Today we’ve come up with 30 great new movies to stream in March 2023. There is always a new movie to stream, this March is packed with interestingly great movies for your viewing pleasure. so believe me when I say; There is no lack of new movies to stream in March on the various major streamers, as blockbusters, dramas and underrated gems from 2022 all land on a combination of Netflix, Disney+, Paramount+, HBO Max, Peacock, Prime Video and Hulu in March.
Not only that but newly added library titles include Oscar winners, ’90s favourites and movies guaranteed to bring a smile to your face. Quite literally whatever mood you’re in, we’ve got a curated pick just for you.
Below, we’ve assembled a list of some of the great new movies to stream in March 2023. So thumb through, make a selection, and bookmark this page to come back throughout the month on your movie nights!
La la land
Director: Damien Chazelle
Box office: 447.4 million USD
Budget: 30 million USD
Damien Chazelle’s Oscar-winning (but not Best Picture-winning) “La La Land” is at once a joyful Hollywood musical and a somber story of what we sacrifice to make our dreams come true, and is a terrific watch whether you loved or hated Chazelle’s recent polarizing Hollywood epic “Babylon.”
Ryan Gosling is an aspiring jazz musician and Emma Stone is an aspiring actress, both just trying to make it big in Los Angeles. Their paths cross, stars align, and a head-over-heels romance ensues.
But Chazelle manages to combine the fantastical with the grounded, allowing us to feel deeply for what these individuals are going through (and root for them hard).
And the songs are fantastic to boot. – Adam Chitwood.
Director: Akiva Schaffer
Box office: 68.3 million USD
Budget: 68 million USD
Casting director: Alyssa Weisberg
Cinematography: Barry Peterson
For an amiable, “Ghostbusters”-style comedy where a bunch of goofballs (Ben Stiller, Vince Vaughn, Jonah Hill and Richard Ayoade) start a neighborhood watch in their sleepy town and wind up uncovering an alien conspiracy, “The Watch” has been oddly controversial.
The name of the movie changed from “Neighborhood Watch” to “The Watch” only two months before its release, leaving the marketing and publicity teams to scramble due to the death of Trayvon Martin.
And even now the idea of a predominantly white cast stalking around an affluent neighborhood and roughing people up, no matter how funny feels a little iffy.
But taken at face value – a high-concept R-rated studio comedy featuring famous actors and a narrative loose enough to let them have fun (the eventual script was co-written by Seth Rogen and his partner Evan Goldberg) – “The Watch” feels like something of a lost gem, one ripe for rediscovery.
(Great, rubbery monsters too.) – Drew Taylor.
Black Panther: Wakanda Forever
Director: Ryan Coogler
Nominations: Academy Award for Best Actress in a Supporting Role, more
Budget: 250 million USD
The sequel to 2018’s zeitgeist-capturing “Black Panther” was always going to be difficult to pull off.
After all, the tragic passing of Chadwick Boseman in 2020 (he was only 43) led to a radical overhaul of the much-cooler-sounding screenplay and the resulting has a weird, cathartic pseudo-documentary quality, as we are watching characters mourning the loss of their friend being played by actors who are mourning the loss of their friend.
And for the most part “Black Panther: Wakanda Forever” works; it is more emotional heft than virtually any other Marvel Studios project and has admirably grand ambition.
(director/co-writer Ryan Coogler said that he was inspired by James Cameron films in particular), weaving in a plotline about a warring underwater nation (led by Tenoche Huerta’s Namor) and Wakanda’s quest for a successor to T’Challa’s mantle.
And if you haven’t seen it yet, the warped anamorphic photography by Autumn Durald Arkapaw is absolutely stunning.
This movie is thrilling and contemplative in equal measure; it’s rare that a modern blockbuster is this invested in feeling as much as it is in thrilling. – Drew Taylor.
Director: Cameron Crowe
Music composed by: Nancy Wilson
Box office: $47.4 million
One of the best films ever made about music, Cameron Crowe’s “Almost Famous” is a timeless classic.
Inspired by Crowe’s earlier career as a music journalist, the film follows a teen named William (played by Patrick Fugit) who scores an assignment from Rolling Stone to write a story on an up-and-coming band named Stillwater.
Embedded with the band on the road, William learns about life, love and friendship – although through Crowe’s unabashedly earnest prism, it never comes off as trite or rote.
