Top Gun: Maverick (2022) Showtimes and Tickets
Top gun: maverick showtimes in movie theaters near 90011, wednesday, november 29, 2023, clyde theatre.
Top Gun: Maverick (2022)
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Top Gun: Maverick
After more than thirty years of service as one of the Navy’s top aviators, Pete “Maverick” Mitchell (Tom Cruise) is where he belongs, pushing the envelope as a courageous test pilot and dodging the advancement in rank that would ground him. When he finds himself training a detachment of Top Gun graduates for a specialized mission the likes of which no living pilot has ever seen, Maverick encounters Lt. Bradley Bradshaw (Miles Teller), call sign: “Rooster,” the son of Maverick’s late friend and Radar Intercept Officer Lt. Nick Bradshaw, aka “Goose”.
Facing an uncertain future and confronting the ghosts of his past, Maverick is drawn into a confrontation with his own deepest fears, culminating in a mission that demands the ultimate sacrifice from those who will be chosen to fly it.
Starring: Miles Teller, Jon Hamm, Tom Cruise, Ed Harris, Jennifer Connelly, Val Kilmer Directed by: Joseph Kosinski
In Theatres: Dec 02, 2022 Genre: Action Duration: 134 min
Notes: NO PASSES accepted until June 10
Consumer Advice: (BC) Coarse Language, Violence. (AB) Coarse Language. (SK) Coarse Language, Violence. (MB) Coarse Language, Violence. (ON) Coarse Language.
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10 Best Movies On Paramount+ to Watch Right Now
Paramount+ is home to some of the best movies ever made, like Teenage Mutant Ninja Turtles: Mutant Mayhem and Top Gun: Maverick.
Paramount+ is a bit of an underdog when it comes to streaming services. Though it may not get as much attention as Netflix or Max, it'd be disingenuous to suggest that this underrated streaming service doesn't have anything of value. You may be surprised to know that Paramount+ is home to not only some of the biggest movies that recently came out in theaters but also some of the best movies ever made in general. You might never have expected something like Paramount+ to have some of the best movies currently streaming . Yet, here we are.
Seeing how Paramount+ is loaded with hundreds of incredible films from a variety of genres, we've felt it necessary to highlight the best of the best that Paramount+ has to offer. From entire franchises to vintage classics, these are what we'd consider to be the best movies on Paramount+. We'll also update this list periodically to reflect the current offerings on this modest streamer.
10 Teenage Mutant Ninja Turtles: Mutant Mayhem (2023)
Teenage mutant ninja turtles: mutant mayhem.
Read Our Review
Our favorite group of reptilian martial arts masters is back for more in Teenage Mutant Ninja Turtles: Mutant Mayhem . This slick animated film reboots the franchise once more with a refreshingly grungy art style, showcasing the initial formation of our teenage turtles as they take on the malevolent scientist Superfly and his army of mutants. With the help of April O'Neil, the turtles may even find themselves acclimating to the world beyond the sewers. An ensemble voice cast comprised of Ayo Edebiri, Maya Rudolph, John Cena, Seth Rogen, Jackie Chan, Ice Cube, Paul Rudd, and more voice the numerous colorful characters in this family-friendly action film.
What Makes It Great?
Mutant Mayhem 's plentiful characters and direction provided by Jeff Rowe ( The Mitchells vs. the Machines ) make for an incredible animated film you can't afford to miss. The new characterizations found in leading turtles are especially terrific, reinventing them with a modern charm that feels perfect for the grimy world they inhabit.
9 Ferris Bueller's Day Off (1986)
Ferris bueller's day off.
Ferris Bueller's Day Off is an endlessly quotable comedy from the 1980s . Thankfully, it still holds up to this day. Matthew Broderick stars as our title character: a Chicago high school student who fakes an illness to skip a day of school. Now free to do as he pleases, he goes on several adventures in the company of Sloane (Mia Sara) and Cameron (Alan Ruck), while explaining his inner thoughts with hilarious monologues. John Hughes directed this classic film, with Jennifer Grey, Charlie Sheen, Ben Stein, Cindy Pickett, and Lyman Ward providing supporting roles.
This teen comedy is notable for its prominent Chicago setting, with several notable landmarks featured throughout. Wrigley Field, Willis Tower, and what would eventually become Grant Park are all given a chance to shine in this unconventional adventure. It would be a landmark film for both John Hughes and Matthew Broderick, with the latter's humorous one-liners still being parroted to this day.
8 Interstellar (2014)
Christopher Nolan's Interstellar is a rare example of high-concept science fiction with a compelling emotional core. Set in a near-future dystopia, humanity finds itself in a global famine with only one contingency plan left. After discovering a wormhole near Saturn, a group of brave astronauts take on what may be a suicide mission to find a hospitable world to colonize. The journey won't be easy, and along the way, several harrowing discoveries may put the future of humanity at risk. Matthew McConaughey plays the film's lead , with Anne Hathaway, Jessica Chastain, Bill Irwin, Ellen Burstyn, and Michael Caine starring alongside him.
Interstellar would snag five nominations at the Oscars, securing a win for Best Visual Effects against films like Dawn of the Planet of the Apes and Guardians of the Galaxy . The film's adherence to real science, especially the inner workings of wormholes, was also a significant point of praise from several different publications.
7 Dungeons & Dragons: Honor Among Thieves (2023)
Dungeons & dragons: honor among thieves.
