Joshua Rothkopf

As far back as anyone can remember, the movies have loved gangsters – and it’s not hard to understand why. Who hasn’t fantasised about living outside the law, of having money and influence, of being untouchable? Sure, all the immoral behaviour is a bit unsavory, and the crushing paranoia that comes along with the lifestyle seems like a major drawback. But getting to live vicariously through the criminals we see on screen is one of cinema’s purest thrills.  But not all movie gangsters are built the same. Some are loud and boisterous, others cold, calculating and unreadable. From fedora-sporting mobsters to pistol-packing yakuza enforcers, to street-level bosses whose empire only extends to the end of the block, cinema has seen them all and told their stories – and you’ll find all of them on our definitive list of the best gangster movies of all-time. Recommended: 😬 The 100 best thriller movies of all-time💣 The 101 best action movies ever made🔪 The 31 best serial killer movies🕵️ 40 murder mysteries to test your sleuthing skills to the max

Great movies matter. Movies have the capacity to sharpen our understanding of the world. They take us places we’d otherwise never go, and introduce us to people we’d otherwise never meet. Or they reflect our own lives back at us, and help us understand ourselves a little better. They simply allow us to place reality on pause for a few hours, which, in this day and age, should not be discounted. Thankfully, there are signs that movies still do matter, even for a generation that’s grown up watching them mostly through the television, like Letterboxd, or the growing popularity of repertory cinemas. And that is ultimately what compels us to list the greatest films of all-time. It’s not to assert our own canon, or spark quibbles about snubs and arbitrary rankings. It’s because new film fans are still being born every day, and need a place to start. So consider this a road map. Jump to list: 100-91 |  90-81 | 80-71 | 70-61 | 60-51 | 50-41 | 40-31 | 30-21 | 20-11 | 10-1 How we chose our 100 best movies of all time Admittedly, the process is not an exact science. Mostly, it involves a bunch of arguing, whittling and deal-making amongst Time Out’s most movie-obsessed writers, and then voila: a top 100 everyone is kinda sorta happy about! In terms of why we chose what we chose, that’s just as messy and multivarious. Sometimes, it’s for historical achievements, either technically or thematically. Other times, it’s simple obviousness: are you really not going to have The Godfather and Ci

Cinemagoers love a good scare. That much is evident these days from the commercial and critical success of the horror genre: in 2024, some of the biggest, buzziest movies of the year – Longlegs, The Substance, Robert Eggers’ remake of Nosferatu and the box-office shocker Terrifier 3, to name just four – were designed to scare. And that’s not even to mention leftfield smashes over the last decade, like A Quiet Place, Hereditary and basically everything Jordan Peele has done.   It’s crazy to think, then, that not long ago, horror was thought of as a euphemism for ‘schlock’. If you were alive at the height of the VHS era, you know it wasn’t totally unfounded. Churning out formulaic slashers became a way for hacks and hucksters to make a quick buck, leaving rental store shelves awash in forgettable dreck. It served to overwhelm and obscure the horror genre’s true value – because when done right, no other film experience can conjure more visceral emotions. So let’s correct the record. Here are the 100 greatest horror movies of all-time, drawn from both the current renaissance and those darker days. Written by Tom Huddleston, Cath Clarke, Dave Calhoun, Nigel Floyd, Phil de Semlyen, David Ehrlich, Joshua Rothkopf, Nigel Floyd, Andy Kryza, Alim Kheraj and Matthew Singer Recommended: 🔪 The best new horror movies of 2025 (so far)🔥 The 100 best movies of all time🤡 The 21 best Stephen King movies of all time🩸 The 15 scariest horror movies based on true stories

Movies always find a way. It’s no secret the 21st century has so far been rough on cinema, between internet piracy, the pandemic, the strikes, the rise of streaming, etc. But while movies may no longer exist at the center of culture, over the first two decades of the new millennium, filmmakers have innovated at a more rapid clip than ever before: genres have been mixed, matched and completely exploded; more diverse stories are being told; blockbusters have reached unfathomable hugeness, and the smallest, strangest indies have won awards and reached vast audiences.  If cinema in the 21st century has been defined by tumult, it’s also exemplified the ability of those most dedicated to the medium to rise to the moment. These 100 movies represent the best of the last quarter-century so far. Written by David Fear, Joshua Rothkopf, Keith Uhlich, Stephen Garrett, Andrew Grant, Aaron Hillis, Tom Huddleston, Alim Kheraj, Tomris Laffly, Kevin B. Lee, Karina Longworth, Maitland McDonagh, Troy Patterson, Nicolas Rapold, Lisa Rosman, Nick Schager, Phil de Semlyen, Matthew Singer, Anna Smith, S. James Snyder.  RECOMMENDED: 🔥 The 100 best movies of all time🌏 The 50 best foreign films of all time🤘 The 40 best cult movies of all time📹 The 66 best documentaries of all time

Action is one of cinema’s most misunderstood genres. Among highfalutin cineastes, action movies are too often considered trashy, low-brow junk food, replacing all story and substance with eardrum-shattering explosions and mindless violence. In a lot of cases, that characterisation is certainly true. But anyone who’s ever allowed their senses to get shattered by the booms, blasts and breaking bones of a truly great action movie knows that there are few moviegoing experiences that can compare.   Also, not all action movies need to be loud and dumb. The right director can choreograph violence with almost balletic grace, while the right actors actually make you care about the person trying to outrun the bullets and the bombs. This list of the greatest action films ever made is proof that the genre is more versatile than it appears. We polled over 50 experts in the field, from Die Hard director John McTiernan to Machete himself, Danny Trejo, along with Time Out’s writers, and the results show just how awesome and unique the best action movies can be when done correctly. Written by Eddy Frankel, Eddy Frankel, Yu An Su, Joshua Rothkopf, Trevor Johnston, Ashley Clark, Grady Hendrix, Tom Huddleston, Keith Uhlich, Dave Calhoun, Phil de Semlyen, Dave Calhoun and Matthew Singer Recommended: 🔥 The 100 best movies of all-time💥 The 18 greatest stunts in cinema (as picked by the greatest stunt people)🥋 The 25 best martial arts movies of all-time🌊 The 33 best disaster movies of all-time

