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My Ten Favorite Films of 2023

As we bid farewell to another year, it’s time to reflect on the cinematic gems that have graced the silver screen in 2023. This year, the world of film experienced what has probably been its best year since the COVID-19 pandemic, with directors pushing boundaries and crafting narratives that left an indelible mark on the collective consciousness. In this article, I list my top 10 favorite films of the year, each a testament to the creativity and innovation that defined 2023.

Before delving into the main list, let’s acknowledge my five honorable mentions: The Holdovers, Bottoms, Nimona, Pacifiction, and BlackBerry. These films, while not making it to the top 10, epitomize the wealth and variety of great content this year gave us. In any other year, they might have easily secured a spot on my top 10 list. This year has undeniably been a cinematic feast, and the following films encapsulate the essence of why 2023 stands as a hallmark year for film enthusiasts

Disclaimer: I have yet to see Jonathan Glazer’s The Zone of Interest, Andrew Haigh’s All of Us Strangers, Wim Wenders’ Perfect Days, Hirokazu Koreeda’s Monster, or Cord Jefferson’s American Fiction, all of which are some of this year’s most acclaimed films

10. JOHN WICK: CHAPTER FOUR

‘John Wick: Chapter 4’ (Paramount)

With neon-drenched interiors, hyper-stylized gun fu action, and an ever-watchable Keanu Reeves, this final installment of the John Wick franchise has everything fans loved about the first three. So why does this one top them all? Well it turns everything up to 11, the neon is more neon, the stakes are higher than ever, and the set pieces are some of the most visually striking in recent action cinema. With references to everything from Lawrence of Arabia to Guardians of the Galaxy, director Chad Stahelski throws everything at the wall and so much of it sticks, making for the best film of this past decade’s “Keanussaince”. The ensemble cast featuring Bill Skarsgard, Donnie Yen, pop star Rina Sawayama, and the fan favorite Lance Reddick in one of his final performances all turn in great work that help give the film dramatic and emotional heft.

Where to Watch: Starz

9. THE BOY AND THE HERON

‘The Boy and the Heron’ (Studio Ghibli)

Possibly the greatest director the world of animation has ever seen, Hayao Miyazaki is an indisputable giant of cinema. And with The Boy and the Heron, Miyazaki has finally made his swan song. The film is a fitting end to his illustrious career, functioning as a metaphor for him grappling with finally leaving the wondrous fantastical worlds of Studio Ghibli behind once and for all. Miyazaki works at a slower pace than usual here, taking care to immerse us in the small oddities of the world he creates. It’s also one of the anime legend’s more ambiguous films, leaving many things unsaid and up to interpretation. Like always with Miyazaki, the film is a visual treat and a wonder to see on the big screen.

Where to Watch: In Theaters

8. OPPENHEIMER

‘Oppenheimer’ (Universal)

When people look back to the state of film in 2023, they’ll inevitably acknowledge the phenomenon that Barbenheimer was. One of the greatest opening weekends in film history and a bonafide pop culture event, Barbenheimer has truly brought theaters back after the COVID-19 pandemic. Oppenheimer’s box office success is, on the surface, mind-boggling. A 3-hour long rated-R biopic about a nuclear physicist, half of which is in black and white, made just under a billion dollars at the worldwide box office? And, somehow, Oppenheimer lives up to the hype. Over 180 minutes, Christopher Nolan’s relentless pace never lets up, forcing its audience into the world of political machinations, path-breaking science, and tremendous guilt that J. Robert Oppenheimer was embroiled in.

My Review

Where to Watch: Rent or Buy

7. MAY DECEMBER

‘May December’ (Netflix)

With Far From Heaven and his work at large, Todd Haynes has made no secret of his fascination with the melodramas of Douglas Sirk. And with May December, Haynes brings a Sirkian examination of societal stigmas, family dynamics, and traditional filmmaking tropes to the modern world. When it comes to his recent narrative work, May December is a welcome return to form for Haynes. It’s a film that works as a study of performance itself, bolstered by reliable work from legends Natalie Portman and Julianne Moore, and by a revelatory Charles Melton, who deservedly has won critics’ awards left and right for his role in the film. Along with filmmakers like Pedro Almodovar and Kenneth Lonergan, Todd Haynes is undoubtedly one of the best artists bringing melodrama into the 21st century.

