Before any of you Tony Romo fanboys get your panties in a bunch, I'm of the opinion that if the Cowboys owner Jerry Jones hadn't waited until Tony's spine collapsed to give him some protection with a decent offensive line, Romo would have had a much different career. It's just that by the time Dallas stopped spending all of their resources on receivers and finally drafted some stellar lineman, the damage had already been done and Dak Prescott was there to swoop in and take the starting job. But as it stands, Tony Romo was a very, VERY good quarterback that never achieved greatness. His most memorable career moments are dating Jessica Simpsons and fumbling the hold on an extra point. But he was incredibly talented. And thus, these are the films that comprise the Tony Romo Tier of 2023 Films.
#32. American Fiction
Cord Jefferson, one of Hollywood's most talented writers on the rise with credits ranging from The Good Place to Master of None to HBO's Watchmen series, makes his feature film debut directing this modern adaptation of Percival Everett's book about a frustrated novelist who invents a stereo-typically black alter ego to exploit the entertainment industry's hollow interest in showcasing "Black" entertainment. And while race is usually a solemn topic, Cord Jefferson approaches the subject with a refreshingly humorous take on liberal racism that exposes the prioritization absolving white guilt over anything else. It's an incredibly clever premise which examines how often the "Black" experience is restricted to stories about slavery, police brutality and hip hop. I just wish it had stuck to this interesting social commentary instead of diverging into the familiar terrain of trying to handle an aging parent with fading mental capacity. But even as the narrative tends to wander, the cast assembled here is first rate. Jeffrey Wright is stunning as ever in the lead role but for me it was Sterling K. Brown who jumped off the screen in his every appearance. A fun and thoughtful story that is maybe a little too preoccupied with family dynamics, but nevertheless, is a joy to take in.
#31. Ferrari
I could care less about cars but I'll take any excuse to get Michael Mann back in the director's chair. And he does a brilliant job of depicting just how nerve-racking it must have been strapping yourself into one of these experimental, roadway rockets with some sensationally stunning racing scenes. Granted, some of the crashes look a little goofy; like they might have been glitches in an N64 racing game. But the storytelling was strong enough that I don't think the shortcomings of the visual effects hindered the overall result. Especially given how convincing his practical racing sequences turned out, making you feel like you're strapped in a sidecar for these 100 mile an hour breakneck speed relays. And as great as the racing scenes are, it's the scenes between Adam Driver and Penelope Cruz that really make this film worth watching. They're both at the top of their game here and absolutely deserving of some award recognition being thrown their way. This film does a great job of encapsulating one man's story without having to literally tell you his entire life story. As director Michael Mann put it, that's what the history channel is for
#30. Pain Hustlers
I'm sure it's made him a very wealthy man but I for one am glad to see David Yates directing films outside of the Wizarding Worlds of Fantastic Beasts or Harry Potter for a change. It's not the most compelling narrative but his balance of dark humor and drama showcase an untapped capacity for more adult fare in his future and I'm all here for it. Plus, the spectacular performances from Emily Blunt and Chris Evans certainly help. I never thought Evans would really thrive outside of the MCU but his turn as a douchey, rapping pharmaceutical rep is pretty tremendous. Emily Blunt is extraordinary in the central role, proving that she's one of the most compelling actresses working today and capable of leading just about anything. It's not the most revelatory film on big pharma but it's still an effectively entertaining and well told story nonetheless.
