2024 Review

30 Dec

By L. Tanner Smith

Okay, let’s address the elephant in the room. I only wrote 4 reviews this year–and two of them were for films that aren’t released to the public yet. I don’t know what it is, but ever since I quit being a film critic and became more of a “film appreciator,” I’ve been writing less about how I appreciate movies. Odd.

But I still love year-end lists. So, here’s mine for 2024!

As usual, here are the films I missed that I’ve seen on many 2024 lists: Anora, Babygirl, The Brutalist, Emilia Perez, The Fire Inside, Nosferatu, Sing Sing, Wicked. And here are the great films from last year that I caught up with this year: American Fiction, Influencer, Killers of the Flower Moon, and Poor Things.

Oh, and there’s one that had a very limited theatrical release at the very end of 2023 before releasing on Hulu the first week of January 2024: Andrew (Lean on Pete) Haigh’s All of Us Strangers. I wondered, do I classify it as a 2023 film or is it technically a 2024 film? Well…whatever the case, I’ll give it a Special Mention here–it’s a beautiful film, very original, with great performances by Andrew Scott and Paul Mescal, and not what I expected at all. That’s all I need to say about it because the less you know going into it, the better.

One last thing before getting to the Honorable Mentions of my 2024 list: Johanna Putnam’s Shudderbugs, the best film I’ve seen in the past five years, still hasn’t been released yet. But it’s likely to be on my list of any year’s best–and I saw 3 films in 2024 (my top 3 on the list, obviously) that hit me directly in the feels, which still makes a satisfactory list for me. Other terrific films awaiting release: Patrick (They Wait in the Dark) Rea’s The Night is Young, Bruce (Surfacing) Hutchinson’s Mountain Flowers, Emily Railsback’s American Parent, and (a homer pick) Valeri Bates’ Finding Joy.

Now, the Honorable Mentions: Thelma, Brats, Turtles All the Way Down, The Fall Guy, Late Night With the Devil, Steve! (Martin) A Documentary in 2 Pieces, The Bikeriders, Carry-On, All Happy Families, The Idea of You, Blink Twice, Didi, Smile 2, Self Reliance, Dune Part Two, The Piano Lesson, Earlybird, Young Woman and the Sea, Kneecap, Love Lies Bleeding, Suncoast, Blitz, I Used to Be Funny, Babes, Parachute, Late Bloomers, Bonhoeffer, Maria, and Nutcrackers. (Whew! I did see a lot of good films this year.)

And now, let’s get into it: my list of Top 20 Favorite Films of 2024!

20) The Best Christmas Pageant Ever–Mike Flanagan said this year that “life is tough. The older I get, the more I value finding the rare movie that just lifts me up, and gives me a few hours of pure, unadulterated happiness.” And that’s exactly how I feel about Dallas (The Chosen) Jenkins’ superb adaptation of a beautiful Christmas story I’ve treasured since childhood. (That, and it’s also very funny.)

19) Am I OK?–This beautiful friendship story, by directors Tig Notaro and Stephanie Allynne, features two incredible grounded performances from Dakota Johnson and Sonoya Mizuno as two besties who are each going through a transition period and unsure how to relate to one another about it. But they’re true friends; they’ll be alright no matter what. Available on Max.

18) Rebel Ridge–Jeremy (Green Room) Saulnier delivers another first-rate thriller that begins with discomfort and proceeds with a ride that plays like First Blood meets Coming Home. (If I were still a critic, I’d regret that cheesy comparison blurb.) What I like most about Saulnier’s work: nothing is quite as it seems. Available on Netflix.

17) Lover, Stalker, Killer–We get a lot of true-crime documentaries on Netflix these days; this one stood out to me earlier this year. Director Sam Hobkinson chronicles a bizarre, twisted love triangle gone seriously wrong–and if the title, “Lover, Stalker, Killer,” gives everything away…trust me, it doesn’t. Available on Netflix.

16) Furiosa: A Mad Max Saga–George Miller’s still got it! His fifth “Mad Max” film is every bit as entertaining as the best of the others in the franchise. And you know what–I think the thing I’m going to look forward to the most in the next film is the amount of crazy names in this world: this one includes Dementus, Scrotus, Erectus…

15) A Quiet Place: Day One–While A Quiet Place Part II ended on a hopeful triumphant note, I was still curious to see a spin-off film in the “Quiet Place” franchise, to see how other people deal with the invasion of sound-hunting alien monsters, in other areas. And setting it in the city of Manhattan was a great start. Add the interesting and loving dynamic of Lupita N’yongo & Joseph Quinn as two strangers who survive together (along with a cute cat), and director Michael (Pig) Sarnoski has taken the series in a fresh direction. (Also, I didn’t realize from the previous two movies how many of these creatures could be in one location…now I know, and it’s terrifying.)

14) A Complete Unknown–Timothée Chalamet becomes Bob Dylan, Monica Barbaro becomes Joan Baez, and this biopic from James (Walk the Line) Mangold is another for the cinema history books. This is actually one of the better biopics in recent memory, in my opinion.

13) Woman of the Hour–Anna Kendrick’s directorial debut takes her to a 1978 recording of TV’s “The Dating Game” where she is choosing between three eligible bachelors…one of whom is a killer. Based on the true story of when serial killer Rodney Alcala (played here in a chillingly charismatic performance by Daniel Zovatto) hid in plain sight and appeared as a “Dating Game” contestant, this is a four-star thriller with subtle chills, still-relevant social commentary, and plenty of skillful directing that has me curious for Kendrick’s next filmmaking effort. Available on Netflix.

12) Speak No Evil–The Dutch-Danish film this Blumhouse remake is based on is very much about the perils of being too polite in an uncomfortable situation and how that discomfort escalates when you want to just shout “LET’S JUST GET OUT OF HERE ALREADY!!!” …I actually kind of prefer this American-English reimagining for one particular reason: these characters try harder to fight their way out, and that’s all I’ll say about that. (Hey, it’s a lot better than the changes made in the American remake of The Vanishing.) But it also gave me one of my favorite moviegoing experiences of the year (I love seeing horror films with an excited audience), kept me on-edge throughout, and had me wondering, “Would I fall for James McAvoy’s charms too?”

