O:9:"MagpieRSS":23:{s:6:"parser";i:0;s:12:"current_item";a:0:{}s:5:"items";a:10:{i:0;a:11:{s:5:"title";s:67:"Presenting: The Most Badass Feminist Action Flicks of All Damn Time";s:4:"link";s:113:"https://bestmovies.debatepost.com/best-movies/presenting-the-most-badass-feminist-action-flicks-of-all-damn-time/";s:2:"dc";a:1:{s:7:"creator";s:7:"Susan P";}s:7:"pubdate";s:31:"Tue, 08 Feb 2022 04:53:38 +0000";s:8:"category";s:45:"Best MoviesActionBadassDamnFeministFlicksTime";s:4:"guid";s:40:"https://bestmovies.debatepost.com/?p=313";s:11:"description";s:675:"IMDb Hello, do you love watching strong women kick ass and take names? Same, which is why—especially whenever the patriarchy’s got me down—I turn to feminist action movies for a healthy dose of ✨female empowerment.✨ Like a powerful feminist anthem, action movies with female leads will remind you that femininity and strength go hand in ... Read more";s:7:"content";a:1:{s:7:"encoded";s:53523:"
IMDb
Hello, do you love watching strong women kick ass and take names? Same, which is why—especially whenever the patriarchy’s got me down—I turn to feminist action movies for a healthy dose of ✨female empowerment.✨ Like a powerful feminist anthem, action movies with female leads will remind you that femininity and strength go hand in hand—and the world in which women are always relegated to the role of damsel in distress or sexy sidekick is O-V-E-R. (Yes, Bond girls are hot and sometimes even have agency, but I like my female action stars with a lil more dimension, mmkay?)
Whether you’re in the mood for a movie about female assassins, agents, vigilantes, villains, spies, superheroes, or anything in between, I’ve got the perfect pick for you. And while, admittedly, many of these female-led action films involve spandex ensembles and pointy high heels, they thankfully don’t ALL solely rely on all the typical female action star tropes. The best female action movies say🖕to the male gaze and misogyny, and if you’re in the mood for some badassery, then these fun, feminist flicks are for you. Plus, as a bonus, many of these movies were directed by women, too!
Advertisement – Continue Reading Below
1
The Old Guard (2020)
Starring Charlize Theron, this superhero flick tells the story of four centuries-old immortals secretly working to protect humanity, who—just when they discover another immortal—realize their secret powers have been exposed. Hey, Netflix, how about that sequel?
What happens when a trained assassin realizes she only has 24 hours to live after being poisoned? She goes on an epic mission through the streets of Tokyo to take down her enemies, ofc, and that’s exactly what goes down in this action thriller starring Mary Elizabeth Winstead.
Starring Lena Headey and Karen Gillan (hi, Cersei and Nebula!), Gunpowder Milkshake follows an assassin who must team up with her estranged mother in order to take on a powerful crime syndicate.
Even if you haven’t seen all the MCU movies yet (seriously, WYD?), it’s worth watching Black Widow just to see ScarJo team up with Florence Pugh and confront her dark pre-Avengers past.
And while we’re on the topic of Marvel movies, let’s not forget Brie Larson’s epic role as a former U.S. Air Force pilot-turned-most powerful hero in the MCU (yes, I said what I said).
Maggie Q (aka Nikita) stars in this one as Anna, who has earned a rep as the world’s most skilled contract killer after being rescued by a legendary assassin as a child. And when her mentor is brutally murdered, you better believe she’s going to get revenge.
K, full disclosure—this movie has a lot of haters. However! Critics all agree that Zoe Saldana’s performance as Cataleya—a woman who seeks revenge against a Colombian drug lord for killing her family—is *chef’s kiss.*
Again, this one didn’t exactly get favorable reviews, but IMO, watching Gina Rodriguez train to take down a Mexican drug cartel after her friend is kidnapped is a v good time. You can also stream the 2011 original movie from Mexico starring Stephanie Sigman.
You didn’t think I’d include just one Charlize Theron flick, did you?? Set right before the collapse of the Berlin Wall, Atomic Blonde stars Theron as an elite MI6 spy who’s tasked with taking down an espionage ring in Berlin—though the mission proves more dangerous than she initially realized.
Set in China during the last years of the Tang Dynasty, The Assassin revolves around a general’s daughter who’s kidnapped and trained to become a professional killer…though things get tricky when she’s tasked with killing a man from her past.
If you’re a fan of the Blaxploitation flicks from the ’70s, then you’re going to love Proud Mary. This one stars Taraji P. Henson as a ruthless assassin whose life is turned upside down when she encounters a 12-year-old boy she’ll do anything to protect.
Natalie Portman is truly unrecognizable in V for Vendetta as Evey, a young woman who teams up with a masked vigilante known only as V in order to take down the fascist government lording over England.
This action-packed flick follows a highly-trained black ops operative (Gina Carano) who must set a trap and learn the truth behind a double-cross after she’s betrayed by her employers and targeted for assassination. Fun fact: Carano performs all her own stunts in the one.
It may not have won big at the box office, but the latest installment in the Charlie’s Angels franchise (starring the trio of Kristen Stewart, Naomi Scott, and Ella Balinska) is undeniably fierce, fun, and v empowering.
Angelina Jolie stars in this one as the titular Evelyn Salt, a CIA operative who must go on the run in order to try and clear her name after she’s accused of being a double agent for the KGB.
Speaking of Angelina Jolie! As much as I loved her as Lara Croft, I can also confirm that the 2018 remake starring Alicia Vikander is VERY much worth watching…especially before the sequel drops.
Released nearly 30 years after Terminator 2: Judgment Day (and disregarding the events of all the terrible Terminator movies that followed), this latest installment gives Sarah Connor a starring role as she tries to stop an advanced liquid Terminator from hunting down a special young girl.
An oldie but a goodie, this masterpiece stars Michelle Yeoh as a rebellious young warrior who’s tasked with protected a fabled 400-year-old sword for her lover—and when it’s inevitably stolen, she has to go to great length to retrieve it.
Gal Gadot as Diana, princess of the Amazons, is e-v-e-r-y-t-h-i-n-g, and that’s all I have to say about that (and yes, while the sequel, Wonder Woman 1984, isn’t *quite* as good as the original, you should still watch it, k?)
While we’re on the topic of DCEU movies, can we also talk about how fabulous Margot Robbie is as Harley Quinn in this fun, female-filled Suicide Squad spin-off?
Before it became an Amazon Prime series, Hanna was a movie starring Saoirse Ronan as the titular Hanna, a teen assassin tasked with killing the senior intelligence agent who’s after her father, an ex-CIA operative from Germany.
Ofc this list wouldn’t be complete without The Hunger Games, which stars JLaw as Katniss Everdeen, a fierce archer from a coal-mining district who volunteers to take her little sister’s place in a deadly competition.
Another great female-led franchise: Kill Bill, which stars Uma Thurman as The Bride, a former assassin who—after waking from a four-year coma—is out for blood.
Set in 1911 during Japan’s rule over Korea, this epic espionage flick follows a group of Korean resistance fighters (all led by a badass woman) as they attempt to assassinate a high-ranking Japanese officer.
What happens when one woman finds herself and her two kids held captive while visiting her late father’s remote country home? She taps into her inner badass, obv, and Gabrielle Union is scary good in this role.
Sure, Tom Hardy plays the titular Max Rockatansky, but everyone knows the true star of this movie is Imperator Furiosa (Charlize Theron), the ferocious war captain who turns against Immortan Joe in order to free his captive concubines.
Last but not least: Wanted, which stars Angelina Jolie as a member of a secret assassin society who takes a meek young man under her wing as her mentee. What’s not to love?
Corinne Sullivan Corinne Sullivan’s debut novel, Indecent, tells the story of a recent college grad who accepts a teaching position at a tony all-boys boarding school, only to find herself deeply obsessed with a student at the risk of her job and her sanity.
This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. You may be able to find more information about this and similar content at piano.io
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We wish to say thanks to the author of this short article for this incredible web content
";}s:7:"summary";s:675:"IMDb Hello, do you love watching strong women kick ass and take names? Same, which is why—especially whenever the patriarchy’s got me down—I turn to feminist action movies for a healthy dose of ✨female empowerment.✨ Like a powerful feminist anthem, action movies with female leads will remind you that femininity and strength go hand in ... Read more";s:12:"atom_content";s:53523:"
IMDb
Hello, do you love watching strong women kick ass and take names? Same, which is why—especially whenever the patriarchy’s got me down—I turn to feminist action movies for a healthy dose of ✨female empowerment.✨ Like a powerful feminist anthem, action movies with female leads will remind you that femininity and strength go hand in hand—and the world in which women are always relegated to the role of damsel in distress or sexy sidekick is O-V-E-R. (Yes, Bond girls are hot and sometimes even have agency, but I like my female action stars with a lil more dimension, mmkay?)
Whether you’re in the mood for a movie about female assassins, agents, vigilantes, villains, spies, superheroes, or anything in between, I’ve got the perfect pick for you. And while, admittedly, many of these female-led action films involve spandex ensembles and pointy high heels, they thankfully don’t ALL solely rely on all the typical female action star tropes. The best female action movies say🖕to the male gaze and misogyny, and if you’re in the mood for some badassery, then these fun, feminist flicks are for you. Plus, as a bonus, many of these movies were directed by women, too!
Advertisement – Continue Reading Below
1
The Old Guard (2020)
Starring Charlize Theron, this superhero flick tells the story of four centuries-old immortals secretly working to protect humanity, who—just when they discover another immortal—realize their secret powers have been exposed. Hey, Netflix, how about that sequel?
What happens when a trained assassin realizes she only has 24 hours to live after being poisoned? She goes on an epic mission through the streets of Tokyo to take down her enemies, ofc, and that’s exactly what goes down in this action thriller starring Mary Elizabeth Winstead.
Starring Lena Headey and Karen Gillan (hi, Cersei and Nebula!), Gunpowder Milkshake follows an assassin who must team up with her estranged mother in order to take on a powerful crime syndicate.
Even if you haven’t seen all the MCU movies yet (seriously, WYD?), it’s worth watching Black Widow just to see ScarJo team up with Florence Pugh and confront her dark pre-Avengers past.
And while we’re on the topic of Marvel movies, let’s not forget Brie Larson’s epic role as a former U.S. Air Force pilot-turned-most powerful hero in the MCU (yes, I said what I said).
Maggie Q (aka Nikita) stars in this one as Anna, who has earned a rep as the world’s most skilled contract killer after being rescued by a legendary assassin as a child. And when her mentor is brutally murdered, you better believe she’s going to get revenge.
K, full disclosure—this movie has a lot of haters. However! Critics all agree that Zoe Saldana’s performance as Cataleya—a woman who seeks revenge against a Colombian drug lord for killing her family—is *chef’s kiss.*
Again, this one didn’t exactly get favorable reviews, but IMO, watching Gina Rodriguez train to take down a Mexican drug cartel after her friend is kidnapped is a v good time. You can also stream the 2011 original movie from Mexico starring Stephanie Sigman.
You didn’t think I’d include just one Charlize Theron flick, did you?? Set right before the collapse of the Berlin Wall, Atomic Blonde stars Theron as an elite MI6 spy who’s tasked with taking down an espionage ring in Berlin—though the mission proves more dangerous than she initially realized.
Set in China during the last years of the Tang Dynasty, The Assassin revolves around a general’s daughter who’s kidnapped and trained to become a professional killer…though things get tricky when she’s tasked with killing a man from her past.
If you’re a fan of the Blaxploitation flicks from the ’70s, then you’re going to love Proud Mary. This one stars Taraji P. Henson as a ruthless assassin whose life is turned upside down when she encounters a 12-year-old boy she’ll do anything to protect.
Natalie Portman is truly unrecognizable in V for Vendetta as Evey, a young woman who teams up with a masked vigilante known only as V in order to take down the fascist government lording over England.
This action-packed flick follows a highly-trained black ops operative (Gina Carano) who must set a trap and learn the truth behind a double-cross after she’s betrayed by her employers and targeted for assassination. Fun fact: Carano performs all her own stunts in the one.
It may not have won big at the box office, but the latest installment in the Charlie’s Angels franchise (starring the trio of Kristen Stewart, Naomi Scott, and Ella Balinska) is undeniably fierce, fun, and v empowering.
Angelina Jolie stars in this one as the titular Evelyn Salt, a CIA operative who must go on the run in order to try and clear her name after she’s accused of being a double agent for the KGB.
Speaking of Angelina Jolie! As much as I loved her as Lara Croft, I can also confirm that the 2018 remake starring Alicia Vikander is VERY much worth watching…especially before the sequel drops.
Released nearly 30 years after Terminator 2: Judgment Day (and disregarding the events of all the terrible Terminator movies that followed), this latest installment gives Sarah Connor a starring role as she tries to stop an advanced liquid Terminator from hunting down a special young girl.
An oldie but a goodie, this masterpiece stars Michelle Yeoh as a rebellious young warrior who’s tasked with protected a fabled 400-year-old sword for her lover—and when it’s inevitably stolen, she has to go to great length to retrieve it.
Gal Gadot as Diana, princess of the Amazons, is e-v-e-r-y-t-h-i-n-g, and that’s all I have to say about that (and yes, while the sequel, Wonder Woman 1984, isn’t *quite* as good as the original, you should still watch it, k?)
While we’re on the topic of DCEU movies, can we also talk about how fabulous Margot Robbie is as Harley Quinn in this fun, female-filled Suicide Squad spin-off?
Before it became an Amazon Prime series, Hanna was a movie starring Saoirse Ronan as the titular Hanna, a teen assassin tasked with killing the senior intelligence agent who’s after her father, an ex-CIA operative from Germany.
Ofc this list wouldn’t be complete without The Hunger Games, which stars JLaw as Katniss Everdeen, a fierce archer from a coal-mining district who volunteers to take her little sister’s place in a deadly competition.
Another great female-led franchise: Kill Bill, which stars Uma Thurman as The Bride, a former assassin who—after waking from a four-year coma—is out for blood.
Set in 1911 during Japan’s rule over Korea, this epic espionage flick follows a group of Korean resistance fighters (all led by a badass woman) as they attempt to assassinate a high-ranking Japanese officer.
What happens when one woman finds herself and her two kids held captive while visiting her late father’s remote country home? She taps into her inner badass, obv, and Gabrielle Union is scary good in this role.
Sure, Tom Hardy plays the titular Max Rockatansky, but everyone knows the true star of this movie is Imperator Furiosa (Charlize Theron), the ferocious war captain who turns against Immortan Joe in order to free his captive concubines.
Last but not least: Wanted, which stars Angelina Jolie as a member of a secret assassin society who takes a meek young man under her wing as her mentee. What’s not to love?
Corinne Sullivan Corinne Sullivan’s debut novel, Indecent, tells the story of a recent college grad who accepts a teaching position at a tony all-boys boarding school, only to find herself deeply obsessed with a student at the risk of her job and her sanity.
This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. You may be able to find more information about this and similar content at piano.io
Advertisement – Continue Reading Below
We wish to say thanks to the author of this short article for this incredible web content
";s:14:"date_timestamp";i:1644296018;}i:1;a:11:{s:5:"title";s:89:"2022 Oscar nominations will be announced Tuesday with big change to best picture category";s:4:"link";s:136:"https://bestmovies.debatepost.com/best-movies/2022-oscar-nominations-will-be-announced-tuesday-with-big-change-to-best-picture-category/";s:2:"dc";a:1:{s:7:"creator";s:13:"Trish Bottler";}s:7:"pubdate";s:31:"Tue, 08 Feb 2022 02:59:56 +0000";s:8:"category";s:64:"Best MoviesannouncedcategorychangenominationsOscarpictureTuesday";s:4:"guid";s:40:"https://bestmovies.debatepost.com/?p=309";s:11:"description";s:722:"LOS ANGELES — Oscar nominations are right around the corner, and this year, a major change takes effect for the coveted best picture category. The nominees for the 94th Annual Academy Awards, which air March 27 on ABC, will be revealed on Tuesday, Feb. 8. Actors Leslie Jordan and Tracee Ellis Ross will announce nominations ... Read more";s:7:"content";a:1:{s:7:"encoded";s:5679:"
LOS ANGELES — Oscar nominations are right around the corner, and this year, a major change takes effect for the coveted best picture category.
The nominees for the 94th Annual Academy Awards, which air March 27 on ABC, will be revealed on Tuesday, Feb. 8.
Actors Leslie Jordan and Tracee Ellis Ross will announce nominations in all 23 Academy Award categories in a live presentation starting at 8:18 a.m. ET/5:18 a.m. PT. Watch the nominations live on this website or through our streaming apps on Fire TV, Android TV, Apple TV and Roku.
2022’s big change: There will be 10 movies announced as best picture nominees. For the past decade, it’s been a sliding range of five to 10 nominees. Most years had eight or nine.
Of the 276 films eligible, several scored key nominations with other voting bodies and are now likely contenders in the Oscars race.
*Scroll down for a list of all 23 categories, which will be updated with nominees once announced.*
“Belfast,” “Dune,” “Licorice Pizza,” “The Power of the Dog” and “West Side Story” were nominated for top prizes in both this year’s Producers Guild Awards and Directors Guild Awards.
Last year’s biggest box-office hits, “Spider-Man: No Way Home” and “No Time to Die,” didn’t make the cut, but there could be surprises on Tuesday morning.
The Screen Actors Guilds Awards also ranks high among reliable Oscar bellwethers. “Belfast,” “CODA,” “Don’t Look Up,” “House of Gucci” and “King Richard” were nominated for the guild’s top award, best ensemble.
Will Smith’s “King Richard” performance — his take on the father of tennis superstars Serena and Venus Williams — shines in the award-season spotlight. He’s landed leading role nods from SAG and the British Academy Film Awards along with a 2022 Golden Globe Awards win.