Crowe won an Oscar for Best Original Screenplay, and Kate Hudson was rightfully nominated for Best Supporting Actress.
The impeccable ensemble also includes Frances McDormand, Billy Crudup, Jason Lee, Fairuza Balk, Anna Paquin and Philip Seymour Hoffman. – Adam Chitwood.
How to Train Your Dragon
Story by: Cressida Cowell
Adapted from: How to Train Your Dragon
Box office: 494.9 million USD
A tremendous family film if there ever was one, 2010’s “How to Train Your Dragon” is an uplifting, deeply compassionate animated adventure.
Jay Baruchel voices Hiccup, a Viking living in a village with his father who struggles to fit in.
When he befriends a dragon – creatures thought by the Vikings to be violent and terrifying – Hiccup begins to see the world differently, and in turn convinces his friends and family to check their prejudices and consider the world from a different point of view.
This one’s a family favorite. — Adam Chitwood.
Director: Spike Lee
Box office: 184.4 million USD
Art director: Chris Shriver
Spike Lee’s 2006 thriller “Inside Man” is one of the director’s best and most entertaining films.
The story opens in the aftermath of a bank heist, with those taken hostage giving their interviews to police about what happened.
The film then flashes back to portray the events as they unfold, with Denzel Washington playing the detective trying to talk down the robber and kidnapper (played by Clive Owen) who seems to be harboring some kind of secret.
Mind games ensue, and this one keeps you guessing all the way up through the end. – Adam Chitwood.
Invasion of the Body Snatchers
Director: Philip Kaufman
Awards: Saturn Award for Best Director
Story By: Jack Finney
Adapted From: The Body Snatchers
Who says all remakes are bad? The 1978 version of “Invasion of the Body Snatchers” is a terrifying and thematically rich update of the 1955 novel that was first adapted into a film in 1956.
Donald Sutherland stars as a San Francisco health inspector who begins to discover that humans are being taken over by alien doubles.
As the numbers of alien imposters mount, Sutherland and his colleagues try to outrun the growing threat, culminating in a true “humdinger” of an ending. – Adam Chitwood.
Director: John Singleton
Box Office: 107.2 Million Usd
budget: 46 million usd, 44 million usd
Film Series: Shaft
Adapted From: Shaft
Not to be confused with Gordon Parks’ 1971 original masterpiece or the very lousy 2019 sequel, John Singleton’s 2000 movie (like those other versions, also just named “Shaft” and also based, in part, on the 1970 Ernest Tidyman novel) is a terrific, knowing crime movie and a great showcase for Samuel L. Jackson, who provides a performance both bombastic and nuanced.
In this modern-day version, Jackson’s detective is pulled from the force after investigating a racially motivated murder perpetrated by a spoiled rich guy (Christian Bale).
Once he’s on the loose, though, Shaft looks to right some wrongs. With a killer cast that includes Toni Collette, Vanessa Williams, Busta Rhymes and Jeffrey Wright as the movie’s other villain, a gangster named Peoples Hernandez, “Shaft” is an absolute delight.
But it’s more than just popcorn fare. This movie has a lot on its mind, thanks largely to the thoughtful script primarily written by Spike Lee collaborator Richard Price. And it looks like a million bucks too, with cinematographer Donald E. Thorin’s camera capturing the action in long, fluid takes.
It really is a great movie and will make you miss Singleton, who sadly passed away in 2019, even more. – Drew Taylor
Days of Heaven
Director: Terrence Malick
Screenplay: Terrence Malick
Terrence Malick was already acclaimed for his debut feature, the based-on-a-true-story thriller “Badlands,” but it was with his second film, “Days of Heaven,” that he really stepped into his own as an artist.
All of the hallmarks of his later career, things we would today describe as “Malickian,” are on full display in “Days of Heaven” – the dreamy voiceover narration (a holdover from “Badlands”), the keen interest in the natural world (and in capturing that natural world in the most twinkly way possible) and a central narrative far less interested in plot specifics than in the feeling of scenes and sequences.
If you’ve never seen the film, it follows Bill (Richard Gere) and Abby (Brooke Adams) as they travel with Bill’s young sister Linda (Linda Mantz) to the Texas panhandle in 1916.
