The last Sundance Film Festival to be held in Utah for the foreseeable future is now over. I hope this goodbye isn't forever, but it will unfortunately last at least ten years, until the contract with Boulder expires. I was lucky to see 25 films this year, and while I didn't do the best job recapping them throughout the festival (forgive me, I have a very needy toddler I'm taking care of when not seeing movies), I've collected my list of ten favorites for you to catch when they're released to a wider audience. JOSEPHINE Josephine was the talk of the festival even before it managed to snag both the jury award AND the audience award. Historically, the last two Sundance movies to accomplish that feat ( CODA and Minari ) went on to be nominated for Best Picture at the Academy Awards, with CODA even winning. So expectations for Josephine's post-festival prospects are sky high. As for me, I joined in on the chorus of admiration once I saw the film in person, and I liked it so much I even caught a second viewing via the streaming platform (despite how heavy the material is). That's not to say Josephine is an easy watch, on the contrary! It is a very challenging, hard-to-watch film, but an important one. Josephine follows the titular young girl, who is forced to reckon with learning about the evils of the world way before she's ready, and her parents, who feel helpless to know how to meet the moment. Josephine is a harrowing film with career-best performances from Channing Tatum and Gemma Chan, but it's newcomer Mason Reeves who is tasked with the most heavy lifting as she carries the film on her tiny shoulders. In her expressions, we see confusion, pain, worry, fear--all the emotions we try to shield our children from. It's an unforgettable performance in a fantastic film. RATING: 9/10 THE WEIGHT I wasn’t quite sure what to expect with The Weight . Would this be a quiet, meditative drama like Train Dreams , or would this be more action-packed? While I loved the former, I was delighted to find that The Weight was indeed a tension-filled, thrilling drama. I was completely engrossed from start to finish, which was a relief since it was the last movie of the festival, and I easily could have been distracted by how sad I am that it was all coming to an end. After an unfortunate misunderstanding, Ethan Hawke’s Samuel is sent to prison, and his daughter, with no one to look after her, is sent to a home. After proving himself to be a hard-working, well-mannered, and obedient convict, his warden, Clancy (Russell Crowe), offers him a deal that he promises will result in his freedom. The catch? Samuel, along with a couple of other men, must transport some gold across the border into Canada. But of course, the task is much more difficult and dangerous than promised.  Hawke is dependable here as always, while the supporting cast around him is solid. I would have loved more screentime for Russell Crowe here, but he was great with the time he had. I’m really excited for more people to see this one in particular because so many of the sequences in this are just so incredibly well done and so much fun. I was catching my breath and gasping constantly! RATING: 8.5/10 UNDERTONE I always need at least one horror film to stand out from the midnight lineup every year. While I did enjoy Leviticus , Undertone was easily my favorite from the bunch and one of my favorites from the whole festival.  Undertone is a pretty straightforward horror film that follows two podcasters Evy and Justin as they record an episode of their supernatural podcast. Ten mysterious files were sent to them, and the two record their reactions and skepticism to the files, as well as their opinions on their authenticity. Evy is skeptical that they may be a hoax, but the more they listen, the more creepy things start to happen around them.  Undertone is simple, but effective horror. Writer-director Ian Tuason knows the power of terror in sound, and the sound design in this film is the stuff of nightmares. The shot compositions here are also excellent— you truly feel on edge the whole time with all the negative space in so many of these shots, where you feel that anything could be lurking in the shadows. This could have been a pretty standard horror film, but in sticking the landing the way Tuason does, it elevates it to another level and stays with you. I’m excited to see what he does next! RATING: 8.5/10 FING! Fing! was so much fun for me to experience with my young daughter. We had the pleasure of seeing a few films from the family matinee section during the last few years, but this was easily the best of the films we saw together. Fing! is an instant children’s classic in the style of Roald Dahl. The film tells the story of Myrtle Meek, a Veruca Salt-type girl who has never once been told no. Consequently, she is spoiled rotten to the core. One birthday, she demands that her parents provide her with a rare creature called a Fing, by any means necessary.  Little does she know, an equally spoiled viscount has the same desire for a Fing to complete his wildlife park and isn’t afraid to steal to get what he wants.  Fing! is an absolute delight from start to finish.  The cast is great all around with a well-rounded and ultimately charming lead performance from Ioana Bell, just the right amount of Taika Waititi, and great comedic turns from Mia Wasikowska, Penelope Wilton, and Blake Harrison. This is another movie I’m really excited for people to see and that I really recommend to families. Though yes, I will say I could do without all the farting hippos, and one particular joke about fing’s appearance.  RATING: 8.5/10 THE INCOMER The Incomer was the first movie I saw at this festival and still remained one of the best through all the movies I saw. It’s a quirky, Scottish, fantastical tale that was sweet and funny all at once. The scenery is gorgeous, the cast’s camaraderie was infectious, and the humor was laugh-out-loud funny. This one won’t be for everyone, but if you can get on its level, it is a good time at the movies. For more on what I thought of The Incomer click HERE RATING: 8/10 TUNER Like The Incomer , Tuner was also one of the first films I saw at Sundance, and it remained a highlight throughout the festival as well. Leo Woodall shows his star potential here, as he easily carries this film with his vulnerable performance. Dustin Hoffman, Havana Rose Liu, Lior Raz, and Tovah Feldshuh are all great in their supporting roles, too. Tuner has a bit of everything: tension, romance, comedy, and drama--which sounds like a lot of different tones to juggle, yet director Daniel Roher finds the balance between them all effortlessly. For more thoughts on Tuner click HERE RATING: 8/10 THE INVITE Olivia Wilde has had a 50 percent batting average with the reception of her two directed features thus far. Booksmart was a well-loved critical darling upon opening, while Don’t Worry Darling was largely panned. After a nearly four-year break from directing, Wilde is back, debuting her third film, The Invite, at Sundance. Aside from the opening scene and a slew of establishing shots after it, The Invite takes place almost entirely inside an apartment during one particular evening. Desperate to impress her neighbor couple Hawk and Pina (Edward Norton and Penelope Cruz, respectively), Angela (Olivia Wilde) hosts an impromptu dinner party against her husband’s (Seth Rogen) wishes. Originally a play, this