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    <loc>https://skoobywatchesmovies.com/recent-movie-news/2024/3/9/the-skoobies-2024-awarding-the-movies-the-oscars-ignored/jacob-skubish</loc>
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      <image:caption>Priscilla</image:caption>
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      <image:caption>The Zone of Interest</image:caption>
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    <lastmod>2023-08-18</lastmod>
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      <image:caption>Scarlett Johansson in Asteroid City</image:caption>
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      <image:caption>Jason Schwartzman and Tom Hanks in Asteroid City</image:caption>
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    <loc>https://skoobywatchesmovies.com/recent-movie-news/2022/3/25/2022-oscars-predictions-who-will-win-an-extremely-close-best-picture-race/jacob-skubish-45gjx</loc>
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    <loc>https://skoobywatchesmovies.com/recent-movie-news/2023/1/11/2022-in-review-on-fragmented-identities-and-how-to-put-ourselves-back-together/jacob-skubish</loc>
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    <loc>https://skoobywatchesmovies.com/recent-movie-news/2022/12/31/babylon-questions-what-it-means-to-be-part-of-something-bigger-than-yourself/jacob-skubish</loc>
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    <lastmod>2023-01-03</lastmod>
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    <loc>https://skoobywatchesmovies.com/recent-movie-news/2021/12/28/top-21-movies-of-2021/jacob-skubish-sebts</loc>
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    <lastmod>2022-12-31</lastmod>
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      <image:title>Home - The 17 best movies of 2022</image:title>
      <image:caption>How should we spend our time? The strictures of living under capitalism demand this question skews toward productivity and efficiency. Rather than pursue that which is nourishing to the soul or beneficial to one’s community, time is meant to be optimized — and is therefore wasted when one is not producing. Our monochronic conception of time means that which can be measured or monetized is of much higher value than, say, having a pint with your best friend. This is the dilemma at the heart of The Banshees of Inisherin. Pádraic (Colin Farrell), a dim-witted, congenial man living on an island off the coast of Ireland, finds that his best friend and drinking buddy Colm (Brendan Gleeson) has decided to abruptly end their friendship. Colm feels an urgency to leave behind an artistic legacy and has concluded that his chats with Pádraic are interfering with the music he intends to compose. Pádraic, distraught, tries desperately to change Colm’s mind, to disastrously violent effect. What director Martin McDonagh (In Bruges, Three Billboards Outside Ebbing, Missouri) creates in this story is, in its opening acts, the funniest film of the year (a joke involving a bread truck culminates in the biggest laugh-out-loud line of the year). As the story progresses, Banshees also becomes deeply depressing. One line, uttered by the island’s lovable weirdo Dominic (Barry Keoghan) after he receives some bad news, was the most gutting movie moment of the year. (Keoghan is delightfully odd in the role, and I hereby nominate him to be the lovable weirdo in as many movies as possible.) The film’s humor and its sorrow work seamlessly in tandem because the object of their scrutiny is the same: The absurdity produced by the choices we force ourselves into by trying to make the most of our time. Between all of Pádraic’s hilarious feckin’ expletives is a poignant kernel of truth: All we have is now, and all that matters now is to be good to one another. And yet even with this surprising level of enlightenment, he struggles to avoid letting Colm’s decision lead him down a dark path. In trying to optimize our time, we end up destroying the pieces of life that make our time feel most valuable. This is not to say that McDonagh is entirely on Pádraic’s side, and it’s telling that he opted to name his film after Colm’s unpolished tune. There’s something to be said for investing in a creative pursuit that feels meaningful to you; it is, after all, McDonagh’s own edict as a director. But he’s wise enough to know that to do so at the expense of the people who love you creates a world with less love in it. The Banshees of Inisherin is a triumph because it lays bare the feckin’ foolishness of the constraints we impose upon ourselves, and addresses not only the question of what it means to live a good life, but what framework we should use to approach this question in the first place. The Banshees of Inisheerin is currently playing in theaters.</image:caption>
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      <image:title>Home - The 17 best movies of 2022</image:title>
      <image:caption>Rothaniel is an uncategorizable work — an hour-long performance by a celebrated comedian that’s not really a “comedy special” at all, exchanging laughs for an emphasis on a searching emotional catharsis. Directed by Bo Burnham, Jerrod Carmichael’s deeply personal, confessional performance is headlined by the comedian coming out as gay but shines in Carmichael’s exploration of that announcement’s implications. In Rothaniel, Carmichael reckons with whether his family and friends can accept his identity and whether he can continue to love them back if they do not accept him. For long stretches of the special Carmichael appears to have no script. He meanders through his thoughts and ideas, actively trying to make sense of his past and his future on stage. He takes long pauses collect himself, and patiently responds to inquiries from the audience. The rarity of Rothaniel’s beauty derives from this methodical pace. Confrontations of shame, the denial of love by those closest to you, affirmation of one’s true self — these are concepts too often displayed with the unyielding American impulse toward progress or improvement; we work through these issues to reach a better place, as a step toward an endpoint, rather than sitting in the discomfort and accepting whatever may come of it. In this introspection Rothaniel is miraculous, even if I don’t quite know what to call it. Jerrod Carmichael: Rothaniel is available on HBO Max.</image:caption>
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      <image:caption>Much has been made about the cultural legacy — or lack thereof — of James Cameron’s Avatar. How could the highest grossing movie of all time, its critics ask mockingly, leave behind no discernible impact, no lasting conversation? Where are the die-hard Avatar fans? If a blockbuster grosses two billion dollars and nobody continues to talk about it, did it even matter? At the risk of offering a half-baked galaxy-brain idea, I’d like to suggest that Avatar’s lack of cultural legacy is, in fact, the legacy of the film, and its status as the blockbuster no one cares about reveals just how much the entertainment industrial complex has changed since the first Avatar film was released 13 years ago. Consider the highest grossing movies of all time upon Avatar’s release: Titanic, The Lord of the Rings: Return of the King, Jurassic Park, Pirates of the Caribbean: Dead Man’s Chest, and The Lion King (1994). Each was billed as an event, less something to argue over or adorn with hot takes than an entertaining product that you saw because everyone else did. I balk at the term “monoculture,” a condition that likely never existed, but I do think there’s a difference between the time you could hear about an awesome movie, see it, and walk away satisfied and the world we now live in, where you go into a film burdened by knowing everyone’s opinions, and everyone’s subsequent opinions of those opinions, and so on into infinity. The catalyst for this transition, of course, was the rise of centralized social media platforms like Twitter and Facebook and the proliferation of smartphones, both of which were emerging as dominant cultural forces in 2009, just as Avatar was released. Within this historical context, the confusion over why there was no ongoing debate about Avatar’s place in the pantheon of cinema can be understood as being more about how our entertainment expectations have changed than about the movie itself. Avatar was the last of the old school blockbusters that we watched, enjoyed, and moved on from. But the Twitter Generation expected more: Not just to watch a movie, but to engage with the opinion ecosystem around it. The fact that this was missing from Avatar was perplexing, but it shouldn’t be. It’s just how things used to be. If movies are not able to play along with what this new internet ecosystem required, they are deemed irrelevant. Memes grant oddball movies a second life; think pieces elevate auteur-driven films; a never-ending web of easter eggs and cameos has sustained the conversation around Marvel films for more than a decade. But what can the internet do with a film whose value is only in seeing it? Avatar promised nothing more than to be the most dazzling visual spectacle you’d ever experienced in a movie theater, and it largely lived up to that promise. It is an unbelievable visual wonder. But after you leave the theater, it is nothing more than that. And in a culture that immortalizes that which can be documented and repurposed, and discards that which cannot, the notion of a one-time experience offers little value. But movies are a visual medium, after all, and I’d like to hope people can still find some magic in witnessing something they’ve never seen before on screen. If you’re wondering why I’ve gone this long without even mentioning Avatar: The Way of Water, it’s because I don’t have much to say about it beyond its ability to conjure this magic. I saw a packed 3-D IMAX showing of the movie, and halfway through the film, when Cameron full immerses the story in his bafflingly gorgeous underwater filmmaking technique, I leaned over to my friend and said “This is the most amazing thing I’ve ever seen.” It doesn’t have to be anything more than that to be worth something. Avatar: The Way of Water is available in theaters.</image:caption>
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      <image:caption>Somewhere along the way in the formation of the film criticism lexicon, action movies and superhero flicks were deemed “big” and original dramas were assigned the status of “small.” It’s an appropriate dichotomy when considering a movie’s budget, or the scale of its cinematic displays — there’s nothing small about a Marvel battle or a Fast and Furious car chase. But it becomes peculiar when viewed through the lens of how much the subject matter of these films is or is not meaningful to our lives. Caped crusaders fighting back against a nefarious plot to end the world can be a nice distraction, but films that devote themselves to topics like family, loss, or financial struggle are the ones dealing with the issues that truly feel big. Many dramas, I think, fail because they seem themselves as small, modestly capturing the trivialities of daily life. Director Hirokazu Kore-eda never falls into this trap, and his soft-spoken dramas reach greatness precisely because of his conviction that, for his characters, the conflicts they face feel just as big as the world ending. For them, it might as well be. Broker stars Song Kang-ho (Parasite) as Sang-hyeon, a laundromat owner with a morally dubious side hustle: stealing unwanted babies left at a church’s infant drop box and selling them on the adoption black market. He and his partner Dong-soo (Gang Dong-won) run a smooth operation — until So-young (IU) comes back for the baby she had abandoned at the church. Kore-eda doesn’t shy away from the ethical ickiness of the infant-selling operation, even as a genuine connection forms between this found family (a theme Kore-eda is returning to after his 2018 masterpiece Shoplifters). Sang-hyeon and Dong-soo begin the film at odds with So-young, but the eclectic group bonds as their shared status as societal outsiders becomes apparent. Kore-eda laces his films with an understanding of the alienation wrought by economic insecurity, and insists on family as the binding force allowing his characters to forge a path forward, together, in spite of their circumstances. Kang-ho is charming and lively in the lead role, but it’s IU who steals the show. Wickedly funny and carrying an impassioned, tenacious resolve, IU grounds Broker and matches the delicate tone of Kore-eda’s direction. There are two scenes in the final act of the film, one in a hotel room and one on a ferris wheel, in which IU’s performance is completely heartbreaking. Broker ends quietly, but like the temporary, makeshift families at the heart of Kore-eda’s films, its impact lingers long after it is over. Broker is not yet available in the U.S.</image:caption>
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      <image:caption>This review contains spoilers. Murder mysteries stand beside rom-coms as one of the great comfort food genres, satisfying in their meticulous unraveling of seemingly unsolvable puzzles. This problem-solving acumen and attention to detail are the fortes of Benoit Blanc (Daniel Craig), returning from director Rian Johnson’s genius 2019 film Knives Out to once again sift through the clues and identify the killer. This time around Blanc finds himself in Greece, in the company of some of the world’s wealthiest celebrities and online influencers. All have motives and opportunities for the murder, of course; all possibilities are delightfully on the table. In Knives Out Blanc possessed a patient foresight, a sense that he needn’t rush the case because the pieces would inevitably fall neatly into place for him to explain everything in the third act. Not so in Glass Onion: Blanc is frustrated with his inability to put this puzzle together, just as he expresses irritation with his failure to excel at Among Us and Clue. Is Blanc’s skill slipping, or has he simply met a case with a level of complexity beyond his grasp? The answer, it turns out, is emphatically neither, and the way in which Johnson rolls out his reveal is both a departure from his first film and a clever indictment of the ways in which we idolize the rich and powerful. Blanc struggles to come to an answer precisely because the answer is uncomplicated. “I expected complexity,” he muses. “I expected intelligence.” And yet the ways in which the killer carried out his plot were so exceedingly dumb that Blanc overlooked them. “Like the rest of the world, I expected Miles Bron to be a genius,” Blanc says. “Why?” Johnson is a master of both honoring and subverting the murder mystery genre, and this wrinkle is at once thrilling, surprising, and a thoughtful critique. The narratives we allow to be told about the enlightenment of the ultra-wealthy only serve to mask the fact that they are ripping us off, and I’ve been thinking about Glass Onion a lot since the downfall of the cryptocurrency platform FTX. Like Bron’s Glass Onion abode, its technology appeared to be complex and transformative until it was revealed to be hollow and outright fraudulent. “There’s nothing really complicated there, but it looks complicated if you don’t understand what they’re doing,” crypto critic James Block said in an article in The Atlantic after the collapse of FTX. “Crypto hides behind all this complexity, and people hear words like blockchain and get confused. You hear about decentralized networks and mining, and it sounds complicated … but it’s nothing. It’s smoke and mirrors.” The trickery of the rich hiding their idiocy behind made-up language is the basis for one of the funniest reveals of Glass Onion, and an example of the remarkable shrewdness of Johnson’s script. Johnson wasn’t omniscient in his critique of society’s celebrated hucksters in Glass Onion — the grifts carried out by the rich are routine. That he can consistently package such sharp observations into star-driven, hilarious, entertaining is another feat, and I am fully on board with the prospect of Johnson making as many Knives Out films as he pleases. When I saw Glass Onion at the Toronto International Film Festival, the crowd erupted in cheers when Blanc remarks, after an impassioned speech by Bron about why these influencers’ flippant “disruption” of the status quo is meaningful, that “It’s a dangerous thing to mistake speaking without thought for speaking the truth.” It’s a keen observation, but less interesting than where Blanc lands by the end of the film. “I gave you the truth,” he says. “This is where my jurisdiction ends.” Glass Onion is yet another elevated entry into the murder mystery genre by Johnson because he takes what makes these stories so pleasurable — the all-seeing outsider fixing our problems — and puts the onus back on us. Revealing the truth can only take us so far; it’s what we choose to do with that knowledge that matters. Glass Onion: A Knives Out Mystery is available on Netflix.</image:caption>
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      <image:caption>Almost as soon as the COVID-19 pandemic started, we were arguing over what made for a good pandemic movie and what made for an unwatchable one. Some films using the pandemic as their backdrop earned near-universal derision from critics (Locked Down, The Bubble), while others successfully wove it into their plot while producing something reflective of the time (Kimi, Borat Subsequent Moviefilm, Glass Onion: A Knives Out Mystery). Some documentaries (Homeroom, The First Wave) powerfully trained their cameras on the social and political ramifications of the crisis. Some productions borne of isolation emerged as essential time capsules (Bo Burnham: Inside), while others exposed with their simplicity how little the writer behind them had to offer (Malcolm and Marie). All of these films, though vastly different in tone and approach, capture a small slice of what it was like to live through one of the most calamitous public health disasters of our lifetimes. Yet none of these movies evoke both the crushing weight of loneliness and the transcendent happiness of being with those you love quite like Marcel the Shell with Shoes On, a movie not at all about the COVID-19 pandemic that encompasses its lessons more than any other film. The movie stars Marcel (voiced by Jenny Slate), a walking, talking shell with googly eyes who’s been tragically separated from his family. He’s managed to cobble together a satisfactory life since then — he cares for his grandmother (voiced by Isabella Rossellini), the only family member still left with him, and finds small ways to amuse himself. But more than anything, he wants his family back. This daily routine is just one way in which Marcel stands apart from the standard pandemic films, in which life is irrevocably changed. Marcel’s foibles are adorable, yet his routine is laced with the recognizable sadness of the way in which life carries on through a tragedy, even as it has lost some of its luster. Marcel eventually enlists the help of the human living in his home, Dean (Dean Fleischer-Camp), in order to track down Marcel’s family. Dean is dealing with a loss of his own, and in their partnership Marcel and Dean each provide the emotional support the other desperately needs. Dean also introduces Marcel to the internet, and Marcel discovers how the digital realm can facilitate connections that are meaningful, connections that are shallow, and those that are both. What makes Marcel such a pleasure to spend time with is his unwavering honesty. When he marvels at a new discovery his joy is unvarnished; when he faces a setback his heartache is out in the open. As an outsider learning about the human world for the first time he has the perspective required to ask the questions we wouldn’t think to, to make simple the things we’ve made needlessly complex. And so, to make it simple: Marcel the Shell with Shoes On is a perfect film. I loved Marcel from the first minute of the film, and I walked away knowing I couldn’t wait to watch it again. It is the movie of the pandemic era, I think, because it not only captures what it looks like to be alone but evokes why it’s essential to be together. It’s something we all know, I think, even if in the years since the pandemic began it’s become easier to forget. Sometimes, we need a talking shell with googly eyes to point out what we fail to see. Marcel the Shell with Shoes On is available to rent.</image:caption>
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      <image:caption>Among the elephant defecation, sprawling orgy, exorbitant cocaine ingestion, and erotic musical numbers, the most important part of the extravagant opening sequence to Damian Chazelle’s Old Hollywood opus Babylon takes place in a quiet room away from the mayhem of the party. After a chance encounter between Manny Torres (Diego Calva), a hired hand for the party’s host, and Nellie LaRoy (Margot Robbie), an aspirant movie star who gets into the party with Manny’s assistance, the pair of Hollywood dreamers bond over their future ambitions in the burgeoning world of cinema. “I always wanted to be part of something bigger,” Manny says. “Something that lasts, that means something.” Nellie couldn’t agree more with this mindset. “Yes!” She exclaims. “I love that answer!” Across the party sits Jack Conrad (Brad Pitt), a silent film star atop the Hollywood food chain, comfortably in the position that Manny and Nellie one day hope to find themselves. Jack’s wife Ina (Olivia Wilde) threatens divorce upon their arrival at the party, a loss of no matter to him; For a man so on top of the world, whose very entrance contours the shape of the party’s crowd, another beautiful woman and another hit movie are right around the corner. Of course, this won’t always be true, and Manny’s aspiration is shown to be foolish: Nothing lasts. The transition from silent films to talkies changes Hollywood and swiftly ushers in the collapse of Conrad’s illustrious career. In explaining to Conrad how the industry could so easily discard him, film critic Elinor St. John (Jean Smart) echoes another one of Manny’s ideas. “You thought this town needed you,” she says. “It’s bigger than you ... There will be a hundred more Jack Conrads.” St. John reveals the paradox of pursuing Hollywood stardom, or of any desire for eternal greatness: To strive to be part of something bigger than yourself is to pursue something that will never really need you at all. Such is the unfeeling, unending cycle at the core of Babylon. Its characters want to create movie magic, but fail to foresee how that aim will sow their demise. In this way Babylon operates in the mold of other auteur-driven tragedies set in worlds of vice and opulence — Goodfellas and Boogie Nights are obvious inspirations. And Babylon works to terrific effect for many of the same reasons as those great films. The protagonists’ rise in the first half of the film is boundless fun, and for long stretches the film is an outright comedy that delivers completely on its jokes. (These jokes, while genuinely hilarious, demonstrate the callousness of the industry; the punchline is often that a dead body on set is a routine cost of doing business.) The downfall in the back half of the film is affecting and painful as we watch Manny, Nellie, and the icons of the silent era resist the inevitable. What makes this arc so moving is how thoroughly we care about these characters. Chazelle particularly excels at forging strong relationships between characters. Even across sporadic encounters the relationship Manny and Nellie have is captivating and heartbreaking, a dalliance between two people unable to recognize what might be best for them until it’s too late to attain it. In her performance as Nellie, Robbie lives up to her character’s self-given surname; it’s a titanic showcase, and Robbie has cemented herself as the king of Hollywood as far as I’m concerned. Calva is quite good in his breakthrough role, confidently holding the screen alongside stars like Robbie and Pitt. Perhaps even more endearing than the Manny-Nellie relationship is the friendship between Jack and fellow silent film star Lady Fay Zhu (Li Jun Li). With the other women in his life Jack is mocking, condescending, or frustrated that they can’t see that his film acting is “high art.” He and Lady Fay, though, slip into conversations so serene they feel as if they can momentarily bring the surrounding Hollywood chaos to a halt. What they share is an awareness of just how lucky they were to live such miraculous lives, and if they were more satisfied than everyone else it’s because they remembered to enjoy it while they could. “It was the most magical place in the world, wasn’t it?” Jack asks Lady Fay near the end of the film. It wasn’t, not really — the enterprise was full of labor exploitation and narcotic dependence. But Jack and Lady Fay luxuriated in the era’s excesses, and in doing so made it a magical time. The other possibility is that they must tell themselves it was magical, because if it wasn’t then none of it was worth anything at all. These characters are less catalysts for Hollywood’s failures than victims of its vicious cycle, and in this way Babylon diverges from the stories of Henry Hill and Dirk Diggler from which Chazelle draws inspiration. Goodfellas and Boogie Nights follow the exploits of downright monsters, people who do immoral things and reap the consequences. The protagonists in Babylon, meanwhile, seek a life filled with exhilaration and creativity and meaning, and yet they still meet tragic ends at the hands of a system that cares little about their dreams. Critics of Babylon have charged the film as being guilty of indulging in nostalgic romanticization of Hollywood’s origins and overly cynical condemnation of how the industry has changed since those origins. Both assessments are misplaced. Babylon is neither cynical nor hopeful about Hollywood, because it sees Hollywood as a machine that will always be the same. Where Chazelle’s film forms an insightful vantage point is not in examining the Hollywood system but the people within it, and here Chazelle is decidedly hopeful. If not already clear from Whiplash, La La Land, and First Man, Chazelle has a deep appreciation for those striving to accomplish something wonderful despite the potential costs, and that appreciation is the beating heart of Babylon. Chazelle’s film may be laced with cynicism, but it is a cynicism directed only at a system weighing down the people he so deeply believes in. Babylon is available in theaters.</image:caption>
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      <image:caption>This disturbing rise in antisemitism of late — and the abundance of apologists for that antisemitism — has made clear that much of America has never really understood Jewish identity, nor has it ever bothered to try. In Armageddon Time, director James Gray presents a story of intergenerational Jewish American identity that is both a personal exhumation of Gray’s childhood regrets and an illuminating portrait of the complexities of Jewish identity within American society. It is a rare film of uncompromising vision, and I have been saddened to see how roundly it has been ignored by audiences and the awards circuit. Appearing on Marc Maron’s WTF podcast, James Gray said while discussing his film that “You can be the oppressor and the oppressed at the same time.” Such is the tension at the heart of Armageddon Time, cleverly deployed by Gray in the film by sandwiching Paul (Banks Repeta), the stand-in for Gray’s younger self, between the trauma experienced by the elder members of his family and the boundless promise his life in America seems to offer. Paul has an impishness and brash defiance of authority allowed to him by his privilege; his whiteness and financial security free him to fail upwards in school in a way that his friend Johnny (Jaylin Webb), who is Black, cannot. At the same time, Paul returns home to hear from his grandfather (Anthony Hopkins) about the horrors of Jewish persecution during the Holocaust. These lessons from his grandfather haunt Paul, wiping away his childish disobedience as he is forced to confront the dangers his family has faced. Gray approaches this dichotomy with a pained exploration of his own privilege and the choices he made with it; to do so without coming off as self-indulgent or self-congratulatory is a small miracle. Armageddon Time is a requiem for a friendship lost, and a reckoning with Gray’s regret over past choices and responsibility for future ones. Critics who have dismissed the film as othering Webb’s Johnny miss the film’s poignant deliberate demonstration of how that othering is a tragically inevitable fact of the American social hierarchy. When the consequences for their rebelliousness catch up to them, it comes as no surprise to Johnny; Paul, meanwhile, sees the unfairness of the world for the first time. In less able hands this realization could have felt contrived, with Johnny acting as a mere rhetorical device for Paul to learn and grow as a person. But under Gray’s direction there is a genuinely touching relationship between Paul and Johnny on screen, and Paul’s transformation is less a celebration of his betterment than a moral damnation of his failure to see the world for what it is, and a call for him to open his eyes. Lurking in the background of this ethical decision is the Trump family, who have a presence at the private school Paul is sent to after he is booted from public school. Fred and Maryanne Trump (John Diehl and Jessica Chastain) appear sporadically to indoctrinate the privileged class with ideas of their own superiority, insisting to the students that they earned their place, a place that was in reality bought for them. The Trumps, alongside the election of Ronald Reagan, serve as a harbinger of the coming armageddon in America. They are a signal that people are turning toward their own enrichment at the expense of others, and underscore the historical weight of the choices Paul must make. To recognize one’s own privilege and do the right thing is not just a personal decision, but a fork in the road that can sway the political path of a nation. As Jeremy Strong (who plays Paul’s father Irving in the film) described it in his thoughtful interview with Stephen Colbert, Armageddon Time is “Both the origin story of an artist and the origin story of our country … it’s a movie about integrity … and our failure to make the right choices, choosing social acceptance over courage.” The voice in Paul’s head helping him to make the right decision is his grandfather. “Never give in, Jelly Bean,” we hear him tell Paul, as Gray zooms the camera in on an old family photo. The Jews have faced fascism before, Gray is saying, and as the Trumps loom, they soon will again. What is important for Paul to understand is both the privilege and the danger he faces, and his obligation to use the former to prevent the latter, for himself and others. Armageddon Time is a mournful examination of identity and moral duty, so perhaps it makes sense that it did not catch on with a moviegoing audience that has little patience for nuance or emotional ambiguity. But it is a vital film, and I am grateful it exists. Armageddon Time is available for rental.</image:caption>
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      <image:caption>In director Kogonada’s debut feature Columbus, which premiered at Sundance in 2017, characters grapple with loss in the “Modernist Mecca” of Columbus, Indiana, home to many architectural wonders from the likes of I.M. Pei and other titans of the industry. In an interview about the film, Kogonada spoke about why he was drawn to building a story around architectural design. “Architecture is the art of space,” Kogonada said. “It also constructs our sense of emptiness. It makes us see nothingness and absence in a way that, without it, is almost invisible to us.” After Yang is Kogonada’s follow-up to Columbus, and the film is a poignant transfiguration of that architectural exploration of nothingness from the physical realm to the sensory, emotional, and philosophical. The film stars Colin Farrell and Jodie Turner-Smith as a couple who purchase a human-like A.I. automaton named Yang (Justin H. Min) to support their daughter Mika (Malea Emma Tjandrawidjaja). When Yang suddenly malfunctions and shuts down, the family scrambles to fix Yang and confronts the possibility that he may be beyond recovery. Kogonada employs unique editing choices to explore the complexities of perspective in After Yang, a film just as patient as Columbus but more formally playful. Its title is wonderfully deceptive — the events take place not in the aftermath of the loss of Yang but in the thick of it, yet the film suggests that everything happening now will forever color everything that is yet to come. The highlight of the film is its emotionally riveting memory sequences, accompanied by an astonishing piano score by ASKA. Just as the memories of its characters take on meaning with the passing of time, After Yang is a film that has grown in my estimation since I watched it. It’s a beautiful story about memory, loss, and the power of imagery. After Yang is one of the best films of the year, and one I can’t wait to watch again. After Yang is available for rental.</image:caption>
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      <image:caption>What is there to say? This movie fucking rules. Maverick breaks Mach 10, woos Jennifer Connelly, and boldly pulls off a dangerous mission in enemy territory. He rides around on his little motorcycle, leads the squad in a game of sweaty beach football, and literally throws the rule book in the trash. Cruise is our greatest movie star, and if the insane promo for Mission: Impossible – Dead Reckoning Part One is any indication, he won’t be slowing down any time soon. He has, you could say, a need for speed. His desire to fly military-level jets and free dive thousands of feet is thrilling and, frankly, concerning; Cruise is living squarely in the danger zone. He can’t keep doing this forever, and at some point his action movie run will come to an end. But as Maverick tells his superiors, “Maybe so … but not today.” Top Gun: Maverick is available on Paramount Plus.</image:caption>
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      <image:caption>Happening, director Audrey Diwan’s abortion drama set in 1960s France, is often brutal (a few scenes, in particular, may be difficult to watch for squeamish viewers), but the film is thankfully not entirely devoted to this harsh framework. Diwan lends the film a welcome focus on Anne’s (Anamaria Vartolomei) experience of pleasure even as she struggles to end her pregnancy. Unlike other abortion films, our protagonist has sex while still pursuing an abortion. It’s a positive experience for her, and a moment of much-needed relief. By including this late in the narrative, Diwan’s film insists that Anne should not have to deny herself sexual autonomy even as the legal apparatus around her punishes her sexual activity. At one point a character asks Anne, “Who cares what you feel like? Can we afford to only do what we feel like?” Happening gracefully asks whether we can afford not to. Diwan’s framing of the story, showcasing the consequences of individual choices within a larger political struggle, is a poignant and oft-ignored perspective. In the aftermath of the Dobbs decision, the tendency among those decrying the decision was to focus on the daunting structural barriers toward restoring abortion rights. In an incisive New Yorker article, Jia Tolentino wrote about the dawning era and inevitably tragic consequences of “widespread state surveillance and criminalization” of abortion. News outlets wrote about the states with immediate abortion bans. The aftermath of the decision has been heartbreaking, and it will continue to cause dire outcomes on a scale that feels beyond our control. The sort of coverage written by Tolentino is both courageously righteous and vitally informative, and it is valuable for understanding the landscape of what those fighting for reproductive rights now face. Overcoming these systemic hurdles will take time, and what we can do as individuals is simply not enough. Diwan’s film, however, suggests that even if our individual choices are not enough, what we do to support each other does matter. Some people choose to turn away from Anne, others help her in ways big and small, and each choice is monumentally important for her future. In the moment it is not clear whether these choices will dramatically improve the future, but they are what can be done today. Happening is a moral tale and recalls a teaching of the Talmud, memorably employed in Schindler’s List, that whoever saves a single life is considered to have saved the whole world. This lesson is not told triumphantly in Happening, but it is made firmly in defiance of a world that deliberately alienates those who might support each other. Happening demonstrates the value of contributing such support, even when it does not feel like enough. Happening is available for rental.</image:caption>
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      <image:caption>This review contains spoilers. Taking on a dramatic thriller like Don’t Worry Darling may seem, on the surface, like a departure for writer Katie Silberman, whose prior credits include a teen comedy (Booksmart), a rom-com (Set It Up), and a parody of rom-coms (Isn’t It Romantic). Yet there is a commonality in the plots of these films that continues with Don’t Worry Darling: Each centers on a woman attempting to escape from a repressive system, making the choice to abandon the suffocating aspects of that environment that she once thought gave her power and comfort. In Set It Up, Harper (Zoey Deutch) leaves behind her thankless pursuit of workplace prestige; she chooses love and career independence instead. In Isn’t It Romantic, Natalie (Rebel Wilson) finds herself stuck inside of a romantic comedy, a genre she’s convinced is full of “lies set to terrible pop songs”; she chooses to reject the genre’s cliché of being completed by finding a soulmate in favor of self-love. And in Booksmart, Molly (Beanie Feldstein) and Amy (Kaitlyn Dever) ditch their narrow fixation on academic excellence; they choose a balance between fun and studiousness. Don’t Worry Darling raises the stakes of this liberation plot: Alice (Florence Pugh) is being held against her will inside a virtual world run by men operating a cartoonishly simplistic and (from their view) idealized vision of 1950s family life. In escaping this world, Alice chooses herself. It’s Silberman’s most ingenious script yet, rich in its details and visually enthralling with the help of director Olivia Wilde’s assured vision and across-the-board superb production. Don’t Worry Darling gathers momentum on its way toward a dramatic third act twist. What makes the film great is that it is not dependent on this reveal. A frequent complaint levied against films with late-game plot twists is that they are too easy to see coming, which I think misses the point entirely. The real question is not whether you can see the film angling to pull the rug out from underneath you, but whether anything interesting remains after it happens. The twist in Don’t Worry Darling serves to give depth to everything that came before it, and it’s a blast on repeat viewings to take note of the visual and character-driven clues that hide the reveal in plain sight. The obviousness of the Victory Project scheme, in fact, is essential to the thematic ambitions of Silberman’s script. The elaborate conspiracy Jack (Harry Styles) thinks he has established is shown to be paper thin, while Alice is forced to question how much of her reality she simply chose not to see. There are countless details that anticipate the truth behind the Victory Project. Some are purely visual. I love the flourishes that suggest the laziness of Victory Project creator Frank (Chris Pine): The empty egg shells and bottomless coffee cup in Alice’s kitchen, indicating Frank forgot to finish coding them; the plane crash on the outskirts of town, suggesting an add-on to his game that he can’t manage to get off the ground; the game reset button he only bothers to put right outside of town. Other details are found in the characters’ actions, in ways that show how the suave 1950s performances they are crafting can’t really mask that they are losers. Frank openly invites Alice to question the reality of the Victory Project at a dinner party; he delights in the “debate me” exchange familiar to online discourse, supremely confident that nothing she says can rupture the world he has built. (His whole empire is soon toppled by Alice, and Frank is killed by his wife Shelley, played by Gemma Chan, who cynically aims to carry on the enterprise better than Frank could.) Jack, meanwhile, desperately wants to be a charismatic and masculine caretaker for Alice but is just as inept in the virtual realm as he is in the real world. No finely pressed suit or sleek car can change the fact that he can’t cook, doesn’t know how to dance, and can’t maintain the British accent he’s opted for inside the game. Jack’s wavering British accent is a deliberate choice made by Styles, one small example of how Styles’ and Pugh’s performances are working in lockstep with Silberman’s script. A highlight comes after the dinner party scene, in which Alice insists to Jack that she needs to leave. The text is that she wants to get out of town; the subtext is that she has gained a modicum of awareness about what is really going on. Her plea is forgiving by necessity; she sees a sliver of the evil Jack has participated in but needs him on her side in order to get out. Jack, meanwhile, is made to confront this evil. Styles’ performance here is layered, evoking the sense that Jack is both genuinely regretful about his actions yet resolute in his desire to maintain the pernicious illusion. He knows what Alice is really saying, and chooses to do nothing. Pugh is miraculous in her role as Alice. No actor can more swiftly make a scene foreboding or distressing than Pugh can when shifting her face into a sharp frown. “It was my life!” she yells at Jack in the climactic confrontation, my life enunciated with a chilling, guttural yell. “You don’t get to take that from me!” Pugh infuses this line reading with more life than perhaps any other actor working today could. Wilde ends the film with a virtuosic coda that accentuates all of the film’s outstanding production components: Matthew Libatique’s sumptuous cinematography; John Powell’s score, ramping up from a pulsating hum to a panting-screaming ruckus; Wilde’s own deft camera movement. As Alice makes her final escape, she pauses briefly to reflect on what she had in this fabricated reality. Silberman laid the groundwork for this moment of hesitation throughout her script, and it heightens the impact of the film’s conclusion. When Alice decides to leave the Victory Project for good she is not just running from something, but proactively choosing an imperfect, autonomous life. Wilde cuts the screen to black as Alice gasps for air, back in the real world at last. She has learned what many, with the hive-mind criticism of Don’t Worry Darling, failed to do: Reject the reality everyone else has agreed upon, assess the details, and think for herself. 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      <image:caption>For a more accurate, complete, and human portrait of Marilyn Monroe’s life than the one presented in this year’s wretched Blonde, I recommend Reframed: Marilyn Monroe, a documentary series released by CNN in January. Reframed provides a terrific overview of Monroe’s career accomplishments and a vital correction to the typical tragic, doomed narrative in which she is placed. Director Karen McGann positions the series from the very beginning in almost direct conversation with the nonsense of Blonde: “When we talk about Marilyn Monroe it’s always about poor Marilyn, poor Marilyn. This vulnerable, passive woman who is being destroyed by Hollywood,” a commentator remarks. “That’s the way the story frames her ... it’s time to reframe her story.” And so Reframed does, quite successfully over the course of four episodes, as a series of Monroe biographers, experts, and friends (guided by elegant narration by Jessica Chastain) position Monroe as someone who was “an architect of her own fame.” The series presents a convincing account of how Monroe developed her own image, crafted layered and human performances, pushed the boundaries of sexual expression, and forced the studio system to bend to her demands. The film does not paper over the ways in which Hollywood routinely exploits women; it both recognizes this abuse and establishes how much of a force Monroe was in combating this culture. Reframed frequently turns to Marilyn Monroe in her own words, allowing her to speak on behalf of her own narrative in a way Blonde enthusiastically denies. “Because of the way Marilyn died we tend to look at her entire life as a tragedy,” a commentator says in the final episode of the series. “That simply wasn’t true.” In presenting such observations, Reframed is a thoughtful, comprehensive, and necessary counter to the standard Monroe story. Reframed: Marilyn Monroe is available for rental.</image:caption>
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      <image:caption>An imperceptible vibe shift underpins the action in Everything Everywhere All at Once, a frenetic, multiverse-jumping kung fu epic from Daniels (the self-given title of directors Daniel Kwan and Daniel Scheinert). Michelle Yeoh stars as Evelyn Wang, a laundry store owner who finds herself given access to technology allowing her to jump between infinite alternative universes containing different versions of herself. This timeline exploration is not frivolous: She is brought into the multiverse by an alternate version of her husband Waymond (Ke Huy Quan), who tells Evelyn she plays a key role in stopping an amorphous evil force from wreaking havoc on the multiverse. In describing the situation to Evelyn, Waymond employs the language of a vibe shift. “You’ve been feeling it too,” he tells her. “Something is off.” That Everything Everywhere All at Once quickly became a phenomenon (the film very quickly ascended to the number one all-time ranking on Letterboxd) speaks to how widely its recognition of the vibe shift in our culture has resonated. Daniels manage to craft a cinematic experience encapsulating the information overload defining the internet age without ever losing narrative clarity. The film combines philosophically playfulness à la The Matrix — plumbing the concepts of path dependency and probability theory — with pop culture references and unabashed silliness. One joke in particular, involving a riff on a beloved Pixar character, delightfully melds these seemingly dissimilar tones into elevated moments that are both intellectually curious and absurdly hilarious. In its finale the film pivots from an obvious appeal to kindness to something more transcendent, a reverence for some undeniable, eternal impulse toward love and connection. And for a movie that mostly takes place inside a laundromat and an IRS office, Daniels somehow make it all feel like a multiverse-spanning epic. In the sweeping finale, images of people with hot dogs for fingers become poignant reflections on persistence and optimism in a challenging world, illustrating just how successfully Everything Everywhere All at Once grounds its celebration of weirdness in emotional wisdom. Everything Everywhere All at Once will endure, I think, because it addresses both the possibility that the change we are experiencing is just a fluctuation of modern conditions and the possibility that we are experiencing a fundamental alteration in the way life is experienced. Daniels bring to the film an awareness of our modern cultural moment without constraining it to be a commentary on 21st century consciousness. Something is particularly off now, but maybe something has always been off; life is inherently weird, and the greatest joy of Daniels’ work is their embrace of that weirdness in the face of calamity. Even if nothing matters, Everything Everywhere All at Once makes the case that we will always want to be here with each other anyway. Everything Everywhere All at Once is available for rental.</image:caption>