#29. Scream VI
I know I'm almost certainly in the minority here but I think after 5 tries, they've finally made the best Scream movie this year. I was obviously hesitant at first because of my disappointment with the previous installments in this series but I think the decision to focus on developing this new core-four cast of characters and stop fixating on self-indulgent meta subtext really paid off. Melissa Barrera and Jenna Ortega have anchored this rebirth of the series with their sensational chemistry and given this franchise a compelling through line beyond the ham-fisted horror references and a dude making prank phone calls before he kills them. I mean, who would have thought the Scream franchise would outlive making phone calls? This is an incredibly dumb but fun, violent, whodunit slasher flick that benefits greatly from dropping the cutesy 4th wall breaking satire. It's just a shame that once they finally seem to have gotten this franchise to a place that I enjoy; they've lost Scream V and VI directors Matt Bettinelli-Olpin and Tyler Gillett, the intended replacement writer/director Christopher Landon who quit after Spyglass fired Melissa Barrera from the next installment, and Jenna Ortega has bounced as well. So as soon as my enthusiasm has finally arrived for the Scream franchise, it has rapidly deteriorated even further than it was before these legacy sequels hit. Doof.
Check out our list of the Top 10 Horror Sequels of All Time HERE
#28. No Hard Feelings
It's kind of shocking that it's taken us this long to get Jennifer Lawrence leading her own comedy film because she's absolutely phenomenal in this. And don't be fooled into thinking that her Academy Award winning pedigree puts her in a place where she's not willing to go 110% to sell a joke. She's fully committed here, particularly in selling the shock value of this awkward sex comedy that does an incredibly good job at dissecting the changing generational views on sexuality. But aside from being just a goofy gross out comedy, I found this film to be surprisingly more heartfelt than funny. Maybe that's due to the majority of the big setups being spoiled in the trailers but ultimately I think it's the sagacious script that takes what could have been a one-note series of easy jokes and adds a depth to these albeit exaggerated characters to the point where it's much easier to invest in their plights than if they were just serving up a crude series of provocatively vulgar punchlines.
#27. The Machine
Another R-rated comedy I found to be unexpectedly endearing was Bert Kreischer's full length re-enactment/continuation of the now infamous story stemming from his real life college years. And I get how that kind of self-involvement can be a turn off for most viewers. I've never really been a huge fan of his stand-up specials as he seems to be more amused with himself than the audience is, giggling at his own jokes at a Jimmy Fallon level of self-delight. Oh, and he tends to take his shirt off a lot. Which some could see as an impressive display of confidence, while others might interpret as somebody that's way too full of themselves. And even though the movie opens with a highlight reel of Bert's headlines (although are they really headlines if I've never heard of this dude until this year?) the story turns into a weird kind of coming-of-middle-age stoner comedy, where Bert learns not to make everything about himself. Even if it's nestled in a movie about himself, where he stars as himself. I still found it incredibly enjoyable and delightfully funny. Plus Mark Hamill adds some merit to the proceedings and Jimmy Tatro is spectacular as the young Bert.
#26. Guardians of the Galaxy Volume 3
One of the lone remaining bright spots of the MCU comes to a (momentary) conclusion with this final entry in James Gunn's Guardians trilogy, as Gunn is set to move on to orchestrating a rebuild of the DCU and close this chapter on the band of intergalactic misfits he introduced us to almost a decade ago. And while it's a little bloated, Gunn sends the Guardians off in style, while positioning the next phase of these characters in a promising potential for continuation. Even though it's painfully obvious they have no idea what to do with the post-Endgame iteration of Gamora, which leaves her relationship with Starlord in a frustrating place. Rocket Raccoon and his backstory are what serves as the emotional core and strongest asset that Volume 3 has to offer. Not to mention Chukwudi Iwuji's spectacular performance as the villainous High Evolutionary. Overall this is a solid send off for one of Marvel's most unexpected success stories, leaving some massive shoes to fill in the wake of Gunn's exit.
#25. The Beanie Bubble
I'm not sure anyone was begging for a Beanie Babies origin story but I have to admit, this film was pretty captivating. The time-jump narrative structure was a tad disorienting at first but it's definitely justified in the way the film reaches it's conclusion, even if it can be distracting upon first impression. Zach Galifianakis is unrecognizable (mostly because he shaved his trademark beard) as the bumbling man child who ultimately just wants to play with his toys and be fawned over as some kind of cultural genius. And I loved that this film pushed against the tired delusion of CEOs being portrayed as uncompromising geniuses who single-handedly will their way into success. This dude thanklessly sponged off of three different women who helped to build his idea into prominence while taking all of the credit for himself and falling flat on his face the second they left his side. So many of these overnight success stories force an individualist ideology onto one primary figure instead of accurately representing (or even acknowledging) the full collective of contributing factors that play into a success of this magnitude.