talky dramedy, adapted by Rashida Jones and Will McCormack, brings Wilde’s record back on the right track. I had a ball with this movie and thought its humor was both relatable and absurd the deeper the conversations got. It was one of the big sellers at Sundance, and I’m eager to see how it is received by a wider audience. RATING: 8/10 THE ONLY LIVING PICKPOCKET IN NEW YORK With its jazzy score, dependable actors, and gorgeous cinematography, The Only Living Pickpocket in New York feels like a film that’s a throwback to another time. This drama thriller feels like the kind of movie no one makes anymore, but everyone really wants to see. The always reliable John Turturro plays a career pickpocket named Harry, whose life is turned upside down when he steals from the wrong kid. Using video surveillance, this rich crypto kid from a wealthy family sets out for revenge while Harry does his best to find a way to stay one step ahead. While there is a thrilling element to the film, it also feels presented as a day in the life of a pickpocket, with some of the more regular challenges he faces, just dialed up a bit. My audience had a really good time with it, with many vocal reactions throughout, (the ending in particular got a huge reaction). The film features an excellent cast with great performances from Steve Buscemi, Will Price, and Giancarlo Esposito--but my favorite scene had to be John Turtorro's scene with his estranged daughter, played by Tatiana Maslany. It really brought some weight to the film and resonated with me. These characters felt lived in, with real histories and regrets. I enjoyed spending time with them. RATING: 8/10 UNION COUNTY Union County was one of the more modest and understated films both at the festival as a whole and also on this list. It’s quiet and slow…and perhaps easy to overlook against a slate of some showier films. But I really admired this story of the strength and resilience it takes to overcome addiction. Will Poulter gives a fantastic performance of a hopeless opioid addict who knows he has to change his ways, but doesn’t know if he has the strength to do so. With his performance set against the backdrop of real-life people and their true stories, the film is even more powerful. I appreciated learning in the Q&A that one vital role was played by someone who already lived the exact experience shown in the movie, and how much more powerful it made that moment knowing that context. Overall, Union County’s deliberate pace requires patience from the viewer, but if they're willing to have it, they are rewarded with a richly beautiful film. RATING: 7.5/10 THE LAKE One of the most chilling things I saw at Sundance wasn't in the horror category at all, but The Lake , a documentary on the decline of The Great Salt Lake and the people who are desperately trying to save it. As a lifelong Salt Lake County resident and great admirer of the lake, I found this to be a very important documentary that I hope will raise awareness of the issues that the lake faces, and as a consequence, the people who live near it. I found the film both frustrating and hopeful. Frustrating that sometimes politics can get in the way of doing what's right, but grateful that there are some truly dedicated and courageous people looking to turn this fight around. RATING: 7.5/10 And that's a wrap. I'm so sad to see this chapter of my life covering the Sundance Film Festival come to an end. I have spent the last 14 years seeing films at the festival and blogging about them. It was a big part of my life, and I loved looking forward to it every January. In the next few days, I hope to write a retrospective sharing some of my favorite memories from my time with Sundance so keep an eye out! But until then, goodbye dear readers, and thank you for taking this journey with me through cinema.

Sundance is well underway with the first weekend in the rearview mirror. I've had the opportunity to see eight films so far at the 2026 festival, with plenty more to come. Here are my thoughts on the first three movies I've watched at Sundance. THE INCOMER On a remote island off Scotland, two siblings were appointed as protectors of the land and forced to look after themselves at a young age after their father died. Now adults, Isla (Gayle Rankin) and Sandy (Grant O'Rourke) are practically feral and completely unaware of the bigger world around them. All they really know is to be afraid of people they don't know. Their monotonous world is turned upside down when a stranger (Domhnall Gleeson) tasked with evicting them from their island shows up on their shore. The siblings were warned against incomers and the threat they posed to the land, so naturally, their guard is up, and their trust is low...that is, until they're able to find some common ground with this intruder. The Incomer is an absolutely oddball, yet winsome Scottish comedy that's full of heart. It's a reverse fish out of water tale where a fairly normal bloke gets immersed in the world of two lovable weirdos. Together, they all discover the importance of belonging and facing one's fears with plenty of laughs along the way. Its sensibilities might not be for everyone, but for those willing to truly embark on the journey, they'll be richly rewarded. RATING: 8/10 TUNER Tuner tells the story of Niki (Leo Woodall), a gifted piano tuner with an unusual hearing condition that makes him sensitive to noise. This sensitivity also leads to the discovery of a hidden talent: the ability to crack open safes. Desperate for money to help a loved one, Niki happens to meet the right (or wrong) people at the right time who know how to use his gift for financial gain. Niki must juggle this new high-pressure gig, visit his ailing mentor, and nurture his new budding relationship with Ruthie (Havana Rose Liu), an ambitious student composer, all while trying not to get caught. Tuner is a bit of everything: it's a fast-paced heist thriller dramedy that, in its best moments, has echoes of Whiplash (utmost complimentary). It isn't quite to the level of that masterpiece, but its editing always kept things lively. But Leo Woodall's charming and vulnerable performance is the film's biggest strength. He really shines here and gives this movie his all. In another actor's hands, this movie could be a lot more forgettable, but he really makes this work. RATING: 8/10 BUDDY Buddy dares to ask the question, "What if Barney & Friends were a horror movie?" The answer, unfortunately, might not be as compelling as the question. Buddy follows a small group of kids stuck in a 90's television show, trying to escape the vengeful rage of a fictional, giant orange unicorn named Buddy. These kids have no idea how they got here, but after one of their friends mysteriously disappears after refusing to play along with one of Buddy's games, they realize they can't trust him anymore The filmmakers really commit to this concept and completely nail the feel and tone of the "show." But unfortunately, the film never feels funny or scary enough to justify stretching this idea to a full-length feature film. Plus, some pacing issues throughout, and a subplot featuring the parents really derails the momentum the film has going for it in the first half. While the film as a whole is not without its moments, Buddy definitely falls more into the missed opportunity category for me. RATING: 6/10 That's it for my first recap, but look out for more reviews coming soon!

