Joshua Rothkopf

What makes a great thriller? Well, let’s see. Are your palms sweaty? Your teeth clenched? Is your heart pumping and your leg shaking uncontrollably? If so, the chances are that the movie you’re watching is doing its job. When done right, a thriller provokes a physical response more than any other genre, bar horror. Exactly how it initiates those reactions, however, varies greatly. In the pantheon of the best thrillers ever made, you’ll find murder, political intrigue, espionage, conspiracy, manipulation, gaslighting, and, of course, lots and lots of crime. But as a category of movie, the thriller is also loosely defined – within the genre, you’ll find examples of science fiction, horror, heists, action, even comedy, along with the ever-nebulous ‘psychological thriller’ subdivision. In other words, the thriller contains multitudes. But the best of them will always draw you in, make you sweat and leave you breathless. Here are the 100 greatest thrillers ever made. Written by Abbey Bender, Joshua Rothkopf, Yu An Su, Phil de Semlyen, Tom Huddleston, Andy Kryza, Tomris Laffly & Matthew Singer RECOMMENDED: 🕯️ The 35 steamiest erotic thrillers ever made😬 The best thriller movies on Netflix💰 The 60 most nerve-racking heist movies ever🧠 The greatest psychological thrillers ever made 

Moms deserve more than a single day of recognition. It’s a 24/7, 365-day-a-year occupation, after all. But if you’re going to pick one day to spoil your beloved momma, make it Mother’s Day. And what better way to do so than granting them a responsibility-free night on the couch with a movie that reminds them what a privilege it is to be someone’s mum? Whether she’s into coming-of-age comedies, tear-jerking family dramas or just needs reassurance that she’s a better parent than Joan Crawford, there’s something here that’ll make every mother smile. Just don’t forget the wine. Recommended: 🤰 The 50 most iconic movie mums👨 The 15 best Father’s Day movies to watch with your dad🔥 The 100 best movies of all-time

When South Korean director Bong Joon Ho collected his Golden Globe for Best Foreign Language Film for Parasite, in 2019, he teased the audience for its hesitancy to embrace international filmmaking. ‘Once you overcome the one-inch tall barrier of subtitles’, he said, ‘you will be introduced to so many more amazing films’. Indeed, many of the greatest movies ever made were produced in non-English-speaking countries, and there is no need for any fan of cinema to be intimidated by them.  |Sure, you may encounter big themes and a fair bit of philosophy. But you’ll also find pulse-racing action flicks, silly comedies, charming musicals and stylish thrillers, as well as movies that might feel oddly familiar because, well, they probably directly influenced the movies you already love. In compiling this list of the best foreign films of all-time, We omitted silent films and determined that the movies had to be in a language that wasn’t English: so goodbye Britain and Australia, we’ll see you elsewhere. Other than those caveats, consider this your travel guide to the wide, wonderful world of international film. Written by David Fear, Keith Uhlich, Andy Kryza, Joshua Rothkopf & Matthew Singer  Recommended: 🔥 The 100 best movies of all-time🇫🇷 The 100 best French movies of all-time, ranked🇰🇷 The best Korean movies of all-time🥋 The 25 best martial arts movies of all-time 

A wise, violent man once asked: ‘Do you like scary movies?’ The better question, though, is who doesn’t like scary movies? Is there any feeling more exhilarating than a jolt of fright, especially if it’s in the form of entertainment? Sure, we all have our limits: not everyone is up for watching a demonic clown saw a woman in half. (Although the box office returns suggest a surprising number of people are.) But even the most squeamish scaredy cats enjoy a light bump in the night every now and then, especially when October rolls around. Horror is the midst of a major renaissance moment, commercially and critically. In 2024, some of the biggest, buzziest movies of the year – I Saw the TV Glow, Longlegs, The Substance and the aforementioned box-office shocker Terrifier 3 – belong to the genre. But horror has a long history, dating back to the earliest days of cinema. Looking to have your nerves rattled? These 100 classics are guaranteed to have you hiding behind your couch by the time the credits roll. Written by Tom Huddleston, Cath Clarke, Dave Calhoun, Nigel Floyd, Phil de Semlyen, David Ehrlich, Joshua Rothkopf, Nigel Floyd, Andy Kryza, Alim Kheraj and Matthew Singer Recommended: 🔪 The best new horror movies of 2024 (so far)🔥 The 100 best movies of all time🤡 The 21 Best Stephen King Movies of All Time🩸 The 15 scariest horror movies based on true stories

For non-fans, sports might seem trivial – frivolous games played by millionaires who make more money than teachers and doctors. On the surface, those detractors aren’t entirely wrong. But if you look closer, sports are also a natural conduit for drama, for triumphant displays of the human spirit and, sometimes, for reminders that things don’t always turn out the way we want them.  Clearly, it’s no surprise why filmmakers often look to sports for inspiration. Sure, it’s a genre built on clichés. But the best sports movies are able to surprise us, either by turning the tropes inside-out or delivering them with such emotional authenticity, they punch audiences in the hearts regardless. On this list of the 50 greatest sports movies of all-time, you’ll find examples of both. Scotchgard your couch, because you’re going to be jumping on it a lot. RECOMMENDED:🤾 The best Olympics movies to get you in the Olympic Spirit🌊 The 15 most epic surf movies🔎 The best biopics of all-time, ranked

