59-64: Day 16
65-66: Day 17
67: Day 17 (Closing Film)

1. Victory
2. FAQ
3. Pierce
4. For Alice
5. Galaxy Writer
6. 12.12: The Day
7. The Time of Huan Nan
8. Not Friends
9. The Tenants
10. All Shall Be Well

...plus 57 more. View the full list on Letterboxd.

Best Western showdowns in movies are iconic moments that epitomize the essence of the Wild West. These riveting confrontations between lawmen, outlaws, or rival gunslingers are filled with tension and anticipation and often showcase the clash between good and evil. Films such as "Django Unchained," "A Fistful of Dollars," "Unforgiven," "The Magnificent Seven" and "3:10 to Yuma" deliver unforgettable showdowns that have become ingrained in popular culture. These intense face-offs are characterized by slow, deliberate pacing, close-ups of squinting eyes, and the gripping exchange of words before the explosive eruption of gunfire. Western showdowns are not just about the action but also explore themes of justice, honor, and morality, leaving audiences captivated by the timeless allure of the American frontier.

So, here is a list of Ten Best Western Showdowns:
www.highonfilms.com/ten-best-western-showdowns/

• High Noon
• Shane
• Gunfight at the O.K. Corral
• A Fistful of Dollars
• McCabe & Mrs. Miller
• The Shootist
• Unforgiven
• 3:10 to Yuma
• Django Unchained
• The Magnificent Seven

• Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
• Landscape in the Mist
• Satantango
• Few of Us
• Evolution of a Filipino Family
• The Four Times
• Two Years at Sea
• Stray Dogs
• Horse Money
• An Elephant Sitting Still

With an honorable mention.

Read our detailed description of the films:
www.highonfilms.com/best-movies-on-facial-surgery/

1. The Face of Another
2. Eyes Without a Face
3. Seconds
4. Phoenix
5. Open Your Eyes
6. Time
7. Goodnight Mommy
8. The Skin I Live In
9. Dark age
10. A Woman's Face

...plus 1 more. View the full list on Letterboxd.

Read our detailed description of the films: www.highonfilms.com/christopher-nolan-films-ranked/

1. Memento
2. The Prestige
3. Following
4. The Dark Knight
5. Inception
6. Oppenheimer
7. Dunkirk
8. Batman Begins
9. Interstellar
10. Insomnia

...plus 2 more. View the full list on Letterboxd.

Read our detailed description of the films:
www.highonfilms.com/alfonso-cuaron-movies/

1. Children of Men
2. Roma
3. Y Tu Mamá También
4. Gravity
5. Harry Potter and the Prisoner of Azkaban
6. A Little Princess
7. Great Expectations
8. Sólo con tu pareja

Read our detailed description of the films:
www.highonfilms.com/5-important-georges-melies-films/

1. A Trip to the Moon
2. The Impossible Voyage
3. The Diabolic Tenant
4. The Black Imp
5. Bluebeard

Read our detailed description of the films:
www.highonfilms.com/every-spike-jonze-film-ranked/

1. Adaptation.
2. Being John Malkovich
3. Her
4. Where the Wild Things Are

• 20th Century Women
• Little Women
• Sita Sings the Blues
• Two Days, One Night
• Incredibles 2
• s Ha
• The Wife
• Frozen
• Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)
• Persepolis

...plus 15 more. View the full list on Letterboxd.

• Of Horses and Men
• Something Must Break
• The Congress
• To Kill a Man
• Stranger by the Lake
• Miss Violence
• Frank
• Bethlehem
• Locke
• Lilting

...plus 10 more. View the full list on Letterboxd.

• Black Swan
• Battle Royale
• Panic Room
• Let the Right One In
• Beetlejuice
• Barbarian
• Bodies Bodies Bodies
• Scream

• Star Wars
• The Empire Strikes Back
• Return of the Jedi
• Star Wars: Episode I – The Phantom Menace
• The Mythology of Star Wars
• Seven Samurai
• Avatar
• Dune
• The Creator
• Mad Max: Fury Road

...plus 2 more. View the full list on Letterboxd.