Dungeons & Dragons: Honor Among Thieves was a notable high-point in terms of fantasy films when it debuted in 2023. Taking a more comedic and lighthearted approach to the genre, Honor Among Thieves sees Chris Pine leading a band of rogues as a charismatic bard. After a tragic loss turns him to a life of thievery, an opportunity to bring back a deceased loved one presents itself in the form of a powerful tablet. There's just one problem: he'll have to steal it from a dangerous Red Wizard. Alongside Pine, Michelle Rodriguez, Regé-Jean Page, Justice Smith, Sophia Lillis, and Hugh Grant make up our main cast.
Following the less-than-beloved Dungeons & Dragons films of the 2000s, Honor Among Thieves embraces its tabletop roots with plenty of hilarious moments in between dramatic showdowns. It may not have broken even at the box office, but it was an effective introduction to the expansive universe of Dungeons & Dragons for a brand-new audience. Should it be made on a smaller budget, a sequel may even be on the cards for Honor Among Thieves soon.
6 South Park: Bigger, Longer, & Uncut (1999)
Best original movies on paramount+ to watch right now.
Before the turn of the millennium, South Park creators Matt Stone and Trey Parker would hit theaters with South Park: Bigger, Longer, & Uncut . Though the title implies an explicit euphemism, it's certainly an apt description of the film itself. When Stan, Kyle, Cartman, and Kenny sneak into a viewing of the latest Terrence and Phillip film, the ensuing moral panic may put the fate of the world in their unwitting hands. This musical comedy sees Matt Stone and Trey Parker reprising their roles for the majority of the cast, with additional voice performances provided by Isaac Hayes and Mary Kay Bergman. George Clooney, Brent Spiner, Mike Judge, and Eric Idle also lend their voices to a handful of supporting characters.
For as crass as it is, this bold South Park film would go on to become one of the greatest R-rated animated films in history. It would additionally spawn several iconic songs that are still beloved by South Park fans to this day, with "Blame Canada" in particular securing an Oscar nomination for Best Original Song.
5 Blue Velvet (1986)
Requires paramount+ with showtime, blue velvet.
David Lynch continues his spree of experimental films with 1986's Blue Velvet , a neo-noir mystery thriller. Kyle MacLachlan stars in Blue Velvet as Jeffrey Beaumont, a college student returning to North Carolina after his father's health takes a turn for the worse. After discovering a severed human ear in a vacant lot, Jeffrey will be put on a terrifying journey loaded with intrigue, violence, and some of the most surreal cinematography ever put on the big screen. Alongside MacLachlan, Isabella Rossellini, Dennis Hopper, Laura Dern, Hope Lange, and Dean Stockwell are attached to the film's cast.
Though Blue Velvet initially split critical opinions, it has since been reappraised as one of the most intriguing film releases of the 1980s. It would earn Lynch an Oscar nomination for Best Director, and its extensive use of taboo content and heavy symbolism cemented it as one of the greatest thrillers ever made. It would also feature a score by Angelo Badalamenti, who would later collaborate with David Lynch on Twin Peaks and Mulholland Drive .
4 The Mission: Impossible Franchise (1996 - 2023)
We couldn't pick just one Mission: Impossible film for this list, so we've opted to include the whole shebang. Of course, special mention has to go to the most recent film in the franchise, Mission: Impossible - Dead Reckoning Part One . Set six years after the original 1966 TV series, Mission: Impossible sees Tom Cruise playing Ethan Hunt, a member of the Impossible Missions Force, as he takes on an escalating series of death-defying geopolitical missions all across the globe. Tom Cruise is a permanent fixture of the series, both producing and starring in every film, with several notable directors attached to each separate entry. Christopher McQuarrie has directed the latest three films in the series, with an upcoming eighth film still in production.
Mission: Impossible is one of the most iconic action-adventure franchises ever made. Tom Cruise famously does his own stunts for every film, and notable directors like Brian De Palma, John Woo, and Brad Bird were attached as directors in the early entries. They've accumulated a total of over $4 billion at the global box office since they debuted in 1996.
3 Star Trek: The Motion Picture (1979)
Star trek: the motion picture.
Star Trek is a science-fiction institution, meaning we had to include the franchise's first-ever feature film on this list. Star Trek: The Motion Picture is fairly self-explanatory. We follow the story of Admiral James T. Kirk, played by the legendary William Shatner, as he takes command of a newly-refitted USS Enterprise. In doing so, Kirk will have to take on a mysterious alien cloud known as V'Ger, whose destructive power may lead to the end of life on Earth as we know it. The film comes a full decade after the original television series was canceled, continuing the story of Kirk and the original crew of the Enterprise.
This grandiose adventure plays out like a Star Trek episode on the silver screen. Its focus on individual character interactions and methodical plotting polarized critics during its original release, but it has since been recognized as a way to keep the spirit of the original Star Trek series intact. Paramount+ even has an exclusive "Director's Edition" of the film, with remastered visuals, dynamic audio, and high-definition special effects.
2 Top Gun: Maverick (2022)
Top gun: maverick.
Tom Cruise returns as Pete "Maverick" Mitchell, and keeps pushing the envelope as a seasoned aviator for the Navy in this sequel to the original Top Gun film.
Top Gun: Maverick seemed to defy all odds as not only one of the best sequels of 2022 but one of the best movies of that year in general. Joseph Kosinski, having previously directed Tron: Legacy , delivers a similar modern touch-up to the Top Gun franchise, with a returning Tom Cruise reprising his role as Maverick. When Maverick is tasked with training a group of up-and-coming Top Gun graduates, he's forced to confront the ghosts of his past -- especially since one of his students is the son of a deceased friend. Alongside Cruise, Miles Teller, Jennifer Connelly, Jon Hamm, Glen Powell, Ed Harris, and Val Kilmer make up the main cast.