For over a decade, it often seemed like the only movies being made were Marvel movies. Beginning in 2008 with the introduction of Robert Downey Jr’s Iron Man, new offshoots, franchises and ensemble pictures arrived with the sun, each raking in more cash than the last – a testament to both the comic monolith’s meticulous world-building and, of course, its marketing budget. Things have changed recently, however. Ever since peaking with Avengers: Endgame, the MCU has been on a downward trajectory, commercially and creatively – and it’s not just the Martin Scorseses of the world saying so. In truth, though, even in its glory days, not all Marvel movies were created equal. For every box-office-dominating event picture, the studio would churn out a few inessential space-fillers. So while we wait to see if upcoming entries Thunderbolts* and The Fantastic Four: First Steps manage to pull the franchise out of its doldrums, we decided to see what’s worked best and what has fallen flat by ranking all 35 official MCU flicks released so far. As the list demonstrates, the glory days are still where the gold/vibranium lies. Recommended: 🦸🏿 The 50 best comic book movies of all time💣 The 101 best action movies ever made🕵️ 40 murder mysteries to test your sleuthing skills to the max

From horrors exploring ageism to musicals saluting female friendship, feminist films are hitting the big screen in increasing numbers. Coralie Fargeat's The Substance proved that a graphic body horror from a female French director can be a worldwide hit, while Wicked put the complex relationship between two diverse women at the centre of the story. This is also the era of female directors railing against sexual assault, from documentary (Shiori Itō’s Black Box Diaries) to darkly comic thriller (Zoë Kravitz’s Blink Twice). Indian women directors have brought fascinating female stories: Payal Kapadia’s award-winning All We Imagine As Light, Sandhya Suri’s Santosh and Schuchi Talati’s Girls Will Be Girls all explore distinctive women's experiences. While male tales are stil the norm in Hollywood, these films give hope for a more equitable future – as does renewed interest in late great directors such as Chantal Akerman, the subject of a 2025 BFI season titled Chantal Akerman: Adventures in Perception, in celebration of the 50th anniversary of Jeanne Dielman. What makes a film feminist? Must a movie be heavily steeped in theory to be considered 'feminist'? Of course not. Need it be empowering? It helps, but not necessarily. In truth, the only parameters for a feminist film is that it centres women and their stories, whether it serves as a rousing call to arms or a pointed critique of the patriarchy and female subjugation. As you'll see, this list contains everything from philoso

If you love movies, chances are high that the first movie you ever loved was a cartoon. It may have been something from Disney’s Golden Age or the studio’s 1990s Aladdin-powered renaissance. Or possibly a Pixar tearjerker. If your parents were a bit more worldly, it could have been a Studio Ghibli masterpiece. Because animation is frequently where most cinematic obsessions start.  As proof, consider this chart of the greatest animated movies of all-time. In composing this list, we polled everyone from Fantastic Mr Fox director Wes Anderson and Wallace and Gromit creator Nick Park, along with several Time Out writers and experts, and the results show just how broad the genre can be. Our list incorporates the standard-bearers from North America and Japan, plus stop-motion nightmares to psychedelic headtrips, illustrated documentaries to unclassifiable avant-garde experiments. You’ll see a lot of old childhood favourites, sure – but there might even be some new adult faves to consider as well.  Written by Trevor Johnston, David Ehrlich, Joshua Rothkoph, Tom Huddleston, Andy Kryza, Guy Lodge, Dave Calhoun, Keith Uhlich, Cath Clarke and Matthew Singer Recommended: 🐭 The 50 best Disney movies🇯🇵 The 20 best anime movies of all-time🤣 The best family comedy movies🦄 The 50 best fantasy movies of all-time  

The prudes have inherited the movies. If you’ve followed the ongoing debate over sex scenes that’s carried out on social media over the last few years, then you’ll know that Gen Z has strong opinions on cinematic boning: they’re against it. The argument goes that sex scenes rarely add anything to the plot of a movie, nor develop characters. It’s a flawed viewpoint, but in fairness, given Hollywood’s general shift away from showing sexuality on screen, it’s entirely possible that younger folks have simply never seen a good sex scene.  Well, allow us to offer a counterpoint – 101 of them, to be exact. On this list of cinema’s greatest sex scenes, you’ll find multiple examples where a roll in the hay is meant to convey more than just mere titillation – it’s part of the story itself. In some cases, sex is a punchline. In others, it’s downright horrifying. Sometimes it’s supposed to make you uncomfortable. And sometimes, yes, it exists to be arousing. But there’s value in that, too. Written by Dave Calhoun, Joshua Rothkopf, Cath Clarke, David Ehrlich, Phil de Semlyen, Daniel Walber, Trevor Johnston, Andy Kryza, Daniel Walber and Matthew Singer Recommended: 🕯️ The 35 steamiest erotic thrillers ever made🔥 The 100 best movies of all-time❤ The 100 best romantic films of all-time😬 The 50 most controversial movies ever made💪 The 100 best feminist films of all-time

We know what you’re thinking. ‘Valentine’s Day? The fake holiday dreamed up by corporations to sell greeting cards and candy to suburban normies? Why would we ever want to celebrate that?’ Hey, we get it. But to answer your question, any day that gives us an excuse to watch Patrick Swayze save Jennifer Grey from a life without dance, or Ethan Hawke and Julie Delpy walk the streets of Paris, or a frozen Leonardo DiCaprio drift to the bottom of the ocean, simply can’t be all bad. Of course, you shouldn’t need a holiday to snuggle up in front of the TV and enjoy a romcom (or rom-dram) with your betrothed. But if you’re specifically looking to give your V-Day an extra spark, these 30 heart-swelling classics are guaranteed to do the trick.  Recommended: 😍 The 101 most romantic films of all-time🥰 The 70 best romantic comedies of all-time💖 The most romantic movies on Netflix right now💌 The best romcoms on Netflix UK