• Kabuliwala
• Aakrosh
• Dead Man Walking
• I Want to Live!
• Happy as Lazzaro
• 4 Little Girls
• Anand
• Beasts of the Southern Wild
• Being There
• Bringing Down the House

• The Raid
• Police Story
• Jawan
• The Man with the Iron Fists
• A Prayer Before Dawn
• Kaala
• Drive
• Oldboy

• Full Metal Jacket
• Blow-Up
• The Salt of the Earth
• Hearts and Minds
• Eye in the Sky
• The Killing Fields
• 20 Days in Mariupol
• Come and See

• Eternal Sunshine of the Spotless Mind
• The Lake House
• P.S. I Love You
• Nights in Rodanthe
• One Day
• The Best of Me
• Forever My Girl
• A Walk to
• Message in a Bottle
• Love Story

• In the Heights
• Yesterday
• Once
• tick, tick... BOOM!
• The Big Sick
• Blinded by the Light
• (500) Days of Summer
• Up in the Air

• Kingsman: The Secret Service
• The Man from U.N.C.L.E.
• Layer Cake
• Atomic Blonde
• Red Sparrow
• Ruby Sparks
• Adaptation.

Jessica Michelle Chastain was named by Time Magazine as one of the Top 100 Most Influential People in the World in 2012. She has bagged accolades for numerous roles, including two Academy Award nominations and two British Academy Film Award nominations. She has also won a Golden Globe Award for her role as a CIA analyst in the film Zero Dark Thirty (2012). With an impressive number of movies in her bag, she has starred in acclaimed films like Interstellar(2014), The Martian (2015), It Chapter Two (2019) and The Help (2011).

Here Are the 10 Best Jessica Chastain Performances:
www.highonfilms.com/best-jessica-chastain-performances/

Anurag Kashyap is a prominent Indian filmmaker known for his groundbreaking work in the Hindi film industry. With a distinctive storytelling style and a penchant for gritty and realistic narratives, Kashyap has carved a niche for himself in Indian cinema. His filmography boasts a diverse range of critically acclaimed movies, including "Gangs of Wasseypur," a gripping crime saga spanning generations, "Dev.D," a modern-day adaptation of Devdas, "Black Friday," a hard-hitting drama based on the 1993 Bombay bombings, "Ugly," a dark and disturbing exploration of human ugliness, and "No Smoking," a psychological thriller delving into the depths of addiction and obsession. Kashyap's films often explore complex themes such as societal issues, politics, and human emotions, and he is celebrated for his bold and fearless approach to storytelling. His unique vision and ability to capture the essence of contemporary Indian society have earned him both national and international acclaim.

Here Are All Anurag Kashyap Movies Ranked from Worst to Best:
www.highonfilms.com/all-anurag-kashyap-movies-ranked/

Otto Preminger, a legendary filmmaker of the 20th century, left an indelible mark on the world of cinema with his diverse and captivating filmography. Known for his meticulous attention to detail and fearless exploration of controversial themes, Preminger crafted a body of work that spans various genres and showcases his distinctive directorial style. He rose to prominence in the 1940s with films like "Laura" (1944), a mesmerizing film noir that remains a classic to this day. Throughout his career, he fearlessly tackled social issues and pushed boundaries with films such as "Anatomy of a Murder" (1959), a courtroom drama that delves into the complexities of justice, and "Advise and Consent" (1962), which explored the dark underbelly of political power. Preminger's filmography also includes notable works like "Exodus" (1960), an epic tale of the founding of Israel, and "Bunny Lake Is Missing" (1965), a gripping psychological thriller. With his remarkable talent for storytelling and his willingness to challenge conventions, Otto Preminger left an enduring legacy in the world of cinema.

Here Are 5 Must See Movies by Otto Preminger:
www.highonfilms.com/must-see-films-of-otto-preminger/

Almost every publication, article, documentary, or podcast on Roman Polański includes the adjective ‘controversial or ‘problematic.’ This is done for all the right reasons. During the heated discussion about Polański’s personal life, his artistic achievements become a secondary matter. Overlooking his filmography would be an actual loss and disrespect towards dozens of talented people who helped to shape it. Among his frequent collaborators were composers Krzysztof Komeda and Alexandre Desplat, director of photography Paweł Edelman, screenwriter Gérard Brach, and actress (and wife) Emmanuelle Seigner.  The cinema of Roman Polański revolves around traumas caused by dehumanization, the invasion of safe and familiar spaces as well as deviating sexual encounters. Having witnessed and caused a lot of horrors in his own life, Polański is best known for his mastery in building tension and creating a feeling of discomfort in the viewer. Although primarily known for thrillers and horrors, Roman Polański also excelled in comedies (The Fearless Vampire Killers), history (Macbeth), and period pieces (Tess). Moreover, in his filmography, we can find family-friendly movies (Oliver Twist) and thought-provoking short films (Mammals and Two Men and a Wardrobe). 