In a shocking surprise, Top Gun: Maverick would go on to become the second highest-grossing movie of 2022, along with being one of the most financially successful films of Tom Cruise's career. Not only that, it would draw huge attention at the 95th Academy Awards, winning the award for Best Sound in addition to securing a total of six separate nominations. It even got a nomination for Best Film before ultimately losing to Everything Everywhere All at Once.
1 Chinatown (1974)
Chinatown is not only one of the greatest films on Paramount+, it's one of the greatest films ever made. Jack Nicholson and Faye Dunaway star in this subversive ' 70s crime drama set in the star-studded streets of Los Angeles. Unfortunately, the rivers in this illustrious city start to run red when a routine investigation leads to a world of backstabbings, deceit, and political scandals. John Hillerman, Perry Lopez, Burt Young, and John Huston round out the film's main cast, with direction provided by the famed but controversial filmmaker Roman Polanski.
One of Chinatown 's greatest strengths has to be its excellent screenplay, where each and every line of dialog serves a genuine purpose in pushing the story forward. Robert Towne, who authored the screenplay, would even go on to win an Oscar for Best Original Screenplay. The film would later go on to secure 11 Oscar nominations total, including Best Director, Best Actor for Jack Nicholson, Best Actress for Faye Dunaway, and Best Cinematography.
'Top Gun': Where Is The Cast Today?
Posted: November 23, 2023 | Last updated: November 23, 2023
Top Gun is easily one of the most iconic films to come out of the '80s. Not only did it help launch the careers of tons of stars, but it also popularized some of the songs featured in the film, like "Take My Breath Away" and "Danger Zone". Ever wonder what the cast is up to nowadays?
"Nick Bradshaw," whom everyone just calls "Goose," is "Maverick's" partner in crime and co-pilot throughout the plot, providing moral support for the leading character. He plays a key role in the turning point in the story.
Anthony Edwards moved on to star in several smaller movie roles during the years after his role as "Goose" in Top Gun. Anthony's most memorable role was in the TV series ER where he played "Dr. Mark Greene" for 8 seasons. He was nominated for several awards over the course of his career and even received a Golden Globe for Best Performance in a TV Drama in 1998.
"Charlie" is first introduced as an intelligent and spunky woman who "Maverick" attempts to flirt with at the beginning of the movie. In true Hollywood fashion, she happens to be a teacher at "Top Gun." "Maverick's" relationship with "Charlie" grows stronger throughout the movie to the point where she criticizes his dangerous behavior.
Kelly McGillis's role as "Charlie" alongside Tom Cruise and Val Kilmer in the movie Top Gun in 1986 was her second high profile role since her Hollywood debut in Witness for which she received a Golden Globe. Afterwards, she appeared in a number of secondary roles spanning television, film and the stage. Her latest leading role was in the 2017 movie Mother of All Secrets playing the role of "Rose Lewis".
"Tom Kasanzky," also known as "Iceman," is one of the leading pilots in Top Gun according to "Viper," the chief instructor at the academy. He is "Maverick's" rival pilot throughout the movie, although their relationship changes towards the end.
Val Kilmer played "Iceman" in the hit '80s movie Top Gun. This role served as a benchmark for some of his later roles in the film industry. Kilmer moved on to star in The Doors (1991), Tombstone (1993), Heat (1995), and Batman Forever (1995). His most recent role was in The Birthday Cake (2021).Kilmer has also been having a rough battle with throat cancer and lost his voice, but he has bounced back and even had the chance to work alongside his daughter Mercedes Kilmer in the film Paydirt!
"Mike 'Viper' Metcalf" is the head instructor at the "Top Gun" academy and an old friend of "Maverick's" father, "Duke Mitchell". He plays a key role in "Maverick's" past and is the only one who really knows what happened to his father...
Before his role in Top Gun, Thomas Roy "Tom" Skerritt had already starred in productions such as M.A.S.H. (1970), Fuzz (1972), and Alien (1979). Skerritt moved on to star in the hit TV series Picket Fences for which he won an Emmy for Most Outstanding Lead Actor in a Drama Series in 1994. Tom has been married three times and has a total of 3 children. He has been married to Julie Takahashi since 1998.
"Carol Bradshaw," played by Meg Ryan, is "Goose's" wife in the movie Top Gun. She has become a memorable icon over the years with quotes like, "Goose, you big stud! Take me to bed or lose me forever!"
With her role in Top Gun, as well as numerous other smaller roles, Meg Ryan was able to catapult herself into Hollywood's acting business. She moved on to star in When Harry Meets Sally (1989) which is still considered her breakthrough. Afterward, she starred in two other movies, The Doors (with "Iceman" Val Kilmer) and Sleepless In Seattle with Tom Hanks. She also had other notable roles in movies like When a Man Loves a Woman (1994), French Kiss (1995), You've Got Mail (1998), and many more.
LCDR "Rick 'Jester' Heatherly" works as an instructor at the "Top Gun" academy alongside "Viper." With the help of the rest of the instructors, he was able to train a whole platoon of fighter pilots including "Maverick," "Goose," and "Iceman".
Frederick Reginald Ironside's (Michael Ironside) role in Top Gun was considered part of his breakthrough in the Hollywood acting industry. He moved on to star in popular movies such as Extreme Prejudice (1987), Watchers (1988), Total Recall (1990). His personal life has been relatively stable, being married to Karen Marls Dinwiddie and having two daughters. Ironside was diagnosed with cancer twice, both thyroid and prostate cancer, which he survived. He now stars in the TV show The Alienist.