Great movies matter. Movies have the capacity to sharpen our understanding of the world. They take us places we’d otherwise never go, and introduce us to people we’d otherwise never meet. Or they reflect our own lives back at us, and help us understand ourselves a little better. They simply allow us to place reality on pause for a few hours, which, in this day and age, should not be discounted. Thankfully, there are signs that movies still do matter, even for a generation that’s grown up watching them mostly through the television, like Letterboxd, or the growing popularity of repertory cinemas. And that is ultimately what compels us to list the greatest films of all-time. It’s not to assert our own canon, or spark quibbles about snubs and arbitrary rankings. It’s because new film fans are still being born every day, and need a place to start. So consider this a road map. Looking for something specific? Here are our favourite movies by genre: 🤣 The best comedy movies of all-time😱 The best horror movies of all-time😍 The best romcoms of all-time😬 The best thriller movies of all-time👽 The best sci-fi movies of all-time💣 The best action movies of all-time✍ The best animated movies of all-time🦄 The best fantasy movies of all-time💏 The best romantic movies of all-time🪖 The best war films of all-time How we chose our 100 best movies of all time Admittedly, the process is not an exact science. Mostly, it involves a bunch of arguing, whittling and deal-making amongst Time Out

Never let anyone tell you that music is only about the music. At least since the 1980s, it’s been almost equally a visual medium – just ask REO Speedwagon, Yes or any of the other blandly anonymous rock groups that got put out to pasture once MTV came around. That’s what makes music documentaries such a fruitful subgenre of cinematic nonfiction: the mix of genius and absurdity that comes along with pop stardom makes musicians a natural subject for filmmakers. With one of the music doc greats, Dig!, back in cinemas in 2025 via an extended new cut called Dig! XX, here are 25 prime examples of the genre. They run the gamut from biographies to concert films to tour diaries to more experimental explorations of sonic brilliance, but they all prove that musicians want to be seen nearly as much as heard. RECOMMENDED: 🎥 The 66 best documentaries ever made.🤘 10 unforgettable concert films to watch from home.

En una muntanya, un esquadró paramilitar d’adolescents s’entrena per a una guerra sense nom. Juguen a futbol amb els ulls tapats i manipulen fusells carregats. Enfangats, prometen fidelitat a una organització abstracta i obeeixen les seves ordres a través d’un líder canviant. Monos t’atrapa tot i tenir una trama inexistent. Entre la música atmosfèrica de Mica Levi, alguna cosa pren sentit, un pensament, un malson. És aquest el nostre futur? Ja hem vist soldats infantils abans a la gran pantalla, però 'Monos' no moralitza. Alguns dels personatges intenten escapar-se, però 'Monos' no va d’això. S’infiltra dins teu per crear una ansietat profunda que serà difícil de treure’s del damunt. Ha arribat l’hora d’allistar-se.

Después de ver el thriller legal 'Aguas oscuras' te costará recordarla. Querrás coger a alguna 'killer line' de este film donde Mark Ruffalo interpreta al abogado Rob Bilott, que se enfrentó al gigante químico contaminador DuPont. No llegará, pero te dará que pensar: ¿quién ha dirigido 'Aguas oscuras', conduciendo el guion hacia gastadas discusiones de oficina y disputas matrimoniales de cliché? ¿Ha sido Todd Haynes, el indie radical tras Velvet Goldmine, 'Lejos del cielo' y 'Carol'? La última revelación hace más daño, porque 'Aguas oscuras' parece una versión más estúpida y literal de un concepto que Haynes ya exploró de forma brillante en 1995 en 'Safe'. Ruffalo, buscando un matiz de consternación gruesa que acabará agravando, aprende sobre vacas con tumores. Su esposa, Sarah (Anne Hathaway, desaprovechada), fue abogada: ¿explotará como una especie de fusión del cine de Douglas Sirk? No. Todos odiamos la destrucción ambiental; es valioso tener películas al respecto y esta funciona bastante bien, pero dejamos que las hagan cineastas con menos talento.

Després de veure el thriller legal 'Aguas oscuras' et costarà recordar-la. Voldràs agafar-te a alguna 'killer line' d’aquest film on Mark Ruffalo interpreta l’advocat Rob Bilott, que es va enfrontar al gegant químic contaminador DuPont. No arribarà, però barrinaràs: qui ha dirigit Aguas oscuras, conduint el guió cap a gastades discussions d’oficina i disputes matrimonials de clixé? Ha estat Todd Haynes, l’indie radical rere Velvet Goldmine, Lluny del cel i Carol? L’última revelació fa més mal, perquè Aguas oscuras sembla una versió més estúpida i literal d’un concepte que Haynes ja va explorar de forma brillant el 1995 a Safe. Ruffalo, buscant un matís de consternació gruixuda que s’acabarà agreujant (on és el tipus de Spotlight?), aprèn sobre vaques amb tumors. La seva esposa, Sarah (Anne Hathaway, desaprofitada), va ser advocada: explotarà com una mena de fusió Douglas Sirkiana? No. Tots odiem la destrucció ambiental; és valuós tenir pel·lícules al respecte i aquesta funciona prou bé, però deixem que les facin cineastes amb menys talent.

Los amantes criminales a la fuga siempre han encontrado refugio en las pantallas de cine estadounidenses, un subgénero donde directores tan diversos como Arthur Penn, Steven Spielberg y Terrence Malick se han hecho camino. Ahora, Melina Matsoukas, conocida por el videoclip 'Formation' de Beyoncé, pasa a formar parte del grupo con este impresionante debut, que solo falla por algunas pequeñas elecciones de trama un poco ridículas. Jodie Turner-Smith y Daniel Kaluuya –de 'Déjame salir'– interpretan a dos personajes sin nombre que son detenidos por un policía racista en su primera cita. Tras un tiroteo se encuentran huyendo de la ciudad sin saber qué hacer. Los protagonistas hacen un trabajo exquisito, incluso cuando las circunstancias les hacen tomar decisiones erróneas o caer en estereotipos. Con un gran componente de denuncia social, 'Queen & Slim' tiene resonancias de los disturbios raciales que hubo en 2014 en Ferguson, Missouri, y en otros lugares, y no pide perdón por el comportamiento de sus antihéroes, una postura muy estimulante. Pero, en los momentos de estilo 'Thelma y Louise' conduciendo hacia la puesta de sol (hay demasiados), desearías que la película hubiera tenido la sofisticación necesaria para abordar la compleja injusticia que retrata este guion clásico, lo que pudo dar lugar a una trama secundaria donde se involucrara un abogado. Sin embargo, creo en Matsoukas: ella es la que vale aquí y sabrá cómo traernos mejores cosas.