Other SAG nominees for best male lead actor are: Benedict Cumberbatch (“The Power of the Dog”), Denzel Washington (“The Tragedy of Macbeth”), Andrew Garfield (“Tick, Tick … Boom!”) and Javier Bardem (“Being the Ricardos”). Up for the SAG Award’s best female lead are: Lady Gaga (“House of Gucci”), Jessica Chastain (“The Eyes of Tammy Faye”), Olivia Colman (“The Lost Daughter”), Nicole Kidman (“Being the Ricardos”) and Jennifer Hudson (“Respect”).
Also notable: “Dune” and “The Power Of The Dog” lead the nominations for this year’s BAFTAs, and “West Side Story” won several big awards at the Globes.
The 94th Oscars will be held on Sunday, March 27, and will be televised live on ABC at 8 p.m. ET/5 p.m. PT. The ceremony returns to the Dolby Theatre in Hollywood and will have a host at the helm for the first time since 2018.
Academy Award categories
(Not listed in order of presentation and subject to change)
Actor in a Supporting Role Actress in a Supporting Role Animated Short Film Costume Design Live Action Short Film Music (Original Score) Sound Writing (Adapted Screenplay) Writing (Original Screenplay) Actor in a Leading Role Actress in a Leading Role
Animated Feature Film Best Picture Cinematography Directing Documentary Feature Documentary Short Subject Film Editing International Feature Film Makeup and Hairstyling Music (Original Song) Production Design Visual Effects
Mark your calendars: March 27 is Oscar Sunday. Live coverage begins Sunday morning and continues all day with special “On The Red Carpet” coverage leading up to the 94th Academy Awards ceremony. After the last award is handed out, stay with “On The Red Carpet” for continuing coverage. Be sure to follow @OnTheRedCarpet on Facebook, Twitter, Instagram and TikTok for all your Oscar news and information.
";}s:7:"summary";s:722:"LOS ANGELES — Oscar nominations are right around the corner, and this year, a major change takes effect for the coveted best picture category. The nominees for the 94th Annual Academy Awards, which air March 27 on ABC, will be revealed on Tuesday, Feb. 8. Actors Leslie Jordan and Tracee Ellis Ross will announce nominations ... Read more";s:12:"atom_content";s:5679:"
LOS ANGELES — Oscar nominations are right around the corner, and this year, a major change takes effect for the coveted best picture category.
The nominees for the 94th Annual Academy Awards, which air March 27 on ABC, will be revealed on Tuesday, Feb. 8.
Actors Leslie Jordan and Tracee Ellis Ross will announce nominations in all 23 Academy Award categories in a live presentation starting at 8:18 a.m. ET/5:18 a.m. PT. Watch the nominations live on this website or through our streaming apps on Fire TV, Android TV, Apple TV and Roku.
2022’s big change: There will be 10 movies announced as best picture nominees. For the past decade, it’s been a sliding range of five to 10 nominees. Most years had eight or nine.
Of the 276 films eligible, several scored key nominations with other voting bodies and are now likely contenders in the Oscars race.
*Scroll down for a list of all 23 categories, which will be updated with nominees once announced.*
“Belfast,” “Dune,” “Licorice Pizza,” “The Power of the Dog” and “West Side Story” were nominated for top prizes in both this year’s Producers Guild Awards and Directors Guild Awards.
Last year’s biggest box-office hits, “Spider-Man: No Way Home” and “No Time to Die,” didn’t make the cut, but there could be surprises on Tuesday morning.
The Screen Actors Guilds Awards also ranks high among reliable Oscar bellwethers. “Belfast,” “CODA,” “Don’t Look Up,” “House of Gucci” and “King Richard” were nominated for the guild’s top award, best ensemble.
Will Smith’s “King Richard” performance — his take on the father of tennis superstars Serena and Venus Williams — shines in the award-season spotlight. He’s landed leading role nods from SAG and the British Academy Film Awards along with a 2022 Golden Globe Awards win.
Other SAG nominees for best male lead actor are: Benedict Cumberbatch (“The Power of the Dog”), Denzel Washington (“The Tragedy of Macbeth”), Andrew Garfield (“Tick, Tick … Boom!”) and Javier Bardem (“Being the Ricardos”). Up for the SAG Award’s best female lead are: Lady Gaga (“House of Gucci”), Jessica Chastain (“The Eyes of Tammy Faye”), Olivia Colman (“The Lost Daughter”), Nicole Kidman (“Being the Ricardos”) and Jennifer Hudson (“Respect”).
Also notable: “Dune” and “The Power Of The Dog” lead the nominations for this year’s BAFTAs, and “West Side Story” won several big awards at the Globes.
The 94th Oscars will be held on Sunday, March 27, and will be televised live on ABC at 8 p.m. ET/5 p.m. PT. The ceremony returns to the Dolby Theatre in Hollywood and will have a host at the helm for the first time since 2018.
Academy Award categories
(Not listed in order of presentation and subject to change)
Actor in a Supporting Role Actress in a Supporting Role Animated Short Film Costume Design Live Action Short Film Music (Original Score) Sound Writing (Adapted Screenplay) Writing (Original Screenplay) Actor in a Leading Role Actress in a Leading Role
Animated Feature Film Best Picture Cinematography Directing Documentary Feature Documentary Short Subject Film Editing International Feature Film Makeup and Hairstyling Music (Original Song) Production Design Visual Effects
Mark your calendars: March 27 is Oscar Sunday. Live coverage begins Sunday morning and continues all day with special “On The Red Carpet” coverage leading up to the 94th Academy Awards ceremony. After the last award is handed out, stay with “On The Red Carpet” for continuing coverage. Be sure to follow @OnTheRedCarpet on Facebook, Twitter, Instagram and TikTok for all your Oscar news and information.
";s:14:"date_timestamp";i:1644289196;}i:2;a:11:{s:5:"title";s:62:"The best disaster movies – ranked by how disastrous they are";s:4:"link";s:105:"https://bestmovies.debatepost.com/best-movies/the-best-disaster-movies-ranked-by-how-disastrous-they-are/";s:2:"dc";a:1:{s:7:"creator";s:6:"Paul P";}s:7:"pubdate";s:31:"Tue, 08 Feb 2022 02:42:21 +0000";s:8:"category";s:41:"Best MoviesdisasterdisastrousMoviesranked";s:4:"guid";s:40:"https://bestmovies.debatepost.com/?p=303";s:11:"description";s:588:"At some point, hopefully a long, long way in the future, the world is going to come to an end. Maybe Earth will be taken out by a solar flare. Maybe we’ll all be drowned under a tidal wave. Maybe the moon will turn into a secret alien spaceship and start attacking us with killer ... Read more";s:7:"content";a:1:{s:7:"encoded";s:12260:"
At some point, hopefully a long, long way in the future, the world is going to come to an end. Maybe Earth will be taken out by a solar flare. Maybe we’ll all be drowned under a tidal wave. Maybe the moon will turn into a secret alien spaceship and start attacking us with killer bees. As Moonfall hits cinemas and adds that weirdly specific fear to a long list of other apocalypses to worry about, we rank the greatest disaster movies by just how much we hope they don’t actually ever happen…
10. ‘Twister’ (1996)
Tornados are ranked on the Fujita scale – from F1 (really windy) to F5 (say goodbye to your town). Jan de Bont’s classic bad weather thriller shows us what an F4 can do – flattening a big chunk of Oklahoma and sending cars, cows and barns flying through the air as a monster cone of wind whips across the open countryside. The killer storm eventually swells into an F5 in the finale but all we really see it do is patch up Bill Paxton and Helen Hunt’s marriage.
Certainty of death: You’ll be fine unless you’re a farm animal or a minor supporting character.
9. ‘Volcano’ (1997)
1997 was the year of the volcano. Mere months after Pierce Brosnan tried to outrun molten lava and dodgy dialogue in Dante’s Peak, Tommy Lee Jones did the exact same thing in Volcano. Both movies have their strengths (and many, many weaknesses), but Volcano has the benefit of erupting right in the middle of downtown Los Angeles instead of a little combustible mountain town. Cue melting subway trains, lava flowing down Wilshire Boulevard and a big explosive showstopper that sees Jones blowing up skyscrapers to try and redirect the liquid fire into the sea.
Certainty of death: You’re in trouble if you live in LA – and if you can’t run faster than a really slow-moving river of lava.
8. ‘Armageddon’ (1998)
Despite its reputation, Michael Bay’s fist-in-the-mouth action epic isn’t really that bothered with showing too much destruction. A few New York landmarks take a peppering from an asteroid shower and Paris gets completely flattened by a CG mushroom cloud, but both scenes are over far quicker than any shot of Bruce Willis and Ben Affleck walking towards something/anything in slow-motion. Sent up into space to punch a big asteroid, Bruce’s team of plucky American roughnecks save all the non-French bits of the world before it does any real damage.
Certainty of death: 2.16 million Parisians get wiped out but that doesn’t stop a big triumphant Aerosmith ballad making it feel like a win.
7. ‘San Andreas’ (2015)
The biggest recorded earthquake in history happened near Cañete, in Chile, in 1960 – measuring 9.5 on the Richter scale. Because The Rock always has to do everything a bit bigger, his own quake movie pushed things to 9.6 – showing us what would happen if LA and San Francisco were both shaken to rubble. And because a California-sinking earthquake isn’t enough of a challenge for Dwayne Johnson, he also has to fight a massive tsunami too. Half of the West Coast is under water by the end of the movie, but The Rock still comes up glistening.
Certainty of death: If the highest paid movie star in the world barely makes it out alive, the rest of LA and SF haven’t got a chance.
6. ‘Contagion’ (2011)
Director Steven Soderbergh got expert research from the World Health Organisation when he was planning his global virus thriller, but if he held out for a few more years he wouldn’t have had to bother. Watching Contagion today feels a bit too close to home after the last few years, but it’s interesting to see just how much the filmmakers got correct – right down to the conspiracy theorists who try and pretend it’s all a hoax. Thankfully, at least, Soderbergh’s “MEV-1” is fractionally more deadly than COVID-19 – spread to one in 12 people in the world with a 30 per cent mortality rate. Scary stuff.
Certainty of death: Stats in the film cite 26 million deaths – and coughs are much harder to avoid than asteroids and earthquakes.
5. ‘Deep Impact’ (1998)
Released the same year as Armageddon (the year of the asteroid came right after the year of the volcano), Deep Impact showed us what might happen in a world without Bruce Willis. When the same dumb “drilling into an asteroid” plan doesn’t work, a giant space rock splits into two and still mostly crashes into Earth – hitting the Atlantic and starting a mega-tsunami that covers the entire East Coast. Europe and Africa also get blitzed by the shock wave, but this is an American film about an American disaster, so we don’t really get to see that bit.
Certainty of death: Not great if you live within a few hundred miles of the Atlantic Ocean (and if you’re European or African you probably won’t even get an on-screen death).
4. ‘Independence Day’ (1996)
The film that kickstarted the modern disaster era gave us the money shot that launched a thousand CGI explosions – a flying saucer blowing up the White House in glorious slow-motion. The fact that the aliens in Independence Day destroyed the rest of Washington D.C. with the same death ray often gets forgotten; as does the fact that they liquified a dozen other capitals around the world at the exact same time. Entire cities might have loads of people in them, but famous tourist spots look a lot cooler when they blow up.
Certainty of death: Extremely high, especially since the aliens return again 20 years later, hypnotising the President and drilling holes into the Earth’s core.
3. ‘Greenland’ (2020)
Another decade, another giant comet. This time the Earth gets hit by a lot of little bits before the big rock strikes (one “tiny” fragment taking out Florida), giving us a small taste of everything we don’t actually get to see. Greenland might keep the focus on Gerard Butler’s family problems, but the film saves its real punches for the finale – showing footage of all the world’s capitals in ruins and 75 per cent of the population completely burned, choked and flattened. This is what happened to the dinosaurs (except they didn’t have a government bunker to hide in).
Certainty of death: You’ll be fine if you’re a politician, a doctor, an architect or Jeff Bezos. If not, you’ll be lucky to have your bones on display in a museum one day.
2. ‘The Day After Tomorrow’ (2004)
Perhaps the scariest of all disaster movies because it feels like the most believable, Roland Emmerich’s ice age epic shows us what might happen if global warming continues unchecked. First come the giant hailstones. Then the super-storm hurricanes, the tornados, tsunamis and rising sea levels. Temperatures drop enough to freeze helicopters in mid-air and a blanket of deadly snow covers what’s left of human civilisation. If that’s not enough, there are packs of killer wolves roaming around outside. We really should have listened to Greta Thunberg.
Certainty of death: You might make it if you live in a penthouse. And if you don’t mind staying inside it for the rest of your life, eating partially defrosted bits of your neighbours.
1. ‘2012’ (2009)
Roland Emmerich is the master of disaster because he made most of the films on this list, but he’d probably still earn that title if he only ever made 2012. Easily the biggest, loudest, most ridiculous (and most enjoyable) disaster epic ever made, Emmerich’s opus of destruction has everything. Yellowstone turns into a giant volcano. The entire West Coast of America sinks into the sea. A tsunami turns up that’s so huge it actually crashes over Mount Everest. Watching the movie on the big screen it’s impossible not to imagine Emmerich directing it like a composer – waving his arms for more fire, more floods, more explosions and more deaths. It took God seven days to create the world, but Emmerich blows it all up in 158 minutes.
Certainty of death: There are a few “arks” floating around to save the rich and powerful but, honestly, what’s the point?
We wish to say thanks to the author of this short article for this awesome material
";}s:7:"summary";s:588:"At some point, hopefully a long, long way in the future, the world is going to come to an end. Maybe Earth will be taken out by a solar flare. Maybe we’ll all be drowned under a tidal wave. Maybe the moon will turn into a secret alien spaceship and start attacking us with killer ... Read more";s:12:"atom_content";s:12260:"
At some point, hopefully a long, long way in the future, the world is going to come to an end. Maybe Earth will be taken out by a solar flare. Maybe we’ll all be drowned under a tidal wave. Maybe the moon will turn into a secret alien spaceship and start attacking us with killer bees. As Moonfall hits cinemas and adds that weirdly specific fear to a long list of other apocalypses to worry about, we rank the greatest disaster movies by just how much we hope they don’t actually ever happen…
10. ‘Twister’ (1996)
Tornados are ranked on the Fujita scale – from F1 (really windy) to F5 (say goodbye to your town). Jan de Bont’s classic bad weather thriller shows us what an F4 can do – flattening a big chunk of Oklahoma and sending cars, cows and barns flying through the air as a monster cone of wind whips across the open countryside. The killer storm eventually swells into an F5 in the finale but all we really see it do is patch up Bill Paxton and Helen Hunt’s marriage.
Certainty of death: You’ll be fine unless you’re a farm animal or a minor supporting character.
9. ‘Volcano’ (1997)
1997 was the year of the volcano. Mere months after Pierce Brosnan tried to outrun molten lava and dodgy dialogue in Dante’s Peak, Tommy Lee Jones did the exact same thing in Volcano. Both movies have their strengths (and many, many weaknesses), but Volcano has the benefit of erupting right in the middle of downtown Los Angeles instead of a little combustible mountain town. Cue melting subway trains, lava flowing down Wilshire Boulevard and a big explosive showstopper that sees Jones blowing up skyscrapers to try and redirect the liquid fire into the sea.
Certainty of death: You’re in trouble if you live in LA – and if you can’t run faster than a really slow-moving river of lava.
8. ‘Armageddon’ (1998)
Despite its reputation, Michael Bay’s fist-in-the-mouth action epic isn’t really that bothered with showing too much destruction. A few New York landmarks take a peppering from an asteroid shower and Paris gets completely flattened by a CG mushroom cloud, but both scenes are over far quicker than any shot of Bruce Willis and Ben Affleck walking towards something/anything in slow-motion. Sent up into space to punch a big asteroid, Bruce’s team of plucky American roughnecks save all the non-French bits of the world before it does any real damage.
Certainty of death: 2.16 million Parisians get wiped out but that doesn’t stop a big triumphant Aerosmith ballad making it feel like a win.
7. ‘San Andreas’ (2015)
The biggest recorded earthquake in history happened near Cañete, in Chile, in 1960 – measuring 9.5 on the Richter scale. Because The Rock always has to do everything a bit bigger, his own quake movie pushed things to 9.6 – showing us what would happen if LA and San Francisco were both shaken to rubble. And because a California-sinking earthquake isn’t enough of a challenge for Dwayne Johnson, he also has to fight a massive tsunami too. Half of the West Coast is under water by the end of the movie, but The Rock still comes up glistening.
Certainty of death: If the highest paid movie star in the world barely makes it out alive, the rest of LA and SF haven’t got a chance.
6. ‘Contagion’ (2011)
Director Steven Soderbergh got expert research from the World Health Organisation when he was planning his global virus thriller, but if he held out for a few more years he wouldn’t have had to bother. Watching Contagion today feels a bit too close to home after the last few years, but it’s interesting to see just how much the filmmakers got correct – right down to the conspiracy theorists who try and pretend it’s all a hoax. Thankfully, at least, Soderbergh’s “MEV-1” is fractionally more deadly than COVID-19 – spread to one in 12 people in the world with a 30 per cent mortality rate. Scary stuff.
Certainty of death: Stats in the film cite 26 million deaths – and coughs are much harder to avoid than asteroids and earthquakes.
5. ‘Deep Impact’ (1998)
Released the same year as Armageddon (the year of the asteroid came right after the year of the volcano), Deep Impact showed us what might happen in a world without Bruce Willis. When the same dumb “drilling into an asteroid” plan doesn’t work, a giant space rock splits into two and still mostly crashes into Earth – hitting the Atlantic and starting a mega-tsunami that covers the entire East Coast. Europe and Africa also get blitzed by the shock wave, but this is an American film about an American disaster, so we don’t really get to see that bit.
Certainty of death: Not great if you live within a few hundred miles of the Atlantic Ocean (and if you’re European or African you probably won’t even get an on-screen death).