"Pete 'Maverick' Mitchell" is a United States Navy Fighter Pilot who gets sent to to the Fighter Weapons School ("Top Gun") after coaching a pilot back to their aircraft carrier after being ordered not to. It's there where his story begins.
Tom Cruise's role in Top Gun only cemented his value on the acting market. He moved on to star in dozens of hit movies with his most notable role being as "Ethan Hunt" in the Mission: Impossible franchise. He was nominated for a grand total of three Oscars but never won. He has won three Golden Globes and was nominated for seven for his performances over the years. Apart from scandals due to his religious beliefs, Cruise has stayed very relevant over the years.READ MORE: Law And Order: SVU Best Guest Stars
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The movies are back. But we’re still learning how to love going to theaters again
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One of my most heartening moviegoing experiences this year fell on July 24, the night I attended a press screening of Disney’s “Haunted Mansion” at the AMC Burbank 16. The movie was lousy , but the preshow in the lobby was thrilling. I first sensed something was up when, after several minutes of driving in circles, I managed to grab the last rooftop spot in a parking structure that rarely reached capacity — on a Monday night, no less. What was going on?
The answer became clear once I made my way into the multiplex and saw more moviegoers than I’d seen in some time. They milled in groups, poured out the doors and scattered popcorn trails down ugly-carpeted hallways. Some wore pink (a lot of it). They jammed concession lines, bathroom lines and possibly cellphone lines. (The modern scourge of mid-movie texting keeps growing worse.) Some of them, like me, were journalists who had dutifully showed up to watch Tiffany Haddish trade wisecracks with digital ectoplasm. Everyone else was there for a mighty spectacle of plastic, plutonium or both: They were there for “Barbenheimer.”
Ah, “Barbenheimer” (a.k.a. “Science Guys and Dolls”), that happy accident of a blockbuster love child conceived by two rival studios, Warner Bros. and Universal, and by two filmmakers, Greta Gerwig and Christopher Nolan, who had succeeded in putting their highly personal stamps on improbable material. For the first time in a while, too, it clearly felt personal for a mass audience. For many of us, words could hardly describe the excitement of seeing people flock giddily to theaters en masse, seeking out pictures without the imprimatur of a Marvel or a DC universe, or even the more benign franchise imprint of an “Avatar” or “Top Gun” sequel. Perhaps originality at the movies wasn’t dead after all.
There’s room to argue, as many have, over whether a three-hour biopic truly counts as original, or if a semi-subversive, feature-length Mattel spot can be called a creative risk. Even so, there was no denying that “Oppenheimer” and “Barbie” had struck commercial and cultural gold by zagging hard where most studios had long been content to zig. The incongruity of the pairing was crucial to its success: A clash of titles, tones, genres, stories, styles and, yes, release dates somehow became a mighty convergence.
The “Barbenheimer” synergy demolished one of the release calendar’s most unfortunate shibboleths: namely, that the box office has room for only one smart popular hit in any given week. It also exposed the lie behind one of Hollywood’s laziest assumptions: that people go to the movies looking to have their expectations confirmed and their fandom serviced, rather than in search of something new, ambitious and unexpected.
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All of which made it all the more stingingly ironic that “Barbie” and “Oppenheimer” arrived during the early days of the Hollywood writers’ and actors’ strikes, sparking a months-long shutdown in movie production and movie promotion that overshadowed what should have been the industry’s finest hour. (The strikes also pushed more than a few major titles, “Dune: Part Two” among them, off a 2023 release calendar that badly needed them.) The smash success of two pictures notable for distinctive writing and memorable ensemble acting — achievements, in other words, that a ChatGPT-concocted script and an AI-generated cast would have been hard-pressed to replicate — had the effect of throwing the studios’ greed and short-sightedness into the starkest possible relief.
At the same time, what two better movies to capture the doom-laden spirit of an industry in an existential turmoil? In “Barbie,” a sentient Mattel doll asks if her friends ever think about dying; in “Oppenheimer,” the father of the atomic bomb declares, “Now I am become Death, the destroyer of worlds.” For all their portents of a looming apocalypse, these two pictures had conspired to bring life back to moviegoing, staving off the end of theaters as we knew and loved them.
We did know moviegoing well, once upon a pre-pandemic time. But even before the COVID lockdown began, we clearly weren’t loving theaters enough. The years leading up to 2020 saw their share of box office highs and lows, but from where I sit (usually in a middle row, neither too close to the screen nor too far away), they also were marked by a steady diminution of cinematic spirit.
Were we being lazy, or was our exasperation with theaters justified? We’ve all heard and sometimes argued the case for the latter. A night out at the movies seemed to combine the worst practices of the exhibition industry (endless pretrailer ads, subpar projection) and the most slovenly habits of the audience (talking, texting, littering). Living rooms and streaming platforms beckoned, offering sweet relief from, not to get too Sartrean about it, the hell of other people.
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Christopher Nolan’s movie has no interest in reducing the atomic bombings of Japan to a trivializing, exploitative spectacle, despite what some would want.
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None of that has really changed. And yet as we’ve seen in 2023 — a year of whiplash-inducing industry ups and downs, of renewed box-office plenty and extreme labor upheaval — a collective appetite for moviegoing persists. Some of us are trying, with perhaps a touch of wariness, to redevelop the habit. We’re figuring out how to love moviegoing again, and perhaps wondering if the movies themselves will sustain and prove worthy of that love.
