Chuck Koplinski

Cast: Taron Egerton, Jason Bateman, Sofia Carson, Danielle Deadwyler, Tonatiuh, Theo Rossi, Logan Marshall-Green and Dean Norris.

A bracing reminder of the power she brings to the screen, Angelina Jolie delivers a deeply moving performance in Pablo Larrain’s “Maria,” the director’s third biopic focused on a significant

Clint Eastwood is on firm gr ound with his latest fim, Juror #2, a film that requires a huge leap of faith, but once it’s established, the drama that plays out is on par with its most obvious antecedent, 12 Angry Men.

Among horror film aficionad os, Robert Egger’s Nosferatu is the most eagerly awaited film of the year. While Werner Herzog’s 1979 remake of F.W. Murnau’s classic was a more grounded approach to the seminal vampire tale, the aesthetic of Eggers previous work promises something different. As for the story, Eggers introduces one interesting innovation, but for the most part, sticks to the basic outline of Bram Stoker’s novel.

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Not much changed from 2023 to 2024 where the world of consumer cinema was concerned. We got more of the same where studio output was concerned, movies continued to be far too long and just how to release a movie in the post-COVID streamer-domination era to ensure its success remains a mystery.

Movies are about moments – big moments that erase our cynicism about cinema and remind us of its capacity to dazzle as well as touch us. This happens in a way only possible with a medium that seamlessly combines so many other art forms. These are instances that prompt us to consider things in a different light, empathize with others in a way we could never expect or simply entertain.

Not much changed from 2023 to 2024 where the world of consumer cinema was concerned.

With a thorny ethical dilemma at its core and clever use of its natural surroundings, Thordur Palsson's “The Damned” is a film concerned with moral and physical claustrophobia. Taking place in the late 19th century in an unnamed Nordic village, its inhospitable environment — a barren, rocky snowbound expanse bordered by rocky crags on three sides and the ocean on the other — proves to be a dire, inescapable threat. However, the ramifications resulting from a life-and-death situation is what comes to haunt each member of this small outpost.

In researching British pop star Robbie Williams for a potential biopic, director Michael Gracey noticed that in numerous interviews, the singer referred to himself as a monkey being dragged onto the stage, forced to perform. The seed of the idea of portraying the performer as a simian took root there and gained traction once the filmmaker and his two co-writers, Simon Gleeson and Oliver Cole, realized how this approach would serve as an effective metaphor for Williams’ numerous addictions. And as the singer points out, “We have deep empathy and compassion for animals, way more than we do for humans.”