Andy Muschietti’s Must-See 63-Year-Old Horror Cult Classic

The Enduring Influence of Carnival of Souls on Andy Muschietti’s Horror Vision

Horror fans have long associated Andy Muschietti with stylish, character-driven supernatural fright. From Mama to It, his work frequently blends emotional trauma with atmospheric terror and surreal imagery. So when HBO highlighted Carnival of Souls as one of Andy and Barbara Muschietti’s favorite horror films, the choice immediately stood out. Most fans know Muschietti draws inspiration from a wide spectrum of genre classics, but Carnival of Souls occupies its own uncanny space.

For a filmmaker like Muschietti, who often works with ghosts, liminality, and characters trapped between worlds, Carnival of Souls feels like a remarkably fitting pick. The film’s haunting images and dreamlike pacing align strongly with motifs seen throughout his most notable projects. Both Muschietti and Carnival of Souls show an interest in the psychological fractures that appear when grief meets the supernatural. Given how deeply Muschietti’s filmography relies on fractured timelines, shifting perceptions, and haunted protagonists, his admiration for the 1962 classic is not only understandable but revealing.

Carnival of Souls Remains a Defining Cult Classic of Psychological Horror

When Carnival of Souls premiered in 1962, it failed to make a commercial splash. Audiences at the time were more accustomed to high-gloss studio horror or creature features that leaned heavily on spectacle. Herk Harvey’s film, produced on a small budget and starring relative unknowns, seemed almost too quiet and too strange to fit the market. Yet the film’s oddness became precisely what secured its future legacy.

Over decades of television airings and later Criterion restoration, the movie gradually earned praise for its eerie mood, minimalist approach, and hypnotic visuals. Today, Carnival of Souls is recognized as one of the most important psychological horror films of its era.

The story follows Mary Henry, a young church organist who mysteriously survives a car accident. After the crash, she moves to Utah for a new job, hoping to leave behind the traumatic event. Instead, she begins experiencing unsettling visions. Strange pale figures appear around her. The world occasionally slips into a dreamlike state where sound drops out, people ignore her, and reality loses coherence.

These episodes intensify as she grows increasingly drawn to an abandoned lakeside pavilion known as the Saltair Pavilion. The location exerts a magnetic pull, functioning as both sanctuary and threat. By the film’s end, the audience realizes Mary has been caught between life and death the entire time. She never survived the original crash. Her journey has been a ghost’s attempt to reconcile the truth of her own demise.

The film’s reception has become central to its reputation. Although it received mixed reviews during its original release, modern critics now consider Carnival of Souls a masterclass in minimalist horror. The production’s limitations forced director Herk Harvey and writer John Clifford to rely heavily on atmosphere rather than special effects. Their use of stark black and white cinematography, empty landscapes, disorienting editing, and sparse dialogue creates a slow-building sense of unease.

The film’s sound design also contributes to its haunting quality. Long stretches of silence or organ music emphasize Mary’s disconnection from the world around her. It feels alien, suspended, and drained of life, which mirrors Mary’s own liminal state.

The abandoned carnival setting contributes significantly to the film’s mythic quality. Carnivals already evoke liminality, transition, and the border between entertainment and danger. Here, the imagery is stripped of joy and reduced to skeletal architecture, shadows, and ghostly gatherings. The pavilion becomes a physical expression of Mary’s psychological state. It is a place she feels drawn to, yet one she instinctively fears.

That tension between attraction and dread is what gives Carnival of Souls its uncanny longevity. The film does not rely on jump scares or monsters. Its horror comes from the slow reveal that Mary is no longer part of the living world, a truth she resists until it becomes impossible to ignore.

The Cult Classic Deeply Aligns with Andy Muschietti’s Vision of Horror

To understand why Carnival of Souls might resonate with Andy Muschietti, it is essential to examine the thematic DNA of his own work. Muschietti gravitated toward stories where the supernatural blends with emotional pain, especially trauma that lingers and reshapes the world. His breakout film Mama follows two girls whose grief and abandonment attract a vengeful spirit.

