Tell me you’re making a political movie without telling me you’re making a political war movie without telling me you’re making a political war movie. Civil War, Alex Garland’s (Annihilation, Ex Machina) newest film in which The United States has become even more divided and intense than at the time of its 2024 release, serves as an ominous narrative about the potential future of our country. While it’s sure to be divisive, Garland is purposeful in not picking a side while being vague about the two sides. Outside of Dune 2, Civil War is the film that received the most buzz after the first four months of the year. Rightfully so.
Category Archives: Jesse Plemons
Killers of the Flower Moon (2023)
Martin Scorsese’s (Casino, The Wolf of Wall Street) Killers of the Flower Moon and Oppenheimer were my most anticipated movies of 2023. It had so much of what I look for in a movie. First and foremost, it had Leonardo DiCaprio (The Revenant, Revolutionary Road), my favorite actor. Secondly, it looked like a tension-driven drama with fiery characters enriched in their story and setting. Thirdly, it was based on a true story. When all things else are equal, I lean on based on actual story films as a deciding factor. Even with a ridiculous run time of 3 hours and 26 minutes, I was convinced that the gripping tale wouldn’t have me counting the minutes for the film to end, which I did on multiple occasions with Scorsese’s last film, the insufferable The Irishman. While Killers of the Flower Moon might struggle to finish in my end-of-year top ten list, it was a worthwhile theater-going experience. While it felt long at times, it certainly did not drag in the way that I feared it might. Scorsese dignifiedly shed light on an important story in our country’s history.
The Power of the Dog (2021)
II listened to Thomas Savage’s The Power of the Dog on a whim earlier this year. I loved the first couple of chapters, but it ultimately went nowhere. I understood the idea and thought it had the potential to drive home an important point. However, despite its setup, it missed its landing entirely. Shortly afterward, I saw that there would be a movie based on the novel. Not only that, but it was set for release later that year. On top of that, there has been some early Oscar buzz surrounding the movie, both for Best Picture, Best Director (Jane Champion), Best Actor (Benedict Cumberbatch), Best Actress (Kirsten Dunst), and Best Supporting Actors (Jesse Plemons and Kodi Smit-McPhee). Even in 2021, which has proven to be one of the worst years for movies in my lifetime, The Power of the Dog deserves some of the praise it’s already receiving and will likely continue to receive.
Antlers (2021)
In an interview with Inverse to promote his 2021 horror film Antlers, director Scott Cooper said, “I tend never to make the same film in the same genre. The great danger as a filmmaker is in doing safe work. I always like to be in an uncomfortable space.” While admirable, if you can do something really well, there is also the argument to stay within that genre as you continue to perfect your craft. Antlers is the fifth film directed by Cooper and the first one that dips outside the norms of reality. Three of his first four (Out of the Furnace, Crazy Heart, Hostiles) finished in my End of Year Top 3, while his fourth (Black Mass) was a movie I did not enjoy. Antlers was far better than Black Mass, but it is not a candidate to finish in my Top 10 Movies of 2021.
Judas and The Black Messiah (2021)
Of the three best picture Oscar-nominated movies (Mank, The Trial of the Chicago Seven) that have a chance to knock off Nomadland, the odds on favorite to be selected as the year’s best movie, Shaka King’s Judas and the Black Messiah was undoubtedly my favorite. It’s ironic since the other two films have a better chance of earning the night’s biggest prize. But much like the other five nominated pictures, there isn’t anything particularly remarkable about this trio. As a whole, it wasn’t a great year for movies. There were some great acting performances during the year. Judas and the Black Messiah was no exception, earning not one but two nods for Best Supporting Actor.