11) His Three Daughters–The ensemble cast in this beautiful character-based drama (from writer-director Azazel Jacobs) has already won the Robert Altman Award at the 2025 Film Independent Spirit Awards. And for good reason: they are this film. Leads Carrie Coon, Elizabeth Olsen, & Natasha Lyonne are as great together as they are individually, and Jovan Adepo, Jay O. Sanders, and the rest of the cast are just as terrific. This is only #11?? Available on Netflix.

10) Ghostlight–I made a mistake not including the indie gem Saint Frances on my 2020 list; I won’t leave the filmmakers’ sophomore film off the 2024 list. This treasure, helmed by Alex Thompson & Kelly O’Sullivan, is a loving tribute to community theater and the unique way it can help through certain aspects of life. All of the actors are great, the script is beautiful, the message about the power of theater is lovely, and the entire result of Ghostlight reassures me that these people have a lot of talent to share to the world. I can’t wait to see what they do next.

9) Hit Man–One of the most entertaining films of the year came to Netflix from one of my all-time favorite filmmakers (Richard Linklater) and one of today’s most promising actors (Glen Powell). Because of the story, involving a fake hit man who aids the police in sting operations and then gets wrapped up in a particular case, I was afraid of it being a little predictable–but I loved that I didn’t know where it was going. And Powell turns in an exceptional comic performance as a guy who constantly flirts with danger. Available on Netflix.

8) White Bird–You don’t have to have seen the 2017 treasure Wonder to get the impact of this spin-off film, in which one of its characters (Julian, reprised by Bryce Gheisar) is told by his grandmother (Helen Mirren) how she, as a teenage girl in the 1940s, found love and kindness in unexpected ways while hiding from the Nazis in occupied France. Though, it does help a bit with the extra layer of context. But even without it, this film, by Marc (Stranger Than Fiction) Forster, works as a wonderful and inspiring coming-of-age story (with outstanding work from two young newcomers: Ariella Glaser & Orlando Schwerdt) that reminds us of why we still need films like it in our lives.

7) The Wild Robot–2024 delivered many films that got me in the feels; and this one came from DreamWorks Animation, to whom I’m grateful for animated gems such as the first two Shrek movies, the Kung Fu Panda and How to Train Your Dragon movies, and The Prince of Egypt…and I think this one might set a new standard for them. I loved it–it’s funny, it’s exciting, it’s endearing, and yes, it’s incredibly heartfelt.

6) Small Things Like These–I’ve already listed films (Hit Man, His Three Daughters) that included some of my favorite leading characters of 2024…Cillian Murphy’s Irish coal merchant Bill Furlong is probably my favorite character of the 2020s so far. Here’s a genuinely good guy who could have had a horrible upbringing if not for the kindness of a caring soul, and we thank God he’s the reliable family man and businessman that he is…and also pray that he does the right thing when he notices someone else could use the same amount of help that he received. He’s an unlikely hero in a small yet grand film that I won’t forget anytime soon.

5) Saturday Night–One of the most entertaining films of the year, from director Jason Reitman, is a dramatization about the taping of the very first “Saturday Night Live.” I just had a blast watching this film. All of the actors do excellent work playing the cast and crew behind the scenes; every single one of them could star in a biopic about their respective counterparts (my favorites include Nicholas Braun as Jim Henson and Dylan O’Brien as Dan Aykroyd). The filmmaking plays with maneuvering-around-the-set choreography almost like a musical, never making for a dull moment. And the overall effect is seeing a passion project come to life–and it’s all the more impactful when we know how long it will last.

4) The 4:30 Movie–30 years after Kevin Smith made a name for himself with Clerks…and this is how we treat his most heartfelt film to date: with a Sundance rejection and one week in limited theaters? No. This fun, nostalgic, even sentimental comedy from one of my favorite people in pop culture deserved much better treatment. I’ll have to write a full review for this one to full illustrate the effect it had on me. But for now, I’ll say that it contains my personal favorite scene of 2024, in which our teenage hero Brian (Austin Zajur) discovers the local cinema’s Hot Usher (Genesis Rodriguez) shares his passion for film and even bestows some much-needed advice: “We’re filmmakers. We just haven’t made our films…yet.” Golf-clap, Mr. Smith.

Okay…now for the 3 films that gave me the most hard-hitting emotional experiences of 2024:

3) A Real Pain–This is a road movie about connection, resentment, and finding the humor in both; and it’s a beautiful film, with two great performances at the center from Jesse Eisenberg & current awards-contender Kieran Culkin. Eisenberg also wrote and directed the film, and he acquits himself beautifully as a filmmaker with a genuine heart as well as a mix of melancholy and humor. The film is warm, insightful, and funny. I can’t wait to see it again, if for no other reason than to be in the company of these two leads again.

2) Inside Out 2–Disney & Pixar has a wonderful new franchise on their hands. With personalized emotions seeing our everyperson protagonist through difficult phases of life, just think of the possibilities in future sequels. The first Inside Out, which topped my 2015 list, was about the importance of sadness; this extraordinary sequel is about working with anxiety (which is something a lot of adults could use too). If the Toy Story franchise is Disney/Pixar’s most entertaining, then the Inside Out franchise is their most important.

And my favorite film of 2024 is…

  1. My Old Ass–Right after I saw this wonderfully moving and funny fantasy-comedy-drama in a theater, I knew that I wouldn’t like any film better than it. I can admit that I’ve seen some objectively better films (like Small Things Like These and A Real Pain). But Megan (The Fallout) Park’s My Old Ass is my absolute favorite film of 2024. This is a beautiful story about a narrow-minded, self-centered Gen-Zer (Maisy Stella, a revelation) who, upon a magical encounter with her future self (Aubrey Plaza), learns life lessons upon trying different challenges, thinking of other people in her life, and simply living. It’s a summertime coming-of-age story with a magical twist. And it includes a scene in the final act that hits hard and makes everything that came before it even more impactful upon hindsight and a repeated viewing. It’s a small miracle–one that I’ll keep coming back to again and again. Available on Prime.