Where to Watch: Netflix

6. GODZILLA MINUS ONE

‘Godzilla Minus One’ (Toho)

Who would have thought that this year’s Godzilla movie would be the most compellingly life-affirming movie of the year? From director and visual effects artist Takashi Yamazaki, ‘Godzilla Minus One’ transcends the typical monster blockbuster, delivering a poignant narrative that may have you shed a tear or two. Yamazaki masterfully combines awe-inspiring visual effects with a surprisingly tender exploration of the human spirit in the face of seemingly insurmountable odds. The film strikes a delicate balance between thrilling monster mayhem and genuine emotional resonance, making it a standout entry in the Godzilla franchise. With emotionally-charged action and standout performances from the cast, ‘Godzilla Minus One’ proves that even in the darkest of times there are reasons to keep living.

Where to Watch: In Theaters

5. PAST LIVES

‘Past Lives’ (A24)

A deeply empathetic film that owes a lot to Wong Kar-Wai romances yet never feels too beholden to them, Celine Song’s debut feature is simply beautiful. Past Lives follows Nora and Hae Sung as fate forces them to cross paths time and time again. This is a film with no villains and Song’s refreshing love for her characters makes the film resonate all the more powerfully. And it’s a deceptive power. Past Lives is a simple film that doesn’t try to yell its emotions across. But through stunning cinematography, a trio of passionate performances, a touching score, and a devastating screenplay, Song’s film seeps inside of you and simmers within long after the credits roll.

My Review

Where to Watch: Rent or Buy

4. SPIDER-MAN: ACROSS THE SPIDER-VERSE

‘Spider-Man: Across the Spider-Verse’ (Sony)

‘Spider-Man: Across the Spider-Verse’ swings into the cinematic landscape with the same groundbreaking animation and narrative ingenuity that made its predecessor a superhero genre game-changer. Building on the success of ‘Into the Spider-Verse,’ this sequel takes the multiverse concept to new heights, delivering a visually stunning and emotionally resonant experience. The film effortlessly blends humor, heart, and high-stakes action as it navigates the complexities of multiple Spider-People and their interconnected destinies. The animation remains a jaw-dropping spectacle, with each frame a vibrant work of art that captures the essence of comic book storytelling. Beyond the stunning visuals, the narrative unfolds with unexpected depth, exploring themes of identity, responsibility, and the interconnectedness of different Spider-Beings. ‘Spider-Man: Across the Spider-Verse’ not only lives up to its predecessor but propels the animated superhero genre into exhilarating new dimensions, setting a high standard for future comic book adaptations.

Where to Watch: Netflix

3. KILLERS OF THE FLOWER MOON

‘Killers of the Flower Moon’ (Apple TV+)

The winner of Best Film at the National Board of Review and at the New York Film Critics Circle, you don’t need me to tell you how spectacular Martin Scorsese’s latest is. Boasting phenomenal performances from Lily Gladstone, Leonardo DiCaprio, and Robert DeNiro, ‘Killers of the Flower Moon’ is Scorsese’s best film since The Departed and quite possibly one of the most sensitively human films he’s made. All the auteur’s classic themes are present: greed, American capitalism, corruption, secrets and lies, but are laid bare with an unmistakably beating heart. It’s one of his most explicitly political works, calling out the way the sins of the American past are sanitized and treated as entertainment.

Where to Watch: In Theaters or Rent or Buy

2. ANATOMY OF A FALL

‘Anatomy of a Fall’ (NEON)

Justine Triet’s Palme D’Or winner Anatomy of a Fall is not a movie that provides easy answers. It questions the nature of truth itself, taking a step beyond ambiguity to ask whether truth is something worth pursuing. Should we decide our own truth — and do we have any choice but to? Triet traverses these questions in a way that is unwaveringly engaging and effortlessly weaves philosophical ideas into the fabric of a courtroom nailbiter. Triet’s stellar screenwriting and lead actress Sandra Huller’s vulnerable work are truly at the heart of this film, contributing to what may be my favorite film of the year.