Let’s give that skepticism its due. Thrilling as it was to experience “Barbenheimer,” we can be assured that the studios will learn all the wrong lessons from it. Hollywood decision makers will look at an unpredictable and likely unrepeatable concurrence and see a readily exploitable template. Rather than greenlighting smart, interesting projects from adventurous auteur filmmakers, they will more likely attempt to manufacture more and more event movies, reverse-engineering mediocre films into prefab phenomena.
An investment in event cinema for event cinema’s sake is no way to sustain a healthy business or a vital art. I have no wish to join those piling on “The Marvels,” whose commercial disappointment (its $47-million opening weekend is piddling by superheroic standards) has, in some quarters, inspired the kind of gleeful reaction that goes well beyond acceptable anti-Marvel Cinematic Universe schadenfreude and into realms of barely disguised misogyny and racism, much of it aimed at the women of color who directed (Nia DaCosta) and co-starred in the movie (Teyonah Parris, Iman Vellani). Even so, the indifferent audience reception to this zippy, forgettable diversion perfectly illustrates the pitfalls of franchise fatigue, or perhaps the law of diminishing blockbuster returns. More than any other company, Marvel has shown us how too many so-called event movies have a way of calcifying into a steady drip of business as usual. (The supplemental MCU homework on Disney+ really doesn’t help.)
Event movies are no longer the exclusive domain of the major studios anyway. Witness the staggering success ($240 million in global box office and counting) of “Taylor Swift: The Eras Tour,” a straightforward, relatively low-budget ($24 million) but visually and sonically enveloping concert documentary that was released directly through AMC Theatres and now stands as the year’s biggest theatrical hit this side of “Barbenheimer.” The most obvious takeaway from this hugely successful gambit is that Swiftian levels of pop-cultural supremacy have a way of writing their own rules. (“Renaissance: A Film by Beyoncé,” the next test of an AMC partnership with a pop superstar, opens in theaters Dec. 1.) But it was also a reminder, as no less a pro-theatrical evangelist than Nolan himself pointed out, that there are savvy artists eager to fill the theatrical breach that studios have been all too willing to abandon.
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The pop phenomenon’s concert film is an occasion for screaming, singing and dancing in the aisles. It also reveals an evolving Taylor Swift, exuding confidence.
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The sense that Swift had beaten the studios at their own game was apparent to those of us who attended the world premiere of “The Eras Tour” last month, a splashy and symbolically grandiose affair even for Hollywood. The Grove, a regular venue for studio press screenings, shut down for an entire day and underwent the kind of extreme makeover that red-carpet shortages are made of. Decadence ruled the evening: There were fizzy apéritifs, overflowing concession stands and an in-person intro by Swift herself.
But the actual experience inside the theater, where costumed attendees sang, danced, swayed, ran through the aisles and shot videos of the screen, was a fundamentally egalitarian spectacle that replayed itself in theater after theater across the country. These fans weren’t just there to see a movie; they were there to merge with it, to extend the movie’s power beyond the parameters of the screen and into the audience. Intentionally or not, they invested the very act of moviegoing with the seriousness and passionate ceremony of a religious ritual.
Cinema purists have a tendency to speak of the theatrical experience in such high-flown spiritual terms. And yes, some of them do genuflect a bit too reflexively at the altar of certain designated high priests, like Martin Scorsese , and so are apt to recoil in indignation at the news that some theaters had seen fit to quietly insert an intermission into “Killers of the Flower Moon.” Were they responding to viewer complaints or trying to preempt them? Were they anxious not to lose audiences who, accustomed to the conveniences of home viewing and easy, whenever-you-feel-like-it bathroom breaks (a convenience I have been tempted to call “urine streaming”), might no longer be so easily convinced to sit through a 3½-hour movie?
I didn’t personally take umbrage at the “Killers” intermission contretemps: If “Lawrence of Arabia” or “2001: A Space Odyssey” can withstand a pee break without significant loss of immersive impact, surely a new Scorsese film can as well, even one as carefully and meaningfully paced as this one. At the same time, speaking as someone who sat through “Killers of the Flower Moon” twice sans interruption, I’ve grown weary of the incessant grousing about the movie’s running time, especially when it’s so often the first aspect of the movie people seize upon in conversation (as opposed to, say, Scorsese and co-writer Eric Roth’s narrative choices, Rodrigo Prieto’s cinematography or Lily Gladstone’s performance). Most of the running-time complaints betray a grumbling preoccupation with personal comfort that this despairing, deeply mournful movie has rightfully little use for. Weak bladders aren’t really the issue here; easily distracted eyes and diminished attention spans are.
To discuss moviegoing primarily in terms of Scorsese and Marvel movies is to traffic in narratives preselected and predigested by social media — so let’s not. In some ways, the most delightful moviegoing story of the year has been the remarkable theatrical success of A24’s “Past Lives,” the critically acclaimed, Sundance-launched drama from first-time writer-director Celine Song. A wistful, piercing story about immigrant destinies, missed opportunities and romantic happenstance, it snuck into the box office top 10 in its June opening weekend, a remarkable feat for an independent movie from a first-time film director working with lesser-known actors. One of the most gratifying aspects of “Past Lives’” success (it has grossed more than $18 million domestically) was that it felt driven by genuine word-of-mouth excitement; people attended not out of any sense of obligation but in a spirit of genuine discovery. For anyone still learning to love moviegoing again, here was a picture to make one swoon.