#24. The Creator
I scoffed at the notion that John David Washington was the reason that Tenet didn't work but after seeing him in this, maybe I'm not so sure about him as a leading man...I will say that the script here felt a little underdeveloped but Gareth Edwards' propensity for fleshing out massively scaled, beautifully imaginative, expansive environments is unparalleled in this age of bland CGI character design and set decoration. He's able to accomplish this world building exposition stunningly quick, within the first 20 minutes of the film. This picture did remind me a lot of Neil Blomkamp's follow up to District 9, Elysium, in that it felt like there was so much emphasis on detailing the environment that the story was treated like an afterthought. Like an immersive video game with a beautiful atmosphere and so-so story. But as a purely sensory experience, this was good enough for me. And with all of the AI vilification in stories this year, it was nice to see someone point out that AI technology isn't what's dangerous - it's how we as humans choose to use it that will determine it's impact on the world.
#23. The Super Mario Bros Movie
I know a lot of people have bemoaned how simplistic this adaptation of the long running video game series turned out but I for one enjoyed the fact that this film didn't dwell on trying to build out an unnecessary backstory to the nonsensical premise of a New York plumber and his brother fighting giant mutant turtles in their quest to save a fantastical mushroom kingdom. Who plays a Super Mario game for the story? Instead, this film rightfully focuses on the rich library of beautifully developed characters and the environments they've spent over 30 years cultivating. And yeah, Chris Pratt probably wasn't the best choice for Mario but the deep roster of characters keeps you from being stuck with just him for the whole film. I mean, the best part of the movie was that adorably nihilistic blue star (which I guess is called Lumalee?) so who cares about Mario's accent when you've got the cutest character imaginable spouting the most depressing expressions you've ever heard snuck into a kid's movie. And good lord, Jack Black as Bowser is impeccable. Now if we can just get Pedro Pascal as Wario in the sequel...
#22. They Cloned Tyrone
Even though it's not quite on the same level as the racially charged, sci-fi themed social commentaries it's trying to emulate (i.e. Us or Sorry to Bother You), the quick witty dialogue and entrancing rapport between John Boyega, Teyonah Parris and Jamie Foxx (who continues to prove how undervalued he is as a comedic talent) make this conspiratorial comedy about Black mind control a terrifically stylish trip. This is exactly the kind of niche genre film that Netflix is perfect for platforming, where the creative team is free to get as weird as they want to be without having to worry about commercial appeal in the slightest. And because of that, this movie flourishes with a free and easy swagger that's undeniably fun. As bleak as the subject matter is, the trio of tour guides are so invigorating that it'd be a joy spending time with them doing almost anything. I will say that the leads crack the code of the master scheme at hand without a whole lot of resistance but the film emits such a strong charismatic presence with it's throwback 1970's blaxploitation charm that it's incredibly easy to become absorbed in the journey at hand irregardless.
#21. When Evil Lurks
This Argentinean horror film about a viral demonic presence culminating in the birth of pure evil incarnate is disorientingly unique if nothing else. At best though, it's one of the most shockingly horrific and grim depictions of an apocalyptic outbreak you'll find anywhere. "The Rotten", as they're called in this film, aren't given much of backstory and what is explored isn't 100% airtight but the film's devilishly gruesome kill scenes are unlike anything I've come across in a long, long time. I mean, who saw that fucking dog scene coming? Some absolutely brutal and chaotic shit going down here. It takes a lot to shock me at this point in my movie going experience and this film succeeded in doing so, more than a couple of times. Demian Rugna is definitely a filmmaker I'm going to be following from here on out and probably someone whom I need to dig through their back catalog as well. This guy seems to know what the hell he's doing.