From ‘True Romance’ to ‘Badlands’, criminal lovers on the run have found safe haven on movie screens. Now Melina Matsoukas – a visually gifted filmmaker best known for Beyoncé’s ‘Formation’ video – adds to the canon with this atmospheric, impressively serious debut drama. Playing characters that are unnamed throughout the movie, Jodie Turner-Smith and Daniel Kaluuya find themselves pulled over, post-first date, by a virulently racist cop. One struggle over a gun later and they’re on the lam, uncertain of what to do. Investing their roles with thoughtfulness, both leads do fine work, even when the situation pushes them toward bad decisions or stereotypes (in one inspired costume choice, the outlaws don trashy clothes provided by a relative – a track suit and a miniskirt). A socially angry film, ‘Queen & Slim’ strikes intentional resonances with the 2014 racial unrest in Ferguson, Missouri, and elsewhere, making no apology for its antiheroes’ behaviour. It’s an invigorating stance. But for every ‘Thelma & Louise’-like magic-hour drive into the sunset (and there are several too many), you wish the movie also had the sophistication to nick from that classic script’s complex sense of injustice – one that had room for a subplot involving a sympathetic lawman. Believe in Matsoukas, though: she’s the real deal.

Fred Rogers captivated generations of America’s kids with his TV show ‘Mister Rogers’ Neighborhood’. He didn’t sugar-coat things, coaxing his young viewers through even the tough stuff like Vietnam and civil rights. Imagine Andi Peters presenting ‘Newsnight’ using animal puppets as props, and you’ll get the idea. Unfortunately, ‘A Beautiful Day in the Neighborhood’ can’t quite match up the easy charms of the cheap-and-cheerful TV programme itself. There’s no impulse to explore the complexity of this strangest of celebrities – a gifted listener and child whisperer who calmed adults just as effectively. Tom Hanks, in his twinkly-eyed wheelhouse as Rogers, is a winning presence in a supporting role, while Esquire writer Lloyd Vogel (Matthew Rhys) becomes the movie’s surrogate kid. He’s swamped by a toxic relationship with his estranged dad that’s distracting him from his big interview with Rogers. You can easily predict what follows. It may be that successful real-life journo Tom Junod, on whom the Lloyd character is based, lacks real drama. And a bolder movie would have included Rogers’s late-career triumph, when he turned post-9/11 anxieties into a teachable moment. ‘Anything mentionable is manageable,’ Hanks offers in the film’s wisest words. It’s good advice, though the emotions here could have done with being a bit wilder. 

Els amants criminals a la fuga sempre han trobat refugi a les pantalles de cinema nord-americanes, un subgènere on directors tan diversos com Arthur Penn, Steven Spielberg i Terrence Malick s’han fet camí. Ara, Melina Matsoukas, coneguda pel videoclip 'Formation' de Beyoncé, passa a formar part del grup amb aquest impressionant debut, que només falla per algunes petites eleccions de trama una mica ridícules. Jodie Turner-Smith i Daniel Kaluuya –de 'Déjame salir'– interpreten dos personatges sense nom que són detinguts per un policia racista en la seva primera cita. Després d’un tiroteig es troben fugint de la ciutat sense saber què fer. Els protagonistes fan un treball exquisit, inclús quan les circumstàncies els fan prendre decisions errònies o caure en estereotips. Amb un gran component de denúncia social, 'Queen & Slim' té ressonàncies dels disturbis racials que hi va haver el 2014 a Ferguson, Missouri, i a altres llocs, i no demana perdó pel comportament dels seus antiherois, una postura molt estimulant. Però en els moments d’estil 'Thelma i Louise' conduint cap a la posta de sol (n’hi ha massa), desitges que la pel·lícula hagués tingut la sofisticació necessària per abordar la complexa injustícia que retrata aquest guió clàssic, cosa que hauria pogut donar lloc a una trama secundària on s’involucrés un advocat. No obstant això, crec en Matsoukas: ella és la que val aquí i sabrà com portar-nos millors coses.

Lleva tres películas y en el transcurso de estas cintas indies, el guionista y director Trey Edward Shults ya ha arruinado el Día de Acción de Gracias en el insoportable psicodrama Krisha (2015) y ha echado a perder al mundo con una plaga en la majestuosa Viene de noche (2017). Ahora, con Las olas destruye a una familia trabajadora de Florida antes de una absolución casi cósmica. Todos sus filmes se sienten como exorcismos personales (Shults puede describirse como un director de terror no sobrenatural), pero su nueva película es un verdadero avance. Nunca se relaja después de su angustiosa primera hora; cuanto más transcurre, más humana se siente. Aquí conocemos a Tyler (Kelvin Harrison Jr., impresionantemente preciso con el fuerte declive de su personaje), inmerso en las comodidades de clase media, pero en las próximas semanas, varias cosas malas le sucederán, algunas de las cuales empeorarán infi nitamente por sus propias acciones y confusión. Esta cinta convierte este descenso en una larga racha de desgracias. Las olas, como todas sus películas, trata sobre la familia, pero esta vez no es un retrato de asfixia. La evolución artística que experimenta Shults lo hace tan emocionante como cualquier otro director que trabaje actualmente, es tan agudo como un joven Darren Aronofsky y su corazón solo está creciendo más. 

