Wicked (2024)

Direction: Jon M. Chu
Country: USA 

Jon M. Chu (Crazy Rich Asians, 2018; In The Heights, 2021) delivers a competent adaptation of the renowned Broadway musical Wicked, inspired by the world of The Wizard of Oz. This is the first installment of a two-part adaptation, written by Winnie Holzman and Dana Fox (Cruella, 2021). 

Selling every scene they’re in, Cynthia Erivo and Ariana Grande form an amazing duo as Elphaba and Galinda, respectively. The former character was born green with special psychic powers but was rejected by her father, eventually becoming the Wicked Witch of the West after her sorcery tutor, Madame Morrible (Michelle Yeoh), arranges a fateful meeting with the Wizard of Oz (Jeff Goldblum). In contrast, Galinda is an irritating, self-absorbed, glamorous blonde steeped in vanity and artificiality. Despite their differences—spoiled versus neglected, vain versus humble—the two women form a meaningful friendship and even fall for the same man. 

Chu stays true to the spirit of the musical, amplifying its socio-political themes. The story’s messages of inclusion, acceptance of differences, resistance against oppression, and opposition to animal cruelty resonate powerfully. Despite technically sumptuous, Wicked doesn’t always 'defy gravity’, with some musical numbers feeling overly prolonged. Nevertheless, the film offers solid entertainment, blending the whimsy of Harry Potter with the flair of Barbie. It transports viewers into a vibrant, magical world that balances humor and poignancy with bursts of energy. 

As a mass-market confection, Wicked certainly works well enough, though its greatest strengths lie in its opulent production design and sharp humor rather than its narrative depth.

Beetlejuice Beetlejuice (2024)

Direction: Tim Burton
Country: USA

The much-vaunted return of Tim Burton, who rose to fame with films such as Edward Scissorhands (1990), Ed Wood (1994), and Sweeney Todd (2007), happens with Beetlejuice Beetlejuice, a visually inventive yet flawed sequel to his 1988 cult classic. Despite the 36-year gap, the original ‘80s vibe lingers in this formulaic work, whether you call it absurdist supernatural comedy or macabre dark fantasy or both. Michael Keaton returns, reprising his role as the trickster demon, as well as Winona Ryder as psychic Lydia Deetz, and Catherine O’Hara as her eccentric stepmother, Delia. The cast expands with Monica Belucci as a stitched-up, soul-sucking ghost, joined by Danny De Vito, Jenna Ortega, Willem Defoe, and Justin Theroux. Unlike the others, the latter two had never worked with the director before.

While packed with Burton’s trademark surrealism, the plot — scripted by Alfred Gough and Miles Millar — feels chaotic, marked by frantic pacing, loose subplots, and forgettable villains. The film tries to balance nostalgia for long-time fans with attempts to win over a new generation but often feels like a haphazard spectacle. Despite its energetic antics and quirky visuals, Beetlejuice Beetlejuice lacks the cohesion needed to truly captivate, leaving audiences dizzy yet unsatisfied. When the credits roll, you may feel you’ve spent 104 minutes in a world of Burton-esque antics, but without much of a payoff.

Kingdom of the Planet of the Apes (2024)

Direction: Wes Ball
Country: USA

This obscenely produced 10th installment in The Planet of the Apes franchise introduces a new hero having to endure trials to grow. Wes Ball, known for The Maze Runner trilogy, directed from a screenplay by Josh Friedman (War of the Worlds, 2005), and counted on Owen Teague, Kevin Durand, and Freya Allan in central roles.

While visually splendorous, showcasing grandiose empires built on ruins and impressive CGI scenes of attack and destruction, the film fails to deliver an inventive narrative and staging. This type of lavish fantasy is no more a cinematic provocation, generally falling short of excitement and occasionally resorting to sentimental bait. 

Kingdom of the Planet of the Apes loses substance, relying on reheated formulas disguised as modernistic ideas throughout its quicksilver flow. With so many issues permeating the story, the kingdom of the apes sinks like the Titanic. Our response to the apes’ sad fate, once touched by authentic tragedy, is now marked by relief that this chapter is over.

Poor Things (2023)

Direction: Yorgos Lanthimos
Country: USA

Greek-born filmmaker Yorgos Lanthimos is able to keep audiences in giddy laughter or shocking horror. Known for his unique storytelling in films like Dogtooth (2009), The Lobster (2015), and The Favourite (2018), he presents his latest black comedy, Poor Things. Adapted from Alasdair Gray's 1992 novel, the film is written by Tony McNamara and features a stellar cast, including Emma Stone, Willem Dafoe, Mark Ruffalo, and Ramy Youssef.

The film follows the story of Bella (Stone), a candid young Victorian woman brought back to life by the eccentric surgeon Dr. Godwin Baxter (Dafoe). With newfound free will, Bella embarks on a journey of self-discovery, choosing to explore life with its pleasures and challenges. Her unconventional choices, including running away with lawyer Duncan Wedderburn (Ruffalo), will teach her many things, ultimately sending her back to an unimaginable past of darkness.