Here's our pick for the 10 Best Roman Polanski Movies:
www.highonfilms.com/best-films-of-roman-polanski/

Roberto Benigni, the charismatic Italian actor, writer, and director, boasts a diverse and acclaimed filmography. Born in 1952, he gained international recognition with his 1997 film "Life is Beautiful," which he not only starred in but also directed and co-wrote. This poignant tragicomedy earned him an Academy Award for Best Actor, and the film itself won the Best Foreign Language Film category. Benigni's earlier works, such as "Johnny Stecchino" (1991) and "The Monster" (1994), showcase his comedic prowess, while his collaborations with director Jim Jarmusch, including "Down by Law" (1986) and "Night on Earth" (1991), highlight his versatility and global impact. Additionally, his participation in Jarmusch's "Coffee and Cigarettes" (2003) adds another layer to his eclectic and internationally acclaimed career.

Here Are 10 Best Roberto Benigni Performances, Ranked :
www.highonfilms.com/best-roberto-benigni-performance-ranked/

Isao Takahata was a Japanese film director, animator, and producer, best known for his work with the animation studio Studio Ghibli. Takahata began his career in the 1960s, working for Toei Animation, and co-founded Studio Ghibli with Hayao Miyazaki in 1985. He directed several acclaimed animated films throughout his career, including Grave of the Fireflies, Only Yesterday, Pom Poko, My Neighbors the Yamadas, and The Tale of Princess Kaguya. Takahata's films often tackled mature and complex themes, and his innovative animation techniques helped to redefine the genre. Takahata ed away in 2018, leaving a legacy as one of Japan's greatest animators.

Here Are All Isao Takahata Movies Ranked:
www.highonfilms.com/all-isao-takahata-movies-ranked/

Satoshi Kon’s foray into anime showcased a fresh approach to this singular form of cinema, which had erstwhile been relegated as a form primarily meant to cater to young audiences. With convoluted timelines, repeated overlaps between imagination and reality, and the constant need to detail the interior worlds of the characters– which speak to the audience in a way never seen before, Kon inaugurated a new wave in animation filmmaking that was at odds with what’s standardized by Western production houses like The Walt Disney Company. Here, we have ranked his films, such as Perfect Blue and Tokyo Godfathers.

Here's How We Have Ranked The Four Films of Satoshi Kon:
www.highonfilms.com/all-four-satoshi-kon-movies-ranked/

Best Western showdowns in movies are iconic moments that epitomize the essence of the Wild West. These riveting confrontations between lawmen, outlaws, or rival gunslingers are filled with tension and anticipation and often showcase the clash between good and evil. Films such as "Django Unchained," "A Fistful of Dollars," "Unforgiven," "The Magnificent Seven" and "3:10 to Yuma" deliver unforgettable showdowns that have become ingrained in popular culture. These intense face-offs are characterized by slow, deliberate pacing, close-ups of squinting eyes, and the gripping exchange of words before the explosive eruption of gunfire. Western showdowns are not just about the action but also explore themes of justice, honor, and morality, which captivated audiences by the American frontier's timeless allure.

Here Are Ten Best Western Showdowns in Cinema:
www.highonfilms.com/ten-best-western-showdowns/

The New York-born screenwriter Aaron Sorkin is one of the most prolific of his time. A shrewd feel and sense mark his penmanship for real-time scenes and zany, rapid-flowing dialogue exchanges between characters. Mr. Sorkin’s trademark has come to the fore most famously in ‘The Social Network,’ which has become a mantlepiece for modern-day writers. He started his career with theater, gradually jumping to television with hits like The West Wing and then to the big screen with A Few Good Men. In many interviews, Mr. Sorkin has revealed his obsession with getting every inflection of his dialogues correct with the actors as he does in his head when he writes. Here, we have included his screenplays for Moneyball, Steve Jobs, Molly's Game, and Malice among others.