His adaptation of Stephen King’s It foregrounds childhood fear, memory, and the psychological scars that reappear in adulthood. Even The Flash, while not a horror film, explores timelines shattered by grief and the catastrophic consequences of refusing to accept loss. Across his projects, characters often confront ghosts of their past, literal or symbolic. Reality bends around their unresolved emotions.

These are the same ideas embedded deep within Carnival of Souls. Mary Henry’s journey is not driven by an external threat. Instead, it stems from her inability to accept what has happened to her. She is disconnected from the world because she is no longer part of it. Her denial becomes the engine of the film’s horror. Muschietti frequently uses similar narrative engines. His protagonists often harbor emotional wounds that make them vulnerable to supernatural influence.

The horror grows out of the character’s interior state rather than existing as an independent force. In Mama, the titular spirit is not simply a monster. She is an embodiment of unresolved maternal grief. In It, Pennywise becomes a manifestation of each character’s deepest personal fear. Muschietti seems drawn to stories where emotional truth and supernatural horror intersect.

Stylistically, Muschietti’s films also share a kinship with Carnival of Souls. While Muschietti uses larger budgets and modern effects, he still relies heavily on atmosphere. He favors lingering shots that emphasize mood, uses shadows and liminal spaces to create tension, and often builds scares through gradual escalation rather than abrupt shocks. The iconic Saltair Pavilion in Carnival of Souls functions very similarly to some of Muschietti’s most memorable settings.

Think of the well from Mama, the sewer tunnels of It, or even the chronally unstable spaces in The Flash. Each location is presented as a physical representation of the character’s emotional state. They are haunted not only because spirits live there but because the protagonists themselves are emotionally tethered to them.

Another reason Muschietti likely responds to Carnival of Souls is its treatment of characters who exist on the edge of reality. Muschietti often portrays protagonists who feel out of place in their own lives, as if something about their world is slightly off. Beverly Marsh in It senses a darkness no one else acknowledges. Barry in The Flash literally watches his world bend under the weight of grief. In Mama, the young girls struggle to adapt to society after years of isolation.

That tension mirrors Mary Henry’s emotional distance. She is physically present but psychologically disconnected. Every person she encounters reacts to her as if she is slightly wrong, slightly out of step with the world. This resonates strongly with Muschietti’s interest in characters who navigate fractured identity.

Its Haunting Take on Death, Liminality, and the Fear of Being Stuck Still Resonates With Audiences Decades Later

One of the most compelling aspects of Carnival of Souls is its exploration of death as a state of suspension rather than finality. Mary is not a ghost in the traditional sense. She does not behave maliciously or seek revenge. Instead, she wanders through life caught between two worlds, unable to acknowledge her own passing. The film approaches death as an emotional condition, not only a physical event.

Mary’s liminality becomes a metaphor for the human fear of being forgotten, unseen, or irrelevant. Her interactions with others reveal the slow erosion of her connection to the living world. People fail to hear her, fail to see her, or fail to understand her. The horror comes from this gradual erasure of identity.

This take on death aligns with contemporary interpretations of horror where the fear is not the finality of dying but the implications of not truly living. Mary’s tragedy stems from her inability to accept her situation. Her detachment becomes both a cause and a symptom of her limbo. The carnival itself symbolizes this liminality. It is neither fully alive nor dead, neither celebratory nor mournful. It is abandoned, skeletal, and echoing with ghosts. Mary’s attraction to the carnival represents her subconscious recognition of the truth. It is the place where the living world and the afterlife intersect.

From a modern analytical perspective, the film’s quiet pacing and surreal imagery enhance its thematic intent. Scenes where Mary drifts through crowds unnoticed emphasize her detachment. Moments where sound disappears entirely turn her world into a vacuum. The ghostly figures that appear throughout the film serve as manifestations of death waiting patiently for acceptance.