#20. A Thousand and One
Writer/director A.V. Rockwell makes one of the most inspired debuts of the year with this emotionally charged, intimate family portrait highlighting a mother fighting to keep her place within her evolving home of New York City. Teyana Taylor is the breakout star of the year with her powerhouse performance at the center of this tale of urban gentrification and the hypocrisy of how the city treats her in this film's closing moments. She's incredible. So is William Catlett. It's fascinating to watch her character's growth throughout this film while the environment around her slowly develops this threatening aura; growing in the peripheral, just beneath the surface until it finally erupts. It's a fascinating (and heartbreaking) exploration of the foster care system and how slowly gentrification can force it's way into a community until it's completely overtaken it. Expertly executed in nearly every capacity, this is a promising first feature for A.V. Rockwell and I can't wait to see what she tackles next. Oh and the soundtrack from Gary Gunn fucking slaps.
#19. The Covenant
In all honesty, before this the only Guy Ritchie films I'd seen were The Gentlemen and Aladdin. I tried watching Lock, Stock and Two Smoking Barrels but fell asleep -although that was a decade ago so maybe I should give it another shot. Anyways, all of that is to say, I didn't expect much from this film and it absolutely blew me away. Outside of Black Hawk Down, our depictions of the military conflicts in the middle east haven't been the most endearing stories of humanitarianism. But this film strips away all of the political grandstanding to tell a more human story about the bond formed between two unlikely allies - an American military Sergeant and his local Afghani interpreter. And the true story of survival, as stunning as it is, isn't what sold me on this film. It was the detailed depiction of the commonly overlooked individuals on the ground floor and the seemingly insurmountable circumstances they find themselves in given the risk they're willing to subject themselves to in the name of a larger cause. It's a galvanizing story of perseverance which is just as effectively moving as it is thrilling (maybe even more so).
Check out our list of the Top 10 War Movies of All Time HERE
#18. Thanksgiving
I was a little disappointed to see that Eli Roth had elected to ditch the 1980's aesthetic of the original faux trailer from Grindhouse (which I can't believe has already been 16 freaking years ago) in favor of a 90's tinged whodunit slasher hybrid of My Bloody Valentine and Urban Legend that would have thrived in the post-Scream/I Know What You Did Last Summer horror landscape. Although, this long gestating feature length realization mostly lives up to expectations nonetheless. It definitely leans into the absurdity of the premise, highlighting Roth's proclivity for seamlessly blending horror and comedy incredibly successfully. It plays things just straight enough to keep the uninitiated involved in the proceedings while playing to the informed fans' pre-existing dispositions as well, which is not an easy balancing act to achieve. Most importantly though, I'm just thrilled to be getting a new Eli Roth horror movie. He's got such a distinctly unique voice, it's a shame this is only the 8th film he's directed in the 20 years since breaking onto the scene with Cabin Fever. I know he doesn't always crush it but love him or hate him, he definitely leaves an impression and with Thanksgiving - he may have given us his most complete and accessible film to date.
#17. John Wick: Chapter 4
I've given up hoping for things like character development, plot or even dialogue in the John Wick series. At this point, we all know that this franchise is flourishing due to it's commitment to masterfully choreographed stunts delivered in exceptionally staged action sequences. Oh and Keanu Reeves is whipping all sorts of ass. And even though this film didn't need to be nearly as long as it was, I can't deny how captivated I was watching all of these expertly composed fight scenes unfold. From the nun chuck and ax throwing bits to the chaotic traffic circle fight at the center of Paris to the stair climb fight sensationally soundtracked by Justice - if this is TRULY the final outing for John Wick, they emptied the fucking chamber and went out with their best effort yet. The final 40 minutes of this movie are insane and as much as I loved seeing Donnie Yen be a badass, Scott Adkins as a larger than life Kingpin-style miniboss, or the homage to The Warriors with "Nowhere to Run" being broadcast as a final call to action for this man against the world battle royale; my favorite scene might be the bird's eye view shotgun shootout which looks absolutely breathtaking and unlike anything I've seen in an action movie before. Truly stunning to see what Chad Stahelski has done with this groundbreaking series.