The camera loves New York, and New York loves the camera. Since the dawn of cinema, filmmakers have flocked to its streets, using the city’s mythic stature as a backdrop for tales of crime, passion, building-smashing monsters and whatever else. So many movies are set in the Big Apple that putting together a list of the best ones seems a little silly: isn’t this just where movies are made? What’s rarer, though, are great movies that are actually about New York – those which try to say something about what makes the place so endlessly fascinating, and why so many people take on the mythic challenge of trying to make it there. In our estimation, these 101 films do just that. Written by Melissa Anderson, David Fear, Stephen Garrett, Joshua Rothkopf, Andy Kryza, Keith Uhlich, Alison Willmore and Matthew Singer RECOMMENDED: 🔥 The 100 best movies of all-time🌭 The 27 best Chicago movies⭐ The best Los Angeles movies of all-time🇫🇷 The 54 best movies set in Paris

Tothom té les seves preferides, per això qualsevol debat sobre quines són les millors pel·lícules de tots els temps es pot allargar hores (o, en el nostre cas, tota la vida). Hi pot haver alguna llista que les agrupi a totes? És difícil, però hem intentat incorporar-hi des de les revolucions més clàssiques de la història del cinema fins a les més modernes, tots els gèneres, països, èpoques i per a tots els gustos... tot fent equilibris entre la racionalitat i el sentimentalisme. El repte ha sigut enormement complicat, però no ens hem pogut resistir a elaborar una bona llista, la nostra llista. Feu-nos saber fins a quin punt ens hem equivocat. Ah, també us posem en quines plataformes digitals la podeu veure... més fàcils impossible! NO T'HO PERDIS: El millor de la cartellera de cine de Barcelona Fes clic aquí si vols més informació sobre els nostres estàndards editorials i les nostres directrius ètiques per crear aquest contingut.

Cada uno tiene sus preferencias, así que cualquier debate sobre cuáles son las mejores películas de todos los tiempos se puede alargar horas (o, en nuestro caso, toda la vida). ¿Puede haber alguna lista que las agrupe a todas? Es difícil, pero hemos intentado incorporar desde las revoluciones cinematográficas más clásicas hasta las más modernas, todos los géneros, países, épocas... cine para todos los gustos, haciendo equilibrios entre la racionalidad y el sentimentalismo. El reto ha sido enormemente complicado, pero no nos hemos podido resistir a elaborar una buena lista, nuestra lista. Decidnos hasta qué punto nos hemos equivocado. Ah, para que no tengáis excusa, os hemos añadido las plataformas digitales dónde podéis verlas, ¡más fácil imposible! NO TE LO PIERDAS: El top 10 de la cartelera de cine de Barcelona Clica aquí si quieres más información sobre nuestros estándares editoriales y nuestras directrices éticas para crear este contenido

They claimed that the movie musical was dead and gone. Turns out it was just resting its blisters, tacl-ing off its jazz hands and preparing for a 2020s renaissance that’s seen Wicked, Emilia Pérez, Steven Spielberg’s West Side Story remake picking up 30 Oscar nominations between them, Wonka making a motza at the box office and the genre seems, if not quite as vital as in its RKO/MGM heydays, definitely still in rude health. And speaking of Wicked, Jon M Chu’s flamboyant reimagining of Stephen Schwartz’s Broadway smash, it’s the most recent addition to our list of the great movie musical that takes in everything from 42nd Street at the dawn of sound era to All That Jazz in the heady, hedonist era of Bob Fosse. Dust off your ruby slippers, grab your boater and take a toe-tapping tour of the greatest musicals in the movie canon. RECOMMENDED: 🔥 The 100 best movies of all-time✍️ The 100 best animated films of all-time🎶 The 30 best film-to-musical adaptations

It took a while for Irish movies to break out internationally – in fact, peruse this list of the best Irish films and you’ll notice most of them are from the ’90s and early 2000s. It’s still rare for a movie from the Emerald Isle to reach a global audience. But those that do tend to stick with you.  Think about the humble romantic musical Once, or Martin McDonagh’s Oscar-nominated, existential character study The Banshees of Inisherin, or the ketamine-fuelled Gaelic rap biopic Kneecap. Regardless of the genre, the best Irish movies exude a particular, idiosyncratic soul reflective of the country’s history, culture and, especially, its people. You don’t have to save these classics for St Patrick’s Day – but if you’re happening to be on the market for a suggestion to mark the holiday, look no further than these 16 cracking selections. Recommended: 🗼 The 50 best films set in Paris💂‍♀️ The 32 best London movies☘ The 15 best Irish songs for St. Patrick’s Day

Moms deserve more than a single day of recognition. It’s a 24/7, 365-day-a-year occupation, after all. But if you’re going to pick one day to spoil your beloved momma, make it Mother’s Day. And what better way to do so than granting them a responsibility-free night on the couch with a movie that reminds them what a privilege it is to be someone’s mum? Whether she’s into coming-of-age comedies, tear-jerking family dramas or just needs reassurance that she’s a better parent than Joan Crawford, there’s something here that’ll make every mother smile. Just don’t forget the wine. Recommended: 🤰 The 50 most iconic movie mums👨 The 15 best Father’s Day movies to watch with your dad🔥 The 100 best movies of all-time