And here’s a funny little coincidence: this marks the second year in a row in which a Canadian film topped my year-end list (the other being BlackBerry in 2023).

Well, that’s another year I’ve had to leave Shudderbugs off the list. But both BlackBerry and My Old Ass were good substitutes for the top spots. And that’s the film to beat, for me, in 2025. So let’s see what happens!

Finding Joy

15 Nov

Smith’s Verdict: ****
Reviewed by Tanner Smith

Full disclosure: I’m an associate producer on this film. But if I can review 45RPM, a film I acted in, I can surely tell you how much I enjoy a film I helped fund.

“Finding Joy” is a film that is equal parts eerie, mysterious, moving, insightful, and inspiring. Some scenes are chilling and disturbing; others are heartfelt and emotional; and overall, it’s here for a good purpose.

Don’t go into it expecting one thing. Stay with it, and you will probably appreciate and love it even more.

“Finding Joy” is the feature filmmaking debut of Valeri Bates, who put her heart and soul into this film. Bates (who recently shined as an actor in The Night is Young, coming soon) wrote and directed and also starred in the film as Roni, an artist who suffers sleep paralysis, as we see in horrific opening moments that involve…something…in the dark…watching her…

Yeah, I wouldn’t want to be Roni in these moments.

As the occurrences worsen, Roni attempts to do something about it. She puts herself in a sleep study, sees a therapist, confides in her childhood best friend Trish (Heather Elaine), and so on. And the more she learns from all of it, the more she also learns about herself…and that’s all I’ll say about it except that it raises interesting questions and more importantly sticks the landing.

Side-note: Valeri’s lead performance makes the film (more on that in a bit), but the supporting cast is also terrific–Heather Elaine (“Millennial with a Cane,” a film I will not review because I actually made it–see the difference now?) is excellent as Trish, Davis DeRock (The Stylist) is relaxed and likable as a helpful sleep technologist, Deborah Madick is wonderful as Roni’s therapist, Kurt Hanover is damn scary as a questionable figure from Roni’s past, and other memorable actors, many of whom are based in Kansas City (where the film was made), include Tangela Welch, Ashley Moreland, Jennifer Seward, and Angie Heck. This ensemble cast is worthy of recognition wherever it can be found.

In a way, “Finding Joy” is a psychological thriller, especially when you find yourself wondering what is truly at stake for many of the heavier moments. But it’s also a uniquely brilliant character study and haunting story. What also truly makes the film, aside from the stunning cinematography by David Watson (which includes arresting visuals, whether we’re in dark, claustrophobic spaces or even in open broad daylight) and the co-directing help from the extremely talented duo of Patrick Poe & Lolo Loren (Almost, Sorta, Maybe), is Valeri Bates herself. It’s not only because of the material she delivered from the start (and it’s a good screenplay)–it’s because of her lead performance as Roni. It has numerous layers and levels to it; it’s a brilliant performance. And I believe what is really going to keep people invested in this story is the Roni character and everything around her.

“Finding Joy” has an eerie, unsettling feel to it that makes Roni’s journey of self-discovery all the more captivating. We have questions such as: “What is that shadowy figure that stalks Roni in these sleep paralysis episodes?” “What is real and what isn’t?” “Is this film going to give us answers, tease us with no answers, or worse, tease us with answers?” Well, we do get answers, and thankfully, they don’t undercut everything that transpired to these moments (nor do they overload you with exposition to make sure you get the point). It all fits together beautifully. And that’s what Roni needs during all of this: she’s such a compelling and charismatic character that we want her to find the answers.

“Finding Joy” is a beautiful film. Valeri Bates and crew did splendid work and have a lot to be proud of here. It’s currently submitted into festivals, and I’m excited for many of them to give it the spotlight. And I only hope I’m there to add more support.

Follow “Finding Joy” on social media for updates on future screenings: @findingjoyfilm on Instagram and “findingjoyfilm” on Facebook.

Saturday Night (2024)

11 Nov

Smith’s Verdict: ****
Reviewed by Tanner Smith

A lot of people (myself included) have trash-talked “Saturday Night Live” many times–but, considering how many people find themselves nostalgic for each previous SNL decade run (plus its recent season-50 premiere is really popular), maybe we should just shut up and appreciate that it’s still going.

Jason Reitman’s “Saturday Night” is a dramatization about the taping of the first “SNL” (back when it was just called “Saturday Night,” hence the title of the movie) and all the anxiety and chaos that went into it when it seemed doomed to fail.

Taking place in real time, we follow the young pioneering producer/creator Lorne Michaels (Gabriel LaBelle, from “The Fabelmans”) in the hour-and-a-half leading up to the live recording of what would be the start of a game-changing sketch-comedy show that would feel like the best kind of Saturday night party on TV. The camera whips us all around to the sets, dressing rooms, and backstage hallways of Studio 8H, as Lorne tries his best to work a three-hour rehearsal in a 90-minute show, control his colorful cast of up-and-coming comedians, bump heads with producers, writers, and other creatives (like Jim Henson, who worries about the presentation of his Muppets), and just try to put on a good show.

It’s easy to compare this anxiety-induced backstage story to Birdman (hard to believe that film came out nearly a decade ago). But there’s one very important factor to consider in the comparison–“Saturday Night” actually captures the joy that goes into a passion project such as this. Yes, we see Lorne be stressed out, angry, and bitter at times, much like Riggan Thomson in “Birdman”–but those moments wouldn’t work as well if we didn’t feel Lorne’s passion for this project or see the immense pride and delight in his face when things go well. They help us see what’s on his mind, why he’s so eager to entertain and pull it off, and especially why we want to see “Saturday Night” succeed (which we know it will).

