As someone who’s spent countless hours engrossed in the world of cinema, I must say that this December lineup is as intriguing as a cat’s curiosity without the 3 AM startle reflex.
Over the coming weeks, you’ll notice signs of summer’s end: leaves changing colors, longer sleeves needed, school buses in bright yellows. Movie enthusiasts also have their own indicators that one season is ending and another is beginning. After four months filled with mostly special-effects blockbusters, cinemas start screening films for adults – the thought-provoking dramas, biographical movies, and festival winners often associated with awards season. Finally, some intellectual sustenance!
The fall movie season is not lacking in blockbuster delights this year or any other. In fact, the upcoming four months will be filled with mainstream blockbusters – long-awaited sequels to popular movies, final performances of Marvel and DC supervillains, musicals from Broadway and Disney. However, these big studio productions will share the stage with smaller, more challenging, and unique films. Some of this year’s most buzzworthy films from Cannes Film Festival, such as the big winner and a controversial epic from an established New Hollywood director embroiled in controversy, are among these lesser-known films.
Below, we’ve singled out 20 of the most exciting, notable, and/or buzzy movies coming to a theater (or streaming platform) near you between Labor Day and New Year’s. Taken together, they make up the menu for a more balanced moviegoing diet — the kind you can rarely cobble together during the junk-food buffet of the warmer weeks. In the meantime, enjoy the last gasp of beach season. Summer will be over as quickly as you can say, “Beetlejuice, Beetlejuice, Beetlejuice.”
September
Beetlejuice Beetlejuice
https://youtube.com/watch?v=watch?v=As-vKW4ZboU
Title character Beetlejuice returns, now liberated from the limbo area where Tim Burton last left him at the end of the 1988 comedic supernatural film “Beetlejuice”. Michael Keaton, Winona Ryder, and Catherine O’Hara reprise their roles for this long-awaited sequel. In this new installment, a teenager (Jenna Ortega, from director’s Netflix hit series “Wednesday”) inadvertently frees the mischievous spirit who haunted her family 36 years ago. Much like his eccentric characters, Burton risks chaos by uttering the spirit’s name once more. At least he has assembled an intriguing cast, including Justin Theroux, Monica Bellucci, Willem Dafoe, and Danny DeVito for this reunion. We can hardly wait to find out how Beetlejuice regained his normal-sized head. (In theaters on September 6).
Wolfs
Discussing reunion projects, leaving a large-scale franchise like Marvel to collaborate once more with the stars from Ocean’s Eleven and Burn After Reading certainly isn’t a bad reason to step away. Writer-director Jon Watts (Spider-Man: No Way Home) has moved on to a crime comedy, where George Clooney and Brad Pitt play competing “fixers” who are unexpectedly paired together when they both get booked for the same tricky situation. The idea of Michael Clayton as a buddy comedy is an intriguing one – it’s catchy enough to make up for that less-than-appealing title. Furthermore, any project that brings Clooney back in front of the camera instead of behind it is more than welcome. (Opens in theaters on September 20; premieres on Apple TV+ on September 27.)
A Different Man
Similar to Jon Watts, Sebastian Stan has managed to step away from the superhero genre this year, showcasing an acclaimed performance in a role where he plays a man grappling with an identity crisis after undergoing surgery to ‘cure’ his neurofibromatosis, a genetic disorder that leads to the growth of benign tumors on nerve tissue. The provocative black comedy/psychodrama by Aaron Schimberg was one of the most talked-about films at this year’s Sundance Film Festival, with critics also commending the supporting roles of Adam Pearson (known for his role in Under the Skin, and who lives with neurofibromatosis) and Renate Reinsve from The Worst Person in the World. Even those who didn’t fully appreciate the film acknowledged its boldness; a movie is considered a must-see when it is being compared, favorably, to the works of Charlie Kaufman (set to release in theaters on September 20).
The Substance
On the very same day as “A Different Man” premieres, another highly anticipated festival darling with themes of beauty standards and self-image also debuts. At its core is an astonishing metamorphosis, this time in a wild, suspenseful thriller where a popular TV aerobics instructor (played by Demi Moore, who delivers what many consider the standout performance of her career) resorts to an enigmatic wonder drug to regain her youthful appearance after being let go on her 50th birthday. Known for her audacious films like “Revenge”, Coralie Fargeat won the Best Screenplay prize at Cannes, and critics have been largely enthusiastic, commending Moore’s brave performance and that of co-star Margaret Qualley. However, a word of warning to those with delicate sensibilities: “The Substance” spares no mercy in its portrayal of body-horror scenes. (Opens in theaters on September 20.)