What makes a great thriller? Well, let’s see. Are your palms sweaty? Your teeth clenched? Is your heart pumping and your leg shaking uncontrollably? If so, the chances are that the movie you’re watching is doing its job. When done right, a thriller provokes a physical response more than any other genre, bar horror. Exactly how it initiates those reactions, however, varies greatly. In the pantheon of the best thrillers ever made, you’ll find murder, political intrigue, espionage, conspiracy, manipulation, gaslighting, and, of course, lots and lots of crime. But as a category of movie, the thriller is also loosely defined – within the genre, you’ll find examples of science fiction, horror, heists, action, even comedy, along with the ever-nebulous ‘psychological thriller’ subdivision. In other words, the thriller contains multitudes. But the best of them will always draw you in, make you sweat and leave you breathless. Here are the 100 greatest thrillers ever made. Written by Abbey Bender, Joshua Rothkopf, Yu An Su, Phil de Semlyen, Tom Huddleston, Andy Kryza, Tomris Laffly & Matthew Singer RECOMMENDED: 🕯️ The 35 steamiest erotic thrillers ever made😬 The best thriller movies on Netflix💰 The 60 most nerve-racking heist movies ever🧠 The greatest psychological thrillers ever made 

En una muntanya, un esquadró paramilitar d’adolescents s’entrena per a una guerra sense nom. Juguen a futbol amb els ulls tapats i manipulen fusells carregats. Enfangats, prometen fidelitat a una organització abstracta i obeeixen les seves ordres a través d’un líder canviant. Monos t’atrapa tot i tenir una trama inexistent. Entre la música atmosfèrica de Mica Levi, alguna cosa pren sentit, un pensament, un malson. És aquest el nostre futur? Ja hem vist soldats infantils abans a la gran pantalla, però 'Monos' no moralitza. Alguns dels personatges intenten escapar-se, però 'Monos' no va d’això. S’infiltra dins teu per crear una ansietat profunda que serà difícil de treure’s del damunt. Ha arribat l’hora d’allistar-se.

Después de ver el thriller legal 'Aguas oscuras' te costará recordarla. Querrás coger a alguna 'killer line' de este film donde Mark Ruffalo interpreta al abogado Rob Bilott, que se enfrentó al gigante químico contaminador DuPont. No llegará, pero te dará que pensar: ¿quién ha dirigido 'Aguas oscuras', conduciendo el guion hacia gastadas discusiones de oficina y disputas matrimoniales de cliché? ¿Ha sido Todd Haynes, el indie radical tras Velvet Goldmine, 'Lejos del cielo' y 'Carol'? La última revelación hace más daño, porque 'Aguas oscuras' parece una versión más estúpida y literal de un concepto que Haynes ya exploró de forma brillante en 1995 en 'Safe'. Ruffalo, buscando un matiz de consternación gruesa que acabará agravando, aprende sobre vacas con tumores. Su esposa, Sarah (Anne Hathaway, desaprovechada), fue abogada: ¿explotará como una especie de fusión del cine de Douglas Sirk? No. Todos odiamos la destrucción ambiental; es valioso tener películas al respecto y esta funciona bastante bien, pero dejamos que las hagan cineastas con menos talento.

Després de veure el thriller legal 'Aguas oscuras' et costarà recordar-la. Voldràs agafar-te a alguna 'killer line' d’aquest film on Mark Ruffalo interpreta l’advocat Rob Bilott, que es va enfrontar al gegant químic contaminador DuPont. No arribarà, però barrinaràs: qui ha dirigit Aguas oscuras, conduint el guió cap a gastades discussions d’oficina i disputes matrimonials de clixé? Ha estat Todd Haynes, l’indie radical rere Velvet Goldmine, Lluny del cel i Carol? L’última revelació fa més mal, perquè Aguas oscuras sembla una versió més estúpida i literal d’un concepte que Haynes ja va explorar de forma brillant el 1995 a Safe. Ruffalo, buscant un matís de consternació gruixuda que s’acabarà agreujant (on és el tipus de Spotlight?), aprèn sobre vaques amb tumors. La seva esposa, Sarah (Anne Hathaway, desaprofitada), va ser advocada: explotarà com una mena de fusió Douglas Sirkiana? No. Tots odiem la destrucció ambiental; és valuós tenir pel·lícules al respecte i aquesta funciona prou bé, però deixem que les facin cineastes amb menys talent.

From ‘True Romance’ to ‘Badlands’, criminal lovers on the run have found safe haven on movie screens. Now Melina Matsoukas – a visually gifted filmmaker best known for Beyoncé’s ‘Formation’ video – adds to the canon with this atmospheric, impressively serious debut drama. Playing characters that are unnamed throughout the movie, Jodie Turner-Smith and Daniel Kaluuya find themselves pulled over, post-first date, by a virulently racist cop. One struggle over a gun later and they’re on the lam, uncertain of what to do. Investing their roles with thoughtfulness, both leads do fine work, even when the situation pushes them toward bad decisions or stereotypes (in one inspired costume choice, the outlaws don trashy clothes provided by a relative – a track suit and a miniskirt). A socially angry film, ‘Queen & Slim’ strikes intentional resonances with the 2014 racial unrest in Ferguson, Missouri, and elsewhere, making no apology for its antiheroes’ behaviour. It’s an invigorating stance. But for every ‘Thelma & Louise’-like magic-hour drive into the sunset (and there are several too many), you wish the movie also had the sophistication to nick from that classic script’s complex sense of injustice – one that had room for a subplot involving a sympathetic lawman. Believe in Matsoukas, though: she’s the real deal.