My Review

Where to Watch: In Theaters

1. POOR THINGS

‘Poor Things’ (Searchlight)

A film about a woman coming into her own, destroying the patriarchy every step of the way, with existential themes about what our purpose is? No I’m not talking about Barbie, I’m referring to what might be the Greek Weird Wave master Yorgos Lanthimos’s best film: Poor Things. Poor Things is simultaneously one of the funniest and most excitingly life-affirming movies of the year, combining pitch black comedy, marvelous steampunk visuals, and a career-best performance from Emma Stone in what may be this year’s finest acting work. Bella Baxter is a beautifully-realized character and we follow her through every step of her development as she learns the ways of the world and has life-changing experiences. Stone charts this development with subtle nuance, you’ll leave the film wanting to see more of her and Bella Baxter.

Where to Watch: In Theaters

January 1, 2024
‘Oppenheimer’ Review: Nolan Brings His Grandiose, Propulsive Touch to the Political Drama

The bomb goes off. Total silence immediately takes control. A blinding light fills the desert, Oppenheimer and the rest of his team watch in awe as the flaming mushroom cloud slowly consumes the sky. It’s an image of destructive beauty. Director Christopher Nolan cuts between scientists’ faces, and at first, we see only awe, maybe with a tinge of fear. But then we cut to Edward Teller, watching the explosion with his dark safety glasses on, as his lips turn into a slight smile. This shot of the bespectacled Teller reveling in the cataclysmic power that he was an instrumental part of creating is etched in my mind. Due in large part because it reminded me of Peter Sellers’ titular character in Stanley Kubrick’s Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb. The glasses are definitely part of it, but the two characters also share this mad excitement at the might of nuclear power. In the Kubrick film, Dr. Strangelove is the American president’s scientific advisor, a former Nazi who betrays a certain excitement for the usage of nuclear weapons and particularly a doomsday nuclear device. Edward Teller himself is known as the “father of the hydrogen bomb” and received much support from the American government after the war for his plans to strengthen the American nuclear arsenal. He also was a major advocate of Reagan’s Strategic Defense Initiative, known colloquially as the Star Wars program, a proposed missile defense system that experimented with using lasers, satellites, and particle beam weapons to protect the United States. The similarities between Teller and Strangelove were quite noticeable but I still assumed that Nolan’s inclusion of that smiling shot was probably a coincidence. But then I discovered that Teller was an influence on the character of Strangelove in the 1964 film and now Teller’s wicked smile cannot leave my brain.

He looks so much like Dr. Strangelove. ‘Oppenheimer’ (Universal)

Oppenheimer is an incredibly well-made film. The technical aspects are phenomenal as is par for the course with pretty much every Nolan film. The practical visual effects from the team lead by Andrew Jackson, Scott R. Fisher, and Giacomo Mineo will most likely be Oscar-nominated. The spectacular cinematography and production design from Hoyte van Hoytema and Ruth de Jong, respectively will also very likely receive some Oscar love. But the technical aspect that astounded me the most about the film was Ludwig Goransson’s score. Like with Tenet, Goransson worked with Nolan as the composer on Oppenheimer as Nolan’s regular collaborator Hans Zimmer was busy working on Dune: Part Two (Zimmer wasn’t able to score Tenet due to being committed to Dune: Part One). Goransson’s ‘Tenet’ score was quite possibly the best thing about that film. It’s merger of electronic and classical instrumentation was alternatingly epic with an industrial sound and lush with its ambient soundscapes. Goransson’s work on Oppenheimer drops the industrial sound of his Tenet material but retains the epic feel, once again merging classical and ambient electronic instrumentation. Fluttering string arpeggios morph into pulsating synthesizers on the standout track “Can You Hear The Music” that plays near the start of the film. Like with Nolan’s best films (excluding Memento), the soundscapes that accompany them become integrally intertwined with the film’s content and do so much to drive the emotions of his work.

Cillian Murphy is incredible here. The film lives and dies on his performance and his portrayal of a deeply tortured, anxious man who is forced to present an image of control. He’s phenomenal and is absolutely deserving of all the attention he will likely receive in the coming months. When it comes to the supporting characters, Robert Downey Jr. is the undeniable standout as bureaucrat Lewis Strauss. He has some of the best scenes in the film, some shot in stunning black and white to indicate that it’s his perspective dictating what’s seen on screen (as opposed to the scenes in color which indicate that Oppenheimer’s perspective is being illustrated). A quick aside, the black and white moments in this film look gorgeous, the film becoming the first feature film to use black-and-white analog photography. Emily Blunt, Matt Damon, and Florence Pugh round out the main supporting cast. Unfortunately, Nolan’s problem with under developing female characters persists and while Blunt and Pugh both elevate the material they are given, their roles fall largely into common biopic tropes. Blunt is quite good as the long-suffering wife imploring her husband to fight back against the people attempting to ruin his reputation, and while she feels more “real” than Pugh’s character does, she is still woefully underwritten. Stars like Casey Affleck, Rami Malek, Kenneth Branagh, and Gary Oldman pop up for moments in this film, Affleck’s role as a menacing Commie-hating army officer being the most memorable of the four.