“Saturday Night” was directed by Jason Reitman, who makes very interesting choices with each film. (Thank You For Smoking and Juno are my favorites of his, and I also admire “Young Adult,” “Tully,” and “Ghostbusters: Afterlife.” Maybe I should revisit Men, Women & Children–I hated it when I first saw it; but, since I’m not a critic anymore, maybe I can see something more to it now.) Reitman co-wrote the script with Gil Kenan, and I can’t say how much I appreciate Reitman & Kenan’s partnership. Kenan was the director of the awesome and successful “Monster House” in 2006 and it’s like Hollywood just spat him back out after the failure of City of Ember (which I happen to really like, btw; my family and I were among the rare few who saw that in a theater). I’m glad that with the new “Ghostbusters” movies and now “Saturday Night,” Reitman is giving Kenan another career uprise.

Now…where do I even begin in talking about the large ensemble cast at work here? It’s largely LaBelle’s star vehicle, as the film is seen through Lorne’s experience of events, and he’s great here. But there are so many other actors who deserve credit for their excellent work in respective roles, so…I’m just list off the ones that impressed me the most:

Dylan O’Brien as Dan Aykroyd. Cory Michael Smith (Gotham) as Chevy Chase. J.K. Simmons as Milton Berle. Matt Wood as John Belushi. Lamorne Morris as Garret Morris. Rachel Sennott (impressing me more with each film) as writer Rosie Shuster. Nicholas Podany as Billy Crystal (I swear, it’s like they went back in time and brought back the actual young Billy Crystal for this part). Cooper Hoffman as network suit Dick Ebersol. Matthew Rhys as George Carlin. Andrew Barth Feldman (“No Hard Feelings”) as Lorne’s cousin and assistant. Tommy Dewey as Michael O’Donaghue. And on and on and on, and I haven’t even mentioned the great Willem Dafoe as network suit David Tebet yet!!

My personal favorite was Nicholas Braun, who has a dual role as the eccentric Jim Henson and (of course) even more eccentric Andy Kaufman. I have seen this actor in many films in nearly two decades, from “Sky High” to “Red State” to The Perks of Being a Wallflower to The Stanford Prison Experiment to last year’s “Cat Person” (just to name a few–and of course, he’s great in “Succession”), and I applaud wholeheartedly his great efforts in both roles here.

I believe “Saturday Night” will stand the test of time not as a cynical by-the-numbers biopic but as a wickedly entertaining, very funny, and even sentimental (without being cloying) portrait of the craziness that goes into game-changing entertainment.

And I’m eager to see it again very soon.

My Old Ass (2024)

11 Nov

Smith’s Verdict: ****
Reviewed by Tanner Smith

Well, this was a beautiful film!

For the remainder of 2024, I might see objectively better films. But I don’t know if I’ll like them as much as this one.

“My Old Ass” is about 18-year-old Elliott (Maisy Stella), who enjoys her last summer days in small-town Canada and her family’s cranberry farm before she leaves it all to go to college in Toronto…by basically just doing what most kids at that age do: hang out with friends, do drugs, have passionate affairs, and just not take anything seriously. It’s at her campout birthday celebration with her friends (while she doesn’t know her family is waiting to surprise her with a cake back home–knowing what the rest of the film has in store, this bit hits harder in hindsight) when…her 39-year-old self (played by Aubrey Plaza) appears out of nowhere and connects with her.

Side-note: I love that it’s never explained how the time-travel element works–it’s more Groundhog Day magic than Back to the Future science (fiction). Whatever the case, that encounter was real (and not a shroom trip). Elliott is able to communicate with her older self via smartphone, and Older-Elliott advises her to spend more time with her family and DEFINITELY stay away from anyone named “Chad.”

Cue the arrival of the cute new summer worker on the family farm…Chad. When Chad (Percy Hynes White), a charismatic, quirky, charming lad, has a meet-cute with Elliott, she keeps him at a distance, knowing SOMETHING must be wrong with this guy if Older-Elliott is insistent that she stay away from him. But it’s just not easy because Chad is just so…NICE. She can’t help but be attracted to him. She might even be in love with him…

“My Old Ass” plays like a heartwarming, grounded summer-that-changed-everything story with a sci-fi/fantasy edge. Elliott is in the last stages of youth and about to embark on the road to adulthood, and because of this experience with her adult self giving her advice (appreciate her mother, spend more time with her brothers, etc.), her eyes open up, she realizes what truly matters in life, and she slowly develops from a narrow-minded, immature child to an adult (er, a real good start to being an adult).

In addition, Elliott’s attraction to Chad causes Elliott, who identifies as gay, to question her sexuality–and one of my favorite scenes in the film is a wonderfully written and tender moment between her and a friend (Kerrice Brooks), in which they discuss Elliott’s feelings, contemplate the point of labels (“Am I bi…am I pan…”), and have a genuine heart-to-heart together. There are other scenes like that, including a lovely moment between Elliott and her mother (Maria Dizzia) and one of the early instances of first-love between Elliott and Chad (who bestows deep insight about moments in time we don’t realize are going to be treasured memories), that you realize what the story is doing (and doing well).

And I won’t give it away, but there is another face-to-face encounter with Older-Elliott late in the film–and it hits HARD. That was the moment that made me truly LOVE this film.

“My Old Ass” is the second film written and directed by Megan Park, whose first film was the terrific The Fallout. What I love about Park’s work, evidenced by these two films, is that she can balance broad comedy and tender drama while having them both belong in the same movie. (It’s not as easy as you think–often when filmmakers try this, either the comedy doesn’t hit or the drama isn’t moving enough; but I still applaud the efforts. Park knocks it out of the…ball field.)

This is one of my favorite films of 2024. I can’t recommend it enough.

“My Old Ass” is available on Prime.

The Night is Young (2024)

14 Aug

Smith’s Verdict: ***1/2
Reviewed by Tanner Smith

Whoa, this is my first post on this blog in over seven months? Huh…well, I’ll get back to posting regularly sooner or later.

Today, I checked out Patrick (They Wait in the Dark) Rea’s found-footage LGBTQ vampire flick “The Night is Young.”

Actually, I watched it twice. The first time, I thought it was uneven but with enough good parts to warrant a second viewing, after which I enjoyed the film a lot more.

Lesson learned: don’t always go with your first emotion because then you won’t see the forest for the trees.