It’s taken him three films, but over the course of those indies, writer-director Trey Edward Shults has ruined Thanksgiving (2015’s excruciating domestic psychodrama ‘Krisha’) and spoiled the world with plague (the majestically paranoid ‘It Comes at Night’). Now, with ‘Waves’, he obliterates a hardworking Florida family before delivering some nearly cosmic forgiveness in the movie’s second half. All of his films feel like personal exorcisms – Shults may best be described as a non-supernatural-horror director – but this one is a true breakthrough. Shults has a signature shot in which his camera rotates like the searching eye of a lighthouse, and ‘Waves’ exploits it beautifully. It’s how we meet the black high school wrestler Tyler (Kelvin Harrison Jr, impressively precise on his character’s steep decline), cruising in the car with his girlfriend. Shults takes in the happy moment with his swirling camera: Tyler swaddled in his middle-class comforts, with their attendant crush of expectations. Over the coming weeks, several bad things will happen to Tyler, a few of which are made infinitely worse by his own impulsive actions and confusion. ‘Waves’ turns this descent into an extended run of Job-worthy misfortune. ‘We are not afforded the luxury of being average,’ says Tyler’s father (Sterling K Brown, taut with concern), but apart from that line, ‘Waves’ doesn’t play like a statement on race so much as an indictment of the Kanye-scored, dumped-via-text pressure cooker that is bei

En resumen: el tipo que dirigió 'Thor: Ragnarok', el neozelandés Taika Waititi, ha hecho una película sobre un adorable joven hitleriano que tiene como amigo imaginario a Adolf Hitler (Waititi). Es una buena noticia: ya ha llegado el momento de repensar este cineasta de arriba a abajo. 'Jojo Rabbit' tiene la perspectiva de un niño ingenuo y solitario de 10 años, Jojo (Roman Griffin Davis), el "mejor y más leal pequeño nazi que he visto nunca", como dice el Hitler de Waititi con voz de dibujos animados. Para reír con la película, tendréis que abrazar este montaje intencionalmente inmaduro, que nos muestra un Jojo frenético que corre por la calle a ritmo de la versión alemana de 'I want to hold your hand' de los Beatles. En caso contrario, los anacronismos serán duros de tragar. ¿Deberíamos reír de todo esto? Muy raramente 'Jojo Rabbit' nos dice que no (a diferencia, por ejemplo, de la hipócrita 'La vida es bella'). En una secuencia como de casa encantada, Jojo descubre una adolescente judía, Elsa (la extraordinaria Thomasa McKenzie), que vive en el interior de las paredes de su casa, una niña abandonada secretamente protegida por su alegre madre soltera (Scarlett Johansson). Todo lo que Jojo tiene en mente sobre los judíos son ideas ridículas y Elsa solo le anima: "Es evidente que somos demonios que amamos el dinero", confirma. No es necesario saber que Waititi es medio judío, su confianza eleva la película por encima del antisemitismo. De alguna manera, imperceptiblemente, co

"Nunca subestimes a un droide", escuchamos varias veces en la nueva entrega de 'Star Wars'. ¿Por qué tendríamos que subestimarlo? En líneas generales, los droides tienen corazón y cerebro, son compañeros emotivos y capaces de resolver problemas gordos en el último minuto. El director JJ Abrams es como un droide. Ha rescatado esta franquicia de sus recuerdos de infancia, desarchivando datos de su memoria y proyectándolos, como hace R2D2 con el holograma de la princesa Leia en la película de 1977. En 'El despertar de la fuerza' (2015) hizo un perfecto trabajo rescatando la antigua magia de la trilogía original, con emoción y nostalgia, a pesar de que el argumento no pareciera muy imaginativo. La continuación de Rian Johnson, en la que Abrams hizo de productor ejecutivo, era otra cosa completamente distinta, subversiva y llena de emociones oscuras. La franquicia no merecía eso. Ahora el droide Abrams está de regreso. 'El ascenso de Skywalker' marca el retorno de la sosería narrativa, aquella con la que Lucas traficaba en la segunda franquicia, sazonada con giros de la trama sin sentido, aparatosa intriga imperial y heroismo aburridísimo. Parece un gran pastiche con el que solo los más fans se sentirán satisfechos. Desde el principio ya percibimos que esto es un 'reboot' de lo más 'soft': zombis fantasmas con ansias de destrucción se levantan del fondo de la basura de un planeta. ¿Prevelecerá esta Nueva Orden? La película arranca mientras Kylo Ren (Adam Driver), con su cara cicat

Aquí un poco de historia de gatitos: el megamusical de Andrew Lloyd Webber siempre fue vagamente espeluznante, incluso a los ojos de los fanáticos; es sublime o ridículo o sublimemente ridículo. Cats, la película, por su parte, durante mucho tiempo se pensó que era una cosa imposible, pero esta versión de Tom Hooper abraza la rareza, es demasiado literal para su propio bien, sin embargo, no está cerca del extraño desastre del reciente remake hiperrealista de El rey león, un documental sobre la vida salvaje. Si pudiste con los efectos especiales de Robert De Niro en El irlandés, una Judi Dench aturdida no te asustará. A pesar de que los amantes del teatro son el público objetivo, tendrán serios problemas con esta adaptación, que asesina algunas de las canciones y rompe la ya delgada línea que descansa en la ingenuidad de Victoria (elegante bailarina inglesa, Francesca Hayward). Sobre la traba, estos gatos cantan y bailan, eso es todo lo que necesitas saber. A veces, el golpe de un artista se interpone en el camino, como cuando Rebel Wilson rueda torpemente o come cucarachas hechas digitalmente. Pero de vez en cuando tendrás una explosión completa de Lloyd Webber y toda la tontería empresarial, aunque solo sea por un momento. Gran parte del baile aquí, especialmente el solo de tap de Steven McRae como Skimbleshanks, el gato del ferrocarril, no es capturado elegantemente por el trabajo de cámara de Christopher Ross. Cats nunca es creíble (el objetivo no es el realismo), pero tie