And who needs new movies to make theatergoing feel vital again? For me, there was the American Cinematheque’s summer screening of Spike Lee’s “Malcolm X,” in a 70mm print that crackled, glowed and transported a rapt Aero Theatre audience for 200 minutes, intermissions be damned. There was the joy of running into friends I hadn’t seen in years at a digital 4K restoration of Hou Hsiao-hsien’s “Millennium Mambo” (2001), a dreamily intoxicating experience that lingered even as we hung around outside the theater afterward, catching up on life under the glow of the Los Feliz 3 marquee.
And I sure wish I’d had some of those friends with me when I snuck out to a late-night showing of “Skinamarink,” Kyle Edward Ball’s shoestring exercise in avant-garde spookhouse horror. Another surprise word-of-mouth hit (it grossed more than $2 million on a $15,000 budget), this was, for me, the only movie this year truly worthy of the title “Haunted Mansion” — an experience so potently unsettling that I found myself switching on every light in every room as I made my way upstairs to bed. It’s not every movie that follows you home from the theater afterward. But it’s the hope of discovering one anew that keeps us going back.
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Justin Chang has been a film critic for the Los Angeles Times since 2016. He is the author of the book “FilmCraft: Editing” and serves as chair of the National Society of Film Critics and secretary of the Los Angeles Film Critics Assn.
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The 25 Most Anticipated Holiday Movies of 2023
- By Marlow Stern
The holiday season is upon us, which means there’s no better time to get your friends or family together and head to the movies — meaning either the local cinema or gathering around the TV when the film inevitably heads to streaming. And now that the actors’ strike has come to an end, you can actually see your favorite stars do their damnedest to promote them.
This is also the time of year that the Hollywood studios roll out their awards hopefuls and their big tentpole films, so you have battlefield epics like Ridley Scott’s Napoleon and Timothée Chalamet’s zany chocolatier in Wonka , as well as prestige pictures such as Bradley Cooper’s Leonard Bernstein biopic Maestro and Yorgos Lanthimos’ gothic fantasy Poor Things , featuring an Oscar-worthy Emma Stone . Oh, not to mention the three-hour concert doc Renaissance: A Film Beyoncé that’ll be sure to get your heart pounding.
And so, without further ado, here are the most anticipated films this holiday season.
‘May December’ (Nov. 17, Theaters; Dec. 1, Netflix)
The three-decade creative partnership between filmmaker Todd Haynes and actress Julianne Moore is one of the richest in modern cinema (see: Safe , Far from Heaven , Wonderstruck ). Here, the two have teamed up once more for a film inspired by the story of Mary Kay Letourneau that sees an actress (Natalie Portman) travel to Savannah, Georgia, to shadow a woman (Moore) she’s about to portray in a film who became the subject of scandal for statutory raping her now-husband (Charles Melton) when he was 13.
‘Leave the World Behind’ (Nov. 22, Theaters; Dec. 8, Netflix)
Written and directed by Sam Esmail ( Mr. Robot ) and adapted from Rumaan Alam’s novel of the same name, this psychological thriller centers on a white family (Julia Roberts, Ethan Hawke) who have rented a house on Long Island. One day, a Black father and daughter (Mahershala Ali, Myha’la) claiming to be the owners of the house return and say they need to stay because there’s been a blackout and infrastructure is failing. The renter-family is suspicious, but as mysterious events keep occurring, start to believe them.
‘Napoleon’ (Nov. 22, Theaters; TBD, Apple TV+)
The latest battlefield epic from Ridley Scott ( Gladiator ) chronicles the life and conquests of Napoleon Bonaparte (a bitchy Joaquin Phoenix), who rose to become the Emperor of Europe while married to a former courtesan (Vanessa Kirby) who dished as good as she could take. Come for the battles and weird BDSM-lite sexual dynamic between Napoleon and Josephine, stay for Phoenix’s Napoleon whining to the British , “You think you’re so great just because you have BOATS!”
‘Maestro’ (Nov. 22, Theaters; Dec. 20, Netflix)
This biopic traces the tumultuous union of master composer Leonard Bernstein (Cooper) and his wife Felicia Montealegre (Carey Mulligan), who contends with her husband’s maddening level of musical genius and his numerous affairs with younger men. Directed by Cooper and written by Cooper and Spotlight scribe Josh Singer, this rollicking follow-up to Cooper’s directorial debut A Star Is Born proves that the guy has the goods .
‘Wish’ (Nov. 22, Theaters)
Directed by Frozen ’s Chris Buck and Fawn Veerasunthorn, the 62 nd feature from Walt Disney Animation Studios follows Asha (Ariana DeBose), a 17-year-old rebel who wishes upon a star to save her kingdom of Rosas, which has been lorded over by the treacherous King Magnifico (Chris Pine), who’s played god with his people’s wishes. The fantasy-musical also features the voices of Alan Tudyk, Natasha Rothwell, Harvey Guillén, Evan Peters, and Ramy Youssef.
‘Renaissance: A Film by Beyoncé’ (Dec. 1 Theaters)
This three-hour concert extravaganza serves as a tribute not only to Renaissance , Beyoncé’s outstanding ballroom-inspired seventh studio album that paid homage to its Black and LGBTQ+ forebears, but also the subsequent Renaissance World Tour that saw the singular performer sing and dance her heart out in front of millions of people across the world. More than anything, it’s a celebration of Beyoncé’s staggering work ethic and hunger for greatness .