4. ‘Independence Day’ (1996)
The film that kickstarted the modern disaster era gave us the money shot that launched a thousand CGI explosions – a flying saucer blowing up the White House in glorious slow-motion. The fact that the aliens in Independence Day destroyed the rest of Washington D.C. with the same death ray often gets forgotten; as does the fact that they liquified a dozen other capitals around the world at the exact same time. Entire cities might have loads of people in them, but famous tourist spots look a lot cooler when they blow up.
Certainty of death: Extremely high, especially since the aliens return again 20 years later, hypnotising the President and drilling holes into the Earth’s core.
3. ‘Greenland’ (2020)
Another decade, another giant comet. This time the Earth gets hit by a lot of little bits before the big rock strikes (one “tiny” fragment taking out Florida), giving us a small taste of everything we don’t actually get to see. Greenland might keep the focus on Gerard Butler’s family problems, but the film saves its real punches for the finale – showing footage of all the world’s capitals in ruins and 75 per cent of the population completely burned, choked and flattened. This is what happened to the dinosaurs (except they didn’t have a government bunker to hide in).
Certainty of death: You’ll be fine if you’re a politician, a doctor, an architect or Jeff Bezos. If not, you’ll be lucky to have your bones on display in a museum one day.
2. ‘The Day After Tomorrow’ (2004)
Perhaps the scariest of all disaster movies because it feels like the most believable, Roland Emmerich’s ice age epic shows us what might happen if global warming continues unchecked. First come the giant hailstones. Then the super-storm hurricanes, the tornados, tsunamis and rising sea levels. Temperatures drop enough to freeze helicopters in mid-air and a blanket of deadly snow covers what’s left of human civilisation. If that’s not enough, there are packs of killer wolves roaming around outside. We really should have listened to Greta Thunberg.
Certainty of death: You might make it if you live in a penthouse. And if you don’t mind staying inside it for the rest of your life, eating partially defrosted bits of your neighbours.
1. ‘2012’ (2009)
Roland Emmerich is the master of disaster because he made most of the films on this list, but he’d probably still earn that title if he only ever made 2012. Easily the biggest, loudest, most ridiculous (and most enjoyable) disaster epic ever made, Emmerich’s opus of destruction has everything. Yellowstone turns into a giant volcano. The entire West Coast of America sinks into the sea. A tsunami turns up that’s so huge it actually crashes over Mount Everest. Watching the movie on the big screen it’s impossible not to imagine Emmerich directing it like a composer – waving his arms for more fire, more floods, more explosions and more deaths. It took God seven days to create the world, but Emmerich blows it all up in 158 minutes.
Certainty of death: There are a few “arks” floating around to save the rich and powerful but, honestly, what’s the point?
We wish to say thanks to the author of this short article for this awesome material
";s:14:"date_timestamp";i:1644288141;}i:3;a:11:{s:5:"title";s:60:"The Best Movies We Saw in 2021: Our Contributors’ Top Tens";s:4:"link";s:103:"https://bestmovies.debatepost.com/best-movies/the-best-movies-we-saw-in-2021-our-contributors-top-tens/";s:2:"dc";a:1:{s:7:"creator";s:7:"Susan P";}s:7:"pubdate";s:31:"Mon, 07 Feb 2022 23:36:58 +0000";s:8:"category";s:33:"Best MoviesContributorsMoviesTens";s:4:"guid";s:40:"https://bestmovies.debatepost.com/?p=287";s:11:"description";s:660:"12 lists. 10 different number ones. Explore the best movies of 2021 through the individual Top Ten lists of the contributors of Film School Rejects. By Film School Rejects · Published on February 7th, 2022 This article is part of our 2021 Rewind. Follow along as we explore the best and most interesting movies, shows, performances, and more from ... Read more";s:7:"content";a:1:{s:7:"encoded";s:7377:"
12 lists. 10 different number ones. Explore the best movies of 2021 through the individual Top Ten lists of the contributors of Film School Rejects.
By Film School Rejects · Published on February 7th, 2022
This article is part of our 2021 Rewind. Follow along as we explore the best and most interesting movies, shows, performances, and more from this very strange year.In this entry, we present the best movies of 2021 through the individual Top Ten lists of our wonderful contributors.
Over the past several weeks, we’ve spilled plenty of digital ink in pursuit of highlighting the wide array of great movies we watched in 2021. From listing the Best Action Movies of 2021 to exploring the year in Non-Binary representation to highlighting the Best Documentaries of 2021, our year in review has been a labor of pure love for cinema.
And as we round out the last few entries in our 2021 Rewind series, we’d like to take this opportunity to present the individual Top Ten lists of our group of contributors. This incredible group of writers spent the entire year diligently hunting down the best movies wherever they could be found — at festivals, on streaming apps, and even a few times in real movie theaters. The sum of this team’s efforts can be found in the 50 Best Movies of 2021 list we published last week, but this is all about each individual’s most important contribution — their own personal list. Through these selections, you can see the wide variety of films we absolutely loved last year — if you count our Chief Critic Rob Hunter’s list (which we do), our contributors submitted 12 different lists and only two had the same film at number one.
Explore each contributor’s Top Ten list below and click the ℹ️ icon to visit their profile and read more of their work here at Film School Rejects.
Anna Swanson ℹ️
The Matrix Resurrections
Licorice Pizza
Benedetta
The Last Duel
Bergman Island
The Card Counter
Undine
Quo Vadis, Aida?
Malignant
Dune
Aurora Amidon ℹ️
Licorice Pizza
The Worst Person in the World
The Power of the Dog
Bergman Island
Dune
Red Rocket
Titane
Drive My Car
The Lost Daughter
Don’t Look Up
Brad Gullickson ℹ️
The Beatles: Get Back
The Suicide Squad
Summertime
Dune
West Side Story
Nightmare Alley
No Time to Die
Pig
No Sudden Move
Ninja Baby
Christopher Campbell ℹ️
Flee
Spencer
Licorice Pizza
The Green Knight
Summer of Soul
The Mitchells vs. The Machines
All Light, Everywhere
The Rescue
The Lost Daughter
The Last Duel
Farah Cheded ℹ️
The Power of the Dog
Dune
Limbo
The Worst Person in the World
West Side Story
Quo Vadis, Aida?
The Last Duel
Petite Maman
Luca
Bergman Island
Jacob Trussell ℹ️
Malignant
The Night House
The Humans
Candyman
Dune
The Queen of Black Magic
Titane
Bo Burnham: Inside
tick, tick… BOOM!
The Mitchells vs. The Machines
Meg Shields ℹ️
The Last Duel
Dune
Red Rocket
Benedetta
The Power of the Dog
Parallel Mothers
The Worst Person in the World
The Card Counter
Pig
The Green Knight
Neil Miller ℹ️
The Power of the Dog
The Worst Person in the World
Titane
The Matrix Resurrections
Licorice Pizza
The Novice
Benedetta
Dune
Drive My Car
The Last Duel
Shea Vassar ℹ️
tick, tick… BOOM!
Superior
The Night House
Night Raiders
Wild Indian
Passing
Wildhood
Zola
The Matrix Resurrections
The Woman in the Window
Valerie Ettenhofer ℹ️
Pig
Passing
Titane
C’mon C’mon
Introducing, Selma Blair
Derek Delgaudio’s In & Of Itself
Billie Eilish: The World’s a Little Blurry
Together, Together
Licorice Pizza
The Mitchells vs. The Machines
Will DiGravio ℹ️
Lamb
West Side Story
The Lost Daughter
Zola
Pig
Procession
The Power of the Dog
Nightmare Alley
Days
Memoria
Related Topics: 2021 Rewind
An author similar to Hydra. Its articles have many authors. It has many heads. Please don’t cut off any of its heads, we’re trying to work here.
Recommended Reading
We wish to thank the author of this post for this remarkable web content
";}s:7:"summary";s:660:"12 lists. 10 different number ones. Explore the best movies of 2021 through the individual Top Ten lists of the contributors of Film School Rejects. By Film School Rejects · Published on February 7th, 2022 This article is part of our 2021 Rewind. Follow along as we explore the best and most interesting movies, shows, performances, and more from ... Read more";s:12:"atom_content";s:7377:"
12 lists. 10 different number ones. Explore the best movies of 2021 through the individual Top Ten lists of the contributors of Film School Rejects.
By Film School Rejects · Published on February 7th, 2022
This article is part of our 2021 Rewind. Follow along as we explore the best and most interesting movies, shows, performances, and more from this very strange year.In this entry, we present the best movies of 2021 through the individual Top Ten lists of our wonderful contributors.
Over the past several weeks, we’ve spilled plenty of digital ink in pursuit of highlighting the wide array of great movies we watched in 2021. From listing the Best Action Movies of 2021 to exploring the year in Non-Binary representation to highlighting the Best Documentaries of 2021, our year in review has been a labor of pure love for cinema.
And as we round out the last few entries in our 2021 Rewind series, we’d like to take this opportunity to present the individual Top Ten lists of our group of contributors. This incredible group of writers spent the entire year diligently hunting down the best movies wherever they could be found — at festivals, on streaming apps, and even a few times in real movie theaters. The sum of this team’s efforts can be found in the 50 Best Movies of 2021 list we published last week, but this is all about each individual’s most important contribution — their own personal list. Through these selections, you can see the wide variety of films we absolutely loved last year — if you count our Chief Critic Rob Hunter’s list (which we do), our contributors submitted 12 different lists and only two had the same film at number one.
Explore each contributor’s Top Ten list below and click the ℹ️ icon to visit their profile and read more of their work here at Film School Rejects.
Anna Swanson ℹ️
The Matrix Resurrections
Licorice Pizza
Benedetta
The Last Duel
Bergman Island
The Card Counter
Undine
Quo Vadis, Aida?
Malignant
Dune
Aurora Amidon ℹ️
Licorice Pizza
The Worst Person in the World
The Power of the Dog
Bergman Island
Dune
Red Rocket
Titane
Drive My Car
The Lost Daughter
Don’t Look Up
Brad Gullickson ℹ️
The Beatles: Get Back
The Suicide Squad
Summertime
Dune
West Side Story
Nightmare Alley
No Time to Die
Pig
No Sudden Move
Ninja Baby
Christopher Campbell ℹ️
Flee
Spencer
Licorice Pizza
The Green Knight
Summer of Soul
The Mitchells vs. The Machines
All Light, Everywhere
The Rescue
The Lost Daughter
The Last Duel
Farah Cheded ℹ️
The Power of the Dog
Dune
Limbo
The Worst Person in the World
West Side Story
Quo Vadis, Aida?
The Last Duel
Petite Maman
Luca
Bergman Island
Jacob Trussell ℹ️
Malignant
The Night House
The Humans
Candyman
Dune
The Queen of Black Magic
Titane
Bo Burnham: Inside
tick, tick… BOOM!
The Mitchells vs. The Machines
Meg Shields ℹ️
The Last Duel
Dune
Red Rocket
Benedetta
The Power of the Dog
Parallel Mothers
The Worst Person in the World
The Card Counter
Pig
The Green Knight
Neil Miller ℹ️
The Power of the Dog
The Worst Person in the World
Titane
The Matrix Resurrections
Licorice Pizza
The Novice
Benedetta
Dune
Drive My Car
The Last Duel
Shea Vassar ℹ️
tick, tick… BOOM!
Superior
The Night House
Night Raiders
Wild Indian
Passing
Wildhood
Zola
The Matrix Resurrections
The Woman in the Window
Valerie Ettenhofer ℹ️
Pig
Passing
Titane
C’mon C’mon
Introducing, Selma Blair
Derek Delgaudio’s In & Of Itself
Billie Eilish: The World’s a Little Blurry
Together, Together
Licorice Pizza
The Mitchells vs. The Machines
Will DiGravio ℹ️
Lamb
West Side Story
The Lost Daughter
Zola
Pig
Procession
The Power of the Dog
Nightmare Alley
Days
Memoria
Related Topics: 2021 Rewind
An author similar to Hydra. Its articles have many authors. It has many heads. Please don’t cut off any of its heads, we’re trying to work here.
Recommended Reading
We wish to thank the author of this post for this remarkable web content
";s:14:"date_timestamp";i:1644277018;}i:4;a:11:{s:5:"title";s:59:"The Top 10 Most Popular Movies on Netflix Today, February 7";s:4:"link";s:105:"https://bestmovies.debatepost.com/best-movies/the-top-10-most-popular-movies-on-netflix-today-february-7/";s:2:"dc";a:1:{s:7:"creator";s:6:"Paul P";}s:7:"pubdate";s:31:"Mon, 07 Feb 2022 20:36:30 +0000";s:8:"category";s:39:"Best MoviesFebruaryMoviesNetflixPopular";s:4:"guid";s:40:"https://bestmovies.debatepost.com/?p=281";s:11:"description";s:624:"The Tinder Swindler Netflix Sometimes you want to watch the most popular movies on Netflix, but you don’t want to watch something bad. Our guide to Netflix’s Daily Top 10 Movies chart can help you sort the wheat from the chaff. The list for Monday, Feb. 7 is topped by the outrageous true crime documentary The ... Read more";s:7:"content";a:1:{s:7:"encoded";s:13427:"
The Tinder Swindler
Netflix
Sometimes you want to watch the most popular movies on Netflix, but you don’t want to watch something bad. Our guide to Netflix’s Daily Top 10 Movies chart can help you sort the wheat from the chaff. The list for Monday, Feb. 7 is topped by the outrageous true crime documentary The Tinder Swindler, a worthwhile entry in the scammer doc subgenre. It’s such a good story that Netflix already has a movie adaptation in the works. Family movie Despicable Me 2 is at No. 2, followed by inspirational sports drama Home Team at No. 3 and the first Despicable Me at No. 4. The next two spots are both Transformers movies, Revenge of the Fallen at No. 5 and Dark of the Moon at No. 6. Netflix subscribers love robots, especially when they’re in disguise.
But which of the films in Netflix’s Top 10 list of the most popular movies are any good? We break down the entire Netflix Top 10 Movies list and guide you through what to binge and what to skip. We do the same for Netflix’s Top 10 TV shows, as well as Netflix’s overall Top 10 list. We also have a list of the 50 best shows and movies to watch on Netflix right now, as well as the best movies on Netflix and the best TV shows on Netflix.
Find Out Where to Stream Anything with TV Guide’s Search Engine for Streaming Shows
Based on Netflix’s Top 10 from Monday, Feb. 7
For fans of: Con men, dating app nightmares | Is it good?: It’s worth a swipe, but it isn’t “the one”
Tinder is already a hellhole of lies and desperation, but for some women, it’s even worse. The Tinder Swindler follows the story of a con man who courted women with extravagant trips and stays at five-star hotels, but ended up taking all their cash in order to dupe the next women with the same luxury. Using interviews with many of his victims, The Tinder Swindler paints a portrait of a sociopath whose only goal was to take and move on, providing himself with a lavish life while the debt fell on the women who believed his lies. It’s an engrossing story, if not a perfect documentary. (Yesterday’s rank: 1)
For fans of: Those annoying little Minions | Is it good?: Kids and adults who post Minion memes on Facebook sure love it
The first Despicable Me was about a villain learning to love his three adopted daughters, and its sequel is about him trying to give up a life of villaining so he can devote all his time to them. Cute! This movie contains two inescapable 2013 phenomenons: Minions and that Pharrell Williams song “Happy.” (Yesterday’s rank: 2)
For fans of: Kevin James, football | Is it good?: Nah
Kevin James plays New Orleans Saints head coach Sean Payton in this sports comedy about how Payton coached his son’s Pop Warner team during a one-year suspension from the NFL. The weirdest part of this movie is the fact that it tries to make an inspirational family movie out of the, uh, pretty dark reason Payton was suspended in the first place. (Yesterday’s rank: 3)
For fans of: Those goldang Minions | Is it good?: Yeah, there’s some funny stuff for the whole family
The Minions were the breakout stars of this movie, which is about Gru, a Steve Carell-voiced supervillain who adopts a trio of orphan girls as part of his scheme to steal the Moon. But he ends up growing to love them. Awww! If I were a Minion, I would want to be Stuart. (Yesterday’s rank: 4)
For fans of: That specific Michael Bay touch, giant robots | Is it good?: It’s pretty stupid
The Megan Foxissance means resurrecting this installment in Michael Bay’s Transformers movie series, for better or worse. This one finds Shia LaBeouf’s Sam facing off against an ancient bad guy robot called The Fallen before it can destroy all the good guy robots like Optimus Prime. (Yesterday’s rank: 5)
For fans of: Robots in disguise | Is it good?: Nope! But no one cares.
