The Hechtman Blog

The Looney Tune They Tried To Bury: My Film Review of “Coyote Vs. Acme”

Max Hechtman — Tue, 25 Aug 2026 15:12:54 +0000

The final trailer for Coyote vs. Acme. (Ketchup Entertainment/Warner Bros. Pictures Animation)

“Meep! Meep! Meep! Meep! Meep!” out of “Meep! Meep! Meep! Meep! Meep!” Stars!

May we all be grateful to Ketchup Entertainment for saving the life of what is probably the best Looney Tunes feature film in a really, really long time. Take that, Warner Bros. and their attempt to use a tax write-off to bury this laugh-out-loud funny legal comedy with a ton of looney antics for everyone to enjoy.

In Coyote vs. Acme, based on the magazine article of the same name by The New Yorker, Wylie E. Coyote is still in his everlasting pursuit of capturing the Road Runner, but once he learns that he can sue the Acme Corporation for the faulty products that he’s been using for his mission, he enlists the help of a live-action billboard attorney to help him, leading to the discovery of much more darker secrets hidden beneath the surface. Will Forte, Lana Condor and John Cena make their live-action characters’ interactions with the Looney Tunes themselves so believable as how Robert Zemeckis made Bob Hoskins’ interactions with Roger Rabbit did so back in the 80s, and the numerous appearances from other iconic characters like Daffy Duck, Porky Pig, Granny, Tweety, Foghorn Leghorn and the one and only Bugs Bunny make the experience feel more nostalgic.

We need to make sure this modern-day “David vs. Goliath” story becomes a box office hit this coming weekend, even when a certain “orange unicorn from a forthcoming horror film that premiered at Sundance” is also hoping for the same kind of commercial success. Coyote vs. Acme is indeed one of the year’s best films, and one you’ll indeed see on my top 10 this year.

A Pro-Shot for the Ages: My Film Review of “Hadestown: The Musical”

Max Hechtman — Mon, 03 Aug 2026 21:09:22 +0000

The official trailer for Hadestown: The Musical. (Bleecker Street/LD Entertainment)

To the world we dream about and the one we live in now.

That quote hits even harder now than it did a decade ago. And never has a 21st century musical masterpiece like Hadestown shined beyond the stage with this cinematic ProShot recording of a performance filmed in London’s West End, being released a week after Christopher Nolan unleashed his own take on another epic story in Ancient Greek history. Director Brett Sullivan and his crew that brought the sheer Broadway greatness of Waitress to the screen handles Anaïs Mitchell‘s material with care, as most of the original cast, including Reeve Carney (Orpheus), Eva Noblezada (Eurydice), Andre De Shields (Hermes), Patrick Page (Hades) and Amber Gray (Persephone) reprise the roles that they made famous as if they were playing them for the first time once again. The cinematography and color grading are top-notch, bringing you into the story in a way never thought possible. Highly recommended for fans of the material, for reference for theater companies around the world getting ready to soon put their own productions (currently of the Teen Edition) and for those that love modern/creative takes of Greek mythology.

An Epic The Defies The Gods: My Film Review of “The Odyssey”

Max Hechtman — Sat, 25 Jul 2026 16:36:52 +0000

The official trailer for The Odyssey. (Universal Pictures)

Christopher Nolan’s The Odyssey is a festival of scale and intimacy — a crowd-pleasing blockbuster that also feels unmistakably Nolan: rigorous in structure, audacious in spectacle, and quietly human at its center. If any film is going to be remembered as the movie that owned summer 2026, this is it.

Matt Damon’s Odysseus is bracingly layered: equal parts weary strategist, wounded romantic, and stubborn survivor. Damon finds the grief and stubborn humor that make Odysseus compelling rather than mythic-only, and he carries Nolan’s elliptical shifts in time with emotional clarity. Anne Hathaway’s Penelope is no passive prize; she brings steel and sorrow to a performance that quietly anchors the film’s emotional through-line. Together they turn Homer’s archetypes into flesh-and-blood people whose reunion you truly ache for. Tom Holland’s Telemachus is a standout—youthful impatience tempered by a nascent gravitas that suggests the burdens of legacy. Holland’s scenes with Damon are some of the film’s most affecting.

Beyond the central trio, the supporting ensemble rounds out this epic with precision and character. Samantha Morton imbues the sorceress Circe with an unsettling intelligence and a bruised sensuality, making every encounter feel dangerous and oddly empathetic. Supporting players like Robert Pattinson, John Leguizamo, John Bernthal, Charlize Theron, Travis Scott and Zendaya add textured authority in smaller roles, supplying the film with a sense of lived-in myth.

Hoyte van Hoytema’s cinematography is, frankly, revelatory. As the first major studio film shot entirely on IMAX film cameras, The Odyssey feels physically immersive in a way few modern blockbusters are: the sea is a presence you can hear in your bones, cavernous palaces swallow light and thoughtfully compose silence, and storm sequences look uniquely tactile — droplets, foam, and spray resolving into crystalline detail. There are moments of visual bravura that will be discussed for years: a tracking long take that follows Odysseus across a battlefield of broken oars and bodies, a vertiginous descent into the underworld rendered in claustrophobic monochrome, and a sequence on a barren, wind-lashed shore where the camera pulls back to reveal Odysseus’ punishing isolation against an impossibly vast horizon. Nolan stages spectacle as storytelling rather than showmanship.

Ludwig Göransson’s score is another revelation. He blends archaic instrumentation with propulsive, almost industrial textural elements, creating music that feels rooted in antiquity yet utterly contemporary. The score punctuates the mythic beats without sentimentality and elevates quieter character moments with surprising tenderness. Sound design and mixing are exemplary: the film’s audio landscape — from the creak of oars to supernatural chorus-like echoes — creates an aural mythology that amplifies the visuals.

Nolan’s screenplay compresses and refracts Homer rather than adapting it linearly; his intercutting of timelines and perspectives clarifies character motivations while preserving the poem’s episodic wonder. The film never feels overstuffed despite its roster of adventures — cyclopean confrontations, Siren sequences that play as dreamlike traps, a nerve-chilling encounter with a shapeshifting threat — each set piece contributes to Odysseus’ arc of yearning and hubris. A few mind-blowing moments stand out: a near-mythic single-shot escape from a labyrinthine temple that blends stunt work and practical effects seamlessly; an auditory hallucination scene where Göransson’s score and the sound mix keep us from hearing the song of the Sirens and warp perception to literally disorient both character and audience; and a climactic duel that reinterprets a familiar Homeric resolution with moral ambiguity rather than tidy catharsis.

The production design, costumes, and practical effects give Ancient Greece a tactile specificity that’s rare in tentpole filmmaking. Creatures are realized with a mix of practical prosthetics and subtle VFX that keep them grounded. Nolan’s preference for practical photography pays dividends — the physicality of danger feels immediate, and the weight of consequence registers in every frame.