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      <image:caption>Often when I recommend a movie to a friend it’s for a very specific reason: An actor gave a great performance, or the ending was shocking and fun, or the screenplay was smart. With the best movies, though, you can only really recommend them with a sigh and a smile: you just have to see it. Such is the case with Cha Cha Real Smooth, one of the best movies I saw at the (online) Sundance Film Festival this year. The film stars Cooper Raiff (who also wrote and directed the film) as Andrew, an aimless college graduate working as a party host for Bar and Bat Mitzvahs till he can figure out what he actually wants to do with his life. But any ambitions to venture beyond his hometown come to a halt when he strikes up a friendship with a woman named Domino (Dakota Johnson) and her autistic daughter Lola (Vanessa Burghardt). I’ll admit that this is extremely in my wheelhouse — a Jewish guy figuring out his purpose in life while hopelessly pining after Dakota Johnson might be the plot ChatGPT would conjure if you asked it to create my ideal movie — but I think Cha Cha Real Smooth has enough depth to be resonant for a lot of people. Many young filmmakers make coming-of-age stories, but Raiff’s films possess an understated wisdom that most seasoned directors can’t even approach. At 24 years old, Raiff feels less like a newcomer waxing poetic about the frustrations of young adulthood than a veteran of the craft, looking back at his youth and retroactively imbuing his younger self with the sophistication he lacked back then. It helps that his film has a stellar performance from Johnson at its center. She’s a magnetic actor and one of the most unsung Hollywood stars. She’s successfully eclipsed her notoriety for the Fifty Shades franchise by making consistently interesting choices — Suspiria, The Lost Daughter, and now Cha Cha Real Smooth — and managed to destroy Ellen DeGeneres’ career in between. Johnson is set to enter the MCU vortex in 2024 with Madame Web, and I can only hope she doesn’t get stuck there. If nothing else, we’ll always have the time she slept on Sean Parker. Beyond Johnson’s performance, Cha Cha Real Smooth has all of the things you would want from a movie like this: A hilarious script, a heartwarming story, a Bar Mitzvah fistfight. But really, I’m recommending this movie because it made me smile. You just have to see it. Cha Cha Real Smooth is available on Apple TV+.</image:caption>
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      <image:caption>When writing about a movie I typically avoid reading anything about it until I’ve finished my own review, lest I end up merely parroting the eloquent analyses of critics much more insightful than myself. Todd Field’s Tár, however, demands consuming as many different takes and opinions about it as possible. For a film this densely intellectual and precisely constructed there is little risk of stealing another writer’s thoughts, because each new perspective on its intentions only serves to deepen the labyrinth of possibilities found within its details. Consider Dan Kois’ review in Slate, titled “Tár Is the Most-Talked-About Movie of the Year. So Why Is Everyone Talking About It All Wrong?” Kois helpfully surveys the landscape of critical interpretations before positing that “Tár is a kind of ghost story, in which we’re so deeply embedded in Lydia Tár’s psyche that nearly everything that appears onscreen is up for debate.” Kois goes on to point out the clues that suggest Tár may be a literal ghost story, in which Krista, the subject of Lydia Tár’s complicated past, can occasionally be seen on the edges of the frame, haunting Lydia. Am I convinced that everything that unfolds in the film’s final act is imagined, or some sort of dream? Not entirely. But I know the film feels like a ghost story, and Kois’ review opens up new ways of thinking about that reading. This is the sort of film Tár is, one that raises new questions with each additional interpretation. That Kois’ review hardly focuses on Blanchett’s performance as Lydia Tár makes sense in so far as she is so blindingly great in the film it feels inadequate to say so. As Tár, Blanchett invents a character so blustering, confident, and finely calibrated that it is hard to believe Lydia Tár isn’t based on a real person. Setting aside the fact that the Oscars are often a poor judge of the year’s best performances, Blanchett’s turn as Tár may be the most decisively resounding “She is going to win the Oscar” performance I have ever seen. I was also struck by the inventiveness of Field’s narrative structure in Tár. The film concerns the intersection of events from Lydia Tár’s past catching up to her and shaping her future, both personally and professionally. Field manages to avoid gauche flashbacks or arduous exposition by allowing the events unfolding in the present day to inform our understanding of what might have occurred in the past. In doing so, Field not only creates a streamlined plot but also adds an ingenious layer of ambiguity to the story — our belief about Tár’s misdeeds are not informed by what is actually shown on screen, but what is implied. It’s a structure that implicates the audience in our assumptions about what we truly know, and by the end leaves open the question of whether Tár was a virtuoso or a self-created brand propped up by a cult of personality. These ideas are endlessly fascinating upon reflection, and even more impressive upon reading other dissections of Tár and realizing they only scratch the surface. To describe the film as intellectual perhaps diminishes the extent to which Field’s curiosity and rigor are thrilling to take in. I didn’t see anything else like Tár this year — and with each new analysis of the film, my estimation of its achievements grows. Tár is available for rental.</image:caption>
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      <image:caption>Just three movies into his filmography, Jordan Peele is already known for a set of distinct cinematic elements: psychological horror, social commentary, and the intricacy of his puzzle box screenplays, which always reward repeated viewings. What Peele is not typically associated with is joy. He is praised for his films’ splendor but has been seen primarily as a cultural critic, an artist who enhances genre tropes and plot twists with incisive commentaries about our most entrenched societal defects. Nope, his genre-defiant western-sci-fi-horror-comedy epic, is a departure from that mode of cultural admonition. Working on a much grander scale than he does in Get Out or Us, Peele manages to cast judgment on those acting in bad faith before pivoting to a celebration of creativity and familial connection, and a rejection of self-exploitative image-making. Nope is his least accessible film thematically, swapping exposition for visual grandeur. It is also his most accomplished movie yet. Typically mum on the meaning of his own films, Peele himself suggested an important distinction from his previous work in an interview for Essence. “It's so tricky being considered in the vanguard of Black horror, because obviously Black horror is so very real, and it's hard to do it in a way that's not retraumatizing and sad,” Peele said. “I was going into my third horror film starring Black leads, and somewhere in the process I realized that the movie had to be about Black joy as well.” The critical reception to Nope, while lauding Peele as an auteur, was disappointingly ignorant to the film’s joyfulness. Indiewire focused its analysis of the film on the “awful power” we lend tragedies “by sanctifying them into spectacles,” and our “fatal inability to look away from them.” Vox zeroed in on the personal failings of a society glued to its devices, citing how “a culture built on spectacle can only get more spectacular, coaxing us to always look at it, to never tear ourselves away, to gorge ourselves on it.” These reviews position Nope as yet another artifact of cultural damnation, a reasonable interpretation considering the film opens with a calamitous Bible verse. Before the action begins, the text of Nahum 3:6 appears on screen: “I will cast abominable filth upon you, make you vile, and make you a spectacle.” Nahum was prophesying how God would punish the city of Nineveh due to its rampant vices, describing it as a “city of blood, full of lies, full of plunder.” The implication is that Nope is suggesting humanity will realize a similar fate due to our own propensity to reframe reality into indulgent, ugly spectacles. Peele is certainly interested in the ramifications of documenting spectacle and turning it into entertainment. Yet the true meaning of Nope is much more nuanced than the facile reading that Peele is shaming us for being on our phones too much. The genius of Nope is its enlightened understanding of the difference between what it means to chase and capture spectacle for the right and wrong reasons. The characters of Nope who falter do so because they are mired in a mindless, self-aggrandizing pursuit to mine spectacles for their own gain. But OJ and Emerald Haywood (Daniel Kaluuya and Keke Palmer) come out on top because they have the fortitude to abandon the false promises of fame and greed, instead trying to capture the imagery of spectacle in order to honor their family and reclaim ownership and representation in a more meaningful sense. Peele infuses Nope with an unabashed love for spectacle. He is as visually creative and precise a director as any filmmaker today, and the complex ideas embedded within his screenplays never crowd out his ability to also be our greatest entertainer. Like the UFO in Nope, Peele’s films fly above the rest of Hollywood, defying expectations, making reality a little more spectacular by creating unique, transcendent spectacles on the director’s own terms. It’s a joy to watch. Nope is available on Peacock.</image:caption>
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      <image:caption>Monroe, 1955</image:caption>
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      <image:caption>One of Monroe’s self-leaked images from the set of Something’s Got to Give</image:caption>
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      <image:caption>de Armas in Blonde</image:caption>
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      <image:caption>Monroe in Some Like It Hot</image:caption>
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      <image:caption>Anthony Summers, author of Monroe biography “Goddess,” in The Unheard Tapes</image:caption>
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      <image:caption>Monroe, 1955</image:caption>
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      <image:caption>Monroe in New York after announcing Marilyn Monroe Productions, 1955</image:caption>
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      <image:caption>Peter at Old City Hall</image:caption>
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      <image:caption>Park Chan-wook introducing Decision to Leave</image:caption>
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      <image:caption>Q&amp;A for The Good Nurse</image:caption>
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    <loc>https://skoobywatchesmovies.com/recent-movie-news/2022/6/3/tiff-blog-2022/jacob-skubish-hzxg2-86n76-xnarw</loc>
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      <image:caption>Evan Rachel Wood</image:caption>
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      <image:caption>Photo: Sundance Film Festival</image:caption>
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    <loc>https://skoobywatchesmovies.com/recent-movie-news/2021/12/1/2021-in-review/jacob-skubish</loc>
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    <lastmod>2021-12-31</lastmod>
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      <image:title>Home - 2021 in review: the fear, and necessity, of being seen - Make it stand out</image:title>
      <image:caption>Bo Burnham: Inside</image:caption>
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      <image:title>Home - 2021 in review: the fear, and necessity, of being seen - Make it stand out</image:title>
      <image:caption>Pig</image:caption>
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      <image:title>Home - 2021 in review: the fear, and necessity, of being seen - Make it stand out</image:title>
      <image:caption>Don’t Look Up</image:caption>
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      <image:title>Home - 2021 in review: the fear, and necessity, of being seen - Make it stand out</image:title>
      <image:caption>The Underground Railroad</image:caption>
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      <image:title>Home - 2021 in review: the fear, and necessity, of being seen - Make it stand out</image:title>
      <image:caption>CODA</image:caption>
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      <image:title>Home - 2021 in review: the fear, and necessity, of being seen - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <loc>https://skoobywatchesmovies.com/recent-movie-news/2021/12/28/top-21-movies-of-2021/jacob-skubish</loc>
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    <lastmod>2022-12-09</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/f3729b90-2dab-46e8-afb7-187fcf5e6fa4/Homeroom.jpeg</image:loc>
      <image:title>Home - Top 21 movies of 2021</image:title>
      <image:caption>The breakout documentary of Sundance 2020 was Boys State, a look at the annual week-long mock government event at the Texas Capitol. Although it contained glimmers of hope, Boys State was mostly a damning look at the nastiness of American politics. Consider Homeroom, the best documentary I saw at Sundance 2021, the anti-Boys State: it centers on a group of deeply inspirational high schoolers working tirelessly to make the world a better place. Homeroom takes place in Oakland and tracks a high school graduating class through the 2019-2020 school year. The film starts with a focus on student leaders’ efforts to defund the sizable police presence in their school district. In the latter half COVID-19 arrives and throws the school year into disarray. What makes Homeroom special is its ability to make clear that when the pandemic started, the struggle did not stop. The world never really went on pause if you spent your time seeking a new path forward. This movie makes me believe in one. Homeroom is available on Hulu.</image:caption>
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      <image:caption>Don’t Look Up shares many narrative parallels with director Adam McKay’s last great achievement, The Big Short: a group of knowledgeable insiders trying to warn the public about an impending calamity, only to find an unresponsive and uncaring audience. This time around the consequences are even more dire: two scientists (Jennifer Lawrence and Leonardo DiCaprio) discover a meteor will hit Earth in six months and wipe out humanity, but the government appears unwilling to do anything about it. Despite these apocalyptic stakes, though, I found Don’t Look Up to be less cynical than The Big Short. That evisceration of the U.S. financial system ends with the awareness that, even though these guys were right and the profited massively, there were no winners or structural changes as a result. In Don’t Look Up, even when the system’s ability to respond to disaster appears bleak, McKay maintains a faith in the people fighting to change it anyway. “Everything is theoretically impossible until it is done,” DiCaprio’s character heroically declares midway through the film. Within the scene, it’s a moment of brutal irony, with catastrophe soon following this moment of promise. But read another way, it’s also a moment of profound optimism from McKay: we are hurtling toward destruction, and it looks unavoidable, but we can always try. Don’t Look Up has largely been eviscerated by critics, and much of the analysis has condemned the film for its lack of subtlety, or cleverness, or the obviousness of its satire. Perhaps my tastes are unrefined, but I don’t think there’s any need for coyness when the message is we’re all going to fucking die. I’ve always appreciated McKay’s mission in this sense, his belief in the virtue of simply and directly telling the truth. Even when his thesis is disastrously wrong, as it was with Vice, he’s always known who the villains are. Sometimes, there’s value in just saying it, and in Don’t Look Up the truth is delivered in a way that’s both outrageously funny and completely terrifying. It’s a tactic that recalls Spike Lee’s School Daze, or any number of Lee films, in which the directly screams at the audience: Wake up! Don’t Look Up is a film full of righteous fury, an appropriate response to the world if you’re paying attention. Late in the film a character leads others in a prayer to God: “We ask for your grace tonight despite our pride.” McKay knows people have screwed things up, but he always aims his ire at the feckless monsters in charge. Don’t Look Up is a film that reminds us our collective demise is something we all have in common, and prays to God that this fact inspires us to act rather than resign ourselves to a doomed future. Don’t Look Up is available on Netflix.</image:caption>
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      <image:caption>The most visually impressive movie I saw all year, The Green Knight is a revisionist fantasy epic, indulging in the grandeurs of the genre while challenging its core beliefs. At its center is Gawain (Dev Patel), who enters into a foolish pact with the Green Knight (Ralph Ineson) that puts him on a path toward danger and self-actualization. Director David Lowery leads Gawain on a gorgeous odyssey as tries to define his place in history. The beauty of the landscape on Gawain’s journey juxtaposes the aspirant leader’s ambitions. While such epics might typically use lush sceneries to emphasize the significance of man’s path toward greatness, in The Green Knight the elegance of the natural world only highlights the small place that Gawain has within it. In a moment of respite, characters discuss why the Green Knight is green. “Green is the color of earth, of living things, of life,” one says. “We deck our halls with it and dye our linens. But should it come creeping up the cobbles, we scrub it out, fast as we can … Whilst we’re off looking for red, in comes green. Red is the color of lust, but green is what lust leaves behind, in heart, in womb.” Such it is with Gawain’s journey: he will accomplish what he may, but fail or succeed, he will fade away and the earth will remain. Is greatness folly? A stunning final 15-minute segment of the film wrestles with the answer. It’s a fascinating destination, and a glorious journey to get there. The Green Knight is available for digital rental.</image:caption>
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      <image:caption>Inside was written, produced, and directed entirely by Bo Burnham inside his home during the COVID-19 pandemic. The show maintains the structure we’ve come to expect from Burnham, delivering his thoughts on depression and social anxiety in a series of self-effacing musical numbers. It’s significant that, despite the premise of the special being spurred by the pandemic, Burnham does not mention it once. Yes, the virus drove us all indoors, but Burnham’s thesis is that this sheltered life is how we experience the world when the digital realm becomes primary, pandemic or not. “The outside world, the nondigital world, is merely a theatrical space in which one stages and records content for the much more real, much more vital, digital space,” Burnham laments. The ever-present problem with Burnham’s bemoaning of the internet’s ills is that he is making this point by himself spewing content into the void. He takes on this contradiction with his usual flair for self-awareness: “Is there anyone out there? Or am I all alone? It wouldn’t make a difference,” he knowingly remarks. But self-awareness can only get you so far, and the show does have a sort of old-man-yells-at-cloud energy. This is not a flaw, per se, but the futility of his effort is accentuated in a production so thoroughly pessimistic. How is it possible, then, that Inside feels so comforting to me? I think it’s because I can identify so precisely with the conditions Burnham is decrying. This is the paradox of his message: the internet flattens everything into nothingness and despair, but on the end of each one of those infinite data points is an individual person having an experience. Inside might disappear into the abyss, but I’ll still have felt something watching it. When Burnham says it wouldn’t make a difference whether anyone is out there, he’s right: we get nothing out of giving to the internet. Inside shows how the internet operates as a perverse black hole of empathy, where we try to give everything of ourselves over to each other and get nothing back in return. The value of the show is its articulation that we all know we’re doing it. We’re all stuck inside, alone, but we’re all there together. Bo Burnham: Inside is available on Netflix.</image:caption>
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      <image:caption>C’mon C’mon is the sort of movie that grows and grows and grows until all of a sudden you realize that it owns your whole heart. The film follow a radio host named Johnny (Joaquin Phoenix) who must look after his nephew Jesse (Woody Norman) while Johnny’s sister Viv (Gaby Hoffmann) deals with a family emergency. C’mon C’mon comes from director Mike Mills, whose previous works Beginners and 20th Century Women were also gentle explorations of family dynamics. The film introduces us to Johnny by way of interviews he is conducting with America’s youth: what are their hopes and fears for the future? “I think the most important thing is just being aware of what’s going on around you,” one interviewee says, describing a common failing of adults. The quote sets the stage for the entire film, a slow-moving exercise in becoming more aware of the world via human connection. And yet C’mon C’mon has no grand realization, no single profound moment of truth. Nor is it Johnny’s movie. Johnny, Jesse, and Viv grow and learn together, not in the way fictional characters do but how people do in real life, which is to say, partially and haphazardly. The movie ends on a virtuoso sequence from Mills, who balances this narrative subtlety with cinematic beauty. C’mon C’mon is currently available in theaters.</image:caption>
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      <image:caption>Coming-of-age stories can be reductively summarized by their protagonists’ belief that to be young is to be misunderstood. Few films, however, have more compellingly reckoned with this belief than The World’s a Little Blurry. The documentary charts the recording of, and tour for, Billie Eilish’s first album, “When We All Fall Asleep, Where Do We Go?,” an immaculate piece of music that catapulted Eilish into the A++ list of pop stardom. The film chronicles Eilish’s struggle for recognition, but also wrestles with where that recognition can and should come from. How emotionally legitimate can the relationship between a celebrity and her fans really be? When your life is dramatically thrown into the public eye, how do you maintain relationships with family and friends? Throughout a daunting journey Eilish remains a fascinating figure, forever honest in the face of unyielding bullshit. The film manages to be at once an act of humanization of a teenager whose life becomes defined by outside perception and an act of mythologization of an artist with seemingly few creative peers. The World’s a Little Blurry is an amazing portrait of celebrity, fandom, empathy, family, growing up, the creative process, and self-love. And it doesn’t hurt that the music is perfect, too. Billie Eilish: The World’s a Little Blurry is available on Apple TV+.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/8b3265c1-224c-4906-9536-f4164bfbbdb7/Bergman.jpeg</image:loc>
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      <image:caption>Bergman Island is a film dweeb’s paradise, and its plot may cue anyone who’s not a film dweeb to run as far from the movie as they can. The film follows two filmmakers who visit an island known for being the home of a famed filmmaker, Ingmar Bergman. The filmmakers take this retreat to draw inspiration for the films they are currently writing, and midway through the film, as one of the filmmakers describes her film, we cut to an extended segment where that film takes place on screen. If this sounds a bit meta and exhausting, it is, at least for a little while. Bergman Island begins as a film made to be admired rather than loved. But when it cuts to its film-within-a-film the emotional stakes set in, and and you can enjoy it without ever having seen a Bergman film. By the conclusion, you can’t help but marvel at the inventiveness of the perspective shifts; they are not just innovations of form, but critical components of understanding the character’s emotional entanglements. Bergman Island has a layered ending that sticks with you, and I can’t wait to revisit the film. Bergman Island is available for digital rental.</image:caption>
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      <image:caption>A depressing side effect of superhero movie domination is the loss of studio comedies: once movies like Deadpool and Guardians of the Galaxy started going for laughs, we ceded the comedy terrain to the ever-expanding universe of capes and tights. Enter Barb and Star Go to Vista Del Mar, a gleefully weird and unabashedly silly comedy from Kristen Wiig and Annie Mumolo. Wiig and Mumolo play Barb and Star, longtime friends who lose their jobs and sense of direction in life, only to try getting back on track with a trip to a Florida resort. Unfortunately, their timing is not ideal: a mysterious villain, also portrayed by Wiig, sends her henchman Edgar (Jamie Dornan, obscenely gorgeous and genuinely hilarious) to kill everyone in the town. Barb and Star allows Wiig’s singular comedic energy to roam unleashed. Overly self-contained in projects like Bridesmaids, Wiig is at her best when she is absolutely nuts, and Mumolo is the perfect complement to her unorthodox vibe. Barb and Star is the rare comedy you’ll want to quote forever, and is so much on its own wavelength that loving it feels like an inside joke. Want to make your day a little better? Do yourself a favor and go watch “Edgar’s Prayer.” Seagulls in the sand, can you hear my prayer? I can, Edgar. I can. My own prayer? That in the comedies of the future, we can trade capes for culottes. More Barb and Star, please. Barb and Star Go to Vista Del Mar is available on Hulu.</image:caption>
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      <image:caption>Céline Sciamma is a delicate filmmaker. She produces works of art so precious it feels as if they may evaporate the moment the end credits roll on screen. In Portrait of a Lady on Fire, Sciamma employed this approach to make a brief 18th-century romance feel like a timeless, defining expression of love. Petite Maman moves in the opposite direction, presenting an intensely personal, small-scale story of friendship and familial empathy. The film stars Joséphine Sanz as Nelly, an eight-year-old traveling with her parents to clean out her mother’s childhood home after Nelly’s grandmother has died. While staying at the home, Nelly meets a new friend, Marion, who is building a treehouse in the nearby forest. The friends grow closer as the fantastical nature of their connection grows more apparent. Petite Maman is a triumph of editing; it runs at just 72 minutes, and the script is as masterful for what is left unsaid as what is communicated aloud. Sciamma has a knack for creating images that are not gaudy but stay with you long after the film ends. A father smiling at his daughter as he shaves, two friends looking admiringly at their tree fort, a mother and a daughter sharing a moment of true understanding: these images from Petite Maman say far more in seconds than most directors can muster over an entire career. The film crescendos in the most affecting music cue of the year, a rare moment of cinematic flourish from Sciamma that pushes the film’s grounded human tale to new heights. Petite Maman will be available on Mubi on Feb. 4, 2022.</image:caption>
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      <image:caption>Licorice Pizza is a story about love, if not necessarily a love story. Director Paul Thomas Anderson’s ode to his California youth follows the relationship between Gary (Cooper Hoffman), an ambitious 15-year-old, and Alana (Alana Haim), a directionless 25-year-old won over by Gary’s charm but limited by their age gap. The two approach life in opposite ways. Gary believes everything in life revolves around him, and nearly everything that happens suggests he might be right. He starts flimsy business ventures and antagonizes authority figures, yet never appears fazed by anything thrown at him, with the exception of brief falters in his expression that betray his insecurity about Alana’s romantic reticence. Alana moves through life without much control of anything. Her career prospects are dictated by Gary, her romantic prospects are dictated by her dad, and how she sees her purpose in life changes from one moment to the next. The relationship between Gary and Alana is an exploration of the contrast between feeling as if you can create your own world versus feeling as if everything in the world is happening to you, and how the respective shortcomings in each of those perspectives collapse onto each other. Anderson presents this story with his trademark visual control. Licorice Pizza is replete with beautiful and precise compositions that I suspect I’ll need a second viewing to fully appreciate. His realization of the film’s central relationship, meanwhile, is much less precise. Gary and Alana exist in a space between friendship and romance. Anderson manages to provide them with an ending that feels both resolved and open-ended. But where their relationship ultimately ends up may be less important than their journey toward recognizing that they need each other in their lives. Licorice Pizza is currently playing in theaters.</image:caption>
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      <image:caption>Passing is an impressive directorial debut from Rebecca Hall. The film is based on a 1929 novel by Nella Larsen, which follows two childhood friends who reunite and becomes increasingly entangled in one another’s lives. One, Irene (Tessa Thompson), is a Black woman with a Black husband and children. The other, Clare (Ruth Negga), is a Black woman with a white husband, and a secret: she’s passing as white, and her bigoted husband has no idea. The film is presented in an elegant black-and-white frame from Hall, who shows as much control behind the camera as she has in her performances in front of it. It’s a fastidious aesthetic, but black and white often bleed into one another in creative ways. Negga first appears on screen in a spacious room filled with sunlight, and the overwhelming brightness makes her nearly invisible—reflective of her aims. The illumination is darker and calmer, meanwhile, back inside Irene’s home. Hall showcases a rare ability beyond her technical prowess: creating a story that’s difficult to pin down. Passing possesses an unshakeable depth, a feeling that there is more substance under its foundation than can be perceived. This is owed in part to the brilliant performances of Thompson and Negga, expressive but always guarded. Passing is available on Netflix.</image:caption>
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      <image:caption>Questlove directs Summer of Soul with a light touch, evidently understanding the most consistent truism about music documentaries: the best moments are always the performances themselves. The film celebrates the Harlem Cultural Festival, a massive event in New York featuring legendary artists such as Stevie Wonder and Nina Simone. The festival took place the same summer as Woodstock, but with its Black performers and mostly Black audience, received little of the fanfare or generational symbolism granted to Woodstock’s white hippie-palooza. Between magnificent musical performances, Summer of Soul weaves in a story of the surrounding context: the recent assassination of Martin Luther King, Jr., the rise of the Black Panther Party, the continued struggle for civil rights. Yet the most evocative historical narrative takes place within the confines of the festival. As the film itself notes, the footage of the Harlem Cultural Festival was stored away for decades, and the very excavation of it for this documentary is a powerful act of self-recognition (the documentary’s alternative title, …or, When the Revolution Could Not Be Televised, speaks to this fact). Summer of Soul revels in the glory of witnessing a space that existed by and for Black people in a historical moment that may have felt as if everything outside its walls did not. It’s hard to imagine any history lesson elucidating this as clearly as Nina Simone’s performance of “To Be Young, Gifted and Black” shown near the end of the film. Perhaps even more affecting are the interviews with festival attendees in Summer of Soul. The footage is not only an opportunity for them to reminisce on a beautiful moment from the past, but a chance for them to affirm what they had partially forgotten, that this space and this moment were real. Summer of Soul is available on Hulu.</image:caption>
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      <image:caption>The book “Accidentally Wes Anderson,” published last year, cements the director’s status as the current filmmaker with the most easily identifiable aesthetic. The book captures sceneries from real life that seem to emulate Anderson’s glorious, pastel-laden, fussy style. The implication is that his visual approach is easily replicable, but the director himself does not seem to be insulted—he provides the foreword for the book. Because as much as some may criticize the director for the congruity of his style film to film, it’s nothing but the highest compliment that people have begun to see the real world reflected back through Wes Anderson’s eyes. The French Dispatch elevates his visual language beyond aesthetic choice, as a means to better understand the world and to see it in a more interesting way. The film tells three stories from a fictional magazine called “The French Dispatch,” a transparent ode to The New Yorker. The vignette format optimizes Anderson’s skills. I’ve enjoyed recent Anderson films like Moonrise Kingdom and Grand Budapest Hotel, but the elaborate world-building can grow a bit tiring by the end. Rather than shortchange the emotional payoff of his characters’ arcs, The French Dispatch’s anthology approach breathes new vibrancy and urgency into each tale. The film is ultimately not a salute to a high-society magazine, but a tribute to what the best of that magazine’s writing represents: a penchant for finding meaning in life through an exploration of its idiosyncratic details. An imprisoned artist, a failed student revolution, a chef’s role in a minor kidnapping plot: these are fascinating stories, but ones that may be overlooked if you’re not searching for them. Consider the magazine editor’s repeated refrain: “Try to make it sound like you wrote it that way on purpose.” Everything in The French Dispatch, the magazine and film, is deliberate. When the editor, played by Anderson stalwart Bill Murray, insists to a writer than an emotional coda be left in a story, he contends, “It’s the whole reason for writing it.” But the writer, played by Jeffrey Wright in one of the year’s best performances, doesn’t see it that way. His interest is in the details that led up to that moment, everything peculiar and intriguing about people that could even make a coda like that worth mentioning at all. “I couldn’t disagree more,” the writer replies. The French Dispatch is the best Wes Anderson movie since The Royal Tenenbaums was released twenty years ago. I can’t wait to see the world through Anderson’s eyes again. The French Dispatch is available for digital rental.</image:caption>
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      <image:caption>If the release of No Sudden Move didn’t make a splash, it may be because director Steven Soderbergh is too prolific: he’s directed five movies in the past four years, with another due out in two months (not to mention producing last year’s Oscars ceremony). But no Soderbergh movie is quite like any other, and No Sudden Move is yet another inventive genre iteration, albeit with a familiar cast of Soderbergh favorites. Benicio Del Toro and Don Cheadle star as a couple of criminals looped into a scheme that turns out to be far bigger than they bargained for. The pacing of No Sudden Move is slow but menacing. The characters speak in controlled tones but always feel as if they are hurtling toward a fate completely outside their control. No Sudden Move reckons with this lack of control over one’s fate and the power held by those who do control our destiny. Try as we might, we’re still playing by their rules. No one else gets it quite like Soderbergh. No Sudden Move is available on HBO Max.</image:caption>
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      <image:caption>Dune was my most anticipated movie of 2020, and in January 2020 I wrote, “I can’t believe I have to wait almost a full year for this one, but it will be worth it.” Well, it ended up being nearly two years, but Dune finally arrived in theaters this October. In two and a half hours the film covers just half of the source material—but it’s a breezy 2.5 hours, nimbly introducing the vast array of characters while constructing the grandiose backdrop of Arrakis. It’s a complex sci-fi world, but director Denis Villeneuve manages to bring it to life in a way that those not familiar with the book can appreciate. Dune is a visual spectacle, and as an act of adaptation succeeds in mirroring the thoughtful, deliberate pace of the book. There are big action set pieces, the highlight of which is the escape from an impending sand worm. But much of Dune is politics and lore, and the film manages to hold intrigue through these slower moments. And yet for all my Dune love, I can’t shake the feeling that this adaptation is really only half a movie. I understand the decision to cut the film in half; it’s a structurally challenging text to adapt. But in its full arc, Dune provides an exploration of imperialism and environmental degradation, and more fully reckons with Paul’s complicated role as a messianic figure. Lopping off the second half shortchanges the perspective of the Fremen, and while Javier Bardem gives the Arrakeen natives some much-needed character, this truncated version of Dune is a story of royals. Thankfully, Dune: Part Two is coming in 2023, and once I see the full six-hour cut my esteem for this project might rise. I can’t believe I have to wait almost two full years for the next one, but it will be worth it. Dune is available for digital rental.</image:caption>
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      <image:caption>Shiva Baby is a horror movie masquerading as a comedy. The quick, 78-minute film stars Rachel Sennott as Danielle, an aimless college student forced into attending a family shiva. There, she suffers one repeated discomfort after another: the attendance of her sugar daddy; the pestering of her ex-girlfriend; the overbearing neuroses of her parents. If you thought Uncut Gems was stressful, just wait. Shiva Baby should be celebrated as the arrival of two unique new talents. Sennott delivers one of the very best performances of the year as Danielle. Rather than devolve into angsty shtick, Sennott’s performance is endlessly fluid; Danielle is smart, bold, weak, petulant, self-assured, and completely fragile, but never all of those things at once. And director Emma Seligman makes it clear that, even though Shiva Baby is her debut film, she already has her own visual style. I can’t wait to see what she makes next. Shiva Baby is available on HBO Max.</image:caption>
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      <image:caption>With his breakout indie hits Tangerine and The Florida Project, director Sean Baker dug into the overlooked alcoves of American life, redefining what many would consider the “fringes” of society as fundamental slices of the national experience. His characters were lovable and possessed an inspiring gumption in the face of challenging circumstances: two sex workers sorting out a messy situation on Christmas Eve; a destitute family trying to piece together a life in a motel outside Disney World; the motel manager trying to keep his business afloat. If the experiences themselves were foreign to many viewers, the resilience in the face of life’s toughest moments was always recognizable. Red Rocket finds Baker returning to another community, this time in rural Texas, defined by its economic marginalization and sense of alienation. But his protagonist is decidedly not lovable, or is perhaps uncomfortably lovable despite his obvious moral failings. The film stars Simon Rex as Mikey, a fading porn star who returns to Texas to move back in with his estranged wife and deal drugs until he can scrounge up enough cash to get back to Los Angeles. While in Texas he meets a 17-year-old named Strawberry, begins dating her, and then tries to recruit her into the porn industry as his way to get back to industry acclaim. If this sounds detestable, it is. Red Rocket is an examination of narcissism as a defining trait of the American psyche, and while Baker would never make a film so simple as an outright moralizing finger wag, the film is certainly reckoning with the wreckage created in the wake of incessant self-interest. All Mikey can see is what things could be for himself. As Mikey snakes his way through life in pursuit of the future he thinks he deserves, news segments of Donald Trump on the 2016 campaign trail appear occasionally in the background of scenes. The juxtaposition seems to push back against the idea that Trump created a monstrous citizenry. The 45th president is incidental. Mikey is grotesque, he’s abhorrent, and he’s who we’ve always been. In Red Rocket, as in that election, American narcissism always finds a way. Red Rocket is currently playing in theaters.</image:caption>
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      <image:caption>Something I’ve learned by watching an outrageous number of movies is that it is pretty easy for a movie to make me cry. Far more rare is a movie that sticks with me long after it’s over, a film that seeps so deeply into my consciousness that it feels as if it’s moving alongside me in the world. Few movies I have ever seen have possessed this quality more than The Worst Person in the World, one of the great cinematic joys I’ve ever had. The Norwegian romance follows Julie (Renate Reinsve) over the course of four years in her mid-to-late twenties as she tries to navigates the complexities of love, career, and purpose. It’s a classic coming-of-age story, and perhaps the best I’ve seen at capturing the directionless feeling of being a twenty-something Millennial. Julie is not the worst person in the world, but her aimlessness leads her to believe that sometimes she might be. The movie presents Julie’s journey without judgment, allowing her to careen through mistakes, pivots, and occasional moments of glory. Her guiding instinct is emotional impulsivity, and she bounces back and forth between reckless abandon and guarded trepidation. “Sometimes I just want to feel things,” she laments in a moment of turmoil. Don’t we all? Movies reflect the world, but they also take us out of it, and this possibility of self-withdrawal was especially enticing in 2021. I felt the opposite with The Worst Person in the World, a film so full of understanding about the struggle to navigate life that I felt thrust into life anew. It continues to stay with me, shaping my sense of the world as I navigate my own path forward, grasping at the beauty of the fact that through mistake or fortune, every step we take makes us who we are. The Worst Person in the World will be in theaters Feb. 4, 2022.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/481834e3-0bce-4804-b9e6-17aff6b05ff4/Richard.jpg</image:loc>
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      <image:caption>A lot of criticism about King Richard described it as a standard, formulaic sports movie as if that were a bad thing. Sports movies are formulaic for a reason: when the formula works, it produces greatness. Richard Williams knew the same applies to sports itself, and King Richard charts the inspirational rise to greatness of Venus and Serena Williams as they follow their father’s plan down to every detail. What the lazy commentary about this film ignores, and what King Richard shows, is that even when you have a good formula, success is really, really hard to pull off. Not everything in Richard Williams’ plan is wise, and despite the Williams sisters’ role as producers of the movie, the biopic provides an honest look at the shortcomings of their father’s single-mindedness. In the end, though, King Richard cements itself as a top-tier sports movie because, like Moneyball, it is more about the process of reimagining what it takes to succeed than about reveling in that success. I loved every minute of King Richard, and cried a lot throughout the film. Saniyya Sidney and Demi Singleton are excellent as Venus and Serena, and Aunjanue Ellis, portraying the girls’ mother Oracene, provides an important counterweight to Will Smith’s performance as Richard. But Smith towers over them all, and completely owns his part. It’s the best sort of Oscar bait, a filet mignon dangling on the end of the fishing line. Smith is really going for it, and he deserves the Oscar. King Richard is not currently available to stream.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/36bcd4a5-b113-46d6-bb31-7466b2a3f06e/Titane.jpeg</image:loc>
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      <image:caption>How to describe Titane? I could try to lay out the plot, but the film is constantly on the move, never quite what you thought it was five minutes prior. Consider the IMDb description: “Following a series of unexplained crimes, a father is reunited with the son who has been missing for 10 years.” Reader, this is not the plot of Titane. But it’s also not not the plot, either. Anyway, it’s it’s best you don’t know too much going in. At times I was wary of where Titane was headed; director Julia Ducournau has been roundly praised as a visionary and rightfully so, but the film’s hyper-violence and genre bending can feel at times like formalistic playthings rather than narrative choices. But there is an emotional core to Titane; it is unconventional and amorphous, but the film contains an odd warmth that holds the stylistic framework together. I saw a lot of good movies in 2021, but rare is the film that leaves me totally mystified at how its director pulled it all off. Not everything in Titane works, but Ducournau is a magician. I left the film confounded but in awe of what it made me feel, and that is an achievement. Titane is available for digital rental.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/72f1b33a-9f82-475e-bd7d-2776e951f360/Wave.jpg</image:loc>
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      <image:caption>Every one of us suffered through a massive disruption to life when the COVID-19 pandemic hit, but to a large extent the true horror of the virus was shielded from public view. Sure, the disease was lurking everywhere we went, but the pain and loss of human life were contained to overcrowded hospitals. The First Wave takes us inside those hospitals, and the film is a monumental achievement of historical documentation. It should be required viewing for every American, and especially anyone who ever suggested this pandemic was being blown out of proportion. The film is unrelentingly emotional; I cried in nearly every scene. Those tears were, miraculously, equal parts mournful and joyful. The First Wave never shortchanges the pain suffered by COVID-19 patients and their families, but it also makes a point to showcase the boundless capacity humans have to care for each other in our most dire moments. The film deftly weaves in the protests following the murder of George Floyd into its narrative of frontline care. The social outrage never feels shoehorned in because director Matthew Heineman convincingly draws out the connections between COVID-19 inequities and police violence, making a powerful statement about a nation that so little values Black lives. And on a technical level, The First Wave is astonishing, with camera crews embedded inside a hospital as patients sick with COVID-19 surround them. This commitment only serves to further highlight the necessity of the story being told, a story too long unseen. The First Wave is available on Hulu.</image:caption>
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      <image:caption>Jimmy Stewart in Harvey (1950)</image:caption>
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      <image:caption>Take Shelter (2011)</image:caption>
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      <image:title>Home - 2021 Best Picture nominees, ranked</image:title>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2021/4/1/lets-cast-the-knives-out-sequel/jacob-skubish</loc>
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    <priority>0.5</priority>
    <lastmod>2021-04-02</lastmod>
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      <image:title>Home - Let’s cast the 'Knives Out' sequel</image:title>
      <image:caption>Billie Lourd in Booksmart</image:caption>
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      <image:title>Home - Let’s cast the 'Knives Out' sequel</image:title>