‘Oppenheimer’ (Universal)

Breakneck from the get-go, this undoubtedly is a Nolan movie, with the director’s characteristically propulsive brand of cinema grabbing you by the neck and refusing to let go until the credits run. Like with most Nolan films, the pacing and grandiose nature of the visuals and sonics distract you from paying too close attention to the dialogue. But luckily, unlike Interstellar, no lines are distractingly heavy-handed enough to take you out of the film’s immersion. This is the most political film Nolan has ever made and it’s surprisingly nuanced, something I was unsure the director could do when it came to politics. The film offers many of the prevalent perspectives on the war and the use of the atom bomb, keeping its position on the ramifications of Oppenheimer’s actions ambiguous until the knockout ending. This is one of the most grandiose-feeling films released in quite some time. It feels absolutely massive, the score, the sound, the effects, the pacing, all coming together to create a truly immersive experience. And while it’s so massive, the film is really a character study about one man. The man who became the American Prometheus. Someone so powerful, so deeply destructive with the force he worked so hard to unleash. In portraying Oppenheimer’s guilt, Nolan plays with style to force you inside the man’s tumultuous mind. Scenes like Oppenheimer’s post-Hiroshima speech end up being some of the film’s most chilling as a result of these stylizations.

Truly colossal in a litany of ways, Oppenheimer is Nolan’s best film since Inception and will undoubtedly end up being one of the year’s best blockbusters. Exhilarating and smarter than expected Oppenheimer both succeeds and suffers off of Nolan’s ambition, but the good definitely outweighs the bad. With Oppenheimer, Nolan can confidently silence those who doubted he could return to making box office hits after Tenet underperformed both critically and commercially. Nolan is clearly back, and I expect to see Oppenheimer rack up nominations and maybe a couple of wins come Oscar season.

Score: 4/5

July 23, 2023
‘Barbie’ Review: One of the Year’s Funniest Films Doubles as a Commentary on Feminism and Female Solidarity

How did Mattel allow this? The same company that sued Aqua for the group’s iconic 90s hit “Barbie Girl” for “trademark infringement, unfair competition, and trademark dilution”, allowed their beloved IP to be validly criticized and make hilarious quips about “beaching each other off” and their lack of genitals. Clearly, they’re a lot more lenient now, especially since that very Aqua song found its way into the film as the main sample for Nicki Minaj and Ice Spice’s track “Barbie World”. But what’s even more surprising is how Mattel is portrayed in the film. From the trailers, we already had a look at Will Ferrell as the CEO of Mattel, a company headed by a board room of men in matching, well-tailored suits. While the film doesn’t portray them as the undeniably evil corporation they could have, they are not positive characters. When Barbie enters the real world, the corporation reacts by trying to put her “back in her box”. And yes, that is a loaded phrase and if you already haven’t guessed it, this film has a lot more on its mind than many viewers might have imagined.

The scathing reviews from men like Ben Shapiro and Ted Cruz might’ve clued you in, but Barbie is a film about feminism, female solidarity, and existential questions. And the film still managed to have me giggling in the theater throughout. While director Greta Gerwig’s control of the tone isn’t perfect, it doesn’t leave too much to be desired. Serious poignancy and one-liners often come back-to-back but it hardly ever feels muddied. This is quite an ambitious film. There is a large swathe of thematic and narrative ground covered and while certain things (the mother/daughter subplot, some monologues) might come off as either underwritten or heavy-handed, the film is still affecting and does not lose sight of its emotional core. And that core is Margot Robbie in the titular role. She delivers a knockout performance, simultaneously managing to be absolutely hilarious while also imbuing the character with more depth and nuance than I could’ve ever hoped for in a movie about Barbie. She’s the beating heart of this film and adds to her repertoire of being one of the most talented stars working in Hollywood today. Ryan Gosling is also phenomenal, any questions about whether he was a good choice to play Ken should be completely dispelled. Gosling steals nearly every scene he’s in and everything from his line delivery, to his sulky expressions, to his vocal performance on the track “I’m Just Ken” (a soundtrack highlight on an album featuring great songs from PinkPantheress, Charli XCX, Billie Eilish, and Dua Lipa) is just so so good. This is one of the funniest blockbuster comedies of the decade so far. Gerwig and co-writer Noah Baumbach (the writer-director of Marriage Story and The Squid and the Whale) deliver a script that is sometimes broad, sometimes incredibly specific (The Godfather and Stephen Malkmus jokes were too accurate, Gerwig clearly has had to deal with her fair share of film and music bros), and rollickingly hilarious throughout. But the humor doesn’t stop this film from touching on subject matter like female solidarity and feminism in a compelling and affecting way. While I expected these topics to be included, what surprised me most about the film’s more serious themes was how much it focused on existential questions about death and what it means to be human. Robbie portrays this beautifully, what was once proverbially plastic slowly becomes skin and bones, her journey into humanity is deeply captivating.