Nothing in the film moves quickly. The horror creeps in slowly, mirroring Mary’s gradual recognition of her reality. This structure places the audience inside Mary’s psychological experience, allowing them to feel the same disconnection she feels.

These themes connect strongly to Muschietti’s storytelling sensibilities. His films often revolve around characters who are emotionally stuck. In It, the Losers must confront childhood trauma in order to defeat Pennywise. Their inability to let go of the past traps them in cycles of fear. In Mama, the girls cannot fully adapt to their new life until they confront the lingering spirit of their old one. Thus, Carnival of Souls feels like a natural fit among Muschietti’s influences.

Top 4 Western Films to Stream on Netflix Now

The Evolution of the Western Genre

The Western genre has always held a special place in the hearts of moviegoers. From its early days, it transported audiences to a world where cowboys roamed the open plains and fought for justice. Over time, the genre has evolved, with new stories being told through modern lenses. Neo-Westerns have taken the classic ideals of the genre and reimagined them in fresh, daring ways. For fans of the genre, there’s no shortage of content to enjoy, especially on platforms like Netflix.

Before the release of the upcoming series The Abandons, there are several standout films that are worth watching. These four movies offer a mix of action, drama, and historical inspiration, making them perfect choices for any Western enthusiast.

True Grit (2010)

Directed by Joel and Ethan Coen, True Grit is a faithful adaptation of Charles Portis’s novel. It follows 14-year-old Mattie Ross, played by Hailee Steinfeld, as she hires the tough lawman Rooster Cogburn, portrayed by Jeff Bridges, to track down the outlaw who killed her father. The film features a stellar cast, including Matt Damon as Texas Ranger LaBoeuf.

What sets True Grit apart is its strong storytelling and powerful performances. The film received critical acclaim, with a 95% Rotten Tomatoes score. Steinfeld’s performance was particularly praised, earning her an Academy Award nomination. The film brings the grandeur of classic Hollywood into the 21st century, offering a fresh take on a beloved story. It’s a must-watch for anyone who loves the Western genre.

The Hateful Eight (2015)

Quentin Tarantino’s The Hateful Eight is a unique entry in the Western genre. Set in post-Civil War Wyoming, the film follows bounty hunter John “The Hangman” Ruth and his prisoner as they meet up with other travelers at a stagecoach stopover. What starts as a simple journey turns into a tense mystery filled with twists and turns.

The film blends action, humor, and over-the-top violence, creating a thrilling experience. While it uses a single setting, the tension and character dynamics keep it engaging. With an ensemble cast that includes Samuel L. Jackson and Kurt Russell, The Hateful Eight offers a masterful blend of Western storytelling and Tarantino’s signature style.

Gunslingers (2025)

While not everyone may agree that Gunslingers is the best Western ever made, it’s certainly an essential viewing experience. Directed by Brian Skiba, the film stars Nicolas Cage in a supporting role and features Stephen Dorff as Thomas Keller, a reformed outlaw. The story follows Keller as he faces a dangerous return from his past when his brother arrives with a posse.

Despite its low Rotten Tomatoes score, Gunslingers is entertaining in its own way. The film is a mix of action-packed scenes and irreverent humor. Dorff delivers a solid performance, and Heather Graham adds depth to her role. While some may find Cage’s performance questionable, the film is worth watching for its sheer audacity and unpredictability.

The Harder They Fall (2021)

Jeymes Samuel’s The Harder They Fall is a groundbreaking Western that highlights real historical figures from the 19th-century American West. The film follows outlaw Nat Love as he seeks revenge against Rufus Black, a ruthless crime boss. The story features an all-Black principal cast, which is rare in the genre.