      <image:caption>André Holland in High Flying Bird</image:caption>
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      <image:title>Home - Let’s cast the 'Knives Out' sequel</image:title>
      <image:caption>Isla Fisher in Wedding Crashers</image:caption>
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      <image:title>Home - Let’s cast the 'Knives Out' sequel</image:title>
      <image:caption>Willem Dafoe in The Florida Project</image:caption>
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      <image:title>Home - Let’s cast the 'Knives Out' sequel</image:title>
      <image:caption>Riz Ahmed in Sound of Metal</image:caption>
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      <image:title>Home - Let’s cast the 'Knives Out' sequel</image:title>
      <image:caption>Marisa Tomei in The King of Staten Island</image:caption>
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      <image:title>Home - Let’s cast the 'Knives Out' sequel</image:title>
      <image:caption>John Cho in Columbus</image:caption>
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      <image:title>Home - Let’s cast the 'Knives Out' sequel</image:title>
      <image:caption>Gugu Mbatha-Raw in Motherless Brooklyn</image:caption>
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      <image:title>Home - Let’s cast the 'Knives Out' sequel</image:title>
      <image:caption>Samara Weaving in Ready or Not</image:caption>
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      <image:title>Home - Let’s cast the 'Knives Out' sequel</image:title>
      <image:caption>Adam Driver in Paterson</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1617370142271-ZTU25AMPI0DKDT11MKLQ/Knives-Out--e1584656491640.jpeg</image:loc>
      <image:title>Home - Let’s cast the 'Knives Out' sequel</image:title>
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      <image:title>Home - Let’s cast the 'Knives Out' sequel</image:title>
      <image:caption>Daniel Craig in Knives Out</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2019/7/17/oscars-2021-best-picture-contenders-vol-i-ahjft-dldtc-ndjs8-8ey24-ezxwj-lwgrf</loc>
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    <priority>0.5</priority>
    <lastmod>2021-03-12</lastmod>
    <image:image>
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      <image:title>Home - Final predictions: 2021 Oscars Best Picture nominees</image:title>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2019/7/17/oscars-2021-best-picture-contenders-vol-i-ahjft-dldtc-ndjs8-8ey24-ezxwj</loc>
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    <priority>0.5</priority>
    <lastmod>2021-02-10</lastmod>
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      <image:title>Home - Oscars 2021 Best Picture contenders: will the year’s most popular movies get nominated?</image:title>
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  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2021/1/12/highlights-from-the-virtual-sundance-film-festival/jacob-skubish</loc>
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    <lastmod>2021-02-03</lastmod>
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      <image:title>Home - Highlights from the (virtual) Sundance Film Festival</image:title>
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      <image:title>Home - Highlights from the (virtual) Sundance Film Festival</image:title>
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      <image:title>Home - Highlights from the (virtual) Sundance Film Festival</image:title>
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      <image:title>Home - Highlights from the (virtual) Sundance Film Festival</image:title>
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      <image:title>Home - Highlights from the (virtual) Sundance Film Festival</image:title>
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      <image:title>Home - Highlights from the (virtual) Sundance Film Festival</image:title>
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      <image:title>Home - Highlights from the (virtual) Sundance Film Festival</image:title>
      <image:caption>Photo: Sundance Film Festival</image:caption>
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      <image:title>Home - Highlights from the (virtual) Sundance Film Festival</image:title>
      <image:caption>Photo: Sundance Film Festival</image:caption>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/12/6/2020-in-review-/jacob-skubish</loc>
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    <priority>0.5</priority>
    <lastmod>2020-12-31</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1609436840665-3ITL59GU3TL775ZNF5G5/pjimage.jpg</image:loc>
      <image:title>Home - 2020 in review: on movies and loneliness</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1609436921551-LQ7JUBZGHDBSJ2DUJSI8/tenet-2.png</image:loc>
      <image:title>Home - 2020 in review: on movies and loneliness</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1609437058864-VKALAGHBAMR5HOFFRS7U/ghows-OK-201109965-952ddf91.jpg</image:loc>
      <image:title>Home - 2020 in review: on movies and loneliness</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1609436983544-OKG8OVIOJ67L153XPRMS/mangrove.jpg</image:loc>
      <image:title>Home - 2020 in review: on movies and loneliness</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/12/5/top-ten-pixar-movies/jacob-skubish</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-12-28</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1609167322830-C07U4CVZ7GPNGVM29JLY/the-incredibles.jpg</image:loc>
      <image:title>Home - Top ten Pixar movies</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1609165791958-QW3Z9PUPINNL0AUCDU6K/inspiring-new-trailer-for-pixars-soul-social.jpg</image:loc>
      <image:title>Home - Top ten Pixar movies</image:title>
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    <image:image>
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      <image:title>Home - Top ten Pixar movies</image:title>
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      <image:title>Home - Top ten Pixar movies</image:title>
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      <image:title>Home - Top ten Pixar movies</image:title>
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      <image:title>Home - Top ten Pixar movies</image:title>
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      <image:title>Home - Top ten Pixar movies</image:title>
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      <image:title>Home - Top ten Pixar movies</image:title>
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      <image:title>Home - Top ten Pixar movies</image:title>
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  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/12/5/top-ten-movies-of-2020/jacob-skubish-sk4ep-fz26x</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-01-18</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1608395128296-X0TG849UV9NFHYMIT4M6/537031985e3e80544e83f4a8e3ee63c5c7-tenet-review.2x.rsocial.w600.jpg</image:loc>
      <image:title>Home - Top ten scenes of 2020 - 7. The vault, tenet</image:title>
      <image:caption>There’s very little I can say about what’s happening in this scene, or when it takes place in Tenet, or who it involves. But if you watch the movie, you’ll know what I’m talking about. Nothing else in 2020 came close to the ambition and inventiveness Tenet embodies, and this is the scene where the story starts to come into focus. It’s an astounding work of trickery. Tenet is available online for purchase.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1608395170860-6Z7T2HRHBJD6IU1R6684/small-axe-mangrove-1.jpg</image:loc>
      <image:title>Home - Top ten scenes of 2020 - 8. Courtroom speech, Mangrove</image:title>
      <image:caption>When Mangrove turns into a courtroom drama in its latter half, what we are rooting for as an audience is justice in the form of these defendants’ freedom. But just as the Mangrove restaurant itself is a home for communal interaction among London’s West Indian population, the “Mangrove Nine” are aware that their trial is important beyond what happens to themselves individually. It’s all laid out in this speech by Malachi Kirby, both conventionally rousing and narratively original. Mangrove is available on Amazon Prime.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1608394070621-48QPKRB6AJ8RVMYO33VP/09a159ac-7c5c-477a-888d-0437e4790f7e.jpeg</image:loc>
      <image:title>Home - Top ten scenes of 2020 - 1. “Silly Games,” Lovers Rock</image:title>
      <image:caption>Lovers Rock is a work of constant movement, taking place largely on the dance floor of a London house party in the 1980s. Director Steve McQueen’s camera wedges its way into the crowd, twisting between sweaty DJs and swinging hips. It peaks with an extended dance sequence to Janet Kay’s “Silly Games,” a beautiful moment of love, sexual energy, and divine joy. When the track recedes and the song continues a cappella, Lovers Rock reaches a new level of glory. Lovers Rock is available on Amazon Prime.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1608395272595-FA0AQ2YTCYPQO5DE153B/Boys_State_Photo_0110.jpg</image:loc>
      <image:title>Home - Top ten scenes of 2020 - 10. procedural challenge, Boys State</image:title>
      <image:caption>The documentary Boys State follows a week-long camp for young government aficionados in Texas as they create a mock two-party system and hold a series of mock elections. There are many articulate, thoughtful young men in the film that inspire hope for the future of democracy. But there are also many scenes, like one in which two campaign managers get into a squabble about procedures and conflicts of interest at a campaign event, that make you think we’re all doomed. That the documentary can inspire both reactions is what makes it a success. Boys State is available on Apple TV+.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1608394900047-ETD4PWLRB0XA1R4OTU1B/Never-Rarely-Sometimes-Always-crying.jpg</image:loc>
      <image:title>Home - Top ten scenes of 2020 - 4. Health Screening, Never Rarely Sometimes Always</image:title>
      <image:caption>Throughout Never Rarely Sometimes Always you get the sense that Autumn (Sidney Flanigan) is holding something back. It’s as if fully expressing herself will open up the possibility of something terrible happening. When she receives a crucial health screening and finds herself in a place she can consider herself safe, all the withheld pain comes crashing out. Never Rarely Sometimes Always is available on HBO Max.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1608394809407-MXZ2G243WOU4RJQIBSP3/merlin_178233897_afb8272f-93a5-49e2-8b6a-5c1df0a14037-mobileMasterAt3x.jpg</image:loc>
      <image:title>Home - Top ten scenes of 2020 - 3. End credits, David Byrne’s American Utopia</image:title>
      <image:caption>Rarely would I even think about including an end credit sequence on a best scenes list, but this was one of the first scenes I thought of for this year. It’s a callback to an earlier musical sequence in the stage show and a reinforcement of the show’s key message: take a reality you see, put it in a different light, and watch the beauty that can result. David Byrne’s American Utopia is available on HBO Max.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1608395233607-AXW4J0QCUD5APZX94EX4/Screen-Shot-2020-10-21-at-12.14.31-e1603313072146.png</image:loc>
      <image:title>Home - Top ten scenes of 2020 - 9. Giuliani Interview, Borat Subsequent Moviefilm</image:title>
      <image:caption>Possibly the defining movie scene of the year. Maria Bakalova’s interview with renowned weasel Rudy Giuliani is more than a prank; it’s an evisceration of the complete lack of empathy and responsibility from the highest levels of American government. It’s ridiculous, hilarious, and deeply depressing. Borat Subsequent Moviefilm is available on Amazon Prime.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1608394988140-GZIEVX0LS2SNP6D4VGST/da-5-bloods-land-mine-scene-spike-lee-1592234239.png</image:loc>
      <image:title>Home - Top ten scenes of 2020 - 5. Land Mine, Da 5 Bloods</image:title>
      <image:caption>When the self-declared Bloods venture into the Vietnamese forest in search of gold, we get the sense this is a cathartic experience for a group of old geezers. There are disagreements and the men have evident trauma, but there’s little sense among the group of genuine danger. That all changes when they come across some live land mines left over from the war. The intensity ratchets up in an instant, and the stage is set for further tragedy to ensue. Da 5 Bloods is available on Netflix.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1608394735043-MU6WE3N58Q18MH3SVNOX/the-vast-of-night-image002-1590771425264.jpg</image:loc>
      <image:title>Home - Top ten scenes of 2020 - 2. basketball game, The Vast of Night</image:title>
      <image:caption>The opening scene of The Vast of Night follows a radio host in a small New Mexico town trying to fix malfunctioning devices during a basketball game, while a girl from the town tags along to learn more about the radio technology. But what’s happening matters less than what we are seeing: an extended tracking shot, swiveling through the gymnasium and the town’s desolate road, that announces the unique vision of first-time director Andrew Patterson. The Vast of Night is available on Amazon Prime.</image:caption>
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      <image:title>Home - Top ten scenes of 2020 - 6. Ending, Onward</image:title>
      <image:caption>Again, no spoilers here, but I will say that the ending to Pixar’s Onward made me cry like a baby. It’s classic Pixar material: you know exactly where it’s going and what emotional buttons it is going to push, but it still wrecks you. Onward is available on Disney+.</image:caption>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/12/5/top-ten-movies-of-2020/jacob-skubish-sk4ep</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-01-18</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607882781813-67QKP544AR3CTYQDE6NJ/delroy-lindo-monologue-da-5-bloods-2.jpg</image:loc>
      <image:title>Home - Top ten performances of 2020 - 3. Delroy Lindo, Da 5 Bloods</image:title>
      <image:caption>Lindo’s Paul struggles mightily to escape the horrors of the war he lived through, visibly wrestling with PTSD. His trauma is right on the surface, and there’s a direct correlation between this disillusionment and the “Make America Great Again” hat he proudly dons in the Vietnamese jungle. His downfall is a King Lear-level meltdown, and Lindo deftly weaves individual anguish into historical suffering. Da 5 Bloods is available on Netflix.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607881768417-OX6GN1BNYYZHJI0QB9AC/hugh-jackman.profile.jpg</image:loc>
      <image:title>Home - Top ten performances of 2020 - 10. Hugh Jackman, Bad Education</image:title>
      <image:caption>It feels strange to say that Hugh Jackman, one of the most successful Hollywood leading men of a generation, has gone overlooked. But that’s the case with his performance in Bad Education, an HBO original film based on a true story about a school administration mired in embezzlement claims. Jackman weaponizes his typical charm; he’s schmoozing with everyone from the beginning, but you can tell there is something broken beneath the surface. The fact that you can never quite tell whether he’s going to pull it together or go off the deep end is what makes the performance stand out. Bad Education is available on HBO Max.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607882493141-AM6L2P8KOWCRMUYHDD33/invisible_man.png</image:loc>
      <image:title>Home - Top ten performances of 2020 - 5. Elisabeth Moss, The Invisible Man</image:title>
      <image:caption>I’ve said it before and I’ll say it again: Moss is the best actress on the planet. Her role in The Invisible Man plays to the frantic, intense desperation she carries so well. But the role is also a blast, and Moss also showcases action star magnetism. After high-stress, powerhouse performances in this and Her Smell, I’m looking forward to a more laid-back Moss in The French Dispatch next year. The Invisible Man is available on HBO Max.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607882062433-BIT5YL6K3MRTVYRWQ4GW/MV5BNWZhZjY4ZGEtMGE3ZS00NTA3LTlmYzgtOTJjMGMxYWJmMWU1XkEyXkFqcGdeQWRvb2xpbmhk._V1_.jpg</image:loc>
      <image:title>Home - Top ten performances of 2020 - 8. Andy Samberg and Cristin Milioti, Palm Springs</image:title>
      <image:caption>Truly great rom-com performances are increasingly rare, but Palm Springs co-leads Samberg and Milioti are two of the best from the past few years. Samberg has long been a staple in network comedy but gets to showcase a different side in the film, beaten down by the world and less goofy than his usual persona. Milioti is someone I was unfamiliar with and now someone I can’t wait to see more of; even with Samberg on screen, she’s in control of every scene she is in. The two elevate broadly comic moments and also share a genuine connection. Palm Springs is available on Hulu.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607882253544-RHBSFMQ6C7VZ8PXGSMYJ/MV5BOWE0MjEwNGItMTVhMS00YWMwLTk4NzAtZWM0ZGMzYmRkNWE2XkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw%40%40._V1_.jpg</image:loc>
      <image:title>Home - Top ten performances of 2020 - 7. Orion Lee, First Cow</image:title>
      <image:caption>There is nothing monumental about the life of King-Lu, played by Lee in First Cow. He lives in a shack in the American northwest with a cook (John Magaro), hatching a scheme to sell oily cakes to settlers. But King-lu imbues this landscape with philosophical grandiosity. He’s ever aware of the arc of history but always living in the moment. Lee’s performance is soothing like a warm cup of chamomile tea; his wisdom is delivered with a delicate serenity. First Cow is available for rental on most platforms.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607882872141-U25JUFDEW70FJ8YDV52F/sound-of-metal-1200.jpeg</image:loc>
      <image:title>Home - Top ten performances of 2020 - 2. Riz Ahmed, Sound of Metal</image:title>
      <image:caption>Playing someone with a disability is a tightrope walk, but as a metal drummer coming to terms with his impending deafness Ahmed is a portrait of empathy. The frustration and determination to get around an unsolvable problem is deeply felt, as is the warmth he encompasses when he embraces an accepting community. Ahmed has movie star charisma, and I hope he gets more starring roles like this one. Sound of Metal is available on Amazon Prime.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607883009067-A7A09Z3C0J0JTJJDHL90/borat-subsequent-movie-film-rudy-giuliani-1603445267.jpg</image:loc>
      <image:title>Home - Top ten performances of 2020 - 1. Maria Bakalova, Borat Subsequent Moviefilm</image:title>
      <image:caption>There’s a lot made about the courageousness of Sacha Baron Cohen and Bakalova in Borat Subsequent Moviefilm, and rightfully so. The experiences they put themselves in range from painfully awkward to outright dangerous, and they never break character. But the function of Bakalova’s performance is only a fraction of what she brings to the screen. Bakalova’s Tutar is inquisitive, uninhibited, frightened, and batshit crazy in all the right moments. She pranks Rudy Giuliani and keeps up with Cohen, a seasoned comedy veteran. If there were any justice at the Oscars, we’d be recognizing comedic performances like hers. Borat Subsequent Moviefilm is available on Amazon Prime.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607882617915-ADS390ZUBU5YQ80PYTWC/Amanda-Seyfried-as-Marion-Davies-in-Mank.jpg</image:loc>
      <image:title>Home - Top ten performances of 2020 - 4. Amanda Seyfried, Mank</image:title>
      <image:caption>Seyfried is magnificent in a supporting role in David Fincher’s Mank. She’s been a burst of energy throughout her career, whether going big (Mean Girls, Mamma Mia!) or withdrawn (First Reformed). Everyone in Mank is playing caricature, but she’s the only one who’s able to do so while also developing a fully realized individual. Her meticulous annunciation, her careful New York accent, the guileless looks she throws Herman Mankiewicz’s (Gary Oldman) way—it’s a superb performance. But as with Erica Albright (Rooney Mara) in The Social Network, an outstanding performance by a female star is only incidental to Fincher’s vision. Mank is available on Netflix.</image:caption>
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      <image:title>Home - Top ten performances of 2020 - 9. Margot Robbie, Birds of Prey</image:title>
      <image:caption>Birds of Prey was a box office flop and summarily tossed aside upon its release in February. It’s a true shame, because Robbie is a genuine comic force as Harley Quinn, a flamboyant, ultra-violent Brooklynite just try to navigate her way through a man’s world. It’s a playful performance in a superhero movie better than nearly anything Marvel has ever put out. Birds of Prey is available on HBO Max.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607882360171-IABLYT4VAZKD57W5DMP1/_methode_times_prod_web_bin_55a8a2a0-1f80-11eb-a6f9-33c15bd31337.jpg</image:loc>
      <image:title>Home - Top ten performances of 2020 - 6. Malachi Kirby, Mangrove</image:title>
      <image:caption>Mangrove centers on the story of Frank Crichlow (Shaun Parkes), the owner of a restaurant repeatedly raided by the police. Crichlow gradually moves toward an understanding of why this injustice is occurring and what he can do about it. Local activist Darcus Howe, played by Kirby, has no delusions about the state of oppression in London or what must be done. He’s self-righteous and self-aggrandizing, forcing his voice to the top of the movement. But he also carries an air of nobility that makes this voice worth listening to. Mangrove is available on Amazon Prime.</image:caption>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/12/5/top-ten-movies-of-2020/jacob-skubish</loc>
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    <priority>0.5</priority>
    <lastmod>2021-01-18</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607213564928-JXW5VE23ZPCAZBPGN5CH/Julia_Garner_The_Assistant.jpg</image:loc>
      <image:title>Home - Top ten movies of 2020 - 7. The Assistant</image:title>
      <image:caption>The Assistant stars Julia Garner as an assistant at a film production company working for an executive who, it quickly becomes clear, is a sexual predator. The film is not an evisceration of a single man, however, but an examination of how power operates in the workplace, and how the things unsaid and actions not taken sustain a fundamentally corrupt institution. The Assistant focuses on a young woman at the bottom of the hierarchy and explores the pain, intimidation, and complicity she carries as part of this structure. With few showy moments, it’s an extraordinary performance from Garner. The Assistant is available on Hulu.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607213898413-WEHDZFA4NDUMM09YJYFX/da-5-bloods-2-1024x566.jpg</image:loc>
      <image:title>Home - Top ten movies of 2020 - 3. Da 5 Bloods</image:title>
      <image:caption>If a movie released in the past five years makes any attempt to comment on American society, you can be certain it will be labeled as saying something about the “Trump Era.” The genius of Spike Lee’s Da 5 Bloods is the way in which Lee manages to condemn the brutality the Trump Administration has wrought while connecting those horrors to the historical, systemic failures of this nation. This is the heart of the sermon in Da 5 Bloods: past is present, present is past, and the war against Black people never really ended. Da 5 Bloods is available on Netflix.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607875149569-VV03Y90NZ7PLNYLEVT4J/MV5BMWMyNTAyMWUtYzQ5OC00OGFiLTkzYmItZmNmMzNhMDcwMDhmXkEyXkFqcGdeQWFybm8%40._V1_.jpg</image:loc>
      <image:title>Home - Top ten movies of 2020 - 1. Sound of Metal</image:title>
      <image:caption>The most moving, and completely realized, film I saw all year comes from first-time director Darius Marder. Sound of Metal stars Riz Ahmed as a metal drummer who starts to go deaf and must grapple with how his life will change forever. It’s a film about a lot of things—disability, addiction, anxiety, purpose—without ever being “About” any of them. Sound of Metal is gorgeously composed and carried by a complex, poignant performance from Ahmed. Sound of Metal is available on Amazon Prime.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607213617425-6VJKJBZPRPNP19J8IX2M/never-rarely-sometimes-always.jpg</image:loc>
      <image:title>Home - Top ten movies of 2020 - 6. Never Rarely Sometimes Always</image:title>
      <image:caption>In Never Rarely Sometimes Always, two teens travel across state lines so that one of them can get an abortion. Director Eliza Hittman’s film takes a somber approach to the subject matter; from the beginning, you can feel just how exhausted the pair is by the world, and how unsurprised they are by its injustices. It’s a damnation of American public health and male egocentrism, buoyed by great performances from Sidney Flanigan and Talia Ryder. Never Rarely Sometimes Always is available on HBO Max.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607213752733-GILVHJNTDA60EKGMZ0E5/image_12528bbd.jpg</image:loc>
      <image:title>Home - Top ten movies of 2020 - 5. Hamilton</image:title>
      <image:caption>Hamilton burst onto Broadway in 2015 with a five-year run that earned the show a rabid following and a near-universal seal of approval. Backlash was inevitable, and the show hit Disney+ this year to praise but also criticism of its adoration for the slave-owning founders of the United States. What these critics often fail to recognize is how the film purposely uses a false history to show how mutable history is, how narratives are defined by those in power, and how we have the power to change the historical narratives we create. The streamed show is also a accomplishment in editing, seamlessly piecing together three different shows into one movie, and accessibility, making a major artistic project available to millions who could never get a Broadway ticket. Hamilton is available on Disney+.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607213829403-QJSJUAKMNL9Q0PAE6Z7W/intro-1582573200.jpg</image:loc>
      <image:title>Home - Top ten movies of 2020 - 4. The Invisible Man</image:title>
      <image:caption>The COVID-19 pandemic caused most studios to push their biggest blockbusters to 2021. Plenty of great films still came out in 2020, but there was a dearth of plain-old fun. Thankfully we were able to get The Invisible Man, easily the most fun I had with a movie this year. The horror film stars Elisabeth Moss contending with her abusive ex-husband, dead but somehow not quite gone. There are lots of jump scares, but none are cheap; The Invisible Man uses its conceit for memorable, inventive visual moments. And Moss reaffirms her status as best actress on the planet. The Invisible Man is available on HBO Max.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607213328880-SJC3BMKU92FPEPTEOYYK/YPV42PP3ENB4VISNMXTFZ462W4.jpg</image:loc>
      <image:title>Home - Top ten movies of 2020 - 9. Time</image:title>
      <image:caption>Time tells the story of Fox Rich as she fights to get her husband released from prison over the course of two decades. The film blends grainy home video footage with hi-def documentary filmmaking, then scrambles the videos into a nonlinear medley. It’s a feat of editing, serving the message that the concept of time is elusive during these decades in limbo. Unlike other stories of imprisonment, Time also fixates on a subject unquestionably guilty of the crime, showing that inmates do not need to be innocent for this system to be immoral. Time is available on Amazon Prime.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607213404060-UPXPXC92MEOG2ISRPW37/NYFF58_Mangrove-1600x900-c-default-copy-1600973476-928x523.jpg</image:loc>
      <image:title>Home - Top ten movies of 2020 - 8. Mangrove</image:title>
      <image:caption>Mangrove is the first of the five-part Small Axe series from director Steve McQueen, each of which tells a different story about the West Indian community in London. Disguised as a formally standard courtroom drama, Mangrove is a unique, inventive story about resistance, systems of oppression, and the value of having your own space. Incredible performances from Shaun Parkes, Letitia Wright, and Malachi Kirby center the film. Mangrove is available on Amazon Prime.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607213136684-V51KYRMCB84JMY9OZ9Q1/first-cow-movie-review-2020_wide-866aa7ce8c33aab3f0511b75b7953ed7f913cb85.jpg</image:loc>
      <image:title>Home - Top ten movies of 2020 - 10. First Cow</image:title>
      <image:caption>Kelly Reichardt’s First Cow follows the relationship between Cookie (John Magaro), an American nomad, and King-Lu (Orion Lee), a Chinese immigrant, on the 1820s Western frontier. The pair form an economic bond, selling oily cakes to local settlers, but the foundation of the story is their loving friendship. Reichardt takes a small-scale story and infuses it with the weight of history; stories like Cookie and King-Lu’s might not make textbooks, but they are formative American episodes. First Cow is available for rental on most platforms.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607213959077-Z031ZN6YR31ULTKKTNN8/americanutopia_hbo.jpg</image:loc>
      <image:title>Home - Top ten movies of 2020 - 2. David Byrne’s American Utopia</image:title>
      <image:caption>In a year in which we have all been forced to keep our distance, it’s fitting that one of the best things I’ve seen is about the magic that happens when people get together. For all the world-weariness embedded in David Byrne’s musical style there has always been a faith in humanity, and never more so than in this filmed production of his Broadway show. Combined with Spike Lee’s typically forceful direction it’s both a righteous call to action and, incredibly, the only movie that truly made me feel hopeful this year. It doesn’t hurt to sing along to classics like “Once in a Lifetime,” either. David Byrne’s American Utopia is available on HBO Max.</image:caption>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2019/7/17/oscars-2021-best-picture-contenders-vol-i-ahjft-dldtc-ndjs8-8ey24</loc>
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    <priority>0.5</priority>
    <lastmod>2020-12-10</lastmod>
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      <image:title>Home - Oscars 2021 Best Picture contenders: let’s talk about Netflix</image:title>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/12/6/mank-hates-the-movies-and-the-people-who-make-them/jacob-skubish</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-12-08</lastmod>
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      <image:title>Home - 'Mank' hates movies and the people who make them</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/11/14/five-2020-movies-to-stream-now/jacob-skubish</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-11-14</lastmod>
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      <image:title>Home - Five 2020 movies to stream now</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1605387921974-K0YB3ALEC6UGESLFWZLZ/AMERICAN_UTOPIA_S_0300s-696x442.jpg</image:loc>
      <image:title>Home - Five 2020 movies to stream now</image:title>
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      <image:title>Home - Five 2020 movies to stream now</image:title>
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      <image:title>Home - Five 2020 movies to stream now</image:title>
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      <image:title>Home - Five 2020 movies to stream now</image:title>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2019/7/17/oscars-2021-best-picture-contenders-vol-i-ahjft-dldtc-ndjs8</loc>
    <changefreq>monthly</changefreq>
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    <lastmod>2020-10-28</lastmod>
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      <image:title>Home - Oscars 2021 Best Picture contenders: another frontrunner gets delayed</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1603849067573-HKAJ4TCSXY34WF44LAIM/Screenshot-2020-07-09-15.33.29-a4ba923.jpg</image:loc>
      <image:title>Home - Oscars 2021 Best Picture contenders: another frontrunner gets delayed</image:title>
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  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/10/18/the-confused-politics-of-the-trial-of-the-chicago-7/jacob-skubish</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-10-18</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1603061896424-63VDPEIH0OWJRKEWHVJ6/merlin_177227988_de81c935-ade5-46bf-80b2-094c38758f25-mobileMasterAt3x.jpg</image:loc>
      <image:title>Home - The confused politics of ‘The Trial of the Chicago 7’</image:title>
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  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/10/6/watch-this-on-netflix-noah-baumbachs-kicking-and-screaming/jacob-skubish</loc>
    <changefreq>monthly</changefreq>
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    <lastmod>2020-10-06</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1602004422575-K8P2TYKKKCM1V0E5IB6X/kicking-and-screaming-1200-1200-675-675-crop-000000.jpg</image:loc>
      <image:title>Home - Watch this on Netflix: Noah Baumbach’s ‘Kicking and Screaming’</image:title>
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  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/10/4/dick-johnson-is-dead-shows-the-limits-of-meta-storytelling/jacob-skubish</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-10-05</lastmod>
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      <image:title>Home - ‘Dick Johnson Is Dead’ shows the limits of meta-storytelling</image:title>
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  </url>
  <url>
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    <lastmod>2020-09-28</lastmod>
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      <image:title>Home - Oscars 2021 Best Picture contenders: 'Nomadland' is the early frontrunner</image:title>
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      <image:title>Home - Oscars 2021 Best Picture contenders: 'Nomadland' is the early frontrunner</image:title>
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      <image:title>Home - Oscars 2021 Best Picture contenders: 'Nomadland' is the early frontrunner</image:title>
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  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/9/19/five-2020-movies-you-can-stream-for-free/jacob-skubish-az9wf</loc>
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    <lastmod>2020-09-23</lastmod>
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      <image:title>Home - Five 2020 movies you should stream</image:title>
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      <image:title>Home - Five 2020 movies you should stream</image:title>
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      <image:title>Home - Five 2020 movies you should stream</image:title>
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      <image:title>Home - Five 2020 movies you should stream</image:title>
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  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/9/6/charlie-kaufman-is-stuck-inside-his-own-head/jacob-skubish</loc>
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    <lastmod>2020-09-06</lastmod>
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      <image:title>Home - ‘Palm Springs’ and the trouble with changing a proven formula</image:title>
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      <image:title>Home - Oscars 2021: Best Picture contenders, Vol. I</image:title>
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      <image:title>Home - Oscars 2021: Best Picture contenders, Vol. I</image:title>
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      <image:title>Home - Oscars 2021: Best Picture contenders, Vol. I</image:title>
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      <image:title>Home - Oscars 2021: Best Picture contenders, Vol. I</image:title>
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      <image:title>Home - Oscars 2021: Best Picture contenders, Vol. I</image:title>
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      <image:title>Home - Oscars 2021: Best Picture contenders, Vol. I</image:title>
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      <image:title>Home - Oscars 2021: Best Picture contenders, Vol. I</image:title>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/6/15/da-5-bloods-and-the-war-that-never-ended</loc>
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    <lastmod>2020-07-10</lastmod>
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  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/5/30/the-movie-star-draft-who-are-hollywoods-next-stars</loc>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/5/19/lynn-shelton-saw-through-the-bullshit</loc>
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    <lastmod>2020-07-10</lastmod>
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      <image:title>Home - Lynn Shelton saw through the bullshit</image:title>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/2/15/bigshort-income-inequality-m4tk8-jm96x</loc>
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    <priority>0.5</priority>
    <lastmod>2020-07-10</lastmod>
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      <image:title>Home - 'The Big Short' // Income Inequality</image:title>
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  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/2/15/harlancounty-income-inequality-t9hnd</loc>
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    <priority>0.5</priority>
    <lastmod>2020-07-10</lastmod>
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      <image:title>Home - 'Harlan County U.S.A.' // Income Inequality</image:title>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/2/15/sorrytobotheryou-income-inequality</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-07-10</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588946635444-NASSXZYF8YHR6TZ4GGLL/sorry-to-bother-lead.jpg</image:loc>
      <image:title>Home - 'Sorry to Bother You' // Income Inequality</image:title>
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  <url>
    <loc>https://skoobywatchesmovies.com/recent-movie-news/2020/5/2/my-25-favorite-movies-of-all-time</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-07-10</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588457118749-U4P2PXS5W59J7CXPSZSD/ca-times.brightspotcdn.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - Roman Holiday (1953)</image:title>
      <image:caption>I’ll be honest: I don’t know if Roman Holiday is one of my 25 favorite movies. It’s probably close. But I couldn’t construct this list without including an Audrey Hepburn movie on it. She’s the most captivating actress in the history of movies, and every time she smiles it’s a small miracle.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588457523442-KM8MFBCEBYX3EWZPN2JO/maxresdefault.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - The Wizard of Oz (1939)</image:title>
      <image:caption>How do you describe a movie as big as The Wizard of Oz? It almost feels like words cannot do it service. It’s not just one of the great movies; it is the movies. The Wizard of Oz is pure magic, visually groundbreaking, and endlessly satisfying. If we remember any movie in 500 years it’s going to be this one, because the metaphor is malleable in a way that feels biblical. As Roger Ebert put it: “The Wizard of Oz touches on the key lesson of childhood, which is that someday the child will not be a child, that home will no longer exist…but you can ask friends to help you.” Amen.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588456039240-HZPYSFDXBNRTQ9O7YU05/MV5BMTU4N2I1OTItNGI3ZC00NWM5LThmYWItZTYwNmIwM2Y5NTM3XkEyXkFqcGdeQXVyMjk3NTUyOTc%40._V1_.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - Cool Hand Luke (1967)</image:title>
      <image:caption>Cool Hand Luke, the story of a man who repeatedly tries to escape his confinement in a prison, is the classic tale of a rebellious spirit that can’t be contained by society. What elevates the film to greatness is the scheming eyes of Paul Newman, one of the most magnificent stars to ever grace the big screen. His face says that he is not just fighting back, but that he knows something about life the rest of us could never see. Nobody else could ever make eating 50 eggs look so damn cool.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588456468126-FU0KD9GM4ZCJT8V5AW8E/eternalsunshine.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - Eternal Sunshine of the Spotless Mind (2004)</image:title>
      <image:caption>Probably my favorite movie of all time, if only for the fact that it captures damn near everything I love about movies. It’s an action movie, a comedy, a drama, a romance, a mystery, and a sci-fi adventure all wrapped into one. It’s visually innovative and narratively complex, yet it’s not difficult to follow. The performances are suberb but never showy, and they’re always backed up by great writing. The score is like nothing I’d ever heard before or since. And the blend of tragedy and joyousness at the absurdity of life in the film’s ending gets me every time.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588457311455-IA6DTCGC37ZPV1YOF5XP/EOqsuFtX4AE7bEL.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - The Dark Knight (2008)</image:title>
      <image:caption>The Dark Knight is the movie that got me into movies. I might see a better movie in my lifetime, but nothing will ever be as exciting as the first time that sixth-grade me saw this one in the theaters. Heath Ledger’s performance as the Joker remains, and will likely long remain, my favorite villainous performance in any movie.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588456096793-BGMMF59MZPC2DCDH6JX5/dazedandconfused_1280_2.png</image:loc>
      <image:title>Home - My 25 favorite movies of all time - dazed and Confused (1993)</image:title>
      <image:caption>Congratulations to Richard Linklater, the only director with two films in my top 25. The prevailing sentiment of Dazed and Confused is that the present is something to both be enjoyed to the fullest but inevitably undervalued. It’s tragic, and beautiful. There are not many perfect movies. Dazed and Confused is one of them.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588457361531-I9AXTIXD4EZ85AZ7WK8P/the-royal-tenenbaums-1200-1200-675-675-crop-000000.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - The Royal Tenenbaums (2001)</image:title>
      <image:caption>When people parody Wes Anderson movies they often portray his idiosyncrasies as overly rigid or unfeeling. But the tight-lipped, finely constructed universe of Anderson movies tends to get at a deeper level of emotional wisdom than most dramas with weepy dialogues could ever dream of. Anderson characters are usually tight-lipped for one of two reasons: they are so emotionally stunted that they can’t communicate what they really want to say, or they are so emotionally enlightened that they don’t need to say much for you to understand everything. Tenenbaums has both in spades, all set to one of the best damn soundtracks ever created.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588455775088-PFSLKV1AMX27M7XYTYLM/3-3.png</image:loc>
      <image:title>Home - My 25 favorite movies of all time - Before Sunset (2004)</image:title>
      <image:caption>At the heart of every Richard Linklater movie is a fascination with how time functions in our lives: how we reconstruct the past, misread the future, and fail to appreciate the present. In Before Sunset, the second of Linklater’s Before trilogy, all of this happens at once, as Jesse (Ethan Hawke) and Celine (Julie Delpy) reconnect after nine years apart. The film changes every time I watch it: sometimes the possibility of their romance feels like the most important thing in the world, and sometimes it feels like an awful idea. But the depth of their connection always matters in the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588456612264-AK39I0F9RYZFRJKL33TO/MV5BODIzMzI1ODE2Nl5BMl5BanBnXkFtZTcwNjgzOTI2OQ%40%40._V1_SY1000_CR0%2C0%2C1429%2C1000_AL_.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - Ferris Bueller’s Day Off (1986)</image:title>
      <image:caption>John Hughes movies are defined by teens rebelling against their parents (Judd Nelson yelling “Hey, smoke up, Johnny!” in The Breakfast Club immediately jumps to mind). Ferris is special because this isn’t quite the case. Sure, he’s cutting class, lying to his parents, and pissing off the principal. But more than an act of defiance against authority, Ferris is taking a day off because he knows moments like these go by quickly in life, and they are meant to be grasped tightly and enjoyed in the fleeting time they occur. I’ve been trying to be as cool as Ferris Bueller every day of my life since I was 13.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588457435238-APOHY3E606KVGIH6CG40/the-social-network.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - The Social Network (2010)</image:title>
      <image:caption>My favorite writing in any movie, ever. At breakneck speed, Aaron Sorkin turned the story of a nerdy college student inventing a time-sucking website into the most thrilling procedural of the past twenty years. There are so many lines I will never stop quoting (I’m 6’5’’, 220, and there’s two of me; if you were the inventors of Facebook you’d have invented Facebook; etc. etc.). But mostly, I’m grateful for this movie so I can keep shouting MARK every day of my life.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588456940285-OMZUUNYW8HFQKPLUEI6K/little-women-sony-pictures-1565716806.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - Little Women (2019)</image:title>
      <image:caption>The most recent film to earn a spot on this list, I recently rewatched Little Women to make sure it deserved to make my top 25. The question I had after the rewatch was whether Greta Gerwig’s adaptation is my favorite movie ever made. The meta-textual genius of Gerwig’s screenplay, about storytelling in both its content and structure, is astonishing. The film covers wealth, gender, art, creativity, love, and how to live a good life by living for other people. On top of all of that, Saoirse Ronan may end up being the best actress in history, and every other scene makes me weep like a baby. Gerwig has directed two movies, and they’ve both been perfect. I’m there on day one for whatever she does next.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588456416846-QM5D7NHI25UZSDMLK6SP/do_the_right_thing_4_-_h_-_1989.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - Do the Right Thing (1989)</image:title>
      <image:caption>Do the Right Thing, Spike Lee’s greatest achievement, ends with two quotes, one from Martin Luther King, Jr. and the other from Malcolm X. The King quote tells us that “Violence as a way of achieving racial justice is both impractical and immoral,” while the X quote tells us that "I don’t even call it violence when it’s self-defense, I call it intelligence.” It’s not clear which side Spike’s film lands on, or if it’s intended to praise both, or even neither. But it does celebrate the righteous vindication of those fed up with American racism. Do the Right Thing might not tell us what the right thing is, but it forcefully argues that the world we live in today isn’t close.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588457758477-WTT9YIA85GD7OEJMRTJW/1_7up.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - ‘Up’ series (1964-2019)</image:title>
      <image:caption>The documentary genre tries to capture a slice of life and generalize its lessons: this thing happened to these people, and this is what that means for you. The Up documentary series does this for life itself. Beginning in 1964 and continuing every seven years, this series follows a dozen or so British citizens from the time they were seven years old (the most recent installment, released last year, checks in on them at age 63). There are sociological implications aplenty in how their lives unfolded, but the emotional gravitas of watching a life happen is unparalleled. No movies have ever made me more aware of how fragile, or beautiful, life really is. It’s a cheat to include nine movies in one slot, but I couldn’t possibly leave off these documentaries.</image:caption>
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      <image:title>Home - My 25 favorite movies of all time - Goodfellas (1990)</image:title>