I was hooked from the film’s central idea of an influencer chronicling her bad dates and finding herself on a date with a vampire. But as the film began, I was surprised to find how invested I was in seeing the main character, Nora (Sarah McGuire, who also co-wrote the film), go through these bad dates–this whole first act works wonderfully; it’s funny, it’s well-acted, and the Nora character is very engaging.

And then, I remember, “Oh, right–vampire movie. OK, where are we going from here?”

Actually, where we go from here is pretty wild, as Nora meets Emelia (Valeri Bates), who is a vampire being hunted by 3 vampire hunters (Dan Daly, Kurt Hanover, & Kristin Rea) who don’t mess around–and thus begins one crazy date night, to say the least! Lives are in jeopardy, bodies pile up, blood is spilled (and spread), and even during all this madness, there’s room for romantic tenderness as well!

I love when found-footage goes crazy like this. But during my first viewing, I was so into the comedy of Nora’s misadventures in dating, the fun dynamic between her and her constantly-filming videographer brother Jake (Jake Jackson), and even the subtle aspects of characterization that Sarah McGuire exhibits terrifically…that I was a bit thrown off when it became a vampire story.

But the film’s lead characters (Nora, Emelia, & Jake) are so engaging, I’d follow them through any story–and this one’s a good deal of fun. Upon first viewing, I thought the vampire hunters distracted from the more interesting parts of the story, as they all share the personality of…”kill.” But during the second viewing, I was invested in the 3 leads even more and getting more into the spirit of what the film is, which is a fun, twisted vampire flick; and thus, I ended up enjoying rooting against these people.

Back to the leads. I already mentioned how interesting and likable Nora is (and Sarah McGuire is naturally charismatic in the role). Valeri Bates, as Emelia, is terrific, and she brings an intriguing mix of playfulness, menace, and pathos to the role of a vampire who could be your trustworthy friend one minute and then a vicious bloodsucking beast the next–and she and McGuire share good chemistry together. But I was surprisingly impressed by the work of Jake Jackson as the constantly-recording Jake. He’s not onscreen very much and is often a voice behind the camera, and yet he still manages to show a charming presence.

(Or maybe I just like Jackson’s work here because he reacts to the mayhem the same nervous, wisecracking way I probably would–for example, I love the bit in which Emelia first bares her fangs, literally, and approaches the camera as Jake repeatedly asks, “We’re cool, right?”)

So yes, I had a good time with “The Night is Young”–both times. And I think you will too.

2023 Review

31 Dec

By Tanner Smith

SPOILER ALERT–There’s no mention of Martin Scorsese’s Killers of the Flower Moon in my year-end list for 2023 films…I’m sorry, I just didn’t get to see it in time. I’m sure when I see it, I’ll think to myself, “I wish that was on my list.” (Same goes for The Color Purple, Godzilla Minus One, Poor Things, and The Boy and the Heron.)

But I saw a lot of great films this past year. I know I haven’t written in 2023 as much as I usually do–but hopefully, this list will make up for it.

Before I begin my 2023 retrospective, I’ll mention the 2022 films I’ve caught up with that I would have loved to include in my 2022 Review: Women Talking, Glass Onion: A Knives Out Mystery, and Causeway. (And last year’s list was a top-25–I stand by 2022 being a terrific year for films.)

Now, the honorable mentions: Barbie, How to Blow Up a Pipeline, Flora and Son, The Adults, Shortcomings, Saltburn, Albert Brooks: Defending My Life, Dumb Money, They Wait in the Dark, Child, No Hard Feelings, Sanctuary, The Son, Somewhere in Queens, Sound of Freedom, Dungeons & Dragons: Honor Among Thieves, You Hurt My Feelings, You Are So Not Invited to My Bat Mitzvah, Joy Ride, and Biosphere. (Why do I get the feeling I’ll regret leaving one or two of these off the list in about a month?)

I’d love to give a special mention to a film that would have easily placed #1 on this 2023 list…if only it had released to the public in 2023. Johanna Putnam’s Shudderbugs had a wonderful festival run this year, and for good reason: it’s a wonderful film and probably meant the most to me out of any other film I saw this year. It’s a remarkably moving and wonderfully made exploration of grief, remorse, and recovery. When it gets released in 2024, it’s going to take a very special film to keep this one from the top spot of that list…

But the films taking the top spots on this year’s list are pretty great too. Let’s count down my Top 20 Favorite Films of 2023!

20. The Year Between
Painfully honest and honestly funny, writer-director-actor Alex Heller has delivered a truly impressive debut feature about how one handles mental illness and how loved ones handle it. At times uncompromising, other times sharply witty, and always memorable, The Year Between is the type of indie dramedy from the heart that I always treasure.

19. Talk to Me
Well, that was terrifying, I uttered to myself immediately after seeing this one for the first time. This Australian import deals heavily with themes of grief and loss while also delighting in scaring the bejeebus out of us using a unique plot device of a mysterious ceramic hand that possesses young people who play a game with it (allegory for substance abuse, anyone?)–and I’m sure directors Danny Philippou and Michael Philippou had a great time making it too.

18. Almost, Sorta, Maybe
I first saw this gem of an indie romcom in festivals last year. When it released via streaming this year, it was nice to rewatch the humor and heart of the whole film. (Yeah, you could call this one a “homer pick,” since I live in Kansas City, where this film was made, and I know many of the people involved in making it–but this is a list of my favorite films of the year, so I’m not leaving it off due to some kind of bias.)

Oh, and please check out this terrific short film from IX Film Productions, the same people behind Almost, Sorta, Maybe. It’s called Vegan Apocalypse–and it might be the best film they ever made (so far). Check it out.

17. The Artifice Girl
Ohh, how am I going to review this one without giving away its best secrets? Do yourself a favor–go into The Artifice Girl as cold as possible. All I’ll say is I’m rooting for this one to win the John Cassavetes Award at this year’s Film Independent Spirit Awards. It’s an example of wonderful creative ingenuity and one of the best screenplays of the year.