Gorgeously rendered, the film offers a smart and eccentric exploration of society and the human experience. An ambitious idea framed with visual distinction and spirited performances, where vertiginous philosophical foundations merge with a strong determination in self-learning and sexual liberation. This sinister tale is hilarious in spots, persistently full of life (despite dealing with death), and provocative as the hip filmmaker likes to shape his off-kilter comedies. 

With its moody soundscape by Jerkin Fendrix and superb cinematography by Robbie Ryan, Poor Things is the standout unconventional comedy of the year. Lanthimos continues to surprise audiences with his daring imagination, offering a fresh and intoxicating cinematic experience.

Godzilla Minus One (2023)

Direction: Takashi Yamazaki
Country: Japan

If you enjoy adventure films with a combination of intense action and dramatic flair, Godzilla Minus One might be the movie for you. Directed by Japanese filmmaker Takashi Yamazaki, the film offers a visceral and fast-paced fantasy with striking visuals and a strong sense of conviction. Yamazaki employs blockbuster tactics to depict multiple dangerous situations with a radioactive Godzilla wreaking havoc on a postwar Japan. 

The story revolves around Koichi Shikishima (Ryunosuke Kamiki), a former kamikaze pilot turned deserter and sea-mine extractor. His lack of courage brings shame to many of his fellow countrymen. However, when he encounters Noriko Oishi and her rescued orphan baby, he discovers a new purpose in life. As Godzilla heads to Tokyo, Koichi sees an opportunity to redeem himself and prove his bravery and piloting skills.

The film explores strong anti-patriotic sentiments associated with the loss of war, mixed with a sense of unity among a group of civilians led by former naval weapons engineer and strategist Kenji Noda (Hidetaka Yoshioka). Despite some plot holes and sentimental moments, Yamazaki enhances the film with stylized visuals, well-composed frames, and knockout sequences that blend ferocity with desolation. The director bends the rules of the genre by providing reinforced visual effects and relying on an intense musical score. While Godzilla's new roar is a result of a simple amplification of the original, the overall experience feels fresh and new.

Wonka (2023)

Direction: Paul King
Country: USA

In Paul King’s Wonka, a musical comedy that serves as a prequel to Willy Wonka & the Chocolate Factory (1971) and Charlie and the Chocolate Factory (2005), a younger and creatively inclined Willy Wonka, portrayed by the French sensation Timothée Chalamet, takes his first steps in the art of making chocolate and magic. To establish his own business and make it prosper, Willy must contend with exploiters Mrs. Scrubitt (Olivia Colman) and her partner Bleacher (Tom Davis), along with a trio of envious businessmen and saboteurs controlling the Chocolate Cartel. Success might be elusive without the help of Noodle (Calah Lane), a young orphan girl, and Oompa-Lumpa (Hugh Grant), a small human who feeds on cocoa beans.

Visually sumptuous with deluxe, colorful settings, Wonka struggles to win hearts with its cardboard characters. The movie appears to lack a genuine sense of humor, and the script by King and Simon Farnaby relies on questionable options, resorting to overused cinematic tricks and treats.

As a sanitized tale that succumbs to the weight of its budget, Wonka comes across as formulaic and uninspiring. The excessive use of old-school songs becomes tedious, and the story lacks the expected magic and soul that usually populate this type of picture. The film falls short across the board, and even Chalamet's charm fails to elevate the bland cinematic flavors. At the very least, the film may leave you craving chocolate.

Dream Scenario (2023)

Direction: Kristoffer Borgli
Country: USA

In Dream Scenario, Norwegian filmmaker Kristoffer Borgli continues his exploration of stubborn, obsessive characters, taking viewers on a tortuous journey into the world of unexplainable dreams and unexpected fame. On the heels of his previous work, Sick of Myself (2022), Borgli's first English-language feature is a bizarre and exhilarating tale that thrives on complexities and dilemmas, offering an unconventional cinematic experience. The filmmaker doesn’t aim to deliver a blatant message in this well-told fantastic story that, even not for everyone, will likely earn the appreciation of adventurous film fans. 

The film grabs hold in a powerful way, as long as we can let ourselves be carried along by its complexities and dilemmas. It tells the story of Paul Matthews (Nicolas Cage), a respected biology professor who mysteriously appears in the dreams of strangers. The narrative takes unexpected turns as Paul transitions from a passive bystander to an aggressive force, leading to fame, scandal, fear, and even a sexual encounter with a young woman played by Dylan Gelula.

Horror fantasy blends with psychological drama and dark comedy as Borgli, combining imagination and technique, explores dysfunctional aspects of modern life. The structure may challenge some viewers, but those who stay engaged will find plenty of awkwardness offering a distinct cinematic pleasure. In summary, the surreal and ambiguity never dwindle the emotional stakes.