‘Barbie’ (Warner Bros.)

I would be deeply remiss if I didn’t mention the film’s phenomenal costume and production design. The candy-colored dreamland of Barbieland is breathtaking, both 6-time Oscar nominated production designer Sarah Greenwood and 2-time Oscar winning costume designer Jacqueline Durran should see Oscar nominations coming their way this year. Sets like the home of “Weird Barbie” and the journey from the Barbie world to the human world are so wonderfully imaginative and brilliantly realized. On the subject of the Oscars, I wouldn’t be surprised if Warner Bros. makes Barbie one of their biggest pushes. A critically acclaimed summer blockbuster with explicit social commentary, Barbie has what it needs to be nominated for the Academy’s biggest prize if Warner Bros. plays their cards right. They also have Dune: Part Two (Nov. 3) and The Color Purple musical adaptation (Dec. 25) on their slate this year so we will see how they end up balancing those three films in the heart of Oscar season.

I began this article with incredulity about how Mattel let this movie happen, but interestingly the company was in fact a close collaborator in every step of the production process (there’s a fascinating New Yorker piece about this that I recommend). And while I do give Mattel credit for allowing criticisms of Barbie and her “message” to be illustrated as valid throughout the film, the corporation’s influence is definitely felt. There are times where I was left wishing for more from the film, for it to go even further and with more complexity. The film was also a lot more straight than I was expecting, Barbieland is very heterosexual and it’s never explicitly addressed, this being another aspect that was likely a product of close corporate involvement. Obviously, a lot of this is a product of my expectations and is possibly unfair as a criticism of the film but these aspects of the film were clearly felt.

Barbie is so many things, absolutely hilarious, ridiculously entertaining, and undeniably flawed, but it unquestionably confirms Gerwig’s place as one of the most versatile and exciting young filmmakers in Hollywood today.

Score: 3.5/5

July 22, 2023
‘Past Lives’ Review: A Heartbreaking and Empathetic Reflection on Circumstance

By Arman Saxena

Many have likened A24’s latest to Richard Linklater’s “Before” Trilogy. And the similarities lie in their central conceits, both works follow two people meeting many years after forming a romantic bond. Aspects of Past Lives reminded me of ‘Before Sunset’ in its contemplation of meeting someone you haven’t really moved on from. Ethan Hawke once said that “the first film (Before Sunrise) is about what could be; the second (Before Sunset) is about what should’ve been. Before Midnight is about what is.” We watch as Past Lives’ Nora (Greta Lee) experiences all of these stages, just not in the way you might think.

Just like with the ‘Before’ trilogy, the film is a rumination on coincidence and the effects of our circumstances. The Korean concept of In-Yun is one that is weaved throughout the film. It refers to the growing connections formed between two people whose roads cross over multiple lifetimes. The more lifetimes shared, the stronger the connection between the two. The film is enamored with this concept and the question of destiny’s role in the little coincidences and connections that make up our daily lives. As characters mention throughout the film, spouses are believed to have met in over 8000 past lifetimes, forming that deep marital bond over millennia. The idea of In-Yun becomes even more poignant in the context of the film as Nora and Hae Sung (Teo Yoo) meet at multiple very different stages of their life, years separating each encounter.