Here Are All Aaron Sorkin Screenplays Ranked:
www.highonfilms.com/aaron-sorkin-screenplays-ranked/

If you're a fan of "Fight Club," explore the visceral world of "American Psycho" for its mind-bending narrative and psychological depth. "Nightcrawler" provides a modern-day descent into moral ambiguity, mirroring the dark satire and exploration of identity found in "Fight Club." "V for Vendetta" offers a dystopian, politically charged narrative that resonates with societal disillusionment and rebellion. "Donnie Darko" shares enigmatic storytelling and existential themes akin to the disquieting allure of "Fight Club." Experience the raw energy and anarchist spirit in "Trainspotting," delving into gritty realities and rebellious minds. Lastly, "Captain Fantastic" challenges conventional norms and consumerism, echoing themes central to "Fight Club."

Add These 10 Films To Your Watchlist if You Love Fight Club (1999):
www.highonfilms.com/movies-like-fight-club/

Exploring the captivating world of cinema within cinema, these 30 great films about films transcend the boundaries of traditional storytelling, offering a meta-narrative experience that delves into the art and craft of filmmaking. Federico Fellini's '8½' stands as a masterpiece, navigating the psyche of a director amidst creative chaos. Truffaut's 'Day for Night' skillfully unveils the behind-the-scenes dynamics, while 'Singin' in the Rain' joyously celebrates the transition from silent to talkies. David Lynch's 'Mulholland Drive' is a surreal exploration of Hollywood's dark underbelly, and Giuseppe Tornatore's Cinema Paradiso beautifully encapsulates the magic of cinema. Abbas Kiarostami's 'Close-Up' provides a unique perspective on filmmaking as it blurs the lines between reality and fiction. Spike Jonze and Charlie Kaufman's 'Adaptation' takes a surreal twist, blending fact and fiction. These films, along with 'Sunset Boulevard,' 'Babylon,' 'The Disaster Artist,' and satirical gems like 'Tropic Thunder,' collectively paint a vivid portrait of the cinematic realm, offering audiences a reflective journey into the magic and madness of filmmaking.

Here's A List of Cinema on Cinema: 30 Great Films About Films:
www.highonfilms.com/cinema-on-cinema-great-films-about-films/

Ensemble films have been a staple genre of Hollywood since the early decades of cinema. But, the marked increase in its popularity can be traced to the postmodern era of the 1990s. Because a film has the potential to explore and reflect cultural politics, moral complexities, and ideological standpoints, it has become even more imperative now to have more conversations about an ensemble cast. The unification of different plot lines and characters is a key attribute of ensemble casting in films like Glengarry Glen Ross (salesmen face cutthroat competition), The Thin Red Line (WWII soldiers grapple with inner turmoil), It’s a Mad Mad Mad Mad World (chaotic hunt for a hidden fortune), Murder on the Orient Express (detective solves a murder on a train), Birdman (an actor battles his inner demons), Oceans Eleven (a stylish heist with charming criminals), LA Confidential (corrupt cops unravel dark secrets), and Inception (a mind-bending dream heist). The overarching theme, location, event, narrative structure, or anything could tie the characters together.

So, here is an attempt to collate the 20 Best Hollywood Movies with an Ensemble Cast:
www.highonfilms.com/20-best-hollywood-movies-with-an-ensemble-cast/

Trains have long served as evocative settings for storytelling in cinema. Four exceptional movies set aboard trains stand out for their captivating narratives and unforgettable scenes. "Train to Busan" delivers intense zombie horror, as engers must fight for survival on a speeding locomotive. In "Source Code," a high-concept thriller, a soldier is tasked with uncovering a terrorist plot while repeatedly reliving a train journey. Agatha Christie's classic "Murder on the Orient Express" brings her iconic detective Hercule Poirot to solve a murder mystery amid the opulence of the famous train. Lastly, Hitchcock's "The Lady Vanishes" weaves a tale of intrigue and suspense as a woman disappears under mysterious circumstances, leaving fellow engers to unravel the enigma. These films expertly utilize the train's unique setting to create cinematic magic.

Here Are 30 Great Movies Set On A Train:
www.highonfilms.com/great-movies-set-on-a-train/

Movies about writers are not a common occurrence in cinema. Only a few filmmakers have ever been able to capture the cinematic feeling of having to struggle on one’s desk with a pen and paper. Most have also complained that some written texts can never be on the screen. However, when it comes to people writing those texts, a few enigmatic filmmakers have managed to portray the zeal, struggle, and eventual relapse of a writer’s life while doing what they love best – writing. Movies about writers also tend to overstay their welcome when the complete focus becomes on writing. From Spike Jonze's Adaptation to films by Woody Allen, Billy Wilder, The Coen Brothers, David Cronenberg, Jane Campion & Greta Gerwig, the list includes 25 of the best movies that follow a writer's life.