      <image:caption>“As far back as I can remember I always wanted to be a gangster.” So begins Goodfellas, with one of the great opening lines in movie history. Martin Scorsese’s landmark crime movie is a hell of a good time, but beneath the surface of the violence is the painful pang of regret at a life gone awry. In Scorsese movies, everyone has a plan, until suddenly nothing is in their control any longer. But as long as it is, I never want to stop watching.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588457618443-GEWKE9IOWQG16HPS9FQ9/best-pixar-movie-romance.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - Wall-E (2008)</image:title>
      <image:caption>Pixar movies were the logical choice to include at least one animated film on this list, and it was so hard to choose between Wall-E and Ratatouille. Ultimately, the reason Wall-E takes it is because, in the long stretches without dialogue in the film, director Andrew Stanton tells this story in breathtaking visual detail, and gets at the essence of what makes animated movies exciting.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588456749301-KBKUEIU06EYW7U94Q65N/MV5BMTU1MjE5MDA4MV5BMl5BanBnXkFtZTcwMDAxMTkxNA%40%40._V1_SY1000_CR0%2C0%2C1558%2C1000_AL_.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - Groundhog Day (1993)</image:title>
      <image:caption>Twenty-five years later, Groundhog Day’s structure is not only iconic, but standard in American popular culture. I’m not sure there’s any single reason there have been so many films that have repurposed the Groundhog Day template in recent years. But maybe the reason Groundhog Day has been so often imitated over time is because recognizing our default mode of operation and changing for the better is a really hard lesson to learn, albeit a profound one, and only possible if we have the chance to step back and see it. And I think, to some small degree, that having Groundhog Day exist as a commonly understood touchpoint in our cultural lexicon can help us get there.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588456846917-P9QNS6PSPGD9TG1GMFUK/martin-brody-jaws-1024x576.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - Jaws (1975)</image:title>
      <image:caption>After a hard-fought battle with E.T., Jaws emerged as the one Spielberg movie I’m limiting myself to on this list. As an adventure film it remains thrilling 45 years after its release, and as a template for the Hollywood blockbuster it remains unparalleled in influence. When you watch a great Spielberg movie you feel like you are eight years old again, awed anew by the magic of the world, and few other directors can pull off such a distinct feeling in their movies.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588456997864-9TK7DL4OBR8TER38M26R/moonlight-5-magnum.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - Moonlight (2016)</image:title>
      <image:caption>Moonlight is a heartache of a film, and it’s stunning for the way it lends transformative power to the small moments in life. Chiron’s identity is forged in schoolyard scuffles and swimming lessons, and the episodic nature of his growth supplies every moment in the film with a palpable gravitas. The deep emotional consequence of Chiron’s loneliness stems from this arc: he is the sum of these experiences, no matter how much he tries to start over, and these experiences are largely outside of his control.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588457064829-94QB2D4MZE2220IRFA6U/One-Flew-Over-the-Cuckoo%E2%80%99s-Nest-1400x788.png</image:loc>
      <image:title>Home - My 25 favorite movies of all time - One Flew Over the Cuckoo’s Nest (1975)</image:title>
      <image:caption>One of the movies that first made me fall in love with cinema. Jack Nicholson is the all-time “what the fuck is he doing?” actor; what everyone loves Nicholas Cage for ironically, Nicholson pulls off genuinely. Like Cool Hand Luke, another story of a man rebelling against an oppressive system, with heart-wrenching results.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588457712335-MTNK35OISXM0NXHGDLO0/when-harry-met-sally.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - When Harry Met Sally (1989)</image:title>
      <image:caption>The quintessential rom-com that single-handedly influenced every rom-com in the 30 years since. Long before New York As A Character or fussy-beauty-bickers-with-Jewish-neurotic became cliches, writer Nora Ephron was inventing an entirely new type of story. And as Sally, Meg Ryan gives one of the great romantic lead performances of all time.</image:caption>
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      <image:title>Home - My 25 favorite movies of all time - Die Hard (1988)</image:title>
      <image:caption>The greatest action movie ever made. You can read into the depth of the movie if you want to, but the reason Die Hard is so effective is its simplicity: it has great characters, a unique evil villain, and a litany of nuanced supporting players. And unlike many of the Schwarzenegger-y muscle movies of the 80s or the superheroes of today, Bruce Willis’ John McClane charms because he’s not more than human; he’s just a guy stuck in a bad situation trying to do the right thing. Oh, and it happens to be the best Christmas movie of all time, too.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588456349774-BV383Z6IYF2GV8V43TRY/donnie-darko2_1.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - Donnie Darko (2001)</image:title>
      <image:caption>Donnie Darko is beloved by many, but I fear there’s a misconception among wider moviegoing audiences that this is some sort of weird, emo movie about a high school loner. That’s the costume it comes in, but there’s so much more underneath. Donnie Darko is about creativity, about living life genuinely, and about living in the world with a love for those around you. When everything comes together by the film’s conclusion, you can see it for all that it is.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588457185762-DB383HTAN530890YTMY8/some-like-it-hot-marilyn-monroe.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - Some Like It Hot (1959)</image:title>
      <image:caption>Billy Wilder’s 1959 film considers gender dynamics in a way that was ahead of its time, and the writing is top-notch. But the reason to watch is Marilyn Monroe, who stars as a member of a band who Jack Lemmon and Tony Curtis’s characters each fall in love with. Monroe was a divine comic performer, and her notorious sexiness on screen was always subversive and self-aware. Stick around till the end for one of the great closing lines in movie history.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588457560359-WKF3BG1Z74H73RLMKAIE/vertigo-ss1.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - Vertigo (1958)</image:title>
      <image:caption>According to the British Film Institute Vertigo is the best movie of all time. Why? Somehow, I think its lack of explicit meaning is what elevates Vertigo as one of the great films in history. Vertigo is a purely sensory experience, and more than almost any film evokes a sense of implacable wonder. It’s about the feelings that films have the capacity to give us. Or, more than that, it is those feelings. It also happens to be Hitchcock’s best.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588455961079-YCIP29NVCNN8LP3DVP83/Chaplin_073015.jpg</image:loc>
      <image:title>Home - My 25 favorite movies of all time - City Lights (1931)</image:title>
      <image:caption>One of the great love stories in movie history, Charlie Chaplin’s City Lights follows the Tramp as he tries to win the affection of a blind woman. But ever the subversive, Chaplin also makes the film about class struggle and the daily life of working people. When the Tramp tries to arrange for a surgery to cure the woman’s blindness, the tension is not just in whether she will love him, but whether she can love a man of his economic status. It’s profound, and deeply romantic.</image:caption>
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      <image:title>Home - The best movie of the year is streaming on Hulu</image:title>
      <image:caption>Marianne</image:caption>
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      <image:caption>Héloïse</image:caption>
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      <image:caption>Left: Sharon Tate. Right: Margot Robbie as Sharon Tate in Once Upon a Time … in Hollywood (2019).</image:caption>
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      <image:title>Home - Rom-com bracket: vote on the Sweet 16</image:title>
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      <image:title>Home - Rom-com bracket: vote on the Sweet 16</image:title>
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      <image:title>Home - Rom-com bracket: vote on the Sweet 16</image:title>
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      <image:title>Home - Rom-com bracket: vote on the Sweet 16</image:title>
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      <image:title>Home - Rom-com bracket: vote on the Sweet 16</image:title>
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      <image:title>Home - Rom-com bracket: vote on the Sweet 16</image:title>
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      <image:title>Home - Rom-com bracket: vote on the Sweet 16</image:title>
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      <image:title>Home - Rom-com bracket: vote on the Sweet 16</image:title>
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      <image:title>Home - Rom-com bracket: vote on the Sweet 16</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: round 2 results</image:title>
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      <image:title>Home - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Home - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Home - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Home - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Home - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Home - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Home - Rom-com bracket: round one results</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552865911527-6NIS9KM9WB0AK1AKGEUI/13-Going-30.JPG</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Elite 8</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/romcom-bracket-breakdowns/2019/3/16/rom-com-bracket-vote-on-the-sweet-16-t778r</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-07-10</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552761052855-OTOEBM22A930EBQCOAC9/MV5BOGFiYTA0NzYtNzdkZi00ZTAzLTk4M2ItYTMxYmM1OWM5M2I2XkEyXkFqcGdeQXVyNTQxMTIxMTk%40._V1_.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552866204360-ZCQRBFGUQE6RG8SWI6UA/40-year-old-virgin-review.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552762976391-NDRX9FW6T8ZEG53QTZKE/MAINNOTTINGHILL.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1553344065929-VVIV9PS0LTRXJ59NTG4X/my_big_fat_greek_wedding_2002_corbett_vardalos.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552866493479-QJRWR0ULWR45AQAQ3OBV/amelie-recommendation-videoSixteenByNineJumbo1600.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1553344516056-V5EG02804ZTBOAIVJV6U/silver-linings-playbook03.jpeg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
    </image:image>
    <image:image>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1553303597656-OKKQ8HBHS4US2IEP4GII/Bracket+Round+3_Bracket.png</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
      <image:caption>Image by Zoë Ryan</image:caption>
    </image:image>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552865911527-6NIS9KM9WB0AK1AKGEUI/13-Going-30.JPG</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1553344110489-IVJMU6NBAJAXUBU38M0D/seattle-e1529542864125.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1553344300323-TDBPS5RCD5ITVKNINZ5B/YOUVE_GOT_MAIL_CAFE_LALO_SEAT_UPPER_WEST_SIDE.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the Sweet 16</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/romcom-bracket-breakdowns/2019/3/16/rom-com-bracket-vote-on-the-field-on-32-g7z2c</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-07-10</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552865911527-6NIS9KM9WB0AK1AKGEUI/13-Going-30.JPG</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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    <image:image>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552866698733-11FE1Z4VBDE54B9YG1R5/1458621858-0.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552762623007-GTKDVBGGDNQDB1B5CMD1/fourweddings_hed.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552762308698-U6SEUJBLGOC1DGCUY5Z5/YOUVE_GOT_MAIL_CAFE_LALO_SEAT_UPPER_WEST_SIDE.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552762884012-2IFEE5C5NBNAIWYKESPK/rehost-2016-12-13-f9a12ea7-1c39-489d-8723-63f07a057b98.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552866344134-UR1WTRLVWQEEC3DE6Y7Q/keira-knightley-loveactually.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
    <image:image>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552866897206-A7R17HVU7SHDPTHOT63Z/6be081d5-6af4-40dc-9e53-8859691dbf79.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552762334266-6NC08X2D77SL18S4DYEF/b5927342-7d48-4f58-b929-4350370b1c61.png</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552762928581-1W8QV6L3X82P74PN01B3/image.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
    <image:image>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
      <image:caption>Image by Zoë Ryan</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552865660937-YW0PNIONN12KKFYSTZ09/as-good-as-it-gets-08.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552866204360-ZCQRBFGUQE6RG8SWI6UA/40-year-old-virgin-review.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
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      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552866379180-I9N9BUDYLXVYQ0AT1MXO/MV5BNjI0Y2JiMWEtZWVkNC00OTA4LWI1OTQtM2QzYTY5N2Y0NDIwXkEyXkFqcGdeQXVyNTAzOTQ2ODU%40._V1_.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552866024611-COVMQ9L09PSP93QCLCZV/friends-with-benefits.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552865798414-7R23WRJMIO5SC66TUDIE/love-simon-web-3.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: vote on the field of 32</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/romcom-bracket-breakdowns/2019/3/9/rom-com-bracket-vote-on-the-field-of-68-contenders-zwxat</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-07-10</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552228501056-WRX6FUT5QAHQH66OHCE1/grossehed.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: Vote on the field of 68 contenders</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552229639031-1D0H1IKPKOFJDUNFE1XC/obvious-child-wide.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: Vote on the field of 68 contenders</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552226585139-1KMRUR3PHEK4EEECQHC5/6be081d5-6af4-40dc-9e53-8859691dbf79.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: Vote on the field of 68 contenders</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552229809598-47JK12UIXOU4P2ZCJJME/rehost-2016-12-13-f9a12ea7-1c39-489d-8723-63f07a057b98.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: Vote on the field of 68 contenders</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552229473485-NZ7YW4FCSZTQYZA61X70/MV5BYmUxMmRiNzUtYzk5Mi00ZDE3LWFiMjItOWI3ODljYzQzYTkyXkEyXkFqcGdeQXVyMTI3MDk3MzQ%40._V1_.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: Vote on the field of 68 contenders</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552228040540-GU7218OM1ELW2UO7HOT3/eed518d8-5ce9-4605-bb96-7a760c125b2a.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: Vote on the field of 68 contenders</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552228238772-KYZ4EJJBGLPGAPJIWSG6/f7b3a3e12e5aedc37d5b9d71a7233bb2.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: Vote on the field of 68 contenders</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1552227216984-HJEDK4PZDE3BGCF7P4J8/1545618423820.jpg</image:loc>
      <image:title>Rom-Com Bracket - Rom-com bracket: Vote on the field of 68 contenders</image:title>
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      <image:caption>In director Kogonada’s debut feature Columbus, which premiered at Sundance in 2017, characters grapple with loss in the “Modernist Mecca” of Columbus, Indiana, home to many architectural wonders from the likes of I.M. Pei and other titans of the industry. In an interview about the film, Kogonada spoke about why he was drawn to building a story around architectural design. “Architecture is the art of space,” Kogonada said. “It also constructs our sense of emptiness. It makes us see nothingness and absence in a way that, without it, is almost invisible to us.” After Yang is Kogonada’s follow-up to Columbus, and the film is a poignant transfiguration of that architectural exploration of nothingness from the physical realm to the sensory, emotional, and philosophical. The film stars Colin Farrell and Jodie Turner-Smith as a couple who purchase a human-like A.I. automaton named Yang (Justin H. Min) to support their daughter Mika (Malea Emma Tjandrawidjaja). When Yang suddenly malfunctions and shuts down, the family scrambles to fix Yang and confronts the possibility that he may be beyond recovery. Kogonada employs unique editing choices to explore the complexities of perspective in After Yang, a film just as patient as Columbus but more formally playful. Its title is wonderfully deceptive — the events take place not in the aftermath of the loss of Yang but in the thick of it, yet the film suggests that everything happening now will forever color everything that is yet to come. The highlight of the film is its emotionally riveting memory sequences, accompanied by an astonishing piano score by ASKA. Just as the memories of its characters take on meaning with the passing of time, After Yang is a film that has grown in my estimation since I watched it. It’s a beautiful story about memory, loss, and the power of imagery. After Yang is one of the best films of the year, and one I can’t wait to watch again. After Yang is available for rental.</image:caption>
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      <image:caption>Much has been made about the cultural legacy — or lack thereof — of James Cameron’s Avatar. How could the highest grossing movie of all time, its critics ask mockingly, leave behind no discernible impact, no lasting conversation? Where are the die-hard Avatar fans? If a blockbuster grosses two billion dollars and nobody continues to talk about it, did it even matter? At the risk of offering a half-baked galaxy-brain idea, I’d like to suggest that Avatar’s lack of cultural legacy is, in fact, the legacy of the film, and its status as the blockbuster no one cares about reveals just how much the entertainment industrial complex has changed since the first Avatar film was released 13 years ago. Consider the highest grossing movies of all time upon Avatar’s release: Titanic, The Lord of the Rings: Return of the King, Jurassic Park, Pirates of the Caribbean: Dead Man’s Chest, and The Lion King (1994). Each was billed as an event, less something to argue over or adorn with hot takes than an entertaining product that you saw because everyone else did. I balk at the term “monoculture,” a condition that likely never existed, but I do think there’s a difference between the time you could hear about an awesome movie, see it, and walk away satisfied and the world we now live in, where you go into a film burdened by knowing everyone’s opinions, and everyone’s subsequent opinions of those opinions, and so on into infinity. The catalyst for this transition, of course, was the rise of centralized social media platforms like Twitter and Facebook and the proliferation of smartphones, both of which were emerging as dominant cultural forces in 2009, just as Avatar was released. Within this historical context, the confusion over why there was no ongoing debate about Avatar’s place in the pantheon of cinema can be understood as being more about how our entertainment expectations have changed than about the movie itself. Avatar was the last of the old school blockbusters that we watched, enjoyed, and moved on from. But the Twitter Generation expected more: Not just to watch a movie, but to engage with the opinion ecosystem around it. The fact that this was missing from Avatar was perplexing, but it shouldn’t be. It’s just how things used to be. If movies are not able to play along with what this new internet ecosystem required, they are deemed irrelevant. Memes grant oddball movies a second life; think pieces elevate auteur-driven films; a never-ending web of easter eggs and cameos has sustained the conversation around Marvel films for more than a decade. But what can the internet do with a film whose value is only in seeing it? Avatar promised nothing more than to be the most dazzling visual spectacle you’d ever experienced in a movie theater, and it largely lived up to that promise. It is an unbelievable visual wonder. But after you leave the theater, it is nothing more than that. And in a culture that immortalizes that which can be documented and repurposed, and discards that which cannot, the notion of a one-time experience offers little value. But movies are a visual medium, after all, and I’d like to hope people can still find some magic in witnessing something they’ve never seen before on screen. If you’re wondering why I’ve gone this long without even mentioning Avatar: The Way of Water, it’s because I don’t have much to say about it beyond its ability to conjure this magic. I saw a packed 3-D IMAX showing of the movie, and halfway through the film, when Cameron full immerses the story in his bafflingly gorgeous underwater filmmaking technique, I leaned over to my friend and said “This is the most amazing thing I’ve ever seen.” It doesn’t have to be anything more than that to be worth something. Avatar: The Way of Water is available in theaters.</image:caption>
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      <image:title>Other Features - The 16 best movies of 2022</image:title>
      <image:caption>How should we spend our time? The strictures of living under capitalism demand this question skews toward productivity and efficiency. Rather than pursue that which is nourishing to the soul or beneficial to one’s community, time is meant to be optimized — and is therefore wasted when one is not producing. Our monochronic conception of time means that which can be measured or monetized is of much higher value than, say, having a pint with your best friend. This is the dilemma at the heart of The Banshees of Inisherin. Pádraic (Colin Farrell), a dim-witted, congenial man living on an island off the coast of Ireland, finds that his best friend and drinking buddy Colm (Brendan Gleeson) has decided to abruptly end their friendship. Colm feels an urgency to leave behind an artistic legacy and has concluded that his chats with Pádraic are interfering with the music he intends to compose. Pádraic, distraught, tries desperately to change Colm’s mind, to disastrously violent effect. What director Martin McDonagh (In Bruges, Three Billboards Outside Ebbing, Missouri) creates in this story is, in its opening acts, the funniest film of the year (a joke involving a bread truck culminates in the biggest laugh-out-loud line of the year). As the story progresses, Banshees also becomes deeply depressing. One line, uttered by the island’s lovable weirdo Dominic (Barry Keoghan) after he receives some bad news, was the most gutting movie moment of the year. (Keoghan is delightfully odd in the role, and I hereby nominate him to be the lovable weirdo in as many movies as possible.) The film’s humor and its sorrow work seamlessly in tandem because the object of their scrutiny is the same: The absurdity produced by the choices we force ourselves into by trying to make the most of our time. Between all of Pádraic’s hilarious feckin’ expletives is a poignant kernel of truth: All we have is now, and all that matters now is to be good to one another. And yet even with this surprising level of enlightenment, he struggles to avoid letting Colm’s decision lead him down a dark path. In trying to optimize our time, we end up destroying the pieces of life that make our time feel most valuable. This is not to say that McDonagh is entirely on Pádraic’s side, and it’s telling that he opted to name his film after Colm’s unpolished tune. There’s something to be said for investing in a creative pursuit that feels meaningful to you; it is, after all, McDonagh’s own edict as a director. But he’s wise enough to know that to do so at the expense of the people who love you creates a world with less love in it. The Banshees of Inisherin is a triumph because it lays bare the feckin’ foolishness of the constraints we impose upon ourselves, and addresses not only the question of what it means to live a good life, but what framework we should use to approach this question in the first place. The Banshees of Inisheerin is currently playing in theaters.</image:caption>
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      <image:caption>This review contains spoilers. Murder mysteries stand beside rom-coms as one of the great comfort food genres, satisfying in their meticulous unraveling of seemingly unsolvable puzzles. This problem-solving acumen and attention to detail are the fortes of Benoit Blanc (Daniel Craig), returning from director Rian Johnson’s genius 2019 film Knives Out to once again sift through the clues and identify the killer. This time around Blanc finds himself in Greece, in the company of some of the world’s wealthiest celebrities and online influencers. All have motives and opportunities for the murder, of course; all possibilities are delightfully on the table. In Knives Out Blanc possessed a patient foresight, a sense that he needn’t rush the case because the pieces would inevitably fall neatly into place for him to explain everything in the third act. Not so in Glass Onion: Blanc is frustrated with his inability to put this puzzle together, just as he expresses irritation with his failure to excel at Among Us and Clue. Is Blanc’s skill slipping, or has he simply met a case with a level of complexity beyond his grasp? The answer, it turns out, is emphatically neither, and the way in which Johnson rolls out his reveal is both a departure from his first film and a clever indictment of the ways in which we idolize the rich and powerful. Blanc struggles to come to an answer precisely because the answer is uncomplicated. “I expected complexity,” he muses. “I expected intelligence.” And yet the ways in which the killer carried out his plot were so exceedingly dumb that Blanc overlooked them. “Like the rest of the world, I expected Miles Bron to be a genius,” Blanc says. “Why?” Johnson is a master of both honoring and subverting the murder mystery genre, and this wrinkle is at once thrilling, surprising, and a thoughtful critique. The narratives we allow to be told about the enlightenment of the ultra-wealthy only serve to mask the fact that they are ripping us off, and I’ve been thinking about Glass Onion a lot since the downfall of the cryptocurrency platform FTX. Like Bron’s Glass Onion abode, its technology appeared to be complex and transformative until it was revealed to be hollow and outright fraudulent. “There’s nothing really complicated there, but it looks complicated if you don’t understand what they’re doing,” crypto critic James Block said in an article in The Atlantic after the collapse of FTX. “Crypto hides behind all this complexity, and people hear words like blockchain and get confused. You hear about decentralized networks and mining, and it sounds complicated … but it’s nothing. It’s smoke and mirrors.” The trickery of the rich hiding their idiocy behind made-up language is the basis for one of the funniest reveals of Glass Onion, and an example of the remarkable shrewdness of Johnson’s script. Johnson wasn’t omniscient in his critique of society’s celebrated hucksters in Glass Onion — the grifts carried out by the rich are routine. That he can consistently package such sharp observations into star-driven, hilarious, entertaining is another feat, and I am fully on board with the prospect of Johnson making as many Knives Out films as he pleases. When I saw Glass Onion at the Toronto International Film Festival, the crowd erupted in cheers when Blanc remarks, after an impassioned speech by Bron about why these influencers’ flippant “disruption” of the status quo is meaningful, that “It’s a dangerous thing to mistake speaking without thought for speaking the truth.” It’s a keen observation, but less interesting than where Blanc lands by the end of the film. “I gave you the truth,” he says. “This is where my jurisdiction ends.” Glass Onion is yet another elevated entry into the murder mystery genre by Johnson because he takes what makes these stories so pleasurable — the all-seeing outsider fixing our problems — and puts the onus back on us. Revealing the truth can only take us so far; it’s what we choose to do with that knowledge that matters. Glass Onion: A Knives Out Mystery is available on Netflix.</image:caption>
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      <image:caption>Somewhere along the way in the formation of the film criticism lexicon, action movies and superhero flicks were deemed “big” and original dramas were assigned the status of “small.” It’s an appropriate dichotomy when considering a movie’s budget, or the scale of its cinematic displays — there’s nothing small about a Marvel battle or a Fast and Furious car chase. But it becomes peculiar when viewed through the lens of how much the subject matter of these films is or is not meaningful to our lives. Caped crusaders fighting back against a nefarious plot to end the world can be a nice distraction, but films that devote themselves to topics like family, loss, or financial struggle are the ones dealing with the issues that truly feel big. Many dramas, I think, fail because they seem themselves as small, modestly capturing the trivialities of daily life. Director Hirokazu Kore-eda never falls into this trap, and his soft-spoken dramas reach greatness precisely because of his conviction that, for his characters, the conflicts they face feel just as big as the world ending. For them, it might as well be. Broker stars Song Kang-ho (Parasite) as Sang-hyeon, a laundromat owner with a morally dubious side hustle: stealing unwanted babies left at a church’s infant drop box and selling them on the adoption black market. He and his partner Dong-soo (Gang Dong-won) run a smooth operation — until So-young (IU) comes back for the baby she had abandoned at the church. Kore-eda doesn’t shy away from the ethical ickiness of the infant-selling operation, even as a genuine connection forms between this found family (a theme Kore-eda is returning to after his 2018 masterpiece Shoplifters). Sang-hyeon and Dong-soo begin the film at odds with So-young, but the eclectic group bonds as their shared status as societal outsiders becomes apparent. Kore-eda laces his films with an understanding of the alienation wrought by economic insecurity, and insists on family as the binding force allowing his characters to forge a path forward, together, in spite of their circumstances. Kang-ho is charming and lively in the lead role, but it’s IU who steals the show. Wickedly funny and carrying an impassioned, tenacious resolve, IU grounds Broker and matches the delicate tone of Kore-eda’s direction. There are two scenes in the final act of the film, one in a hotel room and one on a ferris wheel, in which IU’s performance is completely heartbreaking. Broker ends quietly, but like the temporary, makeshift families at the heart of Kore-eda’s films, its impact lingers long after it is over. Broker is not yet available in the U.S.</image:caption>
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      <image:caption>Often when I recommend a movie to a friend it’s for a very specific reason: An actor gave a great performance, or the ending was shocking and fun, or the screenplay was smart. With the best movies, though, you can only really recommend them with a sigh and a smile: you just have to see it. Such is the case with Cha Cha Real Smooth, one of the best movies I saw at the (online) Sundance Film Festival this year. The film stars Cooper Raiff (who also wrote and directed the film) as Andrew, an aimless college graduate working as a party host for Bar and Bat Mitzvahs till he can figure out what he actually wants to do with his life. But any ambitions to venture beyond his hometown come to a halt when he strikes up a friendship with a woman named Domino (Dakota Johnson) and her autistic daughter Lola (Vanessa Burghardt). I’ll admit that this is extremely in my wheelhouse — a Jewish guy figuring out his purpose in life while hopelessly pining after Dakota Johnson might be the plot ChatGPT would conjure if you asked it to create my ideal movie — but I think Cha Cha Real Smooth has enough depth to be resonant for a lot of people. Many young filmmakers make coming-of-age stories, but Raiff’s films possess an understated wisdom that most seasoned directors can’t even approach. At 24 years old, Raiff feels less like a newcomer waxing poetic about the frustrations of young adulthood than a veteran of the craft, looking back at his youth and retroactively imbuing his younger self with the sophistication he lacked back then. It helps that his film has a stellar performance from Johnson at its center. She’s a magnetic actor and one of the most unsung Hollywood stars. She’s successfully eclipsed her notoriety for the Fifty Shades franchise by making consistently interesting choices — Suspiria, The Lost Daughter, and now Cha Cha Real Smooth — and managed to destroy Ellen DeGeneres’ career in between. Johnson is set to enter the MCU vortex in 2024 with Madame Web, and I can only hope she doesn’t get stuck there. If nothing else, we’ll always have the time she slept on Sean Parker. Beyond Johnson’s performance, Cha Cha Real Smooth has all of the things you would want from a movie like this: A hilarious script, a heartwarming story, a Bar Mitzvah fistfight. But really, I’m recommending this movie because it made me smile. You just have to see it. Cha Cha Real Smooth is available on Apple TV+.</image:caption>
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      <image:caption>Happening, director Audrey Diwan’s abortion drama set in 1960s France, is often brutal (a few scenes, in particular, may be difficult to watch for squeamish viewers), but the film is thankfully not entirely devoted to this harsh framework. Diwan lends the film a welcome focus on Anne’s (Anamaria Vartolomei) experience of pleasure even as she struggles to end her pregnancy. Unlike other abortion films, our protagonist has sex while still pursuing an abortion. It’s a positive experience for her, and a moment of much-needed relief. By including this late in the narrative, Diwan’s film insists that Anne should not have to deny herself sexual autonomy even as the legal apparatus around her punishes her sexual activity. At one point a character asks Anne, “Who cares what you feel like? Can we afford to only do what we feel like?” Happening gracefully asks whether we can afford not to. Diwan’s framing of the story, showcasing the consequences of individual choices within a larger political struggle, is a poignant and oft-ignored perspective. In the aftermath of the Dobbs decision, the tendency among those decrying the decision was to focus on the daunting structural barriers toward restoring abortion rights. In an incisive New Yorker article, Jia Tolentino wrote about the dawning era and inevitably tragic consequences of “widespread state surveillance and criminalization” of abortion. News outlets wrote about the states with immediate abortion bans. The aftermath of the decision has been heartbreaking, and it will continue to cause dire outcomes on a scale that feels beyond our control. The sort of coverage written by Tolentino is both courageously righteous and vitally informative, and it is valuable for understanding the landscape of what those fighting for reproductive rights now face. Overcoming these systemic hurdles will take time, and what we can do as individuals is simply not enough. Diwan’s film, however, suggests that even if our individual choices are not enough, what we do to support each other does matter. Some people choose to turn away from Anne, others help her in ways big and small, and each choice is monumentally important for her future. In the moment it is not clear whether these choices will dramatically improve the future, but they are what can be done today. Happening is a moral tale and recalls a teaching of the Talmud, memorably employed in Schindler’s List, that whoever saves a single life is considered to have saved the whole world. This lesson is not told triumphantly in Happening, but it is made firmly in defiance of a world that deliberately alienates those who might support each other. Happening demonstrates the value of contributing such support, even when it does not feel like enough. Happening is available for rental.</image:caption>
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      <image:caption>This review contains spoilers. Taking on a dramatic thriller like Don’t Worry Darling may seem, on the surface, like a departure for writer Katie Silberman, whose prior credits include a teen comedy (Booksmart), a rom-com (Set It Up), and a parody of rom-coms (Isn’t It Romantic). Yet there is a commonality in the plots of these films that continues with Don’t Worry Darling: Each centers on a woman attempting to escape from a repressive system, making the choice to abandon the suffocating aspects of that environment that she once thought gave her power and comfort. In Set It Up, Harper (Zoey Deutch) leaves behind her thankless pursuit of workplace prestige; she chooses love and career independence instead. In Isn’t It Romantic, Natalie (Rebel Wilson) finds herself stuck inside of a romantic comedy, a genre she’s convinced is full of “lies set to terrible pop songs”; she chooses to reject the genre’s cliché of being completed by finding a soulmate in favor of self-love. And in Booksmart, Molly (Beanie Feldstein) and Amy (Kaitlyn Dever) ditch their narrow fixation on academic excellence; they choose a balance between fun and studiousness. Don’t Worry Darling raises the stakes of this liberation plot: Alice (Florence Pugh) is being held against her will inside a virtual world run by men operating a cartoonishly simplistic and (from their view) idealized vision of 1950s family life. In escaping this world, Alice chooses herself. It’s Silberman’s most ingenious script yet, rich in its details and visually enthralling with the help of director Olivia Wilde’s assured vision and across-the-board superb production. Don’t Worry Darling gathers momentum on its way toward a dramatic third act twist. What makes the film great is that it is not dependent on this reveal. A frequent complaint levied against films with late-game plot twists is that they are too easy to see coming, which I think misses the point entirely. The real question is not whether you can see the film angling to pull the rug out from underneath you, but whether anything interesting remains after it happens. The twist in Don’t Worry Darling serves to give depth to everything that came before it, and it’s a blast on repeat viewings to take note of the visual and character-driven clues that hide the reveal in plain sight. The obviousness of the Victory Project scheme, in fact, is essential to the thematic ambitions of Silberman’s script. The elaborate conspiracy Jack (Harry Styles) thinks he has established is shown to be paper thin, while Alice is forced to question how much of her reality she simply chose not to see. There are countless details that anticipate the truth behind the Victory Project. Some are purely visual. I love the flourishes that suggest the laziness of Victory Project creator Frank (Chris Pine): The empty egg shells and bottomless coffee cup in Alice’s kitchen, indicating Frank forgot to finish coding them; the plane crash on the outskirts of town, suggesting an add-on to his game that he can’t manage to get off the ground; the game reset button he only bothers to put right outside of town. Other details are found in the characters’ actions, in ways that show how the suave 1950s performances they are crafting can’t really mask that they are losers. Frank openly invites Alice to question the reality of the Victory Project at a dinner party; he delights in the “debate me” exchange familiar to online discourse, supremely confident that nothing she says can rupture the world he has built. (His whole empire is soon toppled by Alice, and Frank is killed by his wife Shelley, played by Gemma Chan, who cynically aims to carry on the enterprise better than Frank could.) Jack, meanwhile, desperately wants to be a charismatic and masculine caretaker for Alice but is just as inept in the virtual realm as he is in the real world. No finely pressed suit or sleek car can change the fact that he can’t cook, doesn’t know how to dance, and can’t maintain the British accent he’s opted for inside the game. Jack’s wavering British accent is a deliberate choice made by Styles, one small example of how Styles’ and Pugh’s performances are working in lockstep with Silberman’s script. A highlight comes after the dinner party scene, in which Alice insists to Jack that she needs to leave. The text is that she wants to get out of town; the subtext is that she has gained a modicum of awareness about what is really going on. Her plea is forgiving by necessity; she sees a sliver of the evil Jack has participated in but needs him on her side in order to get out. Jack, meanwhile, is made to confront this evil. Styles’ performance here is layered, evoking the sense that Jack is both genuinely regretful about his actions yet resolute in his desire to maintain the pernicious illusion. He knows what Alice is really saying, and chooses to do nothing. Pugh is miraculous in her role as Alice. No actor can more swiftly make a scene foreboding or distressing than Pugh can when shifting her face into a sharp frown. “It was my life!” she yells at Jack in the climactic confrontation, my life enunciated with a chilling, guttural yell. “You don’t get to take that from me!” Pugh infuses this line reading with more life than perhaps any other actor working today could. Wilde ends the film with a virtuosic coda that accentuates all of the film’s outstanding production components: Matthew Libatique’s sumptuous cinematography; John Powell’s score, ramping up from a pulsating hum to a panting-screaming ruckus; Wilde’s own deft camera movement. As Alice makes her final escape, she pauses briefly to reflect on what she had in this fabricated reality. Silberman laid the groundwork for this moment of hesitation throughout her script, and it heightens the impact of the film’s conclusion. When Alice decides to leave the Victory Project for good she is not just running from something, but proactively choosing an imperfect, autonomous life. Wilde cuts the screen to black as Alice gasps for air, back in the real world at last. She has learned what many, with the hive-mind criticism of Don’t Worry Darling, failed to do: Reject the reality everyone else has agreed upon, assess the details, and think for herself. 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      <image:caption>This disturbing rise in antisemitism of late — and the abundance of apologists for that antisemitism — has made clear that much of America has never really understood Jewish identity, nor has it ever bothered to try. In Armageddon Time, director James Gray presents a story of intergenerational Jewish American identity that is both a personal exhumation of Gray’s childhood regrets and an illuminating portrait of the complexities of Jewish identity within American society. It is a rare film of uncompromising vision, and I have been saddened to see how roundly it has been ignored by audiences and the awards circuit. Appearing on Marc Maron’s WTF podcast, James Gray said while discussing his film that “You can be the oppressor and the oppressed at the same time.” Such is the tension at the heart of Armageddon Time, cleverly deployed by Gray in the film by sandwiching Paul (Banks Repeta), the stand-in for Gray’s younger self, between the trauma experienced by the elder members of his family and the boundless promise his life in America seems to offer. Paul has an impishness and brash defiance of authority allowed to him by his privilege; his whiteness and financial security free him to fail upwards in school in a way that his friend Johnny (Jaylin Webb), who is Black, cannot. At the same time, Paul returns home to hear from his grandfather (Anthony Hopkins) about the horrors of Jewish persecution during the Holocaust. These lessons from his grandfather haunt Paul, wiping away his childish disobedience as he is forced to confront the dangers his family has faced. Gray approaches this dichotomy with a pained exploration of his own privilege and the choices he made with it; to do so without coming off as self-indulgent or self-congratulatory is a small miracle. Armageddon Time is a requiem for a friendship lost, and a reckoning with Gray’s regret over past choices and responsibility for future ones. Critics who have dismissed the film as othering Webb’s Johnny miss the film’s poignant deliberate demonstration of how that othering is a tragically inevitable fact of the American social hierarchy. When the consequences for their rebelliousness catch up to them, it comes as no surprise to Johnny; Paul, meanwhile, sees the unfairness of the world for the first time. In less able hands this realization could have felt contrived, with Johnny acting as a mere rhetorical device for Paul to learn and grow as a person. But under Gray’s direction there is a genuinely touching relationship between Paul and Johnny on screen, and Paul’s transformation is less a celebration of his betterment than a moral damnation of his failure to see the world for what it is, and a call for him to open his eyes. Lurking in the background of this ethical decision is the Trump family, who have a presence at the private school Paul is sent to after he is booted from public school. Fred and Maryanne Trump (John Diehl and Jessica Chastain) appear sporadically to indoctrinate the privileged class with ideas of their own superiority, insisting to the students that they earned their place, a place that was in reality bought for them. The Trumps, alongside the election of Ronald Reagan, serve as a harbinger of the coming armageddon in America. They are a signal that people are turning toward their own enrichment at the expense of others, and underscore the historical weight of the choices Paul must make. To recognize one’s own privilege and do the right thing is not just a personal decision, but a fork in the road that can sway the political path of a nation. As Jeremy Strong (who plays Paul’s father Irving in the film) described it in his thoughtful interview with Stephen Colbert, Armageddon Time is “Both the origin story of an artist and the origin story of our country … it’s a movie about integrity … and our failure to make the right choices, choosing social acceptance over courage.” The voice in Paul’s head helping him to make the right decision is his grandfather. “Never give in, Jelly Bean,” we hear him tell Paul, as Gray zooms the camera in on an old family photo. The Jews have faced fascism before, Gray is saying, and as the Trumps loom, they soon will again. What is important for Paul to understand is both the privilege and the danger he faces, and his obligation to use the former to prevent the latter, for himself and others. Armageddon Time is a mournful examination of identity and moral duty, so perhaps it makes sense that it did not catch on with a moviegoing audience that has little patience for nuance or emotional ambiguity. But it is a vital film, and I am grateful it exists. Armageddon Time is available for rental.</image:caption>
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      <image:caption>What is there to say? This movie fucking rules. Maverick breaks Mach 10, woos Jennifer Connelly, and boldly pulls off a dangerous mission in enemy territory. He rides around on his little motorcycle, leads the squad in a game of sweaty beach football, and literally throws the rule book in the trash. Cruise is our greatest movie star, and if the insane promo for Mission: Impossible – Dead Reckoning Part One is any indication, he won’t be slowing down any time soon. He has, you could say, a need for speed. His desire to fly military-level jets and free dive thousands of feet is thrilling and, frankly, concerning; Cruise is living squarely in the danger zone. He can’t keep doing this forever, and at some point his action movie run will come to an end. But as Maverick tells his superiors, “Maybe so … but not today.” Top Gun: Maverick is available on Paramount Plus.</image:caption>
