*For some reason, my website is messing up an accent mark in Hua’s first name and I have yet to figure it out. I acknowledge his name is misspelled as a result, which pains me to no small degree.

Since I’m an amazing interviewer I began by asking “how are the other interviews going?” (response: “We’re so excited to share. Yeah. We were cooped up for so long. Like, not being able to talk about the film, so it’s nice to kind of brag about it now.”) and proceeded to talk about the weather (“This is this is exactly the weather in my hometown of Kaneohe, so I’m used to it.”).

Hey, at least it’s better than the time I was doing a group interview with Aubrey Plaza and some dude asked her when the release date was for her movie.

Questions have been edited to make me sound more sophisticated than I am. Answers have been edited for brevity.

I’m interested in the recording experience. Hua, what was your experience like making an animated film? I picture a few people locked in a box talking to themselves.

Hua: I mean, you know what’s funny is, now that you bring that up is that working in animation, I think naturally a lot of people feel like you’re so closed off that it’s really only your voice that counts, but in at least in the scope of how we operate and how we produce the film is that that is not the case at all. You need to act the film and you need to be as animated, in your own body as possible and that’s actually what assists the animators.

A lot of times animation will come second. Voice over will come first. So we’ll have cameras on us and act out the entire scene. So being able to be as animated just as you’ve seen all of your childhood favorite characters, Genie, Olaf, so on and so forth, was something that was super fun.

You know, it’s super whimsical. Getting to do it time in, time out, and it’s something that I think you never really get tired of. So in a way, that’s how it really, like, kind of correlates to live action acting. I’ve had the opportunity to act in in television series like NCIS Hawaii, Rescue Hi Surf, and then I have a role in Lilo and Stitch live action. So the contrast between the two is that, one, you have an environment right in front of you and you have other actors to play off of and other actors to play with.

And in animation, that environment is up here [in your head] and with what our directors, writers, producers give to us, and they do an amazing job. Jason Hann, Dave Derek, Jared Bush, Dana Ludo Miller, even Bryson Chung, they created such a world for us that we can really step into and adapt into and make it easy to create these characters on the fly in a bunch of different scenarios, in a bunch of different environments.

I think the finished product came out amazing, and I’m excited for everybody to see it.

How exciting is it to be in such a major movie about Pacific Islander culture?

Hua: I mean, it’s huge, you know, being Pacific Islander, being Polynesian, being of Hawaiian descent—it’s huge to be part of a film at this standard, at this height, at this weight, in such an industry. It’s an honor. It’s an entirely huge blessing. I don’t even feel like I have the fullness of words to really describe what it feels like.

It’s an entire blessing to go out there and represent our people and for all of our people to feel a sense of belonging and feel a sense of place when they see our cultural displayed on the stage, displayed in film. And to say that I get to be part of that, to say that I get to be a representative on behalf of my friend on my right and my friend on my left, my brother on my right, my sister on my left, my family is huge. And, I’m excited for what’s to come with Moana in the future.

Christina, you went from working at EY to producing Disney movies. How the heck did that happen?

Christina: I’ve always loved movies growing up. I mean, Disney animation in particular.

I grew up with those films. I used to watch, back when there were DVDs, how there’d be bonus materials, and they have the commentary of watching movies and the commentaries to, like, live and breathe the commentary bonus materials. I was just obsessed with trying to figure out, obsessed in trying to figure out how to make films and truly elicit this level of empathy in characters that aren’t even real. But when I went to school, I foolishly confused film theory and film production.

So my college didn’t actually have anything that could help me study film, but, they had economics. And I was always interested in how things work in terms of psychology and business. So, Econ led me to Ernst and Young, and I was super excited because Ernst and Young counts the balance for the Emmys. So I was, “Oh, I’m a little closer to the industry at least.” But then I knew after two years, I have to just shoot my shot and hope for the best.

So I applied to all of these studios, across the United States, and Disney was the first to answer. I’ve just really been loving the experience of getting to work with actors to be able to just be a part of the filmmaking process.

Financially, there has been a lot more pressure in the last couple of years within the film industry. Moana 2 was originally going to be a Disney+ series, but it’s now a major theatrical release. I’m curious how you approach moviemaking with that in mind?

Christina: For us, we’re always trying to figure out what’s the best format to tell our stories in, and there’s such a love… like, a deep, profound love and respect for Moana and these characters that it was just begging for a sequel to be on a big screen.

It really was a groundswell from people within the community, from the people actually at the studio. We were watching screens of the film. We’re like, gosh. Like, it’s so gorgeous. The potential here can be so deeply immersive. It just really needs to be on the big screen. And so we ended up being able to pull it up, and we’re just so grateful and lucky for that.

—

I tried to snap a photo with these two great people—who clearly are very passionate about Moana 2—and my daughter, but she was too busy playing a balloon-popping video game and refused to do so. So that was the end of the interview, and that’s the end of this write-up of said interview.

• Actor in a Leading Role: Paul Giamatti (The Holdovers)
  • Second pick: Jeffrey Wright (American Fiction)
• Actor in a Supporting Role: Mark Ruffalo (Poor Things)
  • Second picks: Sterling K. Brown (American Fiction) or Ryan Gosling (Barbie) would make me happy, too
• Actress in a Leading Role: Emma Stone (Poor Things)
  • Second pick: Sandra Hüller (Anatomy of a Fall)
• Actress in a Supporting Role: Da’Vine Joy Randolph (The Holdovers)
  • Second pick: Danielle Brooks (The Color Purple)
• Animated Feature Film: Spider-Man: Across the Universe
  • Second pick: Nimona
• Cinematography: Oppenheimer
  • Second pick: Poor Things
• Costume Design: Poor Things
  • Second pick: Barbie
• Directing: Yorgos Lanthimos, Poor Things
  • Second picks: Christopher Nolan (Oppenheimer) or Jonathan Glazer (The Zone of INterest)
• Film Editing: Poor Things
  • Second pick: Oppenheimer
• International Feature Film: The Zone of Interest
  • Second pick: The Teacher’s Lounge
• Makeup and Hairstyling: Poor Things
  • Second pick: Society of the Snow
• Music (Original Score): Oppenheimer
  • Second pick: Poor Things
• Music (Original Song): I’m Just Ken (Barbie), just because I want to see the world burn
  • Second pick: What Was I Made For? (Barbie)
• Production Design: Poor Things
  • Second pick: Barbie
• Documentary Feature Film: I’ve only seen one nominee (20 Days in Mariupol), which was decent.
• Sound: The Zone of Interest
  • Second pick: Oppenheimer
• Visual Effects: The Creator
  • Second picks: Godzilla Minus One or Guardians of the Galaxy Vol. 3
• Writing (Adapted Screenplay): Poor Things
  • Second pick: American Fiction
• Writing (Original Screenplay): The Holdovers
  • Second picks: Past Lives or Anatomy of a Fall
• Live Action Short Film: I’ve only see one–The After–and it would be an embarrassment if it won