It's that time of year again for the Sundance Film Festival to roll into town-- though sadly this is the last time we'll be seeing it here in Utah for the forseeable future as the next ten years the festival will be calling Boulder, Colorado its home. It's a very bittersweet experience for me to see it come to an end here as I've spent 14 years attending and covering this festival. I absolutely have loved my time doing it, and I wish it never had to end but alas all good things must come to an end! So with some sadness, I present my last annual Sundance preview post featuring the ten movies I'm most looking forward to seeing. 10 - WICKER SUNDANCE SUMMARY: A fisherwoman asks a basketmaker to weave her a husband. In their audacious and delightful follow-up to 2020 ’ s Save Yourselves! , Sundance Film Festival alums Eleanor Wilson and Alex Huston Fischer adapt and expand Ursula Wills ’  beguiling short story about envy, commitment, and the trappings of societal norms. Wilson and Fischer bring this medieval oddball village to life with an all-star cast and generous helpings of wry wit. Olivia Colman ’ s sardonic fisherwoman flies in the face of expectations and assuredly unravels tradition as she fights for the relationship she wants and the treatment she deserves from Alexander Skarsgård ’ s enigmatic and composed wicker man. Part fable, part historical comedy, and fully eccentric, Wicker  invites us to reconsider and even set alight the stories we ’ ve told ourselves about marriage, creating space for true romance to unfold.  — AS WHY I WANT TO SEE IT: Sundance probably doesn't have the best track record with movies that have kooky premises, but I just cant resist. I'm encouraged by the strong cast and hoping for a good time. 9 - JOSEPHINE SUNDANCE SUMMARY: After 8-year-old Josephine accidentally witnesses a crime in Golden Gate Park, she acts out in search of a way to regain control of her safety while adults are helpless to console her. Writer-director Beth de Araújo creates a tense, devastating, and transcendently empathetic portrait of a young girl wrestling with a newly discovered fear and anger she can neither escape nor fully comprehend after her encounter with violence. Greta Zozula’s precise cinematography escalates the unease, frequently placing us in Josephine’s vulnerable, frustrated perspective as the film finds a bold and unique visual language to represent how the experience continues to haunt her. Mason Reeves delivers a searching, tender performance as Josephine. As her fiercely protective father and sensitive mom, Channing Tatum and Gemma Chan give keenly felt turns as parents who are totally devoted to their struggling, beloved child but are ill-equipped to navigate the upheaval their family faces. Philip Ettinger does unforgettable work in a crucial, complex supporting role. — HZ WHY I WANT TO SEE IT: There's so many places a movie like this can go when truly exploring something horrific through a child's eyes and how they are able to cope and move on. And also how as parents we can best help when sometimes we have no idea what to do. Channing Tatum doesn't often get the opportunity of having meaty roles, so I'm excited to see his turn here. 8 - THE INVITE SUNDANCE SUMMARY: Joe and Angela are on thin ice, and tonight might be when it all falls apart. Unfortunately, their upstairs neighbors are about to arrive for dinner, and everything that can go wrong goes worse. A fiercely energized chamber dramedy, The Invite  revitalizes the classic, largely bygone cinema of marital strife. Olivia Wilde’s scenes from a marriage are suitably raw and revealing, but also compassionate, deeply human, and incredibly funny. From a screenplay by Will McCormack and Rashida Jones, the film gleefully plunges two couples (Wilde and Seth Rogen; Penélope Cruz and Edward Norton) into the crucible of a seemingly innocuous evening, delighting in its contortions as awkward small talk turns to the unearthing of long-tenured grievances, insecurities, codependencies, failed aspirations, and sexual FOMO. Constructing a vibrant aesthetic and brilliantly orchestrated interactions, Wilde finds a universe of space within one location, and her process — workshopping material with the cast, shooting chronologically (on 35mm!), and inviting them to explore as they worked — gives The Invite  a remarkable authenticity. — JN WHY I WANT TO SEE IT: Good dramedies are few and far between these days, but I'm confident that this cast can make this material work. While this doesn't necessarily sound like the most original premise, I'm hopeful that it can stand out with good performances as long as Olivia Wilde is channeling her Booksmart directing and less her Don't Worry Darling directing. 7 - THE WEIGHT SUNDANCE SUMMARY: In Oregon in 1933, Samuel Murphy is torn from his daughter and sent to a brutal work camp. Warden Clancy tempts him with early release if he smuggles gold through deadly wilderness, but betrayal festers within the crew, and Murphy questions how far he’ll go to see his child again. Padraic McKinley’s tense, atmospheric Depression-era crime drama follows a group of desperate convicts on a perilous journey through a physically and morally treacherous backcountry. Set against the stark beauty of the Oregon landscape, The Weight  draws on the introspective action cinema of the 1970s, combining gritty survivalist set pieces with uncommonly intelligent dialogue and finely drawn characters. Although rich with period detail, The Weight is charged with elemental energy, fueled by brothers Latham and Shelby Gaines’ harrowing score and Matteo Cocco’s vivid cinematography. Ethan Hawke gives a muscular performance as the film’s reluctant but resourceful hero, while Russell Crowe is quietly menacing as his foil. Julia Jones brings dignity and defiance to her role as Anna, the sole woman in the group.  — MC WHY I WANT TO SEE IT: 6 - TUNER SUNDANCE SUMMARY: A gifted piano tuner with a unique auditory condition discovers an unexpected aptitude for cracking safes, turning his life upside down. Daniel Roher, who won the 2022 Sundance Film Festival Favorite Award with Navalny en route to the Oscar for Best Documentary Feature, makes his fiction feature directorial debut with the surprising and charming Tuner. The film premiered at the Telluride Film Festival to critical and audience acclaim, and we are thrilled to present the film to Sundance Film Festival audiences. Dustin Hoffman and Leo Woodall share a crackling, tender chemistry as Harry and Niki, a veteran piano tech and his loyal apprentice. As Niki goes further down the criminal rabbit hole hoping to help his mentor — and meets a spirited music composition student (Havana Rose Liu) — the triumphant Tuner constantly shape-shifts in mood and tone — captivating as an odd-couple friendship, a tense thriller, and a charming romance in equal measure. — HZ WHY I WANT TO SEE IT: This film has always garnered great reviews from festival goers at Telluride and TIFF, so I'm excited to finally get the chance to see it. Excited to see Dustin Hoffman again and Leo Woodall is always solid. 5 - THE GALLERIST SUNDANCE SUMMARY: A desperate gallerist conspires to sell a dead body at Art Basel Miami. Cathy Yan returns to the Sundance Film Festival (her debut, Dead Pigs, premiered at the 2018 Sundance Film Festival) with this wickedly fun, corrosive satire of the contemporary art world. Preparing for her Art Basel premiere, gallerist Polina Polinski (Natalie Portman) hosts an early look for art influencer Dalton Hardberry (Zach Galifianakis) to review emerging artist Stella Burgess (Da’Vine Joy Randolph). Dalton’s unimpressed with the gallery until he sees one piece that captures his attention and revs up the ruthless machine of the art world. Robust and precise with terrific performances by a stellar cast, The Gallerist reinforces Yan’s buoyant ability to survey society’s ills whilst illuminating poetic pools of beauty speckling the surrounds. — SF WHY I WANT TO SEE IT: I'm really hoping this isn't Velvet Buzzsaw 2.0 which had to be one of my biggest Sundance letdowns, but I'm cautiously optimistic that this will be a fun time. I love Cathy Yan's work and I'm the biggest Natalie Portman fan on earth maybe. Plus the supporting cast is all excellent too. 4 - UNION COUNTY SUNDANCE SUMMARY: Assigned to a county-mandated drug court program, Cody Parsons embarks on the tenuous journey toward recovery amid the opioid epidemic in rural Ohio. Director Adam Meeks stays close to home in his debut feature, setting this recovery story in his hometown. His roots plunge this film to a subterranean depth, operating with an authenticity that gives great dignity to this portrait of a community engaged in profound struggle. Lending gravitas to the cyclical patterns of recovery brings the audience into the quietude and frankness of the battleground with addiction, illuminating the triumphs and failures that unfold daily in the fight to stay alive and the even more audacious struggle to live fully. This groundedness is supported by incredibly deft performances by Will Poulter ( Glassland , 2015 Sundance Film Festival) and Noah Centineo. The leads embedded themselves in the community they portray for months and are joined on screen by local nonactors — a uniquely honest approach that lays bare consummately intimate truths. — AC WHY I WANT TO SEE IT: Will Poulter is seriously one of the best actors working right now and I'll see pretty much anything he is in. This one definitely sounds heavy, but I'm excited for his chance at a great lead role in an important film. 3 - SACCHARINE SUNDANCE SUMMARY: Hana, a lovelorn medical student, becomes terrorized by a hungry ghost after taking part in an obscure weight loss craze: eating human ashes. Natalie Erika James follows Relic (2020 Sundance Film Festival) with this revoltingly punchy, modern, and timely take on body horror. Through sickeningly syrupy scenes of literal and spiritual consumption, Midori Francis embodies Hana, a body-dysmorphic young woman bent on chasing her weight goal at all costs. The archetypal myth of the hungry ghost manifests literally, creating a uniquely tense atmosphere fit for a physically and metaphorically dangerous haunt. The viscosity of James’ exploration of haunting and body horror in the era of accessible weight-loss medications is especially poignant, as Saccharine works to deconstruct weight and fatness as metrics by which we classify antagonism and personal shortcoming. What if the desperation to conform is a destructive consumption itself? What if we manifest our own bottomless specters? — CA WHY I WANT TO SEE IT: I will ALWAYS put at least 2 horror films on my list and I'm so excited about this one. While I enjoyed Relic , I'm hoping for an even stronger showing here because the premise is excellent. I love a good body horror film and last year's Together was my favorite film of the fest, so I'm hoping this can be great too. 2 - GAIL DAUGHTRY AND THE CELEBRITY SEX PASS SUNDANCE SUMMARY: Midwestern bride-to-be Gail Daughtry has a “free celebrity pass” agreement with her fiancé — who uses it. With her relationship in crisis, Gail sets out on an epic journey through Hollywood to even the scales. Director David Wain’s fifth feature film to premiere at the Sundance Film Festival follows wide-eyed Gail (a delightfully inspired Zoey Deutch) and her fellow hairdresser/bestie Otto on their quest to find and seduce Gail’s celebrity crush, the enigmatic and beguiling Jon Hamm. Unbeknownst to them, a pair of hapless mob enforcers are hot on their trail to reclaim an accidentally swapped briefcase full of secret (and very important) documents for their imperious boss. Traversing the streets of Los Angeles, they pick up a motley assortment of Hollywood hangers-on, all eager to assist Gail on her frenzied hunt for Hamm. Wain and co-writer Ken Marino brilliantly utilize and improve upon every adventurous caper movie trope imaginable. With daft dialogue, absurd sight gags, and cameos that never disappoint, Gail Daughtry and the Celebrity Sex Pass  is an unhinged screwball comedy that is not to be missed. — AM & MC WHY I WANT TO SEE IT: This plot sounds absolutely hilarious and David Wain's last Sundance comedy They Came Together was so fun. Zoey Deutch is just delightful and I'm excited to see her shine here. The world can certainly use more comedies right now, so I'm hoping for the best with this one! 1 - BUDDY SUNDANCE SUMMARY: A brave girl and her friends must escape a kids television show. WHY I WANT TO SEE IT: Okay I SWEAR this one used to have a bigger synopsis at some point, but as of blog publishing, that's all they wrote! For some reason, what isn't mentioned at all in their entry is a fantastic cast featuring Cristin Milioti, Michael Shannon, Topher Grace, and Keegan-Michael Key. Again, I will always gravitate towards horror so I'm excited about this, but I also just love Milioti and will always follow her career choices with huge interest. Her last Sundance film Palm Springs, was one of my all-time favorites so I'm excited and hopeful that Buddy will be a great time as well. That's all for this list, but I will be seeing all of these and more in the next ten days with reviews to come out as promptly as possible (fingers crossed for daily recaps). So keep checking back for more reviews throughout the festival!