16. Maestro
I placed Bradley Cooper’s directorial debut A Star is Born on my 2018 list–it’d be silly if I didn’t include his follow-up directorial effort on this list, because Maestro is even better. It’s a wonderfully entertaining biopic about the late, great Leonard Bernstein, with Cooper also giving the performance of his career, completely disappearing into the role. It’s also the best-looking film of the year–and considering Bernstein’s music is scattered throughout, it might also be the best-sounding too. Available on Netflix.

15. The Killer
Yeah, yeah, masterfully-directed by David Fincher, owned by always interesting powerhouse actor Michael Fassbender, whatever–the main reason The Killer is on this list is because it’s also funny as hell. Yep, the Killer is as hilarious as he is ruthless. Available on Netflix.

14. Personal History

What a gem this was to discover–a wholly original film that made me grin, ponder, and ultimately feel. It also contains the best performance from Patrick Poe since Almost, Sorta, Maybe, as he plays a seemingly immortal man who doesn’t have a lot of insight to bestow–but he does hold the secret to living a full life. It’s a beautiful film by Tyler W. Moore. Check it out–it can be found here. Available on Vimeo-on-Demand.

13. The Iron Claw
Whew! What a ride this was. This story of the inseparable Von Erich brothers, the most famous family in the history of professional wrestling, is an emotional powerhouse with sharp, uncompromising direction by Sean Durkin (Martha Marcy May Marlene) and great acting, including a career-best performance from Zac Efron as Kevin Von Erich. I got flashes of Raging Bull while seeing this film.

12. Creed III
I love the Rocky and Creed movies, and Adonis Creed himself, Michael B. Jordan, took the directing helm to create yet another strong, powerful entry in the Creed franchise. Creed was about going your own way and managing your temper, Creed II was about maintaining and defending legacy, and Creed III is about combating your inner demons. I’ll happily see what Adonis fights next in the next film.

11. Still: A Michael J. Fox Movie
To hear about Michael J. Fox’s Parkinson’s battle is one thing–to see it illustrated to this degree in an entertaining and insightful documentary, from Davis Guggenheim (An Inconvenient Truth), is another. I have a whole new amount of respect for the man now. (But then again, I’ve always found him to be as inspiring as he is likable.) Available on Apple TV+.

10. May December
We have 9 more titles to go, and I thought for sure this would reach the top 5. (Guess I found 9 others I liked a little better.) Todd Haynes’ latest masterpiece contains the most richly layered character portrayals of the year and probably the strongest acting of the year, from Natalie Portman, Julianne Moore, and Charles Melton. I was enthralled from beginning to end. Available on Netflix.

9. Reality
I couldn’t tell you how many times I watched this HBO film, based on the FBI interrogation of American intelligence leaker Reality Winner (played in the film by a wonderful Sydney Sweeney), in the past few months–but that itself should tell you how much I enjoy it. Available on Max.

8. Are You There God? It’s Me, Margaret
This is a wonderful, delightful coming-of-age tale that is every bit as needed and insightful as the Judy Blume novel it’s based on. The actors (both young and adult) are great, Kelly Fremon Craig’s writing and direction are great, the humor is great, and the ending is both moving and great. (I originally saw this as part of a double-feature with my #1 pick–it was a great day at the movies.)

7. Spider-Man: Across the Spider-Verse
Amazing, Spider-Man… Need I say more? Well, OK, I’ll say I’d love to see Spot in more Spider-Man adaptations–he is not some “villain of the week.”

6. The Holdovers
What, director Alexander Payne, best-known for films about miserable people trying to be less miserable, can’t stand when people call his holiday-set film “warm” and “cozy”? Well, tough–he made a film about lonely people connecting together during the holiday season and he did it the way only Alexander Payne knows how. Of course people are going to call it “warm” and “cozy.” Would he be happier if we all suddenly pretend to hate it for some reason, like Green Book? (Btw, are we past that now? ‘Cause I always liked Green Book.)

5. Past Lives
If May December wins big at the Film Independent Spirit Awards, I won’t complain at all–but I will cheer loudly if Celine Song’s Past Lives takes the Best Film trophy. I loved, loved this film. I loved it for its characters’ connectivity; I loved it for the down-to-earth portrayals from the actors (particularly Greta Lee, Teo Yoo, and John Magaro); I loved it for the script’s simplicity; I loved it for Song’s direction; and I loved it for making it feel all the feels by the time it was over. Side-note: We talk about studio A24’s impressive catalogue of horror films, including this year’s Talk to Me–but how about a talk about their hugely terrific lineup of dramas, comedies, and/or dramedies?

4. Mission: Impossible: Dead Reckoning – Part One
The previous Mission: Impossible film (Fallout) made my 2018 list, and this new (seventh) entry is every bit as impressive if not even more so. This 163-minute thrill ride was nothing short of impressive or amazing, and it kept my interest throughout. Say what you will about the story, but I go to these movies for a damn good time. And that’s what Dead Reckoning Part One was to me: a damn. Good. Time. And yes, Tom Cruise still has it–I’m not just talking about his ability to perform outrageous stunts; I’m talking about his undying charisma (that sleight-of-hand bit at the airport impressed me as much as any of the amazingly crafted and exciting action sequences)…but yes, that cliff jump was great too.

3. Oppenheimer
Wait, what? #3 for Christopher Nolan’s magnum opus? Well, if the next two picks are my favorites of the year, then Oppenheimer is the best. How about that? Either way, I agree with most people: it’s extraordinary and probably one of the best films of the century.

2. Air
How did this happen? How did a film about the major endorsement of Michael Jordan and the creation of Nike Air Jordan shoes (mind you, without His Royal Airness being portrayed as a key player) become of the most entertaining films of the year? Well, director Ben Affleck and screenwriter Alex Convery found a way, thus emphasizing something the late Siskel & Ebert loved to point out: any subject matter can be done and told well. One of my favorite scenes of the year was an early conversation between Matt Damon’s Nike basketball talent scout Sonny Vaccaro and Viola Davis as Michael’s negotiating mother Deloris Jordan. I love this film. Available on Prime.