(Bill had been working in Chicago but gets in a fight with his boss and accidentally kills him.) While at work on the farm, they concoct a plot to swindle the wealthy landowner (Sam Shepard).
Not that the plot really matters. Instead what matters is the golden hour cinematography of Néstor Almendros and Haskell Wexler, the sweeping music by Ennio Morricone and the way the movie casts its singular spell.
One of cinema’s greatest accomplishments, now you can watch “Days of Heaven” on the same app you saw the latest “Jackass” movie. – Drew Taylor
Release Date: 4 October 1995 (USA)
Budget: 10 Million Usd, 15 Million Usd
Like Terrence Malick, the Hughes Brothers (Albert and Allen) made a splash with their debut, the acclaimed inner-city drama “Menace II Society.” But they really came into their own with their follow-up, “Dead Presidents.”
Based in part on the nonfiction book “Bloods: An Oral History of the Vietnam War by Black Veterans” by Wallace Terry, the movie stars Lorenz Tate as a young Vietnam veteran who returns from the war and starts robbing banks.
Everything about “Dead Presidents” is grander and slicker than “Menace II Society,” benefitting the larger budget ($10 million compared to the $3.5 million of “Menace II Society”) and the studio backing (believe or not, Disney’s Hollywood Pictures produced the movie).
You can feel it in the fluid cinematography of Lisa Rinzler (clearly working with more toys than she had on “Menace II Society”) and the lush orchestral score of Danny Elfman (one of his very best).
If for some reason you haven’t seen “Dead Presidents,” it’s one of the very best (and most underappreciated) movies of the 1990’s, full of the Brothers’ inventive staging and unforgettable flourishes (if you thought iconic white make-up was exclusive to “The Crow,” think again).
Be warned: it’ll make you very sad that the Brothers only made one more narrative feature together, 2001’s terrific Jack the Ripper chiller “From Hell.” Sigh. – Drew Taylor.
Director: Ridley Scott
Prequel: The Silence of the Lambs
Story By: Thomas Harris
Adapted From: Hannibal
A controversial project defined largely by complicated rights issues, polarizing source material, contested cast shake-ups and the oversized shadow of its predecessor, the Oscar-sweeping masterpiece “The Silence of the Lambs.”
And obviously “Hannibal,” based on the deliciously outrageous and highly contentious Thomas Harris novel of the same name, was never going to live up to the film that came before.
But what Ridley Scott conjured, taking over for Jonathan Demme, is still highly memorable and singular – a Grand Guignol thriller that reaches an operatic high early in its runtime and, incredibly, sustains that florid intensity throughout.
Hannibal (once again played by Anthony Hopkins) is hiding out in Florence, on the run from law enforcement as well as a disfigured victim (played by an uncredited Gary Oldman) who is training a pack of wild boars to eat Hannibal alive (yes this is a very real plot point).
Julianne Moore steps into the stylish but sensible shoes of Jodie Foster and her Clarice is a little flintier but no less engaging.
The screenplay by David Mamet and Steve Zaillian threw out one of the more controversial elements of the book (the fact that Clarice and Hannibal end up together) but maintained its truly disgusting final set piece, featuring a very game Ray Liotta.
As a “Silence of the Lambs” sequel it may disappoint but taken on its own terms, it’s a bizarre knockout. – Drew Taylor
In the Bedroom
Director: Todd Field
Distributed By: Miramax
Adapted From: Killings
Box Office: $44.8 Million
All this talk about “Tár” makes it a great time to revisit filmmaker Todd Field’s first feature, “In the Bedroom.”
The 2001 film is a tragic family drama with Sissy Spacek and Tom Wilkinson delivering stellar (and Oscar-nominated) performances as a couple grappling with issues plaguing their family unit, which includes son Frank (Nick Stahl).
The feature garnered five Oscar nominations including Best Picture and Best Adapted Screenplay. – Adam Chitwood.
The Curious Case of Benjamin Button
Director: David Fincher
Box Office: 335.8 Million Usd
Budget: 150 Million Usd (2009)
Adapted From: The Curious Case of Benjamin Button
“The Curious Case of Benjamin Button” will always be an outlier in the career of filmmaker David Fincher – a movie meant to be a celebration of life made by an artist obsessed with death.