Megalopolis
“Bilge Ebiri from Vulture, at Cannes in May, remarked that Megalopolis might be the most extraordinary sight he’s ever witnessed. Many others shared this sentiment, regardless of whether they adored or disliked Francis Ford Coppola’s long-awaited masterpiece starring Adam Driver as an architect fighting a corrupt mayor in an alternate America. This unique, mind-bending spectacle seemed to have been plucked directly from the filmmaker’s imagination. Self-funded by Coppola at a cost of $120 million, Megalopolis boasts an impressive ensemble cast that spans actors like Giancarlo Esposito, Aubrey Plaza, and Dustin Hoffman. With its grand ambition, Megalopolis is the kind of passion project Hollywood seldom finances nowadays. The film’s Imax release is a precious opportunity for cinema enthusiasts, though the production’s turmoil (including accusations against Coppola) casts a lingering shadow over the movie. (In theaters on September 27.) “
Also premiering in September
By Brock Colyar
By Joshua David Stein
By Quinn Moreland
By Dominique Pariso and Lauren Ro
By David LaChapelle
By James Grebey and Ben Rosenstock
By Brock Colyar
By Joshua David Stein
By Quinn Moreland
By Dominique Pariso and Lauren Ro
By David LaChapelle
By James Grebey and Ben Rosenstock
October
Joker: Folie à Deux
https://youtube.com/watch?v=watch?v=_OKAwz2MsJs
In simpler terms, the Joker movie felt like a standalone film rather than the start of a series. However, its massive $1 billion earnings guaranteed a sequel. Interestingly, for part two, writer-director Todd Phillips has chosen to explore the romantic relationship between Arthur Fleck (Joaquin Phoenix) and Harley Quinn (Lady Gaga), which is presented as a musical in an unusual twist. This change could be exactly what the genre requires; we’d much prefer Lady Gaga singing “Send in the Clowns” instead of numerous Deadpool-style, fast-paced cameos. (Releasing in theaters on October 4.)
Saturday Night
For the start of the 50th year of “Saturday Night Live,” Jason Reitman is returning to the original season, specifically the very first episode, of this iconic sketch-comedy show. The filmmaker’s latest project, following “Ghostbusters: Afterlife,” which included several notable “SNL” alumni, portrays the origin story and the events leading up to its live prime-time premiere. In keeping with the show it is celebrating, numerous impressions are featured: The large cast includes Gabriel LaBelle as Lorne Michaels, Dylan O’Brien as Dan Aykroyd, Cory Michael Smith as Chevy Chase, Ella Hunt as Gilda Radner, and many more, nearly requiring a Darrell Hammond tally. The film is set to release on October 11, but unfortunately it was not penned by Aaron Sorkin. (In theaters October 11.)
We Live in Time
Director John Crowley, fresh from his work in Brooklyn, is now ready to tackle a heart-wrenching tale. His latest film, titled We Live in Time, weaves a multi-year romance between Andrew Garfield and Florence Pugh, portraying a couple navigating through a significant health crisis. Unlike traditional narratives, this movie employs a nonlinear structure, rearranging scenes to contrast the initial happiness of their relationship with its more challenging phases. The film offers a fascinating journey through changing fashion trends and hairstyles, while providing a refreshing change from the usual green screen-reliant romantic moments. Catch it in theaters starting October 11.
Anora
In a turn of events reminiscent of the Palme d’Or’s last award to an American film in 2011 with “The Tree of Life”, this year, the prestigious Cannes top prize was bestowed upon Sean Baker’s movie, titled “Anora”. Starring Mikey Madison from “Scream”, the film revolves around an exotic dancer in Brighton Beach who finds herself swept up in a passionate romance with the son of a Russian oligarch. Known for his empathetic portrayals of sex workers and their lives, Baker has once again showcased this talent in “Anora”. Our Cannes review praised the film’s “an infectious, freewheeling energy that feels like a high-concept comedy that’s gone wonderfully off the rails”. (Set to hit theaters on October 18.)