CGI space robots destroying a city. This is the first one without Megan Fox and the last one with Shia LaBeouf. It is, of course, willfully stupid, and people love it for it. (Yesterday’s rank: 6)
For fans of: When Fifty Shades of Grey and Élite come together | Is it good?: Not particularly
Teen romance drama, Spanish style. A girl gets obsessed with her sexy neighbor when she catches him using her Wi-fi, which in Spain is adorably pronounced “wee-fee.” They start a secret relationship, and things get out of hand. It’s a moody romance with a lot of sex and skin. (Yesterday’s rank: 8)
For fans of: Cooperism and Galifinakary | Is it good?: Personally, I have always found The Hangover franchise too mean-spirited to be funny
You remember how it goes: A group of terrible a-holes goes to Vegas for a bachelor party, the groom goes missing, his friends have to piece together their blacked-out night before to figure out where he is. Hilarity supposedly ensues. Zack Galifinakis is funny, the rest of it is not. Remember, this movie is responsible for exposing Ken Jeong to the world. (Yesterday’s rank: n/a)
For fans of: Bad rom-coms | Is it good?: Like I said, it’s bad
Alexandra Daddario plays a marketing executive (I love generic rom-com jobs) who confesses her darkest secrets to a stranger (Tyler Hoechlin) on a flight when she thinks their plane is about to crash. Spoiler: It doesn’t, and then he becomes her boss! Uh oh! (Yesterday’s rank: 7)
For fans of: Nicholas Sparks romance, Zac Efron’s abs | Is it good?: If you like The Notebook, this… is nowhere near as good
Zac Efron plays a Marine who survives a mortar attack because he’s distracted by a photograph of a beautiful woman he finds on the ground. When he gets home from Iraq, he goes and finds the woman, a Louisiana divorcee played by Taylor Schilling, and starts a relationship with her — but doesn’t tell her the real reason he found her. It’s based on a romance novel by Nicholas Sparks, and it’s engineered to make you cry. (Yesterday’s rank: 9)
What to Watch from Netflix’s Overall Top 10
The Best Movies on Netflix in 2022
Leonardo DiCaprio and Jennifer Lawrence, Don’t Look Up
Netflix
We wish to thank the author of this article for this amazing content
";}s:7:"summary";s:624:"The Tinder Swindler Netflix Sometimes you want to watch the most popular movies on Netflix, but you don’t want to watch something bad. Our guide to Netflix’s Daily Top 10 Movies chart can help you sort the wheat from the chaff. The list for Monday, Feb. 7 is topped by the outrageous true crime documentary The ... Read more";s:12:"atom_content";s:13427:"
The Tinder Swindler
Netflix
Sometimes you want to watch the most popular movies on Netflix, but you don’t want to watch something bad. Our guide to Netflix’s Daily Top 10 Movies chart can help you sort the wheat from the chaff. The list for Monday, Feb. 7 is topped by the outrageous true crime documentary The Tinder Swindler, a worthwhile entry in the scammer doc subgenre. It’s such a good story that Netflix already has a movie adaptation in the works. Family movie Despicable Me 2 is at No. 2, followed by inspirational sports drama Home Team at No. 3 and the first Despicable Me at No. 4. The next two spots are both Transformers movies, Revenge of the Fallen at No. 5 and Dark of the Moon at No. 6. Netflix subscribers love robots, especially when they’re in disguise.
But which of the films in Netflix’s Top 10 list of the most popular movies are any good? We break down the entire Netflix Top 10 Movies list and guide you through what to binge and what to skip. We do the same for Netflix’s Top 10 TV shows, as well as Netflix’s overall Top 10 list. We also have a list of the 50 best shows and movies to watch on Netflix right now, as well as the best movies on Netflix and the best TV shows on Netflix.
Find Out Where to Stream Anything with TV Guide’s Search Engine for Streaming Shows
Based on Netflix’s Top 10 from Monday, Feb. 7
For fans of: Con men, dating app nightmares | Is it good?: It’s worth a swipe, but it isn’t “the one”
Tinder is already a hellhole of lies and desperation, but for some women, it’s even worse. The Tinder Swindler follows the story of a con man who courted women with extravagant trips and stays at five-star hotels, but ended up taking all their cash in order to dupe the next women with the same luxury. Using interviews with many of his victims, The Tinder Swindler paints a portrait of a sociopath whose only goal was to take and move on, providing himself with a lavish life while the debt fell on the women who believed his lies. It’s an engrossing story, if not a perfect documentary. (Yesterday’s rank: 1)
For fans of: Those annoying little Minions | Is it good?: Kids and adults who post Minion memes on Facebook sure love it
The first Despicable Me was about a villain learning to love his three adopted daughters, and its sequel is about him trying to give up a life of villaining so he can devote all his time to them. Cute! This movie contains two inescapable 2013 phenomenons: Minions and that Pharrell Williams song “Happy.” (Yesterday’s rank: 2)
For fans of: Kevin James, football | Is it good?: Nah
Kevin James plays New Orleans Saints head coach Sean Payton in this sports comedy about how Payton coached his son’s Pop Warner team during a one-year suspension from the NFL. The weirdest part of this movie is the fact that it tries to make an inspirational family movie out of the, uh, pretty dark reason Payton was suspended in the first place. (Yesterday’s rank: 3)
For fans of: Those goldang Minions | Is it good?: Yeah, there’s some funny stuff for the whole family
The Minions were the breakout stars of this movie, which is about Gru, a Steve Carell-voiced supervillain who adopts a trio of orphan girls as part of his scheme to steal the Moon. But he ends up growing to love them. Awww! If I were a Minion, I would want to be Stuart. (Yesterday’s rank: 4)
For fans of: That specific Michael Bay touch, giant robots | Is it good?: It’s pretty stupid
The Megan Foxissance means resurrecting this installment in Michael Bay’s Transformers movie series, for better or worse. This one finds Shia LaBeouf’s Sam facing off against an ancient bad guy robot called The Fallen before it can destroy all the good guy robots like Optimus Prime. (Yesterday’s rank: 5)
For fans of: Robots in disguise | Is it good?: Nope! But no one cares.
CGI space robots destroying a city. This is the first one without Megan Fox and the last one with Shia LaBeouf. It is, of course, willfully stupid, and people love it for it. (Yesterday’s rank: 6)
For fans of: When Fifty Shades of Grey and Élite come together | Is it good?: Not particularly
Teen romance drama, Spanish style. A girl gets obsessed with her sexy neighbor when she catches him using her Wi-fi, which in Spain is adorably pronounced “wee-fee.” They start a secret relationship, and things get out of hand. It’s a moody romance with a lot of sex and skin. (Yesterday’s rank: 8)
For fans of: Cooperism and Galifinakary | Is it good?: Personally, I have always found The Hangover franchise too mean-spirited to be funny
You remember how it goes: A group of terrible a-holes goes to Vegas for a bachelor party, the groom goes missing, his friends have to piece together their blacked-out night before to figure out where he is. Hilarity supposedly ensues. Zack Galifinakis is funny, the rest of it is not. Remember, this movie is responsible for exposing Ken Jeong to the world. (Yesterday’s rank: n/a)
For fans of: Bad rom-coms | Is it good?: Like I said, it’s bad
Alexandra Daddario plays a marketing executive (I love generic rom-com jobs) who confesses her darkest secrets to a stranger (Tyler Hoechlin) on a flight when she thinks their plane is about to crash. Spoiler: It doesn’t, and then he becomes her boss! Uh oh! (Yesterday’s rank: 7)
For fans of: Nicholas Sparks romance, Zac Efron’s abs | Is it good?: If you like The Notebook, this… is nowhere near as good
Zac Efron plays a Marine who survives a mortar attack because he’s distracted by a photograph of a beautiful woman he finds on the ground. When he gets home from Iraq, he goes and finds the woman, a Louisiana divorcee played by Taylor Schilling, and starts a relationship with her — but doesn’t tell her the real reason he found her. It’s based on a romance novel by Nicholas Sparks, and it’s engineered to make you cry. (Yesterday’s rank: 9)
What to Watch from Netflix’s Overall Top 10
The Best Movies on Netflix in 2022
Leonardo DiCaprio and Jennifer Lawrence, Don’t Look Up
Netflix
We wish to thank the author of this article for this amazing content
";s:14:"date_timestamp";i:1644266190;}i:5;a:11:{s:5:"title";s:24:"The Top 10 Sports Movies";s:4:"link";s:71:"https://bestmovies.debatepost.com/best-movies/the-top-10-sports-movies/";s:2:"dc";a:1:{s:7:"creator";s:13:"Trish Bottler";}s:7:"pubdate";s:31:"Mon, 07 Feb 2022 19:46:01 +0000";s:8:"category";s:23:"Best MoviesMoviesSports";s:4:"guid";s:40:"https://bestmovies.debatepost.com/?p=275";s:11:"description";s:494:"Sports are a huge part of my life, as a fan and a sports communication major. Growing up, sports movies were something that I loved to watch. From “Everyone’s Hero” to the “Mighty Ducks” and so much more. Thus, I decided to rank my 10 favorite sports movies. Keep in mind that I have not ... Read more";s:7:"content";a:1:{s:7:"encoded";s:8835:"
Sports are a huge part of my life, as a fan and a sports communication major. Growing up, sports movies were something that I loved to watch. From “Everyone’s Hero” to the “Mighty Ducks” and so much more. Thus, I decided to rank my 10 favorite sports movies. Keep in mind that I have not seen every sports movie ever, so that might be why your favorite is not on the list.
10. Space Jam (1996)
By all accounts this is not a good movie, it is not well made, the effects are not great, and maybe worst of all it does not take place in space. That being said, this movie was a huge part of my childhood.
Having the greatest athlete of all time, shooting guard Michael Jordan, playing basketball with Bugs Bunny and Daffy Duck was a ride that I did not want to end.
One last thing is that Bill Murray was dropping dimes way before Damian Lillard as he set up M.J. for the game winning dunk to beat the Monstars.
9. Slap Shot (1977)
This was one that I really enjoyed. The Dunlap brothers are some of the most physical hockey players you will ever see.
This comedy hits some highs with its jokes. From the bus scenes (I will spoil what happens,) that they did not tell the extras what was going to happen to get their real reaction to the referee getting in the brothers’ faces during the National Anthem to say he will watch them like a hawk and to only get the crap beat out of him.
If you have never seen this one, check it out. It was also shot locally in Johnstown, Pennsylvania.
8. Moneyball (2011)
Brad Pitt, Jonah Hill, and Chris Pratt are all amazing in this movie.
Billy Bean has to build a winning team with the lowest payroll possible (something that the actual Oakland A’s try to do and fail at every year). The part of the movie where the team is being built is the strongest part of the film.
There is a range of emotion and I really liked this one. We see what goes into the game and how teams were built. Bean still works for the A’s today which is really cool.
7. American Underdog: The Kurt Warner Story (2021)
Kurt Warner is one of my favorite football analysts, and Zach Levi is one of my favorite actors. The story is a love letter to Warner’s wife and how he would do anything for her. Early in his life, Warner did not make the NFL; he had to work in a grocery store then play in the now debunked Arena Football League. However, the film does not spend too much time there, and then we see the heartbreak when he is cut by the Green Bay Packers.
In this film, what shines is not the football as it takes a back seat in this one and I think that is really cool.
Anna Paquin as Brenna Warner is the emotional center of the movie. She does an amazing job in her role. But the best part of the movie is Hayden Zeller as “Zack”. In what is his first role ever, he packs a punch and does fantastic in the emotional sense.
This movie will make you feel like you can do anything you put your mind to. If you have not seen it, go out and watch it.
6. Rocky (1976)
This has to be what comes to mind when you think of sports movies. Rocky Balboa and his fighting career. This is another movie that will make you feel like you can do anything with this quote: “Let me tell you something you already know. The world ain’t all sunshine and rainbows. It’s a very mean and nasty place and I don’t care how tough you are. It will beat you to your knees and keep you there permanently if you let it. You, me, or nobody is gonna hit as hard as life.”
I don’t have to say much, its Rocky, you know how great it is.
5. Miracle (2004)
If you have Disney+, this is a great time of year to watch this movie. The story of the 1980 U.S.A Men’s Ice hockey team with one of the youngest rosters in the Olympics, defeating the Soviet Union, a team that’s full of pros.
This is another one with a great story as we see a team full of underdogs learn to play together and actually take down a favorite. This film also has some amazing quotes: “When you pull on that jersey, you represent yourself and your teammates; and the name on the front, is a hell of a lot more important, than the one on the back.”
Kurt Russell kills it in his role. This movie is sure to inspire you.
4. We are Marshall (2006)
My dad showed my little brother and I this movie when we were younger. This one really hits home as it is one that we watch all the time. Nevertheless, this is a fantastic movie that if you have never seen it, you must watch it.
The 1970 Marshall Thundering Herd lost 75 players, coaches, etc. in the crash, so they had to rebuild the team. We get to see the story of the it and how it affected the town as well.
Matthew McConaughey and Anthony Mackie are some of the bright stars in this one. This movie made me a fan of Marshall when I was a kid. If you have never seen it, give it a watch.
3. The Sandlot (1993)
There is no better idea for a summer movie than kids playing baseball. This one just gives the feeling of pure childhood, from the amusement park scene to the Fourth of July. Don’t forget “The Beast” giving the kids a threat throughout the movie.
A movie with an all kids lineup is hard to pull off, but they were able to make an all-time classic with the cast and that honesty is really impressive. However, the three that stole the show were Patrick Renna as “Ham Porter,” Tom Guiry as “Smalls,” and Mike Vitar as “Benny the Jet Rodriguez.” All three did an amazing job but Renna delivers the best line of the movie with “you’re killin me smalls.”
It’s an all-time classic and one of the best movies you can watch in the summer.
2. 42 (2013)
Growing up, one of my favorite athletes of all-time was Jackie Robinson. I loved the hard work that defined his career as he broke the color barrier in the MLB.
As I got older one of my favorite actors was the late Chadwick Boseman, especially for his roles in this movie and as “Black Panther” in many of the Marvel movies. So this was going to be one of my favorite movies no matter what. But this one is amazing.
From how he was treated by some of the players to that great scene against the Phillies when you see how hard this really was for not just Robison but his wife too. When Jackie goes into the dugout and has that breakdown in the tunnel it hits hard. You feel so much for him. Boseman and Nicole Beharie do a fantastic job portraying the Robinsons. Not only that, Harrison Ford did great work as well. If you do watch this, look out for a quick joke about the Pirates as well. The line “One day maybe we all will wear 42” is amazing too.
1. Remember the Titans (2000)
I had never seen this one until my junior year of high school. When my U.S. history teacher was sick we watched it twice. Then for Keystone week the entire school watched it. I also saw it in my speech and debate class. After seeing it four times in under a year I realized how great of a movie it was.
The story of a predominantly white Virginia school becoming integrated in the 70s is very interesting to see how it affected them. About a quarter of the movie is devoted to summer camp while not only learning a new playbook, the team has to come together, and it takes a while but when they do, they click.
The coaching staff changes, which causes a rift. We see the team learning to trust each other; we see them become friends and it is honestly heartwarming to see. It is what sports is all about. You already know that Denzel Washington absolutely kills it as “Coach Herman,” but Ryan Hurst does a great job as “Gerry Bertier” too.
This movie will also make you love “Ain’t No Mountain High Enough” by Marvin Gaye and Tammi Terrell. It truly is a movie with a great message that still can hold up 22 years later, and great feeling. Make sure to give it a watch. It is no doubt the best sports movie of all time
We would love to say thanks to the writer of this write-up for this incredible web content
";}s:7:"summary";s:494:"Sports are a huge part of my life, as a fan and a sports communication major. Growing up, sports movies were something that I loved to watch. From “Everyone’s Hero” to the “Mighty Ducks” and so much more. Thus, I decided to rank my 10 favorite sports movies. Keep in mind that I have not ... Read more";s:12:"atom_content";s:8835:"
Sports are a huge part of my life, as a fan and a sports communication major. Growing up, sports movies were something that I loved to watch. From “Everyone’s Hero” to the “Mighty Ducks” and so much more. Thus, I decided to rank my 10 favorite sports movies. Keep in mind that I have not seen every sports movie ever, so that might be why your favorite is not on the list.
10. Space Jam (1996)
By all accounts this is not a good movie, it is not well made, the effects are not great, and maybe worst of all it does not take place in space. That being said, this movie was a huge part of my childhood.
Having the greatest athlete of all time, shooting guard Michael Jordan, playing basketball with Bugs Bunny and Daffy Duck was a ride that I did not want to end.
One last thing is that Bill Murray was dropping dimes way before Damian Lillard as he set up M.J. for the game winning dunk to beat the Monstars.
9. Slap Shot (1977)
This was one that I really enjoyed. The Dunlap brothers are some of the most physical hockey players you will ever see.
This comedy hits some highs with its jokes. From the bus scenes (I will spoil what happens,) that they did not tell the extras what was going to happen to get their real reaction to the referee getting in the brothers’ faces during the National Anthem to say he will watch them like a hawk and to only get the crap beat out of him.
If you have never seen this one, check it out. It was also shot locally in Johnstown, Pennsylvania.
8. Moneyball (2011)
Brad Pitt, Jonah Hill, and Chris Pratt are all amazing in this movie.
Billy Bean has to build a winning team with the lowest payroll possible (something that the actual Oakland A’s try to do and fail at every year). The part of the movie where the team is being built is the strongest part of the film.
There is a range of emotion and I really liked this one. We see what goes into the game and how teams were built. Bean still works for the A’s today which is really cool.
7. American Underdog: The Kurt Warner Story (2021)
Kurt Warner is one of my favorite football analysts, and Zach Levi is one of my favorite actors. The story is a love letter to Warner’s wife and how he would do anything for her. Early in his life, Warner did not make the NFL; he had to work in a grocery store then play in the now debunked Arena Football League. However, the film does not spend too much time there, and then we see the heartbreak when he is cut by the Green Bay Packers.
In this film, what shines is not the football as it takes a back seat in this one and I think that is really cool.
Anna Paquin as Brenna Warner is the emotional center of the movie. She does an amazing job in her role. But the best part of the movie is Hayden Zeller as “Zack”. In what is his first role ever, he packs a punch and does fantastic in the emotional sense.
This movie will make you feel like you can do anything you put your mind to. If you have not seen it, go out and watch it.
6. Rocky (1976)
This has to be what comes to mind when you think of sports movies. Rocky Balboa and his fighting career. This is another movie that will make you feel like you can do anything with this quote: “Let me tell you something you already know. The world ain’t all sunshine and rainbows. It’s a very mean and nasty place and I don’t care how tough you are. It will beat you to your knees and keep you there permanently if you let it. You, me, or nobody is gonna hit as hard as life.”
I don’t have to say much, its Rocky, you know how great it is.
5. Miracle (2004)
If you have Disney+, this is a great time of year to watch this movie. The story of the 1980 U.S.A Men’s Ice hockey team with one of the youngest rosters in the Olympics, defeating the Soviet Union, a team that’s full of pros.
This is another one with a great story as we see a team full of underdogs learn to play together and actually take down a favorite. This film also has some amazing quotes: “When you pull on that jersey, you represent yourself and your teammates; and the name on the front, is a hell of a lot more important, than the one on the back.”
Kurt Russell kills it in his role. This movie is sure to inspire you.
4. We are Marshall (2006)
My dad showed my little brother and I this movie when we were younger. This one really hits home as it is one that we watch all the time. Nevertheless, this is a fantastic movie that if you have never seen it, you must watch it.