It's been nearly a decade since a new Baz Luhrmann film graced the screens of cinemas. The last time was in 2013 with his glitzy, raucous adaptation of The Great Gatsby . The film had originally been slated for a winter 2012 release but was later pushed back to the following summer--signaling a studio that didn't have confidence in its awards chances. When Gatsby finally came out, it was greeted with mixed reviews from critics, but generally warm reception from general audiences. I was beginning to wonder when we'd see another Luhrmann picture and what he could possibly do next. During Luhrmann's absence, the Hollywood trend of making biopics about famous people for Oscar bait purposes grew rapidly. In the past few years, it seems that biopic films are never-ending. Oscar voters can't help but nominate them because they over-rely on the comparison between an actor's imitation and their subject to determine whether or not someone has given a good performance. So they keep getting made, and they each seem more and more "by-the-numbers" each time. Frankly, I'm weary of the genre. When I heard Luhrmann was helming an Elvis biopic, I thought that he was one of the few directors I could think of who could get me interested in a biopic again. Baz Luhrmann's Elvis chronicles the famed career of Elvis Presley (Austin Butler) and the complicated relationship he had with his manager, Colonel Tom Parker (Tom Hanks). The story begins in 1955 when the Colonel witnesses a young unknown Elvis perform on stage and instantly sees the raw talent he possesses. The Colonel knows that in the right hands, Elvis is bound for stardom, and he wants to be along for the ride. He also sees dollar signs in his and Elvis's future and he plans to do everything he can in his power to protect his investments...even if it isn't in Mr. Presley's best interests. Elvis yearns to be his authentic self, but his naivete allows him to be taken advantage of by the Colonel time and time again. Elvis is a tale of two performances--one that is a star-making revelation in Austin Butler's turn as Elvis, and the other is the distractingly bad portrayal of Colonel Parker by Tom Hanks. Butler is electrifying as Elvis and completely loses himself in the role. He's an absolute joy to watch and brings both charisma and a raw physicality necessary to believably step into the shoes of such an icon. The magnetic Butler shares the screen with Hanks, who wears a fat suit and speaks in a ridiculous, phony accent. It's jarring, to say the least, but somehow under the assured direction of Luhrmann, it is able to work against the odds. Baz Luhrmann has such a singular style and voice, and it's a completely welcome one in days when daring filmmaking feels so scarce. He's able to make something as stale as a biopic seem fresh and fascinating, even if it felt at times overly long. While I would have liked to see some more insight into who Elvis was apart from being an amazing performer, I still totally appreciate what the film was going for. At times, I totally felt transported into the era, actually feeling what it might have been like to attend these concerts and being able to see these larger-than-life performances in person. For that, I can't help but admire the film. Elvis is without a doubt one of the better biopics to come out in years due to an outstanding lead performance by Austin Butler coupled with Baz Luhrmann's over-the-top direction. While Luhrmann didn't seem like an obvious choice to direct this film, it turns out he was perfectly suited to make the King's story as epic in scale as it deserved to be. RATING: 8.5/10

Director Jordan Peele's much anticipated third feature film Nope is out in theaters today. Nope follows in the footsteps of Peele's first two critically acclaimed horror hits Get Out and Us. With the release of Nope , all eyes are on Peele to see if he can continue his streak of instant horror classics, or if he has his first misfire on his hands. Early buzz has been positive, comparing the film to M. Night Shyamalan's Signs and Steven Spielberg's Jaws and Close Encounters of the Third Kind , respectively. Will Jordan Peele's first foray into sci-fi be as successful as what he's done so far? In Nope , a pair of siblings named Emerald and Otis Junior or "OJ" (Keke Palmer and Daniel Kaluuya) seek to obtain definitive proof of the existence of aliens after they have a few close encounters. They know that ultimately their word to the public means nothing--but a picture, on the other hand, is worth a thousand words. So the two make it their goal to get the perfect money shot of these camera-shy aliens, by whatever means necessary. The two set up cameras all over their property, and start tracking every movement, whatever danger comes their way. Jordan Peele does an incredible job setting up the tension in the first half of the film, and I found myself having a lot of fun seeing where the story would take the audience. There are a few sequences where one or both of the siblings are checking around the farm after hearing unusual noises (as one does in a horror/sci-fi film), that are expertly crafted and perfectly executed. Daniel Kaluuya and Keke Palmer share an easy rapport and make their sibling dynamic incredibly believable. Kaluuya is excellent as the introverted half of the duo, grieving his father's recent passing and acting closed off to sharing his feelings. Palmer, on the flip side, provides a contrast to her film brother with levity and charisma. Disappointingly though, we never delve too deep into their relationship with each other or their recently departed father. It feels odd to set up such a loss without fully addressing it or using it to strengthen their bond. The film definitely could have used more heart-to-hearts to open the two characters up and make the audience