Venom: The Last Dance
Without the presence of Spider-Man, the Venom movies have undeniably found their unique rhythm. Once again, Tom Hardy dons the dual roles of human Eddie Brock and the alien symbiote that transformed him into a massive, gooey, and brash crime fighter in this third and seemingly concluding chapter of the Sony-Marvel spin-off series. Directed by Kelly Marcel, who penned the scripts for the previous films, The Last Dance is expected to deliver the signature blend of quirky buddy comedy and less-than-stellar CGI action that characterized its predecessors. It’s unlikely we’ll see a cameo from Tom Holland; one of the more intriguing aspects of Venom lies in its reluctance to engage in unnecessary crossovers. (In theaters October 25.)
Also premiering in October
November
Here
https://youtube.com/watch?v=watch?v=I_id-SkGU2k
It was only a matter of course that filmmaker Robert Zemeckis, known for his continuous innovation in motion-picture technology, would eventually explore de-aging effects. Not surprisingly, he chose none other than Tom Hanks, an award-winning actor with whom he has collaborated extensively before, even digitally aging him in old footage to create a motion-capture caricature. What makes this project intriguing isn’t just the possibility of seeing younger renditions of Forrest Gump co-stars Hanks and Robin Wright; rather, it’s the unique cinematic trick employed by Zemeckis in Here: The entire film takes place within a single room (and before that, the construction site of said room), captured by the same stationary camera angle over an extended timeframe. The dinosaurs hinted at in the trailer suggest that Zemeckis is exploring far beyond the history of one married couple. Here’s hoping his latest technological exploration is more awe-inspiring like Who Framed Roger Rabbit and less unsettling as The Polar Express. (Opens in theaters November 1).
Emilia Pérez
This bold new film by Jacques Audiard, creator of “A Prophet,” “Dheepan,” and “The Sisters Brothers,” is not yet ready for Emilia Pérez. Our Cannes correspondent described it as a unique blend between the characters of “Mrs. Doubtfire” and “Sicario,” reimagined as a musical. In this movie, Zoe Saldaña portrays a lawyer helping a Mexican cartel leader (Karla Sofía Gascón) undergo gender-reassignment surgery to reunite with her wife (Selena Gomez). Initially conceived as an opera, the film has drawn both passionate supporters and critics. It won a shared Best Actress prize for its female cast at Cannes, but also faced considerable disapproval. The response appears to be either extreme love or strong dislike; it’s left uncertain where you might stand. (Available on Netflix from November 13.)
Heretic
Hugh Grant is … unsettling? This intriguing twist is the basis for the horror movie Heretic, produced by A24 and featuring Chloe East and Sophie Thatcher as Mormon missionaries who stumble upon the wrong house. The filmmakers, Scott Beck and Bryan Woods, have a mixed track record; they wrote A Quiet Place, but also directed 65, a sci-fi thriller that seemed to miss the mark with its premise “Adam Driver fights dinosaurs.” However, they’ve managed to pull off something impressive this time around, offering audiences the opportunity to witness Hugh Grant tapping into his inner Norman Bates. He certainly gives off an unnerving vibe in the trailer, exuding a false sense of friendliness under the loudspeaker of The Hollies classic hit “The Air That I Breathe.” (In theaters November 15.)
Gladiator II
The Gladiator is dead, long live the Gladiator. Russell Crowe obviously doesn’t star in Ridley Scott’s new sequel to his Y2K sword-and-sandal Best Picture winner. Instead, this 24-years-later blockbuster encore follows the grown heir to the Empire (Paul Mescal) after he’s taken prisoner by the Romans and forced, like Maximus before him, to fight for his life and the amusement of the hoi polloi. The star-studded cast also includes Pedro Pascal as a general who trained under the late Maximus, Denzel Washington as a Machiavellian power broker, and a returning Connie Nielsen as the mother of our new Colosseum hero. Are you not entertained? We probably will be, though pour one out for the unmade Gladiator sequel Nick Cave pitched in the 2000s. It had time travel! (In theaters November 22.)