And even as it straddles that line, between nihilistic bleakness and a honeyed, “Forrest Gump”-style biography of a man gifted (cursed?) with a lifecycle that sees him age backwards (Brad Pitt), “The Curious Case of Benjamin Button” succeeds.
Pitt is great as the aloof Button, who acts almost as a time traveler, as he observes major events in human history from a distance, always unmoored and longing for attachment.
And Cate Blanchett, as the woman he loves (and who ends up taking care of him in his young age), grounds the movie emotionally even when things are really out there.
And the visual effects that brought Button to life, from the wizards at Digital Domain, still feel cutting edge even if they feel somewhat antiquated in 2023.
Not everything works (the Hurricane Katrina wraparound story is a bit puzzling), but the movie, as a whole, is such an overwhelmingly beautiful work that its hard to deny.
If you’ve only seen Fincher’s darker material, take a walk on the warmer side. – Drew Taylor.
The Talented Mr. Ripley
Director: Anthony Minghella
Adapted From: The Talented Mr. Ripley
Box Office: 128.8 Million Usd
One of Matt Damon’s best performances and one of the best films of the 1990s, “The Talented Mr. Ripley” is a chilling dramatic thriller that gets under your skin in the best way.
Set in the 1950s, Damon plays a young man named Tom Ripley who is mistaken for somebody else and tasked with persuading a rich young man (played by Jude Law) to return to the United States from Italy.
Once Ripley gets to Italy, however, he becomes infatuated with Law’s character and the life he’s living (complete with kind girlfriend Gwyneth Paltrow), and grows increasingly close to the couple in uncomfortable ways.
Anthony Minghella directs this beautifully haunting story of identity, jealousy and self-loathing that takes a number of shocking twists and turns.
Oh, and Philip Seymour Hoffman delivers a phenomenal supporting performance. – Adam Chitwood
Lyle Lyle Crocodile
Budget: 50 Million Usd
Cinematography: Javier Aguirresarobe
Editor: Richard Pearson
Distributed By: Sony Pictures Releasing
Based on the beloved books by Bernard Waber, “Lyle, Lyle, Crocodile” tells the story of a magical singing crocodile who finds family and a friend in a boy named Josh (Winslow Fegley), and is the perfect pick for a family movie night.
The animated adventure is directed by Will Speck and Josh Gordon with original music from Oscar, Grammy and Tony winning songwriters and producers Benj Pasek and Justin Paul (“La La Land,” “The Greatest Showman,” “Dear Evan Hansen”) as well as singer Shawn Mendes, who voices Lyle.
A powerful ensemble cast of Javier Bardem, Constance Wu, Scoot McNairy and Brett Gelman as Alistair Grumps rounds out the cast.
Twists and turns lead to an epic moment for Lyle and Josh after they encourage each other to step out of their shells in different ways. – Dessi Gomez
Director: Baltasar Kormákur
Cinematography: Philippe Rousselot
Distributed by: Universal Pictures
Box office: $59 million
People who moan about the decline in quality cinema clearly aren’t acknowledging the fact that, just a few months ago, we were gifted with a terrific movie where Idris Elba is terrorized by a man-eating lion for 93 minutes.
“Beast,” from underrated Icelandic journeyman director Baltasar Kormákur, follows Elba’s character and his two young daughters as they travel to South Africa.
His wife has just passed away and he’s reuniting with his old friend, played (of course) by Sharlto Copley, And while they’re there, trying to bond and process the loss of Elba’s wife, they are repeatedly stalked by a killer lion.
And as simple as the story is, Kormákur and cinematographer Philippe Rousselot (known for his work with Tim Burton and cinema du look pioneer Jean-Jacques Beineix) take a much more sophisticated visual approach, staging the attacks in a series of unbroken shots.
While occasionally (“1917,” we’re looking at you) this tactic can lead to the movie feeling like it’s “on rails,” the opposite is true of “Beast” – it actually heightens the suspense because you know that there’s nowhere to go and the camera cannot look away.
An underrated gem from last year, hopefully it will get the appreciation it deserves on streaming. Roar! – Drew Taylor.
All That Breathes
Director: Shaunak Sen
Box office: $33,234
You can watch one of the documentaries up for this year’s Best Documentary Feature Oscar on HBO Max this month, and it’s a great one.