care more about them. Instead, Peele leaves the character development on the back-burner and chooses to focus solely on the plot. As such, the ending doesn't pack the emotional punch it was set up to deliver. Unfortunately, the missing emotional component isn't the only issue the film has with delivering a satisfying payoff. The problem with Nope is its commentary gets in the way of common sense and stakes for the characters. The idea of spectacle above all else is fascinating, but it's really hard to suspend belief and buy the idea that not one of these characters thinks their safety is more important than their mission. Another frustrating loose end is Steven Yeun's character whose backstory feels built up to signify great importance to the story and ultimately goes nowhere, leaving the viewer wondering what exactly was the point in focusing so much time on it. Much like the emphasis placed on the rabbits in Us , you think that Peele will eventually bring everything all together by the end, but unlike that film, this time we're left hanging and scratching our heads. Those issues aside, Nope is undeniably a fun, fresh, and unique take on horror sci-fi that features a much stronger first half than its second. It's refreshing to see films from a filmmaker with such a distinct vision and style, and Jordan Peele is certainly a fun talent to watch. Peele really does a tremendous job putting all the pieces into place, I just wish it came together more in the end to stick the perfect landing. RATING: 7.5/10

Barbarian is a difficult film to write a review for because on the one hand, I have SO much I want to say. On the other, I want to say absolutely nothing to preserve the experience of going into this movie with as little knowledge as possible. I went into this film having seen no trailers or advertisements of any kind--with no other impressions aside from some good word of mouth and a brief synopsis. If you are a lover of the horror genre like I am, do yourself a favor and see this movie and form your own opinion before any and all hype. As soon as people see it there are bound to be strong opinions and the best way to experience this movie is with none of that. With all that said, my recommendation to any readers of this review is to stop here at this paragraph and know that I did immensely enjoy this film and do suggest you see it as soon as possible. But since I do have a review to write, I'll be as vague as I can though it's impossible for me not to reveal a little in attempting to discuss the merits this film has to offer. The premise here is simple, and I won't go into plot specifics other than what I myself had heard before I saw the film-- Barbarian follows a woman named Tess (Georgina Campbell) who discovers the Airbnb she planned to stay in has been double booked. The fear of something going dreadfully wrong at an Airbnb seems to be a common one nowadays as we've had quite a few of these films now (ie The Rental , Superhost ) but Barbarian finally does the idea justice because unlike previous attempts, Barbarian never aims to be purely conventional. For someone well acquainted with horror tropes, you have a certain idea of what to expect when watching one--and Barbarian brilliantly turns all those expectations on their head. A big reason this film works is because of its pitch-perfect casting. This isn't some big ensemble piece, rather it relies on three roles that if cast any other way may not have worked as perfectly as the film did. Georgina Campbell makes for a perfect modern horror lead, cautious and no-nonsense...but trusting enough to be vulnerable. Bill Skarsgård who plays the other renter of the Airbnb, is crucial here and pretty much the only actor I can think of who could make this part what it needed to be. Then there's Justin Long, who I honestly don't even what to say about him without giving anything away, but I will say this might be some of his best work to date and I only wanted more screen time with him. In fact "wanting more" was really my only complaint with the film. Wanting a little more setup between some characters and wanting a tiny bit more backstory of others. I'm definitely hoping there's a Directors' cut in store for us someday from writer/director Zach Creggor who, it must be said did some excellent work here. So while I may have a few nitpicks here and there, it doesn't take away from how solid Barbarian is as a whole. It's one heck of a fun ride and easily the best horror film of the year. I have so much more to say, but I have a feeling I'll be talking about this one for a while, so I'll save it for later after some more people can get in on the fun. RATING: 9/10

When Olivia Wilde’s sophomore directing effort Don’t Worry Darling was announced to be a horror film off the heels of the wildly popular Booksmart back in 2019, I was both intrigued and excited. But when Florence Pugh was cast and I was sold. For Pugh, this seemed like an excellent choice after her major success in the genre previously with Midsommar, and for Wilde seeing her tackle another genre after succeeding with a coming-of-age comedy felt exciting. The film's first trailer was mysterious and compelling, with glimpses of Pugh giving another mesmerizing performance amid the backdrop of a picture-perfect mid-century, suburban utopia. And then came all the drama leading up to the press tour surrounding the film's release. A supposed beef between director and star. An infamous loogie. The love triangle drama between Olivia Wilde, her ex Jason Sudeikis, and her lead actor Harry Styles. And of course the Chris Pine of it all. Don’t Worry Darling had to be downright amazing to rise above all its pressure. Don’t Worry Darling centers on Alice (Florence Pugh) a 1950s housewife who is very in love with and devoted to her husband Jack (Harry Styles). As with all women in the neighborhood, Alice stays home and keeps house while her husband works at a job so secretive, that he's not allowed to tell his wife about the details of his day-to-day life. Alice unflinchingly accepts this is the way of things and spends her days with the other trophy wife women of the neighborhood as they fill their days with dance classes and gossiping by the pool. One day, Alice’s perfect world begins to unravel when another woman in the community starts voicing that they’re all being lied to. Alice initially trusts the patriarchal