It’s strange. There were a lot of entertaining 2023 films that had to do with corporate business and product development–including Tetris, Flamin’ Hot, The Beanie Bubble, Barbie (which is in its own dimension), and…

  1. BlackBerry
    That’s right–my favorite film of the year is a film about the invention of the first smartphone. How did this happen? Two words: Matt Johnson. I’m convinced that the always-exciting Canadian filmmaker (whose debut feature The Dirties is one of my absolute favorite films and whose sophomore effort Operation Avalanche made my 2016 list) can make just about anything entertaining. In addition to crafting a fun and engaging screenplay (co-writing with Matthew Miller, who was involved in both of Johnson’s previous features) that isn’t so much about how greed affects dreamers but more about how people react to someone else overcoming their previous endeavors, Jay Baruchel is a good lead with a nice arc going from shy doormat inventor to cocky confident entrepreneur, the atmosphere of the nerd-culture going from fun to grim is riveting, and Glenn Howerton portrays my favorite antagonist of the year, an extremely cocky and reckless a-hole who knows how to get things done and whom I love to hate. Whether it’s totally accurate to the real story or not, I don’t care–BlackBerry is a wildly entertaining treasure of a film that I will enjoy for years to come. And please, Matt Johnson, keep going, because you’re doing a great job.

Now I don’t feel so guilty having missed Killers of the Flower Moon. (I’ll see it when I see it–these films are enough for me right now.) I’ll try to do more writing in 2024. Let’s enjoy more films to come!

Biosphere (2023)

27 Nov

Smith’s Verdict: ***
Reviewed by Tanner Smith

“Biosphere” is the latest from Duplass Brothers Productions (DBP) and also the directorial debut of Mel Eslyn, who is in fact the president of DBP and best known for film producing. It’s a science-fiction buddy-movie hybrid film featuring only two characters in one contained space–and right away, I was hooked on seeing this film because Mark Duplass & Sterling K. Brown play the two characters in said-one contained space.

Duplass (who also co-wrote the film with Eslyn) is Billy and Brown is Ray. They’re the only two people living within the confines of a loft-condo-sized bio-dome–and they’re apparently the last two people left alive on Earth. We don’t know what exactly happened or how the world seemingly ended–we just know that Billy, who was the U.S. President prior to the event, accidentally had something to do with it, and Ray, a scientist, is his childhood friend who built the dome and brought Billy in at apparently the right time. Oh, and there’s nothing but blackness outside. Billy & Ray are the best of friends. They do everything together, they work together to keep everything running that keeps them alive, and they often chat about everything from “Super Mario Brothers” to other pop-culture references such as “Jurassic Park” (“Life finds a way”).

Two things happen that throw their whole personal environment out of whack. One is there’s a mysterious green light outside, seen through the glass layers of the dome–what does it mean? Another is…well, I’ll leave that for you to discover. I didn’t see it coming, and…let me just say that even if you can guess where these characters are headed in the film’s general story, I doubt you’d be able to guess how they get there.

…And I’ll also say that it is probably the strangest twist of any film this year and it will probably turn some people off because it is insane how it transpires–but I stayed with it because I was curious as to how these two characters, who are engaging and played by two truly engaging actors with undeniable chemistry, handle it. Thankfully, so much of it is intriguing and kept me invested in where it was going.

Now…I’m not entirely sure I get the ending of “Biosphere.” BUT I am invested enough to ponder it. This is one of those films I may have to see again in order to fully appreciate it–but I definitely will, because it gripped me on the first viewing.

Take that recommendation for what it’s worth. But I’ll try and sum it up again because I did enjoy this film:

It’s the end of the world as we know it and I feel fine.

Creed III (2023)

27 Nov

Smith’s Verdict: ****
Reviewed by Tanner Smith

I’m a big fan of the “Rocky” franchise and I really liked the first two films in the spinoff (“Creed”) franchise–hell, I’ll even say Creed II is now my second-favorite in the overall franchise (behind Rocky). So I was really looking forward to seeing “Creed III,” especially since Adonis Creed himself, Michael B. Jordan, was directing this time!

It didn’t disappoint at all. I loved this film.

“Creed III” continues going for the emotional depth of the previous films. Creed was about going your own way and managing your temper. “Creed II” was about maintaining and defending a legacy. And “Creed III” is about battling demons you thought would be kept in the closet forever.

In this case, Adonis Creed (played again by Michael B. Jordan), who is now retired from boxing and oversees the careers of up-and-coming fighters, reunites with an old friend, Damian “Dame” Anderson (Jonathan Majors). Damian and Adonis grew up together in the group home from where Adonis was rescued by Mary Anne Creed (Phylicia Rashad), and Damian, who would become a Golden Gloves champion with a solid career ahead of him, was still a big-brother figure to Adonis, who would often accompany him to matches. That all changed when a violent incident in 2002 caused Damian to be arrested (while Adonis escaped) and the two to break away.

(Side-note: the opening prologue, which shows only PART of the violent backstory, is very gripping. The actors playing the younger versions of the characters are great, and Jordan’s direction is reminiscent of a Scorsese flick.)

Well, now, Damian makes his way back into Adonis’ life and tells him he wants a shot at the title–even though, as Adonis tries to tell him, Damian has been out of the ring for two decades and has no professional boxing experience. But Damian has a lot of unbridled rage and isn’t afraid of any challenges, and he feels he deserves everything that Adonis has, since everything he was promised was taken away from him when he went to prison. Soon enough, an opportunity strikes when Adonis needs to assure a rival for an upcoming match with his new client, Felix Chavez (Jose Benavidez). Remembering how his old mentor Rocky Balboa got his big break, he decides to give Damian a shot…

I won’t go into how this proves to be a big mistake or how the events lead to what the advertising promises (a match between Adonis and Damian)–but I will remind you that Rocky was remembered for giving it all he had and taking it from the heavyweight champion, whereas Damian just wants attention and doesn’t give a damn about how to get it.

There’s a lot of gripping drama in the tense dynamic between the two friends turned rivals, but there’s also room for emotional love and affection in the scenes with Adonis and his mother, Adonis and his deaf daughter (who wants to fight), and Adonis and his wife Bianca (Tessa Thompson). It reminds us that Adonis still has more anger to overcome and most importantly a loving force to fight for.