Here Are 25 Best Movies About Writers:
highonfilms.com/the-greatest-movies-about-writers/

The Iranian Revolution of 1979 ushered in a new era of filmmaking in the country, with a surge of creative and thought-provoking films. Five of the best post-revolution Iranian movies include "A Separation" by Asghar Farhadi, a compelling family drama exploring complex moral dilemmas. "Close-Up" by Abbas Kiarostami blurs the lines between reality and fiction, providing a thought-provoking commentary on identity and filmmaking. "Taste of Cherry" by Abbas Kiarostami delves into existential themes as it follows a man's contemplation of suicide. "About Elly" by Farhadi offers a tense, mysterious narrative, while "Children of Heaven" by Majid Majidi is a heartwarming tale of sibling devotion. These films, marked by their unique storytelling, social commentary, and ability to resonate with global audiences, have solidified Iran's place on the world cinema stage.

Here Are The 10 Best Iranian Movies Post Iranian Revolution (1990s):
www.highonfilms.com/10-best-iranian-movies-post-iranian-revolution-1990s/

Lee Chang-dong rose to popularity among the mainstream audience after the release of his psychological thriller “Burning,” but he is not new to the festival circuit. He is a revered filmmaker in International film festivals known for exploring the social and political climate of South Korea in his films. In some of his grimmest movies of the past few decades, he’s tackled such themes as his country’s oppressive recent history (Peppermint Candy), the sexual victimization of women (Oasis and Poetry), questioning the religious belief and faith (Secret Sunshine), and the hopelessness that young people feel in an increasingly inscrutable world (Burning).

Here Are All Lee Chang-dong Movies, Ranked:
www.highonfilms.com/all-lee-chang-dong-movies-ranked/

Films like "The Shawshank Redemption" share a similar impact to classics such as "One Flew Over the Cuckoo's Nest," directed by Milos Forman, which explores themes of rebellion and the human spirit within the confines of a mental institution. "Intouchables," directed by Olivier Nakache and Éric Toledano, presents an unlikely friendship between a wealthy quadriplegic and his caretaker, showcasing the transformative power of human connection. "The Great Escape," directed by John Sturges, tells the gripping story of Allied prisoners attempting a daring escape from a German POW camp during World War II. Similarly, "Escape from Alcatraz," directed by Don Siegel, depicts the true story of prisoners defying the odds in their desperate bid for freedom from the notorious Alcatraz Island prison. These films, like "The Shawshank Redemption," resonate with audiences by exploring themes of resilience, defiance, and the enduring spirit of humanity.

Here are 10 Films To Watch If You Love 'The Shawshank Redemption':
www.highonfilms.com/films-like-shawshank-redemption/

“Once you overcome the one-inch tall barrier of subtitles, you will be introduced to so many more amazing films,” said the acclaimed South Korean director Bong Joon-ho. So when it comes to family movies, why limit ourselves to the traditional Disney fare and other nauseatingly popular ones? While there are plenty more shows to stream, why not nudge our family , if they are undaunted by subtitles, to open themselves to new worlds and cultures? Here, we recommend films like My Neighbor Totoro (1988), Mon Oncle (1958), The Red Balloon (1956), and Children of Heaven (1997), among others.

Check out the complete list and add these films to your watchlist:
www.highonfilms.com/world-cinema-movies-for-the-family/

Cinematic love letters that transcend time possess an enchanting and timeless quality, weaving narratives of love that resonate across generations. Films like "Mulholland Drive" (2001) unfold with enigmatic ion, blurring reality and illusion in a haunting exploration of love's complexities. "Singin' in the Rain" (1952) dances through the ages with joyful exuberance, celebrating love and ambition amidst Hollywood's golden era. "Cinema Paradiso" (1988) tenderly captures the nostalgia of first love, framed within the embrace of a small Italian cinema. "8½" (1963) delves into the intricate layers of love and artistic expression, blurring the boundaries between reality and dreams. "The Artist" (2011) pays homage to silent film, seamlessly capturing the evolution of love amidst the changing tides of fame. Through masterful storytelling, these films become more than mere entertainment; they are profound reflections on the universal human experience of love, transcending time to touch the hearts of viewers across eras and cultures.