system over her friend’s claim, but once weird occurrences start happening to Alice, she can’t ignore that everything feels off. Don’t Worry Darling wants to think it’s an important film giving new commentary on misogyny, but it really isn’t saying or doing anything new. It’s a reinvented Stepford Wives but feels a bit more basic. Florence Pugh holds the whole thing together but gets little help from her supporting cast, particularly a woefully miscast Harry Styles. Had this role gone to a more capable actor, we might be more invested in this relationship--which is pretty important for a third-act revelation to work (which it doesn’t). So while Pugh certainly tries her hardest to make this film great with her stellar performance, the film requires a strong supporting performance from the Jack character to truly come together. She just doesn’t get that from Styles. But let's get back to that aforementioned third-act revelation which gives the viewer way more questions than answers. The film tries so hard with its commentary that it overlooks making any narrative sense. The plot holes abound. But hey, at least it’s pretty to look at! Along with Pugh, the costumes and production design were the best things the film had going for it. All in all, Don’t Worry Darling is fine but definitely not as smart as it thinks it is and certainly not worth all the fuss. What will be more interesting at this point is seeing how all of the players come out of this. Pugh will be fine of course since the film’s failings are no fault of her own, but Wilde and Styles had a lot more riding on this and will certainly take the blame for the press tour shenanigans. They might have cause to worry, darling. RATING 5.5/10

Only a year after Halloween Kills debuted in theaters, its sequel and concluding film of the Halloween (2018) legacy reboot trilogy, Halloween Ends, premieres today. 2018's Halloween was a direct sequel to the original Halloween (1978) ignoring any other canon storylines that already happened. It achieved what felt like an impossible task-- it somehow felt like a fresh beginning to tell new Michael Myers stories, while still being a great film to honor the legacy of the original. It was announced soon after Halloween 2018's release that the film would be a part of its own trilogy and the hope for more great movies featuring Laurie Strode and Michael Myers felt happily inevitable. Then Halloween Kills happened. Without rehashing all of my thoughts on that messy film (you can read my review HERE ), needless to say, my expectations for the final film were brought way down. So can Halloween Ends get back to what 2018's Halloween did right, or is it more of the same that Kills had to offer? The answer...is surprisingly neither, because Halloween Ends does something uniquely peculiar and perplexing. A film called Halloween Ends decides to neither be about Michael Myers nor Laurie Strode at all. For a final film in a trilogy, this is just a baffling move. Let's get back to Halloween 2018 for a moment just to really emphasize how puzzling the decisions in this film are. That film re-introduced us to a Laurie who had channeled her post-traumatic stress disorder into a ball of paranoia, preparation, and rage. She was the type of person who was okay with straining relationships because she knew Michael Myers and what a force to be reckoned with he was. Halloween 2018 was advertised as an epic showdown forty years later and it delivered on that. But it's not a Halloween movie unless Michael gets away, so sequels are always a given. And when you've got a sequel, you've got a rematch right? Again, setting aside Halloween Kills which makes the terrible decision to sideline Laurie to a hospital bed for the duration of the film, Halloween Ends has no such excuse yet also underutilizes the character. Early in the film, we're shown Laurie four years on from the events of the previous two movies writing a memoir and moving on with her life. While character growth is certainly a thing, the events from the last two films (including losing her own daughter by Michael's hands) should only reinforce her beliefs not soften them. While the character feels refreshingly light acting like the carefree high schooler she never got to be, it also makes no sense for her to suddenly have found peace with Michael still on the loose after all. Halloween 2018 set up that this trilogy was supposed to be about Laurie, her granddaughter, and the generational trauma she's caused. So to conclude that story in a final film, the only natural thing to do would be to...check notes...introduce an entirely new character, and make the movie all about them. You see Halloween Ends is Corey's story. Who is Corey you might ask? From the cold open of the film, we learn he's a twenty-something guy with really terrible luck. With a town desperate to point their hate at someone, Corey finds himself as the new pariah. Until he has a run-in with Laurie who takes him under her wing and introduces him to her granddaughter Allyson. The two hit it off right away, but Corey still can't shake his unhappiness or anger for what he's been through and it is clear he's headed down a dark path. And in this franchise, all dark paths lead to Michael Myers. The idea of a new individual taking on the mantle of Michael Myers isn't a bad idea--and honestly, some of Corey's storyline is actually quite compelling. I loved the first scene and how it really sent into motion how Corey was such a victim of circumstance. I thought it was interesting seeing the effect that this town has on people since it in a way has become poisoned by the evil Michael spread and now that evil trickles down in other ways. It just all makes zero sense to be telling this story now during the last film of a trilogy that claims to tell the ending of Laurie and Michael. Had Corey's story been introduced in Halloween Kills or even Halloween 2018, it would have been a great time to bring in the character and set up the final film. But as told the way it is, it just is baffling. Throughout the film, it's hard not to repeatedly wonder if you're actually watching the right movie. Where is Laurie? Where is Michael? Apart from the Corey of it all, the film is also frustrating with how utterly stupid its characters are--Allyson in particular. It's pretty much a given that characters in horror movies make stupid decisions, but the film does her absolutely no favors and it's hard to watch. But hey, at least it's got some good kills even if the movie is about some rando and all the characters surrounding him act like dummies. What a way for a franchise to go out. That is...until its next reboot. RATING: 4.5/10