Best Picture Rankings:

1. Poor Things – a masterpiece
2. The Holdovers – pitch perfect
3. American Fiction – pitch perfect
4. Barbie – has achieved more than anyone could have ever anticipated
5. Oppenheimer – a very good movie that is a little style over substance
6. The Zone of Interest – a technical masterpiece that I respect more than I love
7. Anatomy of a Fall – an extremely well made and compelling drama
8. Past Lives – a superbly acted drama
9. Killers of the Flower Moon – the most disappointing movie of 2023
10. Maestro – it’s embarrassing this movie was nominated for Best Picture

I don’t separate actors by gender or role (lead vs. supporting), though ironically (hypocritically) I don’t advocate for award nominations and winners to be flattened in the same way. Why? Well, this year is a good example: 8 of the 10 best honors go to white people, and only 2 of the top 10 are women.

It is what it is, and not every year shapes up this way, but let’s not put the cart before the horse.

20. Leonardo DiCaprio, Killers of the Flower Moon

Leo just barely makes the cut, but that shouldn’t diminish what he does in Killers of the Flower Moon, my most anticipated movie of 2023 and also one of the year’s most disappointing. Nonetheless, and unsurprising, DiCaprio is excellent here, playing an idiot villain who is stupid enough to fall in love with the woman whose family he is largely responsible for killing. 

19. Sandra Hüller, Anatomy of a Fall

Hüller, who also is very good in 2023’s holocaust drama The Zone of Interest, gives an immersive and complex performance in Anatomy of a Fall. Her character is a walking paradox, and Hüller strings the audience along from one scene to the next, rarely (if ever) showing her cards.

18. Fantasia Barrino, The Color Purple

Barrino, best known by her first name during her tenure on “American Idol” long ago, is sensational as the main character in the musical remake of The Color Purple. Her character–abused, raped, ridiculed into submission, but also strong and ultimately defiant–isn’t easy to pull off, but Fantasia leaps into the role with gusto.

17. Vanessa Kirby, Napoleon

Napoleon isn’t a perfect movie, and Joaquim Phoenix, who is on this list for another character, is sorely miscast, but there’s no denying the electric pull that Vanessa Kirby has in every scene she’s in. Sexy, smart, powerful, and seductively sophisticated, she’s the real star of Napoleon.

16. Jacob Elordi, Saltburn

The “Euphoria” actor, who I suspect will be overlooked throughout his career due to his good looks and assumed “pretty boy” characters, is downright terrific in Saltburn. He may get overshadowed by some of his co-stars, but he plays his elusively complex role to perfection.

15. Jonathan Majors, Creed III

Well, I debated including Majors on this list for obvious reasons. While I won’t champion him in the future, I also won’t deny the fact that he gave us one of the most unsettling and sinister performances of the year as the two-faced villain in Creed III.

14. Alison Oliver, Saltburn

You won’t see Alison Oliver pop up on many award lists, but she sizzles in more ways than one in Saltburn as the seductive and suspicious sister. It’s her final scene in the movie that earns her place on this list; it’s one of the best deliveries (and takedowns, however short-lived) you’ll see all year.

13. Jeffrey Wright, American Fiction

Wright’s performance in American Fiction may not be the flashiest on this list, but the revered performer delivers another pitch-perfect turn, playing both a snobbish (and exasperated) intellectual and a faux-gangster from the hood.

12. Joaquim Phoenix, Beau is Afraid

No one saw the three-hour-long descent into anxious madness that is Beau is Afraid (note: it’s actually really good, until it isn’t), but Phoenix is at the top of his game here, playing a man-child utterly beholden to his ruthless mother’s aura. 

11. Rosamund Pike, Saltburn

Rosamund Pike is just awesome, and when she’s given license to sink her teeth into eccentric characters as she is in Saltburn, she absolutely thrives. 

10. Da’Vine Joy Randolph, The Holdovers

While Paul Giamatti and co-star Dom Sessa throw sarcastically witty barbs at one another, Da’Vine Joy Randolph injects The Holdovers with a sense of energy, humility, and maturity. She’s funny, yes, but she gives one of the most emotionally painful performances of the year.

9. Sterling K. Brown, American Fiction

The fascinating thing about American Fiction is how the movie teeters between and blends comedy and drama, an no one exemplifies that more than Sterling K. Brown, who bounces between being ridiculously funny and shockingly raw–often in the same scene. It’s an extremely touching performance, one not to be forgotten anytime soon.

8. Willem Dafoe, Poor Things

Dafoe earns the honor of having the weirdest character on this list; the benefit is he’s also blessed with some of the best dialogue of the year. Dafoe is perfectly suited to bring that dialogue to life, and he does it with a twisted twinkle in his eye. 

7. Ryan Gosling, Barbie

Everyone knows Gosling is a good actor, but it’s easy to overlook how damn good he is in comedic roles (reminder: see The Good Guys). His portrayal of an idiotic Ken doll who is simultaneously well intentioned while desperately and naively misogynistic is an impressive feat. No offense to the excellent Margot Robbie, but Gosling steals the show.

6. Andrew Scott, All of Us Strangers

It took me two viewings to truly appreciate what I was watching, but Andrew Scott is absolutely fantastic in All of Us Strangers. You can practically see his emotions ripping the poor guy apart, and yet Scott gives us something even more complex–a character who is tragically scarred yet optimistic about his future (or at least his present).

5. Barry Keoghan, Saltburn

I love me some Barry Keoghan, and the talented young actor is at it again with Saltburn. It’s hard to explain his role without giving everything away, but he somehow manages to be both (and simultaneously) likable and dangerously strange. Few actors can convey so much while also being mysterious as hell, but that’s Keoghan for you.

4. Nicolas Cage, Dream Scenario

This is the Nicolas Cage we know and love. It’s hard to imagine many other actors pulling off what he does here, sprinkling a seemingly normal dramatic role with unhinged comedy and awkward freneticism.

3. Paul Giamatti, The Holdovers

Giamatti is so good in so many things he does it’s easy to discount him, especially in a movie like The Holdovers. But make no mistake: Giamatti (and The Holdovers) is absolutely excellent here, giving one of his best performances in years.

2. Mark Ruffalo, Poor Things

Mark Ruffalo, please take on more comedic roles. In Poor Things, the actor who is now known most for his role as the Hulk, digs deep to give one of the oddest, funniest, and intentionally pathetic performances of the year.