Mami Wata (2023)

Direction: C.J. “Fiery” Obasi
Country: Nigeria

The third feature from Nigerian writer-director C.J. “Fiery” Obasi, Mami Wata, presents a modern fable rooted in West African folklore. This brave and unusual film blends cultural defiance, intriguing mysticism, survival tension, and an unlikely romance, creating a narrative that is both poignant and unsettling. Sometimes spare, sometimes reverberant, the film not only captures the obscure traditional essence of an isolated Nigerian village but also sheds light on the oppression faced by women due to the looming malevolence of power-thirsty men.

Two story follows two warrior sisters, Zinwe (Uzoamaka Aniunoh) and Prisca (Evelyne Ily Juhen), who struggle to comprehend the ways of their mother, Mama Efe (Rita Edochie). The latter is the powerful intermediary between the people of Iyi and Mami Wata, the African goddess of water. Mama Efe entrusts the problems and requests of the villagers to this spirit, rejecting all types of external help to bring vaccines, schools, hospitals, and electricity to the village. However, her authority is called into question when a boy dies from a virus. A central conflict arises - is Mami Wata a real spiritual leader or a myth? To further complicate matters, an inscrutable rebel deserter named Jasper (Emeka Amakeze) arrives unannounced, aligning himself with a local subverter, Jabi (Kelechi Udegbe). 

Refreshingly simple in tone and efficiently structured, the film exudes the charm of old classics, embodying the eternal struggle between good and evil with a clarity that never goes out of style. Likewise, the dilemmas arising from the clash between rigid tradition and enticing progress are straightforward, allowing us to approach this different way of life with a sense of curiosity. 

At times, the story may follow predictable patterns, but it remains consistently fascinating, steeped in lyrical enchantment and fierce determination. What truly lends the film its mesmerizing atmosphere is the quietly radiant black-and-white cinematography by Brazilian cinematographer Lílis Soares.

Barbie (2023)

Direction: Greta Gerwig
Country: USA

The pink bubble surrounding the world-famous 11-inch plastic doll Barbie, which made its first appearance in 1959 in New York by the hand of creator and Mattel co-founder Ruth Handel, is hard to recreate, even in modern cinema. Yet, and despite the dominant sense of goofiness, the talented filmmaker Greta Gerwig (Lady Bird, 2017; Little Women, 2019) demonstrates she’s capable of surprising the viewer with clever takes on several important topics - from patriarchy to identity to consumerism and capitalism. Fresh ideas co-orchestrated with partner Noah Baumbach transpire throughout a film that jolts with jubilant humor, music, dance, and a few truths about real-world men and women.

In this artificial Hollywood fantasy, Barbie (Margot Robbie, who also produced) struggles with thoughts of death, and inexplicably gets flat feet and cellulite. These malfunctions prompt her to see Weird Barbie (Kate McKinnon) for advice. The latter urges her to leave Barbieland and go to the real world where she will connect with the unsatisfied Mattel-designer Gloria (America Ferrera), and her brash daughter, Sasha (Ariana Greenblatt). Whereas Barbie becomes aware of her depressive state, her forever boyfriend, Beach Ken (Ryan Gosling), makes a move to transform Barbieland into a patriarchal Kenland by brainwashing the remaining versions of Barbie. A pink revolution, not devoid of sweet reasonableness, is needed to reestablish peace and justice.

Benefitting from Helen Mirren’s effective narration, this feminist film hovers over the topics with wittiness, enjoyment and critical thinking. The result is cheerily upbeat. Great energy and creativity went into the construction, production and direction of this movie, which, as good as it is at times, still misses the heart. With that said, that final scene was simply brilliant, leaving me no other option than surrender myself to Gerwig’s intelligent humor. This Barbie movie might be too candied and flamboyant but is certainly not silly.

Moon Garden (2023)

Direction: Ryan Stevens Harris
Country: USA 

Moon Garden, the daring sophomore feature by Ryan Stevens Harris, is a freakish visual delight told from an unconventional perspective. Redolent of works by Jan Svankmajer, Guillermo del Toro and Tim Burton, the film follows a sweet 5-year-old girl, Emma (Haven Lee Harris), who wanders through a scary subconscious realm filled with dark phantasmagoria while trying to leave a comatose state.

The girl is often encouraged by whispered messages from her parents (Augie Duke and Brionne Davis), who are locked in an unhappy marriage. She avoids coming across invisible entities and grotesque monsters with teeth that seem to claim her soul, but occasionally bumps into sinister men whose intentions are uncertain. Once in a while, her mind erupts at the surface, recalling past moments of love and self-confidence. This gives her the strength and courage to keep going. 

A simple story at the core opens up vast possibilities for experimentation, and the director, who has been working as an editor since his feature debut - Virus X (2010) - finds some magical love among petrifying horror and chaos. The inventiveness of detail makes it a sensory experience; one of those that is hard to stay laser-focused as the screen gets crammed with such a proliferation of bizarre elements. 

With warped sounds enhancing the industrialism of the setting, this twisted fairytale is pretty darn hypnotic.