If there is a criticism, it’s minor: Nolan’s narrative compression occasionally sacrifices some of the poem’s episodic grandeur for a streamlined emotional narrative. A few secondary threads could have used slightly more breathing room. But these are small quibbles in a film that otherwise marries blockbuster scale with intimate performance.

The Odyssey is likely to dominate awards season conversation — not just because of its technical bravura, but because of the story’s immortal relevance beyond the time it was written. It is and always has been the definitive hero’s journey, long before the many stories and fairy tales that came along generations later.

Spielberg’s Latest Wonder: My Film Review of “Disclosure Day”

Max Hechtman — Thu, 16 Jul 2026 15:23:27 +0000

The official trailer for Disclosure Day. (Universal Pictures/Amblin Entertainment)

Well, I finally saw it. And it definitely was not what I, or many of us, were expecting this latest from the GOAT of filmmaking himself to be. Disclosure Day, Steven Spielberg’s new original science fiction thriller, takes some of the themes and concepts previously explored in Close Encounters of the Third Kind (1977) and E.T. the Extra-Terrestrial (1982) and brings them into the 21st century for a story about the relentless pursuit of the truth, while also making an earnest plea for the necessity of empathy.

Janusz Kamiński’s cinematography was always going to be one of the biggest highlights, showcasing his signature Spielbergian long-take oners and truly astonishing lighting design. And while his approach here is applied in a more grounded, restrained way than in some of his past sci‑fi work, it remains quietly dazzling. Meanwhile, John Williams — now 95 — proves he still has the touch of a legendary film composer, delivering a score that reminds us how powerful a sweeping, symphonic orchestral soundtrack can be; we could certainly use more of that grandeur in today’s films.

And of course, much of the film’s strength comes from the cast’s performances: Emily Blunt delivers one of the best roles of her career as meteorologist Margaret Fairchild, whose unusual “special gift” becomes a crucial part of the plot and the driving force behind her and cybersecurity specialist–whistleblower Daniel Kellner’s (Josh O’Connor, whose grounded emotion lends real weight and relatability) ultimate objective. Colin Firth is an effective, enigmatic antagonist as Wardex head Noah Scanlon; Colman Domingo brings his customary intensity and nuance to Hugo Wakefield; and Eve Hewson is a pleasant, unexpectedly affecting presence as Jane.

Overall, while the plot and themes may feel familiar, Disclosure Day succeeds at what it sets out to accomplish, blending the awe of classic Spielberg blockbusters with the grounded, gritty textures of today’s algorithm-driven, surveillance-heavy and unsettled reality.

All We Really Want: A Filmmaker’s Review of NXT Generation Theatrics’ “Jagged Little Pill”

Max Hechtman — Sun, 12 Jul 2026 02:48:07 +0000

The cast of Nxt Generation Theatrics’ Jagged Little Pill take their bows during curtain call.

I saw Nxt Generation Theatrics’ production of Jagged Little Pill today, and as an independent filmmaker, I left genuinely impressed.

This nonprofit company—run by young artists aged 16–25—chooses to pare the piece down: instead of the usual spectacle that often surrounds this musical, the production places the story and the characters front and center. That choice pays off. The emotional core of Diablo Cody’s book, paired with Alanis Morissette’s raw, confessional songs from her iconic Grammy Award-winning album, feels immediate and urgent. Without the distraction of excess theatrics, you can actually hear and feel the pain, confusion, and occasional hope that drives the narrative.

The ensemble delivers consistently strong work, but a few performances stood out. Derek Bedell brings a believable, textured intensity to his role of Nick Healy; Sarah Ford navigates complex emotional shifts with surprising maturity as Mary Jane Healy; Spencer Gibson Hazen finds small, telling moments that anchor his character of Steve Healy; Felicity Mundy and Maura Dempsey create real chemistry and vulnerability as Frankie Healy and Jo Taylor respectively; Ava Lane’s choices feel lived-in and true as Bella Fox. Even Jackson Mizel’s take on the character of Phoenix was really good. Together, they all make the characters feel lived-in rather than performed.

Ensemble member and understudy Sarah Lepre performs a post-show encore of “You Oughta Know,” which brought the audience to its feet.

Technically, this production punches well above its weight. Director Lana Schwartz’s vision really ensured the show’s themes were as loud and resonant than ever before. Her attention to detail in every stage direction and analysis of the music shined on the stage.

Ziggy Bornas’ lighting design is particularly notable—Broadway-caliber in scope and imagination—using light to shape mood and reveal emotional beats in a way that elevates the whole piece, especially during the number “Uninvited.” Sound and pacing are tight, keeping the show propulsive without rushing the quieter moments.

The stripped-back approach allows thematic elements—addiction, identity, family dysfunction, and generational trauma—to breathe. Those themes are handled with care and clarity; the show doesn’t shy away from discomfort, which makes the cathartic moments land harder.

After the show, we were treated to a post-show encore of the showstopper “You Oughta Know,” delivered by understudy and ensemble member Sarah Lepre, who energized the audience and made the entire production end on a gigantic, unforgettable high note.

Director Lana Schwartz introduces the show.

A minor note, which was a small issue of mine when I saw the Broadway production, is that the music felt a little too loud at points. None of it undercuts the overall achievement.

In short: this is a compelling, emotionally grounded production by a young company doing courageous work. As Jagged Little Pill was the last Broadway show I saw (in 2019) before the pandemic shutdown, it really did feel like a full-circle moment for me to see this story told again, this time with an entirely different, but distinctive vision. With strong direction, a committed cast, and standout technical design, Nxt Generation Theatrics proves they’re cultivating real talent—and I’ll be watching these up-and-coming performers’ and creatives’ careers from here on out. They earned their standing ovation.

Immersive Narrative: A Filmmaker’s Review of “La La Land in Concert” at Radio City Music Hall

Max Hechtman — Mon, 13 Apr 2026 14:53:57 +0000

Max Hechtman with the poster for La La Land in Concert in front of Radio City Music Hall

The “City of Stars” was shining brighter than ever this past Saturday, April 11 as this was the perfect way to celebrate the 10th anniversary of Damien Chazelle’s 2016 Academy Award–winning modern musical classic La La Land. What made this screening singular was not simply the film itself, but the living, breathing soundtrack that accompanied every frame: composer Justin Hurwitz conducted a full orchestra and jazz band as they performed the score and songs — many co-written with Benj Pasek and Justin Paul — live in sync with the picture. The result was equal parts concert and cinematic resurrection, a rare event that reframed familiar images and sounds with the immediacy of live performance.

From the moment an overture rose from the stage and the first brush of brass announced “Another Day of Sun,” the evening established itself as more than a nostalgia piece. Hurwitz’s decision to include an Overture and an Entr’acte — two structural bookends that felt as though they should be part of future prints of the film — gave the screening a theatrical sweep that honored both the film’s Hollywood-musical affinities and its modern sensibilities. Hearing the themes unfold live added layers of texture and momentum that behind-the-scenes mixing and playback can’t replicate: the percussion snapped sharper, the horns breathed fuller, and the piano — Sebastian’s piano playing on screen and the emotional center of the score — cut through with crystalline clarity.