1. Emma Stone, Poor Things

Anyone who has seen Poor Things knows what I’m talking about. This is one of the boldest, out-there, and unconventional performances of the year, and it’s Emma Stone’s career best. It’s also the best performance of 2023.

Want more? View my top 10 movies of 2023 list.

From mainstream hits to under-the-radar comedies, 2023 was packed with awesome stuff–most notably in the final few months of the years. Many great movies didn’t quite make the cut (you can see the full list of all movies I reviewed this year, in rough order of awesomeness), but here are the ten best movies of 2023:

10. Barbie

The most impressive thing about Barbie is how director Greta Gerwig managed to make a smart, funny, and semi-edgy comedy from what could have easily been a lame cash grab concept. Margot Robbie is perfectly cast and Ryan Gosling delivers one of the year’s best performances; there’s really not much to not like here. 

9. The Creator

A timely release given the surge of AI this year, The Creator is an $80 million sci-fi action epic that, visually, looks better than any $200 million movie. But it isn’t just the visuals that set it apart: director Gareth Edwards (Star Wars: Rogue One) paints an incredible detailed world that will leaving you wanting more, and immediately. With some great action and excitement, this is one of the most criminally overlooked films of the year.

8. Spider-Man: Across the Spider-Verse

Comic book movies are dead, they say. There’s no originality left in the genre, they say. Statistically, that may be right, but this animated Spider-Man sequel is proof that with a confident story to tell, superheroes can still pack a punch. Across the Spider-Verse is almost an exercise in excess, but it’s just so damn creative, clever, and fun, how can you complain?

7. Talk to Me

Here’s the weird thing: I don’t think all of Talk to Me works. But the stuff that works… works really, really well. Featuring some of the most intense and shocking moments of the year–that mid-story sequence alone is jaw-dropping–this is the must-see horror movie of the year, and well deserving of placement on this list. (sitting just outside this list is Evil Dead Rise, another great option)

6. John Wick: Chapter 4

What’s a Keanu Reeves movie doing on this list, you ask? It’s not everyday you get to witness an action movie that boasts three or four of the best action sequences of the decade, and where you can literally hear people gasping in the crowd as director Chad Stahelski puts everything he has on screen. That’s why John Wick: Chapter 4 is on this list.

5. Saltburn

Dark, disturbed, and jaw-droppingly good, Saltburn, from Emerald Fennell, is a drama-turned-thriller that works on every level. Some have criticized it because its message isn’t as progressive or uplifting as her previous work (Promising Young Woman), but taken on its own, Saltburn is a ruthless thriller full of memorable characters and playfully wicked performances.

4. American Fiction

Equally moving and ridiculously funny, American Fiction is a highly entertaining piece of work. It’s a great achievement for first-time director Cord Jefferson. Jeffrey Wright, Sterling K. Brown, Tracee Ellis Ross, and Erika Alexander are all fantastic, but it’s Jefferson’s immersive screenplay, which mixes strong emotion with biting humor, that makes it all work.

3. The Holdovers

The slightest of films–the movie is about a teenager who finds himself stuck at an all-boys school over Christmas break under the thumb of a curmudgeonly teacher (Paul Giamatti)–The Holdovers is nonetheless a highly enjoyable, quietly hilarious comedy-drama from Alexander Payne (Sideways, The Descendants).

2. Origin

From Ava DuVernay (Selma) comes this gorgeous and intoxicating film about systemic racism. Based on a Pulitzer Prize-winning book, the movie explores the connection between Jim Crow laws and Nazi Germany, among other things. Phenomenally acted and a showcase for DuVernay’s talent, Origin is a powerful, can’t-miss experience.

1. Poor Things

One of the boldest movies of the year is also the best movie of the year. Emma Stone delivers a career-best performance, as does Mark Ruffalo, in this weird, twisted, dark, steampunk exploration of female independence and sexuality. Strangely, this is also, arguably, director Yorgos Lanthimos’ (The Lobster) most accessible film to date. While not for everyone, branch out and give it a try–you very well may find yourself surprised, and engrossed.

View all 2023 movies ranked from best to worst (roughly).

But what I do look for in movies–and what I’ve noticed my preferences have shifted to more and more in recent years, especially amongst a dearth of truly great “traditional” award contenders–is the feeling I get when I watch them. When I walk out of the theater as the end credits roll. As I turn off my TV.

I’m not talking about what makes me sad or happy as much as what gets me excited. What moves me to the edge of my seat. What makes me sweat. Uncomfortable. Scared. Unsettled. Or sometimes, what just made me experience a true sense of fun. Entertainment. Joy.

So yes, I do experience emotions. But very few of the traditional award contenders gave me these emotions. Look at TÁR, an exceptionally well made movie with a fantastic performance. I respect it tremendously. But I felt very little while watching it. The Fabelmans? A nice film by a master filmmaker but hardly resonant.  Women Talking? All I felt was boredom.

But I’m not here to bash the movies I didn’t like. I’m here to present the 10 best movies of 2022. The 10 movies that made me feel something different from the rest. Here they are:

10. RRR

Currently streaming on Netflix
At three hours long, this Indian action epic is arguably overstuffed. But man is it stuffed with some of the wildest, zaniest, colorful, go-for-broke action, drama, romance, bromance, and, yes, dance sequences you’ve seen in a long time. It makes you feel a sense of exhilaration, an appreciation of the passion and energy captured on camera. Sometimes movies just wear their hearts on their sleeves (or in this case, their muscles), and RRR is one of those movies. 

9. Hustle

Currently streaming on Netflix
This direct-to-Netflix Adam Sandler basketball drama didn’t interest me in the slightest when it was released; it took a friend for work (i.e. not a film critic) to encourage me to give it a shot. There may not be anything extraordinary about Hustle as it more or less sticks to the tried-and-true underdog sports formula, but what it does it does very well. Featuring another strong performance by Sandler, Hustle is an easy one to love, at least for us regular folk.

8. Everything Everywhere All At Once

Currently streaming on Paramount+
This movie is 30 minutes too long and wears out its welcome by the end. Despite that, Everything Everywhere All At Once is the boldest, most energetic movie of the year. Packed with clever if not downright ludicrous ideas (a whole subplot tied to the Pixar movie Ratatouille, really? And hot dog fingers?), Everything Everywhere is weird, funny, action-packed, unpredictable and downright entertaining. And if you watched it in a packed theater like I did, you would have felt the energy pulsing through the crowd.

7. Speak No Evil

Currently available to rent
Much of the year I’ve resisted admitting to myself the truth about Speak No Evil: yes, despite being utterly bleak and laying claim to one of the most depressing endings of the last decade, it is also one of the best movies of the year. There have been a lot of great horror movies this year, but none made me feel so anxious and unsettled as this one. I usually only put movies on this list that I’d watch over and over, but I get a knot in my stomach when I even contemplate the idea.