Fred Rogers captivated generations of America’s kids with his TV show ‘Mister Rogers’ Neighborhood’. He didn’t sugar-coat things, coaxing his young viewers through even the tough stuff like Vietnam and civil rights. Imagine Andi Peters presenting ‘Newsnight’ using animal puppets as props, and you’ll get the idea. Unfortunately, ‘A Beautiful Day in the Neighborhood’ can’t quite match up the easy charms of the cheap-and-cheerful TV programme itself. There’s no impulse to explore the complexity of this strangest of celebrities – a gifted listener and child whisperer who calmed adults just as effectively. Tom Hanks, in his twinkly-eyed wheelhouse as Rogers, is a winning presence in a supporting role, while Esquire writer Lloyd Vogel (Matthew Rhys) becomes the movie’s surrogate kid. He’s swamped by a toxic relationship with his estranged dad that’s distracting him from his big interview with Rogers. You can easily predict what follows. It may be that successful real-life journo Tom Junod, on whom the Lloyd character is based, lacks real drama. And a bolder movie would have included Rogers’s late-career triumph, when he turned post-9/11 anxieties into a teachable moment. ‘Anything mentionable is manageable,’ Hanks offers in the film’s wisest words. It’s good advice, though the emotions here could have done with being a bit wilder. 

Los amantes criminales a la fuga siempre han encontrado refugio en las pantallas de cine estadounidenses, un subgénero donde directores tan diversos como Arthur Penn, Steven Spielberg y Terrence Malick se han hecho camino. Ahora, Melina Matsoukas, conocida por el videoclip 'Formation' de Beyoncé, pasa a formar parte del grupo con este impresionante debut, que solo falla por algunas pequeñas elecciones de trama un poco ridículas. Jodie Turner-Smith y Daniel Kaluuya –de 'Déjame salir'– interpretan a dos personajes sin nombre que son detenidos por un policía racista en su primera cita. Tras un tiroteo se encuentran huyendo de la ciudad sin saber qué hacer. Los protagonistas hacen un trabajo exquisito, incluso cuando las circunstancias les hacen tomar decisiones erróneas o caer en estereotipos. Con un gran componente de denuncia social, 'Queen & Slim' tiene resonancias de los disturbios raciales que hubo en 2014 en Ferguson, Missouri, y en otros lugares, y no pide perdón por el comportamiento de sus antihéroes, una postura muy estimulante. Pero, en los momentos de estilo 'Thelma y Louise' conduciendo hacia la puesta de sol (hay demasiados), desearías que la película hubiera tenido la sofisticación necesaria para abordar la compleja injusticia que retrata este guion clásico, lo que pudo dar lugar a una trama secundaria donde se involucrara un abogado. Sin embargo, creo en Matsoukas: ella es la que vale aquí y sabrá cómo traernos mejores cosas.

Els amants criminals a la fuga sempre han trobat refugi a les pantalles de cinema nord-americanes, un subgènere on directors tan diversos com Arthur Penn, Steven Spielberg i Terrence Malick s’han fet camí. Ara, Melina Matsoukas, coneguda pel videoclip 'Formation' de Beyoncé, passa a formar part del grup amb aquest impressionant debut, que només falla per algunes petites eleccions de trama una mica ridícules. Jodie Turner-Smith i Daniel Kaluuya –de 'Déjame salir'– interpreten dos personatges sense nom que són detinguts per un policia racista en la seva primera cita. Després d’un tiroteig es troben fugint de la ciutat sense saber què fer. Els protagonistes fan un treball exquisit, inclús quan les circumstàncies els fan prendre decisions errònies o caure en estereotips. Amb un gran component de denúncia social, 'Queen & Slim' té ressonàncies dels disturbis racials que hi va haver el 2014 a Ferguson, Missouri, i a altres llocs, i no demana perdó pel comportament dels seus antiherois, una postura molt estimulant. Però en els moments d’estil 'Thelma i Louise' conduint cap a la posta de sol (n’hi ha massa), desitges que la pel·lícula hagués tingut la sofisticació necessària per abordar la complexa injustícia que retrata aquest guió clàssic, cosa que hauria pogut donar lloc a una trama secundària on s’involucrés un advocat. No obstant això, crec en Matsoukas: ella és la que val aquí i sabrà com portar-nos millors coses.

It’s taken him three films, but over the course of those indies, writer-director Trey Edward Shults has ruined Thanksgiving (2015’s excruciating domestic psychodrama ‘Krisha’) and spoiled the world with plague (the majestically paranoid ‘It Comes at Night’). Now, with ‘Waves’, he obliterates a hardworking Florida family before delivering some nearly cosmic forgiveness in the movie’s second half. All of his films feel like personal exorcisms – Shults may best be described as a non-supernatural-horror director – but this one is a true breakthrough. Shults has a signature shot in which his camera rotates like the searching eye of a lighthouse, and ‘Waves’ exploits it beautifully. It’s how we meet the black high school wrestler Tyler (Kelvin Harrison Jr, impressively precise on his character’s steep decline), cruising in the car with his girlfriend. Shults takes in the happy moment with his swirling camera: Tyler swaddled in his middle-class comforts, with their attendant crush of expectations. Over the coming weeks, several bad things will happen to Tyler, a few of which are made infinitely worse by his own impulsive actions and confusion. ‘Waves’ turns this descent into an extended run of Job-worthy misfortune. ‘We are not afforded the luxury of being average,’ says Tyler’s father (Sterling K Brown, taut with concern), but apart from that line, ‘Waves’ doesn’t play like a statement on race so much as an indictment of the Kanye-scored, dumped-via-text pressure cooker that is bei