Samuel’s direction brings a fresh perspective to the Western, showcasing the talents of actors like Jonathan Majors, Idris Elba, and Zazie Beetz. The film is a fearless and energetic thriller that captures the spirit of the genre while telling a compelling story. It’s a celebration of Black history and culture, presented through the lens of a dramatic Western.

Each of these films offers a unique take on the Western genre, ensuring there’s something for every fan. Whether you prefer classic tales or modern reimaginings, these movies are sure to provide hours of entertainment.

The Oscar-Winning Film That Proves Nicolas Cage Can Act

The Case for Nicolas Cage’s Acting Ability

Do you know what I can’t stand? When people say that “Nicolas Cage can’t act,” because holy jeez. The man can act. Have you seen Pig? I mean, just because somebody picks roles that we don’t understand the appeal of, that doesn’t mean that they can’t act. It just means that maybe they should be a bit more selective when choosing roles.

And yeah, I’ll give you that. Because Nic Cage has kind of almost become his own genre. That said, that shouldn’t make you think that he’s a bad actor, because he even WON a Best Actor trophy for his performance in 1995’s Leaving Las Vegas, which I feel is something that I have to constantly remind people about.

The story of a self-destructive alcoholic, Cage knocked this role out of the park, and it’s proof positive that he can do pretty much anything. Let’s talk.

For One Thing, This Is Arguably The Best Acting Nicolas Cage Has Ever Done On Screen

Now look, I get it. When most people think of Cage, they probably envision movies like The Rock, Face/Off, and Con Air, and yeah, I love those movies, too. They might also think of all of the times that Nic Cage’s characters went bananas, like when he was screaming about bees, or emphatically reciting the alphabet. However, you have to remember that he’s done A LOT of movies (maybe too many), and in the over 100 films he’s made, there are some rather, er, silly performances, with some meaty ones as well, and his role in Leaving Las Vegas is definitely the latter.

Based on the 1990 novel of the same name by John O’Brien (more on him later), the film sees Cage’s character at rock bottom. He’s a screenwriter, but he’s lost his job as well as his family (lost, as in, his wife left him and took the kid). So, with everything stripped away from him, he’s going to travel to Las Vegas and drink himself to death. That’s his plan anyway, until he almost hits a sex worker (Elisabeth Shue) with his car, and they actually form a bond.

This is where the film turns tragic, as Cage’s character, Ben, isn’t looking for a cheap thrill. He’s just looking for somebody to talk to, and he performs this so well. He’s doing his trademark laugh, but it’s also laden with misery. At one point, he has the shakes so bad that he can barely walk, and you just watch his decline, as you know there’s not going to be a happy ending.

It’s a performance that actually makes you appreciate his more “ludicrous” performances, because you can clearly see that he CHOOSES to act that way. If he wanted to, he could possibly pull a Daniel Day-Lewis and act his heart out. He definitely has it in him.

The Story Is All The More Depressing When You Learn That It’s Semi-Autobiographical

I hinted earlier that this movie was based on a novel, but what I didn’t mention was that the novel was semi-autobiographical, as its author, John O’Brien, was also deeply depressed, much like Cage’s character in this film. In fact, O’Brien actually took his own life only months after the film rights were sold for this book. So, even though we didn’t include Leaving Las Vegas in our list regarding movies about depression, it certainly fits the bill.

O’Brien, you see, was also an alcoholic, so the subject matter of this story certainly came from a personal place. Cage truly tapped into that vein. Throughout the picture, we see his decline into alcoholism. At times, he looks like he’s having a blast, stumbling all over the place. But, at other times, you can see the toll that it’s taking on him, as well as Shue’s character, who’s staying with, and who I’ll get into soon. What’s hard to stomach is that the writer himself was in so much pain that he created a character who you want to see get better, but you know he won’t.

This is a role that comfortably sits outside of the parameters of a “silly” Nic Cage performance. This isn’t a meme-worthy Cage. No. Instead, he’s portraying a man who had nothing else to lose, so he was going to kill himself on his own terms.