6. The Fallout

Currently streaming on HBO Max
Unceremoniously dumped on HBO Max this January, The Fallout is nonetheless a gripping exploration into trauma, grief, and recovery. Starring Jenna Ortega (Wednesday), the movie is amazingly accessible given its subject matter–a mass school shooting. Speaking of feeling, the emotions felt during the shooting sequence leaves you breathless, even though the worst of it [thankfully] occurs off screen.

5. Pleasure

Currently streaming on Showtime
“Pleasure” is a feeling largely absent from this deceptively well-lit drama that follows a young Swede as she ventures into the American porn industry, making tremendous sacrifices to achieve stardom and success. The movie does make you feel an increasing sense of unease as this brutal story unfolds, however, culminating in a highly unpleasant quasi-rape scene that is anything but pleasureful.

4. Thirteen Lives

Currently streaming on Amazon Prime
If there’s any movie on this list that tries its hardest not to be emotional, it’s Ron Howard’s surprisingly effective true-life thriller Thirteen Lives. But a movie that methodically depicts the incredibly complex and harrowing 2018 Thai cave rescue (also brought to life in last year’s terrific documentary The Rescue) was inevitably going to give you the feels no matter what. Devoid of almost any melodrama, Thirteen Lives still manages to pull you to the edge of your seat and get you to hold your breath, despite already knowing the outcome.

3. Glass Onion: A Knives Out Mystery

Currently streaming on Netflix
Very few theatrical releases this year left me buzzing as I walked out during the credits. Ironically one of them is the Netflix movie Glass Onion (I saw it in theaters). An improvement over the overrated Knives Out in every way, Rian Johnson delivers with a highly entertaining, funny, and clever murder mystery full of actors willing to take their outrageous characters to the limit. This movie is a direct injection of fun.

2. The Northman

Currently streaming on Amazon Prime
Gritty, brutal, and cinematically captivating, The Northman is one powerhouse of a viking revenge film. Made by a filmmaker (Robert Eggers, who helmed the incredible The Witch) who operates on another level from most other directors, The Northman not only looks the part but makes you feel it–you can feel the anger, the intensity, the devotion to detail. It’s an experience that reverberates through your soul.

1. Top Gun: Maverick

Currently streaming on Paramount+
Speaking of experiences, there’s Top Gun: Maverick and only Top Gun: Maverick. I’d been warily excited to watch this one since before the pandemic, pumped for the nostalgia infusion but concerned a sequel could deliver nothing more than that. But boy do Tom Cruise and director Joseph Kosinski achieve liftoff and then some. Brimming with energy and superior action, tapping into that Top Gun nostalgia while not relying on it, Top Gun: Maverick is a movie that makes you feel alive. 

After watching this movie, I walked out of the theater with approximately 15 friends and family members. The reaction–amazing–was unanimous and the whole group was just buzzing. You could feel the electricity. And for that reason, without question, Top Gun: Maverick is the best movie of 2022.

I normally don’t list Honorable Mentions because I feel it’s cheating (you’re top 10 has suddenly turned in a top 20, and what’s the fun in that?), but I will note that I could have swapped in the bottom of this list with several… ahem… honorable mentions, including Cha Cha Real Smooth (Apple TV+), All Quiet on the Western Front (Netflix), and Guillermo del Toro’s Pinocchio (Netflix). Even Bodies Bodies Bodies, one of several extremely fun horror movies released this year, and the incredibly funny Jackass Forever, were in play.

View a full list of my 2022 reviews ranked to some degree from best to worst.

The first thing you’ll notice is the incredible opening song and credits sequence has been replaced for something that feels much more low-rent (representative of being downgraded from Amazon Prime to Freevee, though you can still watch the show on Prime). Thankfully, most of the rest of the production and storytelling feel much in line with the quality you’d expect from the series, even if the investigations themselves aren’t quite as gripping or compelling as in past seasons. It’s still a solid watch, even if it isn’t a great one.

The second thing you’ll notice is the smaller cast. Missing is Bosch’s partner Jerry Edgar (Jamie Hector), police commissioner Irvin Irving (Lance Reddick), and Bosch’s former direct supervisor Grace Billets (Amy Aquino), all of whom were characters I really enjoyed and who added another level of complexity (and diversity) to the show. Coincidently or not, one of my least favorite characters, or at least one I didn’t need to see get elevated to lead, was Honey Chandler.

Regardless of specific characters, the biggest change—and what holds Legacy back from being as strong as the original series—is the lack of internal politics. With Bosch no longer a police officer, the intriguing push and pull of a man driven by his gut and a strong moral code contained within a bureaucratic system where politics can both aid and hamper investigations is lost. As is, Bosch: Legacy feels just a little less meaningful.

On the positive side, Lintz is given more time to shine as the “legacy” part of the show. While she isn’t entirely convincing as a police officer, her character continues to be well-written and her evolution from young girl to professional understandable; Lintz, for her part, is as good as always.

The show does her dirty, though, in the season’s final episode; the cliffhanger is shocking, but Bosch: Legacy makes it clear that it still considers her Bosch’s daughter–not someone who can take matters into her own hands.Despite its faults, Bosch: Legacy still has a lot of great things going for it. Welliver is as good as ever, the writing is above average, and the complex storytelling feels like a natural continuation of the original series. If only they had kept the intro the same…

Here are the 21 best performances of 2021, gender and size of role be damned. What do you agree with? Hate? Tell me @FilmJabber.

21. Jared Leto, House of Gucci

I heard about Leto’s performance before I saw it, and when I saw it, it took me more than a couple takes for me to go, “Is that Jared Leto?” The divisive actor’s portrayal of a buffoonish cousin injects more energy into the Ridley Scott drama than the rest of the cast combined, and that’s not a slant against the rest of the cast.

20. Taylour Paige, Zola

In the frenetic Zola, Taylour Paige’s character is just along for the ride, bouncing from one weird scenario to the next. But that doesn’t mean Paige the actress doesn’t know exactly what’s going on. She delivers a terrific “straight man” performance, portraying increased bafflement as the weird, allegedly true life circumstances threaten to consume her.

19. Renate Reinsve, The Worst Person in the World

Robert Patrick in “Peacemaker” may be, truly, the worst person in the world, but Renate Reinsve’s portrayal of an indecisive and perhaps selfish young woman navigating her career and relationships may be a close second. That’s not entirely true, but Reinsve is impressive in that she is able to live up to her film’s title while remaining immensely likable and relatable.