With the release of Marry Me , Bros and now Ticket to Paradise studios in 2022 are hedging their bets that the romantic comedy genre isn't dead, it's just been dormant. Ticket to Paradise casts two of Hollywood's biggest stars in Julia Roberts and George Clooney to sell this second-chance love story of a divorced couple uniting with a common goal-- to prevent the whirlwind wedding of their daughter (Kaitlyn Dever). Can the two make this destination worth the trip, or is this a one-way ticket to disaster? Now that I have my vacation puns out of the way, let's get to the movie! Roberts and Clooney star as Georgia and David, a pair of bickering exes who share an incredibly booksmart daughter named Lily (see what I did there?). For the past few years, she's dedicated her life to law school and finally is allowing herself to have a little fun after she graduates by spending some time in Bali on a girls' trip with her best friend Wren (Billie Lourd). But Lily's plans of pursuing a career change when she's swept off her feet with love at first sight by a charming local named Gede (Maxime Bouttier). She informs her parents by email that she's going to marry her new beau and invites her family to Bali to meet him and attend the wedding. Determined to stop their daughter from making the biggest mistake of her life by throwing away her career for a guy she barely knows, her parents make their way to Bali to do what only Julia Roberts can do best: ruin a wedding. Ticket to Paradise treads well-worn territory. It feels very familiar which makes the viewer feel a bit at home. It doesn't so much feel like a 2022 new release, but rather a movie we've seen a dozen times that came out in 2002. Its stars fall back on their reliable charm, and along with its stunning location (and therefore lovely cinematography), it's a very breezy watch. Movie comfort food that doesn't get made quite as much anymore (at least for big-screen viewing). But does that make it a good movie? Ticket to Paradise is an enjoyable watch, but definitely not without its flaws. At its core, the film is basic and predictable though absolutely elevated by its charming performances--so it's hard to be too mad at it. Honestly, it's just fun to see Clooney and Roberts in these types of roles again and bantering off one another, even if they deserve to be in a better movie together. Supporting performances here are also good with Billie Lourd and Lucas Bravo adding some nice moments of levity, though both could have been written to be a little less one note. Kaitlyn Dever and Maxime Bouttier didn't really sell me on a burning connection that would inspire a complete life change in a matter of two months, but were fine otherwise. Ultimately, Ticket to Ride left me with a lot of questions. Do I think that their daughter still is going to end up regretting her life one day? Yes. Do I think some things happened too fast between Clooney and Roberts without enough proper build-up of chemistry? Also yes. Am I still glad that people are making movies this wholesome and that big stars are agreeing to be in them, even though it's not perfect? Definitely, yes. All in all, it's a decent enough, if unmemorable bonne voyage. RATING: 6/10

When I first heard the news of Daniel Radcliffe's casting in a Weird Al biopic, I tweeted something to the effect of "Hollywood must really be scraping the bottom of the barrel for biopics if someone out there is making a Weird Al movie." Foolishly, I hadn't considered the possibility that Weird Al himself might be in on the joke. If Weird taught me anything, it's that it's never wise to count out Weird Al. Weird Al Yankovic saw the sea of endless musician biopics and decided to do what he does best--he chose to spoof them. Weird tells the story of the unparalleled rise to fame of the aforementioned Al Yankovic, better known to the world as simply Weird Al. We first meet Al as a young kid, whose parents just don't understand him. Young Al dreams of pursuing his passion of rewriting the lyrics to popular songs with a comedic spin, but Al is told in no uncertain terms by his parents that they do not support this path. Instead, Al is expected to follow in the footsteps of his father and work in a soul-crushing factory for the rest of his life. But the trajectory of Al's life changes forever when a door-to-door accordion salesman stops by and introduces him to the instrument that would change it all. There is a perfect genius to Weird and it all just works. Al and his career are the perfect foil to all the iconic musicians whose stories are told in biopic after biopic, all in the hopes of baiting that Oscar gold. His story makes for the perfect parody because he himself is the perfect parody. The movie reflects that and the humor throughout feels as familiar as any one of his songs. There's a real earnestness to the jokes and the characters that somehow make every aspect of the film funnier. Radcliffe gives a hilarious performance--not so much portraying the real Weird Al Yankovic--but rather the Weird Al of an alternate universe where Al became one of the biggest recording artists of all-time, performing concerts shirtless and catching the eye of fellow pop-star, Madonna (Evan Rachel Wood). He's kind of preposterous in the role, but he's supposed to be. Meanwhile Evan Rachel Wood as Madonna is absolute perfection. Her Madonna is a toxic siren leading Al to the brink of destruction. In addition to Radcliffe and Wood, the film boasts numerous cameos of comedians eager to show their love and pay tribute to Al. Weird Al himself who also co-wrote and produced the film even has a small part as well. My only issue with Weird: The Al Yankovic Story is its length. The film seems to run out of steam towards the end and you start to feel that runtime. Sometimes one can have too much of a good thing, and in the case of Weird , a more streamlined climax would have been beneficial in strengthening the film as a whole. Still, comedies this funny are increasingly rare these days, so I can't help but sing its praises to the tunes of Michael Jackson's greatest hits. RATING: 7.5/10