Song’s film isn’t just a romantic story but a story about the immigrant experience and everything that comes with it, from interracial relationships to adapting to a new language. Na Young and Hae Sung grow up together in Seoul and are each other’s first major crush. Days before Na Young’s family plans to move to America, they go on their first date and clearly have strong feelings for one another. But Nora leaves for America and they lose contact. We see Na Young adopt her new American name Nora, learn English, and prepare to adapt to this foreign world. Later on in the film, we hear Nora talk about how she had no one she could cry to as a child in America. Her new world quickly taught her to hide her emotions and not let anyone know when she was feeling awful or confused. It’s a common first generation American immigrant experience to consciously hold back certain parts of yourself to assimilate more comfortably into the American world, and it’s an experience that Song illustrates with specificity and care.

This is a film that lives and dies on its screenplay. While there are fantastic visuals (the cityscapes, the park where young Nora and Hae Sung play, etc.), the movie is anchored by Celine Song’s empathetic, heartbreaking, and occasionally hilarious screenplay. But what struck me the most was what was left unsaid. There are moments throughout the film where Nora and Hae Sung just look at each other, their eyes telling each other more than what can be said with words. It’s in these moments where the two central performances really shine. Though one cannot leave out the wonderful John Magaro, who’s vulnerable, soul-baring turn was my favorite performance from the film. Some of Magaro’s best moments are pretty much wordless, his looks do enough to convey the mix of love, fear, insecurity, care, and discomfort he experiences. Unlike the ‘Before’ trilogy, Past Lives doesn’t really spend moments just lingering with its characters. While Linklater’s films were built on scenes of characters going on philosophical tangents for most of the runtime, we also spent more time really seeing the characters for who they were. It really feels like no moment is wasted. Granted, these are two quite different films and I am not finding fault with Past Lives for failing to be a ‘Before’ copycat but instead just trying to point out that I never really fall in love with Nora and Hae Sung they way I fell in love with Celine and Jesse because we as an audience don’t really get to sit with them and when we do it’s for brief moments. But like with the ‘Before’ trilogy, what they say to each other in these moments together isn’t as significant as their flickering glances, shared stares, and genuine smiles. These moments are what make the best romantic dramas and Past Lives is one of the best romance films of the decade so far, if not the best.

Score: 4/5

July 5, 2023
Puss in Boots: The Last Wish: A Colorful and Surprisingly Poignant Installment in the ‘Shrek’ Universe

By Arman Saxena

Wow, what a gorgeous film! Having seen the trailer I expected animation that was different from the usual Dreamworks style, but I did not anticipate finding myself in awe of the energetic, colorful, and expressionistic frames that populate this film. With a character like Puss in Boots, the filmmakers could have settled for being standard animated fare: a fun, engaging story that captivates children and adults alike but is ultimately forgettable in both their minds. But the visual aspects of the film are incredibly inspired, from the color changes that occur during the fight scenes (which reminded me of 2018’s Spider-Man: Into the Spider-Verse) to the pop culture references littered (sorry, I had to) throughout the film (from Terminator 2 to Dogs Playing Poker). There was clearly a lot of love and imagination put into crafting this film and as someone who loves animation, it’s always a joy to see a film that was made with such joie de vivre.

That’s not to say that this is a perpetually joyous film. With Puss in Boots (Antonio Banderas) on his last life, he has to overcome his newfound fear of death, a theme that is tackled a lot more maturely than I expected from a mainstream film marketed towards children. The existentialism that permeates throughout sections of this film makes me believe that it is not too much to call it a psychological drama. Puss has always lived with this sense of immortality as a result of his nine lives and the legend of his moniker, but once he’s on his last legs he is forced to reconcile with the mistakes he has made and what truly fulfills him. And the film does not shy away from spending time with Puss’ psyche, we see him feel fear, loss, and loneliness, all made more powerful with the stark, striking colors of the animation.

Antonio Banderas conveys all of this beautifully. Adding intonations of vulnerability into Puss’ consistently cocksure attitude, Banderas makes this the most relatable on-screen Puss so far. The supporting voice performances are also uniformly excellent though I want to highlight Wagner Moura as the film’s main villain Wolf. Moura knows how to play menacing, his best known role to American audiences being Pablo Escobar in Narcos. But here he is playing the personification of death itself and Moura imbues his character with the kind of controlled terror that makes Wolf one of the best (and most frightening) villains in recent mainstream animation. The whole rogues’ galleries of antagonists in this film are all beautifully rendered characters. From Big Jack Horner (John Mulaney, who is having the time of his life here) to the Goldilocks (Florence Pugh) and the Three Bears Crime Family (Ray Winstone, Olivia Colman, and Samson Kayo), the film does a lot thematically with its supporting cast. The film is a quick 102 minutes and it’s impressive how the filmmakers are able to flesh out so many characters in so little time (though I think Goldilocks’ motivations could have used a little bit more development).