‘Silent Night’ (Dec. 1, Theaters)
Any John Woo shoot-‘em-up is cause for celebration, and this one marks the Chinese filmmaking icon’s first American feature in 20 years, since 2003’s Paycheck . Now, the man behind The Killer and Face/Off is back in action for this bullet-riddled saga of Brian Godluck (Joel Kinnaman), a man who is forced to navigate the criminal underworld to avenge the death of his young son on Christmas Eve. The film also stars Scott Mescudi, aka Kid Cudi, and Catalina Sandino Moreno.
‘Eileen’ (Dec. 1, Theaters)
Based on the critically acclaimed novel by Ottessa Moshfegh, the film centers a lonely young woman named Eileen (Thomasin McKenzie) working at a juvenile detention facility in 1960s New England. Her father (Shea Whigham) is an abusive alcoholic, and she often finds herself fantasizing about the inmates. One day, a glamorous woman ( Anne Hathaway in a blonde wig , doing her best impression of Cate Blanchett in Carol ) starts as the new juvie psychologist and Eileen finds herself drawn to her, though there may be more to this bewitching stranger than meets the eye.
‘Godzilla Minus One’ (Dec. 1, Theaters)
Already released to critical acclaim in its native Japan, filmmaker Takashi Yamazaki’s origin tale is the 37 th film in the Godzilla franchise, and an official Toho Studios entry. It’s set in the aftermath of World War II, as Godzilla, mutated by America’s nuclear bomb tests at Bikini Atoll, wreaks havoc on Tokyo. So, a kamikaze pilot (Ryunosuke Kamiki) and a rogue scientist (Hidetaka Yoshioka) team up to put a stop to the radiation monster once and for all.
‘Waitress: The Musical’ (Dec. 7, Theaters)
Based on the lovely 2007 film of the same name by Adrienne Shelly, who was tragically killed two months prior to its Sundance premiere, this is a taping of Sara Bareilles and Jessie Nelson’s Broadway musical as Broadway slowly came back to life after the Covid shutdown. Bareilles stars as Jenna, a Southern waitress and pie baker who’s unhappy in her marriage to Earl (Joe Tippett), an abusive ass, so she embarks on an affair with Jim (Drew Gehling), her gynecologist. The feel-good show was nominated for 4 Tony Awards, including Best Musical.
‘Poor Things’ (Dec. 8, Theaters)
Winner of the Venice Film Festival’s Golden Lion and one of the finest pictures of the year, the latest collaboration between filmmaker Yorgos Lanthimos and star Emma Stone ( The Favourite ) tells the tale of Bella (Stone), a young, pregnant Victorian woman who, after jumping to her death, is salvaged by Dr. Godwin Baxter (Willem Dafoe), a Frankensteinian scientist who places her unborn baby’s brain into her head and raises her like a daughter, refusing to let her leave the home. Aging at a fast rate and eager to learn more about the world, Bella goes off on a European adventure with Duncan (Mark Ruffalo), a horny lawyer, where she learns a lot about sexual desire, agency, and the male ego.
‘The Zone of Interest’ (Dec. 8, Theaters)
Jonathan Glazer began his career directing eye-catching music videos for the likes of Radiohead (“Karma Police”) and Jamiroquai (“Virtual Insanity”) and helming commercials. He then segued to film, directed Sexy Beast , Birth , and Under the Skin . His fourth feature, The Zone of Interest , might be his masterpiece. It follows Rudolph Höss (Christian Friedel), commandant of Auschwitz, and his wife Hedwig (Sandra Hüller), as they lounge in their stately home adjacent to the concentration camp. It is a chilling study of the banality of evil.
‘Origin’ (Dec. 8, Theaters)
Written and directed by Ava DuVernay ( Selma ), this sprawling historical epic is a loose adaptation of Isabel Wilkerson’s celebrated book Caste: The Origins of Our Discontents , about how social stratification has influenced America’s history of racism. Oscar-nominated actress Aunjanue Ellis stars as Wilkerson, who travels the country researching for the book. DuVernay’s all-star cast also includes Jon Bernthal, Vera Farmiga, Audra McDonald, Niecy Nash-Betts, Nick Offerman, Blair Underwood, and Victoria Pedretti.
‘Wonka’ (Dec. 15, Theaters)
The internet has been pretty hard on this upcoming movie-musical sight-unseen, but may I remind you that the latest adaptation of Roald Dahl’s Charlie and the Chocolate Factory — this one a Willy Wonka origin story starring the gifted Timothée Chalamet — is directed by Paul King , who also helmed the first two Paddington films. Oh, and the cast is rounded out by Keegan-Michael Key, Paterson Joseph, Sally Hawkins, Rowan Atkinson, Olivia Colman, and Hugh Grant as an Oompa-Loompa. Let’s reserve judgment, folks!
‘American Fiction’ (Dec. 15, Theaters)
Marking the feature directorial debut of Cord Jefferson, a former Gawker editor turned Emmy-winning TV-writing MVP ( Master of None , Watchmen , Succession ), this satire stars Jeffrey Wright as Thelonious “Monk” Ellison, a struggling writer who resents the success of Sintara Golden (Issa Rae, whom he feels has exploited Black culture for book sales. In a fit of rage, he pens a novel using every ugly stereotype he can think of — only to see it become a bona fide cultural phenomenon. Thelonious is then forced to manage the monster he’s unleashed.