Max Hechtman inside Radio City Music Hall ahead of the performance.

Visually, La La Land hasn’t aged a day. Damien Chazelle’s direction and Linus Sandgren’s luminous cinematography remain a masterclass in marrying camera movement, color, and choreography to an underlying emotional logic. Emma Stone and Ryan Gosling’s chemistry as Mia and Sebastian is still magnetic; they inhabit the film’s highs and lows with a kind of vérité warmth that makes the grand gestures feel earned rather than theatrical. Musical set pieces like “Another Day of Sun” and “A Lovely Night” still rank among the best-staged sequences in contemporary cinema — kinetic, witty, and perfectly timed — while the film’s Epilogue retains its power to move an audience into quiet, bittersweet reflection.

This particular performance’s emotional apex came during “Start a Fire,” John Legend’s rousing, genre-bending number. With the band live on stage, the sequence acquired an extra surge of energy: the song’s contemporary pop-soul arrangement contrasted beautifully with the film’s jazz leanings, reinforcing Sebastian’s tension between purity of art and commercial success. It was one of the night’s biggest highlights, complete with fiery pyrotechnics, eliciting an enthusiastic response from an audience that clearly appreciated the score’s stylistic breadth.

Justin Hurwitz and the orchestra prepare to play “Another Day of Sun” as the opening nod to the CinemaScope era of cinema brings the audience into the film’s world.

Beyond the spectacle, the evening reiterated why La La Land endures: it’s a film about aspiration, craft, and the complicated compromises artists make. The live music underscored that theme in a visceral way. Watching performers, like Tony Award winner Marco Paguia on piano, recreate Hurwitz’s motifs in real time made the film’s meditation on practice, performance, and the fragility of creative relationships feel immediate. The orchestra’s collective breathing, the pianist’s exacting touch, and the subtle tempo shifts in the jazz band all functioned as a kind of meta-commentary — a reminder that art is a collaborative, living thing.

A personal highlight capped an already extraordinary night: meeting Justin Hurwitz after the performance and getting a signed copy of the sheet music for “Mia and Sebastian’s Theme.” That brief, human interaction felt emblematic of the whole experience — intimate, celebratory, and rooted in a shared love for music and storytelling. It’s one thing to admire a film from the house; it’s another to observe its scaffolding and creators up close, to see the craft that animates every cue and every beat.

Max Hechtman meeting La La Land composer Justin Hurwitz after the performance.

For filmmakers and cinephiles alike, the evening was instructive. It demonstrated the power of scoring to re-contextualize the visuals, the value of live performance as an enhancement rather than a gimmick, and the ways thoughtful direction and production design can sustain emotional honesty even within a heightened aesthetic. The screening also suggested a practical takeaway: future presentations of La La Land (and similar films) could benefit from concert-format elements like overtures and entr’actes, which help frame the story in theatrical terms and give audiences the breathing room to be absorbed before and after the narrative.

If there was any minor critique, it’s one tied to the contradictions inherent in revisiting a near-perfect work: live accompaniment magnifies every small imperfection. On occasion a rhythmic cue landed with slightly different shading than the on-screen playing, and an instrumental swell felt more dominant than the intimate hush a close-up required. Those moments, however, read more like charming reminders that film is an assembled art form — its illusion maintained by careful coordination — than as structural problems.

In conclusion, the 10th-anniversary live-score screening of La La Land was a revelatory celebration. It reaffirmed the film’s place in contemporary cinema as one of the greatest ever made, while opening it to new appreciation through performance.

My Top 5 2020s Movies That Should Become Broadway Musicals

Max Hechtman — Wed, 18 Mar 2026 17:36:35 +0000

The cast of Sinners performing “I Lied To You” at the 98th Academy Awards (Robert Gauthier/Los Angeles Times)

This decade has been filled with movies that pushed the boundaries of their genres, and several of those films feel ripe to have their emotions amplified and their stories transformed into vivid musical theater experiences on the Broadway stage in the near future. Here’s a list of my top five films from the 2020s that I can imagine making the leap to Broadway, along with dream creative teams and casts who could bring their worlds and songs to life.

Miles Caton performs “I Lied To You” in Sinners (2025)

1 - Sinners (2025)

Directed by Ryan Cooler

Yes, it’s not officially classified as a musical, but Ryan Coogler’s modern masterpiece—a daring fusion of Southern Gothic, period drama, gangster film, supernatural horror and clear musical moments—already contains the rich, theatrical ingredients needed for a Hamilton-like smash hit on the Great White Way. Picture its memorable song-and-dance moments—“Pale, Pale Moon,” “Travelin’,” “Pick Poor Robin Clean,” “Will Ye Go, Lassie Go?,” and, naturally, the fan-favorite “Rocky Road to Dublin” alongside the Academy Award–nominated “I Lied To You”—fully staged and amplified in an in-the-round environment like the Circle in the Square Theater, with choreography that leans into the story’s eerie, rhythmic heart and an immersive set that blurs reality and the supernatural.

On casting, I’d be thrilled to see the now–Oscar-winning role of the Smokestack Twins taken on by Leslie Odom Jr. and Brandon Victor Dixon, with the inventive twist of having them switch roles daily so each performer can inhabit both sides of the twins and reveal new shades of the characters over time. For Sammie, Delta Slim and Remmick, I can’t imagine better choices than Miles Caton, Delroy Lindo and Jack O’Connell respectively—each brings the gravitas and nuance necessary to translate those complex film performances into live theater. Danielle Brooks, Alex Newell or Da’Vine Joy Randolph would all be sensational as Annie; James Monroe Iglehart or David Alan Grier could bring the right mix of comic timing and heart to Cornbread; Joy Woods would make a striking, soulful Pearline; and Isa Briones would be an inspired pick to assume Hailee Steinfeld’s role of Mary.

Put simply: mount this show now. With the right creative team, choreography and a cast like this breathing life into those haunting, toe-tapping numbers, audiences are ready to “sink our teeth” into it and experience the film’s powerful blend of music and myth on stage.

Ryan Gosling performs “I’m Just Ken” in Barbie (2023)

2 - Barbie (2023)

Directed by Greta Gerwig

When the cultural phenomenon Barbie hit movie screens in 2023, it was like lightning in a bottle. The colors, the clothes, the monologues, and of course, two moments that made the film feel as if it could easily translate to the stage — “Dance the Night” and “I’m Just Ken.” Then, enter Ryan Gosling performing the latter song at the 96th Academy Awards, and the idea that Barbie and Ken’s journey of self-discovery belonged on stage suddenly started buzzing everywhere. I think it could work much like the SpongeBob SquarePants musical did: enlist multiple recording artists (in Barbie’s case, contributors such as Dua Lipa, Billie Eilish & Finneas O'Connell, Kevin Parker, Mark Ronson & Andrew Wyatt) to craft a diverse, memorable score, and design sets and costumes that recreate the vivid contrast between BarbieLand and the real world that made the film so striking on-screen.