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      <image:caption>When writing about a movie I typically avoid reading anything about it until I’ve finished my own review, lest I end up merely parroting the eloquent analyses of critics much more insightful than myself. Todd Field’s Tár, however, demands consuming as many different takes and opinions about it as possible. For a film this densely intellectual and precisely constructed there is little risk of stealing another writer’s thoughts, because each new perspective on its intentions only serves to deepen the labyrinth of possibilities found within its details. Consider Dan Kois’ review in Slate, titled “Tár Is the Most-Talked-About Movie of the Year. So Why Is Everyone Talking About It All Wrong?” Kois helpfully surveys the landscape of critical interpretations before positing that “Tár is a kind of ghost story, in which we’re so deeply embedded in Lydia Tár’s psyche that nearly everything that appears onscreen is up for debate.” Kois goes on to point out the clues that suggest Tár may be a literal ghost story, in which Krista, the subject of Lydia Tár’s complicated past, can occasionally be seen on the edges of the frame, haunting Lydia. Am I convinced that everything that unfolds in the film’s final act is imagined, or some sort of dream? Not entirely. But I know the film feels like a ghost story, and Kois’ review opens up new ways of thinking about that reading. This is the sort of film Tár is, one that raises new questions with each additional interpretation. That Kois’ review hardly focuses on Blanchett’s performance as Lydia Tár makes sense in so far as she is so blindingly great in the film it feels inadequate to say so. As Tár, Blanchett invents a character so blustering, confident, and finely calibrated that it is hard to believe Lydia Tár isn’t based on a real person. Setting aside the fact that the Oscars are often a poor judge of the year’s best performances, Blanchett’s turn as Tár may be the most decisively resounding “She is going to win the Oscar” performance I have ever seen. I was also struck by the inventiveness of Field’s narrative structure in Tár. The film concerns the intersection of events from Lydia Tár’s past catching up to her and shaping her future, both personally and professionally. Field manages to avoid gauche flashbacks or arduous exposition by allowing the events unfolding in the present day to inform our understanding of what might have occurred in the past. In doing so, Field not only creates a streamlined plot but also adds an ingenious layer of ambiguity to the story — our belief about Tár’s misdeeds are not informed by what is actually shown on screen, but what is implied. It’s a structure that implicates the audience in our assumptions about what we truly know, and by the end leaves open the question of whether Tár was a virtuoso or a self-created brand propped up by a cult of personality. These ideas are endlessly fascinating upon reflection, and even more impressive upon reading other dissections of Tár and realizing they only scratch the surface. To describe the film as intellectual perhaps diminishes the extent to which Field’s curiosity and rigor are thrilling to take in. I didn’t see anything else like Tár this year — and with each new analysis of the film, my estimation of its achievements grows. Tár is available for rental.</image:caption>
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      <image:title>Other Features - The 16 best movies of 2022</image:title>
      <image:caption>An imperceptible vibe shift underpins the action in Everything Everywhere All at Once, a frenetic, multiverse-jumping kung fu epic from Daniels (the self-given title of directors Daniel Kwan and Daniel Scheinert). Michelle Yeoh stars as Evelyn Wang, a laundry store owner who finds herself given access to technology allowing her to jump between infinite alternative universes containing different versions of herself. This timeline exploration is not frivolous: She is brought into the multiverse by an alternate version of her husband Waymond (Ke Huy Quan), who tells Evelyn she plays a key role in stopping an amorphous evil force from wreaking havoc on the multiverse. In describing the situation to Evelyn, Waymond employs the language of a vibe shift. “You’ve been feeling it too,” he tells her. “Something is off.” That Everything Everywhere All at Once quickly became a phenomenon (the film very quickly ascended to the number one all-time ranking on Letterboxd) speaks to how widely its recognition of the vibe shift in our culture has resonated. Daniels manage to craft a cinematic experience encapsulating the information overload defining the internet age without ever losing narrative clarity. The film combines philosophically playfulness à la The Matrix — plumbing the concepts of path dependency and probability theory — with pop culture references and unabashed silliness. One joke in particular, involving a riff on a beloved Pixar character, delightfully melds these seemingly dissimilar tones into elevated moments that are both intellectually curious and absurdly hilarious. In its finale the film pivots from an obvious appeal to kindness to something more transcendent, a reverence for some undeniable, eternal impulse toward love and connection. And for a movie that mostly takes place inside a laundromat and an IRS office, Daniels somehow make it all feel like a multiverse-spanning epic. In the sweeping finale, images of people with hot dogs for fingers become poignant reflections on persistence and optimism in a challenging world, illustrating just how successfully Everything Everywhere All at Once grounds its celebration of weirdness in emotional wisdom. Everything Everywhere All at Once will endure, I think, because it addresses both the possibility that the change we are experiencing is just a fluctuation of modern conditions and the possibility that we are experiencing a fundamental alteration in the way life is experienced. Daniels bring to the film an awareness of our modern cultural moment without constraining it to be a commentary on 21st century consciousness. Something is particularly off now, but maybe something has always been off; life is inherently weird, and the greatest joy of Daniels’ work is their embrace of that weirdness in the face of calamity. Even if nothing matters, Everything Everywhere All at Once makes the case that we will always want to be here with each other anyway. Everything Everywhere All at Once is available for rental.</image:caption>
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      <image:title>Other Features - The 16 best movies of 2022</image:title>
      <image:caption>For a more accurate, complete, and human portrait of Marilyn Monroe’s life than the one presented in this year’s wretched Blonde, I recommend Reframed: Marilyn Monroe, a documentary series released by CNN in January. Reframed provides a terrific overview of Monroe’s career accomplishments and a vital correction to the typical tragic, doomed narrative in which she is placed. Director Karen McGann positions the series from the very beginning in almost direct conversation with the nonsense of Blonde: “When we talk about Marilyn Monroe it’s always about poor Marilyn, poor Marilyn. This vulnerable, passive woman who is being destroyed by Hollywood,” a commentator remarks. “That’s the way the story frames her ... it’s time to reframe her story.” And so Reframed does, quite successfully over the course of four episodes, as a series of Monroe biographers, experts, and friends (guided by elegant narration by Jessica Chastain) position Monroe as someone who was “an architect of her own fame.” The series presents a convincing account of how Monroe developed her own image, crafted layered and human performances, pushed the boundaries of sexual expression, and forced the studio system to bend to her demands. The film does not paper over the ways in which Hollywood routinely exploits women; it both recognizes this abuse and establishes how much of a force Monroe was in combating this culture. Reframed frequently turns to Marilyn Monroe in her own words, allowing her to speak on behalf of her own narrative in a way Blonde enthusiastically denies. “Because of the way Marilyn died we tend to look at her entire life as a tragedy,” a commentator says in the final episode of the series. “That simply wasn’t true.” In presenting such observations, Reframed is a thoughtful, comprehensive, and necessary counter to the standard Monroe story. Reframed: Marilyn Monroe is available for rental.</image:caption>
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      <image:title>Other Features - The 16 best movies of 2022</image:title>
      <image:caption>Almost as soon as the COVID-19 pandemic started, we were arguing over what made for a good pandemic movie and what made for an unwatchable one. Some films using the pandemic as their backdrop earned near-universal derision from critics (Locked Down, The Bubble), while others successfully wove it into their plot while producing something reflective of the time (Kimi, Borat Subsequent Moviefilm, Glass Onion: A Knives Out Mystery). Some documentaries (Homeroom, The First Wave) powerfully trained their cameras on the social and political ramifications of the crisis. Some productions borne of isolation emerged as essential time capsules (Bo Burnham: Inside), while others exposed with their simplicity how little the writer behind them had to offer (Malcolm and Marie). All of these films, though vastly different in tone and approach, capture a small slice of what it was like to live through one of the most calamitous public health disasters of our lifetimes. Yet none of these movies evoke both the crushing weight of loneliness and the transcendent happiness of being with those you love quite like Marcel the Shell with Shoes On, a movie not at all about the COVID-19 pandemic that encompasses its lessons more than any other film. The movie stars Marcel (voiced by Jenny Slate), a walking, talking shell with googly eyes who’s been tragically separated from his family. He’s managed to cobble together a satisfactory life since then — he cares for his grandmother (voiced by Isabella Rossellini), the only family member still left with him, and finds small ways to amuse himself. But more than anything, he wants his family back. This daily routine is just one way in which Marcel stands apart from the standard pandemic films, in which life is irrevocably changed. Marcel’s foibles are adorable, yet his routine is laced with the recognizable sadness of the way in which life carries on through a tragedy, even as it has lost some of its luster. Marcel eventually enlists the help of the human living in his home, Dean (Dean Fleischer-Camp), in order to track down Marcel’s family. Dean is dealing with a loss of his own, and in their partnership Marcel and Dean each provide the emotional support the other desperately needs. Dean also introduces Marcel to the internet, and Marcel discovers how the digital realm can facilitate connections that are meaningful, connections that are shallow, and those that are both. What makes Marcel such a pleasure to spend time with is his unwavering honesty. When he marvels at a new discovery his joy is unvarnished; when he faces a setback his heartache is out in the open. As an outsider learning about the human world for the first time he has the perspective required to ask the questions we wouldn’t think to, to make simple the things we’ve made needlessly complex. And so, to make it simple: Marcel the Shell with Shoes On is a perfect film. I loved Marcel from the first minute of the film, and I walked away knowing I couldn’t wait to watch it again. It is the movie of the pandemic era, I think, because it not only captures what it looks like to be alone but evokes why it’s essential to be together. It’s something we all know, I think, even if in the years since the pandemic began it’s become easier to forget. Sometimes, we need a talking shell with googly eyes to point out what we fail to see. Marcel the Shell with Shoes On is available to rent.</image:caption>
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      <image:title>Other Features - The 16 best movies of 2022</image:title>
      <image:caption>Just three movies into his filmography, Jordan Peele is already known for a set of distinct cinematic elements: psychological horror, social commentary, and the intricacy of his puzzle box screenplays, which always reward repeated viewings. What Peele is not typically associated with is joy. He is praised for his films’ splendor but has been seen primarily as a cultural critic, an artist who enhances genre tropes and plot twists with incisive commentaries about our most entrenched societal defects. Nope, his genre-defiant western-sci-fi-horror-comedy epic, is a departure from that mode of cultural admonition. Working on a much grander scale than he does in Get Out or Us, Peele manages to cast judgment on those acting in bad faith before pivoting to a celebration of creativity and familial connection, and a rejection of self-exploitative image-making. Nope is his least accessible film thematically, swapping exposition for visual grandeur. It is also his most accomplished movie yet. Typically mum on the meaning of his own films, Peele himself suggested an important distinction from his previous work in an interview for Essence. “It's so tricky being considered in the vanguard of Black horror, because obviously Black horror is so very real, and it's hard to do it in a way that's not retraumatizing and sad,” Peele said. “I was going into my third horror film starring Black leads, and somewhere in the process I realized that the movie had to be about Black joy as well.” The critical reception to Nope, while lauding Peele as an auteur, was disappointingly ignorant to the film’s joyfulness. Indiewire focused its analysis of the film on the “awful power” we lend tragedies “by sanctifying them into spectacles,” and our “fatal inability to look away from them.” Vox zeroed in on the personal failings of a society glued to its devices, citing how “a culture built on spectacle can only get more spectacular, coaxing us to always look at it, to never tear ourselves away, to gorge ourselves on it.” These reviews position Nope as yet another artifact of cultural damnation, a reasonable interpretation considering the film opens with a calamitous Bible verse. Before the action begins, the text of Nahum 3:6 appears on screen: “I will cast abominable filth upon you, make you vile, and make you a spectacle.” Nahum was prophesying how God would punish the city of Nineveh due to its rampant vices, describing it as a “city of blood, full of lies, full of plunder.” The implication is that Nope is suggesting humanity will realize a similar fate due to our own propensity to reframe reality into indulgent, ugly spectacles. Peele is certainly interested in the ramifications of documenting spectacle and turning it into entertainment. Yet the true meaning of Nope is much more nuanced than the facile reading that Peele is shaming us for being on our phones too much. The genius of Nope is its enlightened understanding of the difference between what it means to chase and capture spectacle for the right and wrong reasons. The characters of Nope who falter do so because they are mired in a mindless, self-aggrandizing pursuit to mine spectacles for their own gain. But OJ and Emerald Haywood (Daniel Kaluuya and Keke Palmer) come out on top because they have the fortitude to abandon the false promises of fame and greed, instead trying to capture the imagery of spectacle in order to honor their family and reclaim ownership and representation in a more meaningful sense. Peele infuses Nope with an unabashed love for spectacle. He is as visually creative and precise a director as any filmmaker today, and the complex ideas embedded within his screenplays never crowd out his ability to also be our greatest entertainer. Like the UFO in Nope, Peele’s films fly above the rest of Hollywood, defying expectations, making reality a little more spectacular by creating unique, transcendent spectacles on the director’s own terms. It’s a joy to watch. Nope is available on Peacock.</image:caption>
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      <image:title>Other Features - The 16 best movies of 2022</image:title>
      <image:caption>Rothaniel is an uncategorizable work — an hour-long performance by a celebrated comedian that’s not really a “comedy special” at all, exchanging laughs for an emphasis on a searching emotional catharsis. Directed by Bo Burnham, Jerrod Carmichael’s deeply personal, confessional performance is headlined by the comedian coming out as gay but shines in Carmichael’s exploration of that announcement’s implications. In Rothaniel, Carmichael reckons with whether his family and friends can accept his identity and whether he can continue to love them back if they do not accept him. For long stretches of the special Carmichael appears to have no script. He meanders through his thoughts and ideas, actively trying to make sense of his past and his future on stage. He takes long pauses collect himself, and patiently responds to inquiries from the audience. The rarity of Rothaniel’s beauty derives from this methodical pace. Confrontations of shame, the denial of love by those closest to you, affirmation of one’s true self — these are concepts too often displayed with the unyielding American impulse toward progress or improvement; we work through these issues to reach a better place, as a step toward an endpoint, rather than sitting in the discomfort and accepting whatever may come of it. In this introspection Rothaniel is miraculous, even if I don’t quite know what to call it. Jerrod Carmichael: Rothaniel is available on HBO Max.</image:caption>
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    <loc>https://skoobywatchesmovies.com/other-features/2022/9/3/a-guide-to-the-films-of-marilyn-monroe/jacob-skubish-yw4sh</loc>
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    <lastmod>2022-12-04</lastmod>
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    <loc>https://skoobywatchesmovies.com/other-features/2022/6/3/tiff-blog-2022/jacob-skubish-hzxg2-86n76-xnarw-5hzls-7gkr3-r4lpd</loc>
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      <image:title>Other Features - TIFF 2022 Day 6: ‘The Banshees of Inisheerin,' 'Broker,' and festival awards - Make it stand out</image:title>
      <image:caption>Hirokazu Kore-eda and Song Kang-ho at the screening of Broker</image:caption>
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      <image:title>Other Features - TIFF 2022 Day 6: ‘The Banshees of Inisheerin,' 'Broker,' and festival awards - Make it stand out</image:title>
      <image:caption>Peter at Old City Hall</image:caption>
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    <loc>https://skoobywatchesmovies.com/other-features/2022/6/3/tiff-blog-2022/jacob-skubish-hzxg2-86n76-xnarw-5hzls-eze6t</loc>
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      <image:title>Other Features - TIFF 2022 Day 5: ‘The Good Nurse,’ ‘Good Night Oppy,’ and ‘Decision to Leave’ - Make it stand out</image:title>
      <image:caption>Peter enjoying Himalayan Kitchen</image:caption>
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      <image:title>Other Features - TIFF 2022 Day 5: ‘The Good Nurse,’ ‘Good Night Oppy,’ and ‘Decision to Leave’ - Make it stand out</image:title>
      <image:caption>Q&amp;A for The Good Nurse</image:caption>
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      <image:title>Other Features - TIFF 2022 Day 5: ‘The Good Nurse,’ ‘Good Night Oppy,’ and ‘Decision to Leave’ - Make it stand out</image:title>
      <image:caption>Park Chan-wook introducing Decision to Leave</image:caption>
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    <loc>https://skoobywatchesmovies.com/other-features/2022/6/3/tiff-blog-2022/jacob-skubish-hzxg2-86n76-xnarw-8k6rp</loc>
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      <image:title>Other Features - TIFF 2022 Day 4: ‘Glass Onion: A Knives Out Mystery,’ ‘Wendell &amp;amp; Wild,’ and the Royal Ontario Museum - Make it stand out</image:title>
      <image:caption>The cast of Glass Onion: A Knives Out Mystery</image:caption>
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      <image:title>Other Features - TIFF 2022 Day 4: ‘Glass Onion: A Knives Out Mystery,’ ‘Wendell &amp;amp; Wild,’ and the Royal Ontario Museum - Make it stand out</image:title>
      <image:caption>The cast of Wendell &amp; Wild</image:caption>
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      <image:title>Other Features - TIFF 2022 Day 4: ‘Glass Onion: A Knives Out Mystery,’ ‘Wendell &amp;amp; Wild,’ and the Royal Ontario Museum - Make it stand out</image:title>
      <image:caption>Jake at the Royal Ontario Museum</image:caption>
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    <loc>https://skoobywatchesmovies.com/other-features/2022/6/3/tiff-blog-2022/jacob-skubish-hzxg2-86n76-4bk9l</loc>
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      <image:title>Other Features - TIFF 2022 Day 3: ‘Bros,’ ‘Baby Ruby,’ and the Art Gallery of Ontario - Make it stand out</image:title>
      <image:caption>Jake and Peter in the Art Gallery of Ontario</image:caption>
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      <image:title>Other Features - TIFF 2022 Day 3: ‘Bros,’ ‘Baby Ruby,’ and the Art Gallery of Ontario - Make it stand out</image:title>
      <image:caption>Billy Eichner introduces ‘Bros’ along with the cast, director Nicholas Stoller, and producer Judd Apatow</image:caption>
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    <loc>https://skoobywatchesmovies.com/other-features/2022/6/3/tiff-blog-2022/jacob-skubish-hzxg2-922mc</loc>
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      <image:title>Other Features - TIFF 2022 Day 2: ‘Susie Searches,’ ‘Emily,’ and the Toronto Islands - Make it stand out</image:title>
      <image:caption>Director Sophie Kargman and the cast of ‘Susie Searches’</image:caption>
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      <image:title>Other Features - TIFF 2022 Day 2: ‘Susie Searches,’ ‘Emily,’ and the Toronto Islands - Make it stand out</image:title>
      <image:caption>Peter on the ferry</image:caption>
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      <image:title>Other Features - TIFF 2022 Day 2: ‘Susie Searches,’ ‘Emily,’ and the Toronto Islands - Make it stand out</image:title>
      <image:caption>Director Frances O’Connor and the cast of ‘Emily’</image:caption>
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      <image:title>Other Features - TIFF 2022 Day 2: ‘Susie Searches,’ ‘Emily,’ and the Toronto Islands - Make it stand out</image:title>
      <image:caption>Jake on Centre Island</image:caption>
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    <loc>https://skoobywatchesmovies.com/other-features/2022/6/3/tiff-blog-2022/jacob-skubish-e88lf</loc>
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    <lastmod>2022-11-24</lastmod>
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      <image:title>Other Features - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Elegance Bratton introduces the cast of ‘The Inspection’</image:caption>
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      <image:title>Other Features - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Peter housing some bibimbap at Korean Village Restaurant</image:caption>
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      <image:title>Other Features - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Evan Rachel Wood</image:caption>
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      <image:title>Other Features - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Weird Al Yankovic</image:caption>
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      <image:title>Other Features - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Jake in front of the Royal Alexandra Theatre</image:caption>
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      <image:title>Other Features - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Daniel Radcliffe</image:caption>
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    <loc>https://skoobywatchesmovies.com/other-features/2021/1/12/highlights-from-the-virtual-sundance-film-festival/jacob-skubish-5cp27-9smer</loc>
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    <lastmod>2022-01-30</lastmod>
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      <image:title>Other Features - Highlights from the 2022 Sundance Film Festival - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Other Features - Highlights from the 2022 Sundance Film Festival</image:title>
      <image:caption>Photo: Sundance Film Festival</image:caption>
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      <image:title>Other Features - Highlights from the 2022 Sundance Film Festival</image:title>
      <image:caption>Photo: Sundance Film Festival</image:caption>
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      <image:title>Other Features - Highlights from the 2022 Sundance Film Festival</image:title>
      <image:caption>Photo: Sundance Film Festival</image:caption>
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      <image:title>Other Features - Highlights from the 2022 Sundance Film Festival - Make it stand out</image:title>
      <image:caption>Photo: Sundance Film Festival</image:caption>
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      <image:title>Other Features - Highlights from the 2022 Sundance Film Festival</image:title>
      <image:caption>Photo: Sundance Film Festival</image:caption>
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      <image:title>Other Features - Highlights from the 2022 Sundance Film Festival</image:title>
      <image:caption>Photo: Sundance Film Festival</image:caption>
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    <loc>https://skoobywatchesmovies.com/other-features/2021/12/28/top-21-movies-of-2021/jacob-skubish-45l7c</loc>
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    <lastmod>2021-12-28</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/8b3265c1-224c-4906-9536-f4164bfbbdb7/Bergman.jpeg</image:loc>
      <image:title>Other Features - Top 21 movies of 2021</image:title>
      <image:caption>Bergman Island is a film dweeb’s paradise, and its plot may cue anyone who’s not a film dweeb to run as far from the movie as they can. The film follows two filmmakers who visit an island known for being the home of a famed filmmaker, Ingmar Bergman. The filmmakers take this retreat to draw inspiration for the films they are currently writing, and midway through the film, as one of the filmmakers describes her film, we cut to an extended segment where that film takes place on screen. If this sounds a bit meta and exhausting, it is, at least for a little while. Bergman Island begins as a film made to be admired rather than loved. But when it cuts to its film-within-a-film the emotional stakes set in, and and you can enjoy it without ever having seen a Bergman film. By the conclusion, you can’t help but marvel at the inventiveness of the perspective shifts; they are not just innovations of form, but critical components of understanding the character’s emotional entanglements. Bergman Island has a layered ending that sticks with you, and I can’t wait to revisit the film. Bergman Island is available for digital rental.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/36bcd4a5-b113-46d6-bb31-7466b2a3f06e/Titane.jpeg</image:loc>
      <image:title>Other Features - Top 21 movies of 2021</image:title>
      <image:caption>How to describe Titane? I could try to lay out the plot, but the film is constantly on the move, never quite what you thought it was five minutes prior. Consider the IMDb description: “Following a series of unexplained crimes, a father is reunited with the son who has been missing for 10 years.” Reader, this is not the plot of Titane. But it’s also not not the plot, either. Anyway, it’s it’s best you don’t know too much going in. At times I was wary of where Titane was headed; director Julia Ducournau has been roundly praised as a visionary and rightfully so, but the film’s hyper-violence and genre bending can feel at times like formalistic playthings rather than narrative choices. But there is an emotional core to Titane; it is unconventional and amorphous, but the film contains an odd warmth that holds the stylistic framework together. I saw a lot of good movies in 2021, but rare is the film that leaves me totally mystified at how its director pulled it all off. Not everything in Titane works, but Ducournau is a magician. I left the film confounded but in awe of what it made me feel, and that is an achievement. Titane is available for digital rental.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/5146d8b4-4abf-40b8-83a2-43c522d98b4e/Barb.jpeg</image:loc>
      <image:title>Other Features - Top 21 movies of 2021</image:title>
      <image:caption>A depressing side effect of superhero movie domination is the loss of studio comedies: once movies like Deadpool and Guardians of the Galaxy started going for laughs, we ceded the comedy terrain to the ever-expanding universe of capes and tights. Enter Barb and Star Go to Vista Del Mar, a gleefully weird and unabashedly silly comedy from Kristen Wiig and Annie Mumolo. Wiig and Mumolo play Barb and Star, longtime friends who lose their jobs and sense of direction in life, only to try getting back on track with a trip to a Florida resort. Unfortunately, their timing is not ideal: a mysterious villain, also portrayed by Wiig, sends her henchman Edgar (Jamie Dornan, obscenely gorgeous and genuinely hilarious) to kill everyone in the town. Barb and Star allows Wiig’s singular comedic energy to roam unleashed. Overly self-contained in projects like Bridesmaids, Wiig is at her best when she is absolutely nuts, and Mumolo is the perfect complement to her unorthodox vibe. Barb and Star is the rare comedy you’ll want to quote forever, and is so much on its own wavelength that loving it feels like an inside joke. Want to make your day a little better? Do yourself a favor and go watch “Edgar’s Prayer.” Seagulls in the sand, can you hear my prayer? I can, Edgar. I can. My own prayer? That in the comedies of the future, we can trade capes for culottes. More Barb and Star, please. Barb and Star Go to Vista Del Mar is available on Hulu.</image:caption>
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      <image:title>Other Features - Top 21 movies of 2021</image:title>
      <image:caption>Licorice Pizza is a story about love, if not necessarily a love story. Director Paul Thomas Anderson’s ode to his California youth follows the relationship between Gary (Cooper Hoffman), an ambitious 15-year-old, and Alana (Alana Haim), a directionless 25-year-old won over by Gary’s charm but limited by their age gap. The two approach life in opposite ways. Gary believes everything in life revolves around him, and nearly everything that happens suggests he might be right. He starts flimsy business ventures and antagonizes authority figures, yet never appears fazed by anything thrown at him, with the exception of brief falters in his expression that betray his insecurity about Alana’s romantic reticence. Alana moves through life without much control of anything. Her career prospects are dictated by Gary, her romantic prospects are dictated by her dad, and how she sees her purpose in life changes from one moment to the next. The relationship between Gary and Alana is an exploration of the contrast between feeling as if you can create your own world versus feeling as if everything in the world is happening to you, and how the respective shortcomings in each of those perspectives collapse onto each other. Anderson presents this story with his trademark visual control. Licorice Pizza is replete with beautiful and precise compositions that I suspect I’ll need a second viewing to fully appreciate. His realization of the film’s central relationship, meanwhile, is much less precise. Gary and Alana exist in a space between friendship and romance. Anderson manages to provide them with an ending that feels both resolved and open-ended. But where their relationship ultimately ends up may be less important than their journey toward recognizing that they need each other in their lives. Licorice Pizza is currently playing in theaters.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/003b9d22-5ba9-4a3d-8a0b-291f75574429/Rocket.jpeg</image:loc>
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      <image:caption>With his breakout indie hits Tangerine and The Florida Project, director Sean Baker dug into the overlooked alcoves of American life, redefining what many would consider the “fringes” of society as fundamental slices of the national experience. His characters were lovable and possessed an inspiring gumption in the face of challenging circumstances: two sex workers sorting out a messy situation on Christmas Eve; a destitute family trying to piece together a life in a motel outside Disney World; the motel manager trying to keep his business afloat. If the experiences themselves were foreign to many viewers, the resilience in the face of life’s toughest moments was always recognizable. Red Rocket finds Baker returning to another community, this time in rural Texas, defined by its economic marginalization and sense of alienation. But his protagonist is decidedly not lovable, or is perhaps uncomfortably lovable despite his obvious moral failings. The film stars Simon Rex as Mikey, a fading porn star who returns to Texas to move back in with his estranged wife and deal drugs until he can scrounge up enough cash to get back to Los Angeles. While in Texas he meets a 17-year-old named Strawberry, begins dating her, and then tries to recruit her into the porn industry as his way to get back to industry acclaim. If this sounds detestable, it is. Red Rocket is an examination of narcissism as a defining trait of the American psyche, and while Baker would never make a film so simple as an outright moralizing finger wag, the film is certainly reckoning with the wreckage created in the wake of incessant self-interest. All Mikey can see is what things could be for himself. As Mikey snakes his way through life in pursuit of the future he thinks he deserves, news segments of Donald Trump on the 2016 campaign trail appear occasionally in the background of scenes. The juxtaposition seems to push back against the idea that Trump created a monstrous citizenry. The 45th president is incidental. Mikey is grotesque, he’s abhorrent, and he’s who we’ve always been. In Red Rocket, as in that election, American narcissism always finds a way. Red Rocket is currently playing in theaters.</image:caption>
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      <image:title>Other Features - Top 21 movies of 2021</image:title>
      <image:caption>Passing is an impressive directorial debut from Rebecca Hall. The film is based on a 1929 novel by Nella Larsen, which follows two childhood friends who reunite and becomes increasingly entangled in one another’s lives. One, Irene (Tessa Thompson), is a Black woman with a Black husband and children. The other, Clare (Ruth Negga), is a Black woman with a white husband, and a secret: she’s passing as white, and her bigoted husband has no idea. The film is presented in an elegant black-and-white frame from Hall, who shows as much control behind the camera as she has in her performances in front of it. It’s a fastidious aesthetic, but black and white often bleed into one another in creative ways. Negga first appears on screen in a spacious room filled with sunlight, and the overwhelming brightness makes her nearly invisible—reflective of her aims. The illumination is darker and calmer, meanwhile, back inside Irene’s home. Hall showcases a rare ability beyond her technical prowess: creating a story that’s difficult to pin down. Passing possesses an unshakeable depth, a feeling that there is more substance under its foundation than can be perceived. This is owed in part to the brilliant performances of Thompson and Negga, expressive but always guarded. Passing is available on Netflix.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/ad8be65c-f84f-45ef-a561-05c82333352a/French.jpeg</image:loc>
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      <image:caption>The book “Accidentally Wes Anderson,” published last year, cements the director’s status as the current filmmaker with the most easily identifiable aesthetic. The book captures sceneries from real life that seem to emulate Anderson’s glorious, pastel-laden, fussy style. The implication is that his visual approach is easily replicable, but the director himself does not seem to be insulted—he provides the foreword for the book. Because as much as some may criticize the director for the congruity of his style film to film, it’s nothing but the highest compliment that people have begun to see the real world reflected back through Wes Anderson’s eyes. The French Dispatch elevates his visual language beyond aesthetic choice, as a means to better understand the world and to see it in a more interesting way. The film tells three stories from a fictional magazine called “The French Dispatch,” a transparent ode to The New Yorker. The vignette format optimizes Anderson’s skills. I’ve enjoyed recent Anderson films like Moonrise Kingdom and Grand Budapest Hotel, but the elaborate world-building can grow a bit tiring by the end. Rather than shortchange the emotional payoff of his characters’ arcs, The French Dispatch’s anthology approach breathes new vibrancy and urgency into each tale. The film is ultimately not a salute to a high-society magazine, but a tribute to what the best of that magazine’s writing represents: a penchant for finding meaning in life through an exploration of its idiosyncratic details. An imprisoned artist, a failed student revolution, a chef’s role in a minor kidnapping plot: these are fascinating stories, but ones that may be overlooked if you’re not searching for them. Consider the magazine editor’s repeated refrain: “Try to make it sound like you wrote it that way on purpose.” Everything in The French Dispatch, the magazine and film, is deliberate. When the editor, played by Anderson stalwart Bill Murray, insists to a writer than an emotional coda be left in a story, he contends, “It’s the whole reason for writing it.” But the writer, played by Jeffrey Wright in one of the year’s best performances, doesn’t see it that way. His interest is in the details that led up to that moment, everything peculiar and intriguing about people that could even make a coda like that worth mentioning at all. “I couldn’t disagree more,” the writer replies. The French Dispatch is the best Wes Anderson movie since The Royal Tenenbaums was released twenty years ago. I can’t wait to see the world through Anderson’s eyes again. The French Dispatch is available for digital rental.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/d815a14c-8a1c-47c6-95ac-e554427f5619/Sudden.jpeg</image:loc>
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      <image:caption>If the release of No Sudden Move didn’t make a splash, it may be because director Steven Soderbergh is too prolific: he’s directed five movies in the past four years, with another due out in two months (not to mention producing last year’s Oscars ceremony). But no Soderbergh movie is quite like any other, and No Sudden Move is yet another inventive genre iteration, albeit with a familiar cast of Soderbergh favorites. Benicio Del Toro and Don Cheadle star as a couple of criminals looped into a scheme that turns out to be far bigger than they bargained for. The pacing of No Sudden Move is slow but menacing. The characters speak in controlled tones but always feel as if they are hurtling toward a fate completely outside their control. No Sudden Move reckons with this lack of control over one’s fate and the power held by those who do control our destiny. Try as we might, we’re still playing by their rules. No one else gets it quite like Soderbergh. No Sudden Move is available on HBO Max.</image:caption>
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      <image:caption>Questlove directs Summer of Soul with a light touch, evidently understanding the most consistent truism about music documentaries: the best moments are always the performances themselves. The film celebrates the Harlem Cultural Festival, a massive event in New York featuring legendary artists such as Stevie Wonder and Nina Simone. The festival took place the same summer as Woodstock, but with its Black performers and mostly Black audience, received little of the fanfare or generational symbolism granted to Woodstock’s white hippie-palooza. Between magnificent musical performances, Summer of Soul weaves in a story of the surrounding context: the recent assassination of Martin Luther King, Jr., the rise of the Black Panther Party, the continued struggle for civil rights. Yet the most evocative historical narrative takes place within the confines of the festival. As the film itself notes, the footage of the Harlem Cultural Festival was stored away for decades, and the very excavation of it for this documentary is a powerful act of self-recognition (the documentary’s alternative title, …or, When the Revolution Could Not Be Televised, speaks to this fact). Summer of Soul revels in the glory of witnessing a space that existed by and for Black people in a historical moment that may have felt as if everything outside its walls did not. It’s hard to imagine any history lesson elucidating this as clearly as Nina Simone’s performance of “To Be Young, Gifted and Black” shown near the end of the film. Perhaps even more affecting are the interviews with festival attendees in Summer of Soul. The footage is not only an opportunity for them to reminisce on a beautiful moment from the past, but a chance for them to affirm what they had partially forgotten, that this space and this moment were real. Summer of Soul is available on Hulu.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/e56f6842-99fa-424e-92f4-2b6265275f36/Knight.jpg</image:loc>
      <image:title>Other Features - Top 21 movies of 2021</image:title>
      <image:caption>The most visually impressive movie I saw all year, The Green Knight is a revisionist fantasy epic, indulging in the grandeurs of the genre while challenging its core beliefs. At its center is Gawain (Dev Patel), who enters into a foolish pact with the Green Knight (Ralph Ineson) that puts him on a path toward danger and self-actualization. Director David Lowery leads Gawain on a gorgeous odyssey as tries to define his place in history. The beauty of the landscape on Gawain’s journey juxtaposes the aspirant leader’s ambitions. While such epics might typically use lush sceneries to emphasize the significance of man’s path toward greatness, in The Green Knight the elegance of the natural world only highlights the small place that Gawain has within it. In a moment of respite, characters discuss why the Green Knight is green. “Green is the color of earth, of living things, of life,” one says. “We deck our halls with it and dye our linens. But should it come creeping up the cobbles, we scrub it out, fast as we can … Whilst we’re off looking for red, in comes green. Red is the color of lust, but green is what lust leaves behind, in heart, in womb.” Such it is with Gawain’s journey: he will accomplish what he may, but fail or succeed, he will fade away and the earth will remain. Is greatness folly? A stunning final 15-minute segment of the film wrestles with the answer. It’s a fascinating destination, and a glorious journey to get there. The Green Knight is available for digital rental.</image:caption>
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      <image:title>Other Features - Top 21 movies of 2021</image:title>
      <image:caption>Don’t Look Up shares many narrative parallels with director Adam McKay’s last great achievement, The Big Short: a group of knowledgeable insiders trying to warn the public about an impending calamity, only to find an unresponsive and uncaring audience. This time around the consequences are even more dire: two scientists (Jennifer Lawrence and Leonardo DiCaprio) discover a meteor will hit Earth in six months and wipe out humanity, but the government appears unwilling to do anything about it. Despite these apocalyptic stakes, though, I found Don’t Look Up to be less cynical than The Big Short. That evisceration of the U.S. financial system ends with the awareness that, even though these guys were right and the profited massively, there were no winners or structural changes as a result. In Don’t Look Up, even when the system’s ability to respond to disaster appears bleak, McKay maintains a faith in the people fighting to change it anyway. “Everything is theoretically impossible until it is done,” DiCaprio’s character heroically declares midway through the film. Within the scene, it’s a moment of brutal irony, with catastrophe soon following this moment of promise. But read another way, it’s also a moment of profound optimism from McKay: we are hurtling toward destruction, and it looks unavoidable, but we can always try. Don’t Look Up has largely been eviscerated by critics, and much of the analysis has condemned the film for its lack of subtlety, or cleverness, or the obviousness of its satire. Perhaps my tastes are unrefined, but I don’t think there’s any need for coyness when the message is we’re all going to fucking die. I’ve always appreciated McKay’s mission in this sense, his belief in the virtue of simply and directly telling the truth. Even when his thesis is disastrously wrong, as it was with Vice, he’s always known who the villains are. Sometimes, there’s value in just saying it, and in Don’t Look Up the truth is delivered in a way that’s both outrageously funny and completely terrifying. It’s a tactic that recalls Spike Lee’s School Daze, or any number of Lee films, in which the directly screams at the audience: Wake up! Don’t Look Up is a film full of righteous fury, an appropriate response to the world if you’re paying attention. Late in the film a character leads others in a prayer to God: “We ask for your grace tonight despite our pride.” McKay knows people have screwed things up, but he always aims his ire at the feckless monsters in charge. Don’t Look Up is a film that reminds us our collective demise is something we all have in common, and prays to God that this fact inspires us to act rather than resign ourselves to a doomed future. Don’t Look Up is available on Netflix.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/bc3450bf-460c-4da2-a57e-05e2cfbbe92e/Worst.jpeg</image:loc>
      <image:title>Other Features - Top 21 movies of 2021</image:title>
      <image:caption>Something I’ve learned by watching an outrageous number of movies is that it is pretty easy for a movie to make me cry. Far more rare is a movie that sticks with me long after it’s over, a film that seeps so deeply into my consciousness that it feels as if it’s moving alongside me in the world. Few movies I have ever seen have possessed this quality more than The Worst Person in the World, one of the great cinematic joys I’ve ever had. The Norwegian romance follows Julie (Renate Reinsve) over the course of four years in her mid-to-late twenties as she tries to navigates the complexities of love, career, and purpose. It’s a classic coming-of-age story, and perhaps the best I’ve seen at capturing the directionless feeling of being a twenty-something Millennial. Julie is not the worst person in the world, but her aimlessness leads her to believe that sometimes she might be. The movie presents Julie’s journey without judgment, allowing her to careen through mistakes, pivots, and occasional moments of glory. Her guiding instinct is emotional impulsivity, and she bounces back and forth between reckless abandon and guarded trepidation. “Sometimes I just want to feel things,” she laments in a moment of turmoil. Don’t we all? Movies reflect the world, but they also take us out of it, and this possibility of self-withdrawal was especially enticing in 2021. I felt the opposite with The Worst Person in the World, a film so full of understanding about the struggle to navigate life that I felt thrust into life anew. It continues to stay with me, shaping my sense of the world as I navigate my own path forward, grasping at the beauty of the fact that through mistake or fortune, every step we take makes us who we are. The Worst Person in the World will be in theaters Feb. 4, 2022.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/2a0eeab7-7b0b-4571-b654-3865473a56eb/Petite.jpg</image:loc>
      <image:title>Other Features - Top 21 movies of 2021</image:title>