Lleva tres películas y en el transcurso de estas cintas indies, el guionista y director Trey Edward Shults ya ha arruinado el Día de Acción de Gracias en el insoportable psicodrama Krisha (2015) y ha echado a perder al mundo con una plaga en la majestuosa Viene de noche (2017). Ahora, con Las olas destruye a una familia trabajadora de Florida antes de una absolución casi cósmica. Todos sus filmes se sienten como exorcismos personales (Shults puede describirse como un director de terror no sobrenatural), pero su nueva película es un verdadero avance. Nunca se relaja después de su angustiosa primera hora; cuanto más transcurre, más humana se siente. Aquí conocemos a Tyler (Kelvin Harrison Jr., impresionantemente preciso con el fuerte declive de su personaje), inmerso en las comodidades de clase media, pero en las próximas semanas, varias cosas malas le sucederán, algunas de las cuales empeorarán infi nitamente por sus propias acciones y confusión. Esta cinta convierte este descenso en una larga racha de desgracias. Las olas, como todas sus películas, trata sobre la familia, pero esta vez no es un retrato de asfixia. La evolución artística que experimenta Shults lo hace tan emocionante como cualquier otro director que trabaje actualmente, es tan agudo como un joven Darren Aronofsky y su corazón solo está creciendo más. 

En resumen: el tipo que dirigió 'Thor: Ragnarok', el neozelandés Taika Waititi, ha hecho una película sobre un adorable joven hitleriano que tiene como amigo imaginario a Adolf Hitler (Waititi). Es una buena noticia: ya ha llegado el momento de repensar este cineasta de arriba a abajo. 'Jojo Rabbit' tiene la perspectiva de un niño ingenuo y solitario de 10 años, Jojo (Roman Griffin Davis), el "mejor y más leal pequeño nazi que he visto nunca", como dice el Hitler de Waititi con voz de dibujos animados. Para reír con la película, tendréis que abrazar este montaje intencionalmente inmaduro, que nos muestra un Jojo frenético que corre por la calle a ritmo de la versión alemana de 'I want to hold your hand' de los Beatles. En caso contrario, los anacronismos serán duros de tragar. ¿Deberíamos reír de todo esto? Muy raramente 'Jojo Rabbit' nos dice que no (a diferencia, por ejemplo, de la hipócrita 'La vida es bella'). En una secuencia como de casa encantada, Jojo descubre una adolescente judía, Elsa (la extraordinaria Thomasa McKenzie), que vive en el interior de las paredes de su casa, una niña abandonada secretamente protegida por su alegre madre soltera (Scarlett Johansson). Todo lo que Jojo tiene en mente sobre los judíos son ideas ridículas y Elsa solo le anima: "Es evidente que somos demonios que amamos el dinero", confirma. No es necesario saber que Waititi es medio judío, su confianza eleva la película por encima del antisemitismo. De alguna manera, imperceptiblemente, co

‘Never underestimate a droid,’ we hear several times in the new ‘Star Wars’ – and why would you? For the most part, droids are hard-headed, sturdy companions, opening doors at the last minute with a minimum of beepy fuss. Director JJ Abrams is like a droid. He revived this brand from his childhood memories, unarchiving it from his data banks and dutifully projecting it, just like Artoo does with Leia’s hologram in the 1977 original. Abrams’s ‘The Force Awakens’ (2015) was a pitch-perfect summoning of old magic: thrilling and nostalgic, even if the trick remained stubbornly unimaginative. But Rian Johnson’s follow-up, ‘The Last Jedi’ (2017), executive-produced by Abrams, was something else entirely, subversive and churning with dark emotions. The franchise didn’t deserve it. Now Abrams the droid is back, scurrying around to clean up those untidy messes that made things interesting for a parsec. ‘The Rise of Skywalker’ marks the return of a plodding dullness, the kind that George Lucas peddled with his second trilogy, laden with pointless plot curlicues, witless imperial intrigue and boring heroism. It feels like a massive retrenchment – privately, a rebellion seems to have been fought and lost – and only the most loyal fans will be happy about it. Right from the start, you feel the soft reboot: ghostly zombie destroyers rise up out of a planet’s dirt, not quite vanquished. Will this new First Order prevail? Scarfaced Kylo Ren (Adam Driver) tear-asses around in his TIE fighter,

A little history, kittens: Andrew Lloyd Webber’s megamusical was always vaguely creepy, even to the eyes of fans (including this boy in 1982). It was either sublime or ridiculous or sublimely ridiculous. ‘Cats’, the movie, meanwhile, was long thought an impossible thing and – whaddaya know? – here it is, very much an impossible thing. Tom Hooper’s big-screen version embraces the weirdness. It cherishes the kink with every erect tail twitch and slinky rub-up. The film is too literal for its own good, yet it’s nowhere near the uncanny disaster of the recent hyperrealistic remake of ‘The Lion King’, a nature documentary that burst into song. If you’re able to roll with Robert De Niro’s computerised facelift in ‘The Irishman’, a bewhiskered Judi Dench isn’t going to throw you. Still, did those ‘Cats’ trailers make you bristle? Maybe you’re a dog person. Or not a theatre person. Despite being the target audience, the latter group will have serious problems with this adaptation, which murders some of the songs (‘Mungojerrie and Rumpleteazer’ is criminally reduced to a monotone) and comes close to snapping the already slender throughline, which rests on the naiveté of Victoria (graceful English ballerina Francesca Hayward). She’s a babe in the woods who only wants to learn the intricacies of the Jellicle Ball, a metaphysical contest that will not be explained here. Plot isn’t going to help you. These cats sing and dance – that’s all you need to know. Sometimes the shtick of a perfor