The 1970 Marshall Thundering Herd lost 75 players, coaches, etc. in the crash, so they had to rebuild the team. We get to see the story of the it and how it affected the town as well.
Matthew McConaughey and Anthony Mackie are some of the bright stars in this one. This movie made me a fan of Marshall when I was a kid. If you have never seen it, give it a watch.
3. The Sandlot (1993)
There is no better idea for a summer movie than kids playing baseball. This one just gives the feeling of pure childhood, from the amusement park scene to the Fourth of July. Don’t forget “The Beast” giving the kids a threat throughout the movie.
A movie with an all kids lineup is hard to pull off, but they were able to make an all-time classic with the cast and that honesty is really impressive. However, the three that stole the show were Patrick Renna as “Ham Porter,” Tom Guiry as “Smalls,” and Mike Vitar as “Benny the Jet Rodriguez.” All three did an amazing job but Renna delivers the best line of the movie with “you’re killin me smalls.”
It’s an all-time classic and one of the best movies you can watch in the summer.
2. 42 (2013)
Growing up, one of my favorite athletes of all-time was Jackie Robinson. I loved the hard work that defined his career as he broke the color barrier in the MLB.
As I got older one of my favorite actors was the late Chadwick Boseman, especially for his roles in this movie and as “Black Panther” in many of the Marvel movies. So this was going to be one of my favorite movies no matter what. But this one is amazing.
From how he was treated by some of the players to that great scene against the Phillies when you see how hard this really was for not just Robison but his wife too. When Jackie goes into the dugout and has that breakdown in the tunnel it hits hard. You feel so much for him. Boseman and Nicole Beharie do a fantastic job portraying the Robinsons. Not only that, Harrison Ford did great work as well. If you do watch this, look out for a quick joke about the Pirates as well. The line “One day maybe we all will wear 42” is amazing too.
1. Remember the Titans (2000)
I had never seen this one until my junior year of high school. When my U.S. history teacher was sick we watched it twice. Then for Keystone week the entire school watched it. I also saw it in my speech and debate class. After seeing it four times in under a year I realized how great of a movie it was.
The story of a predominantly white Virginia school becoming integrated in the 70s is very interesting to see how it affected them. About a quarter of the movie is devoted to summer camp while not only learning a new playbook, the team has to come together, and it takes a while but when they do, they click.
The coaching staff changes, which causes a rift. We see the team learning to trust each other; we see them become friends and it is honestly heartwarming to see. It is what sports is all about. You already know that Denzel Washington absolutely kills it as “Coach Herman,” but Ryan Hurst does a great job as “Gerry Bertier” too.
This movie will also make you love “Ain’t No Mountain High Enough” by Marvin Gaye and Tammi Terrell. It truly is a movie with a great message that still can hold up 22 years later, and great feeling. Make sure to give it a watch. It is no doubt the best sports movie of all time
We would love to say thanks to the writer of this write-up for this incredible web content
";s:14:"date_timestamp";i:1644263161;}i:6;a:11:{s:5:"title";s:38:"Why Scream 3 Is the Franchise’s Best";s:4:"link";s:82:"https://bestmovies.debatepost.com/best-movies/why-scream-3-is-the-franchises-best/";s:2:"dc";a:1:{s:7:"creator";s:7:"Susan P";}s:7:"pubdate";s:31:"Mon, 07 Feb 2022 18:25:19 +0000";s:8:"category";s:27:"Best MoviesFranchisesScream";s:4:"guid";s:40:"https://bestmovies.debatepost.com/?p=269";s:11:"description";s:563:"You’ve seen this before: A group of teens on the couch, talking about films, pontificating on the rules, clichés and tropes of the latest scary movies. It winks as itself in the process; almost everyone spends much of Scream (2022), the fifth entry in the horror franchise originally brought to you by Wes Craven and ... Read more";s:7:"content";a:1:{s:7:"encoded";s:13115:"
You’ve seen this before: A group of teens on the couch, talking about films, pontificating on the rules, clichés and tropes of the latest scary movies. It winks as itself in the process; almost everyone spends much of Scream (2022), the fifth entry in the horror franchise originally brought to you by Wes Craven and Kevin Williamson in 1996, lamenting Hollywood’s lack of new ideas. It’s not even new to have this cheeky conversation, and these kids know it. The landscape is so arid of originality, impoverished of ingenuity that everyone is reduced to reanimating the corpses of our favorite properties. You know, like the Scream franchise. But this new one, directed by Matt Bettinelli-Olpin and Tyler Gillett and written by James Vanderbilt and Guy Busick, knows that. Like all the films in the franchise, it is cripplingly aware of what it’s doing and how it’s looking back at itself. But as one of the characters, the new quasi-Randy (the series’ resident cinephile) explains why it’s “requels”—a clumsy portmanteau of “reboot” and “sequel”, basically a reboot that still relies on canon—she makes a passing diss at the in-universe Stab sequels, thus having the film mock its own Scream follow-ups. But arguably, the film of the franchise that’s most insightful about the phenomenon of making uncanny doubles in a parched cultural landscape is the one that’s most dismissed.
There’s one scene in Scream 3 that, if you’re familiar with the first film, you’ve watched before. It’s discomfiting cinematic deja vu. Sidney Prescott (Neve Campbell) wanders through her bedroom, being coerced into bringing her relationship to the next level: NC-17. You’ve seen the room before, outfitted with artifacts of teenage girlhood. You’ve seen a killer wearing a mask resembling a melting shriek into the void and a black cloak that sparkles when it catches the light run after her, almost as if Sidney is imprinted on the blade he wields, like offspring and parent. The camera spins around to follow the two as they go up the steps, which you recognize. Then she opens the door and reveals a false entrance, a trap door. It’s one that leads to a different unfinished area of what is actually a set of Sidney’s house from the first Scream, or, actually, the third Stab, the meta-slasher franchise within the meta-slasher franchise. On the set of Stab 3, which Scream 3 cheekily documents the production of, Sidney relives the first Scream.
It’s a fourth wall smashed through, a setpiece that both distills the complexity of the Scream series’ emotional and thematic preoccupations as well as demonstrates the series’ dexterity in delivering fear on film. Though frequently dismissed as the weakest within the franchise’s history, Scream 3’s embodiment and use of the uncanny, its fascination with doubles and its ability to invert itself to be an incendiary indictment of Hollywood’s sordid history of sexual abuse make a case for its essential place within the series, and possibly make it stand out as its best. Its elaborate yet overtly phony design cleaves together the series’ ultimate fascination with memory and cinema, putting forth that the two are almost indistinguishable.
Craven and writer Ehren Kruger send Sidney flying through her trauma as if in replay. She runs through a house that’s not her own, but a facsimile of it: A reproduction of the place where she was attacked as a teen, a counterfeit of the birthplace of her trauma, a copy of a copy that blurs the line between fictional and real (it’s a real set of a fake set for a fake movie within a real movie), cinema and memory. At the time, Roger Ebert sniffed that “Scream 3 is essentially an interlacing of irony and gotcha! scenes,” while Keith Phipps opined, “Scream 3 moves clumsily to the now-familiar meta-slasher rhythms of the series.” But aren’t irony and familiarity embedded into Scream’s DNA, disassociating the next logical step from its original image despite it being a copy of a copy of a copy? What does Hollywood do if not reproduce the same dream over and over again for our entertainment? Only four years have passed since the events of the first Scream, and already Prescott’s life story—the murder of her mother and the bloodbath in Woodsboro—has become a news circuit spectacle and a bestselling book by Gale Weathers (Courteney Cox), the latter of which has become the (loose) basis for the Stab franchise. Sidney’s experience is reconstructed as a kind of fiction, traumatic memory transformed into cultural iconography.
It’s undeniable that, as far as the first Scream goes, Craven and Williamson innovated a genre by deconstructing it, offered a poisoned critique of nightly news culture and acutely interrogated ideas around a rapidly corrosive culture of violence and its potential impact on society. And while most of its sequels have been warmly received for building upon the first entry’s ability to vacillate between meta scary movie, soap opera and pop culture autopsy, Scream 3 has rarely gotten the same attention for its contributions, save for a post-Weinstein scandal reevaluation.
But Scream 3—as opposed to a continued riff upon the franchise’s central ideas about trauma, cinema, exploitation and memory—is a surreal deepening of those concepts set in the uncanny valley. The film expresses emotional, psychic and cultural anxieties with serrated clarity. Scream 3 distinguishes itself by being set not merely in Hollywood, but specifically on the studio lot where Stab 3 is being made, Sunrise Studios, a place with its own morbid past. The studio relishes its unruly connection to the real world, its Stab movies their “based on a true story” exploitation series, making the studio a workshop where reality can be demented and deranged. Isn’t every sequel, remake and reboot some form of surreal double? If Scream 3 takes place in the world of the uncanny, isn’t it then an uncanny version of a Scream film? It’s cast with character actors (Parker Posey, Emily Mortimer, Jenny McCarthy) playing character actors with barely disguised real-life portmanteau names (Jennifer Jolie and Angelina Tyler, anyone?), playing people who are real in their world (Sidney, Dewey, Gale, etc.) and fictional in ours, in a fake franchise (Stab) within a real franchise (Scream).
On the subject of doubled identity, Jennifer justifies following intrepid reporter Gale on her gumshoe hunt with a manic monologue, breathlessly explaining:
Here’s how I see it: I’ve got no house, no bodyguard, no movie and I’m being stalked. Because someone wants to kill me? No, because someone wants to kill you. So now, starting now, I go where you go. That way if someone wants to kill me, I’ll be with you, and since they really want to kill you, they won’t kill me, they’ll kill you.
As doubles and imperfect replicas proliferate Scream 3, the film conceives of a Hollywood with a disturbing relationship to expendability. Ghostface’s voice changer can mimic anyone’s voice, the Stab 3 cast that we see are actually replacements and the Stab producer is himself an arbiter of how disposable women can be in the industry.
In John Milton (Lance Henriksen), the B-picture producer of the Stab movies, we have a fictional sleaze that’s like all the real ones. He’s revealed to not only have known Sidney’s mother, Maureen, but also to have been responsible for her rape at one of his drug-fueled bacchanals when she was trying to make it as an actor under the name Rina Reynolds. When Gale, Dewey and Jennifer confront him with this, he brushes it off, saying, “It was the ‘70s. Everything was different. I was known for my parties…Nothing happened to her that she didn’t invite…one way or another. No matter what she said afterward.” Pregnant and traumatized, she, too, was expendable. What’s left of her career is a photocopy of her headshot.
Another copy, another double. The man who’s been making these Stab movies is doing the same with Maureen’s murder, all while reprinting Sidney’s trauma to be consumed by the world around her, out of her grasp. The built set of her childhood house, then, carries within it this disturbed surreality, a version of her past that’s been intentionally constructed as a haunted playground for others. In the franchise’s most enthralling and emotionally complex setpiece, Sidney arrives on set to see the fake house, a perfect facsimile of the past. She wanders around the space, finding her childhood bedroom and repeating lines from memory (hers or ours?).
Maybe Scream 3’s closest relative isn’t Scream at all, but Wes Craven’s New Nightmare (1994), the meta-film that laid the groundwork for Scream not only through its self-reflexivity, but through its insistence on seeing cinema and life as gradually more fractured versions of one another. That film, set during the production of A Nightmare on Elm Street reboot replete with original cast members like final girl Heather Langenkamp, studio heads and director Craven, not only saw the nightmare world bleed into the real one, but saw them both as necessarily in dialogue with one another—a confluence of memory and imagination, reality and fiction.
Scream 3’s elaboration on New Nightmare is at once heady and melodramatic, tying together the series’ familial dysfunction and its obsession with media images as a new kind of memory. For Sidney and the killer, the difference between what’s possessed as personal remembrance and what’s available to be commodified is dwindling. In the film’s grand finale, where the killer rips off the mask and delivers exposition while images of Sidney’s mother are projected onto them, Scream 3 nearly argues that cinema (or media) is memory, more real than consciousness, more reliable than the thawing viscosity of subjective recollection. It’s psychological processing through disassociation. The Dreamland that makes these amazing, horrifying shadows has always been haunted, trapping creators and creation in a blood-spattered feedback loop, trauma feeding and begetting trauma.
That idea is arguably more deeply felt today, nearly two decades since its release, in an economy that prizes trauma narratives and the litany of platforms on which they can be consumed. The chance to tell your story is shaded inevitably by the possibility of it being cannibalized. (An unusual example: Eddie Huang’s memoir of second generation immigrant identity and abuse Fresh Off the Boat was transformed into…the hit sitcom Fresh Off the Boat, starring Constance Wu. Huang departed after the first season.) With Scream 3’s indictment of Hollywood industry sex crimes, a vision of darkness that evokes David Lynch, the real and the fictional burst through their borders and curdle into an expressive shriek from inside the screen, evil flickering viciously. The Scream movies have always been a fractured looking glass, reflecting, in the grand tradition of horror, cultural and social ills. But Scream 3 is a broken infinity mirror. Scream 3’s fury illustrates the terrifying notion that all memory and trauma can only be understood as cinematic melodrama, even as the creation of that cinema is written in blood, pain and abuse. It only matters if someone watches. These days, everyone is.
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";}s:7:"summary";s:563:"You’ve seen this before: A group of teens on the couch, talking about films, pontificating on the rules, clichés and tropes of the latest scary movies. It winks as itself in the process; almost everyone spends much of Scream (2022), the fifth entry in the horror franchise originally brought to you by Wes Craven and ... Read more";s:12:"atom_content";s:13115:"
You’ve seen this before: A group of teens on the couch, talking about films, pontificating on the rules, clichés and tropes of the latest scary movies. It winks as itself in the process; almost everyone spends much of Scream (2022), the fifth entry in the horror franchise originally brought to you by Wes Craven and Kevin Williamson in 1996, lamenting Hollywood’s lack of new ideas. It’s not even new to have this cheeky conversation, and these kids know it. The landscape is so arid of originality, impoverished of ingenuity that everyone is reduced to reanimating the corpses of our favorite properties. You know, like the Scream franchise. But this new one, directed by Matt Bettinelli-Olpin and Tyler Gillett and written by James Vanderbilt and Guy Busick, knows that. Like all the films in the franchise, it is cripplingly aware of what it’s doing and how it’s looking back at itself. But as one of the characters, the new quasi-Randy (the series’ resident cinephile) explains why it’s “requels”—a clumsy portmanteau of “reboot” and “sequel”, basically a reboot that still relies on canon—she makes a passing diss at the in-universe Stab sequels, thus having the film mock its own Scream follow-ups. But arguably, the film of the franchise that’s most insightful about the phenomenon of making uncanny doubles in a parched cultural landscape is the one that’s most dismissed.
There’s one scene in Scream 3 that, if you’re familiar with the first film, you’ve watched before. It’s discomfiting cinematic deja vu. Sidney Prescott (Neve Campbell) wanders through her bedroom, being coerced into bringing her relationship to the next level: NC-17. You’ve seen the room before, outfitted with artifacts of teenage girlhood. You’ve seen a killer wearing a mask resembling a melting shriek into the void and a black cloak that sparkles when it catches the light run after her, almost as if Sidney is imprinted on the blade he wields, like offspring and parent. The camera spins around to follow the two as they go up the steps, which you recognize. Then she opens the door and reveals a false entrance, a trap door. It’s one that leads to a different unfinished area of what is actually a set of Sidney’s house from the first Scream, or, actually, the third Stab, the meta-slasher franchise within the meta-slasher franchise. On the set of Stab 3, which Scream 3 cheekily documents the production of, Sidney relives the first Scream.
It’s a fourth wall smashed through, a setpiece that both distills the complexity of the Scream series’ emotional and thematic preoccupations as well as demonstrates the series’ dexterity in delivering fear on film. Though frequently dismissed as the weakest within the franchise’s history, Scream 3’s embodiment and use of the uncanny, its fascination with doubles and its ability to invert itself to be an incendiary indictment of Hollywood’s sordid history of sexual abuse make a case for its essential place within the series, and possibly make it stand out as its best. Its elaborate yet overtly phony design cleaves together the series’ ultimate fascination with memory and cinema, putting forth that the two are almost indistinguishable.
Craven and writer Ehren Kruger send Sidney flying through her trauma as if in replay. She runs through a house that’s not her own, but a facsimile of it: A reproduction of the place where she was attacked as a teen, a counterfeit of the birthplace of her trauma, a copy of a copy that blurs the line between fictional and real (it’s a real set of a fake set for a fake movie within a real movie), cinema and memory. At the time, Roger Ebert sniffed that “Scream 3 is essentially an interlacing of irony and gotcha! scenes,” while Keith Phipps opined, “Scream 3 moves clumsily to the now-familiar meta-slasher rhythms of the series.” But aren’t irony and familiarity embedded into Scream’s DNA, disassociating the next logical step from its original image despite it being a copy of a copy of a copy? What does Hollywood do if not reproduce the same dream over and over again for our entertainment? Only four years have passed since the events of the first Scream, and already Prescott’s life story—the murder of her mother and the bloodbath in Woodsboro—has become a news circuit spectacle and a bestselling book by Gale Weathers (Courteney Cox), the latter of which has become the (loose) basis for the Stab franchise. Sidney’s experience is reconstructed as a kind of fiction, traumatic memory transformed into cultural iconography.
It’s undeniable that, as far as the first Scream goes, Craven and Williamson innovated a genre by deconstructing it, offered a poisoned critique of nightly news culture and acutely interrogated ideas around a rapidly corrosive culture of violence and its potential impact on society. And while most of its sequels have been warmly received for building upon the first entry’s ability to vacillate between meta scary movie, soap opera and pop culture autopsy, Scream 3 has rarely gotten the same attention for its contributions, save for a post-Weinstein scandal reevaluation.