Austin Butler as Elvis Presley performs “Suspicious Minds” in Elvis (2022)

3 - Elvis (2022)

Directed by Baz Luhrmann

The life of the “King of Rock and Roll” was vividly and energetically brought to the screen by Baz Luhrmann, using roughly the same lavish bells-and-whistles he employed in his earlier work (1996’s Romeo + Juliet and 2001’s Moulin Rouge!), anchored by a magnetic, scene-stealing performance from Austin Butler. Luhrmann has very recently announced that a stage adaptation is officially in the works, so it’s no surprise to see it included on my list.

For a stage production, I can easily imagine them approaching it in ways similar to the Tony Award–winning Moulin Rouge! stage adaptation, even though Luhrmann’s trademark frenetic editing and rapid visual collage would necessarily be absent from the live theatrical experience. Large-scale, shiny set pieces, integrated screens, inventive lighting and elaborate choreography could more than compensate, bringing spectacle and emotion to the fore. Casting the real-life figures will be particularly delicate work; hopefully the creative team finds performers who can embody Elvis Presley, Col. Tom Parker and Priscilla Presley with both convincing authenticity and careful attention to historical nuance.

The “Mitzi’s Dance” scene from The Fabelmans (2022)

4 - The Fabelmans (2022)

Directed by Steven Spielberg

The semi-autobiographical look at the early life of director Steven Spielberg, seen through the eyes of the fictionalized teenage filmmaker Sammy Fabelman, is tender, emotional, and at times deeply inspirational, with several stand-out scenes and performances that linger in the mind long after the credits roll. Imagine this movie reimagined for the stage as “Fun Home meets Sunday in the Park with George,” but with the craft of filmmaking placed squarely at the center as the art form that drives the narrative.

For a theatrical adaptation, I can easily envision the inventive use of screens projecting what Sammy conceives and films for his “movies within the film,” while clever scene changes and lighting shifts maintain the story’s momentum and cinematic feel. Musically, the score could blend John Williams’ intimate, personal motifs from the original soundtrack with touches of Stephen Sondheim’s lyrical complexity and Jeanine Tesori’s warm, character-driven harmonies. A final Sammy solo in the vein of Pasek and Paul—joyous, cathartic, and full of possibility—after his encounter with John Ford would serve as a triumphant closer (extra credit if the production recreates that final fixed-horizon shot as a staging moment). One scene that lends itself beautifully to a theatrical centerpiece is the camping-sequence moment when Mitzi dances in front of the car headlights; staged as a solo dance, it could be a luminous showcase for an actor who can evoke Michelle Williams’ graceful, nuanced movement just as memorably as Spielberg captured it on film.

Emilia Jones’ climactic performance of Joni Mitchell’s “Both Sides Now” in CODA (2021)

5 - CODA (2021)

Directed by Sian Heder

The English-language remake of the French film La Famille Bélier went on to win three Academy Awards including Best Picture, and its feel-good story about the only-hearing child of a deaf family captured the hearts of virtually everyone who has seen it. Deaf West Theater is already at work on bringing this film to the stage, but here are some practical ideas that I think could help them finally get it to fruition.

First off, you obviously need to bring back Marlee Matlin, Troy Kotsur (who won the Oscar for his performance) and Daniel Durant, because seeing them reprise their roles live would restore the same emotional anchor that helped the film earn its prestige. A minimalist set design would keep the story as the primary focus, allowing audiences to connect more deeply with the characters and their personal journeys. And of course, make sure the climactic performance of Joni Mitchell’s “Both Sides Now” remains intact, as it is central to the film’s emotional payoff.

My Ballot For The New York Times Readers' 100 Best Movies of the 21st Century

Max Hechtman — Sat, 14 Feb 2026 19:36:14 +0000

Last summer, The New York Times asked readers to create their own ballots for their “Readers’ Choice” edition of their list of the 100 Best Movies of the 21st Century. For my ballot, I selected 10 random films that I had seen from this century (a few of which influenced my filmmaking) and submitted them for consideration. A few of them actually made the official list released by The New York Times, while others were named honorable mentions. What follows are each of those 10 that I selected, in alphabetical order, and why I believe they are among the best of the century.

A Beautiful Mind (2001)

Directed by Ron Howard

Released in the months following one of the most significant events in world history, it was no wonder Ron Howard’s biopic about famed mathematician John Nash (Russell Crowe) and his dealing with schizophrenia would resonate deeply with those who have been through similar struggles. And it’s so clear why it won the Academy Award for Best Picture, thanks to extremely honest and nearly-accurate on-screen portrayal of mental illness and Nash’s ability to overcome his challenges.

Dune: Part Two (2024)

Directed by Denis Villeneuve

The second chapter of Denis Villeneuve’s epic sci-fi saga is probably the best sci-fi film of the century so far. As our hero Paul Atreides (Timothée Chalamet) continues his mission to wage war against House Harkonnen, we are treated to magnificent visual wonder lensed by Grieg Fraser, accompanied by Hans Zimmer’s brooding score, making this surpass its 2021 predecessor across the board.

The Fabelmans (2022)

Directed by Steven Spielberg

Steven Spielberg is known for his cinematic depictions of childhood and growing up (E.T., Empire of the Sun, A.I. Artificial Intelligence, among others), but what sets The Fabelmans apart is that not only does he tell a story about that subject, he puts the camera in front of his own, symbolically. A fictionalized look at his early years, we follow teenage filmmaker Sammy Fabelman as he discovers his passion for cinema, the struggles in his family and school life, and everything that shapes his future. Featuring great performances from Gabriel LaBelle, Michelle Williams, Paul Dano and Judd Hirsch, with a memorable closing scene cameo from David Lynch to boot, this film should be required viewing for all young aspiring filmmakers everywhere. And with this being one of the influences of the narrative feature I’m developing (The Lens Within Me), I’m happy Spielberg got to make this film at the time he did.

La La Land (2016)

Directed by Damien Chazelle

After wowing the world with Whiplash two years earlier, Damien Chazelle got to show the larger part of his “musical side” with this beautifully-made tribute to the Golden Age of Movie Musicals, jazz and Hollywood itself. The chemistry between Emma Stone and Ryan Gosling fits like a glove the moment they first sing and dance together in the iconic “A Lovely Night” scene, as we follow their characters’ own separate journeys that share the same goal: making art, even if it is different mediums. Accompanied by the music of Justin Hurwitz and lyricists Benj Pasek and Justin Paul (the latter two in their breakthrough year following the Broadway launch of Dear Evan Hansen), La La Land soars gracefully as one of the best musicals ever to light up the screen, making “the fools who dream” feel seen and heard.