This morning in Los Angeles, nominees for the 92nd Academy Awards were announced. Some history was made: Scarlett Johansson received not one but two acting nominations—her first two ever—in separate categories (the last time that happened was in 2007 with Cate Blanchett). Also receiving two nominations was Cynthia Erivo for her galvanizing performance in Harriet, as well as for that film's original song. It's a good thing Erivo was a part of this morning's conversation, because apart from her, there wasn't a lot of diversity on display. Both Hustlers' Jennifer Lopez and The Farewell's Awkwafina failed to make the cut, despite huge support. Snubs are always in the eye of the beholder; I'd say omitting Apollo 11 for Best Documentary Feature feels like a mistake, and it's a crime not to have included Greta Gerwig for Best Director (Little Women did well elsewhere, including acting nominations for Florence Pugh and Saoirse Ronan—receiving her fourth nom at age 25). Regardless, it's thrilling to see Bong Joon-ho's Parasite earn several major nods, including Best Picture and Best Director. Elsewhere, Robert Eggers's black-and-white fantasia The Lighthouse was nominated for Best Cinematography, a happy surprise. We'll be watching for any Baumbach–Gerwig tensions. The Oscars air Sunday February 9 on ABC. Here's a complete list of this morning's nominees: Best PictureFord v FerrariThe IrishmanJojo RabbitJokerLittle WomenMarriage Story1917Once Upon a Time…in HollywoodParasite Best Dire

In an Oscar season crowded with contenders, Netflix has done a killer job of showing off its shiniest objects. Even as its post-awards plans for the Paris Theatre—recently saved from closure—remain uncertain, the streaming service is staking real-world territory elsewhere, as last seen with Netflix's Little Italy takeover for The Irishman. Now, beginning today, the public can view "The Netflix Film Experiences in Dolby," a free two-floor exhibit of costumes, script pages and video clips assembled over several rooms at Dolby SoHo (477 Broadway). The show is open to the public from 1–8pm Wednesdays through Sundays until January 26. What awaits film fans? Four movies are showcased and, to be honest, some rooms are more fun than others. Was Al Pacino's performance as hot-blooded Jimmy Hoffa in The Irishman not quite big enough for you? Attendees can immerse themselves in an installation where he's yelling at you from multiple screens. Ever wanted to get up close and personal with some papal outfits? Costumes from The Two Popes are on display. More excitingly to these eyes: There's a lower level fully pimped out with '70s-era finery from Dolemite Is My Name. You can't actually see the Eddie Murphy comedy in a single New York City cinema at the moment (apart from your own Netflix account) but paradoxically, this exhibit has created a temporary public space for the movie's supercharged energy. Finally, find the quiet nook where a loveseat will let you and your significant other watc

Movies like Sam Mendes's immersive WWI drama 1917 and performances like The Farewell's Awkwafina made surprise showings at tonight's Golden Globes—in some cases crucially, with Oscars balloting happening much earlier this year than usual. (Voting on nominations ends this Tuesday.) Some winners were widely predicted: The Hollywood Foreign Press Association, traditionally champions of bigness, honored Joaquin Phoenix in Joker and Renée Zellweger in Judy, two front-runners who totally transformed themselves. Meanwhile, it looks like Brad Pitt may go all the way for Once Upon a Time…in Hollywood. Quentin Tarantino's Manson-era L.A. fantasia shaped up as potentially more of a force than The Irishman, which got completely shut out. (On the TV front, we have no problem seeing Phoebe Waller-Bridge add to her shelf of awards for Fleabag.) Here's a complete list of winners: Best Performance by an Actor in a Limited Series or Motion Picture Made for TelevisionChristopher Abbott, Catch-22Sacha Baron Cohen, The SpyWINNER: Russell Crowe, The Loudest VoiceJared Harris, ChernobylSam Rockwell, Fosse/Verdon Best Performance by an Actress in a Limited Series or Motion Picture Made for TelevisionKaitlyn Dever, UnbelievableJoey King, The ActHelen Mirren, Catherine the GreatMerritt Wever, UnbelievableWINNER: Michelle Williams, Fosse/Verdon Best Television Limited Series or Motion Picture Made for TelevisionCatch-22WINNER: ChernobylFosse/VerdonThe Loudest VoiceUnbelievable Best Performance by an Ac

Only moments ago, nominees for the 77th Golden Globes Awards were announced. Awards prognosticators got a few surprises: Cate Blanchett scored a nod for the little-seen Where’d You Go, Bernadette; Joker's Todd Phillips beat out Marriage Story's Noah Baumbach for a directing nomination; and Cats scored for its original song (which we hated). But the Oscar picture is beginning to take shape. Awkwafina is looking like a lock for The Farewell, which thrills us, as is Antonio Banderas for Pain and Glory (a winner with the New York and Los Angeles critics groups). Meanwhile, the television nominations were appropriately Fleabag-heavy, which is all we care about. The Globes will be broadcast January 5, 2020 on NBC beginning at 6pm ET. Here's the complete list: Best Performance by an Actor in a Limited Series or Motion Picture Made for TelevisionChristopher Abbott, Catch-22Sacha Baron Cohen, The SpyRussell Crowe, The Loudest VoiceJared Harris, ChernobylSam Rockwell, Fosse/Verdon Best Performance by an Actress in a Limited Series or Motion Picture Made for TelevisionKaitlyn Dever, UnbelievableJoey King, The ActHelen Mirren, Catherine the GreatMerritt Wever, UnbelievableMichelle Williams, Fosse/Verdon Best Television Limited Series or Motion Picture Made for TelevisionCatch-22ChernobylFosse/VerdonThe Loudest VoiceUnbelievable Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for TelevisionPatricia Arquette, The ActHelena Bonham Carte