But Scream 3—as opposed to a continued riff upon the franchise’s central ideas about trauma, cinema, exploitation and memory—is a surreal deepening of those concepts set in the uncanny valley. The film expresses emotional, psychic and cultural anxieties with serrated clarity. Scream 3 distinguishes itself by being set not merely in Hollywood, but specifically on the studio lot where Stab 3 is being made, Sunrise Studios, a place with its own morbid past. The studio relishes its unruly connection to the real world, its Stab movies their “based on a true story” exploitation series, making the studio a workshop where reality can be demented and deranged. Isn’t every sequel, remake and reboot some form of surreal double? If Scream 3 takes place in the world of the uncanny, isn’t it then an uncanny version of a Scream film? It’s cast with character actors (Parker Posey, Emily Mortimer, Jenny McCarthy) playing character actors with barely disguised real-life portmanteau names (Jennifer Jolie and Angelina Tyler, anyone?), playing people who are real in their world (Sidney, Dewey, Gale, etc.) and fictional in ours, in a fake franchise (Stab) within a real franchise (Scream).
On the subject of doubled identity, Jennifer justifies following intrepid reporter Gale on her gumshoe hunt with a manic monologue, breathlessly explaining:
Here’s how I see it: I’ve got no house, no bodyguard, no movie and I’m being stalked. Because someone wants to kill me? No, because someone wants to kill you. So now, starting now, I go where you go. That way if someone wants to kill me, I’ll be with you, and since they really want to kill you, they won’t kill me, they’ll kill you.
As doubles and imperfect replicas proliferate Scream 3, the film conceives of a Hollywood with a disturbing relationship to expendability. Ghostface’s voice changer can mimic anyone’s voice, the Stab 3 cast that we see are actually replacements and the Stab producer is himself an arbiter of how disposable women can be in the industry.
In John Milton (Lance Henriksen), the B-picture producer of the Stab movies, we have a fictional sleaze that’s like all the real ones. He’s revealed to not only have known Sidney’s mother, Maureen, but also to have been responsible for her rape at one of his drug-fueled bacchanals when she was trying to make it as an actor under the name Rina Reynolds. When Gale, Dewey and Jennifer confront him with this, he brushes it off, saying, “It was the ‘70s. Everything was different. I was known for my parties…Nothing happened to her that she didn’t invite…one way or another. No matter what she said afterward.” Pregnant and traumatized, she, too, was expendable. What’s left of her career is a photocopy of her headshot.
Another copy, another double. The man who’s been making these Stab movies is doing the same with Maureen’s murder, all while reprinting Sidney’s trauma to be consumed by the world around her, out of her grasp. The built set of her childhood house, then, carries within it this disturbed surreality, a version of her past that’s been intentionally constructed as a haunted playground for others. In the franchise’s most enthralling and emotionally complex setpiece, Sidney arrives on set to see the fake house, a perfect facsimile of the past. She wanders around the space, finding her childhood bedroom and repeating lines from memory (hers or ours?).
Maybe Scream 3’s closest relative isn’t Scream at all, but Wes Craven’s New Nightmare (1994), the meta-film that laid the groundwork for Scream not only through its self-reflexivity, but through its insistence on seeing cinema and life as gradually more fractured versions of one another. That film, set during the production of A Nightmare on Elm Street reboot replete with original cast members like final girl Heather Langenkamp, studio heads and director Craven, not only saw the nightmare world bleed into the real one, but saw them both as necessarily in dialogue with one another—a confluence of memory and imagination, reality and fiction.
Scream 3’s elaboration on New Nightmare is at once heady and melodramatic, tying together the series’ familial dysfunction and its obsession with media images as a new kind of memory. For Sidney and the killer, the difference between what’s possessed as personal remembrance and what’s available to be commodified is dwindling. In the film’s grand finale, where the killer rips off the mask and delivers exposition while images of Sidney’s mother are projected onto them, Scream 3 nearly argues that cinema (or media) is memory, more real than consciousness, more reliable than the thawing viscosity of subjective recollection. It’s psychological processing through disassociation. The Dreamland that makes these amazing, horrifying shadows has always been haunted, trapping creators and creation in a blood-spattered feedback loop, trauma feeding and begetting trauma.
That idea is arguably more deeply felt today, nearly two decades since its release, in an economy that prizes trauma narratives and the litany of platforms on which they can be consumed. The chance to tell your story is shaded inevitably by the possibility of it being cannibalized. (An unusual example: Eddie Huang’s memoir of second generation immigrant identity and abuse Fresh Off the Boat was transformed into…the hit sitcom Fresh Off the Boat, starring Constance Wu. Huang departed after the first season.) With Scream 3’s indictment of Hollywood industry sex crimes, a vision of darkness that evokes David Lynch, the real and the fictional burst through their borders and curdle into an expressive shriek from inside the screen, evil flickering viciously. The Scream movies have always been a fractured looking glass, reflecting, in the grand tradition of horror, cultural and social ills. But Scream 3 is a broken infinity mirror. Scream 3’s fury illustrates the terrifying notion that all memory and trauma can only be understood as cinematic melodrama, even as the creation of that cinema is written in blood, pain and abuse. It only matters if someone watches. These days, everyone is.
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";s:14:"date_timestamp";i:1644258319;}i:7;a:11:{s:5:"title";s:64:"Which 2022 Awards Contender Will Be This Year’s Oscar Villain?";s:4:"link";s:107:"https://bestmovies.debatepost.com/best-movies/which-2022-awards-contender-will-be-this-years-oscar-villain/";s:2:"dc";a:1:{s:7:"creator";s:6:"Paul P";}s:7:"pubdate";s:31:"Mon, 07 Feb 2022 14:35:28 +0000";s:8:"category";s:38:"Best MoviesAwardsContenderOscarVillain";s:4:"guid";s:40:"https://bestmovies.debatepost.com/?p=263";s:11:"description";s:653:"From left: Don’t Look Up, Licorice Pizza, Being the Ricardos. Photo-Illustration: Vulture; Photos by Netflix, MGM and Amazon Prime It is a time of transition — for the movies, for the Oscars, and, most important, for Oscar villains. You remember Oscar villains, don’t you? In the before-times, they were the movies that made you groan ... Read more";s:7:"content";a:1:{s:7:"encoded";s:38889:"
From left: Don’t Look Up, Licorice Pizza, Being the Ricardos. Photo-Illustration: Vulture; Photos by Netflix, MGM and Amazon Prime
It is a time of transition — for the movies, for the Oscars, and, most important, for Oscar villains. You remember Oscar villains, don’t you? In the before-times, they were the movies that made you groan at your television whenever they won an award, Ugh! What did they see in that? If you were watching in the ’80s and ’90s, the Oscar villain might have been a sumptuous period piece from Merchant-Ivory or Miramax, which beat the grittier, more authentic movie you were rooting for. Perhaps it was the middlebrow drama that prevented your favorite director from finally taking home their long-awaited trophy. Or maybe it was a movie that was just plain god-awful. But enough about Crash!
The Oscars have never been above politics. In the Trump years, when everything got more polarized, Hollywood progressivism went up against online progressivism and was frequently found wanting. Major contenders seemed to hide the lurking specter of Trumpism. There was La La Land, in which a white guy held strong opinions about jazz, which shined with nostalgia for an imagined ’50s. Three Billboards Outside Ebbing, Missouri soft-pedaled police brutality. Green Book was an interracial buddy movie whose calculated determination not to offend white audiences itself became offensive. Joker had critics sincerely wondering if an Oscar nominee could inspire a mass shooting.
Whenever I talked to Academy staffers back then, I got the sense they did not exactly love awards season’s perennial backlash cycle. The Oscars were supposed to be the great unifier! But after what has happened since — declining ratings, declining relevance, the sense that the movies they were designed to reward are about to go the way of the dinosaurs — I suspect they’d bite off their arms to see bloggers calling a Best Picture front-runner fascist propaganda. At least then they’d know people were paying attention.
There was no Oscar villain last year. With barely anyone watching, what was the point? However, like the first shoots growing in the spring, so too are the first hints of potential 2022 Oscar villains starting to appear. A subtweet here, a grimace GIF there. As a leading scholar in the field of Oscar villainy, it’s my duty to collect and catalogue this evidence. Here’s my preliminary ranking of the top 15 Best Picture contenders, as determined by GoldDerby, ordered to most likely arouse social-media conniptions when they inevitably take home the gold.
A villain is nothing without its hero. These are the films that will get showered with praise in the (often unlikely) event they win.
Photo: Janus Films
A three-hour Japanese drama about a grief-stricken actor directing a production of Uncle Vanya might not be the obvious choice to spark a flame war between film critics and Oscar pundits, but welcome to the 2022 awards season. When Drive My Car earned top honors from critic circles, awards prognosticators dinged those groups for making such a purposefully esoteric pick. (Besides its daunting run time, the film has earned less than $1 million at the U.S. box office and is not streaming.) Critics hit back, saying it wasn’t their job to influence the Oscar race; the pundits called critics disingenuous elitists. Because Drive My Car is such an obvious long shot, there is no better way to demonstrate that you are a serious cinephile than by stumping for Ryûsuke Hamaguchi’s film — it proves you’re the rare person who’s actually seen it.
Photo: Netflix
Though it’s backed by the Netflix machine, Maggie Gyllenhaal’s directorial debut is so un-eager to please that it still feels like an awards-season outsider. The Ferrante adaptation spits in the eye of anyone who thinks female protagonists should “be likable,” “have easily explainable motives,” or “not masturbate near small children.” Pwah!
Photo: KIRSTY GRIFFIN/NETFLIX
The other cinephile’s choice in the race and the one that could actually win. Subject-matter-wise, Jane Campion’s skewering of toxic masculinity is irreproachable, and the metanarrative is gold, too. The Power of the Dog is not just the crowning achievement of a female filmmaker who may finally get her due but also her first film of any kind in over a decade. Can you imagine Spielberg or Scorsese having to wait that long?
Photo: Apple TV+
At Sundance, Apple paid $25 million for this little movie about a teenage girl and her horny Deaf family—a record acquisition. There was a time, maybe ten or 15 years ago, when such a gigantic sum of money would have induced a swell of Schadenfreude in the commentariat. As the marketplace for indie film has collapsed, the culture’s moved on from those ill-feelings. Get your money any way you can, filmmakers!
Photo: Courtesy Of Netflix
Anyone can adapt a Broadway smash; much nobler to adapt a one-man show about turning 30 and suffer the slings and arrows of outrageous eye-rolls. Director Lin-Manuel Miranda had the bad luck to become the personification of everything dirtbag leftists and TikTok zoomers find cringy about Obama-era pop culture, but Netflix has done a good job of hiding him and making Andrew Garfield the face of the campaign. And right at the exact moment Garfield found himself in the middle of a Spider-Man-driven blush of goodwill, too!
The line on these films, neither hero nor villain, hasn’t solidified yet. One perfectly crafted tweet could tip it.
Photo: Warner Bros.
Upon King Richard’s release, people tried to do numbers by complaining that the story of the greatest tennis duo of all time was told from the perspective of a man. They were swiftly reminded that Venus and Serena Williams are executive producers on the movie. (The term “white feminism” got a lot of play.) Note that the matter may be readjuciated if Will Smith starts saying more weird sex stuff.
Photo: Warner Bros.
Two years of industry disruption have thrown serious adult movies, the Oscars’s bread and butter, into existential peril. So this season has seen a lot of anxiety over the question of whether the Academy should reach for the metaphorical life preserver and focus more attention on IP-driven blockbusters, which seem to be the only movies anyone’s willing to see in theaters anymore. Dune is the acceptable face of this argument — a smart, stylishly made tentpole that would raise few eyebrows if it won Best Picture. But I don’t get the sense the public is clamoring for it the way they were, say, for Mad Max: Fury Road a few years back.
Photo: A24
Had Joel Coen’s Shakespeare adaptation become a front-runner, I imagine there would have been some annoyance that its premise and pedigree were obvious Academy catnip: Haven’t these people won enough Oscars already? But that didn’t happen, so the film continues to lurk quietly on the edges of the Best Picture conversation.
Photo: 20th Century Studios
Guillermo del Toro’s previous film, The Shape of Water, won both Best Picture and Best Director over critical favorites like Call Me by Your Name, Get Out, and Lady Bird. That’s the kind of thing that sets a guy up for a fall, but while critics were not exactly warm to del Toro’s noir pastiche, any motivation to take him down a peg faded when Nightmare Alley underperformed at the holiday box-office. A black-and-white re-release aims to turn things around, but feels a bit like the cinematic equivalent of wearing a fedora.
Photo: Courtesy of Sony Pictures
There’s nothing inherently wrong with No Way Home, a perfectly enjoyable superhero movie that had the good fortune to come out at a time when the people who enjoy superhero movies were the only people going to theaters. However, its Best Picture candidacy was taken up by many of the same pundits who complain that the Oscars are “too woke” — with the subsequent implication that if you don’t think a Spider-Man sequel is one of the ten best films of the year, you must be a pencil-necked intellectual who would have voted for Adlai Stevenson a third time if you could.
This is the JV squad of Oscar villainy. But if one of them starts taking home trophies, look out.
Photo: Rob Youngson/Focus Features
Alternative Ulster? No thank you: Kenneth Branagh’s black-and-white autobiographical drama is the mainstream, accessible, somewhat basic choice in the race. It is both accurate, and a slight roast, to say Belfast is a movie your grandparents will love. Some internet commentators have compared his centering of Northern Irish Protestants to making a Holocaust movie about the hardships of German civilians. None of these quibbles have coalesced into a sustained critique, though — maybe because the film’s audience remains small or maybe because the 90-minute charmer is simply too modest to hate.
Photo: Niko Tavernise/20th Century Studios
Credit to Steven Spielberg and Tony Kushner, they really did try it. They fleshed out the Puerto Rican characters, turned the Jets into au courant avatars of white resentment, and made a minor character trans. It might as well have been a $100 million subtweet to the writers of And Just Like That: “See, it is possible to update old IP with 21st-century mores without a gigantic button shouting ‘Woke Moment!’ ” Too bad all that effort only increased the salience of the backlash, as West Side Story’s release was greeted by think pieces calling its source material irredeemably racist and those creative changes “pandering.” Add in the sexual-assault allegations against star Ansel Elgort, a sizable mental hurdle for the enlightened film fan, and you can understand why despite a diverse cast and glowing reviews the musical has had a hard time positioning itself as the progressive choice in the race.
Photo: Melinda Sue Gordon/MGM
Yes, it’s a lighthearted romance between a 15-year-old boy and a 20-something woman, but the age-gap hubbub always felt a little obligatory, and anyway it seems to have worn itself out. However, if Paul Thomas Anderson’s film proves to have juice, I suspect there’ll be more controversy to come, particularly around John Michael Higgins’s character, a restaurant owner who speaks to his Japanese wives in a racist accent straight out of Breakfast at Tiffany’s. In the event that Anderson wins Best Original Screenplay, what are the chances that out-of-context clips of those scenes will start going around Twitter? Let’s say … 1,000 percent.
I promise you: Come Oscar night, you will be able to get primo engagement by tweeting a side-eye GIF every time one of the following films wins.
Photo: NIKO TAVERNISE/NETFLIX
Don’t Look Up is a rare sort of Oscar villain. The film’s politics are unimpeachably lefty; it’s just so obnoxious about them it became a hate-object anyway. (Besides, everyone knows you can’t fight climate change by making a star-studded Netflix comedy. True praxis is blogging.) Since reinventing himself as a smarty-pants satirist, Adam McKay tends to get on critics’ nerves, and co-writer David Sirota didn’t do the film any favors when he spent the holidays declaring that anyone who gave Don’t Look Up a negative review was complicit in the destruction of the planet. In the industry, though, McKay is a much less controversial figure. You have to admit Don’t Look Up taking home Best Picture would be a triumph of a certain type of Hollywood self-regard: “The world is gonna end because people are just too interested in us!”
Photo: Glen Wilson/Amazon Prime Video
Aaron Sorkin was already on thin ice, owing to its not being 1999 anymore. Then—spoiler alert—he built his movie’s climax around a heroic intervention by none other than … J. Edgar Hoover?! I’ll say this for Sorkin: He could not have created a more perfect illustration of the philosophical emptiness of MSNBC liberalism if he tried. This has not been a problem for Guild voters, who have lavished the Amazon project with nominations, and made Nicole Kidman the Best Actress front-runner. If the film sneaks into Best Picture, it will do the impossible—uniting in anger art-house fans, the anti-streaming contingent, and those who want the Oscars to reflect mainstream taste. Everyone getting up in arms about the Academy nominating a mediocre showbiz biopic? Perhaps things are back to normal after all.
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";}s:7:"summary";s:653:"From left: Don’t Look Up, Licorice Pizza, Being the Ricardos. Photo-Illustration: Vulture; Photos by Netflix, MGM and Amazon Prime It is a time of transition — for the movies, for the Oscars, and, most important, for Oscar villains. You remember Oscar villains, don’t you? In the before-times, they were the movies that made you groan ... Read more";s:12:"atom_content";s:38889:"
From left: Don’t Look Up, Licorice Pizza, Being the Ricardos. Photo-Illustration: Vulture; Photos by Netflix, MGM and Amazon Prime
It is a time of transition — for the movies, for the Oscars, and, most important, for Oscar villains. You remember Oscar villains, don’t you? In the before-times, they were the movies that made you groan at your television whenever they won an award, Ugh! What did they see in that? If you were watching in the ’80s and ’90s, the Oscar villain might have been a sumptuous period piece from Merchant-Ivory or Miramax, which beat the grittier, more authentic movie you were rooting for. Perhaps it was the middlebrow drama that prevented your favorite director from finally taking home their long-awaited trophy. Or maybe it was a movie that was just plain god-awful. But enough about Crash!
The Oscars have never been above politics. In the Trump years, when everything got more polarized, Hollywood progressivism went up against online progressivism and was frequently found wanting. Major contenders seemed to hide the lurking specter of Trumpism. There was La La Land, in which a white guy held strong opinions about jazz, which shined with nostalgia for an imagined ’50s. Three Billboards Outside Ebbing, Missouri soft-pedaled police brutality. Green Book was an interracial buddy movie whose calculated determination not to offend white audiences itself became offensive. Joker had critics sincerely wondering if an Oscar nominee could inspire a mass shooting.