Fans of the franchise will be excited to know that Kitty Softpaws (a terrific Salma Hayak) is not just a glorified cameo in this film. She’s as important to this film as she was to the last, and while their banter remains, her relationship with Puss is only more interesting this time around. The most important of this film’s new characters is Perrito (played by What We Do in the Shadows’ Harvey Guillen), a self-described therapy dog who is the film’s heart and soul. While initially somewhat annoying, Perrito becomes the film’s most endearing character, largely due to Guillen’s thoroughly sincere voice performance. He joins Puss and Kitty on their adventure, gradually affecting them in ways that provide some of the film’s most poignant and funny moments.

I am not saying that a lot of the film does not seem predictable or follow many of the tropes seen throughout family films, because a lot of it does. But with its wonderful visual verve, a captivating cast of well-realized characters, and seriously-explored themes that don’t muddy the film’s tone, ‘The Last Wish’ rises above those tropes to become one of the best computer-animated films of the 2020s so far.

January 29, 2023
“An American Pickle” review: A sweet but conflicted film that will likely still provide a fun escape during these crazy times.

Seth Rogen is mostly known for producing and starring in hilariously funny, but very rated-R comedies, this film is PG-13, and is probably the most family-friendly of any film in which Seth Rogen has held the lead role. This dramedy is still amusing though, however, its laugh count is not at the level many of his fans probably expect.

The film follows a Jewish man, Herschel Greenbaum (Seth Rogen) who, when we first see him, is a ditch-digger living in a shtetl. At a market, Herschel sees a woman named Sarah (Sarah Snook) and is instantly in love, not in small part due to the fact that she has “all her teeth, both top and bottom”. He eventually woos her and they get married. After a Cossack attack on their village, the couple decides to move to America. They are met with anti-Semitism but stay positive throughout. One day, when Herschel is working in a pickle factory he is cornered by dozens of rats and falls into a vat of pickle brine as the factory closes. He is perfectly preserved for 100 years and we are given a non-explanation for how that is possible. While this works fine as a joke here, these little bouts of farcical situations continue throughout the film and clash with the film’s mostly sincere tone to create some bewildering and slightly frustrating moments later on.

Once Herschel is out of the brine, he tries to find the only living relative he has left and he is met with his great-grandson, Ben Greenbaum (who is also played by Rogen), a coder working, as he has been for 5 years, on a app that finds how ethical a company is. These scenes are some of the more fun as the film does not dive deep into the clichéd, “man from past experiences modern world for first time scenes” and the film goes straight into the plot (which explains the fleeting 90-minute runtime). As they get to know each other, Herschel becomes increasingly disappointed in his great-grandson as he seems to have lost all ties to his Jewish heritage. As time goes on, the film turns these two men against each other as Herschel starts to become successful. This is one of film’s weak points as Ben’s malice towards Herschel is a little extreme and it is a significant shift from the lovable guy we see at first. During this cyclical sequence of Herschel gaining popularity, then being “canceled”, the film shows some satirical edge, but the satire is too safe and easy to be truly biting. Don’t get me wrong, it is a fine film that will maintain a smile on your face for most of the runtime, but it is not one of Rogen’s funnier efforts, which would be fine if it was not tonally conflicted to the point that it affects the dramatic moments.

Directed by Brandon Trost and written by Simon Rich (based on his short story ”Sell Out”), the film steers clear from many of the storytelling clichés that litter these type of films and has moments of inspiration. The film works well as a vehicle to show Rogen’s dramatic chops as he skillfully creates two distinct characters in his dual role and at times, especially in later scenes, the film can be heartfelt as Ben works to reconcile with his past.

In these times where there is a lack of new mainstream films, “An American Pickle” is welcome as it is a fun, likeable but flawed movie that is worth a watch, but will likely be forgotten after a few days of COVID-induced monotony.

Score: 3/5

This film can be seen on HBO MAX

August 7, 2020