Unveiling a new song, a new album and some of the old woozy indiscipline that hamstrung their ascent nearly 20 years ago, the Strokes extended the most leisurely paced comeback in rock, delighting their hometown fans at Brooklyn’s Barclays Center last night. The chiming, seesawing, faintly sad “Ode to the Mets” arrived after a lengthy band conference, several of which plagued the show (ever hear of a set list, guys?). The new song didn’t sound like a galvanizing rebound so much as a grandly emotional closer: a future final-dance prom request. Maybe it will be placed near the end of the forthcoming 2020 release that frontman-songwriter Julian Casablancas teased as “coming out soon.” He offered no further details, adding, “The 2010s, whatever the fuck they’re called, we took them off, but now we’ve been unfrozen and we’re back.” The band still sounds like a paradox: coiled guitar riffs and spring-loaded bass lines under a tinny, debauched drunk dial. When the band used its New Year’s Eve gig (a makeup show after June’s rained-out Governors Ball) as a delivery device for multiple tracks off 2001’s classic Is This It, the crowd exploded. There’s simply no improving on songs like “The Modern Age,” “Hard to Explain,” “Last Nite,” “Barely Legal” and the post-9/11 controversial “New York City Cops,” the latter receiving its own red-and-blue police light show during the choruses. Things came to a halt during the ball drop, the broadcast piped through on the monitors like a glitzy tran

As the decade comes to a close, we’re in a reflective mood (remember Avatar?—yeah, us neither). The result is a list: the 50 best movies of the 2010s, which will no doubt come in handy next time you’re browsing your streaming service of choice. Returning to these films was enormously fun. Ranking them? Not so much. But we did it. Along the way, we asked some of our favorite directors and actors for their picks from the 2010s. Here’s what they told us: Cold War, as picked by Benedict Cumberbatch:“It was such a sad and achingly honest story of love and how destructive and tragic it can be. It was beautifully shot and used all the power of cinema in its framing and acting without words—and when the words came, they were arresting and surprising and dangerous and unexpected. It's painfully romantic, as well as being painful. It's really truly great cinematic storytelling. I was completely immersed in that world and that relationship. Pawel Pawlikowski is an incredible filmmaker.” The Death of Stalin and Get Out, as picked by Taika Waititi, director of Jojo Rabbit:“I really loved The Death of Stalin because it was smart. Also, I loved the decision to let the actors use their normal accents, because it didn’t make any difference to me. I was still shocked and I still found it fascinating and enthralling. The other film I really loved was Get Out, which was the only film in my entire life that I’ve actually yelled the title of the film at the film: ‘Get out!’ ” The Tree of Life, as

We won't lie: Generally, we like to watch holiday movies at home, preferably armed with egg nogs, hot toddies, cocoa, blankets or any convenient warm body (pets will do). But sometimes, other people are just what the doctor ordered when you're getting pounded by relentless Christmas cheer. Here's a list of the very best holiday screenings on offer in NYC theaters over the next several weeks. Note: We said "very best," which makes our list both naughty and nice. These shows should sell out fast, so buy your tickets now. Black ChristmasJoin the horror cognoscenti and bow to Bob Clark’s atmospheric sorority-house stalker—a huge influence on John Carpenter’s Halloween and other “the call is coming from inside the house” thrillers, but nowhere near as well known. It’s getting a new remake (the second one in 13 years), but begin here.Alamo Drafthouse, Downtown Brooklyn (drafthouse.com). Tue 17 at 9:30pm; $12. CarolOur favorite new Christmas classic returns to the Metrograph in 35mm. Working for the first time with material developed by another screenwriter, director Todd Haynes transforms an underappreciated 1952 Patricia Highsmith novel about secret lesbian love into a universal romance. Once you’ve seen Rooney Mara in a Santa hat, there’s no turning back.Metrograph, Lower East Side (metrograph.com). Fri 20 at 5:45pm, Sat 21 at 1:45pm; $15. Christmas with Louis ArmstrongSure to be magical, this bespoke 90-minute compilation—made exclusively for Film Forum—gathers Satchmo’s many mo

Only moments ago, nominees for the 77th Golden Globes Awards were announced. Awards prognosticators got a few surprises: Cate Blanchett scored a nod for the little-seen ‘Where’d You Go, Bernadette’; ‘Joker’ director Todd Phillips beat out ‘Marriage Story’ helmer Noah Baumbach for a directing nomination; and ‘Cats’ scored for its original song by Taylor Swift (which we hated). There are also no less than 27 Brits up for awards, including Daniel Craig, Taron Egerton and the aforementioned Andrew Scott and Olivia Colman. And the Oscar picture is beginning to take shape, too. Awkwafina is looking like a lock for ‘The Farewell’, which thrills us, as is Antonio Banderas for ‘Pain and Glory’ (a winner with the New York and Los Angeles critics’ groups). Meanwhile, the television nominations were appropriately ‘Fleabag’-heavy, which is all we care about.Surprisingly, no female directors have been nominated despite a year that saw Greta Gerwig’s ‘Little Women’, Céline Sciamma’s ‘Portrait of a Lady on Fire’, Lulu Wang’s ‘The Farewell’ and Lorene Scafaria’s ‘Hustlers’. The Golden Globes take place on January 5, 2020. And Ricky Gervais is back on hosting duties after a four-year cooling off period since the last time he did it. This could be fun. Here’s the complete list of nominees: Best Performance by an Actor in a Limited Series or Motion Picture Made for TelevisionChristopher Abbott, Catch-22Sacha Baron Cohen, The SpyRussell Crowe, The Loudest VoiceJared Harris, ChernobylSam Rockwell,