#16. BlackBerry
I really hadn't noticed the BlackBerry's disappearance from the tech landscape until this movie pointed it out and not only that - it went from an industry standard to obsolete in shockingly little time. The clashing dynamic between Jay Baruchel's performance as Mike (the passionately involved creative force prioritizing the progression of technological innovation) butting up against Glenn Howerton's Jim (the boisterous salesman whose focus hardly extends beyond maximizing personal financial gain) is the pitch perfect embodiment of America's current economic state. When Jim theorizes that "perfect is the enemy of good", to which Mike counters "good enough is the enemy of humanity" - it's probably the best scene of dialogue exchanged this year and works to effectively encapsulate everything this movie is trying to say in just two sentences. Baruchel and Howerton are both stunning, stepping out of their comfort zones to delve into deeper roles than we've seen either of them tackle thus far in their respective careers. I did wish the company's unraveling was explored just a bit more thoroughly but the suddenness of their failure works to demonstrate just how quickly they went from dominating the market to riding the endangered species list. Writer/Director/Actor Matt Johnson has really established himself as a creative force to be reckoned with.
#15. When You Finish Saving the World
Jesse Eisenberg's directorial debut is one of the most underappreciated indie dramedies of the year. This intuitively well-written depiction of a mother/son relationship featuring a self-involved, would-be musical influencer searching for validation through live streaming his sad boi indie bedroom pop songs juxtaposed against his selfless, philanthropic mother looking for fulfillment in her work at a women's shelter is a fascinating character study anchored by captivating performances from the two leads in Julianne Moore and Finn Wolfhard. At the end of the day, they both appear to be overcompensating for their unsatisfying relationships at home, where the balance they each seek is right in front of them if they'd only stop to listen. The parity of principals and performativity is expertly handled by Eisenberg, who's exploring some great social dynamics and how we tend to connect with one another. Toss in an incredible soundtrack and some truly touching moments like when Julianne Moore and Finn Wolfhard finally see each other for who they really are and it all adds up to a sensational rookie outing for Eisenberg, laying the ground work for an effective Baumbachian flavored brand of character driven indie dramedy.
#14. Cocaine Bear
It was nice to see Elizabeth Banks bounce back after that ill-conceived 2019 Charlie's Angels reboot by tackling something a little more fun for her next directorial effort. And while it may not be as extreme as the B-movie title suggests, everything about this movie is fun. From the killer 1980's aesthetic backdrop and soundtrack to the outstanding ensemble cast of misfit characters; there's just so much to enjoy here. The ambulance chase is probably where the ridiculous premise of a coked out bear on a murderous rampage feels most fully realized but the eclectic collection of performers keeps things engaging throughout. After seemingly being jettisoned entirely from Hollywood in the wake of his starring role in Solo, Alden Ehrenreich makes a triumphant return and steals practically every scene he enters. He's sensational and I truly hope this leads to a career resurgence for the young actor, as far too often we seem to be blaming the wrong people when these forced franchise extensions flop. Cocaine Bear is proof that even the goofiest concept can thrive when the right creative forces are involved and the filmmakers aren't beholden to intellectual property constraints. And God bless Isiah Whitlock Jr., he's somebody that just puts a smile on my face every time I see him on screen.