18. Rebecca Furgeson, Dune

Dune has a great cast, but Rebecca Furgeson stands apart in a way that only Rebecca Furgeson is wont to do. At once playing a frightened mother, a confident witch, and a chilling, otherworldly force, the actress somehow wraps these oft-conflicting roles into something transcendent.

17. Will Smith, King Richard

I nearly overlooked Will Smith for his portrayal of the intense father of Venus and Serena Williams, if only for the fact that the film itself is a perfectly fine biopic. But Smith once again gives it his all, making “King Richard” a mesmerizing screen presence. The movie itself is just OK.

16. Olivia Coleman, The Lost Daughter

Coleman’s protagonist in The Lost Daughter is not a likable one, and in its translation from book to film it appears some of the critical nuance that would help explain why she is the way she is has been lost, doing her no favors. But Coleman is once again a head-turning presence here, giving audiences one of the most complex and emotion-churning portrayals of the year.

15. Riz Ahmed, Mogul Mowgli

The only reason Ahmed isn’t higher on this list is that he essentially made the exact same movie, with the same plot and character arc, a year earlier in The Sound of Metal. That doesn’t mean he isn’t fantastic here.

14. Agatha Rousselle, Titane

In Titane, it’s impossible to separate Agatha Rousselle from the character she plays, and the character she plays goes to some dark, dark places, including having violent sex with and ultimately being impregnated by an automobile. Rousselle goes all in to the degree that if you told me she was actually bleeding car oil I’d believe you.

13. Catriona Balfe, Belfast

Belfast boasts a lot of great performances (which makes its inability to full click into gear all the more baffling), but Catriona Balfe, playing the strained not-quite-single mother of an impressionable young boy, is the emotional core of the film. 

12. Riley Keough, Zola

If Taylour Paige represents the audience in Zola, reacting to what occurs with a loud “WTF,” Riley Keough literally plays the WTF. Chomping and chewing scenery with reckless abandon, Keough goes all out and the movie benefits greatly from it.

11. Emilia Jones, Coda

Jones, winner of Seattle’s Best Youth Performance 2021, gives a memorable turn as the daughter of two deaf parents (and sister to a deaf brother). CODA isn’t her first performance, but her emotionally powerful turn here feels like the beginning of a long and illustrious career.

10. Anthony Ramos, In the Heights

The second-best musical of the year (behind Encanto, another Lin-Manuel Miranda-driven piece) is full of energy, charisma, and good-looking people, and at its core is Anthony Ramos, who bursts with charm and passion. Would he have gotten more award attention had In the Heights been released in December?

9. Dev Patel, The Green Knight

The Green Knight is one of the best movies of 2021, and while much of the credit goes to the absolutely stunning and gorgeous presentation by director David Lowery, Dev Patel delivers a subtly powerful performance as a cowardly man on a quest to find himself.

8. Bradley Cooper, Nightmare Alley

Nightmare Alley was decent, but Bradley Cooper sinks his teeth into every line of dialogue thrown his way–and at an unnecessary two-hour and 20-minute runtime, he is given plenty to gnaw on. This may be Cooper’s best performance to date.

7. Troy Kotsur, Coda

The first deaf actor nominated for an Academy Award, Kotsur is completely deserving of every accolade thrown his way. Blisteringly funny and ridiculously expressive, Kotsur is fantastic.

6. Brenda Deiss, Red Rocket

Sean Baker’s Red Rocket is jam-packed full of wildly great performances, but Brenda Weiss, who plays Mikey’s weathered mother-in-law Lil, looks and feels like the real deal. Did Baker’s location crew just really like her house and she just came with it? Who knows, but Deiss is perfectly cast and makes the most of her relatively small role.  

5. Benedict Cumberbatch, The Power of the Dog

Is he a villain, or just a fucking asshole? It doesn’t matter much, because in the end Benedict Cumberbatch gives one of the most ruthless performances of the year. His portrayal of Phil is brutal, calculating, and destructive. Could I give higher praise?

4. Morfyyd Clark, Saint Maud

Very few people actually saw Saint Maud, but those who did know that Mortfyyd Clark gives an excruciatingly good performance as a young woman so consumed by her faith that God begins to speak directly to her. Then again, she may be having a psychotic break and slowly descending into madness. Either way, Clark is sensational.

3. The Cast of Mass

I hate giving ties or what not, but I’m the author so who cares. I could have put Jason Isaacs, Martha Plimpton, Ann Dowd, or Reed Birney on this list individually, but as terrific as each of them are, they are much more powerful as an ensemble. Mass presents a masterclass in acting, and deserves to be seen.

2. Cooper Hoffman, Licorice Pizza

I feel stupid admitting this, but I didn’t realize Cooper Hoffman was Philip Seymor Hoffman’s son until writing my review of Licorice Pizza. Never mind that he looks like his late father, acts like him, and has similar talent. Hoffman, who plays extremely confident teenager Gary in his big screen debut, oozes with charisma and commands every scene he’s in. 

1. Simon Rex, Red Rocket

Speaking of charisma, Simon Rex gives the best performance of 2021. Funny, smart, stupid, likable, and despicable all at the same time, Rex takes on one of the most complicated, challenging, and contradictory roles written quite some time–and he does it in stride. This is also my not-so-subtle reminder to watch Red Rocket already.

After a tedious pre-opening that feels like its hours long—a dude in a red outfit who likes like Johnny Depp’s Willy Wonka after a weeks-long bender wanders around stage looking as confused as the audience, eliciting mercy chuckles at most—Alegria kicks into gear with an entertaining vignette involving the cast jumping, bouncing, and otherwise defying physics with a set of pliant poles.

I’m no circus savant so won’t begin to use the appropriate terminology for the different acts, but each segment elicits a big smile and pure joy (“alegria” means “joy”). A tall, extremely handsome, and absolutely ripped dude spinning around inside a giant metal ring was fun to watch, though you could essentially feel the women in the audience (and presumably non-straight men) leaning in for other reasons. A hula hooper who is slightly better than your grade schooler was awe-inspiring, while a Hawaiian (?) fire dancer with the biggest grin you’ve ever seen was not only equally explosive but looked like he wanted to jump into the crowd and give every ticketholder a big hug.

While I won’t get into every segment, the two-women gymnastics routine took your breath away as they pushed their bodies to the extreme, and the climax, featuring a highwire trapeze act that was literally straight above you (if you sit in the front rows) was the perfect spectacle to cap off the show.

Interspersed with the primary circus acts were a series of humorous vignettes that featured what could best be described as living minions. They hate each other but love each other, and everything in between, and over the course of the 2.5-hour show they manage to deliver a full romantic story arc that won over the crowd. While the little girl sitting behind me made it clear she found them “hilarious,” the show would benefit by reducing their stage time by about 25%; they’re endearing, but some of their moments land better than others and some of the skits go just a little too long. The show would be best to just eliminate the red-jacketed dude altogether; it’s not entirely obvious what his character is trying to embody, but he’s the weak link by a mile.