      <image:caption>Céline Sciamma is a delicate filmmaker. She produces works of art so precious it feels as if they may evaporate the moment the end credits roll on screen. In Portrait of a Lady on Fire, Sciamma employed this approach to make a brief 18th-century romance feel like a timeless, defining expression of love. Petite Maman moves in the opposite direction, presenting an intensely personal, small-scale story of friendship and familial empathy. The film stars Joséphine Sanz as Nelly, an eight-year-old traveling with her parents to clean out her mother’s childhood home after Nelly’s grandmother has died. While staying at the home, Nelly meets a new friend, Marion, who is building a treehouse in the nearby forest. The friends grow closer as the fantastical nature of their connection grows more apparent. Petite Maman is a triumph of editing; it runs at just 72 minutes, and the script is as masterful for what is left unsaid as what is communicated aloud. Sciamma has a knack for creating images that are not gaudy but stay with you long after the film ends. A father smiling at his daughter as he shaves, two friends looking admiringly at their tree fort, a mother and a daughter sharing a moment of true understanding: these images from Petite Maman say far more in seconds than most directors can muster over an entire career. The film crescendos in the most affecting music cue of the year, a rare moment of cinematic flourish from Sciamma that pushes the film’s grounded human tale to new heights. Petite Maman will be available on Mubi on Feb. 4, 2022.</image:caption>
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      <image:title>Other Features - Top 21 movies of 2021</image:title>
      <image:caption>A lot of criticism about King Richard described it as a standard, formulaic sports movie as if that were a bad thing. Sports movies are formulaic for a reason: when the formula works, it produces greatness. Richard Williams knew the same applies to sports itself, and King Richard charts the inspirational rise to greatness of Venus and Serena Williams as they follow their father’s plan down to every detail. What the lazy commentary about this film ignores, and what King Richard shows, is that even when you have a good formula, success is really, really hard to pull off. Not everything in Richard Williams’ plan is wise, and despite the Williams sisters’ role as producers of the movie, the biopic provides an honest look at the shortcomings of their father’s single-mindedness. In the end, though, King Richard cements itself as a top-tier sports movie because, like Moneyball, it is more about the process of reimagining what it takes to succeed than about reveling in that success. I loved every minute of King Richard, and cried a lot throughout the film. Saniyya Sidney and Demi Singleton are excellent as Venus and Serena, and Aunjanue Ellis, portraying the girls’ mother Oracene, provides an important counterweight to Will Smith’s performance as Richard. But Smith towers over them all, and completely owns his part. It’s the best sort of Oscar bait, a filet mignon dangling on the end of the fishing line. Smith is really going for it, and he deserves the Oscar. King Richard is not currently available to stream.</image:caption>
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      <image:title>Other Features - Top 21 movies of 2021</image:title>
      <image:caption>Inside was written, produced, and directed entirely by Bo Burnham inside his home during the COVID-19 pandemic. The show maintains the structure we’ve come to expect from Burnham, delivering his thoughts on depression and social anxiety in a series of self-effacing musical numbers. It’s significant that, despite the premise of the special being spurred by the pandemic, Burnham does not mention it once. Yes, the virus drove us all indoors, but Burnham’s thesis is that this sheltered life is how we experience the world when the digital realm becomes primary, pandemic or not. “The outside world, the nondigital world, is merely a theatrical space in which one stages and records content for the much more real, much more vital, digital space,” Burnham laments. The ever-present problem with Burnham’s bemoaning of the internet’s ills is that he is making this point by himself spewing content into the void. He takes on this contradiction with his usual flair for self-awareness: “Is there anyone out there? Or am I all alone? It wouldn’t make a difference,” he knowingly remarks. But self-awareness can only get you so far, and the show does have a sort of old-man-yells-at-cloud energy. This is not a flaw, per se, but the futility of his effort is accentuated in a production so thoroughly pessimistic. How is it possible, then, that Inside feels so comforting to me? I think it’s because I can identify so precisely with the conditions Burnham is decrying. This is the paradox of his message: the internet flattens everything into nothingness and despair, but on the end of each one of those infinite data points is an individual person having an experience. Inside might disappear into the abyss, but I’ll still have felt something watching it. When Burnham says it wouldn’t make a difference whether anyone is out there, he’s right: we get nothing out of giving to the internet. Inside shows how the internet operates as a perverse black hole of empathy, where we try to give everything of ourselves over to each other and get nothing back in return. The value of the show is its articulation that we all know we’re doing it. We’re all stuck inside, alone, but we’re all there together. Bo Burnham: Inside is available on Netflix.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/699bac9d-35c6-4f06-bfc8-5e211f90d364/Shiva.jpeg</image:loc>
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      <image:caption>Shiva Baby is a horror movie masquerading as a comedy. The quick, 78-minute film stars Rachel Sennott as Danielle, an aimless college student forced into attending a family shiva. There, she suffers one repeated discomfort after another: the attendance of her sugar daddy; the pestering of her ex-girlfriend; the overbearing neuroses of her parents. If you thought Uncut Gems was stressful, just wait. Shiva Baby should be celebrated as the arrival of two unique new talents. Sennott delivers one of the very best performances of the year as Danielle. Rather than devolve into angsty shtick, Sennott’s performance is endlessly fluid; Danielle is smart, bold, weak, petulant, self-assured, and completely fragile, but never all of those things at once. And director Emma Seligman makes it clear that, even though Shiva Baby is her debut film, she already has her own visual style. I can’t wait to see what she makes next. Shiva Baby is available on HBO Max.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/4c1937b2-8a8e-4d2d-9040-450a3487b49d/Dune.jpg</image:loc>
      <image:title>Other Features - Top 21 movies of 2021</image:title>
      <image:caption>Dune was my most anticipated movie of 2020, and in January 2020 I wrote, “I can’t believe I have to wait almost a full year for this one, but it will be worth it.” Well, it ended up being nearly two years, but Dune finally arrived in theaters this October. In two and a half hours the film covers just half of the source material—but it’s a breezy 2.5 hours, nimbly introducing the vast array of characters while constructing the grandiose backdrop of Arrakis. It’s a complex sci-fi world, but director Denis Villeneuve manages to bring it to life in a way that those not familiar with the book can appreciate. Dune is a visual spectacle, and as an act of adaptation succeeds in mirroring the thoughtful, deliberate pace of the book. There are big action set pieces, the highlight of which is the escape from an impending sand worm. But much of Dune is politics and lore, and the film manages to hold intrigue through these slower moments. And yet for all my Dune love, I can’t shake the feeling that this adaptation is really only half a movie. I understand the decision to cut the film in half; it’s a structurally challenging text to adapt. But in its full arc, Dune provides an exploration of imperialism and environmental degradation, and more fully reckons with Paul’s complicated role as a messianic figure. Lopping off the second half shortchanges the perspective of the Fremen, and while Javier Bardem gives the Arrakeen natives some much-needed character, this truncated version of Dune is a story of royals. Thankfully, Dune: Part Two is coming in 2023, and once I see the full six-hour cut my esteem for this project might rise. I can’t believe I have to wait almost two full years for the next one, but it will be worth it. Dune is available for digital rental.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/f3729b90-2dab-46e8-afb7-187fcf5e6fa4/Homeroom.jpeg</image:loc>
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      <image:caption>The breakout documentary of Sundance 2020 was Boys State, a look at the annual week-long mock government event at the Texas Capitol. Although it contained glimmers of hope, Boys State was mostly a damning look at the nastiness of American politics. Consider Homeroom, the best documentary I saw at Sundance 2021, the anti-Boys State: it centers on a group of deeply inspirational high schoolers working tirelessly to make the world a better place. Homeroom takes place in Oakland and tracks a high school graduating class through the 2019-2020 school year. The film starts with a focus on student leaders’ efforts to defund the sizable police presence in their school district. In the latter half COVID-19 arrives and throws the school year into disarray. What makes Homeroom special is its ability to make clear that when the pandemic started, the struggle did not stop. The world never really went on pause if you spent your time seeking a new path forward. This movie makes me believe in one. Homeroom is available on Hulu.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/853f2c41-3f60-40b3-9e56-1ecf9aa70dad/Billie.jpg</image:loc>
      <image:title>Other Features - Top 21 movies of 2021</image:title>
      <image:caption>Coming-of-age stories can be reductively summarized by their protagonists’ belief that to be young is to be misunderstood. Few films, however, have more compellingly reckoned with this belief than The World’s a Little Blurry. The documentary charts the recording of, and tour for, Billie Eilish’s first album, “When We All Fall Asleep, Where Do We Go?,” an immaculate piece of music that catapulted Eilish into the A++ list of pop stardom. The film chronicles Eilish’s struggle for recognition, but also wrestles with where that recognition can and should come from. How emotionally legitimate can the relationship between a celebrity and her fans really be? When your life is dramatically thrown into the public eye, how do you maintain relationships with family and friends? Throughout a daunting journey Eilish remains a fascinating figure, forever honest in the face of unyielding bullshit. The film manages to be at once an act of humanization of a teenager whose life becomes defined by outside perception and an act of mythologization of an artist with seemingly few creative peers. The World’s a Little Blurry is an amazing portrait of celebrity, fandom, empathy, family, growing up, the creative process, and self-love. And it doesn’t hurt that the music is perfect, too. Billie Eilish: The World’s a Little Blurry is available on Apple TV+.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/6b0d79bb-7467-4e45-9a77-ee2e5cc54406/Cmon.jpg</image:loc>
      <image:title>Other Features - Top 21 movies of 2021</image:title>
      <image:caption>C’mon C’mon is the sort of movie that grows and grows and grows until all of a sudden you realize that it owns your whole heart. The film follow a radio host named Johnny (Joaquin Phoenix) who must look after his nephew Jesse (Woody Norman) while Johnny’s sister Viv (Gaby Hoffmann) deals with a family emergency. C’mon C’mon comes from director Mike Mills, whose previous works Beginners and 20th Century Women were also gentle explorations of family dynamics. The film introduces us to Johnny by way of interviews he is conducting with America’s youth: what are their hopes and fears for the future? “I think the most important thing is just being aware of what’s going on around you,” one interviewee says, describing a common failing of adults. The quote sets the stage for the entire film, a slow-moving exercise in becoming more aware of the world via human connection. And yet C’mon C’mon has no grand realization, no single profound moment of truth. Nor is it Johnny’s movie. Johnny, Jesse, and Viv grow and learn together, not in the way fictional characters do but how people do in real life, which is to say, partially and haphazardly. The movie ends on a virtuoso sequence from Mills, who balances this narrative subtlety with cinematic beauty. C’mon C’mon is currently available in theaters.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/72f1b33a-9f82-475e-bd7d-2776e951f360/Wave.jpg</image:loc>
      <image:title>Other Features - Top 21 movies of 2021</image:title>
      <image:caption>Every one of us suffered through a massive disruption to life when the COVID-19 pandemic hit, but to a large extent the true horror of the virus was shielded from public view. Sure, the disease was lurking everywhere we went, but the pain and loss of human life were contained to overcrowded hospitals. The First Wave takes us inside those hospitals, and the film is a monumental achievement of historical documentation. It should be required viewing for every American, and especially anyone who ever suggested this pandemic was being blown out of proportion. The film is unrelentingly emotional; I cried in nearly every scene. Those tears were, miraculously, equal parts mournful and joyful. The First Wave never shortchanges the pain suffered by COVID-19 patients and their families, but it also makes a point to showcase the boundless capacity humans have to care for each other in our most dire moments. The film deftly weaves in the protests following the murder of George Floyd into its narrative of frontline care. The social outrage never feels shoehorned in because director Matthew Heineman convincingly draws out the connections between COVID-19 inequities and police violence, making a powerful statement about a nation that so little values Black lives. And on a technical level, The First Wave is astonishing, with camera crews embedded inside a hospital as patients sick with COVID-19 surround them. This commitment only serves to further highlight the necessity of the story being told, a story too long unseen. The First Wave is available on Hulu.</image:caption>
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    <changefreq>monthly</changefreq>
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    <lastmod>2021-11-10</lastmod>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Adam Driver in Paterson</image:caption>
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      <image:caption>Isla Fisher in Wedding Crashers</image:caption>
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      <image:caption>André Holland in High Flying Bird</image:caption>
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      <image:title>Other Features - 2020 in review: on movies and loneliness</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1609436840665-3ITL59GU3TL775ZNF5G5/pjimage.jpg</image:loc>
      <image:title>Other Features - 2020 in review: on movies and loneliness</image:title>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/other-features/2020/12/5/top-ten-pixar-movies/jacob-skubish-sy8hx</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-12-28</lastmod>
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      <image:title>Other Features - Top ten Pixar movies</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1609164506065-VK5Y5YCLPD6IA79XRFOF/5e4de434bb2ebc2f85319833.png</image:loc>
      <image:title>Other Features - Top ten Pixar movies</image:title>
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      <image:title>Other Features - Top ten Pixar movies</image:title>
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      <image:title>Other Features - Top ten Pixar movies</image:title>
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      <image:title>Other Features - Top ten Pixar movies</image:title>
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      <image:title>Other Features - Top ten Pixar movies</image:title>
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      <image:title>Other Features - Top ten Pixar movies</image:title>
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      <image:title>Other Features - Top ten Pixar movies</image:title>
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      <image:title>Other Features - Top ten Pixar movies</image:title>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/other-features/2020/12/5/top-ten-movies-of-2020/jacob-skubish-sk4ep-fz26x-w8ab4</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-01-18</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1608394809407-MXZ2G243WOU4RJQIBSP3/merlin_178233897_afb8272f-93a5-49e2-8b6a-5c1df0a14037-mobileMasterAt3x.jpg</image:loc>
      <image:title>Other Features - Top ten scenes of 2020 - 3. End credits, David Byrne’s American Utopia</image:title>
      <image:caption>Rarely would I even think about including an end credit sequence on a best scenes list, but this was one of the first scenes I thought of for this year. It’s a callback to an earlier musical sequence in the stage show and a reinforcement of the show’s key message: take a reality you see, put it in a different light, and watch the beauty that can result. David Byrne’s American Utopia is available on HBO Max.</image:caption>
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      <image:title>Other Features - Top ten scenes of 2020 - 1. “Silly Games,” Lovers Rock</image:title>
      <image:caption>Lovers Rock is a work of constant movement, taking place largely on the dance floor of a London house party in the 1980s. Director Steve McQueen’s camera wedges its way into the crowd, twisting between sweaty DJs and swinging hips. It peaks with an extended dance sequence to Janet Kay’s “Silly Games,” a beautiful moment of love, sexual energy, and divine joy. When the track recedes and the song continues a cappella, Lovers Rock reaches a new level of glory. Lovers Rock is available on Amazon Prime.</image:caption>
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      <image:title>Other Features - Top ten scenes of 2020 - 9. Giuliani Interview, Borat Subsequent Moviefilm</image:title>
      <image:caption>Possibly the defining movie scene of the year. Maria Bakalova’s interview with renowned weasel Rudy Giuliani is more than a prank; it’s an evisceration of the complete lack of empathy and responsibility from the highest levels of American government. It’s ridiculous, hilarious, and deeply depressing. Borat Subsequent Moviefilm is available on Amazon Prime.</image:caption>
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      <image:title>Other Features - Top ten scenes of 2020 - 10. procedural challenge, Boys State</image:title>
      <image:caption>The documentary Boys State follows a week-long camp for young government aficionados in Texas as they create a mock two-party system and hold a series of mock elections. There are many articulate, thoughtful young men in the film that inspire hope for the future of democracy. But there are also many scenes, like one in which two campaign managers get into a squabble about procedures and conflicts of interest at a campaign event, that make you think we’re all doomed. That the documentary can inspire both reactions is what makes it a success. Boys State is available on Apple TV+.</image:caption>
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      <image:title>Other Features - Top ten scenes of 2020 - 8. Courtroom speech, Mangrove</image:title>
      <image:caption>When Mangrove turns into a courtroom drama in its latter half, what we are rooting for as an audience is justice in the form of these defendants’ freedom. But just as the Mangrove restaurant itself is a home for communal interaction among London’s West Indian population, the “Mangrove Nine” are aware that their trial is important beyond what happens to themselves individually. It’s all laid out in this speech by Malachi Kirby, both conventionally rousing and narratively original. Mangrove is available on Amazon Prime.</image:caption>
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      <image:title>Other Features - Top ten scenes of 2020 - 6. Ending, Onward</image:title>
      <image:caption>Again, no spoilers here, but I will say that the ending to Pixar’s Onward made me cry like a baby. It’s classic Pixar material: you know exactly where it’s going and what emotional buttons it is going to push, but it still wrecks you. Onward is available on Disney+.</image:caption>
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      <image:title>Other Features - Top ten scenes of 2020 - 2. basketball game, The Vast of Night</image:title>
      <image:caption>The opening scene of The Vast of Night follows a radio host in a small New Mexico town trying to fix malfunctioning devices during a basketball game, while a girl from the town tags along to learn more about the radio technology. But what’s happening matters less than what we are seeing: an extended tracking shot, swiveling through the gymnasium and the town’s desolate road, that announces the unique vision of first-time director Andrew Patterson. The Vast of Night is available on Amazon Prime.</image:caption>
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      <image:title>Other Features - Top ten scenes of 2020 - 5. Land Mine, Da 5 Bloods</image:title>
      <image:caption>When the self-declared Bloods venture into the Vietnamese forest in search of gold, we get the sense this is a cathartic experience for a group of old geezers. There are disagreements and the men have evident trauma, but there’s little sense among the group of genuine danger. That all changes when they come across some live land mines left over from the war. The intensity ratchets up in an instant, and the stage is set for further tragedy to ensue. Da 5 Bloods is available on Netflix.</image:caption>
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      <image:title>Other Features - Top ten scenes of 2020 - 7. The vault, tenet</image:title>
      <image:caption>There’s very little I can say about what’s happening in this scene, or when it takes place in Tenet, or who it involves. But if you watch the movie, you’ll know what I’m talking about. Nothing else in 2020 came close to the ambition and inventiveness Tenet embodies, and this is the scene where the story starts to come into focus. It’s an astounding work of trickery. Tenet is available online for purchase.</image:caption>
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      <image:title>Other Features - Top ten scenes of 2020 - 4. Health Screening, Never Rarely Sometimes Always</image:title>
      <image:caption>Throughout Never Rarely Sometimes Always you get the sense that Autumn (Sidney Flanigan) is holding something back. It’s as if fully expressing herself will open up the possibility of something terrible happening. When she receives a crucial health screening and finds herself in a place she can consider herself safe, all the withheld pain comes crashing out. Never Rarely Sometimes Always is available on HBO Max.</image:caption>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/other-features/2020/12/5/top-ten-movies-of-2020/jacob-skubish-sk4ep-gt249</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-01-18</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607882062433-BIT5YL6K3MRTVYRWQ4GW/MV5BNWZhZjY4ZGEtMGE3ZS00NTA3LTlmYzgtOTJjMGMxYWJmMWU1XkEyXkFqcGdeQWRvb2xpbmhk._V1_.jpg</image:loc>
      <image:title>Other Features - Top ten performances of 2020 - 8. Andy Samberg and Cristin Milioti, Palm Springs</image:title>
      <image:caption>Truly great rom-com performances are increasingly rare, but Palm Springs co-leads Samberg and Milioti are two of the best from the past few years. Samberg has long been a staple in network comedy but gets to showcase a different side in the film, beaten down by the world and less goofy than his usual persona. Milioti is someone I was unfamiliar with and now someone I can’t wait to see more of; even with Samberg on screen, she’s in control of every scene she is in. The two elevate broadly comic moments and also share a genuine connection. Palm Springs is available on Hulu.</image:caption>
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      <image:title>Other Features - Top ten performances of 2020 - 1. Maria Bakalova, Borat Subsequent Moviefilm</image:title>
      <image:caption>There’s a lot made about the courageousness of Sacha Baron Cohen and Bakalova in Borat Subsequent Moviefilm, and rightfully so. The experiences they put themselves in range from painfully awkward to outright dangerous, and they never break character. But the function of Bakalova’s performance is only a fraction of what she brings to the screen. Bakalova’s Tutar is inquisitive, uninhibited, frightened, and batshit crazy in all the right moments. She pranks Rudy Giuliani and keeps up with Cohen, a seasoned comedy veteran. If there were any justice at the Oscars, we’d be recognizing comedic performances like hers. Borat Subsequent Moviefilm is available on Amazon Prime.</image:caption>
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      <image:title>Other Features - Top ten performances of 2020 - 4. Amanda Seyfried, Mank</image:title>
      <image:caption>Seyfried is magnificent in a supporting role in David Fincher’s Mank. She’s been a burst of energy throughout her career, whether going big (Mean Girls, Mamma Mia!) or withdrawn (First Reformed). Everyone in Mank is playing caricature, but she’s the only one who’s able to do so while also developing a fully realized individual. Her meticulous annunciation, her careful New York accent, the guileless looks she throws Herman Mankiewicz’s (Gary Oldman) way—it’s a superb performance. But as with Erica Albright (Rooney Mara) in The Social Network, an outstanding performance by a female star is only incidental to Fincher’s vision. Mank is available on Netflix.</image:caption>
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      <image:title>Other Features - Top ten performances of 2020 - 5. Elisabeth Moss, The Invisible Man</image:title>
      <image:caption>I’ve said it before and I’ll say it again: Moss is the best actress on the planet. Her role in The Invisible Man plays to the frantic, intense desperation she carries so well. But the role is also a blast, and Moss also showcases action star magnetism. After high-stress, powerhouse performances in this and Her Smell, I’m looking forward to a more laid-back Moss in The French Dispatch next year. The Invisible Man is available on HBO Max.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1607881890877-SUPLHJN9XK5F6YHUZ6FI/Richard-BirdsofPrey.jpg</image:loc>
      <image:title>Other Features - Top ten performances of 2020 - 9. Margot Robbie, Birds of Prey</image:title>
      <image:caption>Birds of Prey was a box office flop and summarily tossed aside upon its release in February. It’s a true shame, because Robbie is a genuine comic force as Harley Quinn, a flamboyant, ultra-violent Brooklynite just try to navigate her way through a man’s world. It’s a playful performance in a superhero movie better than nearly anything Marvel has ever put out. Birds of Prey is available on HBO Max.</image:caption>
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      <image:title>Other Features - Top ten performances of 2020 - 2. Riz Ahmed, Sound of Metal</image:title>
      <image:caption>Playing someone with a disability is a tightrope walk, but as a metal drummer coming to terms with his impending deafness Ahmed is a portrait of empathy. The frustration and determination to get around an unsolvable problem is deeply felt, as is the warmth he encompasses when he embraces an accepting community. Ahmed has movie star charisma, and I hope he gets more starring roles like this one. Sound of Metal is available on Amazon Prime.</image:caption>
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      <image:title>Other Features - Top ten performances of 2020 - 6. Malachi Kirby, Mangrove</image:title>
      <image:caption>Mangrove centers on the story of Frank Crichlow (Shaun Parkes), the owner of a restaurant repeatedly raided by the police. Crichlow gradually moves toward an understanding of why this injustice is occurring and what he can do about it. Local activist Darcus Howe, played by Kirby, has no delusions about the state of oppression in London or what must be done. He’s self-righteous and self-aggrandizing, forcing his voice to the top of the movement. But he also carries an air of nobility that makes this voice worth listening to. Mangrove is available on Amazon Prime.</image:caption>
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      <image:title>Other Features - Top ten performances of 2020 - 10. Hugh Jackman, Bad Education</image:title>
      <image:caption>It feels strange to say that Hugh Jackman, one of the most successful Hollywood leading men of a generation, has gone overlooked. But that’s the case with his performance in Bad Education, an HBO original film based on a true story about a school administration mired in embezzlement claims. Jackman weaponizes his typical charm; he’s schmoozing with everyone from the beginning, but you can tell there is something broken beneath the surface. The fact that you can never quite tell whether he’s going to pull it together or go off the deep end is what makes the performance stand out. Bad Education is available on HBO Max.</image:caption>
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      <image:title>Other Features - Top ten performances of 2020 - 7. Orion Lee, First Cow</image:title>
      <image:caption>There is nothing monumental about the life of King-Lu, played by Lee in First Cow. He lives in a shack in the American northwest with a cook (John Magaro), hatching a scheme to sell oily cakes to settlers. But King-lu imbues this landscape with philosophical grandiosity. He’s ever aware of the arc of history but always living in the moment. Lee’s performance is soothing like a warm cup of chamomile tea; his wisdom is delivered with a delicate serenity. First Cow is available for rental on most platforms.</image:caption>
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      <image:title>Other Features - Top ten performances of 2020 - 3. Delroy Lindo, Da 5 Bloods</image:title>
      <image:caption>Lindo’s Paul struggles mightily to escape the horrors of the war he lived through, visibly wrestling with PTSD. His trauma is right on the surface, and there’s a direct correlation between this disillusionment and the “Make America Great Again” hat he proudly dons in the Vietnamese jungle. His downfall is a King Lear-level meltdown, and Lindo deftly weaves individual anguish into historical suffering. Da 5 Bloods is available on Netflix.</image:caption>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/other-features/2020/12/5/top-ten-movies-of-2020/jacob-skubish-997j2</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-01-18</lastmod>
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      <image:title>Other Features - Top ten movies of 2020 - 8. Mangrove</image:title>
      <image:caption>Mangrove is the first of the five-part Small Axe series from director Steve McQueen, each of which tells a different story about the West Indian community in London. Disguised as a formally standard courtroom drama, Mangrove is a unique, inventive story about resistance, systems of oppression, and the value of having your own space. Incredible performances from Shaun Parkes, Letitia Wright, and Malachi Kirby center the film. Mangrove is available on Amazon Prime.</image:caption>
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      <image:title>Other Features - Top ten movies of 2020 - 9. Time</image:title>
      <image:caption>Time tells the story of Fox Rich as she fights to get her husband released from prison over the course of two decades. The film blends grainy home video footage with hi-def documentary filmmaking, then scrambles the videos into a nonlinear medley. It’s a feat of editing, serving the message that the concept of time is elusive during these decades in limbo. Unlike other stories of imprisonment, Time also fixates on a subject unquestionably guilty of the crime, showing that inmates do not need to be innocent for this system to be immoral. Time is available on Amazon Prime.</image:caption>
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      <image:title>Other Features - Top ten movies of 2020 - 5. Hamilton</image:title>
      <image:caption>Hamilton burst onto Broadway in 2015 with a five-year run that earned the show a rabid following and a near-universal seal of approval. Backlash was inevitable, and the show hit Disney+ this year to praise but also criticism of its adoration for the slave-owning founders of the United States. What these critics often fail to recognize is how the film purposely uses a false history to show how mutable history is, how narratives are defined by those in power, and how we have the power to change the historical narratives we create. The streamed show is also a accomplishment in editing, seamlessly piecing together three different shows into one movie, and accessibility, making a major artistic project available to millions who could never get a Broadway ticket. Hamilton is available on Disney+.</image:caption>
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      <image:title>Other Features - Top ten movies of 2020 - 6. Never Rarely Sometimes Always</image:title>
      <image:caption>In Never Rarely Sometimes Always, two teens travel across state lines so that one of them can get an abortion. Director Eliza Hittman’s film takes a somber approach to the subject matter; from the beginning, you can feel just how exhausted the pair is by the world, and how unsurprised they are by its injustices. It’s a damnation of American public health and male egocentrism, buoyed by great performances from Sidney Flanigan and Talia Ryder. Never Rarely Sometimes Always is available on HBO Max.</image:caption>
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      <image:title>Other Features - Top ten movies of 2020 - 3. Da 5 Bloods</image:title>
      <image:caption>If a movie released in the past five years makes any attempt to comment on American society, you can be certain it will be labeled as saying something about the “Trump Era.” The genius of Spike Lee’s Da 5 Bloods is the way in which Lee manages to condemn the brutality the Trump Administration has wrought while connecting those horrors to the historical, systemic failures of this nation. This is the heart of the sermon in Da 5 Bloods: past is present, present is past, and the war against Black people never really ended. Da 5 Bloods is available on Netflix.</image:caption>
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      <image:title>Other Features - Top ten movies of 2020 - 7. The Assistant</image:title>
      <image:caption>The Assistant stars Julia Garner as an assistant at a film production company working for an executive who, it quickly becomes clear, is a sexual predator. The film is not an evisceration of a single man, however, but an examination of how power operates in the workplace, and how the things unsaid and actions not taken sustain a fundamentally corrupt institution. The Assistant focuses on a young woman at the bottom of the hierarchy and explores the pain, intimidation, and complicity she carries as part of this structure. With few showy moments, it’s an extraordinary performance from Garner. The Assistant is available on Hulu.</image:caption>
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      <image:title>Other Features - Top ten movies of 2020 - 2. David Byrne’s American Utopia</image:title>
      <image:caption>In a year in which we have all been forced to keep our distance, it’s fitting that one of the best things I’ve seen is about the magic that happens when people get together. For all the world-weariness embedded in David Byrne’s musical style there has always been a faith in humanity, and never more so than in this filmed production of his Broadway show. Combined with Spike Lee’s typically forceful direction it’s both a righteous call to action and, incredibly, the only movie that truly made me feel hopeful this year. It doesn’t hurt to sing along to classics like “Once in a Lifetime,” either. David Byrne’s American Utopia is available on HBO Max.</image:caption>
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      <image:title>Other Features - Top ten movies of 2020 - 1. Sound of Metal</image:title>
      <image:caption>The most moving, and completely realized, film I saw all year comes from first-time director Darius Marder. Sound of Metal stars Riz Ahmed as a metal drummer who starts to go deaf and must grapple with how his life will change forever. It’s a film about a lot of things—disability, addiction, anxiety, purpose—without ever being “About” any of them. Sound of Metal is gorgeously composed and carried by a complex, poignant performance from Ahmed. Sound of Metal is available on Amazon Prime.</image:caption>
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      <image:title>Other Features - Top ten movies of 2020 - 10. First Cow</image:title>
      <image:caption>Kelly Reichardt’s First Cow follows the relationship between Cookie (John Magaro), an American nomad, and King-Lu (Orion Lee), a Chinese immigrant, on the 1820s Western frontier. The pair form an economic bond, selling oily cakes to local settlers, but the foundation of the story is their loving friendship. Reichardt takes a small-scale story and infuses it with the weight of history; stories like Cookie and King-Lu’s might not make textbooks, but they are formative American episodes. First Cow is available for rental on most platforms.</image:caption>
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      <image:title>Other Features - Top ten movies of 2020 - 4. The Invisible Man</image:title>
      <image:caption>The COVID-19 pandemic caused most studios to push their biggest blockbusters to 2021. Plenty of great films still came out in 2020, but there was a dearth of plain-old fun. Thankfully we were able to get The Invisible Man, easily the most fun I had with a movie this year. The horror film stars Elisabeth Moss contending with her abusive ex-husband, dead but somehow not quite gone. There are lots of jump scares, but none are cheap; The Invisible Man uses its conceit for memorable, inventive visual moments. And Moss reaffirms her status as best actress on the planet. The Invisible Man is available on HBO Max.</image:caption>
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  </url>
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    <loc>https://skoobywatchesmovies.com/other-features/2020/5/30/the-movie-star-draft-who-are-hollywoods-next-stars-ykm8c</loc>
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    <lastmod>2020-07-10</lastmod>
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      <image:title>Other Features - The Movie Star Draft: Predicting Hollywood's Next Stars</image:title>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/other-features/2020/5/19/lynn-shelton-saw-through-the-bullshit-gkc8e</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-07-10</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1589893963715-KAQ4Z1JZZZSY59NIX6Y7/lynn-shelton-h-2020.jpg</image:loc>
      <image:title>Other Features - Lynn Shelton saw through the bullshit</image:title>
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  </url>
  <url>
    <loc>https://skoobywatchesmovies.com/other-features/2020/5/2/my-25-favorite-movies-of-all-time-6phbt</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-07-10</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588455961079-YCIP29NVCNN8LP3DVP83/Chaplin_073015.jpg</image:loc>
      <image:title>Other Features - My 25 favorite movies of all time - City Lights (1931)</image:title>
      <image:caption>One of the great love stories in movie history, Charlie Chaplin’s City Lights follows the Tramp as he tries to win the affection of a blind woman. But ever the subversive, Chaplin also makes the film about class struggle and the daily life of working people. When the Tramp tries to arrange for a surgery to cure the woman’s blindness, the tension is not just in whether she will love him, but whether she can love a man of his economic status. It’s profound, and deeply romantic.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - Do the Right Thing (1989)</image:title>
      <image:caption>Do the Right Thing, Spike Lee’s greatest achievement, ends with two quotes, one from Martin Luther King, Jr. and the other from Malcolm X. The King quote tells us that “Violence as a way of achieving racial justice is both impractical and immoral,” while the X quote tells us that "I don’t even call it violence when it’s self-defense, I call it intelligence.” It’s not clear which side Spike’s film lands on, or if it’s intended to praise both, or even neither. But it does celebrate the righteous vindication of those fed up with American racism. Do the Right Thing might not tell us what the right thing is, but it forcefully argues that the world we live in today isn’t close.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - ‘Up’ series (1964-2019)</image:title>
      <image:caption>The documentary genre tries to capture a slice of life and generalize its lessons: this thing happened to these people, and this is what that means for you. The Up documentary series does this for life itself. Beginning in 1964 and continuing every seven years, this series follows a dozen or so British citizens from the time they were seven years old (the most recent installment, released last year, checks in on them at age 63). There are sociological implications aplenty in how their lives unfolded, but the emotional gravitas of watching a life happen is unparalleled. No movies have ever made me more aware of how fragile, or beautiful, life really is. It’s a cheat to include nine movies in one slot, but I couldn’t possibly leave off these documentaries.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588456612264-AK39I0F9RYZFRJKL33TO/MV5BODIzMzI1ODE2Nl5BMl5BanBnXkFtZTcwNjgzOTI2OQ%40%40._V1_SY1000_CR0%2C0%2C1429%2C1000_AL_.jpg</image:loc>
      <image:title>Other Features - My 25 favorite movies of all time - Ferris Bueller’s Day Off (1986)</image:title>
      <image:caption>John Hughes movies are defined by teens rebelling against their parents (Judd Nelson yelling “Hey, smoke up, Johnny!” in The Breakfast Club immediately jumps to mind). Ferris is special because this isn’t quite the case. Sure, he’s cutting class, lying to his parents, and pissing off the principal. But more than an act of defiance against authority, Ferris is taking a day off because he knows moments like these go by quickly in life, and they are meant to be grasped tightly and enjoyed in the fleeting time they occur. I’ve been trying to be as cool as Ferris Bueller every day of my life since I was 13.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - The Dark Knight (2008)</image:title>
      <image:caption>The Dark Knight is the movie that got me into movies. I might see a better movie in my lifetime, but nothing will ever be as exciting as the first time that sixth-grade me saw this one in the theaters. Heath Ledger’s performance as the Joker remains, and will likely long remain, my favorite villainous performance in any movie.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - Little Women (2019)</image:title>
      <image:caption>The most recent film to earn a spot on this list, I recently rewatched Little Women to make sure it deserved to make my top 25. The question I had after the rewatch was whether Greta Gerwig’s adaptation is my favorite movie ever made. The meta-textual genius of Gerwig’s screenplay, about storytelling in both its content and structure, is astonishing. The film covers wealth, gender, art, creativity, love, and how to live a good life by living for other people. On top of all of that, Saoirse Ronan may end up being the best actress in history, and every other scene makes me weep like a baby. Gerwig has directed two movies, and they’ve both been perfect. I’m there on day one for whatever she does next.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588456749301-KBKUEIU06EYW7U94Q65N/MV5BMTU1MjE5MDA4MV5BMl5BanBnXkFtZTcwMDAxMTkxNA%40%40._V1_SY1000_CR0%2C0%2C1558%2C1000_AL_.jpg</image:loc>
      <image:title>Other Features - My 25 favorite movies of all time - Groundhog Day (1993)</image:title>
      <image:caption>Twenty-five years later, Groundhog Day’s structure is not only iconic, but standard in American popular culture. I’m not sure there’s any single reason there have been so many films that have repurposed the Groundhog Day template in recent years. But maybe the reason Groundhog Day has been so often imitated over time is because recognizing our default mode of operation and changing for the better is a really hard lesson to learn, albeit a profound one, and only possible if we have the chance to step back and see it. And I think, to some small degree, that having Groundhog Day exist as a commonly understood touchpoint in our cultural lexicon can help us get there.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - Wall-E (2008)</image:title>
      <image:caption>Pixar movies were the logical choice to include at least one animated film on this list, and it was so hard to choose between Wall-E and Ratatouille. Ultimately, the reason Wall-E takes it is because, in the long stretches without dialogue in the film, director Andrew Stanton tells this story in breathtaking visual detail, and gets at the essence of what makes animated movies exciting.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - Some Like It Hot (1959)</image:title>
      <image:caption>Billy Wilder’s 1959 film considers gender dynamics in a way that was ahead of its time, and the writing is top-notch. But the reason to watch is Marilyn Monroe, who stars as a member of a band who Jack Lemmon and Tony Curtis’s characters each fall in love with. Monroe was a divine comic performer, and her notorious sexiness on screen was always subversive and self-aware. Stick around till the end for one of the great closing lines in movie history.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - The Social Network (2010)</image:title>
      <image:caption>My favorite writing in any movie, ever. At breakneck speed, Aaron Sorkin turned the story of a nerdy college student inventing a time-sucking website into the most thrilling procedural of the past twenty years. There are so many lines I will never stop quoting (I’m 6’5’’, 220, and there’s two of me; if you were the inventors of Facebook you’d have invented Facebook; etc. etc.). But mostly, I’m grateful for this movie so I can keep shouting MARK every day of my life.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - Die Hard (1988)</image:title>
      <image:caption>The greatest action movie ever made. You can read into the depth of the movie if you want to, but the reason Die Hard is so effective is its simplicity: it has great characters, a unique evil villain, and a litany of nuanced supporting players. And unlike many of the Schwarzenegger-y muscle movies of the 80s or the superheroes of today, Bruce Willis’ John McClane charms because he’s not more than human; he’s just a guy stuck in a bad situation trying to do the right thing. Oh, and it happens to be the best Christmas movie of all time, too.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - Goodfellas (1990)</image:title>
      <image:caption>“As far back as I can remember I always wanted to be a gangster.” So begins Goodfellas, with one of the great opening lines in movie history. Martin Scorsese’s landmark crime movie is a hell of a good time, but beneath the surface of the violence is the painful pang of regret at a life gone awry. In Scorsese movies, everyone has a plan, until suddenly nothing is in their control any longer. But as long as it is, I never want to stop watching.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588456039240-HZPYSFDXBNRTQ9O7YU05/MV5BMTU4N2I1OTItNGI3ZC00NWM5LThmYWItZTYwNmIwM2Y5NTM3XkEyXkFqcGdeQXVyMjk3NTUyOTc%40._V1_.jpg</image:loc>
      <image:title>Other Features - My 25 favorite movies of all time - Cool Hand Luke (1967)</image:title>
      <image:caption>Cool Hand Luke, the story of a man who repeatedly tries to escape his confinement in a prison, is the classic tale of a rebellious spirit that can’t be contained by society. What elevates the film to greatness is the scheming eyes of Paul Newman, one of the most magnificent stars to ever grace the big screen. His face says that he is not just fighting back, but that he knows something about life the rest of us could never see. Nobody else could ever make eating 50 eggs look so damn cool.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - The Wizard of Oz (1939)</image:title>