Whenever I talked to Academy staffers back then, I got the sense they did not exactly love awards season’s perennial backlash cycle. The Oscars were supposed to be the great unifier! But after what has happened since — declining ratings, declining relevance, the sense that the movies they were designed to reward are about to go the way of the dinosaurs — I suspect they’d bite off their arms to see bloggers calling a Best Picture front-runner fascist propaganda. At least then they’d know people were paying attention.
There was no Oscar villain last year. With barely anyone watching, what was the point? However, like the first shoots growing in the spring, so too are the first hints of potential 2022 Oscar villains starting to appear. A subtweet here, a grimace GIF there. As a leading scholar in the field of Oscar villainy, it’s my duty to collect and catalogue this evidence. Here’s my preliminary ranking of the top 15 Best Picture contenders, as determined by GoldDerby, ordered to most likely arouse social-media conniptions when they inevitably take home the gold.
A villain is nothing without its hero. These are the films that will get showered with praise in the (often unlikely) event they win.
Photo: Janus Films
A three-hour Japanese drama about a grief-stricken actor directing a production of Uncle Vanya might not be the obvious choice to spark a flame war between film critics and Oscar pundits, but welcome to the 2022 awards season. When Drive My Car earned top honors from critic circles, awards prognosticators dinged those groups for making such a purposefully esoteric pick. (Besides its daunting run time, the film has earned less than $1 million at the U.S. box office and is not streaming.) Critics hit back, saying it wasn’t their job to influence the Oscar race; the pundits called critics disingenuous elitists. Because Drive My Car is such an obvious long shot, there is no better way to demonstrate that you are a serious cinephile than by stumping for Ryûsuke Hamaguchi’s film — it proves you’re the rare person who’s actually seen it.
Photo: Netflix
Though it’s backed by the Netflix machine, Maggie Gyllenhaal’s directorial debut is so un-eager to please that it still feels like an awards-season outsider. The Ferrante adaptation spits in the eye of anyone who thinks female protagonists should “be likable,” “have easily explainable motives,” or “not masturbate near small children.” Pwah!
Photo: KIRSTY GRIFFIN/NETFLIX
The other cinephile’s choice in the race and the one that could actually win. Subject-matter-wise, Jane Campion’s skewering of toxic masculinity is irreproachable, and the metanarrative is gold, too. The Power of the Dog is not just the crowning achievement of a female filmmaker who may finally get her due but also her first film of any kind in over a decade. Can you imagine Spielberg or Scorsese having to wait that long?
Photo: Apple TV+
At Sundance, Apple paid $25 million for this little movie about a teenage girl and her horny Deaf family—a record acquisition. There was a time, maybe ten or 15 years ago, when such a gigantic sum of money would have induced a swell of Schadenfreude in the commentariat. As the marketplace for indie film has collapsed, the culture’s moved on from those ill-feelings. Get your money any way you can, filmmakers!
Photo: Courtesy Of Netflix
Anyone can adapt a Broadway smash; much nobler to adapt a one-man show about turning 30 and suffer the slings and arrows of outrageous eye-rolls. Director Lin-Manuel Miranda had the bad luck to become the personification of everything dirtbag leftists and TikTok zoomers find cringy about Obama-era pop culture, but Netflix has done a good job of hiding him and making Andrew Garfield the face of the campaign. And right at the exact moment Garfield found himself in the middle of a Spider-Man-driven blush of goodwill, too!
The line on these films, neither hero nor villain, hasn’t solidified yet. One perfectly crafted tweet could tip it.
Photo: Warner Bros.
Upon King Richard’s release, people tried to do numbers by complaining that the story of the greatest tennis duo of all time was told from the perspective of a man. They were swiftly reminded that Venus and Serena Williams are executive producers on the movie. (The term “white feminism” got a lot of play.) Note that the matter may be readjuciated if Will Smith starts saying more weird sex stuff.
Photo: Warner Bros.
Two years of industry disruption have thrown serious adult movies, the Oscars’s bread and butter, into existential peril. So this season has seen a lot of anxiety over the question of whether the Academy should reach for the metaphorical life preserver and focus more attention on IP-driven blockbusters, which seem to be the only movies anyone’s willing to see in theaters anymore. Dune is the acceptable face of this argument — a smart, stylishly made tentpole that would raise few eyebrows if it won Best Picture. But I don’t get the sense the public is clamoring for it the way they were, say, for Mad Max: Fury Road a few years back.
Photo: A24
Had Joel Coen’s Shakespeare adaptation become a front-runner, I imagine there would have been some annoyance that its premise and pedigree were obvious Academy catnip: Haven’t these people won enough Oscars already? But that didn’t happen, so the film continues to lurk quietly on the edges of the Best Picture conversation.
Photo: 20th Century Studios
Guillermo del Toro’s previous film, The Shape of Water, won both Best Picture and Best Director over critical favorites like Call Me by Your Name, Get Out, and Lady Bird. That’s the kind of thing that sets a guy up for a fall, but while critics were not exactly warm to del Toro’s noir pastiche, any motivation to take him down a peg faded when Nightmare Alley underperformed at the holiday box-office. A black-and-white re-release aims to turn things around, but feels a bit like the cinematic equivalent of wearing a fedora.
Photo: Courtesy of Sony Pictures
There’s nothing inherently wrong with No Way Home, a perfectly enjoyable superhero movie that had the good fortune to come out at a time when the people who enjoy superhero movies were the only people going to theaters. However, its Best Picture candidacy was taken up by many of the same pundits who complain that the Oscars are “too woke” — with the subsequent implication that if you don’t think a Spider-Man sequel is one of the ten best films of the year, you must be a pencil-necked intellectual who would have voted for Adlai Stevenson a third time if you could.
This is the JV squad of Oscar villainy. But if one of them starts taking home trophies, look out.
Photo: Rob Youngson/Focus Features
Alternative Ulster? No thank you: Kenneth Branagh’s black-and-white autobiographical drama is the mainstream, accessible, somewhat basic choice in the race. It is both accurate, and a slight roast, to say Belfast is a movie your grandparents will love. Some internet commentators have compared his centering of Northern Irish Protestants to making a Holocaust movie about the hardships of German civilians. None of these quibbles have coalesced into a sustained critique, though — maybe because the film’s audience remains small or maybe because the 90-minute charmer is simply too modest to hate.
Photo: Niko Tavernise/20th Century Studios
Credit to Steven Spielberg and Tony Kushner, they really did try it. They fleshed out the Puerto Rican characters, turned the Jets into au courant avatars of white resentment, and made a minor character trans. It might as well have been a $100 million subtweet to the writers of And Just Like That: “See, it is possible to update old IP with 21st-century mores without a gigantic button shouting ‘Woke Moment!’ ” Too bad all that effort only increased the salience of the backlash, as West Side Story’s release was greeted by think pieces calling its source material irredeemably racist and those creative changes “pandering.” Add in the sexual-assault allegations against star Ansel Elgort, a sizable mental hurdle for the enlightened film fan, and you can understand why despite a diverse cast and glowing reviews the musical has had a hard time positioning itself as the progressive choice in the race.
Photo: Melinda Sue Gordon/MGM
Yes, it’s a lighthearted romance between a 15-year-old boy and a 20-something woman, but the age-gap hubbub always felt a little obligatory, and anyway it seems to have worn itself out. However, if Paul Thomas Anderson’s film proves to have juice, I suspect there’ll be more controversy to come, particularly around John Michael Higgins’s character, a restaurant owner who speaks to his Japanese wives in a racist accent straight out of Breakfast at Tiffany’s. In the event that Anderson wins Best Original Screenplay, what are the chances that out-of-context clips of those scenes will start going around Twitter? Let’s say … 1,000 percent.
I promise you: Come Oscar night, you will be able to get primo engagement by tweeting a side-eye GIF every time one of the following films wins.
Photo: NIKO TAVERNISE/NETFLIX
Don’t Look Up is a rare sort of Oscar villain. The film’s politics are unimpeachably lefty; it’s just so obnoxious about them it became a hate-object anyway. (Besides, everyone knows you can’t fight climate change by making a star-studded Netflix comedy. True praxis is blogging.) Since reinventing himself as a smarty-pants satirist, Adam McKay tends to get on critics’ nerves, and co-writer David Sirota didn’t do the film any favors when he spent the holidays declaring that anyone who gave Don’t Look Up a negative review was complicit in the destruction of the planet. In the industry, though, McKay is a much less controversial figure. You have to admit Don’t Look Up taking home Best Picture would be a triumph of a certain type of Hollywood self-regard: “The world is gonna end because people are just too interested in us!”
Photo: Glen Wilson/Amazon Prime Video
Aaron Sorkin was already on thin ice, owing to its not being 1999 anymore. Then—spoiler alert—he built his movie’s climax around a heroic intervention by none other than … J. Edgar Hoover?! I’ll say this for Sorkin: He could not have created a more perfect illustration of the philosophical emptiness of MSNBC liberalism if he tried. This has not been a problem for Guild voters, who have lavished the Amazon project with nominations, and made Nicole Kidman the Best Actress front-runner. If the film sneaks into Best Picture, it will do the impossible—uniting in anger art-house fans, the anti-streaming contingent, and those who want the Oscars to reflect mainstream taste. Everyone getting up in arms about the Academy nominating a mediocre showbiz biopic? Perhaps things are back to normal after all.
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";s:14:"date_timestamp";i:1644244528;}i:8;a:11:{s:5:"title";s:51:"The Best Kate McKinnon Movies And How To Watch Them";s:4:"link";s:98:"https://bestmovies.debatepost.com/best-movies/the-best-kate-mckinnon-movies-and-how-to-watch-them/";s:2:"dc";a:1:{s:7:"creator";s:7:"Susan P";}s:7:"pubdate";s:31:"Mon, 07 Feb 2022 13:18:39 +0000";s:8:"category";s:34:"Best MoviesKateMcKinnonMoviesWatch";s:4:"guid";s:40:"https://bestmovies.debatepost.com/?p=257";s:11:"description";s:590:"Kate McKinnon had a relatively abrupt Saturday Night Live debut, having joined the cast very late into its 37th season in April 2012. However, I am sure that her final curtain call at Studio 8H will be anything but abrupt since two-time Emmy winner has become of the the sketch comedy series’ most renowned and ... Read more";s:7:"content";a:1:{s:7:"encoded";s:49490:"
Kate McKinnon had a relatively abrupt Saturday Night Live debut, having joined the cast very late into its 37th season in April 2012. However, I am sure that her final curtain call at Studio 8H will be anything but abrupt since two-time Emmy winner has become of the the sketch comedy series’ most renowned and extremely popular talents, with an impressive number of notable big screen credits to show for it.
The star and creator of Peacock’s Joe vs. Carole has never really played the lead in any of her films so far, but might as well have for how brilliantly she has managed steal the show from her top-billed co-stars. Allow us to show why we believe our recommendations for the best Kate McKinnon movies truly deserve to be called “Kate McKinnon movies” in the following list, complete with tips of where to find them available on streaming, for digital rental, or purchase on physical media.
(Image credit: Universal)
Sisters (2015)
Reunited by their parents’ request to help clean their childhood home before it goes on the market, a divorced nurse (Amy Poehler) and her older, but less responsible, sibling (Tina Fey) seek to recapture their youth by throwing a wild party that quickly proves to be a little more wild than they intended.
Why it’s one of Kate McKinnon’s best movies: While she was still something of an SNL legend in-the-making, Kate McKinnon shared the screen with established SNL legends Tina Fey and Amy Poehler in one of the funniest party movies, Sisters, as one of the more scene-stealing guests at their house rager.
An engaged politician (Scarlett Johansson) reunites with her four best friends from college (Kate McKinnon, Jillian Bell, Zoë Kravitz, and Ilana Glazer) to let loose for her bachelorette party getaway in Miami, until it takes a horrifying turn when the stripper they hire suddenly dies.
Why it’s one of Kate McKinnon’s best movies: Kate McKinnon puts on an over-the-top Australian accent to steal the show from Marvel movies star and future wife of an SNL cast member, Scarlett Johansson, and the rest of the all-star cast of Rough Night – another fun, female-driven comedy about recapturing one’s youth, but with a much darker twist.
The manager of a tech company’s struggling Chicago branch (T.J. Miller), his chief technology officer (Jason Bateman), and the head of Research and Development (Olivia Munn) try to save their jobs by hosting an unimaginably extreme “non-denominational holiday mixer” in hopes of striking a business deal with a sought-after client (Courtney B. Vance).
Why it’s one of Kate McKinnon’s best movies: Ironically, Kate McKinnon plays the, initially, least rowdy partier (uptight Human Resources representative, Mary) in what could, arguably, be the finest of her party movies, Office Christmas Party – another star-studded romp that technically counts as a raunchy holiday movie, but it is a good enough time to warrant a viewing at any time of the year.
A pair of disgraced paranormal researchers (Kristen Wiig and Melissa McCarthy), an eccentric nuclear engineer (Kate McKinnon), and a passionate life-long New Yorker (Leslie Jones) team up to prevent Manhattan from evil apparitions terrorizing the city.
Why it’s one of Kate McKinnon’s best movies: Kate McKinnon saved her most uproarious energy in 2016 to play Dr. Jillian “Holtz” Holtzmann (essentially her own version of Harold Ramis’ Dr. Egon Spengler) in director Paul Feig’s all-female remake of Ghostbusters, which may have been met with a polarizing reception, but not for McKinnon’s undeniably hilarious dedication to her role.
In the hope of winning the heart of his attractive co-worker (Kristen Wiig), a guard for an armored truck company (Zach Galifianakis) agrees to help her pull off a huge bank robbery for her conniving lover (Owen Wilson), who ends up betraying him by hiring a bumbling hitman (Jason Sudeikis) to do away with him.
Why it’s one of Kate McKinnon’s best movies: Another time that Kate McKinnon shared the screen with fellow SNL stars Kristen Wiig and Leslie Jones in 2016 was when she played Jandice, the inhumanly calm wife of Zach Galifianakis’ character, in Masterminds – an irreverently comedic dramatization of one of the most profitable heists in U.S. history, from Napoleon Dynamite director Jared Hess.
A community of flightless birds – including the cynical Red (Jason Sudeikis), the super fast Chuck (Josh Gad), and the literally explosive Bomb (Danny McBride) – are forced to band together and fight back against an organization of disgusting green pigs who arrive, threatening to take over their secluded, serene island home.
Why it’s one of Kate McKinnon’s best movies: Another time that Kate McKinnon shared the screen with fellow SNL star Jason Sudeikis in 2016 was when she leant her voice to play two different roles (Stella and Eva) in The Angry Birds Movie – the epic, big screen adaptation of one of the most popular mobile gaming apps in history.
After he is mistaken for a wild beast and forcibly brought to a camp for bullfight training in Spain, an imposing, yet friendly and gentle, bull (John Cena) enlists the help of his new friends to help him escape and reunite with his human family.
Why it’s one of Kate McKinnon’s best movies: One of Kate McKinnon’s even funnier and more prominent voice acting roles was as a neurotic, elderly goat named Lupe, who befriends’ John Cena’s titular goat hero in Ferdinand – a sweet, animated adaptation of writer Munro Leaf and illustrator Robert Lawson’s beloved children’s book, and one of the best movies by Blue Sky Studios in more recent years.
After she goes through a painful break-up with her boyfriend (Justin Theroux), who ended things with a text message, a woman (Milano Kunis) discovers that her ex was actually a secret agent, which leads her and her best friend (Kate McKinnon) to become embroiled in an international conspiracy and forces them to go on the run in Europe.
Why it’s one of Kate McKinnon’s best movies: One of Kate McKinnon’s funniest and most prominent live action movie roles was as (no joke) Morgan Freeman – the free-spirited roommate and best friend of Mila Kunis’ character who is full of surprises in The Spy Who Dumped Me – a thrill-a-minute, laugh-a-minute hybrid of romantic comedies, buddy cop movies, and espionage thrillers directed by Booksmart co-writer Susanna Fogel.
A young, hopelessly struggling musician from England (Himesh Patel) finally achieves the success he has always dreamed of, but by peculiar means: he has suddenly become one of three people in the world to be familiar with the music of The Beatles and begins passing off their groundbreaking hits as his own creations.
Why it’s one of Kate McKinnon’s best movies: Kate McKinnon gives, just about, the most hilarious performance in Yesterday – the inventive, musical fantasy dramedy from writer Richard Curtis and Academy Award-winning director Danny Boyle – as Ed Sheeran’s demanding, brutally honest manager, Debra Hammer, who meets Himesh Patel’s character, Jack, and makes him into a star.
A bright, young journalist (Academy Award nominee Margot Robbie) lands her dream job at Fox News, only to fall prey to the sexual advances of CEO Roger Ailes (John Lithgow), which inspires her to join high-profile correspondents Megyn Kelly (nearly unrecognizable Academy Award winner Charlize Theron) and Gretchen Carlson (Academy Award winner Nicole Kidman) in a plot to expose Ailes for the toxic environment he has created behind the scenes.
Why it’s one of Kate McKinnon’s best movies: Kate McKinnon gives, without question, the most hilarious performance in the Bombshell cast in director Jay Roach’s otherwise disturbing, Oscar-winning dramatization of scandalous activity at the country’s most popular conservative media outlet – as a Fox News employee with a few secrets of her own who is actually a composite character inspired by first-hand accounts of the events that inspired the film.
Real-life scandal is also the driving force of Kate McKinnon’s next big project – the aforementioned Peacock exclusive limited series Joe vs. Carole, which we know offers a dramatized account of the the events that inspired the hit Netflix docuseries, Tiger King. She has also leant her voice to DC League of Super-Pets alongside Dwayne Johnson and Kevin Hart, and of course, you can still catch her on Saturday Night Live, where she is also known to poke fun at Fox News personalities like Laura Ingraham with spot-on impersonations.