Cirque du Soleil: Alegria may not be quite as astonishing as some of the other shows that have cycled through Marymoor over the years, but that doesn’t mean it isn’t a blast. Highly recommended for people of all ages, take advantage of this big tent act while it’s in town.

Image is from Seattle Refined. View a full photo gallery from the show.

2021 was a year of cautious rebound in the film world. It wasn’t at all normal, but several blockbusters that were put on pause during the early months of the pandemic finally made it to theaters, making it at least feel like there wasn’t a deadly disease still ravaging the globe. Not all of those blockbusters delivered, of course, but when you reflect on how few big movies came out in 2020, it was a nice change of pace.

Where 2021 felt less normal was in the prestige films–the end-of-year awards contenders that usually offer some pleasant surprises. Whether a delayed outcome of the early-pandemic shutdowns or simply due to a weak slate, most of the major frontrunners for major awards have been downright disappointing.

In fact, only three movies on this list of the best movies of 2021 were released in the late months of the year, and one of those is a Disney animated film.

As frustrating as this final month and a half has been (seriously, I watched at least 40 movies since Thanksgiving, and most of them were middling at best), the lack of prestige films opens the door for other great movies to fill the gaps. Without further ado, here are the best movies of 2021, according to me and my incredible opinions, a somewhat eclectic yet largely mainstream selection.

As a reminder, I almost always rate movies using three primary parameters: 1) Was it entertaining? 2) Would I recommend it to my friends? 3) Would I watch it again?

10. In the Heights

What it’s about: A shopkeeper with bigger dreams finally asks out the love of his dreams, just as she’s ready to move away from the neighborhood and presumably meet a dude with better earning potential. Bad timing.

Why it’s on the list: Energetic, fun, and fast-paced, this Lin-Manuel Miranda musical features a talented and good-looking cast doing what talented and good-looking casts tend to do: lighting up the screen.

Where to watch it: HBO Max

9. The Power of the Dog

The plot: Set in the early 1900s, a man brings his new wife and gay son to live with him on his ranch. Unfortunately, his mean-spirited brother also lives there, making for awkward dinner conversation. 

Why it’s on the list: A slow-boil drama with one wicked performance and a quietly killer ending you might miss if you’re not paying close attention, The Power of the Dog isn’t for the impatient, but is a masterclass in filmmaking nonetheless.

Where to watch it: Netflix

8. Saint Maud

The plot: A devout young woman begins to believe that God is speaking directly to her. Then again, she could just be batshit crazy.

Why it’s on the list: Morfyyd Clark gives a terrifying performance in this horror-thriller that feels all too real, and all too troubling. And that ending. Wow.

Where to watch it: Hulu/Paramount+

7. The Dry

The plot: A city detective returns to his small hometown in the outback to investigate a murder-suicide that no one wants him to investigate, including, shockingly, the person(s) actually responsible for the crime.

Why it’s on the list: Juxtaposed against a desolate and desperate environment that is overshadowed only by a bleaker set of parched characters, The Dry is an immensely satisfying murder mystery that quickly grabs you and never lets go.

Where to watch it: Buy/Rent

6. The Suicide Squad

The plot: A group of super-powered (or at least super-deranged) criminals, including a human-sized weasel, must save the world from a giant, evil starfish. Not to be confused with Suicide Squad.

Why it’s on the list: Full of dark, twisted humor and grotesque physical comedy, this James Gunn-directed comic book adaptation is easily the most enjoyable comic book movie of the year (sorry, Spider-Man).

Where to watch it: HBO Max

5. The Green Knight

The plot: King Arthur’s nephew commits himself to a quest to find a supernatural knight, to offer his head in exchange for a foolish vow made the year prior. Unfortunately, he sort of sucks at quests.

Why it’s on the list: Divisive in that some people will find it numbingly dull, The Green Knight is the prettiest and most atmospheric movie of the year, complemented by a strangely riveting tale of a coward’s search for courage.

Where to watch it: Buy/Rent

4. Encanto

The plot: A regular teenage girl must discover why her family and house are losing their magical powers, the loss of which would mean they’d actually have to do work the old fashioned way.

Why it’s on the list: Featuring beautiful animation heightened by a heartwarming story and invigorating music, Encanto is an animated movie that will blow both children and adults away with its energy and charisma.

Where to watch it: Disney+

3. CODA

The plot: A high school girl must balance her future dreams with the reality of the present: helping her parents and brother, all of whom are deaf, catch fish.

Why it’s on the list: The easy winner for crowdpleaser of the year, CODA is funny, moving, and, thanks to its subject matter, unique and insightful. 

Where to watch it: Apple TV+

2. Red Rocket

The plot: A former porn star moves back in with his estranged wife and mother-in-law, starts selling weed to make ends meet, and sets his eyes on a spunky 17-year-old donut clerk because he… really likes donuts. 

Why it’s on the list: Arguably the funniest movie of the year and most certainly the sleaziest (well, Titane aside), Red Rocket isn’t for everyone–but for the people it is for, fantastic acting, creative writing, and one of the most memorable protagonists in recent memory makes it a must-see. 

Where to watch it: Currently in theaters (as of Dec. 25, 2021)

1. Dune

The plot: After his family is betrayed after taking over production of cinnamon, the most important material in the universe, a young duke flees into the desert and attempts to evade capture, dehydration, and worms.

Why it’s on the list: Though it’s only half a movie, Dune: Part One is a visual and technical masterpiece that gets better with every viewing. Few would argue that director Denis Villeneuve (Arrival) is the perfect choice to bring Frank Herbert’s classic to life, and he does with the vision and scale that most filmmakers could never achieve.

Where to watch it: Buy/Rent

For a full list of the best and worst movies of 2021, go here.

I don’t cover a lot of film festivals, and when I do they usually aren’t foreign language-centric ones (am I allowed to say that? It seems the woke thing to say these days is “not in the English language” but who wants to say that?). But the festival caught me at the right time, having just passed a major milestone at work and arriving just before I dive deep into award season.

I watched two films off the bat, one I liked and one I… liked less.

Unidentified, directed by Bogdan George Apetri, is a crime drama about a troubled detective who has taken on a dead-end case but is also dealing with his own personal issues. Bogdan Farcas delivers an engrossing performance as a seemingly dedicated cop who, as the story progresses, is revealed to be much more damaged than you’d expect. The story could have used some tightening, but it builds to a spectacular and shocking climax that is worth the wait.