You've read Martin Scorsese's take on Marvel movies. You've argued about it. You've even watched the Cats trailer (maybe a few times, in stupefied silence). But have you seen The Irishman yet? Come on, people. Not only do we recommend it, but we know that three-and-a-half hours isn't a big deal to you, say when it comes to committing to The Crown or whatever. It's Marty and you're a New Yorker. Consider it homework. Today, Netflix released a new trailer for The Irishman and it's extremely well-done, glancing on much of the complexity of the film: the violence, guilt and recrimination of mob life. Here it is: But nothing will bring you into the universe better than what Netflix has planned this weekend for Little Italy. On Friday and Saturday from 9am to 7pm, the streaming service will be taking over five blocks of the neighborhood and back-dating them to August 1, 1975, the day after Jimmy Hoffa was reported missing. Here's what Netflix has released about it: Courtesy of Netflix What does this mean for you? It means you're going to encounter surprises, old cars, newspapers, maybe even some gangster dramatics. If you "tell 'em Jimmy sent you" (that's the secret catchphrase), you'll be able to collect free food and drinks from some of the tastiest restaurants in the area, like Parm and Ferrara Bakery & Cafe. Here's a map of the participating shops: Courtesy of Netflix And Netflix will no doubt make sure that everyone leaves with a bit of swag from the movie itself, just as

Is it any surprise that director Noah Baumbach—whose new movie, Marriage Story, is a bruising tour de force and opens today—loves our favorite LES theater, the bespoke Metrograph? “Although the Metrograph is only three years old, it feels already like a New York institution,” writes the director in program notes detailing his upcoming six-week residency at the movie house beginning this Friday. During that span, all of Baumbach’s narrative features will be screened (but not his insightful 2015 documentary profile, De Palma—what gives, Metrograph? It can still be added…). Some of these presentations will either be introduced by the filmmaker or followed by Q&As, turning his residency into a de facto master class.  Intriguingly, Baumbach has also picked several “companion” films (in his words, “movies that I love, that have somehow informed my work as well as my life”) to play as double features: Éric Rohmer’s Pauline at the Beach after Margot at the Wedding; the generationally-themed Working Girl after While We’re Young; other choices that are too good to ruin. He's even found room for E.T. The takeaway is a nuanced appreciation of a particular artist’s sensibility, one steeped in encyclopedic Gen-X scholarship but with room for detours into beloved mid-budget Hollywood movies and NYC-set indies. For many who have cherished Baumbach’s work for years, the residency will feel like a coronation. And for those who have yet to experience one of his films, it’s going to be a scene—e

We haven't seen anyone camping out on the street yet for tickets, but trust: Martin Scorsese's fans are palpitating in advance of this Friday's theatrical release of The Irishman. Beginning November 1 at these participating theaters only, the three-and-a-half-hour gangster epic (which we enjoyed) will play for crowds until Netflix begins streaming it Thanksgiving weekend, at which point all bets are off. Will the movie give you that Marty feeling? Yes. Will it remind you of Goodfellas or Mean Streets? Somewhat, but not always. A decades-spanning drama, The Irishman spends a fair amount of time in Pennsylvania, Washington, D.C., and Florida. It's not as New York-centric as some of Scorsese's other films, like The King of Comedy or Taxi Driver. But one scene that is undeniably NYC is Scorsese's re-creation of the infamous 1972 mob hit on Joe Gallo at Umberto's Clam House, then located on the corner of Mulberry and Hester Streets. (After closing shop in the late '90s and reopening, Umberto's is now two blocks north.) During one night in November 2017, Scorsese aged a block on the Lower East Side, transforming it into the famous intersection. Here's a screen grab from the trailer that shows the scene in question: Elsewhere in the movie, Long Islanders will be able to catch Hildebrandt's, the beloved Williston Park ice cream shop. It figures prominently in a key scene in which the characters hear about the Kennedy assassination. Will any other Irishman locations become as famous

Looking to qualify its soon-to-be-streaming titles for Oscars, Netflix continues to successfully book alternative theatrical options: Two weeks ago came the news that Martin Scorsese's The Irishman would take residence at Broadway's Belasco Theatre. Now we're hearing that the Paris Theater—recently shuttered in August after more than seven decades (Marlene Dietrich cut the inaugural ribbon in 1948)—will reopen for a brief run of Noah Baumbach's five-star-excellent Marriage Story, beginning Wednesday, November 6. It remains unclear how long the Paris will stay open. Regardless, fans of the elegant single-screen theater—on the opposite side of 58th St. across from the Plaza Hotel—see this as a win. It may even be a better solution than the Belasco: At 581 seats, the Paris has roughly half the space, but it does have a romantic balcony and will be able to host multiple daily screenings to the Belasco's single showing. Moreover, it brings Baumbach's distinctly NYC vision to those who want to see it with a crowd. Insisting on tough terms when it comes box-office receipts, Netflix is finding it hard to strike deals with chains like AMC and Regal. But individual movie houses seem ready to engage: Here is a complete list of theaters where you can go see The Irishman. (We strongly prefer IFC Center's cushiony seats to the Belasco's butt-numbers, and the Scorsese is a full three-and-a-half hours without intermission.) Marriage Story, too, will have alternate options beyond the Paris—a