Les Misérables (2012)

Directed by Tom Hooper

Sure, it may have its flaws, including a certain miscast, but Tom Hooper managed to defy all the conventions of how film adaptations of stage musicals are filmed, audio recorded and stylized with his epic take on the musical that rightfully earned its place as “the world’s most popular.” Adapted in turn from Victor Hugo’s classic tale, Les Misérables reaches the stratosphere by presenting the story through a modern documentary-like lens, allowing us to feel the real chaos, tension and upheaval of France in the early 1800s, culminating in the 1832 June Rebellion. Hugh Jackman’s take on Jean Valjean feels fresh and Anne Hathway’s take on Fantine deserved the Best Supporting Actress Academy Award thanks to her rendition of “I Dreamed a Dream.” Eddie Redmayne and Amanda Seyfried make the perfect Marius and Cosette. Russell Crowe’s performance as Javert, despite being on-key 90% of the time, is simply there to complete the cast lineup. In the end, this film has since played a major influence on my visual style as a filmmaker ever since my first viewing.

Oppenheimer (2023)

Directed by Christopher Nolan

Christopher Nolan’s magnum opus revolutionizes the traditional period biopic with all the bells-and-whistles to make it also feel like the thrill ride of your life. Cillian Murphy’s portrayal of J. Robert Oppenheimer, “the father of the atomic bomb,” as well as striking visuals of Hoyte Van Hoytema, make this blockbuster just as memorable than it could ever possibly be.

Past Lives (2023)

Directed by Celine Song

Celine Song’s semi-autobiographical directorial debut is this century’s Before Sunrise. A meditative look at relationships, complete with a beautiful visual style and great performances from Greta Lee, Teo Yoo and John Magaro, it’s a perfect 106 minutes of cinematic art.

WALL·E (2008)

Directed by Andrew Stanton

Disney/Pixar’s sci-fi adventure filled with comedy, robot romance and a powerful environmental message is a multi-generational modern classic. Its story structure even mirrors the history of cinema itself, from the era of silent film with extremely limited dialogue during the first half-hour, to the entrance of holograms, tablets and of course, artificial intelligence and its true sinister nature. The homage to 2001: A Space Odyssey during the climax is the icing on the cake.

West Side Story (2021)

Directed by Steven Spielberg

Taking on a second adaptation of a musical whose first film went on to become the most Oscar-winning musical film ever is no easy task. And Steven Spielberg, for his first official film in this genre, succeeded, all while putting his own visual flair on the beloved source material. Featuring the breakthrough performances of Rachel Zegler and Ariana DeBose, the latter of whom repeating the awards season success of Rita Moreno winning the Best Supporting Actress Academy Award over 60 years earlier for the same role, this version of West Side Story is much stronger in the historical context of its setting while keeping the classic Leonard Bernstein-Stephen Sondheim score intact.

Whiplash (2014)

Directed by Damien Chazelle

The feature film that put Damien Chazelle on the map, Whiplash is a complete jazz symphony itself, its frenetic editing matching the on-screen tension between Andrew (Miles Teller) and his jazz instructor Fletcher (J. K. Simmons). These two performances, alongside its musical score, are the driving forces that make this one of the best of the century.

My Most Anticipated Films of 2026

Max Hechtman — Sun, 28 Dec 2025 20:16:07 +0000

Screenshot from my Letterboxd account.

With 2025 about to be a year behind us, here’s a look at my most anticipated films of 2026, ranking from what I’m really most excited about to ones where I’m simply just going to go in with an open mind and see what happens. Which ones are you most looking forward to, including ones not on this list?

1 - The Odyssey

Directed by Christopher Nolan

Christopher Nolan is back in his second collaboration with Universal Pictures after their triumphant success with Oppenheimer. Now, they take us to Ancient Greece for a bold new adaptation of Homer’s epic poem following Odysseus’ (Matt Damon) unforgettable journey dealing with Gods, mythological creatures and other obstacles in his attempt to return home and reunite with his wife Penelope (Anne Hathaway) and son Telemachus (Tom Holland). This being the first blockbuster film shot entirely with 70mm IMAX cameras while making a story we’ve seen adapted many times before look new again makes this an immediate de-facto front-running contender for the Best Picture Oscar in 2027.

2 - Disclosure Day

Directed by Steven Spielberg

Steven Spielberg has been on a roll this decade. First, in 2021, he gave us his bold and colorful take on West Side Story (which turns 5 next year). Then, in 2022, he made us feel all the emotions of growing up while inspiring us to keep pursuing our dreams with his semi-autobiographical The Fabelmans (which is serving as a major inspiration on my first original narrative feature film The Lens Within Me, currently in script revisions). Now, he’s returning to a genre that he always excels at with his new original mysterious sci-fi adventure Disclosure Day. While little is known about what puts Emily Blunt and Josh O’Connor’s characters into action, it’s a ride that I can’t wait to get on board and experience.

3 - Dune: Part Three

Directed by Denis Villeneuve

Denis Villenueve is set to complete his Dune trilogy with the epic conclusion to Paul Atreides’ saga. Based on the original novel’s sequel Dune Messiah, and with Linus Sandgren taking over as cinematographer from Greig Fraser, we can expect another cinematic experience just as atmospheric and visually stunning as the previous installments.

4 - Supergirl

Directed by Craig Gillespie

The newly-launched DCU continues with Supergirl’s first solo cinematic outing in this world that James Gunn brought us into earlier this summer when her Kryptonian cousin made his long-awaited return to the screen. And with scene-stealer Krypto the Superdog back in action as well, this is going to be another colorful and eye-popping blockbuster worth seeing.

5 - The Sheep Detectives

Directed by Kyle Balda

What happens when you take Knives Out and replace Daniel Craig’s character with a large flock of sheep, specifically the kind you see in Babe? Well, this is what you get. Little did I know that when the trailer for this adaptation of the 2005 international best-seller Three Bags Full dropped this month online that it would skyrocket high into the lists of other people’s most-anticipated of 2026. With a stacked cast of actors, a premise so intriguing and fresh, and a huge sense of fun and plot-twisting mystery, it’s no wonder it’s in the top 5 for what I’m looking forward to next year (and it’s the first time an MGM film has ranked this high on any list I posted publicly).

6 - Coyote vs. Acme

Directed by Dave Green

May we all praise Ketchup Entertainment for stepping in to give us the live action/animated hybrid Looney Tunes film Warner Bros. kept in its vault for too long. With a Who Framed Roger Rabbit-like tone and an intriguing premise, this for sure to be a must-see for fans of 2D animation.

7 - Digger

Directed by Alejandro González Iñárritu

The director of Birdman and The Revenant teams up with Tom Cruise to give us a film whose teaser trailer sets the stage for what’s possibly to come. And the fact it’s shot in VistaVision makes this a title that for sure will be required viewing in 70mm.

8 - Hoppers

Directed by Daniel Chong

I know, it’s Avatar but with beavers. However, at least it shows that Disney and Pixar can still do original stories while focusing heavily on expanding their existing franchises.

9 - Hexed

Directed by Josie Trinidad & Jason Hand

Officially the 65th animated motion picture in the Disney Animation canon, Hexed has a lot going for it. Will it be the next big animated cultural phenomenon the Mouse House gives us? Or will it be another Strange World/Wish? Only time will tell. Wished it was a musical though so there can be more anticipation for it. And while I’ll always be a Disney fan, their leaning in business-wise to AI is just plain dreadful, so hopefully this is animated entirely by humans.

