A quick summary of the movie year so far: The box office is booming, Gen Z is flocking to theaters and aliens are … real?
It’s been a curiously seesawing first six months. The movies have been dominated as much by 26-year-old YouTuber-turned-filmmaker Curry Barker as they have 79-year-old Steven Spielberg. Some much-prized Hollywood IP has struggled ( “Star Wars: The Mandalorian and Grogu” ) while other franchises ( “Toy Story 5” ) have been more than fine.
The favorites so far of AP Film Writers Jake Coyle and Lindsey Bahr are fittingly varied, running from shattering debuts to goofy sci-fi. Here are their picks.
Listen, I realize the alien stuff is a little blunt. And you can question the nostalgia baked into a modern-day movie where everyone huddles around TV sets. But when “Disclosure Day” is moving, Spielberg is back in an idiom all his own — and what reconnecting to that spirit means isn’t simply wistful. This is a stealthily political movie about whether Spielberg’s warm belief in humankind can exist today — if he can rebuild that suburban family home. “Disclosure Day” is as much Spielberg phoning home as was his autobiographic “The Fabelmans.” (In theaters) — J.C.
Phil Lord and Christopher Miller’s adaptation of Andy Weir’s space saga about a middle school science teacher who is called on to help save the dying sun is one of the easiest recommendations of the year. It is a most-ages crowd-pleaser, funny, warm and dazzling, with a hopeful spirit, a quotable alien sidekick and a quirkily charming lead in Ryan Gosling. (Streaming on Prime Video on July 3) — L.B.
Everything feels like an echo in Mark Jenkin’s dreamlike tale of time and sea. George Mackay and Callum Turner play crewmen who enlist on a rusty Cornish fishing boat that, upon its return, drops them off in the same English village, 30 years earlier. They’re mistaken for two men thought to be lost. Jenkin, who shoots on 16mm and syncs sound in postproduction, makes films that feel out of time, and “Rose of Nevada” rocks to a haunting tide. (In theaters) — J.C.
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Remember how “Good Will Hunting” originally had a crime element to it and Rob Reiner (rightly) advised taking it out? Daniel Roher’s crackling, original thriller “Tuner,” a spiritual descendant of that great film, goes down that path successfully, creating a scenario where a workaday piano tuner, and musical prodigy who can no longer play, gets entangled in a criminal underworld, using his sensitive hearing to crack safes. Leo Woodall stars alongside Dustin Hoffman and Havana Rose Liu. (Available for digital rental) — L.B.
Christian Petzold, a great admirer of Hitchcock and “Vertigo,” makes movies where identity, rather than people, can go missing. In this lightly enigmatic 86-minute chamber piece, a woman (Paula Beer) injured in a car crash decides to stay and recuperate at a nearby home where an older, solitary woman (Barbara Auer) resides. The unfolding drama is as beguiling as it is healing. (Available for digital rental) — J.C.
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A San Francisco couple host their upstairs neighbors for a last-minute dinner party in Olivia Wilde’s deliriously sharp chamber dramedy about sex and marriage. Wilde both directs and stars as the neurotic Angela, whose relationship with Seth Rogen’s Joe is already on the rocks, when their more, let’s say, liberated neighbors Pína (Penélope Cruz) and Hawk (Edward Norton) arrive to stir things up for better and worse. The mix — contentious, revelatory, awkward and funny — proves a wonderful showcase for some great acting, staging and filmmaking. (In theaters) — L.B.
Sophy Romvari’s exquisite and soulful directorial debut melds documentary and fiction, past and present. It’s based on her own childhood, when her Hungarian parents moved their family of six to Vancouver Island in British Columbia. Their teenage son is mentally troubled and distant, and you can feel “Blue Heron” yearning to reach him, through his disorder and through time. It’s an aching, probing memory piece. (Streams July 21 on Criterion Channel) — J.C.
Slacker buddies develop crackpot schemes to land a gig at the Rivoli, a Toronto music venue, in this infectiously silly, lo-fi indie about time travel, friendship and dreams. Canadian comics Matt Johnson and Jay McCarrol may have a cult fanbase from their various series about these lovable losers, but I’m proof that no prior knowledge is needed to get on their goofy wavelength and enjoy the ride — and all the “Back to the Future” references. (Available for digital rental) — L.B.
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This year’s most affectionate ode to the golden age of Hollywood comes from … the Minions? Yes, it’s an unlikely role for one of the most ubiquitous marketing forces in animation. But “Minions & Monsters,” a cartoony good time, finds that the best role yet for the yellow henchmen is as filmmakers. They had me at bello. (In theaters) — J.C.
Rage and revenge are the heart of Aleshea Harris’s adaptation of her Obie-winning play, in which twin sisters embark on a journey to find, and kill, their abusive father. The tale has both ancient Greek tragedy and Tarantino in its DNA, but it comes alive as its own shocking, vital creation driven by unforgettable performances from Kara Young, Mallori Johnson and a truly terrifying Sterling K. Brown. (Available for digital rental) — L.B.
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There hasn’t been a better protagonist this year than Oscar Restrepo (Ubeimar Rios). He’s a failed Columbian writer, a bit of a drunk and, as one character calls him, “a walking problem.” But he’s also, despite his seemingly total lack of grace, a true believer in poetry. Simón Mesa Soto’s film, reportedly getting an English-language remake, is the tragicomedy of the year. (Available for digital rental) — J.C.
There is a gleefully chaotic spirit to Pixar’s “Hoppers,” about a determined young environmental activist who Avatars her way into the world of beavers in an attempt to block the construction of a highway overpass that would destroy her beloved glade. It is unhinged in the best way. Funny, weird and heartfelt with a terrifically distinct voice cast, including Dave Franco as a tyrannical insect prince. (Streaming on Disney+) — L.B.