We would love to say thanks to the writer of this article for this remarkable material
";}s:7:"summary";s:590:"Kate McKinnon had a relatively abrupt Saturday Night Live debut, having joined the cast very late into its 37th season in April 2012. However, I am sure that her final curtain call at Studio 8H will be anything but abrupt since two-time Emmy winner has become of the the sketch comedy series’ most renowned and ... Read more";s:12:"atom_content";s:49490:"
Kate McKinnon had a relatively abrupt Saturday Night Live debut, having joined the cast very late into its 37th season in April 2012. However, I am sure that her final curtain call at Studio 8H will be anything but abrupt since two-time Emmy winner has become of the the sketch comedy series’ most renowned and extremely popular talents, with an impressive number of notable big screen credits to show for it.
The star and creator of Peacock’s Joe vs. Carole has never really played the lead in any of her films so far, but might as well have for how brilliantly she has managed steal the show from her top-billed co-stars. Allow us to show why we believe our recommendations for the best Kate McKinnon movies truly deserve to be called “Kate McKinnon movies” in the following list, complete with tips of where to find them available on streaming, for digital rental, or purchase on physical media.
(Image credit: Universal)
Sisters (2015)
Reunited by their parents’ request to help clean their childhood home before it goes on the market, a divorced nurse (Amy Poehler) and her older, but less responsible, sibling (Tina Fey) seek to recapture their youth by throwing a wild party that quickly proves to be a little more wild than they intended.
Why it’s one of Kate McKinnon’s best movies: While she was still something of an SNL legend in-the-making, Kate McKinnon shared the screen with established SNL legends Tina Fey and Amy Poehler in one of the funniest party movies, Sisters, as one of the more scene-stealing guests at their house rager.
An engaged politician (Scarlett Johansson) reunites with her four best friends from college (Kate McKinnon, Jillian Bell, Zoë Kravitz, and Ilana Glazer) to let loose for her bachelorette party getaway in Miami, until it takes a horrifying turn when the stripper they hire suddenly dies.
Why it’s one of Kate McKinnon’s best movies: Kate McKinnon puts on an over-the-top Australian accent to steal the show from Marvel movies star and future wife of an SNL cast member, Scarlett Johansson, and the rest of the all-star cast of Rough Night – another fun, female-driven comedy about recapturing one’s youth, but with a much darker twist.
The manager of a tech company’s struggling Chicago branch (T.J. Miller), his chief technology officer (Jason Bateman), and the head of Research and Development (Olivia Munn) try to save their jobs by hosting an unimaginably extreme “non-denominational holiday mixer” in hopes of striking a business deal with a sought-after client (Courtney B. Vance).
Why it’s one of Kate McKinnon’s best movies: Ironically, Kate McKinnon plays the, initially, least rowdy partier (uptight Human Resources representative, Mary) in what could, arguably, be the finest of her party movies, Office Christmas Party – another star-studded romp that technically counts as a raunchy holiday movie, but it is a good enough time to warrant a viewing at any time of the year.
A pair of disgraced paranormal researchers (Kristen Wiig and Melissa McCarthy), an eccentric nuclear engineer (Kate McKinnon), and a passionate life-long New Yorker (Leslie Jones) team up to prevent Manhattan from evil apparitions terrorizing the city.
Why it’s one of Kate McKinnon’s best movies: Kate McKinnon saved her most uproarious energy in 2016 to play Dr. Jillian “Holtz” Holtzmann (essentially her own version of Harold Ramis’ Dr. Egon Spengler) in director Paul Feig’s all-female remake of Ghostbusters, which may have been met with a polarizing reception, but not for McKinnon’s undeniably hilarious dedication to her role.
In the hope of winning the heart of his attractive co-worker (Kristen Wiig), a guard for an armored truck company (Zach Galifianakis) agrees to help her pull off a huge bank robbery for her conniving lover (Owen Wilson), who ends up betraying him by hiring a bumbling hitman (Jason Sudeikis) to do away with him.
Why it’s one of Kate McKinnon’s best movies: Another time that Kate McKinnon shared the screen with fellow SNL stars Kristen Wiig and Leslie Jones in 2016 was when she played Jandice, the inhumanly calm wife of Zach Galifianakis’ character, in Masterminds – an irreverently comedic dramatization of one of the most profitable heists in U.S. history, from Napoleon Dynamite director Jared Hess.
A community of flightless birds – including the cynical Red (Jason Sudeikis), the super fast Chuck (Josh Gad), and the literally explosive Bomb (Danny McBride) – are forced to band together and fight back against an organization of disgusting green pigs who arrive, threatening to take over their secluded, serene island home.
Why it’s one of Kate McKinnon’s best movies: Another time that Kate McKinnon shared the screen with fellow SNL star Jason Sudeikis in 2016 was when she leant her voice to play two different roles (Stella and Eva) in The Angry Birds Movie – the epic, big screen adaptation of one of the most popular mobile gaming apps in history.
After he is mistaken for a wild beast and forcibly brought to a camp for bullfight training in Spain, an imposing, yet friendly and gentle, bull (John Cena) enlists the help of his new friends to help him escape and reunite with his human family.
Why it’s one of Kate McKinnon’s best movies: One of Kate McKinnon’s even funnier and more prominent voice acting roles was as a neurotic, elderly goat named Lupe, who befriends’ John Cena’s titular goat hero in Ferdinand – a sweet, animated adaptation of writer Munro Leaf and illustrator Robert Lawson’s beloved children’s book, and one of the best movies by Blue Sky Studios in more recent years.
After she goes through a painful break-up with her boyfriend (Justin Theroux), who ended things with a text message, a woman (Milano Kunis) discovers that her ex was actually a secret agent, which leads her and her best friend (Kate McKinnon) to become embroiled in an international conspiracy and forces them to go on the run in Europe.
Why it’s one of Kate McKinnon’s best movies: One of Kate McKinnon’s funniest and most prominent live action movie roles was as (no joke) Morgan Freeman – the free-spirited roommate and best friend of Mila Kunis’ character who is full of surprises in The Spy Who Dumped Me – a thrill-a-minute, laugh-a-minute hybrid of romantic comedies, buddy cop movies, and espionage thrillers directed by Booksmart co-writer Susanna Fogel.
A young, hopelessly struggling musician from England (Himesh Patel) finally achieves the success he has always dreamed of, but by peculiar means: he has suddenly become one of three people in the world to be familiar with the music of The Beatles and begins passing off their groundbreaking hits as his own creations.
Why it’s one of Kate McKinnon’s best movies: Kate McKinnon gives, just about, the most hilarious performance in Yesterday – the inventive, musical fantasy dramedy from writer Richard Curtis and Academy Award-winning director Danny Boyle – as Ed Sheeran’s demanding, brutally honest manager, Debra Hammer, who meets Himesh Patel’s character, Jack, and makes him into a star.
A bright, young journalist (Academy Award nominee Margot Robbie) lands her dream job at Fox News, only to fall prey to the sexual advances of CEO Roger Ailes (John Lithgow), which inspires her to join high-profile correspondents Megyn Kelly (nearly unrecognizable Academy Award winner Charlize Theron) and Gretchen Carlson (Academy Award winner Nicole Kidman) in a plot to expose Ailes for the toxic environment he has created behind the scenes.
Why it’s one of Kate McKinnon’s best movies: Kate McKinnon gives, without question, the most hilarious performance in the Bombshell cast in director Jay Roach’s otherwise disturbing, Oscar-winning dramatization of scandalous activity at the country’s most popular conservative media outlet – as a Fox News employee with a few secrets of her own who is actually a composite character inspired by first-hand accounts of the events that inspired the film.
Real-life scandal is also the driving force of Kate McKinnon’s next big project – the aforementioned Peacock exclusive limited series Joe vs. Carole, which we know offers a dramatized account of the the events that inspired the hit Netflix docuseries, Tiger King. She has also leant her voice to DC League of Super-Pets alongside Dwayne Johnson and Kevin Hart, and of course, you can still catch her on Saturday Night Live, where she is also known to poke fun at Fox News personalities like Laura Ingraham with spot-on impersonations.
We would love to say thanks to the writer of this article for this remarkable material
";s:14:"date_timestamp";i:1644239919;}i:9;a:11:{s:5:"title";s:39:"The Best Movies We Saw at Sundance 2022";s:4:"link";s:86:"https://bestmovies.debatepost.com/best-movies/the-best-movies-we-saw-at-sundance-2022/";s:2:"dc";a:1:{s:7:"creator";s:13:"Trish Bottler";}s:7:"pubdate";s:31:"Mon, 07 Feb 2022 12:45:37 +0000";s:8:"category";s:25:"Best MoviesMoviesSundance";s:4:"guid";s:40:"https://bestmovies.debatepost.com/?p=251";s:11:"description";s:589:"These are our picks for the 15 best movies at Sundance 2022, including Kogonada’s sophomore feature and two films starring Dakota Johnson Sundance Institute (Photo by Jonathan Hickerson) By Film School Rejects · Published on February 7th, 2022 For the second year in a row, the Sundance Film Festival met its guests as a mostly virtual event. ... Read more";s:7:"content";a:1:{s:7:"encoded";s:9807:"
These are our picks for the 15 best movies at Sundance 2022, including Kogonada’s sophomore feature and two films starring Dakota Johnson
Sundance Institute (Photo by Jonathan Hickerson)
By Film School Rejects · Published on February 7th, 2022
For the second year in a row, the Sundance Film Festival met its guests as a mostly virtual event. It was a surprise of sorts, but with wishful thinking dashed, in-person attendance pivoted to an online audience. As a result, we were treated with a far more traditional but still pleasantly eclectic collection of movies.
As per usual, several films came to the festival with distribution deals in tow (After Yang, We Need To Talk About Cosby, Navalny, etc.), while other award winners like Nanny and Framing Agnes still ponder their theatrical or streaming future. The festival featured a cadre of favored talents, but often, our hearts rested with the discoveries. Sundance delivered many surprises to kick off the year, and we’re eager to celebrate.
Among us — including four FSR contributors (Rob, Brad, Luke, and Valerie) and one representing our sister site, Nonfics (Christopher) — we covered a lot of ground reviewing 24 features and watching numerous others. Now it’s time to spotlight our favorites, many of which we haven’t already reviewed.
After Yang
A24
Kogonada’s sophomore feature is a pleasant sit until it’s not. He makes films that are carefully constructed and profoundly considered. The frame is managed, and you want to hang within it for as long as you can, and he is more than happy to let an image linger for your comfort. But while you’re hanging back, his characters are racing forward. Their evolution from beginning to end is radical, though quiet. And as you appreciate the craft and count the pretty pictures, you’re also falling deeper and deeper into their emotional mayhem.
After Yang concludes silently, but the impact left behind is bombastic. The science fiction ideas may appear grander than what Kogonada sought in Columbus, his first feature, but the internal condition traversed remains the same. The threat technology presents to humanity is self-inflicted. The only thing getting in our way is us. (Brad Gullickson)
Check out Brad’s review of After Yang.
Am I OK?
Picturestart
While film festivals in general, and Sundance in particular, are often home to serious, hard-hitting, emotionally draining movies, they also get their share of fluff. This tale of friendship and self-awakening from directors Stephanie Allynne and Tig Notaro is as lightweight as they come, but the damn thing is also immensely charming. A big part of that is due to the lead performances from Dakota Johnson and Sonoya Mizuno. The two play best friends about to face some difficult and challenging realizations about identity and their future, and the result is sweet, funny, and affecting in ways that leave you smiling. Sometimes that’s more than enough. (Rob Hunter)
Check out Brad’s review of Am I OK?
Cha Cha Real Smooth
Picturestart
Do I have a soft spot for Dakota Johnson? Maybe, but just because I’m picking a second of her Sundance films as among my favorites doesn’t mean the film itself isn’t the reason why. Writer-director Cooper Raiff follows up the emotionally open and emotionally fueled Shithouse (2019) with another coming-of-age tale. Raiff also once again plays the lead, a young man trying to figure things out post-college, who falls into a rut and into love with Johnson’s older woman. Things don’t go where you expect, and instead, the film finds laughs amid its honesty. (Rob Hunter)
Check out Rob’s review of Cha Cha Real Smooth.
Emergency
Suspense comes in all forms, and while most movies find a high-concept or elaborate setup to jumpstart their tale, Emergency crafts tension out of the mundane. Three friends find an unconscious girl in their living room — she’s white, and they’re young men of color — and what should be a simple matter of calling the police/ambulance instead takes on new risks. The optics of the situation are not good and fearing an outcome all too familiar on the local news, they try to get her to a hospital.
Director Carey Williams and writer KD Davila craft a harrowing ride as we understand the fears driving otherwise teeth-clenching decisions, and the result is a steady climb in tension as we worry about these characters. The performances add to our concern making for an unforgettable journey. (Rob Hunter)
Emily the Criminal
Low Spark Films
Aubrey Plaza is just an eminently watchable talent. From her delivery to her silence, she’s an actor who holds our attention no matter the context, and that continues here even as she plays a young woman who slides into a world of illegal activities and violence. Writer-director John Patton Ford delivers a tight little tale about economic anxiety and unchecked ambition, and Plaza’s journey down the rabbit hole leads to some truly tense sequences. Expect comparisons to Uncut Gems, but here we’re given a protagonist who earns our sympathy even as she sinks deeper and deeper. Not everyone’s American Dream ends the same. (Rob Hunter)
Check out Rob’s review of Emily the Criminal.
Related Topics: Sundance
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";}s:7:"summary";s:589:"These are our picks for the 15 best movies at Sundance 2022, including Kogonada’s sophomore feature and two films starring Dakota Johnson Sundance Institute (Photo by Jonathan Hickerson) By Film School Rejects · Published on February 7th, 2022 For the second year in a row, the Sundance Film Festival met its guests as a mostly virtual event. ... Read more";s:12:"atom_content";s:9807:"
These are our picks for the 15 best movies at Sundance 2022, including Kogonada’s sophomore feature and two films starring Dakota Johnson
Sundance Institute (Photo by Jonathan Hickerson)
By Film School Rejects · Published on February 7th, 2022
For the second year in a row, the Sundance Film Festival met its guests as a mostly virtual event. It was a surprise of sorts, but with wishful thinking dashed, in-person attendance pivoted to an online audience. As a result, we were treated with a far more traditional but still pleasantly eclectic collection of movies.
As per usual, several films came to the festival with distribution deals in tow (After Yang, We Need To Talk About Cosby, Navalny, etc.), while other award winners like Nanny and Framing Agnes still ponder their theatrical or streaming future. The festival featured a cadre of favored talents, but often, our hearts rested with the discoveries. Sundance delivered many surprises to kick off the year, and we’re eager to celebrate.
Among us — including four FSR contributors (Rob, Brad, Luke, and Valerie) and one representing our sister site, Nonfics (Christopher) — we covered a lot of ground reviewing 24 features and watching numerous others. Now it’s time to spotlight our favorites, many of which we haven’t already reviewed.
After Yang
A24
Kogonada’s sophomore feature is a pleasant sit until it’s not. He makes films that are carefully constructed and profoundly considered. The frame is managed, and you want to hang within it for as long as you can, and he is more than happy to let an image linger for your comfort. But while you’re hanging back, his characters are racing forward. Their evolution from beginning to end is radical, though quiet. And as you appreciate the craft and count the pretty pictures, you’re also falling deeper and deeper into their emotional mayhem.
After Yang concludes silently, but the impact left behind is bombastic. The science fiction ideas may appear grander than what Kogonada sought in Columbus, his first feature, but the internal condition traversed remains the same. The threat technology presents to humanity is self-inflicted. The only thing getting in our way is us. (Brad Gullickson)
Check out Brad’s review of After Yang.
Am I OK?
Picturestart
While film festivals in general, and Sundance in particular, are often home to serious, hard-hitting, emotionally draining movies, they also get their share of fluff. This tale of friendship and self-awakening from directors Stephanie Allynne and Tig Notaro is as lightweight as they come, but the damn thing is also immensely charming. A big part of that is due to the lead performances from Dakota Johnson and Sonoya Mizuno. The two play best friends about to face some difficult and challenging realizations about identity and their future, and the result is sweet, funny, and affecting in ways that leave you smiling. Sometimes that’s more than enough. (Rob Hunter)
Check out Brad’s review of Am I OK?
Cha Cha Real Smooth
Picturestart
Do I have a soft spot for Dakota Johnson? Maybe, but just because I’m picking a second of her Sundance films as among my favorites doesn’t mean the film itself isn’t the reason why. Writer-director Cooper Raiff follows up the emotionally open and emotionally fueled Shithouse (2019) with another coming-of-age tale. Raiff also once again plays the lead, a young man trying to figure things out post-college, who falls into a rut and into love with Johnson’s older woman. Things don’t go where you expect, and instead, the film finds laughs amid its honesty. (Rob Hunter)
Check out Rob’s review of Cha Cha Real Smooth.
Emergency
Suspense comes in all forms, and while most movies find a high-concept or elaborate setup to jumpstart their tale, Emergency crafts tension out of the mundane. Three friends find an unconscious girl in their living room — she’s white, and they’re young men of color — and what should be a simple matter of calling the police/ambulance instead takes on new risks. The optics of the situation are not good and fearing an outcome all too familiar on the local news, they try to get her to a hospital.
Director Carey Williams and writer KD Davila craft a harrowing ride as we understand the fears driving otherwise teeth-clenching decisions, and the result is a steady climb in tension as we worry about these characters. The performances add to our concern making for an unforgettable journey. (Rob Hunter)
Emily the Criminal
Low Spark Films
Aubrey Plaza is just an eminently watchable talent. From her delivery to her silence, she’s an actor who holds our attention no matter the context, and that continues here even as she plays a young woman who slides into a world of illegal activities and violence. Writer-director John Patton Ford delivers a tight little tale about economic anxiety and unchecked ambition, and Plaza’s journey down the rabbit hole leads to some truly tense sequences. Expect comparisons to Uncut Gems, but here we’re given a protagonist who earns our sympathy even as she sinks deeper and deeper. Not everyone’s American Dream ends the same. (Rob Hunter)
Check out Rob’s review of Emily the Criminal.
Related Topics: Sundance
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