10 - Moana (Live-Action)

Directed by Thomas Kail

Coming out 10 years since the release of the iconic original film, the live-action remake of Moana and Maui’s first big-screen adventure will for sure be an interesting attempt to defy the odds and translate familiar characters and scenes to another medium. However, with the original screenwriter and music team returning, it appears some aspects of it are in good hands.

11 - Toy Story 5

Directed by Andrew Stanton

The toys are back in town…again. And this time, it’s them vs. big tech, in the form of an innocent-looking tablet called the Lilypad. The first three films can be considered its own trilogy and this appears to be part of a possible “sequel trilogy” (a la Star Wars). Will it work? Hard to say until we get an official trailer that delves more into the story. But with most of the original cast returning, and Pixar legend Andrew Stanton at the helm, there could be some emotionally-moving surprises in store that we’re not ready to see.

Max Hechtman's Top 10 Films of 2025

Max Hechtman — Sat, 27 Dec 2025 00:00:55 +0000

The full list of Max Hechtman’s Top 10 Movies of 2025.

With the year coming to an end, now is the time to unveil my top 10 films of 2025. This year, two films from the same studio (Warner Bros.) have made it into my top 2, and even, for the first time on any of my public lists, two animated films have also made it in. Each film had something for everyone and I'm sure you're enjoyed them as much as I did. What were your favorites from 2025?

1 - One Battle After Another

Directed by Paul Thomas Anderson

Topping the list this year is Paul Thomas Anderson's magnum opus of epic, action-packed proportions. With a strong all-star cast led by Leonardo DiCaprio and Sean Penn, spectacular VistaVision cinematography and a haunting score by Jonny Greenwood, One Battle After Another is a mirror reflecting our own world back at us, making us all think and reflect on its modern-day parallels as the credits roll. Might not just be one of the best films of the year - but possibly of the decade as well. A worthy frontrunner for the Academy Award for Best Picture.

2 - Sinners

Directed by Ryan Coogler

This is more than a horror movie. It's a genre-bending cinematic experience that transcends all the cinematic norms and keeps us at the edge of our seat. Ryan Coogler's magnetic direction, Autumn Durald Arkapaw's award-worthy IMAX cinematography and unforgettable performances from Michael B. Jordan (in a dual role) and Miles Caton complete this masterpiece filled with vampires, 1920s American Southern goth, and toe-tapping musical sequences.

3 - Wicked: For Good

Directed by Jon M. Chu

The epic conclusion to the untold story of the Witches of Oz satisfyingly completes Jon M. Chu's magical two-part cinematic journey that kicked off last year and became an instant global phenomenon embraced by audiences everywhere. Our leading ladies Cynthia Erivo (who once again brings down the house as our Wicked Witch of the West, Elphaba) and Ariana Grande (who just might finally win her Best Supporting Actress Oscar for elevating her portrayal of Glinda the Good to newer heights, literally by bubble) couldn't have made a more iconic duo. Jonathan Bailey is as dashing and "swankifying" as ever as Fiyero, even after what he becomes at the end (without spoiling it). Jeff Goldblum's Wizard of Oz and Michelle Yeoh's Madame Morrible remain the delicious and "love to hate" antagonists whose allegorical symbolism becomes much louder than ever.

4 - Superman

Directed by James Gunn

DC’s first superhero returns with a franchise launch that finally does him justice, even without showing his origin story again. James Gunn's inaugural entry in the new DC Universe sets future adventures in motion thanks to David Corenswet's star-making portrayal of the Man of Steel, the return of John Williams' iconic 1978 theme being integrated into John Murphy and David Fleming's energetic score, and colorful and vibrant visuals that make this look like a comic book come to life. Oh, and Krypto the Superdog steals the show every time he's on screen.

5 - Hamnet

Directed by Chloé Zhao

Chloé Zhao returns 5 years after her Oscar-winning success with Nomadland to bring to life Maggie O’Farrell’s 2020 novel depicting a fictional account of Hamnet, the son of William Shakespeare, and how his tragic death both impacted the lives of William and his wife Agnes Hathaway (Anne Hathaway in real life), and inspired William to write the theatrical masterwork that would become one his most famous: Hamlet. Jessie Buckley and Paul Mescal give two of the best performances of the year, coupled with grounded visuals and a fittingly atmospheric underscore.

6 - Billy Joel: And So It Goes

Directed by Jessica Levin & Susan Lacy

This two-part HBO documentary pulls back the curtain on the life of one of music's most iconic names. From his childhood on Long Island to superstardom as a semi-autobiographical singer/songwriter to his legendary residency at Madison Square Garden, we can all relate to Billy Joel and his struggles and triumphs. As a Long Islander myself, this really moved me.

7 - Frankenstein

Directed by Guillermo del Toro

The latest cinematic version of Mary Shelly’s timeless and thrilling story of the titular scientist and the human Monster he created sees Guillermo del Toro return to form by presenting the classic tale through a modern lens, resulting in a thematically relevant experience. Oscar Isaac gives one of his best performances to date and Jacob Elordi is a revelation.

8 - Zootopia 2

Directed by Jared Bush & Byron Howard

Judy Hopps and Nick Wilde are back in this worthy sequel to Disney’s 2016 animated hit. Filled with colorful and vibrant world building, surprise cameos and some cinematic references, it’s another trip to a world you just don’t want to leave.

9 - Out of Order

Directed by Guy Jacobson

One of the funniest films of the year, and one where I was extremely lucky to have attended its NYC premiere at this year’s Chelsea Film Festival, this laugh-out-loud courtroom comedy sees 2006 Superman himself, Brandon Routh, taking on two distinct identities on both sides of a case involving the same client. A light-hearted comedy that fits right in with the likes of My Cousin Vinny and Mrs. Doubtfire.

10 - KPop Demon Hunters

Directed by Maggie Kang & Chris Appelhans

The most original animated film of the year takes the final spot in my top 10 of 2025 with its eye-popping visuals and the extremely catchy soundtrack that took the world by storm with the chart-topping hit "Golden." Sony Pictures Animation raises the bar higher with their imagination, creativity and technological advancements that energize this musically-charged story about teamwork and fighting against impossible odds.

Max Hechtman's Top 10 Films of 2024

Max Hechtman — Sun, 29 Dec 2024 22:00:19 +0000

The full list of Max Hechtman’s Top 10 Movies of 2024.

As the year begins to come to an end, here’s my list of the top 10 films of 2024. From blockbusters to long-awaited follow-ups, emotionally-moving independent cinema to intimate documentaries, this was for sure another memorable year for cinema. What were your favorites from this year?

1 - Dune: Part Two

Directed by Denis Villeneuve

The follow-up to Denis Villeneuve's 2021 sci-fi epic, which brings us back to the planet of Arrakis to see what happens next to Paul Atreides as he unites with the Fremen to wage war against House Harkonnen, is my #1 pick for the best film of the year. The cinematography, music, editing, everything - basically no notes.