This morning in Los Angeles, nominees for the 92nd Academy Awards were announced. Some history was made: Scarlett Johansson received not one but two acting nominations—her first two ever—in separate categories (the last time that happened was in 2007 with Cate Blanchett). Also receiving two nominations was Cynthia Erivo for her galvanizing performance in Harriet, as well as for that film's original song. It's a good thing Erivo was a part of this morning's conversation, because apart from her, there wasn't a lot of diversity on display. Both Hustlers' Jennifer Lopez and The Farewell's Awkwafina failed to make the cut, despite huge support. Snubs are always in the eye of the beholder; I'd say omitting Apollo 11 for Best Documentary Feature feels like a mistake, and it's a crime not to have included Greta Gerwig for Best Director (Little Women did well elsewhere, including acting nominations for Florence Pugh and Saoirse Ronan—receiving her fourth nom at age 25). Regardless, it's thrilling to see Bong Joon-ho's Parasite earn several major nods, including Best Picture and Best Director. Elsewhere, Robert Eggers's black-and-white fantasia The Lighthouse was nominated for Best Cinematography, a happy surprise. We'll be watching for any Baumbach–Gerwig tensions. The Oscars air Sunday February 9 on ABC. Here's a complete list of this morning's nominees: Best PictureFord v FerrariThe IrishmanJojo RabbitJokerLittle WomenMarriage Story1917Once Upon a Time…in HollywoodParasite Best Dire

In an Oscar season crowded with contenders, Netflix has done a killer job of showing off its shiniest objects. Even as its post-awards plans for the Paris Theatre—recently saved from closure—remain uncertain, the streaming service is staking real-world territory elsewhere, as last seen with Netflix's Little Italy takeover for The Irishman. Now, beginning today, the public can view "The Netflix Film Experiences in Dolby," a free two-floor exhibit of costumes, script pages and video clips assembled over several rooms at Dolby SoHo (477 Broadway). The show is open to the public from 1–8pm Wednesdays through Sundays until January 26. What awaits film fans? Four movies are showcased and, to be honest, some rooms are more fun than others. Was Al Pacino's performance as hot-blooded Jimmy Hoffa in The Irishman not quite big enough for you? Attendees can immerse themselves in an installation where he's yelling at you from multiple screens. Ever wanted to get up close and personal with some papal outfits? Costumes from The Two Popes are on display. More excitingly to these eyes: There's a lower level fully pimped out with '70s-era finery from Dolemite Is My Name. You can't actually see the Eddie Murphy comedy in a single New York City cinema at the moment (apart from your own Netflix account) but paradoxically, this exhibit has created a temporary public space for the movie's supercharged energy. Finally, find the quiet nook where a loveseat will let you and your significant other watc

Movies like Sam Mendes's immersive WWI drama 1917 and performances like The Farewell's Awkwafina made surprise showings at tonight's Golden Globes—in some cases crucially, with Oscars balloting happening much earlier this year than usual. (Voting on nominations ends this Tuesday.) Some winners were widely predicted: The Hollywood Foreign Press Association, traditionally champions of bigness, honored Joaquin Phoenix in Joker and Renée Zellweger in Judy, two front-runners who totally transformed themselves. Meanwhile, it looks like Brad Pitt may go all the way for Once Upon a Time…in Hollywood. Quentin Tarantino's Manson-era L.A. fantasia shaped up as potentially more of a force than The Irishman, which got completely shut out. (On the TV front, we have no problem seeing Phoebe Waller-Bridge add to her shelf of awards for Fleabag.) Here's a complete list of winners: Best Performance by an Actor in a Limited Series or Motion Picture Made for TelevisionChristopher Abbott, Catch-22Sacha Baron Cohen, The SpyWINNER: Russell Crowe, The Loudest VoiceJared Harris, ChernobylSam Rockwell, Fosse/Verdon Best Performance by an Actress in a Limited Series or Motion Picture Made for TelevisionKaitlyn Dever, UnbelievableJoey King, The ActHelen Mirren, Catherine the GreatMerritt Wever, UnbelievableWINNER: Michelle Williams, Fosse/Verdon Best Television Limited Series or Motion Picture Made for TelevisionCatch-22WINNER: ChernobylFosse/VerdonThe Loudest VoiceUnbelievable Best Performance by an Ac

Only moments ago, nominees for the 77th Golden Globes Awards were announced. Awards prognosticators got a few surprises: Cate Blanchett scored a nod for the little-seen Where’d You Go, Bernadette; Joker's Todd Phillips beat out Marriage Story's Noah Baumbach for a directing nomination; and Cats scored for its original song (which we hated). But the Oscar picture is beginning to take shape. Awkwafina is looking like a lock for The Farewell, which thrills us, as is Antonio Banderas for Pain and Glory (a winner with the New York and Los Angeles critics groups). Meanwhile, the television nominations were appropriately Fleabag-heavy, which is all we care about. The Globes will be broadcast January 5, 2020 on NBC beginning at 6pm ET. Here's the complete list: Best Performance by an Actor in a Limited Series or Motion Picture Made for TelevisionChristopher Abbott, Catch-22Sacha Baron Cohen, The SpyRussell Crowe, The Loudest VoiceJared Harris, ChernobylSam Rockwell, Fosse/Verdon Best Performance by an Actress in a Limited Series or Motion Picture Made for TelevisionKaitlyn Dever, UnbelievableJoey King, The ActHelen Mirren, Catherine the GreatMerritt Wever, UnbelievableMichelle Williams, Fosse/Verdon Best Television Limited Series or Motion Picture Made for TelevisionCatch-22ChernobylFosse/VerdonThe Loudest VoiceUnbelievable Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for TelevisionPatricia Arquette, The ActHelena Bonham Carte