      <image:caption>How do you describe a movie as big as The Wizard of Oz? It almost feels like words cannot do it service. It’s not just one of the great movies; it is the movies. The Wizard of Oz is pure magic, visually groundbreaking, and endlessly satisfying. If we remember any movie in 500 years it’s going to be this one, because the metaphor is malleable in a way that feels biblical. As Roger Ebert put it: “The Wizard of Oz touches on the key lesson of childhood, which is that someday the child will not be a child, that home will no longer exist…but you can ask friends to help you.” Amen.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - Roman Holiday (1953)</image:title>
      <image:caption>I’ll be honest: I don’t know if Roman Holiday is one of my 25 favorite movies. It’s probably close. But I couldn’t construct this list without including an Audrey Hepburn movie on it. She’s the most captivating actress in the history of movies, and every time she smiles it’s a small miracle.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - Vertigo (1958)</image:title>
      <image:caption>According to the British Film Institute Vertigo is the best movie of all time. Why? Somehow, I think its lack of explicit meaning is what elevates Vertigo as one of the great films in history. Vertigo is a purely sensory experience, and more than almost any film evokes a sense of implacable wonder. It’s about the feelings that films have the capacity to give us. Or, more than that, it is those feelings. It also happens to be Hitchcock’s best.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - Moonlight (2016)</image:title>
      <image:caption>Moonlight is a heartache of a film, and it’s stunning for the way it lends transformative power to the small moments in life. Chiron’s identity is forged in schoolyard scuffles and swimming lessons, and the episodic nature of his growth supplies every moment in the film with a palpable gravitas. The deep emotional consequence of Chiron’s loneliness stems from this arc: he is the sum of these experiences, no matter how much he tries to start over, and these experiences are largely outside of his control.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - Eternal Sunshine of the Spotless Mind (2004)</image:title>
      <image:caption>Probably my favorite movie of all time, if only for the fact that it captures damn near everything I love about movies. It’s an action movie, a comedy, a drama, a romance, a mystery, and a sci-fi adventure all wrapped into one. It’s visually innovative and narratively complex, yet it’s not difficult to follow. The performances are suberb but never showy, and they’re always backed up by great writing. The score is like nothing I’d ever heard before or since. And the blend of tragedy and joyousness at the absurdity of life in the film’s ending gets me every time.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - Jaws (1975)</image:title>
      <image:caption>After a hard-fought battle with E.T., Jaws emerged as the one Spielberg movie I’m limiting myself to on this list. As an adventure film it remains thrilling 45 years after its release, and as a template for the Hollywood blockbuster it remains unparalleled in influence. When you watch a great Spielberg movie you feel like you are eight years old again, awed anew by the magic of the world, and few other directors can pull off such a distinct feeling in their movies.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - The Royal Tenenbaums (2001)</image:title>
      <image:caption>When people parody Wes Anderson movies they often portray his idiosyncrasies as overly rigid or unfeeling. But the tight-lipped, finely constructed universe of Anderson movies tends to get at a deeper level of emotional wisdom than most dramas with weepy dialogues could ever dream of. Anderson characters are usually tight-lipped for one of two reasons: they are so emotionally stunted that they can’t communicate what they really want to say, or they are so emotionally enlightened that they don’t need to say much for you to understand everything. Tenenbaums has both in spades, all set to one of the best damn soundtracks ever created.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - Before Sunset (2004)</image:title>
      <image:caption>At the heart of every Richard Linklater movie is a fascination with how time functions in our lives: how we reconstruct the past, misread the future, and fail to appreciate the present. In Before Sunset, the second of Linklater’s Before trilogy, all of this happens at once, as Jesse (Ethan Hawke) and Celine (Julie Delpy) reconnect after nine years apart. The film changes every time I watch it: sometimes the possibility of their romance feels like the most important thing in the world, and sometimes it feels like an awful idea. But the depth of their connection always matters in the present.</image:caption>
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      <image:title>Other Features - My 25 favorite movies of all time - Donnie Darko (2001)</image:title>
      <image:caption>Donnie Darko is beloved by many, but I fear there’s a misconception among wider moviegoing audiences that this is some sort of weird, emo movie about a high school loner. That’s the costume it comes in, but there’s so much more underneath. Donnie Darko is about creativity, about living life genuinely, and about living in the world with a love for those around you. When everything comes together by the film’s conclusion, you can see it for all that it is.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1588457064829-94QB2D4MZE2220IRFA6U/One-Flew-Over-the-Cuckoo%E2%80%99s-Nest-1400x788.png</image:loc>
      <image:title>Other Features - My 25 favorite movies of all time - One Flew Over the Cuckoo’s Nest (1975)</image:title>
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    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-07-10</lastmod>
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      <image:title>Other Features - The top 20 movies to look forward to in 2020</image:title>
      <image:caption>Timothée Chalamet, Kyle MacLachlan</image:caption>
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    <changefreq>monthly</changefreq>
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    <lastmod>2021-01-08</lastmod>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Vote on the Sweet 16</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1561330433304-XXHAW1JA2YV2S6B97P45/dogs_primary.jpg</image:loc>
      <image:title>Heist Movie Bracket - Heist Movie Bracket: Vote on the Sweet 16</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Vote on the Sweet 16</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1585013626105-Z8FVDTU7L0548LY0MP1C/18LOGAN-articleLarge.jpg</image:loc>
      <image:title>Heist Movie Bracket - Heist Movie Bracket: Vote on the Sweet 16</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Vote on the Sweet 16</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Vote on the Sweet 16</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Vote on the Sweet 16</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Vote on the Sweet 16</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Vote on the Sweet 16</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Vote on the Sweet 16</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Vote on the Sweet 16</image:title>
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    <lastmod>2020-07-10</lastmod>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Results</image:title>
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  <url>
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    <priority>0.5</priority>
    <lastmod>2020-07-10</lastmod>
    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1561330100410-Y8DGYOBWXSYUKDY37URR/Baby-Driver.jpg</image:loc>
      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1566142531828-F62LV9RFWLSPCS4QALWJ/den-of-thieves-492_dot_sg_0060r_rgb_copy_-_h_2018_0.jpg</image:loc>
      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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    <image:image>
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      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1585016057921-89RISEXCK4IH8Q3V6IB9/ecbe7f4271.jpeg</image:loc>
      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1585016773951-P8BEIETOI6CD8CMUOGNS/thief.jpeg</image:loc>
      <image:title>Heist Movie Bracket - Heist Movie Bracket: Round One Voting</image:title>
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    <image:image>
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      <image:title>TIFF 2 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
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      <image:title>TIFF 2 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
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    <image:image>
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      <image:title>TIFF 2 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Peter housing some bibimbap at Korean Village Restaurant</image:caption>
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    <image:image>
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      <image:title>TIFF 3 - TIFF 2022 Day 3: ‘Bros,’ ‘Baby Ruby,’ and the Art Gallery of Ontario - Make it stand out</image:title>
      <image:caption>Billy Eichner introduces ‘Bros’ along with the cast, director Nicholas Stoller, and producer Judd Apatow</image:caption>
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      <image:title>TIFF 3 - TIFF 2022 Day 3: ‘Bros,’ ‘Baby Ruby,’ and the Art Gallery of Ontario - Make it stand out</image:title>
      <image:caption>Jake and Peter in the Art Gallery of Ontario</image:caption>
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      <image:caption>Director Sophie Kargman and the cast of ‘Susie Searches’</image:caption>
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    <image:image>
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      <image:title>TIFF 3 - TIFF 2022 Day 2: ‘Susie Searches,’ ‘Emily,’ and the Toronto Islands - Make it stand out</image:title>
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      <image:title>TIFF 3 - TIFF 2022 Day 2: ‘Susie Searches,’ ‘Emily,’ and the Toronto Islands - Make it stand out</image:title>
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      <image:caption>Director Frances O’Connor and the cast of ‘Emily’</image:caption>
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      <image:title>TIFF 3 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Elegance Bratton introduces the cast of ‘The Inspection’</image:caption>
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    <image:image>
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      <image:title>TIFF 3 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Jake in front of the Royal Alexandra Theatre</image:caption>
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      <image:title>TIFF 3 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Daniel Radcliffe</image:caption>
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      <image:title>TIFF 3 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
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      <image:title>TIFF 3 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Weird Al Yankovic</image:caption>
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    <image:image>
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      <image:title>TIFF 3 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Evan Rachel Wood</image:caption>
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      <image:title>TIFF 4 - TIFF 2022 Day 4: ‘Glass Onion: A Knives Out Mystery,’ ‘Wendell &amp;amp; Wild,’ and the Royal Ontario Museum - Make it stand out</image:title>
      <image:caption>The cast of Glass Onion: A Knives Out Mystery</image:caption>
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      <image:title>TIFF 4 - TIFF 2022 Day 4: ‘Glass Onion: A Knives Out Mystery,’ ‘Wendell &amp;amp; Wild,’ and the Royal Ontario Museum - Make it stand out</image:title>
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      <image:title>TIFF 4 - TIFF 2022 Day 4: ‘Glass Onion: A Knives Out Mystery,’ ‘Wendell &amp;amp; Wild,’ and the Royal Ontario Museum - Make it stand out</image:title>
      <image:caption>The cast of Wendell &amp; Wild</image:caption>
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      <image:title>TIFF 4 - TIFF 2022 Day 3: ‘Bros,’ ‘Baby Ruby,’ and the Art Gallery of Ontario - Make it stand out</image:title>
      <image:caption>Billy Eichner introduces ‘Bros’ along with the cast, director Nicholas Stoller, and producer Judd Apatow</image:caption>
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      <image:title>TIFF 4 - TIFF 2022 Day 3: ‘Bros,’ ‘Baby Ruby,’ and the Art Gallery of Ontario - Make it stand out</image:title>
      <image:caption>Jake and Peter in the Art Gallery of Ontario</image:caption>
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      <image:title>TIFF 4 - TIFF 2022 Day 2: ‘Susie Searches,’ ‘Emily,’ and the Toronto Islands - Make it stand out</image:title>
      <image:caption>Director Frances O’Connor and the cast of ‘Emily’</image:caption>
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    <image:image>
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      <image:title>TIFF 4 - TIFF 2022 Day 2: ‘Susie Searches,’ ‘Emily,’ and the Toronto Islands - Make it stand out</image:title>
      <image:caption>Peter on the ferry</image:caption>
    </image:image>
    <image:image>
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      <image:title>TIFF 4 - TIFF 2022 Day 2: ‘Susie Searches,’ ‘Emily,’ and the Toronto Islands - Make it stand out</image:title>
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      <image:title>TIFF 4 - TIFF 2022 Day 2: ‘Susie Searches,’ ‘Emily,’ and the Toronto Islands - Make it stand out</image:title>
      <image:caption>Director Sophie Kargman and the cast of ‘Susie Searches’</image:caption>
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      <image:title>TIFF 4 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Peter housing some bibimbap at Korean Village Restaurant</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/afa0f434-2802-437c-8203-50e750f0c157/IMG_3482.jpg</image:loc>
      <image:title>TIFF 4 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Weird Al Yankovic</image:caption>
    </image:image>
    <image:image>
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      <image:title>TIFF 4 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Daniel Radcliffe</image:caption>
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    <image:image>
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      <image:title>TIFF 4 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Evan Rachel Wood</image:caption>
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    <image:image>
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      <image:title>TIFF 4 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Elegance Bratton introduces the cast of ‘The Inspection’</image:caption>
    </image:image>
    <image:image>
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      <image:title>TIFF 4 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Jake in front of the Royal Alexandra Theatre</image:caption>
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      <image:title>TIFF 5 - TIFF 2022 Day 5: ‘The Good Nurse,’ ‘Good Night Oppy,’ and ‘Decision to Leave’ - Make it stand out</image:title>
      <image:caption>Q&amp;A for The Good Nurse</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/51a2406d-1555-47ed-8ab7-4153e998a66a/IMG_3594.jpg</image:loc>
      <image:title>TIFF 5 - TIFF 2022 Day 5: ‘The Good Nurse,’ ‘Good Night Oppy,’ and ‘Decision to Leave’ - Make it stand out</image:title>
      <image:caption>Park Chan-wook introducing Decision to Leave</image:caption>
    </image:image>
    <image:image>
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      <image:title>TIFF 5 - TIFF 2022 Day 5: ‘The Good Nurse,’ ‘Good Night Oppy,’ and ‘Decision to Leave’ - Make it stand out</image:title>
      <image:caption>Peter enjoying Himalayan Kitchen</image:caption>
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      <image:title>TIFF 5 - TIFF 2022 Day 4: ‘Glass Onion: A Knives Out Mystery,’ ‘Wendell &amp;amp; Wild,’ and the Royal Ontario Museum - Make it stand out</image:title>
      <image:caption>The cast of Glass Onion: A Knives Out Mystery</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/4d70a6f6-0355-43be-adfb-d66799304a28/IMG_3573.jpg</image:loc>
      <image:title>TIFF 5 - TIFF 2022 Day 4: ‘Glass Onion: A Knives Out Mystery,’ ‘Wendell &amp;amp; Wild,’ and the Royal Ontario Museum - Make it stand out</image:title>
      <image:caption>The cast of Wendell &amp; Wild</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/e5adc02e-dfb6-45b7-9ee1-6c31cb6af1e9/IMG_7593.jpg</image:loc>
      <image:title>TIFF 5 - TIFF 2022 Day 4: ‘Glass Onion: A Knives Out Mystery,’ ‘Wendell &amp;amp; Wild,’ and the Royal Ontario Museum - Make it stand out</image:title>
      <image:caption>Jake at the Royal Ontario Museum</image:caption>
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      <image:title>TIFF 5 - TIFF 2022 Day 3: ‘Bros,’ ‘Baby Ruby,’ and the Art Gallery of Ontario - Make it stand out</image:title>
      <image:caption>Billy Eichner introduces ‘Bros’ along with the cast, director Nicholas Stoller, and producer Judd Apatow</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/709d41d5-6aa3-402c-928e-4d5b82884980/IMG_3538.jpg</image:loc>
      <image:title>TIFF 5 - TIFF 2022 Day 3: ‘Bros,’ ‘Baby Ruby,’ and the Art Gallery of Ontario - Make it stand out</image:title>
      <image:caption>Jake and Peter in the Art Gallery of Ontario</image:caption>
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      <image:title>TIFF 5 - TIFF 2022 Day 2: ‘Susie Searches,’ ‘Emily,’ and the Toronto Islands - Make it stand out</image:title>
      <image:caption>Peter on the ferry</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/49754112-3010-427a-8778-55229c76ddee/IMG_3520.jpg</image:loc>
      <image:title>TIFF 5 - TIFF 2022 Day 2: ‘Susie Searches,’ ‘Emily,’ and the Toronto Islands - Make it stand out</image:title>
      <image:caption>Director Frances O’Connor and the cast of ‘Emily’</image:caption>
    </image:image>
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      <image:caption>Director Sophie Kargman and the cast of ‘Susie Searches’</image:caption>
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      <image:caption>Jake on Centre Island</image:caption>
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    <loc>https://skoobywatchesmovies.com/tiff-5/2022/6/3/tiff-blog-2022/jacob-skubish-d2jdc-fftah-seb9g-lmyrs-st3e6</loc>
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      <image:caption>Daniel Radcliffe</image:caption>
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      <image:title>TIFF 5 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Weird Al Yankovic</image:caption>
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      <image:title>TIFF 5 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Evan Rachel Wood</image:caption>
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      <image:title>TIFF 5 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Jake in front of the Royal Alexandra Theatre</image:caption>
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      <image:title>TIFF 5 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Peter housing some bibimbap at Korean Village Restaurant</image:caption>
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      <image:title>TIFF 5 - TIFF 2022 Day 1: ‘The Inspection,’ Koreatown, and Weird Al - Make it stand out</image:title>
      <image:caption>Elegance Bratton introduces the cast of ‘The Inspection’</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <loc>https://skoobywatchesmovies.com/movie-star-draft/2020/11/26/movie-star-draft-ii-adding-new-stars-to-the-roster/jacob-skubish-hd5jm-tg2wk</loc>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <loc>https://skoobywatchesmovies.com/best-of-the-decade</loc>
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    <lastmod>2020-07-10</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570295220929-OQ9XW8DGJCB6UCK8QIUQ/e7CE5vx4KqUuz0peKdHRVZB0Pn8.jpg</image:loc>
      <image:title>The 50 Best Movies of the Decade - 43. Spider-Man: Into the Spider-verse</image:title>
      <image:caption>Spider-Man: Into the Spider-Verse is the one of eight stand-alone Spider-Man films and four different reboots of the friendly neighborhood hero in the last 16 years. So it’s a delight that it is a completely refreshing take, and the best Spider-Man film yet. It achieves this feat primarily by toying with audience expectations. Spider-Verse actively rejects the “origin story,” and it stars a black-Hispanic hero (among others, including a Spider-Pig). Perhaps most exciting is the film’s madcap animation, a gorgeous Anime-comic book style mashup that’s a strong case that all animated movies shouldn’t strive to look like Pixar films. I can’t wait for the sequel. Spider-Man: Into the Spider-Verse is available to stream on Netflix.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 29. Moneyball</image:title>
      <image:caption>Moneyball is very easily the best sports movie of the decade, and a movie uniquely designed for modern sports: it’s about using advanced analytics to provide your team with a slight advantage, and manages to make such a venture thrilling. The film works, as all great sports movies do, because it’s less about the sport itself than an underdog’s ability to to find a way. That, and because the relationship between Billy Beane (Brad Pitt) and his daughter (Kerris Dorsey) gets me every time. Moneyball is available to stream on Starz.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 19. The Queen of Versailles</image:title>
      <image:caption>When thinking about income inequality in the United States, it can be difficult to even imagine the scale of extreme wealth that a handful of people possess. Lauren Greenfield’s extraordinary documentary The Queen of Versailles serves this imaginative function, not only demonstrating the material wealth gap but also the psychological blindness that necessitates justifying that level of wealth. A damning portrait of the American Dream, and how not to take care of pets.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570367638275-XFTMMGMTN5G1WJL8U22M/theactofkilling3.jpg</image:loc>
      <image:title>The 50 Best Movies of the Decade - 8. The Act of Killing</image:title>
      <image:caption>One of the most jaw-dropping films I've ever seen, The Act of Killing invites leaders of Indonesian genocide to recreate their misdeeds as film scenes. It's insane how different the motives are for the filmmaker, Joshua Oppenheimer, and the subjects of his film to have this produced. The paramilitary leaders disturbingly discuss their killings in a completely nonchalant manner, and the most interesting part about this film is the main subject, Anwar Congo. He is perhaps the most ruthless screen villain I've ever known. His justification of his actions seem to either push for the relativity of morality or show that he is simply sociopathic. And yet he does have demons from his past. His killings bring about nightmares. And he seems to possibly change over the course of filming. By the end, he attempts to empathize with those he killed. But he can't understand how futile this empathy is, and he really can't understand the full effect of the actions he committed. This movie deserving a bigger audience. Everyone should see it. The Act of Killing is available to stream on Amazon Prime.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570296230616-QQUS02MMHS4BB42O6UHQ/star-wars-the-force-awakens-daisy-ridley-walt-disney-studios-motion-pictures-122315-1276x850.jpg</image:loc>
      <image:title>The 50 Best Movies of the Decade - 41. Star Wars: The Force Awakens</image:title>
      <image:caption>Despite the common line of criticism against it, The Force Awakens does not merely mimic the original Star Wars trilogy in order to secure the favor of diehard fans. It takes the heart and emotional core present in the old films and transfers them to an original world. This film is less synonymous than it is analogous. There is a light poignancy at the core of the movie in terms of its exploration of right, wrong, and personal choice. But aside from that poignancy, The Force Awakens is an action classic unto its own because it made me happier than nearly any other movie I saw this decade. Star Wars: The Force Awakens is available to stream on Disney+.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 27. Once Upon a Time … in Hollywood</image:title>
      <image:caption>The ending of Once Upon a Time…in Hollywood is a thrilling scene for many of the reasons Tarantino set pieces are often thrilling: the raucous music, the over-the-top violence, the humor, the unexpected little touches that make perfect sense in hindsight. But it’s also one of Tarantino’s most tender historical manipulations, because the film up to that point had given the audience a sense of Sharon Tate’s daily life. It’s one of Tarantino’s few historical corrections that is the removal of an action, rather than the creation of one. In doing so, it’s much more emotionally affective, and respectful of the life Tate lived. Hollywood goes well beyond the emotional depths of Tarantino’s prior films because it not only offers an alternate vision, but mourns the loss that was.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 6. La La Land</image:title>
      <image:caption>La La Land has been widely praised by critics but has earned a fair amount of backlash among moviegoers, which I’ve been surprised by. It is, as IndieWire critic David Ehrlich puts it, both a romance about movies and a movie about romance. It’s a restrained musical, antithetical to the typical splashy, gaudy extravaganzas we get on screen. It features one of the great romantic lead performances, and one of the great performances of the decade, in Emma Stone’s turn as Mia. And it features one of the most devastating and emotionally satisfying endings of all time. Damien Chazelle loves the movies, and that’s why I love his movies. La La Land is pure magic. La La Land is available to stream on IMDb TV (with ads).</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 35. Inception</image:title>
      <image:caption>Inception was the first movie I ever went to a midnight premiere for, and 14-year-old me was not disappointed. Christopher Nolan’s original action film about planting dreams inside people’s heads was like nothing I’d seen before. 23-year-old me, however, was a bit disappointed upon revisiting Inception this year. The plot is convoluted, the characters are flat, and there are glaring logical errors that muddle the story. But it remains a unique concept, and the final shot is still one of the great “gotcha” moments in film history. Sometimes you have to honor the originality of a film, even if it doesn’t completely stand the test of time. 14-year-old me would be mad if I left it off this list. Inception is available to stream on Cinemax.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 23. Ex Machina</image:title>
      <image:caption>For a movie so sleek, slow, and philosophical, Ex Machina is a suspenseful thriller. The movie is about Caleb (Domhnall Gleeson), a young programmer who wins a mysterious contest and is invited to the secluded home of wealthy tech giant Nathan (Oscar Isaac). When he arrives, Caleb discovers Nathan brought him there to have him participate in a real-life Turing Test: Caleb is to sit down with an AI that Nathan created named Ava (Alicia Vikander) and discern what makes her non-human. Perhaps the most interesting aspect of the film is that unlike many other great sci-fi films it is not a warning of what could happen, but a chilling statement on where we already are. In Ex Machina, Frankenstein’s monster is not a cautionary tale; the monster is already on the loose, with little hope of containment. Ex Machina is available to stream on Netflix.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 22. Whiplash</image:title>
      <image:caption>Whiplash was a loud, bombastic debut for director Damien Chazelle, an announcement that he would be a formidable talent in Hollywood for years to come. At an hour and 46 minutes Whiplash is one of the most efficiently, expertly paced movies of the decade, and it gets increasingly tense with every passing moment. What makes the film extraordinary, however, is the turn it makes at the end. Chazelle leads us to believe the film will have one thing to say about the folly of ambition; the all-time ending provides an idea much more ambiguous, and rewarding.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 46. Flight</image:title>
      <image:caption>The best movie I’ll never, ever watch again in my life, Flight stars Denzel Washington as Whip Whitaker, a pilot who miraculously saves his plane from crashing only to face an investigation for his drug use during the flight. It’s a classically forceful performance by Washington, but the film is thrilling beyond him: Robert Zemeckis knows how to pace a movie. As Whitaker hurtles toward his fate, the film becomes an insightful blend of commentary on media, addiction, and heroism. If you can bear to watch the plane crash scene, check out this film.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 31. Before Midnight</image:title>
      <image:caption>Before Midnight is a vastly different film than the first two in director Richard Linklater's trilogy, although it still manages to flow with the previous installments. It’s the most complicated film emotionally of this series. Before Midnight toys with our expectations of Jesse and Celine’s prior courtship, and then proceeds to deal us blow after painful blow. And yet it is a good thing that it breaks the mold: we get an honest story about two confused, flawed people who may or may not still be in love, and about what the confinements of time and space can do to a relationship that was founded on youth, freedom, and a lack of responsibility.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 4. Moonlight</image:title>
      <image:caption>Moonlight is a heartache of a film, and it’s stunning for the way it lends transformative power to the small moments in life. Chiron’s identity is forged in schoolyard scuffles and swimming lessons, and the episodic nature of his growth supplies every moment in the film with a palpable gravitas. The deep emotional consequence of Chiron’s loneliness stems from this arc: he is the sum of these experiences, no matter how much he tries to start over, and these experiences are largely outside of his control. Hopefully, the shocking triumph of Moonlight at the Oscars is indicative of future inclusivity, but the film’s success shouldn’t have to be tied to its fate at a self-indulgent awards show. Early on in the film, Juan (Mahershala Ali) tells a young Chiron (Alex R. Hibbert) that “at some point, you got to decide for yourself who you’re going to be. Can’t let nobody make that decision for you.” The same can be said of the film itself: Moonlight is a triumph on its own terms and should be treated as such. Moonlight is available to stream on Netflix.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 38. Sorry to Bother You</image:title>
      <image:caption>Sorry to Bother You feels like it owes its lineage more to memes than movies. It captures the sensibility of millennial America, or Gen Z, or whatever arbitrary moniker you want to give young people who grew up on the internet, resent capitalism, and give a shit about the future of the planet. It’s irreverent, and hilarious, and completely earnest. It’s as if Clickhole produced a Spike Lee Joint. And in creating this tone, it’s one of the first movies I’ve seen that both takes on issues that plague American youth and emulates the way they see the world. Sorry to Bother You is available to stream on Hulu.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 42. This Is The End</image:title>
      <image:caption>This Is the End turns Hollywood’s camera on itself: if the apocalypse came tomorrow, what would these esteemed actors become? The answer, of course, is a bunch of helpless cowards. But Seth Rogen, Jay Baruchel, and the gang eventually cooperate and learn the value of friendship in spite of their impending doom. From the arrival of Danny McBride to the scene in heaven, This Is the End may be the most consistently funny live-action movie of the decade.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 34. Us</image:title>
      <image:caption>The brilliance of Us is that it doesn’t just explore the need to look within, but the terror that actively ignoring the evils inherent in our identities will reap. We are a people operating with a fractured coexistence between body and soul, and yet carry on as if nothing is wrong. In this way Us accomplishes something much different, and perhaps more difficult, than Jordan Peele’s Get Out: implicating the audience in America’s social ills without giving them an obvious “other” to whom they can deflect. Us is available to stream on HBO.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 33. The Martian</image:title>
      <image:caption>Space movies often lend themselves to philosophical introspection. But sometimes you just want to have fun at the movies, and that’s what The Martian delivers. They don’t make many movies like it anymore: big budget non-franchise fare with big movie stars and big stakes. Matt Damon is stuck on Mars and we are trying to get him back to Earth, that pursuit is thrilling, and that’s basically all you need to know.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 39. They Came Together</image:title>
      <image:caption>They Came Together has an abysmal 5.5 rating on IMDb and a 60 rating on Metacritic. Do people not understand that this is satire? The confusion would be understandable given how spot-on David Wain’s evisceration of the rom-com genre is. It’s broad, dumb, and often grotesque humor, but it savages rom-coms with a love for the genre. They Came Together is the most quotable comedy of the decade, and it’s a shame that more people haven’t seen it, or understood it. They Came Together is available to stream for free on Tubi and Vudu.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 24. Oj: Made in America</image:title>
      <image:caption>O.J.: Made in America is seven and a half hours long, but it’s worth every minute of your time. The documentary chronicles not just the trial of O.J. Simpson but the entire span of his life from young football star to convict, and also spans the critical context in which his trial took place. The film is a case for how exciting traditionally styled talking head documentaries can be if their vision is clear and their story is compelling. O.J.: Made in America covers race, fame, the criminal justice system, and the veracity of the stories we tell ourselves, and it sustains its intrigue for the entirety of its runtime. O.J.: Made in America is available to stream on WatchESPN.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 32. Bo Burnham: Make Happy</image:title>
      <image:caption>Is this technically a movie? Maybe not. But Bo Burnham’s 2016 standup comedy special is undoubtedly one of the great cinematic products of the decade no matter how you define it. Burnham’s typically goofy wit turns caustic as he directly confronts his crowd to deliver a message: if you can live your life without an audience, you should do it. Then he continues to perform for them. Bo Burnham: Make Happy is available to stream on Netflix.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 25. The Lego Movie</image:title>
      <image:caption>The most surprisingly great movie of the decade, The Lego Movie is an absolute treasure. It is the funniest movie of the decade, one of the most visually daring, and one of the smartest, becoming something truly insightful in the film’s wild turn to reality. Filmspotting host Josh Larsen puts it best: the film celebrates “creative community as a compromise between suffocating order and individualistic anarchy.” Directors Phil Lord and Christopher Miller are one of the most inventive voices in Hollywood, and I can’t wait to see what else they create. If you love The Lego Movie, check out this year’s sequel The Lego Movie 2: The Second Part, the much maligned sequel which is nearly as good and wisely challenges the “everything is awesome” mantra of the first film.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 1. Tower</image:title>
      <image:caption>This documentary tells the story of the 1966 school shooting at the University of Texas-Austin, a tragedy that killed 16 people. To say that Tower is a hard watch is an understatement. There have been many movies that have made me shed tears, but no other movie has had me outright sobbing like this one. That might not be a great selling point, but I promise, many of those were tears of joy. Few movies have ever boosted my confidence in the goodness of humanity as much as Tower. The film devotes little time to the identity of the shooter, or his motivations. Instead, Tower is dedicated to the heroes of that day, the folks who risked their lives to take down the shooter and save the wounded. Tower is, for the most part, about the goodness of the people who prevented the situation from becoming much more grave than it already was. But the movie does turn outward at the end, imploring that the viewer to never stand by in the face of egregious violence, and implicating us in its continuation.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 16. Gravity</image:title>
      <image:caption>Gravity is a visual masterpiece, and it would be just a good film if director Alfonso Cuarón was willing to settle for visual amazement. But he artfully weaves in larger ideas, and Sandra Bullock turns in an incredible performance. Through all the messages about letting go and the will to survive, Gravity ends asking the audience to consider whether it’s worth it to try to live fully. Are the desperate attempts the astronauts are making worth anything, or should they stop and take in the beauty that surrounds them? A similar conundrum can be posed to those who see this film. There are many thematic elements to consume in Gravity. But sometimes, you have to stop and enjoy the view. Gravity is available to stream for free through IMDb TV (with ads).</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 49. Hustlers</image:title>
      <image:caption>The joyous irony of Hustlers is that, as they hatch a plan to establish self-reliance, the women at the center of the film become reliant on each other. Hustlers is a love story of sorts, but it’s an affection that cannot be extracted from the environment that produced it. The film is a testament to the value of love in the face of exploitation, not necessarily as a means to dismantle that exploitation but to defiantly thrive in its shadow. It’s a love that quietly fights back. This love is what separates Hustlers most from its closest comparisons. As disparate as Magic Mike, The Big Short, and The Wolf of Wall Street are, they all share the belief that capitalism is an alienating force. In Hustlers, love is the critical response, and offers a sliver of hope.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 2. The Social Network</image:title>
      <image:caption>The Social Network is Citizen Kane for the internet era. Citizen Kane tells the story of Kane’s (Orson Welles) meteoric rise as a newspaper tycoon. Like The Social Network, the film is, on its face, a classic story of American ambition and entrepreneurialism. But by the end, we come to learn that Kane was never really motivated by money or power but personal loss in his childhood. In The Social Network, Erica (Rooney Mara) is Mark Zuckerberg’s (Jesse Eisenberg) Rosebud. This personal motivation is Fincher’s focus. He doesn’t really pay much mind to corporate invasions of privacy, or how Facebook might interact with international politics, and because of that neglect it doesn’t really matter that he couldn’t know the global role Facebook would later take on. The Social Network isn't a movie about Facebook's relationship to selling our private data so much as it’s about why we willingly give over that data in the first place. Fincher’s film argues that the issue of privacy is incidental to the idea that all we really want is to be part of a community, to be on the inside. It’s why we barely blink when the personal information of 50 million people is stolen without our permission. Because all we want is to create a narrative for our lives, and now, with Facebook, we can construct that narrative and watch it play out in front of our eyes in real time. The Social Network is available to stream on IMDb TV (with ads).</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 3. 56 up</image:title>
      <image:caption>Think Boyhood, but real. The most remarkable social experiment ever captured on camera, director Michael Apted has been filming the same group of British people every seven years of their lives since they were seven years old. The latest two installments came out this decade, and they can’t really be separated. As their lives have unfolded, the documentary’s subjects have changed as people do: they’ve married, matured, and yes, died. The magic of these films is how they put in perspective what really matters most in our lives, less the global trends we focus so much on than the friends and family that stay with us. And even at this late stage of their lives, these films serve as a powerful reminder that these people are still figuring out how to live a good life, just as we all are. It’s a miracle that these movies exist, and if you haven’t seen them you should seek them out right away.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 15. First Reformed</image:title>
      <image:caption>In First Reformed Reverend Toller transforms into an unstable figure akin to Travis Bickle, the infamous anti-hero from Taxi Driver, the 1978 Martin Scorsese film written by First Reformed director Paul Schrader. Toller, however, manages to evade the total darkness that consumed Bickle. On the edge of violence he finds salvation in a moment of genuine, even mystical, human connection. Climate change is still impending and his disillusionment with the church remains intact, but that does not mean Toller has lost his faith. Life is worth living, it seems, for the people we share it with, no matter how fleeting or doomed that shared experience may be. First Reformed is available to stream on Amazon Prime.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 44. Drinking Buddies</image:title>
      <image:caption>Joe Swanberg is one of the most underappreciated directors of the decade, but this lack of stature is almost by design: his films are small stories about the relationships between normal people. Drinking Buddies remains his crowning achievement. It’s a delicate movie about the thin line between friendship and romance, and about the existential mundanity of heartbreak. Olivia Wilde is incredible in the lead role, and Jake Johnson, Anna Kendrick, and Ron Livingston excel as the rest of the leading cast. Drinking Buddies is available to stream for free on Tubi.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 10. The Florida Project</image:title>
      <image:caption>The American movie, as a medium, is almost always aspirational: we see stories of people we’d like to become. Even among films that we consider to be harsh criticisms of American society, they tend to focus on characters who are more beautiful, or smart, or funny, or charming than the rest of us. That tendency leads to an omission of perspectives from those at the bottom. Among the 50 movies nominated for an Oscar in 2018, only one dealt meaningfully with poverty in the U.S.: The Florida Project. This is not atypical: among all American films between 1902 and 2015 (essentially the entire span of film history), only 299 films were significantly concerned with poverty or homelessness. That’s less than three movies per year. The Florida Project breaks this mold. The film takes place over the span of a summer in Orlando, where a young girl named Moonee (Brooklynn Prince) lives in a motel just outside the boundaries of Disney World. As Moonee scampers around the area with some other friends from the motel, her mother, Halley (Bria Vinaite), struggles to find the money to pay her weekly rent to the motel manager (Willem Dafoe) who works tirelessly to hold the motel together. The Florida Project feels like an unprecedented achievement because the motel patrons are not depicted as the alienated rejects of American society; they are the heart of American society. Sean Baker’s America is one that exists in laundromats and dollar stores and roadside highways. Those people, over in Disney World? They’re in the periphery. The spaces in between are where everything is really happening. At one point, an outsider to the motel community remarks that the place is a dump. It’s probably how I would describe the motel, too, if I were passing by on my way to the self-proclaimed ‘Most Magical Place on Earth.’ But after spending two hours in this space, it seemed ridiculous that he could possibly call the motel a dump, and not see it for what it is: a home. The Florida Project is available to stream on Amazon Prime.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 9. Cameraperson</image:title>
      <image:caption>What is a movie? I suppose that’s a strange question to ask so deep into my Best Movies of the Decade list. But putting the medium in such terms helps clarify what they include and what they leave out: directors film hours and hours of footage, and whittle it all down into a coherent story. Of course, this is not how life works, and it’s why we love the movies: they make sense of our lives in a compact narrative. But of what significance is everything that gets left on the cutting room floor? Cameraperson is the answer to this question. This stunning documentary comes from filmmaker Kirsten Johnson, who has served as a cameraperson on documentary films around the globe for decades. The film is a compilation of the footage she shot that did not make those other films. There is not a strict narrative structure; we jump between footage in a wide variety of contexts and locales, and even see some of Johnson’s own personal life in her relationship with her mother. But even though there is not a story does not mean we do not create one. Eventually Cameraperson develops a message, just as any display of the human experience will: it’s about the diversity of human experience, and the small emotional moments that make it beautiful. If you check out Cameraperson, I implore you to have patience. It takes a bit of time to get into its groove, but the payoff is worth it.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 30. Lady Bird</image:title>
      <image:caption>What is it that elevates Lady Bird above so many other run-of-the-mill high school coming-of-age films? Perhaps it’s the film’s deft handling of class, faith, and family. Perhaps it’s the indelible performance by Saoirse Ronan. I think more than the themes or performances, though, Lady Bird stands out for the transitive nature of Greta Gerwig’s storytelling. Most high school movies trace the arc of characters finding their identity; this film is special because the process of Lady Bird finding hers is ongoing, as is true for all of us. Lady Bird is available to stream on Amazon Prime.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 17. The Lobster</image:title>
      <image:caption>A succinct takedown of our societal obsession with marriage, led by Colin Ferrell's brilliant, hilariously self-aware stoicism. The Lobster is cinematic celebration of discovering love on its own terms, capped off by a final scene that evaluates a viewer's optimism that this is even possible. The Lobster is available to stream on Netflix.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 47. The Wolfpack</image:title>
      <image:caption>The Wolfpack doesn’t have a whole lot to say, and I don’t mean that in a negative way. The documentary, which follows a group of brothers who have grown up locked inside their Manhattan apartment, is more of a small portrait of life in a vacuum. It is about the inherent value of human connection, and the ability of humans to carry on in the face of limiting circumstances. Life is undeniable for the brothers at the center of this film. The Wolfpack is available to stream on Hulu.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 36. Beginners</image:title>