2 - Wicked

Directed by Jon M. Chu

The iconic musical that brings to life the untold story of the Witches of Oz finally comes to the big screen, in the form of a two-part film adaptation whose first half not only “defies gravity” but defies every expectation that was set for it. Cynthia Erivo and Ariana Grande give Oscar nomination-worthy performances as Elphaba (the hero cinema needs more than ever now) and Glinda, while Jon M. Chu adds his own cinematic stamp on the magical Land of Oz and a story that’s become much timelier than ever before. Will no doubt be nominated for Best Picture.

3 - The Wild Robot

Directed by Chris Sanders

DreamWorks Animation has delivered another banger with this animated adventure about Roz, a robot dropped to Earth who helps a community of woodland creatures learn to survive their environment and teach them lessons of friendship and kindness. It might seem like "WALL-E in reverse" on the outside, but on the inside is its huge heart that makes this the one to beat for the Best Animated Feature Oscar this year.

4 - Inside Out 2

Directed by Kelsey Mann

This is to this year what Toy Story 2 was to 1999 (the latter being the first film I ever saw in a theater). This sequel continues to expand the world set in stone by the 2015 original and brings in new emotions that cause more challenges for Joy, Disgust, Fear, Anger and Sadness to face as Riley enters her teenage years. The character of Anxiety, one of the new emotions, is a stand-out among the new familiar faces introduced, and the climax has one of the most realistic depictions of a panic attack that I had ever seen on screen.

5 - Anora

Directed by Sean Baker

Sean Baker's magnum opus about a stripper's forbidden romance with the son of a Russian oligarch is a romantic dramedy that's worth seeing mainly for Mikey Madison's breakthrough performance in the title role. While the explicit content was a little much for me, the acting and the cinematography successfully get the heart of the story across.

6 - Colibrí

Directed by Francisco Salazar & Juanpedro David Salazar

A meditative look at a Colombian couple about to have a child who must confront their own pasts in order to create a better future was one of the best indie films I have seen this year. So happy for fellow East Meadow indie filmmakers Francisco and Juanpedro David Salazar on the success of this film.

7 - Nickel Boys

Directed by RaMell Ross

One of the year's most visually stunning films with a unique approach: presenting the story of two teenage African American boys and their struggles to survive in a segregated America in the early 1960s directly through their eyes, by filming it entirely from their first person point-of-views. For sure to be a future piece of required viewing in film schools and a definitive example of the evolution of first-person cinematic storytelling.

8 - Super/Man: The Christopher Reeve Story

Directed by Ian Bonhôte & Peter Ettedgui

Christopher Reeve will forever be known as cinema's definitive "Superman," both on and off the screen, as best exemplified by this powerful and emotional documentary about his life, mostly focusing on his experience he went through following his 1995 horse-riding accident which left him paralyzed. But with unwavering courage, the support of his family and friends and his advocating for people with disabilities, he showed that it's more than just wearing a red cape that made him a hero.

9 - Saturday Night

Directed by Jason Reitman

Jason Reitman and a talented ensemble cast led by Gabriel LaBelle as a young Lorne Michaels recreate the fateful 90 minutes that led to first televised declaration of “Live from New York, it’s Saturday Night!” An enjoyable watch with stand-out performances and a worthy tribute to the night that changed late night television forever.

10 - Music by John Williams

Directed by Laurent Bouzereau

A revealing look at one of the greatest film composers of all time, who wrote the iconic music we know and love from Star Wars, Jaws, Indiana Jones, E.T., Jurassic Park, Home Alone, Harry Potter and more.

Max Hechtman's Top 10 Films of 2023

Max Hechtman — Mon, 01 Jan 2024 00:00:45 +0000

The full list of Max Hechtman’s Top 10 Movies of 2023.

Happy New Year everyone! And as my last post of the year, here's my list of the top 10 films of 2023. What were some of your favorites from this year? See you in 2024.

1 - Oppenheimer

Directed by Christopher Nolan

This better be the film that takes Best Picture at the Oscars this year. Christopher Nolan's latest magnum opus about the man that changed the world forever when he helped invent the atomic bomb is a cinematic experience no one can forget from this year, complete with a magnetic performance from Cillian Murphy in the titular role.

2 - Past Lives

Directed by Celine Song

The directorial debut of Celine Song is a triumph with an emotionally moving and relatable story and a beautiful visual style complimented by awards-nomination worthy performances from its cast.

3 - The Creator

Directed by Gareth Edwards

Gareth Edwards' sci-fi epic about a war between the human race and the forces of AI could not have come at a better time. ILM's visual effects were on full display and the incredible cinematography by Grieg Fraser and Oren Soffer brings us into this film's world in a spectacular way.

4 - Killers of the Flower Moon

Directed by Martin Scorsese

Martin Scorsese's most heart-breaking film to date is also one of the most thought-provoking, with Leonardo DiCaprio and Lily Gladstone giving two of the best performances of the year. This film is going to be analyzed and talked about by critics, historians and in film schools for a very long time, despite its very lengthy 3+ hour runtime.

5 - Et Tu

Directed by Max Tzannes

One of the best surprises of the year was this indie comedy thriller which premiered at the Heartland Film Festival. Lou Diamond Phillips and Malcolm McDowell lead an ensemble cast in this wickedly dark tale that I can not wait for everyone to see once the filmmakers behind this find a distributor.

6 - Barbie

Directed by Greta Gerwig

Greta Gerwig has proven that she is a force to be reckoned with as a filmmaker with her creative and fresh take on the beloved dolls. Margot Robbie and Ryan Gosling make the ultimate Barbie and Ken as the former goes on an adventure that's funny and at times, gets very deep with its portrayal of the theme of existentialism. Oh, and the soundtrack rocks.

7 - The Color Purple

Directed by Blitz Bazawule

The stage musical version of Alice Walker's beloved novel brings the classic story to a new generation that largely succeeds thanks to its performances (particularly from Fantasia Barrino, Danielle Brooks and Taraji P. Henson), beautiful cinematography and uplifting song-and-dance sequences.

8 - Elemental

Directed by Peter Sohn

Pixar really needs to get its act together to tell good stories again, but I'm generous enough to let this slip into the list thanks to its creative approach to worldbuilding and eye-popping animation that's still beautiful to look at.

9 - Eileen

Directed by William Oldroyd

While it will definitely be overlooked and not as well remembered after the year is over, it's worth commending Anne Hathaway and Thomasin McKenzie for their magnetic leading performances in this dark and moody thriller. And I'm very proud of a friend of mine for getting the opportunity to act alongside Hathaway during a pivotal scene.

10 - Theater Camp

Directed by Nick Lieberman & Molly Gordon

A future cult classic for theater kids, people within the Broadway community and the fanbase of Ben Platt, this entertaining mockumentary is worth the time if you're in need of a laugh.