“All That Breathes” follows two brothers living in New Delhi who capture and treat birds that are dropping from the sky due to the increasing pollution.
What really makes this doc soar, though, is director Shaunauk Sen’s cinematic approach to the film.
Long takes, slow pans and evocative cinematography capture life in New Delhi in a transfixing way, making the emotional twists and turns all the more impactful. — Adam Chitwood.
Empire of Light
Director: Sam Mendes
Cinematography: Roger Deakins
Distributed by: Searchlight Pictures
Box office: $1 million
Edited by: Lee Smith
There were many BEHOLD, THE POWER OF MOVIES! movies released in 2022. At the very least, Sam Mendes’ “Empire of Light” is the most gorgeously photographed, with Mendes re-teaming with Roger Deakins for a melancholic tale of a movie theater in Thatcher-era England. (Deakins’ work was just nominated for a Best Cinematography Oscar.)
The movie stars the always-wonderful Olivia Colman as the manager of a movie theater in the early-1980s in a small seaside town.
She strikes up an unlikely romance with a young Black British employee (Michael Ward) that winds up transforming both of their lives.
More unpredictable than you probably imagined, Mendes’ script is occasionally quite messy as it lurches between tones, styles and subject matter (including lightly touching upon the rise in white nationalism in Britain at the time).
Is it a portrait of mental illness? A love letter to the power of moviegoing? A quaint, kitchen sink drama? As it turns out, it’s all of those things – and more.
If you go in with the right expectations and can give over to the mood of “Empire of Light” (exemplified by the twinkly score by Trent Reznor and Atticus Ross), it is pretty enjoyable.
Especially when you’re just staring, astounded, at Colman’s amazing performance. The movies! – Drew Taylor
Your Place or Mine
Director: Aline Brosh McKenna
Screenplay: Aline Brosh McKenna
Cinematography: Florian Ballhaus
Calling all Reese Witherspoon fans! The latest project from Witherspoon’s Hello Sunshine production company, “Your Place Or Mine” stars Witherspoon in a romantic comedy role opposite Ashton Kutcher.
Written by Aline Brosh McKenna (“The Devil Wears Prada,” “27 Dresses,” “Crazy Ex-Girlfriend”), the story follows complete opposites Debbie (Witherspoon) and Peter (Kutcher).
Debbie has to be a practical single mom, building a regimen for her son Jack (Wesley Kimmel) who has many allergies and health conditions.
Peter can’t commit to a project or a person for more than six months. Debbie and Peter had a one night stand 20 years ago and have stayed friends ever since, so when Debbie’s babysitter cancels last minute before Debbie is supposed to fly to New York to finish her graduate program in accounting, Peter offers to lend her his place and watch Jack instead.
Swapping their homes on opposite sides of the country, the two begin to realize that they haven’t told each other everything, and past feelings bubble up like they never left.
Plus, books (something Reese knows well), play their own role in the cross-country love story.
Jesse Williams plays the handsome Duncan Press editor who completes the love triangle, and Tig Notaro plays the supportive friend who has known the confused couple for the 20 years since they slept together.
Steve Zahn appears as Debbie’s googly-eyed gardener. Zoe Chao plays Peter’s sleek ex-girlfriend Minka. Oh, and this one has a great soundtrack. – Dessi Gomez
Somebody I Used to Know
Director: Dave Franco
Music by: Danny Bensi; Saunder Jurriaans
Alison Brie and husband Dave Franco wrote and made a movie together, and this month you can watch that movie! Brie plays a workaholic TV producer who runs off to her hometown after a career setback, only to reconnect with her first love (played by Jay Ellis).
Only problem is, he’s engaged to be married. Chaos and hilarity ensue. Franco directed the film, and the ensemble also includes Kiersey Clemons, Haley Joel Osment and Brie’s “Community” co-star Danny Pudi. – Adam Chitwood
Director: David Gordon Green
Budget: 33 million USD
Film series: Halloween
Distributed by: Universal Pictures
If, for some reason, you missed “Halloween Ends” when it debuted on Peacock this past, well, Halloween, fear not! It’s back – and this time, it’s on Prime Video.
The third film in co-writer/director David Gordon Green’s new “Halloween” trilogy (which began in 2018) and the conclusion of the story that began with John Carpenter’s 1978 original, this latest installment is one of the best – an idiosyncratic, blood-soaked love story that also happens to bring the entire franchise to a satisfying close.