Here Are 10 Films In Form Of Cinematic Love Letters that Transcend Time:
www.highonfilms.com/cinematic-love-letters-that-transcend-time/

In the realm of film noir, where femme fatales typically cast a long shadow, a select few masterpieces diverge from this convention. Billy Wilder's "Double Indemnity" (1944) subverts expectations with a male protagonist ensnared in a deadly plot, while Carol Reed's "The Third Man" (1949) captures post-war Vienna's enigmatic aura through intricate characters. Nicholas Ray's "In a Lonely Place" (1950) navigates psychological depths without relying on a femme fatale, and Orson Welles' "Touch of Evil" (1958) immerses viewers in a labyrinthine narrative of corruption. Charles Laughton's "The Night of the Hunter" (1955) weaves a haunting noir fairy tale, and "Sweet Smell of Success" (1957), directed by Alexander Mackendrick, explores the dark underbelly of media and power. These five film noirs showcase the genre's diversity beyond the allure of the femme fatale.

Here Are 10 Great Film Noirs without Femme Fatales:
www.highonfilms.com/great-film-noirs-without-femme-fatales/

Gifted children (or prodigy) movies are driven by an intriguing paradox: what if they don’t realize their full potential if not adequately challenged? But what if the pursuit of intense challenges inculcates within them a fear of failure, which can adversely impact their childhood and beyond? In a world where individuals can be casually stigmatized for being ‘different,’ extraordinary intellect can’t always be a gift. Movies like A Beautiful Mind (2001), Shine (1996), Good Will Hunting (1997), The Royal Tenenbaums (2001), The End of the Tour (2015), The Man Who Knew Infinity (2016) dealt with super-smart people burdened with mental or emotional problems. But the films mentioned below grapple with such problems or quandary of kids & teens. We have listed down films like Billy Elliott (2000), Gifted (2017), La Bamba (1987), and Searching for Bobby Fischer (1993), among others

Here Are 10 Fascinating Child/Teen Prodigy Movies:
www.highonfilms.com/best-child-teen-prodigy-movies/

Indian cinema boasts a captivating array of murder mystery movies that consistently enthrall audiences. "Andhadhun" intricately weaves deception and suspense, leaving viewers spellbound. "Talaash" delves into the supernatural, merging intrigue with the afterlife. "Drishyam" showcases a common man's compelling fight for truth and family. "Kahaani" unravels a gripping tale of a pregnant woman's quest for her missing husband. "Gupt: The Hidden Truth" masterfully conceals its murderer, keeping viewers guessing till the end. "Detective Byomkesh Bakshy!" transports audiences to a vintage detective era with a fresh twist. "Rahasya" delves into a controversial murder case, leaving minds intrigued. "A Wednesday!" delivers a pulse-pounding narrative of a common man's extraordinary vendetta. "Race" merges murder with high-stakes rivalry, weaving an enthralling thriller. "The Stoneman Murders" unravels a chilling series of killings, immersing the audience in a web of mystery and suspense. Internationally, Kenneth Branagh's "A Haunting in Venice" adds a touch of eerie intrigue to the murder mystery genre. In addition, "Ratsasan" and "Raat Akeli Hai" enrich the Indian suspense repertoire, ensuring viewers remain hooked throughout these cinematic experiences. These movies engage viewers with their enigmatic plots, leaving them on the edge of their seats.

Here Are 20 Indian Murder Mystery Movies That Keep The Viewers Hooked:
www.highonfilms.com/indian-murder-mystery-movies/

Tatsuya Nakadai, one of Japan's most iconic and versatile actors, boasts a prolific filmography spanning over six decades. Renowned for his intense performances, Nakadai has graced the silver screen in numerous critically acclaimed roles. His collaboration with legendary director Akira Kurosawa in films like "Seven Samurai," "Yojimbo," and "High and Low" solidified his status as a cinematic legend. Nakadai's range extends beyond samurai epics, as he's delivered memorable performances in masterpieces like "Harakiri," "Ran," and "The Human Condition I: No Greater Love" and in the subsequent films. He has also lent his voice to animated gems like "The Tale of the Princess Kaguya" and explored the surreal in "The Face of Another" and "Belladonna of Sadness." With over 150 film credits, Nakadai's career is a testament to his extraordinary talent and enduring presence in Japanese cinema.

Here are the 30 Best Performances By Tatsuya Nakadai:
www.highonfilms.com/best-tatsuya-nakadai-movie-performances/