#13. Killers of the Flower Moon
At this point in his career, every time Martin Scorsese decides to direct a new film, it feels like a gift. He's already established himself as one of the greatest filmmakers of all time and at 80 years old you start to wonder - how many of these does he have left in him? But this sprawling, 3 and a half hour epic shows no signs of a man beyond his prime. The striking visuals, riveting performances and meticulous attention to detail are all up to the standard of any of Scorsese's prior works. And there's enormous potential at hand with the story's depiction of the symbolic and literal erasure of the Osage people due to unbridled white greed. Yet, I couldn't shake the feeling that this story could have been told more effectively if it were from someone else's perspective. As ecstatic as I was to finally see DiCaprio and De Niro both in a Scorsese vehicle together, showing the entire film from their perspective as they devised this plan to siphon the Osage Nation's oil money out from under the community eliminated all of the potential suspense had the story been told from Jesse Plemmons or Lilly Gladstone's characters' point of view. Don't get me wrong, DiCaprio and De Niro are both electric, it's just that their characters aren't really all that fun to spend this much time with. And we're told point blank exactly what they set out to do in the first 20 minutes of the picture. But everything is executed so well by so many legendary talents that despite what I'd consider structural shortcomings, you still come away with an enthralling cinematic experience.
#12. Beau is Afraid
Sometimes you don't realize what you've been missing until it unexpectedly runs up and stabs you, butt-ass naked in the streets. We've been in such a "message" heavy age of storytelling that it feels like every piece of media you consume is pushing their thesis in the most overt (and occasionally downright condescending or sermonizing) manner. But with Beau is Afraid, writer/director Ari Aster has created one of the most unapologetically bizarre and uninhibited studies in perception and generational trauma you're likely to ever experience. While there are obvious themes of repressed sexuality and emotional instability to unpack, this ambitious 3 hour long surrealist dark comedy panic attack is refreshingly subjective. Aster has established himself as one of the most preeminent directors of the modern era and delivering a picture that deviates from the norm this confidently is as impressive as anything he's done thus far in his career.
****SPOILER THEORY****
For what it's worth, my take is that the film is intended to encapsulate Beau's entire conscious lifespan - as the movie starts with experiencing his literal birth and then cutting to Beau's childlike perception of being dropped into a chaotic world of everyday horrors all around him while trying to meet the basic primitive desire of pleasing his mother. Then we get the teenage state where Beau is taken into a found family scenario, trying to survive an emotionally volatile sister's need to act out for validation and a testosterone fueled, meathead brother's infinite aggression representing the female/male hormonal phases of adolescence. Then Beau escapes to the woods for this age of enlightenment/collegiate phase where he starts to tell himself the story of his life and establishes his identity. Eventually it's all fucked up by the raging male hormones re-emerging (the ex-military brother with a machine gun) and he's finally brought to his hometown to mourn the death of his mother in this weird mid-life state of examining his mortality. Now my theory all kind of goes to hell when the hilariously awkward scene of Beau fucking Parker Posey to death hits, his mother returns from the dead to shame him, and he's finally confronted with the giant penis monster locked away in the attic. But I suppose these could all be forms of reconciling with what he considers being the biggest mistakes in his life all tying back to his male sexual urges? I don't know, I'm trying here. The final scene feels like a funeral, where we're left to judge Beau's actions and try to assess his life's value. Maybe? Whatever, it's an incredibly well made movie even if no one other than Ari Aster knows what this film is truly about.
*****END THEORY*****
#11. Society of the Snow
Speaking of franchise fallout redemption stories (see Alden Ehrenreich in Cocaine Bear for more), J.A. Boyena is back with his first feature length directorial effort since Jurassic Park: Fallen Kingdom and with Society of the Snow, he reclaims his place as one of the most promising visual storytellers in the industry. His take on the Uruguayan Rugby team that spent 71 days stranded after crash landing in the Andes Mountains is remarkable in every capacity. Shooting the film on location, where the actual crash took place instead of in front of a CGI greenscreen pays off massively as Boyena does a masterful job depicting the horrifically dire circumstances these young men had to endure. But even the crash itself, which does implement computerized effects, is done with remarkable precision and sets the tone for the detailed, raw and realistic "based on a true story" re-enactment that follows. It was nice to see this story told without sensationalizing the cannibalism and emphasizing the more humanitarian angle of what it took for these men to overcome hits horrific situation and survive.