(It’s certainly the weirdest since “Halloween III: Season of the Witch;” “Halloween Ends” even borrows that movie’s distinctive opening title font.)
This time around Michael Myers has all but disappeared, not that Haddonfield, Illinois is free from evil.
A young boy named Corey Cunningham (Rohan Campbell), who suffered his own horror on Halloween 2018, falls in love with Laurie Strode’s (Jamie Lee Curtis) granddaughter Allyson (Andi Matichak) as his own homicidal impulses begin to increase … It’s a wild, out-of-left-field way to wrap things up, but it works.
This isn’t a cut-and-paste “Halloween” retread.
In fact, the Carpenter movie it is closest to is probably “Christine,” not “Halloween.” And that difference goes a long way.
The movie was certainly polarizing, so now it’s time to make up your own mind and join in the discourse. – Drew Taylor
The Woman King
Director: Gina Prince-Bythewood
Budget: 50 million USD
Editor: Terilyn A. Shropshire
Distributed by: Sony Pictures Releasing
One of the most exhilarating action movies of last year, “The Woman King” is finally streaming. Directed by Gina Prince-Bythewood, who last directed the terrific Charlize Theron vehicle “The Old Guard,” “The Woman King” is based on a true story of an elite group of all-female warriors that protected the West African kingdom of Dahomey during the 17th to 19th centuries.
The movie version focuses on a young warrior (played by the terrific Thuso Mbedu) who is tutored by another member of the tribe (Lashana Lynch) and who longs for the approval of the tough-as-nails general (Viola Davis).
Brightly staged action sequences, a terrific cast (including John Boyega as the king) and a movie that genuinely felt like nothing that had ever been seen before, “The Woman King” deserved more attention – and not just from the Academy (although that too). Marvel at its power. – Drew Taylor
Director: Damien Chazelle
Screenplay: Damien Chazelle
Cinematography: Linus Sandgren
Costume design: Mary Zophres
Distributed by: Paramount Pictures
Damien Chazelle’s sprawling, Oscar-nominated historical epic is an energetic blast, a decadent trip through Hollywood’s seedy early days that absolutely flies by despite its 3 hour + runtime.
Much of the fun of “Babylon” comes from the extremely game cast – Brad Pitt plays an elder statesman performer whose life is discombobulated by the introduction of sound pictures;
Margot Robbie is a troubled ingenue (are there any other kinds?); Diego Calva is a behind-the-scenes operator struggling to keep it all together; and Jean Smart is the tabloid journalist always on the hunt for the juiciest story.
It’s at turns absolutely bonkers (this is a movie that starts with an elephant pooping into the camera and features a lengthy set piece involving Robbie wrestling a venomous snake) and often quite heartfelt, sometimes in the same scene.
By the time the movie its conclusion, a sequence that somehow combines the “star gate” sequence from “2001: A Space Odyssey” and one of those YouTube videos that compile classic scenes from that year’s movies, you’ve either given yourself over to the movie or have resisted it fully.
It’s glorious, it’s absurd, it’s tragic, it’s hilarious, it’s “Babylon” baby. – Drew Taylor
Director: Gerard Johnstone
Distributed by: Universal Pictures
Budget: $12 million
Music by: Anthony Willis
If, for some reason, you haven’t met “M3GAN” yet, get ready. The sleeper horror comedy hit, which made $170 million on a $12 million budget, concerns a toy designer (Allison Williams) who is made the guardian of her young niece (Violet McGraw) after a horrible accident.
Instead of actually, you know, parenting the distressed child, Williams gives the girl M3GAN – a prototype, cutting-edge toy that has some unfortunate, murderous bugs.
What makes the streaming release of “M3GAN” even more exciting is that you can choose either the theatrical cut of the movie, rated PG-13, or an unrated cut that includes more violence and naughty language.
(The 11th hour decision to make the movie more all-audience was covered extensively in the lead-up to the movie’s theatrical release.)
A fun, clever, genuinely scary little movie with some great music cues and an irresistible central conceit, “M3GAN” deserves all of its success – and chances are this more mature cut could be even better.