‘Rebel Moon — Part 1: A Child of Fire’ (Dec. 15, Theaters; Dec. 22, Netflix)
The latest from former DC Extended Universe steward Zack Snyder is a space opera in a future world wherein an ex-soldier (Sofia Boutella), a rogue starship pilot (Charlie Hunnam) and a former general (Djimon Hounsou) lead the rebellion against the Imperium, the army of the corrupt Motherworld government that rules over the universe with an iron fist. The film also stars Michiel Huisman, Doona Bae, Ray Fisher, Jena Malone, and Anthony Hopkins voicing a battle robot. Hopefully the online bots won’t be out in full force for this one .
‘Aquaman and the Lost Kingdom’ (Dec. 20, Theaters)
James Wan’s sequel to 2018’s Aquaman sees Jason Momoa’s half-Atlantean half-human aquatic superhero once again be called on to protect Atlantis from a dangerous threat: Black Manta (Yahya Abdul-Mateen II), a Black Trident-wielding pirate who wants to kill Aquaman in order to avenge the death of his father. Amber Heard, Patrick Wilson, Randall Park , Dolph Lundgren, and Nicole Kidman all return for this $200 million DC blockbuster.
‘Anyone But You’ (Dec. 22, Theaters)
One of the only studio romcoms to hit theaters this holiday season, filmmaker Will Gluck’s ( Easy A ) latest pairs the charismatic Glen Powell, who established his romcom cred with the underrated Set It Up and his stud cred with Top Gun: Maverick , and Euphoria ’s Sydney Sweeney as two people who pretend to be in a relationship to make their exes jealous while vacationing in Sydney, Australia. While the first teaser left much to be desired, I wouldn’t bet against Powell.
‘All of Us Strangers’ (Dec. 22, Theaters)
Few filmmakers can capture gay male love and desire quite like Andrew Haigh, the creator of HBO’s Looking and director of the masterful 2011 film Weekend . His most ambitious project yet stars Andrew Scott ( Fleabag ) as a lonely man in a sparsely populated high-rise building in London who falls for his fetching neighbor (Paul Mescal). All the while, he is haunted by memories of his parents (Claire Foy, Jamie Bell) who passed away decades earlier.
‘The Iron Claw’ (Dec. 22, Theaters)
Sean Durkin’s ( Martha Marcy May Marlene ) film is a portrait of the real-life Von Erich family — a group of wrestling brothers in 1980s Texas raised by an abusive wrestler-father who became known for the “iron claw” wrestling hold. Many of the young men died under tragic circumstances, and the family was believed to be cursed. The Iron Claw focuses on three of the Von Erich brothers — Kevin ( Zac Efron ), Kerry (Jeremy Allen White), and David (Harris Dickinson) — and they’re joined by Maura Tierney, Holt McCallany, Lily James, and Maxwell Jacob Friedman.
‘Memory’ (Dec. 22, Theaters)
Not to be confused with last year’s Liam Neeson action-thriller of the same name, the latest film from Mexican director Michel Franco, whose New Order and Sundown explored class warfare in his native country, stars Jessica Chastain as an isolated woman whose life is turned upside down when a strange man (Peter Sarsgaard) follows her home from her high school reunion, causing her to reflect on how the past has colored the present. Sarsgaard won the Volpi Cup for Best Actor at the Venice Film Festival for his performance.
‘Occupied City’ (Dec. 25, Theaters)
Last year, Bianca Stigter released her gripping documentary Three Minutes: A Lengthening , providing a deep analysis of three minutes of footage shot in the Polish village of Nasielsk before the Nazis arrived. This year her husband, Oscar-winning filmmaker Steve McQueen ( 12 Years a Slave ), is coming out with his own Holocaust doc — a 4.5-hour adaptation of Stigter’s book Atlas of an Occupied City, Amsterdam 1940-1945 , about how Amsterdam changed under Nazi occupation and how the reverberations are still felt today.
‘Ferrari’ (Dec. 25, Theaters)
Michael Mann’s ( Heat ) first film in eight years stars Adam Driver as Enzo Ferrari, the Italian automaker who, still grappling with his son’s death and with his marriage and company on the verge of collapse, puts everything he has into Ferrari winning the 1957 Mille Miglia, a 1,000-mile race across Italy. Penélope Cruz chews up the scenery as his wife Laura, Shailene Woodley features as his mistress Lina, while Gabriel Leone, Jack O’Connell, and Patrick Dempsey make appearances as members of the Ferrari racing team.
‘The Color Purple’ (Dec. 25, Theaters)
Based on the Tony Award-winning Broadway musical of the same name, which was adapted from Alice Walker’s groundbreaking 1982 novel, this movie-musical follows Celie ( Fantasia Barrino ) across decades as she contends with the racism, domestic violence, sexism, poverty, and incest prevalent in the 1900s American South. The third film by Blitz Bazawule, who co-directed Beyoncé’s Black Is King , its dynamite cast includes Taraji P. Henson, Danielle Brooks, Colman Domingo , Corey Hawkins, H.E.R., Ciara, Jon Batiste, Aunjanue Ellis, and Halle Bailey.
‘The Boys in the Boat’ (Dec. 25, Theaters)
George Clooney’s ( Good Night and Good Luck ) latest turn in the director’s chair is this adaptation of Daniel James Brown’s nonfiction book of the same name about a group of University of Washington rowers who beat the odds to take gold for the U.S. at the 1936 Summer Olympics in Berlin — you know, the one where Jesse Owens won four gold medals in front of Adolf Hitler. Clooney’s film stars Callum Turner as rower Joe Rantz and Joel Edgerton as the team’s coach Al Ulbrickson. It also features a score by the great Alexandre Desplat.
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