Dampening the mood a bit is Mia Misses Her Revenge, a drama by Bogdan Theodor Olteanu, which makes you wonder if all men in Romania are named Bogdan. Starring Ioana Bugarin, the movie is about a young actress who, after being slapped by her boyfriend, travels back home to be with her parents and friends. She spends the movie processing her trauma, but also trying and largely failing to convince various guys to have sex with her on camera. Bugarin is really good in the film, and it has its moments, but its delivery feels choppy and the ultimate product unfulfilling. 

I’ll take 50/50 odds to begin any film festival, and Unidentified is worth the price of admission ($7 on its own, or you can pay for a festival-wide pass).

The Romanian Film Festival runs from November 12 to November 21.

Yes, I watched all of Ted Lasso Season 2 early, too, but that’s neither here nor there.

Foundation is an ambitious sci-fi epic that clearly wants to be sort of like Dune only without really cool sandworms. It spans decades, if not centuries, and involves a mathematical formula so powerful it can predict the future, and specifically the ruin of an empire that has lasted for millenia. The show is about that slow collapse.

Sci-fi fans should find plenty to enjoy with Foundation as it balances some “harder sci-fi” concepts with the more action-oriented elements that are pervasive in the genre these days. While the show largely stays clear of major space battles, there are plenty of smaller scale action scenes and suspenseful segments, though it’s equally willing to philosophize and preach.

Foundation looks fantastic; every episode is filled with lush, movie-quality imagery, beautiful sets, and amazing visual effects (although, funny fact, literally as I write this I’m finishing up Episode 10, and an unfinished effect just came on screen). 

In short, Foundation looks pretty as hell, but that’s not enough to sustain a show. And even after plowing through 10 episodes in a matter of weeks, I’m not entirely convinced this show has found sustainable footing.

As nice as it looks, and as inventive as it is at times, the show often feels like something slightly more generic than it wants to appear to be. Though the movie boasts several likable characters, most notably Salvor Hardin (Leah Harvey) and Gaal Dornick (Lou Llobell), few really resonate in a convincing way. The protagonists feel like protagonists you could find in dozens of other stories. As a result, their journeys are compelling at a base level, but not at an emotional one. Oddly, the character I was drawn to most is the alleged villain, played superbly by Lee Pace.

Further, for a show that dabbles in “hard sci-fi,” much of what happens is surprisingly straightforward and not particularly crafty. It feels like a show that isn’t quite as smart as it wants to be.

Lots of things happen in these first 10 episodes, and there’s plenty to like–not enough to love. I kept waiting for that moment… you know, that moment, like in Game of Thrones or Lost or whatever show you consider great that caught you off guard and hooked you… and it never came. If anything, the moment that could have been a real jaw dropper happens in the first or second episode–too soon to really punch you in the face the way it probably could have had the world and characters been more established.

I’ll be curious to see how others react to Foundation; some will love it, but I imagine many will agree with me. It’s a dangerous place for a show to operate in; almost really good, but short of the praise a production needs these days to transcend to the stars.

Bosch, which wraps up after seven seasons on Amazon Prime Video, is as confident as it’s titular character, played by Titus Welliver. Its confidence, its steady swagger, is what has made the show so consistently engrossing from Season 1 Episode 1. While some of the seasons and storylines have blended together over time, Welliver’s piercing delivery combined with the pitch-perfect writing, rock solid supporting cast (most notably Jamie Hector, Amy Aquino, Madison Lintz, and Lance Reddick), and complex yet grounded plots hook you immediately.

If this sounds like a review for the series instead of Season 7, that’s because so few people seem to talk about the damn show—and the people that do not be sold on it.

But Season 7 is a fantastic sendoff, boasting a plot that puts most of its characters at risk either physically, emotionally, or professionally. One thing Bosch has been great at is wrapping loose strings up each season and then shredding them apart again the next, only to rework them in new ways. Season 7, of course, twists the show’s lingering threads even together, resulting in some shocking moments, revelations, and fractured alliances.

Season 7, as you might expect, doesn’t end on a “happily ever after” note, but its bittersweet finale is both satisfying and true to the series.

Bosch is one of the best cop shows since The Wire; its seventh and finale season cements that fact.

A lot of other great films were honored as well… see the full list below.

The 2020 Seattle Film Critics Society Award Winners

Best Picture of the Year

• Nomadland

Best Director

• Chloé Zhao – Nomadland

Best Actor in a Leading Role

• Riz Ahmed – Sound of Metal

Best Actress in a Leading Role

• Frances McDormand – Nomadland

Best Actor in a Supporting Role

• Daniel Kaluuya – Judas and the Black Messiah

Best Actress in a Supporting Role

• Yuh-jung Youn – Minari

Best Ensemble Cast

• Da 5 Bloods – Kim Coleman, casting director

Best Action Choreography

• Tenet

Best Screenplay

• Promising Young Woman – Emerald Fennell

Best Animated Feature

• Wolfwalkers – Tomm Moore, Ross Stewart, director

Best Documentary Feature

• The History of the Seattle Mariners: Supercut Edition – Jon Bois, director

Best Film Not in the English Language

• Minari – Lee Isaac Chung, director

Best Cinematography

• Nomadland – Joshua James Richards

Best Costume Design

• Ma Rainey’s Black Bottom – Ann Roth

Best Film Editing

• Nomadland – Chloé Zhao

Best Original Score

• Soul – Trent Reznor, Atticus Ross, Jon Batiste

Best Production Design

• Mank – Donald Graham Burt (Production Design); Jan Pascale (Set Decorator)

Best Visual Effects

• Tenet – Andrew Jackson, Andrew Lockley, Scott Fisher, Mike Chambers

Best Youth Performance (18 years of age or younger upon start of filming):

• Alan Kim – Minari

Villain of the Year:

• The Invisible Man/Adrian Griffin – The Invisible Man – portrayed by Oliver Jackson-Cohen

Needless to say, 2020 was a potentially revolutionary year for movies, with the sudden and forced shift to at-home releases, a trend that was only accelerated by the global closure of movie theaters (I say potentially because despite all the doom and gloom about the fate of theaters, I see plenty of reason for optimism).

Regardless of what the future holds, 2020 undoubtedly shifted the landscape short term. Many major studio releases were pushed to 2021 or beyond, some went digital, and movies that otherwise may have been overlooked as being “straight to video” garnered significantly more attention than they otherwise would have, deserved in some cases, not so much in others.

“Pandemic quality” became a thing–as the months wore on, and as the big studios held their products close to the vest, praise came from left and right for films that, in other years, would be considered middling at best. And yet, while 2020 may be lacking the spectacle of big blockbusters, it was by no means a year lost. 

On that note, let’s get onto the list… my top ten movies of 2020 and what many* would describe as the definitive list of the best this year had to offer.