All hail “M3GAN,” our cyborg queen. – Drew Taylor
We Have a Ghost
Director: Christopher Landon
Distributed by: Netflix
Music by: Bear McCreary
Christopher Landon, the reigning king of horror comedy thanks to “Happy Death Day,” its sequel “Happy Death Day 2 U” and modern classic “Freaky,” aims for something a little more family-friendly with his latest.
“We Have a Ghost,” based on a short story by Geoff Manaugh, concerns a young man who encounters a ghost he names Ernest (played by a mute David Harbour) in the new family house.
From there (a fairly straightforward, “Beetlejuice”-ish set-up), the movie spins out to include subplots about an author (Tig Notaro) who teams up with some CIA agents to hunt down Ernest, Ernest becoming a social media sensation and, eventually, it introduces a fairly heavy murder mystery element. – Drew Taylor
Initial release: 26 January 2023
Directed by: Sarah Spillane
Distributed by: Netflix
Music by: Nick Wales
Production companies: Resonate Entertainment; The Rebel Fleet; Sunstar Entertainment; Martin Chase Productions
This family-friendly film is based on the true story of Australian teenager Jessica Watson, who sailed around the world on a record-setting voyage in 2009.
An Australian teenager plans to become the youngest sailor to have travelled the world alone. In doing so, the intrepid 16-year-old not only seeks to fulfil her dream, she also faces her greatest fears at the same time.
Wendell & Wild
Director: Henry Selick
Cinematography: Peter Sorg
Music composed by: Bruno Coulais
Distributed by: Netflix
The director of A Nightmare Before Christmas and Coraline finally returned this year with this clever and twisted tale co-written by Oscar winner Jordan Peele.
The comedian also co-stars as one of the title characters, the literal demons for a girl who blames herself for the death of her parents.
Selick is a master of stop-motion animation and this project allows him to stretch his visual prowess in new, gross ways.
It’s a new Halloween classic (that can be watched any time, of course!)
Director: Jaume Collet-Serra
Box office: 393 million USD
Cinematography: Lawrence Sher
Black Adam, directed by Jaume Collet-Serra, is based on the DC Comic and was sincerely championed by titular star Dwayne Johnson (Moana).
Telling the story of a powerful anti-hero from his tomb, Black Adam rises to unleash vengeance in the modern era.
Collet-Serra’s cinematic eye in Black Adam has been compared to a blend of Michael Bay’s action style with Zack Snyder’s aesthetic.
Supported by a diverse and talented cast, including Aldis Hodge (Leverage: Redemption), Sarah Shahi (Sex/Life), and Noah Centineo (The Recruit), Black Adam fits neatly into the already-established Shazam universe. – Yael Tygiel
The Banshees of Inisherin
Director: Martin McDonagh
Distributed by: Searchlight Pictures
Box office: $41.3 million
Music by: Carter Burwell
Colin Farrell and Brendan Gleeson star as Pádraic Súilleabháin and Colm Doherty in the dark comedy film The Banshees of Inisherin.
Cleverly written and gorgeously directed by Oscar winner Martin McDonagh (Three Billboards Outside Ebbing, Missouri), The Banshees of Inisherin tells the story of two friends, Pádraic and Colm, who drift apart at the end of the Irish Civil War in 1923.
With Colm attempting to build a legacy as a folk musician while Pádraic seeks to find comfort in his newfound solitude, McDonagh uses The Banshees of Inisherin as a lens to explore themes of mortality and isolation. – Yael Tygiel
Director: Matt Reeves
Box office: 770.9 million USD
Cinematography: Greig Fraser
Distributed by: Warner Bros. Pictures
Based on: Characters; from DC
We’ve been inundated with different versions of Batman in recent years, with everything from the Snyderverse take to LEGO Batman.
But even with plenty of Batman options to choose from, Matt Reeves’ The Batman still manages to feel like a fresh take on a character we’ve seen adapted an absurd amount of times.
Robert Pattinson plays Bruce Wayne as Gotham’s emo knight, trying to rid the streets of crime and failing at his goal.
Making matters worse are gangster nightclub owner The Penguin (Colin Farrell), and a menace causing mayhem around the city that goes by the name of The Riddler (Paul Dano).
Despite how many times we’ve experienced these characters and this city, Reeves’ dark take on the caped crusader is a captivating one, as we watch Bruce Wayne attempt to become the hero that Gotham needs. — Ross Bonaime
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