In Avengers: Infinity War, the Sorcerer Supreme, Dr. Strange (Benedict Cumberbatch), willingly gives the all-powerful time stone to Thanos (Josh Brolin), a galactic-conqueror and freshman-year philosophy major. When Iron Man (Robert Downey Jr.) questions Dr. Strange’s decision, the sorcerer responds, “We’re in the endgame now.” After 21 Marvel movies, he’s right. Avengers: Endgame is a fitting conclusion to Marvel’s first 11-year cinematic story.
Twenty-nine years after Driving Miss Daisy unconscionably secured the Academy Award for Best Picture, Green Book, a movie informally dubbed the reverse Driving Miss Daisy, took home the same prize at the 2018 Academy Awards. Studios won’t halt production on the Green Books of the world until movies like it are no longer profitable and well received, but the Academy should stop rewarding them. Green Book is entertaining, innocuous (on its surface), and feel-good for the right viewer, but the context surrounding it and the subtext that can be garnered from it change the conversation.
With Booksmart, Olivia Wilde becomes the third rookie director in a year to kick her career off with a coming-of-age story. Wilde joins a list that includes Bo Burnham (Eighth Grade) and Jonah Hill (mid90s). Burnham and Hill, coming from comedy and acting, respectively, made the transition with ease. Wilde’s lively, pensive debut about female friendship and identity makes her the third new director to find success in the genre.
Long Shot, an R-rated, politically-set romantic comedy starring Charlize Theron and Seth Rogen, enters theaters as streaming services continue to dominate the genre. Charming and surprisingly raunchy, Long Shot could serve as a litmus test for the future of rom-coms at the multiplex. Fortunately, subverting comedy norms and relying on its stars is enough to make for an enjoyable trip to the theater despite the film’s tendency to step into worn genre tropes like a pair of old shoes.
Set in Harlem in the early 1970s, If Beale Street Could Talk is a story of family, hope, and despair. Released in 2018 and based on a book of the same title by famed author James Baldwin, If Beale Street Could Talk reveals what we already knew: writer-director Barry Jenkins is a master of the craft.
With 2017’s Get Out, comedian-turned-filmmaker Jordan Peele burst onto the scene in a full sprint. With just one film under his belt, Peele was already dubbed this generation’s Alfred Hitchcock, setting expectations unreasonably high for Us, Peele’s 2019 sophomoric follow-up. Although Us isn’t Peele’s second masterpiece in as many tries, the ponderous plot and themes may make Us, not Get Out, the longer standing fixture in the cultural conversation.
Marvel Studios released 20 movies before Captain Marvel, its first helmed by a solo woman, came to theaters. Semantics will say that women co-starred in Ant-Man and the Wasp (Evangeline Lilly’s titular Wasp) and in Captain America: The Winter Soldier (with Scarlett Johansson as Black Widow), but the Brie Larson-led Captain Marvel is a new experience altogether (and a refreshing one, at that).
Based on a true story and a memoir of the same name, Can You Ever Forgive Me? follows Lee Israel, a biographer turned forger and her exploits across the collector book scene, in ‘90s New York City. One of the best films of 2018, Can You Ever Forgive Me? operates somewhere between a buddy comedy and Catch Me If You Can.
Ben is Back is a family drama, but more than that, it’s the scarcely seen mother-son relationship movie. Ben (Lucas Hedges) is a drug addict. His mother, Holly (Julia Roberts), loves him unconditionally and will do everything in her power to end Ben’s addiction to the substances that drive the two apart.
Whenever the superhero genre begins to lose its luster, a movie like Spider-Man: Into the Spider-Verse swings into theaters to recapture the feeling we had watching Tobey Maguire web his way across New York City for the first time. Like Guardians of the Galaxy before it, Spider-Man: Into the Spider-Verse came at the right time to combat superhero fatigue.