10. Bacurau

What begins as a drama set in a remote and impoverished Brazilian town turns into something entirely else, and it’s this unpredictably that powers the surprisingly badass Bacurau. To say more would lessen its impact, but Bacurau is a worthy endeavor if you’re in the mood for something a little less conventional. And some blood.

9. News of the World

My first reaction to News of the World was: this is pretty good. Not great. But pretty good. After chewing on it for a couple weeks, however, this Tom Hanks western continued to linger, and upon a rewatch I warmed to it even more. Though not the most complex of films, it’s an acutely directed drama-thriller that is likely to be a mainstay in my household for years to come. 

8. Greenland

If a month ago you had asked me whether a Gerard Butler disaster flick would make my top ten, I would have laughed you out of the room. But 2020 is full of surprises. When I think about movies I’ll still be watching 10 years from now, this entertaining, exciting, and surprisingly grounded thriller certainly fits the bill. 

7. Promising Young Woman

Promising Young Woman isn’t perfect. But it is one of the boldest, colorful, and satisfyingly angry movies released all year. And to argue that the movie doesn’t have a score to settle, and that it doesn’t do so memorably, would be to discount all the things debut filmmaker Emerald Fennell does right. 

6. Sound of Metal

Riz Ahmed delivers a fantastic performance as a heavy metal drummer who loses his hearing, forcing him down a new and unexpected path. A beautiful story capped by an emotionally powerful final scene, Sound of Metal is deserving of any accolades thrown its way. 

5. Palm Springs

I rarely include comedies in my list of favorites, but when said comedy is a weird Groundhog’s Day-esque film in which Andy Samberg relives the same day over and over again, occasionally hunted and tortured by J.K. Simmons, all while stuck in ultra-boring Palm Springs, one has to make exceptions from time to time. Funny, but also clever and genre-bending and sort of sweet while sometimes dark and twisted, Palm Springs deserves more attention and accolades than it has received.

4. First Cow

The nicest serious movie of the year, Kelly Reichardt’s First Cow is about two strangers who meet and bond over Chinese honey cakes and start a business selling them in frontier times, relying on the stolen milk from the only cow in the region. First Cow is a beautifully quaint film that defies expectations thanks to a terrific screenplay and the performances by its two leads, John Magaro and Orion Lee. 

3. Nomadland

When my wife and I first watched Nomadland in late November, I turned to her at one point and declared, “this is one of the first fully realized films I’ve seen since 2019.” Featuring another award-worthy performance by Frances McDormand, Nomadland immerses you into its world within its first minutes and never lets go. In terms of Oscars, Nomadland has my vote. 

2. The Invisible Man

But when it comes to the movie I’m most likely to watch year after year for the foreseeable future, it’s The Invisible Man, the riveting horror-thriller from Leigh Whannell. Elisabeth Moss gives a terrific performance that transcends the material and the genre, and the superbly made movie packs a viscous, creative, and feminist-swinging punch. 

(it should be noted that several other great and lesser known horror movies landed just outside my Top 10)

1. Hamilton

In normal years, I wouldn’t have considered a recorded stage play for this list, let alone put it in my top spot, but 2020 ain’t no normal year. With the lines fully blurred between theatrical and TV releases, no “cinematic” experience rivaled that of watching the hit musical for the first time, even if it was on my TV weeks after its debut. Full of energy and life, powered by a witty screenplay and sensational musical numbers, Hamilton was the most rewarding viewing experience of 2020. 

For a full list of my favorites (and least favorites), view this list of the best and worst movies of 2020.

*many = my parents and immediate family, though my mom would question the term “definitive.”

10. The Addams Family

Though I prefer Addams Family Values–its Camp Chippewa scenes are priceless–the original live-action movie still has plenty to like. Raul Julia and Anjelica Huston are pitch perfect in their respective roles, though the real star is director Barry Sonnenfeld, who manages to bring this creepy family to life in all the right ways.

9. The Lost World: Jurassic Park

Yes, Jurassic Park, which also debuts on Netflix in August, is the better movie, but you don’t need any convincing to see it. The Lost World, Steven Spielberg’s sequel, often gets raked through the mud these days, but it actually boasts some pretty terrific sequences (most notably the cliff scene) that make it worthwhile despite its shortcomings.

8. The NeverEnding Story

I would imagine if you dove into The NeverEnding Story for the first time, as an adult, it’d come off as pretty cheesy and dated, but for those of you who hold the memory of this film in such high regard, Netflix has now made it easy to go on a nostalgic joy ride.

7. A Knight’s Tale

You don’t get too many movies like A Knight’s Tale these days. Heath Ledger stars as a rebellious knight in medieval times, but with a modern soundtrack and modern dialogue and humor, writer/director Brian Helgeland clearly had little interest in telling a drab, historical tale.

6. Mad Max

The original 1979 Mad Max looks and feels a bit dated these days, yet it’s still worth checking out. While not nearly as epic nor insane as its sequels, the fundamentals of the franchise are on full display, with a viscerally bleak story told by George Miller and a sincerely earnest turn by a young Mel Gibson.

5. Being John Malkovich

This weird-as-hell movie from Spike Jonze and Charlie Kaufman is an incredibly imaginative and ambitious experience about a man (John Cusack) who discovers a portal into the brain of actor John Malkovich. 

4. An Education

If for some reason you’ve ever doubted Carey Mulligan’s talent, watch An Education, in which she delivers a fantastic performance as a blossoming teenager in 1960s London. The coming-of-age tale isn’t perfect, but it comes close at times through its depiction of a city and country undergoing massive transformation and Mulligan’s delicate turn.

3. Eternal Sunshine of the Spotless Mind

Believe it or not, I haven’t watched Eternal Sunshine since it was first released over 15 years ago, despite it being one of the most imaginative and creative films of the decade. Even though I own it on DVD, now that it is on Netflix and is only a remote-click away (vs. having to get up, put the disc in my DVD player, wait for it to load, etc.), I no longer have any excuse not to revisit this gem.

2. Casino Royale

Easily one of the best James Bond films, and certainly the best Daniel Craig film, Casino Royale is a stark reminder of how none of the other Craig films quite get it (though Skyfall comes close). Tightly told, gritty, and funny, director Martin Campbell (who also rebooted the Bond franchise once before with the excellent Goldeneye) redefines Bond for the modern era while still, undeniably, giving us a quintessential Bond movie.

1. Nightcrawler

Jake Gyllenhaal’s frightening performance in Nightcrawler, about a sociopathic “journalist” who starts creating his own, violent news to beat the competition, is one of the best of the century. The movie is nearly as good. And yet many people have never taken the time to experience this terrific thriller. You can change that this month.