      <image:caption>There’s a lot going on in Beginners. Oliver’s (Ewan McGregor) dad (Christopher Plummer) is dying, and Oliver also learns that his dad is gay and has a younger male partner. At the same time, he strikes up a romance with a woman he meets at a party, Anna (Mélanie Laurent). It’s a lovely, compassionate film about family and grief, and also one of the most charming romances of the decade. Beginners also happens to feature one of the best animal performances of the decade from an adorable terrier (the dog actor’s name is Cosmo!!!). The true highlight of the film, though, is Laurent, who has a captivating screen presence and deserves to be in many more great films than she is.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 20. Shoplifters</image:title>
      <image:caption>Shoplifters follows a family of thieves in Japan, scraping by on small-time thefts. Their lives change when they take in a child who had been beaten and are completely turned upside down when the child’s wealthy parents want her back. A more tender version of this year’s Parasite, Shoplifters is a somber reminder that no matter how much scheming the poor do to escape their situation, the money wins out. Shoplifters is available to stream on Hulu.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 18. Paterson</image:title>
      <image:caption>So often in our lives we are concerned with whether we are accomplishing enough. Jim Jarmusch’s Paterson is a quiet rejection of this manner of thinking. Adam Driver plays a man who drives a bus, writes poetry, and doesn’t do a whole lot else. But as his routinized life unfolds, the beautiful simplicity of it blossoms. We don’t need much more then a passion and the people we love. Paterson is available to stream on Amazon Prime.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 50. First Man</image:title>
      <image:caption>First up is First Man, a movie I threw onto this list at the last minute. I cycled through a few films in this slot, but I couldn’t shake Damien Chazelle’s wildly undervalued biopic of Neil Armstrong which, upon revisiting, I found to be an absolutely masterful film. Based on Chazelle’s prior movies I assumed this would be a film about ambition, but when you realize it is instead a delicate meditation on grief and trauma, you can appreciate it for the gem it is. First Man is available to stream on HBO.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 13. The Big sHort</image:title>
      <image:caption>The Big Short is a heist movie without any pleasure in taking the money, because the fact the money can be taken suggests we’re all screwed. The cutaways in the film are a meta-commentary: don’t get distracted. Look at what’s happening. Humans have the capacity to choose. Don’t choose fraud again. Everything The Wolf of Wall Street wanted to convey with overwhelming vice and nihilism, this film does with self-awareness and a melancholy humor. The Big Short is a smirking, mocking, depressed sigh of a movie, and the final text that appears on screen remains terrifying.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 21. Blue Valentine</image:title>
      <image:caption>Blue Valentine stars Ryan Gosling and Michelle Williams as a couple falling in love, and falling out of it. The film cuts back and forth between the early days of their romance and the emotionally fraught present state of their fledgling relationship. It’s a deceptively complicated movie, one that doesn’t feel as if it has all that much to say but is unique precisely because of that restraint. Normally in films about a dying romance we might get some insight into what went wrong. Not here. Blue Valentine ends in a way that suggests that nothing specific can identify what went wrong between these two people; their lives simply changed, and the romanticism they had at the beginning passed them by. Blue Valentine is available to stream on Netflix.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 11. Her</image:title>
      <image:caption>The best thing about Her is I can’t tell whether it’s one of the best romantic comedies I’ve ever seen or the scariest horror movie I’ve ever seen. The film is ultimately about the human capacity for emotional connection, and about what it means to be alive in this world. But it also cautions us that we may not make these meaningful human connections enough without technological dependence. Her is available to stream on Netflix.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 7. Get Out</image:title>
      <image:caption>Get Out is the story of a black man named Chris (Daniel Kaluuya) going to his white girlfriend Rose’s (Allison Williams) parents’ house for a weekend getaway. Standard unease around white people soon gives way to horror as Chris discovers the family’s true intentions. Director Jordan Peele’s concept of the Sunken Place is a rich allegory: black people are forever stuck existing as a function of a narrative created by and for white people. “You’ll be able to see and hear...[but] your existence will be as a passenger, an audience,” Jim Hudson (Stephen Root) tells Chris of the Sunken Place. This purgatory is directly akin to writer Ta-Nehisi Coates' rumination on the American black experience in We Were Eight Years in Power: “We are invited to listen, but never to truly join the narrative.” Kaluuya’s face in the first Sunken Place scene is one of the most striking images I’ve ever seen in a film. His expression is full of fear, but not surprise; it’s a realization that it really was all a trick.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 14. Gone Girl</image:title>
      <image:caption>A true masterpiece, and a wildly undervalued film. More than any other contemporary movie, Gone Girl examines how the social roles we play affect our private identity, and suggests (convincingly) that public perception matters more than the truth. There are a million things going on behind closed doors, but at a candlelight vigil for the missing Amy, the only thing two onlookers debate is whether or not Nick is hot or creepy. The truth exists, but to the majority of us, it's synonymous with appearance.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 5. Boyhood</image:title>
      <image:caption>In his book Thinking, Fast and Slow, psychologist Daniel Kahneman discusses the idea of the “remembering self” and the “experiencing self.” Kahneman describes how research shows that people judge the happiness of their lives more by their memory of the experiences they’ve had than the quality of those experiences in the moment. Director Richard Linklater’s entire career can be summarized as a plea to audiences to find joy in the experiencing self. From the Before trilogy to Dazed and Confused to Boyhood, Linklater has a knack for capturing moments in time and locking in on the value of characters’ ability to revel in the wonder of life before them. None of his films have done this quite as well as Boyhood, which captures the small moments that matter in the formulation of a life. A different scene wrecks me with each subsequent rewatch of Boyhood, which is how I know the film is working: the film has a different sort of potency, and a changing relationship with its audience, as we age, just like Mason (Ellar Coltrane) at the center of it all. Boyhood is available to stream on Netflix.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 48. Snowpiercer</image:title>
      <image:caption>Director Bong Joon Ho has been earning massive praise this year for Parasite, and it’s well deserved: it might be his most patient, mature film to date. But Snowpiercer, a bananas sci-fi action flick about a class uprising on a post-apocalyptic train, remains my favorite of his from this decade. The train is a transparent metaphor for a corrupt capitalist system, but it is nonetheless effective. You don’t have to stay for the high-brow theorizing, though; Snowpiercer is a hell of a lot of fun. Its thrilling ending brings the theorizing and the action together: sometimes, you just have to blow it all up. Snowpiercer is available to stream on Netflix.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 12. Green Room</image:title>
      <image:caption>Green Room is the most terrifying movie of the decade, and there’s nothing monstrous or supernatural about it. Jeremy Saulnier’s horror film stars a punk rock band who inadvertently book a show at a venue owned and frequented by Neo-Nazis. It’s the most tense movie I’ve ever seen, and features a superb performance from the late Anton Yelchin. Green Room is available to stream on Netflix.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 37. Holy Motors</image:title>
      <image:caption>There are many critically beloved films that lack logical consistency and tend not to connect with wider audiences. Most of these avant-garde films don’t work for me, either, because in their experimentation they lose their connection to humanity. But Leos Carax’s Holy Motors, about a man carrying out a series of performative “appointments” one night in Paris, blends the bizarre with a thrilling energy. It’s strange and unique, but most importantly, it feels alive. Holy Motors is available to stream for free on Tubi.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 45. 12 Years a Slave</image:title>
      <image:caption>On its face, 12 Years a Slave might seem like classic awards season bait, especially since it won Best Picture at the Academy Awards; Hollywood historical dramas about slavery have a spotty history of accuracy. That’s precisely why the film is such a crucial corrective. 12 Years a Slave pulls no punches in its depiction of the deep trauma American slavery caused for generations of black families, and that pain is felt throughout the film. It’s a movie that stares its audience right in the face and not only implicates them, but asks them how much we’ve really reckoned with the past.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 28. The Tree of Life</image:title>
      <image:caption>IMDb describes The Tree of Life as “the story of a family in Waco, Texas in 1956,” which is kind of like describing a Dalí painting as being about melting clocks: sure, that’s what it looks like, but it’s really only a fraction of what’s going on. Terrence Malick’s landmark achievement attempts to capture the nature of human experience and somehow succeeds. The Tree of Life is available to stream on Cinemax.</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 40. Lemonade</image:title>
      <image:caption>Lemonade is both intimate and calculated, pushing the boundaries of our personal ties to celebrity relationships. Somehow, Beyoncé allows the trials of someone so far above us all to remain universal in this beautiful film. Its universality stems from its ability to tell not only the story of one high-profile romantic quarrel, but a piece of the story of black womanhood in America. In Lemonade Beyoncé admits that love is natural, and that it is not mutually exclusive to be powerful and vulnerable. Musically the film is eclectic and draws on a number of genres, but the music helps to carry the narrative arc from one scene to the next (with assistance from some gorgeous poetry passages by Warsan Shire).</image:caption>
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      <image:title>The 50 Best Movies of the Decade - 26. Arrival</image:title>
      <image:caption>Director Denis Villeneuve is a master of telling the story of an individual whose actions drive the consequences of a situation far bigger than themselves. What makes Arrival stand a step above Sicario and Blade Runner 2049 is the extent to which the implications for the overall situation mirror, and deepen, the ramifications for the individual. How this comes together, I won't say; Villeneuve pulls off one of the most mystifying turns in a movie I've ever seen. It's not merely rewarding in the shockingness of it, though. The symbiosis of Adams's character arc and what she discovers from the aliens is truly beautiful.</image:caption>
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    <lastmod>2020-07-10</lastmod>
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      <image:title>The 50 Best Movie Performances of the Decade - 46. Adam Driver, While We’re Young</image:title>
      <image:caption>How is it possible that, at just 35 years old, I feel very comfortable in saying Adam Driver is the best actor on the planet right now? In part, it’s because whether he’s headlining a Star Wars film or mumbling through a Jarmusch gem, he exudes charm. In While We’re Young that charm is abundant, and dangerous. You know he’s probably a slimeball from the beginning, but you’d still like to hang out with him, and therein lies his power.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 34. Tom Hanks and Barkhad Abdi, Captain Phillips</image:title>
      <image:caption>Tom Hanks is one of the great actors in the history of Hollywood, and it’s wild that he hasn’t been nominated for an Oscar since 2001. Captain Phillips should have been the moment it happened; Hanks plays a self-assured leader, but also showcases a profound fear in his more honest moments. As a newcomer to the screen Abdi is every bit his equal, menacing but sympathetic.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 27. Ethan Hawke, First Reformed</image:title>
      <image:caption>For much of First Reformed, Reverend Toller (Hawke) is a stoic figure. He patiently helps his congregants work through difficult questions, not just about faith but about climate change and the future of humanity. But as things begin to unravel and the full scope of the world’s failures become apparent to Toller, Hawke dials it up perfectly, finding the perfect blend of indignant outrage and depressed resignation. Somebody has to do something.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 19. Jennifer Lawrence, Silver Linings Playbook</image:title>
      <image:caption>Yes, I did exclude Bradley Cooper from this slot on purpose. Unlike some of my other cheats on this list this slot is not for a duo performance. Cooper is good but Lawrence far outshines him. She has classic movie star charisma, and her vulnerability in Silver Linings Playbook carries the film.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 22. Anton Yelchin, Green Room</image:title>
      <image:caption>Yelchin’s death at the age of 27 in 2016 was one of the great Hollywood tragedies; he was a skilled performer who brought a unique energy to every role he took on. He excels in Green Room for his encapsulation what happens to a person entrenched in absolute fear. It’s an emotional chord often overplayed in horror films, but Yelchin’s performance rings true, as did all of his work in his too-short career.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 15. JK Simmons, Whiplash</image:title>
      <image:caption>“Were you rushing or were you dragging?” Simmons delivers one of the most chillingly ruthless performances I’ve ever seen as Fletcher, the feared leader of a jazz school in New York who expects nothing short of greatness from his students. The magic of Simmons’s performance isn’t that he’s terrifying, but that he’s terrifying and you still think his ethos might be correct.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 13. Margot Robbie, I, Tonya</image:title>
      <image:caption>I, Tonya has its issues as a film, particularly in its suggestion that Tonya Harding might be a victim. But it is held up by a stellar performance from Robbie, and one shot in particular near the end of the film, when Harding looks herself in the mirror, is stunning work.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 41. Ryan Reynolds, Deadpool</image:title>
      <image:caption>Is it high-brow humor? No. But Deadpool would not have become the phenomenon it did without Reynolds’ specific wit behind the mask. I can hear exactly how he sounds in my head the moment you look at him, and it’s a successful performance because no one else could have done the job nearly as well.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 29. Sasha Lane, American Honey</image:title>
      <image:caption>One of the hardest things to capture in a film is genuine aimlessness, a sense of an uncertain future that creates a tenuous present. Lane’s performance in American Honey manages to capture this state. As part of a ragtag group of nomadic magazine hawkers, she strives to find her place in the world while navigating a tumultuous love affair. She comes to learn that what looks like freedom isn’t always so, and to escape a destructive community, sometimes you just have to spend some time at peace with yourself.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 21. Shailene Woodley, The Descendants</image:title>
      <image:caption>Woodley walks a fine line in The Descendants, playing at once the detached above-it-all teenager and the daughter broken by her family’s trauma. Her love for her family wins out in the end, and her growth over the course of the film is a wonder to watch.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 48. Tom Cruise, Mission: Impossible - Fallout</image:title>
      <image:caption>Tom Cruise is 57 years old but shows no signs of slowing down, and the stunts in this ever-improving franchise, which he does himself, would be astonishing for a performer of any age. Don’t take Cruise for granted; whether we great one more of these movies or ten, his performances will be a gift.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 44. Chiwetel Ejiofor, 12 Years a Slave</image:title>
      <image:caption>Lupita Nyong’o was the breakout star of this film (more on her later), but Ejiofor carries the emotional weight as Solomon Northup, a freed black man sold into slavery for 12 years. Director Steve McQueen pulls no punches on the psychological toll of servitude, but much of the film’s gravity is carried in Ejiofor’s expressive eyes.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 42. Beanie Feldstein and Kaitlyn Dever, Booksmart</image:title>
      <image:caption>The greatness of Feldstein and Dever cannot be separated in Booksmart—their charm is rooted in just how much Amy and Molly love each other, and they don’t really care what anyone else thinks. Watching their antics you know you’ll never be able to love them as much as they love each other, and that’s how you know their performances are irreplaceable.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 38. Ralph Fiennes, The Grand Budapest Hotel</image:title>
      <image:caption>When I think of Fiennes’ performance in The Grand Budapest Hotel, the first thing that always comes to mind is his swearing. Lightly seasoned throughout the film, the contrast between his snooty persona and his brash cussing is an absolute delight. Gustave is just as whimsical as many of Wes Anderson’s characters, but he stands a leg above many of them because he is also a loving father figure to Zero (Tony Revolori).</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 50. Leslie Mann, Blockers</image:title>
      <image:caption>One of the most underrated comedic performers of the decade, Leslie Mann is the linchpin that holds together the Apatow cinematic universe. In Blockers, she shines in a leading role as a parent who goes to great lengths to prevent her daughter from having sex on prom night. Mann is a throwback comedic talent, possessing the controlled ditziness only possible from a performer much smarter than the characters she plays, akin to Marilyn Monroe. But she also has the capacity to display a deep emotional vulnerability.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 1. Elisabeth Moss, Her Smell</image:title>
      <image:caption>Elisabeth Moss takes the top spot with a performance in a movie that came out this year. You probably didn’t see it, but you should: Moss delivers nothing short of a virtuoso performance as an aging punk star trying to make a career comeback. It’s a forceful performance on the level of Pacino grandiosity that finds moments of gentleness later in the film, and she’s on screen nearly every minute of Her Smell. I could have watched this performance for three more hours and been totally happy.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 25. Robert Pattinson, Good Time</image:title>
      <image:caption>Pattinson has had one of the most interesting decades of any actor, going from teen stardom and critical skepticism to being one of the most consistently interesting actors working today. Good Time remains his peak, a disturbed heist movie where nothing can go right. Pattinson is manipulative, sleazy, and unhinged, and his frenetic energy carries the film.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 32. Greta Gerwig, Frances Ha</image:title>
      <image:caption>Gerwig has moved on from acting to become of one Hollywood’s most exciting directors, but her performance in Frances Ha should not be overlooked. She’s neurotic and self-destructive and faux intellectual in all the ways that make this performance, and film, susceptible to accusations of Woody Allen parody. But she carries a faith in humanity that Allen’s films always lacked, and for all her problems, at the end of the day Frances just wants to find love and security.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 6. Jessica Chastain, Zero Dark Thirty</image:title>
      <image:caption>Zero Dark Thirty is a problematic, propagandistic movie, but Chastain’s performance remains stunning seven years later. She’s reserved when she needs to be but always ready to explode, and the contrast between seeing her neck veins straining while yelling at Kyle Chandler and her quietly weeping in the back of a military airplane are all you need to know about this performance’s range.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 35. Paul Dano, Love &amp; Mercy</image:title>
      <image:caption>Paul Dano plays a young Brian Wilson in Love &amp; Mercy, the biopic about The Beach Boys frontman that spans decades (John Cusack plays the older version of Wilson). Dano is tasked with showcasing Wilson’s unrivaled creative talent and his mental struggles, a combination that could have led to stereotypical tics. But Dano plays Wilson lovingly and with a deep empathy, and it’s a beautiful performance.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 4. Emma Stone, La La Land</image:title>
      <image:caption>There’s a moment in La La Land where Sebastian (Ryan Gosling) tells Mia (Stone) that she needs to show up for an audition the next day. Stone’s reaction is marvelous, shifting from incredulity to deep sadness in an instant. It’s a snapshot of a performance throughout the whole film that is always shifting and always captivating.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 33. Oscar Isaac, Inside Llewyn Davis</image:title>
      <image:caption>Inside Llewyn Davis is a deceptively complex film. The Coens’ story of a struggling singer in 1960’s Greenwich Village is a character study of a man trying to make it in the world, yes, but it also conveys a sense of helplessness and meaningless in the face of historical obsolescence, as all of the Coens’ best films do. Isaac is the dutiful surrogate for this ethos in the film, personifying a melancholic, meandering path through life.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 23. Bradley Cooper and Lady Gaga, A Star Is born</image:title>
      <image:caption>A Star Is Born kicks off with an electric first 45 minutes and then wavers. The movie still holds weight in its latter half, though, because of the chemistry between Gaga and Cooper. Gaga delivers a natural performance, and although it’s highly meme-able, Cooper’s gravel-voiced mess of a man is a captivating turn.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 11. Andy Serkis, Dawn of the Planet of the Apes</image:title>
      <image:caption>It’s an absolute travesty Serkis never earned the proper praise for his turn as Caesar in this revitalized franchise. Yes, it’s masked by the motion capture technology, but that only makes his work more impressive: his expressions had to be crystal clear to communicate to the audience within that context. It’s a physically challenging role that would have been dull with any other actor at the helm.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 31. Michael Shannon, Take Shelter</image:title>
      <image:caption>Shannon’s performance in Take Shelter is unsettling on a couple of levels. On the one hand, he’s an apocalypse truther who thinks the end of the world is imminent. On the other hand…he might be right? We’ve seen many performances over the years from men who are mentally unraveling, but the possibility of Shannon’s veracity elevates his above the norm.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 12. Casey Affleck and Michelle Williams, Manchester by the Sea</image:title>
      <image:caption>I can hardly even bear to think about the performances at the heart of Manchester by the Sea—they are deeply steeped in sadness, and it’s a hard film to revisit. Affleck and Williams convey the effects of trauma in a unique way on the big screen. It can be showy at times, but mostly it’s bottled up, an inescapable baggage they can never quite figure out how to shed.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 40. Daniel Day-Lewis, Lincoln</image:title>
      <image:caption>How do you portray a man whose image is one of the most universally well-known in American history? Aside from inhabiting the likeness of Abraham Lincoln to a T, Day-Lewis manages this challenge by not playing the man so much as the ideals he represents. Day-Lewis’s Lincoln is defined by a steely moral anguish, something less than a hero and more than a hero because of it. Let’s hope he doesn’t really retire.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 2. Daniel Kaluuya, Get Out</image:title>
      <image:caption>My first best-of list without Kaluuya in the #1 spot, although he comes damn close. As Chris, Kaluuya must embody a wide array of statuses in Get Out: skeptical of his girlfriend’s family, but naive enough to not see the full scope of terror to come; code-switching between his communications with white and black characters; utterly defeated and shocked, and also defiant and angry. Between this performance and his frightening turn in Widows, Kaluuya is the performer I took most notice of the last few years, and I can’t wait to see what he does next.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 26. Lupita Nyong’o, Us</image:title>
      <image:caption>Us was released in March, which is a lifetime ago for the Academy Awards, so the odds are slim that Nyong’o will earn recognition for her dual performance. If there were any justice at the Oscars, though, Nyong’o would be one of the leading contenders. She has to play two roles in Us, one human but traumatized, the other demonic yet trying to be human. She carries a real hurt as Adelaide, but her performance as Red is the standout; it’s disturbing and empathetic like nothing else I’ve ever seen. Both characters are also trying to hide something, and Nyong’o plays that mystery to perfection.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 16. Vicky Krieps, Phantom Thread</image:title>
      <image:caption>It’s no small task to go toe-to-toe with Daniel Day-Lewis, but Krieps more than keeps up in Phantom Thread. As Woodcock’s (Day-Lewis) muse and eventual lover, Krieps would seem to be an inferior position to her male counterpart. But over the course of the film her luminous demeanor gives way to a domineering side, and she very subtly lets us know who has been in control the whole time.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 7. Jesse Eisenberg, The Social Network</image:title>
      <image:caption>Eisenberg is the perfect motormouth for writer Aaron Sorkin’s unrelenting pace. In the thrilling opening scene of The Social Network Mark Zuckerberg (Eisenberg) is dumped by his college girlfriend. He’s obviously devastated, but in his neurotic nature he’s also barely aware of what’s going on. It perfectly lays out the performance to come: a man driven by rejection and a desire to belong, but too self-involved to consider the consequences of his actions.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 5. Mahershala Ali, The Moonlight</image:title>
      <image:caption>We’ve seen roles like Ali’s in Moonlight before, the drug dealer (or insert ethically compromised profession here) with a heart of gold. What elevates this performance above the trope is Ali’s conveyance that he knows he’s not always a great person, but can bestow a deep love to perfect strangers all the same. He’s only in the first third of the movie, but his scenes are still what I remember most.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 43. Kitana Kiki Rodriguez and Mya Taylor, Tangerine</image:title>
      <image:caption>Many performances are great because they are representations of characters we recognize. Rodriguez and Taylor are a revelation in Tangerine for me because they bring you into a world with a very specific language and culture and spark an immediate tender affinity with the audience.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 8. Phillip Seymour Hoffman and Joaquin Phoenix, The Master</image:title>
      <image:caption>Hoffman was one of the truly great performers of this century, and before his tragic death he delivered one final all-time performance as Lancaster Dodd, a cult leader who ropes a veteran (Phoenix) into his organization. The two performances together are immensely unsettling, and unforgettable.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 47. Viola Davis &amp; Elizabeth Debicki, Widows</image:title>
      <image:caption>A perfect exercise in opposing character forces: Davis’s Veronica is a tough leader who softens to her crew, and Debicki’s Alice is the fragile femme fatale who gets stronger as the heist approaches. They form an unlikely bond in brokenness, and a final look of mutual respect in the film cements Davis’s greatness and Debicki as a rising star.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 49. Amy Poehler, Inside Out</image:title>
      <image:caption>Voiceover performances rarely get the praise they deserve, and Poehler’s work in Inside Out is my pick for the best voice performance of the decade. It’s a self-aware casting choice: Poehler plays a literal emotion as Joy, and her bubbly demeanor is on fully display. But Poehler weaponizes this buoyancy, making it all the more devastating when she is on the brink of giving up.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 17. Quevenzhane Wallis, Beasts of the Southern Wild</image:title>
      <image:caption>Wallis announced herself to the world as a prodigy with her performance in Beasts of the Southern Wild. It’s both a naturalistic performance and one that’s mature beyond her years. Wallis has an indelible ability to hold the screen without doing much at all, and I can’t wait to see what she does in the coming decade.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 18. Saoirse Ronan, Lady Bird</image:title>
      <image:caption>I could watch Saoirse Ronan paint a wall for two hours and I’m pretty sure it would still be one of the ten best movies I saw that year. Ronan is incredible in everything she does but Lady Bird remains her best work. It’s an eccentric, honest performance that captures the searching nature of adolescence better than any other high school movie I’ve seen.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 45. Elsie Fisher, Eighth Grade</image:title>
      <image:caption>Confident, evil, crazy, distraught: the emotions most often rewarded in acting are usually the most transparently communicated. But convincingly awkward can be much harder to pull off. I cringed throughout much of Eighth Grade, which is how you know the film was working. There were few characterized I empathized with more this decade than Fisher’s Kayla.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 37. Melissa McCarthy and Richard e. Grant, Can You Ever Forgive Me?</image:title>
      <image:caption>McCarthy made her mark this decade with Bridesmaids and proceeded to portray a string a slimy characters whose socially alienating tendencies are played for laughs. In Can You Ever Forgive Me? those same tendencies culminate in a deeply sad performance, and as her counterpart Grant matches her toxic persona. It’s a dour film in which the pair finds meaning in nastiness; at least they have each other.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 3. Rosamund Pike, Gone Girl</image:title>
      <image:caption>The most celebrated acting performances are usually notable for their emotional range, but Pike accomplishes something else: a chilling performance that rarely varies in its emotional tenor. Her cryptic mood is essential to the film’s story, which is fundamentally about the public roles we play every day in our lives. Gone Girl might position Amy Dunne as its villain, but Pike makes her a hero.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 14. Timothee Chalamet, Call Me By Your Name</image:title>
      <image:caption>Chalamet has achieved such a meteoric rise to stardom that I can feel the backlash coming already, but while we are still basking in the glow of his greatness, I’d like to celebrate his muted performance in Call Me By Your Name. Elio desperately tries to play it cool during his tryst with Oliver (Armie Hammer), but before he knows it he’s consumed by something between lust and love. His earlier reticence to engage in romance is why his later emotional outburst is so crushing.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 30. Regina Hall, Haley Lu Richardson, and Shayna McHale, Support the Girls</image:title>
      <image:caption>Not much happens in Support the Girls, it seems: Lisa (Regina Hall) manages a Texas sports bar akin to Hooters, and nothing seems to be going right. But the film feels like a miracle for its evocation of the mundane struggles of daily life in a capitalist state. Lisa makes it through the day only with the support of two of her coworkers, Danyelle (Shayna McHale) and Maci (Haley Lu Richardson), who offer her different sorts of love: no-bullshit insights from Danyelle and unfettered optimism from Maci. In the end this trio makes it through an overbearing system by screaming into the void together, and it’s a beautiful moment of togetherness.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 10. Hailee Steinfeld, True Grit</image:title>
      <image:caption>In True Grit, Steinfeld possesses a steely resolve that most adult performances couldn’t dream of reaching. Her line deliveries are completely confident, yet it never descends into caricature—she’s a fully developed character with an admirable spirit. Since this breakout performance Steinfeld has been mired in dreck like Bumblebee, so here’s to hoping she starts turning out more incredible performances again like this one.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 9. Denzel Washington, Flight</image:title>
      <image:caption>Denzel is the most naturally charismatic actor alive; he could roll out of bed, mumble through his lines, and still deliver an Oscar-worthy performance. As a heroic, and tragic, pilot in Flight he tunes that charm to the max and delivers a classic movie star performance for the ages.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 39. Rooney Mara and Cate Blanchett, Carol</image:title>
      <image:caption>Carol is a delicate story about forbidden love, and its emotional gravitas is carried forward by the powerful performances from Mara and Blanchett. Blanchett plays the powerful, unfeeling partner and Mara the timid romantic dilettante. But the film is affective because in the end they both recognize what they’ve lost.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 24. Michael B. Jordan, Creed</image:title>
      <image:caption>Boxing movies are the ideal sports film because they boil sports down to their most basic structure: one person versus one person in a bout of strength, in a setting that requires mental fortitude just as much as physical. Adonis Creed’s rise as a boxer is gripping because of Jordan’s uncontainable swagger, but his character is full because of the intimacy he develops with Bianca (Tessa Thompson) and Rocky (Sylvester Stallone).</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 36. Sakura Andô, Shoplifters</image:title>
      <image:caption>In Shoplifters Andô the mother of a poor family in Japan, forced to turn to petty crimes for sustenance. They eventually take in a child in need, but when the child’s real parents want her back, things begin to unravel. Andô embodies a generous spirit in the face of uncertain times for her family, and her breakdown after things go awry at the end is heartbreaking.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 28. Brooklyn Prince, The Florida Project</image:title>
      <image:caption>Brooklyn Prince’s performance in The Florida Project is not great because it rises above the typical child performance, but because it is firmly and knowingly a child performance. Prince captures the care free joys of childhood in the face of poverty, and she’s a delight every second she’s on screen. The film’s final scene reveals what is bubbling under the surface all along, that despite her joyous attitude her situation is taking a toll on her, and her emotional ruin is crushing.</image:caption>
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      <image:title>The 50 Best Movie Performances of the Decade - 20. Tiffany Haddish, Girls Trip</image:title>
      <image:caption>I never thought screwing a grapefruit or hiding weed in your butthole could be high art, but here we are, and Tiffany Haddish has made it so. Haddish gives the comedic performance of the decade in Girls Trip, an out-of-contol confidence rocket who’s unpredictable from scene to scene.</image:caption>
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      <image:title>The 50 Best Movie Scenes of the Decade</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1571683897275-EQSL2JMM0I7MIZCV8YRL/support.jpg</image:loc>
      <image:title>The 50 Best Movie Scenes of the Decade</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1571684215436-2L02HFZSVSUKNGE35R4X/0_OUATIH.png</image:loc>
      <image:title>The 50 Best Movie Scenes of the Decade</image:title>
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      <image:title>The 50 Best Movie Scenes of the Decade</image:title>
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      <image:title>The 50 Best Movie Scenes of the Decade</image:title>
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      <image:title>The 50 Best Movie Scenes of the Decade</image:title>
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    <loc>https://skoobywatchesmovies.com/best-of-the-decade-movie-performances-1</loc>
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      <image:title>Best of the Decade - Movie Shots - 3. Rosamund Pike, Gone Girl</image:title>
      <image:caption>Text about movie</image:caption>
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      <image:title>Best of the Decade - Movie Shots - 45. Elsie Fisher, Eighth Grade</image:title>
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      <image:title>Best of the Decade - Movie Shots - 14. Timothee Chalamet, Call Me By Your Name</image:title>
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      <image:title>Best of the Decade - Movie Shots - 42. Beanie Feldstein and Kaitlyn Dever, Booksmart</image:title>
      <image:caption>Text about movie</image:caption>
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      <image:title>Best of the Decade - Movie Shots - 38. Ralph Fiennes, The Grand Budapest Hotel</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570409112525-7G45AA6H13G4CD6CCFF1/55+%28841%29.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 30. Regina Hall, Haley Lu Richardson, and Shayna McHale, Support the Girls</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570408702102-TYF9JJAZDFI8XTP965D5/EEg-SYxX4AEbg42.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 34. Tom Hanks and Barkhad Abdi, Captain Phillips</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570408119660-OUYJ0U3IEBWH48YXTYLH/maxresdefault.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 37. Melissa McCarthy and Richard e. Grant, Can You Ever Forgive Me?</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1571671811394-974GCKC6HAU2VHVF6J7Y/tumblr_0b13aeb4cccac83eb3c71ea7b9bc2774_10feb577_500.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 31. Michael Shannon, Take Shelter</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570409798449-F118WLR8QGAZ0UFSF8LR/DPkj1slWkAEVg1Q.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 18. Saoirse Ronan, Lady Bird</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570410474655-QXACAFGOR6YXMQ2RV3UJ/65+%28336%29.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 2. Daniel Kaluuya, Get Out</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570410397352-CW2NN6U7Z7RTZ4TJGR5W/70.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 4. Emma Stone, La La Land</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570406092176-X0LCXVQJ4NY4SRTMLAL3/DurcEVNXcAAsLmn.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 49. Tom Cruise, Mission: Impossible - Fallout</image:title>
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    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570406245106-VNUJUBLRJGAOOZAWUZLN/ED6AYwBWsAA9gmB.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 47. Amy Poehler, Inside Out</image:title>
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    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570409378227-7AAE0VSKX6306T6DQZTM/arrival014.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 25. Robert Pattinson, Good Time</image:title>
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    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570409468089-1ORLOFO9P5B6JBQQ5189/phantom064.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 23. Bradley Cooper and Lady Gaga, A Star Is born</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570409225877-SLL9J9VOMBBG7IPX0S0Y/35+%28974%29.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 28. Brooklyn Prince, The Florida Project</image:title>
      <image:caption>Text about movie</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570406966742-SA0CEBYDN3UPIJISTIPA/fd45cc31-944d-4900-99a2-a6bc68b6e75b-hustlers-hustlers_sg_00053_rgb.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 41. Ryan Reynolds, Deadpool</image:title>
      <image:caption>Text</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570406306696-KLLO77K1E2FLRZLOGN7U/D7EcE7-WkAA_Ubq.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 46. Adam Driver, While We’re Young</image:title>
      <image:caption>Text</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570409699300-HOX23AAZOA3HHKUPASN8/22+%28659%29-1.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 20. Tiffany Haddish, Girls Trip</image:title>
      <image:caption>Text about movie</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570406520264-B96CRC6I667G0OXV8GYM/roomofbikes.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 44. Chiwetel Ejiofor, 12 Years a Slave</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570409330494-9ROWFSIB416FKERD71IP/paddington026.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 26. Lupita Nyong’o, Us</image:title>
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    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1571432352667-C6SCFR0J0L6LA2484L4Y/56+%28114%29.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 29. Sasha Lane, American Honey</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570410025812-9GPLP80JPGOQCXY0XZ8R/65+%28115%29.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 13. Margot Robbie, I, Tonya</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570409282141-7P9IRSC5YU71NH01UXE3/neondemon001.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 27. Ethan Hawke, First Reformed</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570409603148-61UAYOUFNW4FSJCNYM3D/lalal027.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 21. Shailene Woodley, The Descendants</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570409936287-LXV4Y8ZM1VQRTYLU0QVK/45+%284%29.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 15. JK Simmons, Whiplash</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570409420423-4KCAIMSC1CXISHIYPYP2/forcemeasure009.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 24. Michael B. Jordan, Creed</image:title>
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    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570410143118-OFSVWQYVZDIMPF80BZCI/dunkirk050.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 10. Hailee Steinfeld, True Grit</image:title>
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    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570409542700-1JXJNTKYDX869OLH5Y70/07+%281169%29.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 22. Anton Yelchin, Green Room</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570405887321-PD9INS3S72MJA24RHJKW/2-sarahs.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 50. The One I Love</image:title>
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    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570407772984-40JN4LFK66RQTMQ76FHH/DfCi4WQVQAAmA6r.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 39. Rooney Mara and Cate Blanchett, Carol</image:title>
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    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570407053739-JKCCM0OZ4HPC9ZT56JZS/fb61581d-6b8a-4f68-adff-462a123b428b.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 40. Daniel Day-Lewis, Lincoln</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570408803449-QHY0XU0OOEPM5LZCUJQS/bladerunner042.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 32. Greta Gerwig, Frances Ha</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570408641896-EAONWT9FB5JX6P45N8OY/sicario45.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 35. Paul Dano, Love &amp; Mercy</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570410509674-XY4MZZMYFEJCBIR0X6N5/getout029.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 1. Elisabeth Moss, Her Smell</image:title>
      <image:caption>Text about movie</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570410242741-RQSW5LFVKZJQDAYAXIV5/greenroom030.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 8. Phillip Seymour Hoffman and Joaquin Phoenix, The Master</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570406665286-SLKNOFBCOJC5Q1I8NU4V/D7rm1i6WwAEUEw0.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 43. Kitana Kiki Rodriguez and Mya Taylor, Tangerine</image:title>
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    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570409741561-SUC7027ECU3OI7DX997A/deathlyhallowstwo060.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 19. Jennifer Lawrence, Silver Linings Playbook</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570409836130-TTG9H8P4BBE8IT1PE06W/63+%281031%29.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 17. Quevenzhane Wallis, Beasts of the Southern Wild</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570410358088-Z4E7TWLRHLLNUGLAZRWX/thelobster065.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 5. Mahershala Ali, The Moonlight</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570410194805-5NV5J7ELDFMCG0KQGFR9/25+%28434%29.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 9. Denzel Washington, Flight</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570408748421-SBZZ7DFTVQUFY0V8ZQRZ/BLKKK056.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 33. Oscar Isaac, Inside Llewyn Davis</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570410318669-S8G75J1DPP9LYAPPL4W0/florida015.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 6. Jessica Chastain, Zero Dark Thirty</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570409884624-6SIMPWV79CSS5JCW6860/callme065.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 16. Vicky Krieps, Phantom Thread</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570410067129-1TLIKXWPP2E9KLW7GCJ6/65+%28236%29.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 12. Casey Affleck and Michelle Williams, Manchester by the Sea</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570410280321-T0ZVBMBT1A2ZKVGGHH3C/21+%281057%29.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 7. Jesse Eisenberg, The Social Network</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570410104127-3SDPID5YXJZ8M984ZKW3/65+%28909%29.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 11. Andy Serkis, Dawn of the Planet of the Apes</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1570408545866-KEZG5BYLW38MY1R4G52V/Widows+copy.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 36. Ando Sakura, Shoplifters</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a411ba612abd92ff64904e6/1571432481801-M35KPICN5RJQ84U19YJC/quietplace037.jpg</image:loc>
      <image:title>Best of the Decade - Movie Shots - 48. Viola Davis and Elizabeth Debicki, Widows</image:title>
      <image:caption>Text about movie</image:caption>
    </image:image>
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