#10. Poor Things
The creative partnership formed between Emma Stone and director Yorgos Lanthimos is becoming one of the most can't miss collaborations in cinema. The trust built here between actor and director that has Emma Stone willing to fully commit to subjecting herself to portraying a fairly unflattering, clumsy, and instinctively primal incarnation of - well for lack of a better term - horny Frankenstein, is shocking. Her eccentric performance is captivating and through Lanthimos' unique lens, the familiar story of Frankenstein's monster is given new life with this bold evolution. Lanthimos' unflinching visual ingenuity paired with his offbeat dark humor make his films feel like a one of a kind experience, transporting you to a world only he can take you to. And it's never been more evident than here, where he's delivering his most forthright vision for this Gothic fairy tale of self actualization. It's a romantic comedy where our leading lady decides not to be the object of someone else's love but to reject the archaic conventions of traditional courtship, detach her personal worth from what she can offer as a romantic (or purely sexual) partner and embark upon discovering a love for life itself. Hilarious, odd and kind of weirdly charming.
#9. May December
I wasn't sure what to make of this dark comedic examination of manipulating perception on first viewing but the more I thought about this film and the longer it stayed with me, the more it's themes resonated. Particularly the way the film was structured as this Russian Doll-like story within a story. The central plot follows a tabloid romance between a 36 year old woman and a 7th grade boy several years after their romance was made public (and Gracie's eventual imprisonment for said relationship), where we find them both trapped in a loveless marriage to keep up appearances. But it's the second layer that has Natalie Portman leeching onto this drama for her own personal gain that really took the film to another level for me. She's allegedly there to research the couple for a film adaptation of their story but her parasitic, self-serving intentions only further illustrate our current cultural obsession with trying to curate the truth in order to manipulate public perception. It asks you to look passed the information you're being presented and examine who's providing it and what they might have to gain by governing how it's displayed. It's a point most poignantly depicted when after seeing Natalie's character watch the made for TV movie adaptation of Gracie's story (an effort she sees as vastly inferior to what she sets out to do), we find Portman on a movie set filming her version of the story which looks just as trashy as the previous incarnation; asking for a few more takes from her director because she's on the verge of tapping into something "real" - when in reality, it has nothing to do with representing Gracie's reality more accurately but everything to do with Portman's character trying to make sure she comes off as convincing as possible.
#8. Air
It's kind of weird to think that there was a time when Nike wasn't the industry standard in athletic apparel but the way that this story illustrates just how directly the company's prominence was intertwined with one of the greatest basketball players of all time - it kinda makes sense. Nike and Michael Jordan go together like Walt Disney and Mickey Mouse. Nike has been an institution for the entirety of my life, so seeing them depicted as the scrappy underdogs in the not so distant past was fascinating - albeit, maybe more so due to my sports fandom- but Ben Affleck is adept as always behind the camera and the collection of outstanding actors enlisted to tell this story is astounding. Highlighted by the indomitable Viola Davis portraying Michael Jordan's mother, Davis just never misses. Talk about a generational talent. And I will say that I think Affleck made the right decision in keeping MJ mostly off-screen as it not only would have served as a distraction seeing someone do their best Jordan-impersonation but also, it's a great piece of symbolism to have Michael serve as this elusive figure throughout the entirety of the film until Matt Damon's character is finally able to infiltrate his interest in the final presentation.
View the Rest of the 2023 Year in Tiers Here:
#movies #films #filmreview #bestof2023 #Air #Nike #BenAffleck #MayDecember #PoorThings #YorgosLanthimos #horror #comedy #drama #biopic #dramedy #indie #SocietyoftheSnow #BeauisAfraid #KillersoftheFlowerMoon #CocaineBear #WhenYouFinishSavingtheWorld #BlackBerry #AriAster #MartinScorsese #JohnWick #Thanksgiving #EliRoth #TheCovenant #AThousandAndOne #WhenEvilLurks #TheyClonedTyrone #SuperMarioBros #TheCreator #TheBeanieBubble #GuardiansoftheGalaxy #MCU #BertKresicher #NoHardFeelings #ScreamVI #Ferrari #AmericanFiction
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