Max Hechtman's Top 10 Movies of 2022

Max Hechtman — Sun, 01 Jan 2023 01:00:27 +0000

The full list of Max Hechtman’s Top 10 Movies of 2022.

Happy New Year everyone! Can't wait to see what 2023 has in store for all of us. And as my last post of 2022, here's my list of my top 10 movies of the Year. What were your favorites?

1 - The Fabelmans

Directed by Steven Spielberg

Steven Spielberg tells the story of his adolescence as a semi-autobiographical coming of age "fable" that is for sure to resonate with so many people, particularly young aspiring artists. The performances, particularly those of Gabriel LaBelle (who plays the lead teenage protagonist Sammy Fabelman, based on Spielberg), Michelle Williams, Paul Dano and Judd Hirsch were amazing. The cinematography: beautiful. All of this, and a memorable ending cameo make this an unforgettable experience, despite the small times here and there where it would feel slow but then pick up again. Definitely my pick for the Academy Award for Best Picture this year.

2 - Top Gun: Maverick

Directed by Joseph Kosinski

A literal blockbuster that literally feels "the need...the need for speed." Tom Cruise returns to one of his iconic roles to teach the next generation in this sequel to the 1986 hit, this time with spectacular IMAX footage and great performances from its supporting cast, particularly Miles Teller.

3 - Fire of Love

Directed by Sara Dosa

The eye-popping colorful footage of the volcanic lava and a story so moving and tragic make this one of the most memorable documentaries of the year.

4 - Elvis

Directed by Baz Luhrmann

Two words: Austin. Butler. He embodied the "King of Rock and Roll" so perfectly, that he WILL be nominated for Best Actor. Baz Luhrmann also uses all the tricks up his sleeves to creatively break the boundaries of the typical music bio pics and deliver one that's one-of-a-kind.

5 - Navalny

Directed by Daniel Roher

A thought-provoking and powerful documentary about the man who lived to tell the tale of his ordeal. Released at exactly the right time when Ukraine was being invaded by Russia, it is a must-watch.

6 - Turning Red

Directed by Domee Shi

Cute, funny and entertaining, Disney and Pixar give us another fantastical story with the sentimental themes and messages we can expect from them. It's 2002 setting and portrayal of the boy band fandom of the era bring back so much nostalgia, that Billie Eilish and Finneas O'Connell will indeed be returning to the Oscars as nominees for their take on this music genre with "Nobody Like U."

7 - The Andy Baker Tape

Directed by Bret Lada

One of the most original horror/thriller films of the year outside of big studio hits such as Barbarian, Smile and Nope, this found footage saga keeps you on the edge of your seat every single minute.

8 - Hustle

Directed by Jeremiah Zagar

Adam Sandler gives his best performance to date in this intriguing look at how NBA scouts discover hidden talent and prepare them for the draft. And it's incredible how they got actual NBA players to be in the cast.

9 - Roald Dahl's Matilda the Musical

Directed by Matthew Warchus

The hit musical based on Roald Dahl's classic book comes to cinematic life with a Netflix film adaptation that keeps its source material's magical spark. Emma Thompson nails it as Miss Trunchbull and Alisha Weir is a star in the making as our titular heroine.

10 - Chip 'n Dale: Rescue Rangers

Directed by Akiva Schaffer

A twist on the classic Disney TV series and a meta social commentary on the evolvement of animation, with a plot that gives Roger Rabbit vibes, this comedy adventure is sure to bring tons of nostalgia to anyone who has grown up with the characters and who is a Disney fan.

Max Hechtman's Top 10 Movies of 2021

Max Hechtman — Fri, 31 Dec 2021 23:00:49 +0000

Screenshot from my Letterboxd account.

Signing off from 2021 with a look at my list of the Top 10 films I have seen this year. What were your favorites from this year? Happy New Year and see you in 2022!

1 - West Side Story

Directed by Steven Spielberg

Steven Spielberg has done it again, bringing the timeless musical back to the big screen with an adaptation that breathes new life into the classic story for a new generation to experience. Will for sure be rewarded at the Oscars in March 2022, with a huge chance at winning Best Picture, just like the original 1961 film, which Spielberg's film heavily improves on in lots of aspects. Same goes with Ariana DeBose, who lights up the screen as Anita with the iconic "America" number.

2 - Dune

Directed by Denis Villenueve

The film's cinematography, visual effects and sound design make this a technical achievement only Denis Villeneuve can conjure up, complete with a heart-pounding score by Hans Zimmer.

3 - Summer of Soul (…Or, When the Revolution Could Not Be Televised)

Directed by Questlove

A fascinating documentary unearthing a concert that no one had ever seen for years, until now. Seeing the surviving artists looking back at the never-before-seen footage makes this one of the best docs of the year, and one that will be truly rewarded with an Oscar nomination.

4 - Luca

Directed by Enrico Casarosa

Pixar continues to work its magic with Luca, through its heart-warming story, relatable characters and beautifully animated visuals.

5 - Respect

Directed by Liesl Tommy

Jennifer Hudson proves that she was born to play Aretha Franklin in this well-directed biopic about the Queen of Soul herself.

6 - In the Heights

Directed by Jon M. Chu

It was without a doubt, after watching its public virtual advance screening hosted by Warner Bros. (which made the film), going to be praised for its music, visuals, directing and stand-out performances from Anthony Ramos and an entire ensemble of talented stars. Lin-Manuel Miranda's first musical before he wrote Hamilton comes to life before our eyes and I surely do hope it will get discovered by more people as the years pass.

7 - Slapface

Directed by Jeremiah Kipp

An indie horror by Jeremiah Kipp, this is for sure to become an instant streaming hit when it arrives on Shudder in 2022. Zackary Arthur (Girl Meets World, The Nun) and Mike Manning (Cloud 9, The Call, Days of Our Lives) give stand-out performances as the two brothers whose relationship threatens to crack apart when the former makes friends with a dangerous monster. With a shocking twist ending to boot, this can indeed be considered one of the most original films of the year.

8 - CODA

Directed by Sian Heder

While it is an American remake of the 2014 French film La Famille Bélier, I was very lucky to have virtually attended the world premiere at Sundance and I can consider it to be one of this year's best "feel-good" films. A SAG nomination would be well-deserved, given Emilia Jones' breakout performance and the film's major contribution to increasing the representation of real-life deaf actors, with Marlee Matlin, Troy Kotsur and Daniel Durant successfully fulfilling that task.

9 - Flee

Directed by Jonas Poher Rasmussen

Finally got to catch this at TIFF after missing it at Sundance. A groundbreaking documentary using animation as a storytelling device to create the emotion and drama of its subject matter.

10 - The Power of the Dog

Directed by Jane Campion

A slow burner with powerful performances from Benedict Cumberbatch, Kirsten Dunst and Kodi Smitt-McPhee, that I was lucky to have seen virtually at TIFF this year. Not everyone will probably get through it due to its slow pacing, but Jane Campion still shows that she is one of the best directors of her generation. The Best Director showdown is 100% a two-way battle for her and Spielberg.