Elisabeth Shue Is Also A Standout As A Loving Sex Worker

There are a lot of movies out there with kind-hearted sex workers. It’s even become a bit of a trope, which we see in films like Trading Places, and Pretty Woman. So, yes, we’re familiar with watching them get men out of their slumps, and even fall in love (for a more recent, cynical version of this trope, we got last year’s Best Picture winner, Anora, which left some of us feeling “lukewarm”).

That said, Leaving Las Vegas doesn’t feel trope-y at all, and I think it all goes to Elisabeth Shue’s performance, because you get a sense that she’s just as lost as Cage’s character. Except unlike Cage, who is spiraling out of control right before our eyes, Shue’s character, Sera, has been living on the fringes for a long time, and she seems to have found something comforting in Ben, even though he’s a complete mess.

It might be because Ben NEEDS Sera, even though he feels alcohol is the solution. He’s falling apart at the seams, but Sera is, too, and has been for a long time. Shue makes it seem like Sera has something missing in her life, and that “thing” isn’t a man, but rather, it’s the sense of being needed for something other than sex. She takes Ben into her life, but only under one condition from Ben – she doesn’t ask him to stop drinking, and he won’t say anything negative about her line of work.

This is fine for a little while, but Sera sees that Ben needs the kind of help that she just can’t provide, which breaks her heart, as well as the viewer’s. Like everything else in this movie, her acting is high art, and she rises above the tropes, creating a character of her own.

It’s Honestly One Of The Best Films Of The ’90s And Worthy Of A Watch

Though it wasn’t included on our list of the 100 best movies of the 1990s, believe me when I say this, but Leaving Las Vegas is definitely one of the best movies of that era. One reason why is because it’s totally devoid of all hope. That might not sound like a good thing, but it is, because it makes you better appreciate life when you see a man totally free fall into his worst vices.

The film works because the acting allows it to do so. Sure, there have been movies like The Lost Weekend where we see the toll that alcoholism can take on a person, but unlike that movie, which ends on a rosier note, we learn that this isn’t a cautionary tale. Instead, it’s a story about a man who doesn’t see the point in living anymore, and nothing will make him see otherwise, which is as dour as you can possibly get.

To my earlier point, it all hinges on Shue and Cage’s acting, and they are both superb. So, whenever you say, “Nicolas Cage can’t act,” please remember that he certainly can act, and Leaving Las Vegas is proof of that.

10 Brutal Realities of Revisiting ‘The Fantastic Four: First Steps’ on Disney+

Rewatching The Fantastic Four: First Steps on Disney+ Isn’t the Breezy Nostalgia Trip Many Fans Might Expect

Revisiting The Fantastic Four: First Steps on Disney+ isn’t the breezy nostalgia trip many fans might expect. What once felt like a promising fresh start for Marvel’s first family now lands differently when viewed with a bit of distance. The excitement surrounding its release has cooled, and what remains is a clearer view of the movie’s strengths, stumbles, and the expectations it never fully met. There’s much to unpack when revisiting what’s meant to be a new start for the MCU.

The “First Steps” Title is All-Too-Literal

The Movie is an Origin Story Walkathon

The Fantastic Four: First Steps is almost comically on the nose when rewatching the movie, because the plot spends so much time on the team’s earliest developments that it really does feel like watching characters learn to walk. The movie sinks deeply into exposition, showing each hero stumbling through the basics of their powers, and the pacing reinforces this by moving scene-to-scene like checkpoints on a very literal journey. It’s not that the title is misleading, but that it might be too honest.

What makes it even more amusing on rewatch is how viewers can almost map the movie’s emotional beats to steps in a tutorial level. The characters test boundaries, make rookie mistakes, and share awkward training-montage moments that feel more like a guided onboarding experience than a narrative arc. It creates an odd charm, but it’s also a reminder for fans that the movie is almost entirely setup for things it never fully delivers.