Unveiling a new song, a new album and some of the old woozy indiscipline that hamstrung their ascent nearly 20 years ago, the Strokes extended the most leisurely paced comeback in rock, delighting their hometown fans at Brooklyn’s Barclays Center last night. The chiming, seesawing, faintly sad “Ode to the Mets” arrived after a lengthy band conference, several of which plagued the show (ever hear of a set list, guys?). The new song didn’t sound like a galvanizing rebound so much as a grandly emotional closer: a future final-dance prom request. Maybe it will be placed near the end of the forthcoming 2020 release that frontman-songwriter Julian Casablancas teased as “coming out soon.” He offered no further details, adding, “The 2010s, whatever the fuck they’re called, we took them off, but now we’ve been unfrozen and we’re back.” The band still sounds like a paradox: coiled guitar riffs and spring-loaded bass lines under a tinny, debauched drunk dial. When the band used its New Year’s Eve gig (a makeup show after June’s rained-out Governors Ball) as a delivery device for multiple tracks off 2001’s classic Is This It, the crowd exploded. There’s simply no improving on songs like “The Modern Age,” “Hard to Explain,” “Last Nite,” “Barely Legal” and the post-9/11 controversial “New York City Cops,” the latter receiving its own red-and-blue police light show during the choruses. Things came to a halt during the ball drop, the broadcast piped through on the monitors like a glitzy tran

As the decade comes to a close, we’re in a reflective mood (remember Avatar?—yeah, us neither). The result is a list: the 50 best movies of the 2010s, which will no doubt come in handy next time you’re browsing your streaming service of choice. Returning to these films was enormously fun. Ranking them? Not so much. But we did it. Along the way, we asked some of our favorite directors and actors for their picks from the 2010s. Here’s what they told us: Cold War, as picked by Benedict Cumberbatch:“It was such a sad and achingly honest story of love and how destructive and tragic it can be. It was beautifully shot and used all the power of cinema in its framing and acting without words—and when the words came, they were arresting and surprising and dangerous and unexpected. It's painfully romantic, as well as being painful. It's really truly great cinematic storytelling. I was completely immersed in that world and that relationship. Pawel Pawlikowski is an incredible filmmaker.” The Death of Stalin and Get Out, as picked by Taika Waititi, director of Jojo Rabbit:“I really loved The Death of Stalin because it was smart. Also, I loved the decision to let the actors use their normal accents, because it didn’t make any difference to me. I was still shocked and I still found it fascinating and enthralling. The other film I really loved was Get Out, which was the only film in my entire life that I’ve actually yelled the title of the film at the film: ‘Get out!’ ” The Tree of Life, as

We won't lie: Generally, we like to watch holiday movies at home, preferably armed with egg nogs, hot toddies, cocoa, blankets or any convenient warm body (pets will do). But sometimes, other people are just what the doctor ordered when you're getting pounded by relentless Christmas cheer. Here's a list of the very best holiday screenings on offer in NYC theaters over the next several weeks. Note: We said "very best," which makes our list both naughty and nice. These shows should sell out fast, so buy your tickets now. Black ChristmasJoin the horror cognoscenti and bow to Bob Clark’s atmospheric sorority-house stalker—a huge influence on John Carpenter’s Halloween and other “the call is coming from inside the house” thrillers, but nowhere near as well known. It’s getting a new remake (the second one in 13 years), but begin here.Alamo Drafthouse, Downtown Brooklyn (drafthouse.com). Tue 17 at 9:30pm; $12. CarolOur favorite new Christmas classic returns to the Metrograph in 35mm. Working for the first time with material developed by another screenwriter, director Todd Haynes transforms an underappreciated 1952 Patricia Highsmith novel about secret lesbian love into a universal romance. Once you’ve seen Rooney Mara in a Santa hat, there’s no turning back.Metrograph, Lower East Side (metrograph.com). Fri 20 at 5:45pm, Sat 21 at 1:45pm; $15. Christmas with Louis ArmstrongSure to be magical, this bespoke 90-minute compilation—made exclusively for Film Forum—gathers Satchmo’s many mo

Only moments ago, nominees for the 77th Golden Globes Awards were announced. Awards prognosticators got a few surprises: Cate Blanchett scored a nod for the little-seen ‘Where’d You Go, Bernadette’; ‘Joker’ director Todd Phillips beat out ‘Marriage Story’ helmer Noah Baumbach for a directing nomination; and ‘Cats’ scored for its original song by Taylor Swift (which we hated). There are also no less than 27 Brits up for awards, including Daniel Craig, Taron Egerton and the aforementioned Andrew Scott and Olivia Colman. And the Oscar picture is beginning to take shape, too. Awkwafina is looking like a lock for ‘The Farewell’, which thrills us, as is Antonio Banderas for ‘Pain and Glory’ (a winner with the New York and Los Angeles critics’ groups). Meanwhile, the television nominations were appropriately ‘Fleabag’-heavy, which is all we care about.Surprisingly, no female directors have been nominated despite a year that saw Greta Gerwig’s ‘Little Women’, Céline Sciamma’s ‘Portrait of a Lady on Fire’, Lulu Wang’s ‘The Farewell’ and Lorene Scafaria’s ‘Hustlers’. The Golden Globes take place on January 5, 2020. And Ricky Gervais is back on hosting duties after a four-year cooling off period since the last time he did it. This could be fun. Here’s the complete list of nominees: Best Performance by an Actor in a Limited Series or Motion Picture Made for TelevisionChristopher Abbott, Catch-22Sacha Baron Cohen, The SpyRussell Crowe, The Loudest VoiceJared Harris, ChernobylSam Rockwell,