Wicked
In this century, one of the most exciting stage sensations, a musical precursor to “The Wizard of Oz,” is long-awaited on the big screen after numerous delays. Cynthia Erivo steps in for Idina Menzel as the troubled sorcery student who will become the Wicked Witch of the West, while pop sensation Ariana Grande attempts to emulate Kristin Chenoweth’s role as her prep school roommate, who later becomes Glinda the Good. With many Broadway hits stumbling on their journey to Hollywood (such as the 2005 adaptation of “The Producers,” which you might not remember), dividing this massive production into two films seems audacious. However, having “In the Heights” and “Step Up” director Jon M. Chu at the helm could be a positive sign for the musical numbers. And, let’s face it, going to the cinema is much more affordable than buying a seat in the upper balcony! (Opens November 22.)
Moana 2
The new movie following Disney’s successful musical journey into Polynesian folklore was initially planned as a streaming series, but Disney decided to change it into a theater film instead. This could be seen as good news because they were impressed with the project and wanted to showcase it in cinemas, or it might be bad news if Disney is just trying to rush a TV show into theaters to compete with Wicked, but still capitalize on the popularity of the original Moana. The reunion of the main cast and songwriters suggests that the film could recreate the grand, melodious experience of its predecessor, even though it won’t include any songs from Lin-Manuel Miranda. (In theaters on November 27.)
Also premiering in November
December
Nightbitch
A dark comedy revolves around a homebound mother, whose growing discontent with her life takes an unusual form – canine-like behaviors. This film, titled “Nightbitch“, carries a distinguished background. It’s adapted from the acclaimed novel by Rachel Yoder, and Marielle Heller, the director of “Can You Ever Forgive Me?“, is at the helm. The anticipation builds as Amy Adams, known for her fearless performances, takes on such a wild role. Critics at the Toronto International Film Festival have praised her portrayal as the protagonist, stating it’s “fearless”. Compared to other roles, playing this character would be less awkward than starring in “Hillbilly Elegy“. (Releasing in theaters on December 6.)
Babygirl
As a film enthusiast, I’ve always been captivated by Nicole Kidman’s reign in Hollywood’s intriguing and alluring genre – the erotic thriller. Her latest role as a seductive corporate CEO pursuing a young intern (Harris Dickinson) is no exception. Antonio Banderas, who has a knack for films that dance between death and desire, portrays her estranged husband. True to its double meaning, Halina Reijn’s Gen-Z whodunit, “Bodies Bodies Bodies,” showcases her directorial skills in both suspense and sensuality. Whether the upcoming film “Babygirl” leans more towards its boisterous comedic side or aligns with Reijn’s daringly bold debut, “Instinct,” one thing is certain: those with puritanical leanings or uncomfortable with age gaps should steer clear. (Release date: December 20.)
The Room Next Door
In Pedro Almodóvar’s first English-language movie, Tilda Swinton takes on the role of a war correspondent and Julianne Moore portrays her distanced author friend. This film is inspired by Sigrid Nunez’s novel “What Are You Going Through,” and it appears to be an emotionally charged and beautifully filmed production set for release in theaters on December 20th.
A Complete Unknown
https://youtube.com/watch?v=watch?v=TcNNteP22gQ
Previously, James Mangold created a music biopic that served as inspiration for a comedy on the absurdity of such films. Conversely, a Bob Dylan biopic in the past focused on the challenge of making one about Bob Dylan. However, here we have another Bob Dylan biopic from Mangold. This film focuses specifically on the pivotal point when a folk icon lost his fans by embracing electricity. It’s hard to deny that we’re intrigued to see how Timothée Chalamet captures the bushy hairdo and distinctive voice of the iconic singer. At least, one thing is certain: the movie will definitely have an amazing soundtrack. (In theaters on December 25th).
Nosferatu
How’s this for holiday counterprogramming: a Christmas Day remake of F.W. Murnau’s unauthorized, silent-era gloss on Dracula. Bill Skarsgård trades the clown makeup of Pennywise for the fangs and verminlike features of cinema’s first Prince of Darkness. The ensemble also includes Renfield’s Nicholas Hoult, Shadow of the Vampire’s Willem Dafoe, and a few actors who haven’t previously appeared in Dracula-related projects. Even more exciting is the talent behind the camera, as Nosferatu finds director Robert Eggers returning to the creeping horror of The Witch after his detour into the big-budget viking action of The Northman. Is he setting himself up for failure tracing over such a classic of the genre? That worked out pretty well for Werner Herzog. (In theaters December 25.)
Also premiering in December
Here are the movies and their release dates that you can look forward to:
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2024-08-26 14:55