And even the boxing scenes, which I’m normally tired of by now, had me invested–though, that might be because the final fight has some stylistic touches added to it. (That’s all I’ll say about that.)

I’m not sure where Rocky Balboa is during all this, but I’m sure he’s out there somewhere (maybe with his son, who “lives in some place called Vancouver with his girlfriend”) and rooting for Adonis to know when to say when and join him in retirement–if for no other reason than to just look back on the good times they shared together, just as Rocky did with Adonis’ father Apollo Creed way back when.

And honestly, I’d like to see that in “Creed IV.” But we’ll see…

Are You There God? It’s Me, Margaret (2023)

27 Nov

Smith’s Verdict: ***1/2
Reviewed by Tanner Smith

I don’t know why it took so long for a film based Judy Blume’s great, challenging novel “Are You There God? It’s Me, Margaret” to come about, but the film we got more than 50 years after the book’s publication is very much a perfect adaptation. It’s heartfelt, hilarious, inspiring, authentic, and relatable.

I was looking forward to this because it was written and directed by Kelly Fremon Craig, who made The Edge of Seventeen, another great film about young people. I knew she’d be able to portray both the comedy and trauma of coming of age in film just as Blume did in the novel. (She also made the perfect choice of keeping the original story’s 1970 setting instead of modernizing it.)

The film is very funny (I laughed out loud at least 3 times, I kid you not–in particular, one scene set at a pharmacy had the whole theater in stitches), but it doesn’t back down from its serious moments. Both the comedy and the drama feel like they belong in the same film–that’s not easy to do, and this film does it flawlessly.

Everyone in this cast is superb. Abby Ryder Forston gives a natural and lovable performance as our 11-year-old heroine Margaret Simon, who’s in such a hurry to grow up that she’s in danger of missing out on special moments. (She’s aided by other child actors who are also very natural and winning.) And the adult actors don’t half-ass it at all–Kathy Bates is great as Margaret’s grandmother; Rachel McAdams & Benny Safdie are wonderful as Margaret’s parents; and I would’ve liked to see more of Echo Kellum as Margaret’s 6th-grade teacher who encourages her to explore religion. (Part of Margaret’s journey in this story is her exploring Judaism and Christianity, as her mother is Christian and her father is Jewish but neither one is religious and they let her choose her own path when she’s older.)

There’s a subplot that I don’t think was in the book about Margaret’s maternal grandparents–I won’t give away what happens, but even that worked so well in this film because it helps add to Margaret’s big ball of confusion and thus aided in her resolution at the end.

I get the feeling this film adaptation of “Are You There God? It’s Me, Margaret” will be just as relevant as its source material to audiences of all ages, and I highly recommend it.

BlackBerry (2023)

27 Nov

Smith’s Verdict: ****
Reviewed by Tanner Smith

One of the most entertaining films I’ve seen in 2023…is a film about the invention of the first smartphone.

Doesn’t sound so interesting or entertaining, but…

I was hooked on seeing “BlackBerry” simply because it’s the latest film from auteur filmmaker Matt Johnson. His first feature The Dirties is one of my personal favorite films, I also really liked his second film Operation Avalanche, and I also admired his Viceland series Nirvanna the Band the Show–I will see ANYTHING that he does, even if it’s about the creation of the BlackBerry.

This isn’t another film about what corporate greed and hubris do to a creative, idealistic person, nor is it a film that encourages us to demand to take back the BlackBerry phone. (And you wouldn’t want to give up your iPhone, would you?) It’s a film about someone who has a great idea that changes the way we communicate in the world…until someone else (let’s call him Steve Jobs) comes up with a better idea. And it can be taken any way you want it, whether it’s about how the characters went about it, or the little things they overlooked in making it, or even WHY they wanted to do it in the first place, or whatever.

Johnson avoids his trademark faux-documentary approach and instead gives us a fly-on-the-wall technique, with his usual cinematographer Jared Raab shooting the proceedings like a docudrama. But he’s such a movie buff, I wouldn’t doubt he simply wanted to make his own biopic along the lines as “The Social Network” or “All the President’s Men.” And because he’s so good at grabbing an audience with his vision, “BlackBerry” hooked me and wouldn’t let me go until the end…actually, not even the end, because I’ve seen this film at least five other times since.

Jay Baruchel stars as Mike Lazaridis, the awkward but brilliant co-founder of the Canadian software company Research In Motion. (Johnson, who always appears in his own films, co-stars as Doug Fregin, the goofy man-child co-founder of the company.) RIM (as it’s abbreviated) is going out of business, but in comes Jim Balsillie (Glenn Howerton), a ruthless businessman. He was fired from another tech company for stealing a coworker’s presentation–at that point, the moviegoer sitting next to me muttered, “Dick!”–and is willing to take Mike’s idea of a BlackBerry mobile device seriously if it means big money.

Well, it DOES mean big money…but for how long? And I was expecting “BlackBerry” to be a cautionary tale about what greed and pride do to people–instead, it’s more about a great idea that stays a great idea…until someone comes up with a better idea. And how it affects these characters was what kept me engaged throughout the back half of the film.

Jay Baruchel and Matt Johnson are both great as the hopeful entrepreneurs who find themselves in over their heads and in danger of losing their souls in the process. But it’s Glenn Howerton who practically steals the film from everyone he shares the screen with. This guy has so much fun showing the ruthless and reckless natures of this character, who is such a jerk and pretty much a megalomaniac–and he’s never boring; I always looked forward to seeing what he would do next!

“BlackBerry” has a great amount of energy to it, from the documentary-like camerawork to moments that show how the geek-culture unwinds (such as playing/dancing to “Return of the Mack” to celebrate a victory or having “emergency movie night” in the office when things don’t go as planned).

There’s just such a great energy and ambition to this film (from a filmmaker whose last two films were already energetic and ambitious) that I embrace wholeheartedly. I loved “BlackBerry” from beginning to end.

← Older Entries