Reed’s Science Rant Hits Different on a Rewatch

None of it Matters After the Third Act

When Reed (Pedro Pascal) launches into his big scientific monologue, it initially plays like the intellectual heart of the movie. This moment is where the movie wants viewers to believe it’s built on smart, grounded ideas. On rewatch, though, knowing the plot, it’s clear that the writers put effort into creating complex jargon and theoretical weight, only for it all to evaporate the moment the final battle nukes this story. It becomes unintentionally funny, like watching someone passionately explain instructions for a machine that will get smashed immediately.

The irony is that the scene still works as a character moment in The Fantastic Four: First Steps, even if it collapses as a plot device. Reed’s enthusiasm and confidence shine through in a way that showcases his personality more successfully than the rest of the movie does. Unfortunately, once the third act basically throws away every scientific rule established earlier, the importance of the rant becomes cosmetic only.

The Disney+ “Skip Credits” Mocks Viewers

Especially Since the Post-Credits Scene is a Mere 18 Seconds Long

Seeing the “Skip Credits” button pop up on Disney+ creates this weirdly mocking tone, because the service knows exactly what fans are waiting for. It’s a reminder that the movie is following the MCU structure by muscle reflex, performing the ritual of a post-credits scene, whether or not it has anything meaningful to add. Then, because the platform automatically highlights the button, it’s almost daring viewers to skip the wait entirely.

Seeing this button at the end of The Fantastic Four: First Steps is especially funny knowing what the end credits scene actually is. After a buildup of full scrolling credits, viewers get a blink-and-you-miss-it button that barely qualifies as teasing anything substantial. It feels like a contractual obligation where viewers are reminded that while the MCU will technically deliver a post-credit scene, it doesn’t have to matter. The disproportion makes the whole ritual feel both tongue-in-cheek and mildly insulting.

The Pacing Suddenly Feels Faster

But Only Because Fans Know Which Parts to Emotionally Prepare For

On first viewing, The Fantastic Four: First Steps‘ pacing can feel uneven since it’s slow in some areas, jumpy in others. But when rewatching, it makes sense that viewers’ brains would subconsciously fast-forward through memory. Those who are rewatching already know when the emotional beats hit, so the filler sections feel shorter. The result is a strange sensation where the movie feels better paced, not because it actually is, but because your anticipation reorganizes the rhythm.

This effect also highlights how predictable The Fantastic Four: First Steps is once its structure is familiar. Those who have already watched it will naturally be mentally bracing for specific scenes, including the transformation, the fallouts, the big confrontation, so the lead-ups feel quicker and the transitions smoother. It creates an illusion of improved pacing, one that the movie doesn’t earn but benefits from simply due to viewer expectation.

Galactus’ Introduction Feels Even Shorter

We Hardly Get to Know Him

Galactus’ (Ralph Ineson) arrival in The Fantastic Four: First Steps is startlingly abrupt. It’s almost as if the movie is sprinting to introduce him before it remembers it has other plot obligations. The theatrical cut’s pacing already felt tight, but streaming makes it even more obvious how quickly the film moves from “mysterious cosmic disturbance” to “planet-eater spotted at the edge of the solar system.” Without the benefit of a big screen and built-up anticipation, the scene almost plays like a compressed recap of a much bigger sequence.

The abruptness of Galactus’ arrival also emphasizes how little emotional or atmospheric groundwork is laid before he appears. When watched at home, where distractions are easier, and you’re not locked in with theatrical sound design, the scene loses some force. Instead of reveling in dread and wonder, viewers are suddenly thrust into the threat with barely a moment to breathe. The result is a missed opportunity to showcase what a powerful force this character should be.