You've read Martin Scorsese's take on Marvel movies. You've argued about it. You've even watched the Cats trailer (maybe a few times, in stupefied silence). But have you seen The Irishman yet? Come on, people. Not only do we recommend it, but we know that three-and-a-half hours isn't a big deal to you, say when it comes to committing to The Crown or whatever. It's Marty and you're a New Yorker. Consider it homework. Today, Netflix released a new trailer for The Irishman and it's extremely well-done, glancing on much of the complexity of the film: the violence, guilt and recrimination of mob life. Here it is: But nothing will bring you into the universe better than what Netflix has planned this weekend for Little Italy. On Friday and Saturday from 9am to 7pm, the streaming service will be taking over five blocks of the neighborhood and back-dating them to August 1, 1975, the day after Jimmy Hoffa was reported missing. Here's what Netflix has released about it: Courtesy of Netflix What does this mean for you? It means you're going to encounter surprises, old cars, newspapers, maybe even some gangster dramatics. If you "tell 'em Jimmy sent you" (that's the secret catchphrase), you'll be able to collect free food and drinks from some of the tastiest restaurants in the area, like Parm and Ferrara Bakery & Cafe. Here's a map of the participating shops: Courtesy of Netflix And Netflix will no doubt make sure that everyone leaves with a bit of swag from the movie itself, just as

Is it any surprise that director Noah Baumbach—whose new movie, Marriage Story, is a bruising tour de force and opens today—loves our favorite LES theater, the bespoke Metrograph? “Although the Metrograph is only three years old, it feels already like a New York institution,” writes the director in program notes detailing his upcoming six-week residency at the movie house beginning this Friday. During that span, all of Baumbach’s narrative features will be screened (but not his insightful 2015 documentary profile, De Palma—what gives, Metrograph? It can still be added…). Some of these presentations will either be introduced by the filmmaker or followed by Q&As, turning his residency into a de facto master class.  Intriguingly, Baumbach has also picked several “companion” films (in his words, “movies that I love, that have somehow informed my work as well as my life”) to play as double features: Éric Rohmer’s Pauline at the Beach after Margot at the Wedding; the generationally-themed Working Girl after While We’re Young; other choices that are too good to ruin. He's even found room for E.T. The takeaway is a nuanced appreciation of a particular artist’s sensibility, one steeped in encyclopedic Gen-X scholarship but with room for detours into beloved mid-budget Hollywood movies and NYC-set indies. For many who have cherished Baumbach’s work for years, the residency will feel like a coronation. And for those who have yet to experience one of his films, it’s going to be a scene—e

We haven't seen anyone camping out on the street yet for tickets, but trust: Martin Scorsese's fans are palpitating in advance of this Friday's theatrical release of The Irishman. Beginning November 1 at these participating theaters only, the three-and-a-half-hour gangster epic (which we enjoyed) will play for crowds until Netflix begins streaming it Thanksgiving weekend, at which point all bets are off. Will the movie give you that Marty feeling? Yes. Will it remind you of Goodfellas or Mean Streets? Somewhat, but not always. A decades-spanning drama, The Irishman spends a fair amount of time in Pennsylvania, Washington, D.C., and Florida. It's not as New York-centric as some of Scorsese's other films, like The King of Comedy or Taxi Driver. But one scene that is undeniably NYC is Scorsese's re-creation of the infamous 1972 mob hit on Joe Gallo at Umberto's Clam House, then located on the corner of Mulberry and Hester Streets. (After closing shop in the late '90s and reopening, Umberto's is now two blocks north.) During one night in November 2017, Scorsese aged a block on the Lower East Side, transforming it into the famous intersection. Here's a screen grab from the trailer that shows the scene in question: Elsewhere in the movie, Long Islanders will be able to catch Hildebrandt's, the beloved Williston Park ice cream shop. It figures prominently in a key scene in which the characters hear about the Kennedy assassination. Will any other Irishman locations become as famous

Looking to qualify its soon-to-be-streaming titles for Oscars, Netflix continues to successfully book alternative theatrical options: Two weeks ago came the news that Martin Scorsese's The Irishman would take residence at Broadway's Belasco Theatre. Now we're hearing that the Paris Theater—recently shuttered in August after more than seven decades (Marlene Dietrich cut the inaugural ribbon in 1948)—will reopen for a brief run of Noah Baumbach's five-star-excellent Marriage Story, beginning Wednesday, November 6. It remains unclear how long the Paris will stay open. Regardless, fans of the elegant single-screen theater—on the opposite side of 58th St. across from the Plaza Hotel—see this as a win. It may even be a better solution than the Belasco: At 581 seats, the Paris has roughly half the space, but it does have a romantic balcony and will be able to host multiple daily screenings to the Belasco's single showing. Moreover, it brings Baumbach's distinctly NYC vision to those who want to see it with a crowd. Insisting on tough terms when it comes box-office receipts, Netflix is finding it hard to strike deals with chains like AMC and Regal. But individual movie houses seem ready to engage: Here is a complete list of theaters where you can go see The Irishman. (We strongly prefer IFC Center's cushiony seats to the Belasco's butt-numbers, and the Scorsese is a full three-and-a-half hours without intermission.) Marriage Story, too, will have alternate options beyond the Paris—a