Galactus’ Plan Still Makes Little Sense

Even With the Benefit of Hindsight

Even after multiple viewings of The Fantastic Four: First Steps, Galactus’ motivations remain muddled. The movie hints at cosmic hunger, balance of the universe, and some vaguely defined chain reaction he’s supposedly trying to prevent, but none of it comes together cohesively. The script seems torn between portraying him as an elemental force of nature, beyond morality or reason, and a strategic villain whose actions can be debated or outsmarted.

The end result of Galactus’ unclear motivation is a confusing narrative where he is neither unknowable nor understandable. This is especially evident in a franchise that has always had an issue with telling consistent narratives with their villains. The explanations provided sound like first drafts of more complex ideas that never make it into the movie, leaving audiences to mentally fill in the gaps. Even worse, the heroes’ responses to his plan assume a level of clarity the script never actually provides.

All the Sequel Bait is Frustrating

There Might Not Be Payoff for Years

On first watch of The Fantastic Four: First Steps, the sequel setups felt exciting because of promises of larger cosmic conflicts, new MCU connections, and unresolved character arcs that hinted at big future payoffs. However, rewatching with the knowledge that the follow-up is years away turns those moments from thrilling to mildly irritating. Scenes that should feel like tantalizing cliffhangers instead feel like the movie has put off key moments that these characters could shine in.

This frustration is amplified on Disney+ because the pacing becomes more transparent. Suddenly, the movie’s detours, including mysterious artifacts, unnamed cosmic entities, and new characters introduced only to disappear, feel less like organic world-building and more like a checklist for future development. It’s hard not to feel a little teased when the movie takes such time to give a snapshot of narratives that might not be revisited for some time.

Many of the Scientific Explanations are Half-Baked at Best

It Pulls Viewers Right out of the Universe

Marvel science has always lived in the space between fun and absurd, but rewatching The Fantastic Four: First Steps exposes how thin some of these explanations really are. The rapid-fire techno-babble that might have passed by unnoticed in theaters becomes hilariously transparent when you’re on a couch, free to pause, and really able to think about what’s being said. Instead of grounding the plot, these scientific explanations feel like placeholders that were never rewritten for clarity.

Disney+ also removes the theatrical momentum that once helped many of these lines slide by. At home, the dialogue sits front and center, sometimes awkwardly so, making the pseudo-scientific leaps feel even more exaggerated. The characters deliver these explanations with absolute conviction, which only highlights how little sense they make once viewers pay attention. While the absurdity can be charming, it does make the movie’s attempts to sound “smart” land with less credibility on a rewatch.

Every Quip is Predictable

This Makes Them Less Funny and More Comforting

One of the strangest issues that emerges when re-watching The Fantastic Four: First Steps is how quickly the movie’s quips lose their spark. On the first viewing, they may land as lightweight, Marvel-style banter, which is to say they’re fine, but nothing groundbreaking. However, on subsequent watches, the rhythm becomes so familiar that viewers can practically recite the jokes before they happen. This diminishes the humor with each viewing.

Although this can be quite jarring on a rewatch, the predictability of the quips makes them oddly comforting. Viewers, particularly long-time Marvel fans, know that there’s a particular charm in this repetitive humor. The quips may not generate many laughs anymore, but they create a sense of easy familiarity, making this the Marvel equivalent of a sitcom rerun. Unfortunately, this comfort comes at a cost. It highlights just how carefully manufactured the movie’s humor is, how little character-specific wit exists beneath the surface.

Ben Grimm Still Doesn’t Get Enough Screen Time

It Hurts More Every Time

Ben Grimm’s (Ebon Moss-Bachrach) minimal presence in The Fantastic Four: First Steps stands out immediately, but it becomes actively painful on rewatch, especially once it becomes clear how grounded and emotionally rich he is as a character. He’s the heart of the team, the human tether in a story filled with science experiments and cosmic anomalies, yet the movie keeps pushing him to the margins. With each rewatch, it becomes clearer how much storytelling potential is left untouched simply because the movie refuses to give him space.

What makes Ben’s limited screen time even more frustrating is the fact that he’ll get a moment of genuine vulnerability or a flash of personality before the story rushes back to the more conventional arcs centered on the other three. This imbalance becomes even sharper when it becomes clear that his absence weakens the team dynamic the film claims to prioritize. Without more Ben, the emotional stakes feel thinner, the conflicts feel less grounded, and the group chemistry lacks the weight it should have.

Cynthia Erivo’s Top 6 Roles (Beyond ‘Wicked’)

A Rising Star in the Spotlight

Cynthia Erivo has captured the hearts of millions with her powerful performance as Elphaba in Wicked and Wicked: For Good. Her journey in the entertainment industry has been nothing short of remarkable, beginning with her Tony Award-winning portrayal of Celie in The Color Purple. Since then, she has continued to impress audiences with her versatility and talent across various roles. From crime thrillers to historical dramas, Erivo has consistently proven her ability to bring depth and authenticity to every character she plays.

The Best Works of Cynthia Erivo

While many may know her for her recent success on stage and screen, Erivo’s career is filled with standout performances that deserve recognition. Below are some of her most notable works, each showcasing a different facet of her acting prowess.

Jacqueline Kamara in Drift (2023)

Though it may have flown under the radar for some, Drift is a critically acclaimed film that highlights Erivo’s raw emotional strength. In the role of Jacqueline Kamara, a Liberian refugee who finds herself in Greece, Erivo delivers a deeply moving performance. She relies on her acting skills rather than special effects or musical numbers to convey the vulnerability and resilience of her character. The chemistry between Erivo and Alia Shawkat’s Callie adds another layer of emotional depth to the story.

Belle in Widows (2018)

In Widows, Erivo plays Belle, a hairstylist turned getaway driver, in a crime thriller directed by Steve McQueen. Despite being in a supporting role, Erivo stands out among an ensemble cast that includes Viola Davis, Elizabeth Debicki, and Daniel Kaluuya. Her interactions with Davis’s character, Veronica Rawlings, are particularly compelling, showcasing her ability to hold her own against seasoned actors.

Holly Gibney in The Outsider (2020)

Erivo’s role as Holly Gibney in the miniseries The Outsider demonstrates her range as an actor. Playing a private detective investigating a murder mystery, she brings both intelligence and subtlety to the character. One of the most memorable scenes involves her trying to convince law enforcement officials that supernatural forces are at play. Her performance in this scene is a testament to her ability to command attention even in a crowded scene.

Odette Raine in Luther: The Fallen Sun (2023)

In Luther: The Fallen Sun, Erivo portrays Odette Raine, a police captain who is on a mission to track down John Luther, played by Idris Elba. Their dynamic is one of tension and wit, with Erivo matching Elba’s sharpness and delivering a performance that is both convincing and engaging. This role further cements her reputation as a versatile actress capable of handling complex characters.

Harriet Tubman in Harriet (2019)

Erivo’s portrayal of Harriet Tubman in Harriet is a masterclass in acting. She brings a sense of gravitas and intensity to the role, capturing the courage and determination of one of America’s most iconic figures. Her performance earned her an Oscar nomination, and her singing in the film’s anthem “Stand Up” is nothing short of breathtaking. Fans of her work in Wicked will find this performance equally compelling.

Aretha Franklin in Genius: Aretha (2021)

In Genius: Aretha, Erivo delivers a captivating performance as Aretha Franklin, showcasing both her acting and vocal talents. Her portrayal of the Queen of Soul is layered and nuanced, capturing the highs and lows of Franklin’s life. Her chemistry with Courtney B. Vance, who plays her father, adds depth to the narrative. Erivo’s ability to sing the songs of Aretha Franklin with authenticity and emotion is a testament to her skill as an artist.

Each of these roles highlights a different aspect of Cynthia Erivo’s talent, proving that she is more than just a stage performer. Her dedication to her craft and her ability to bring characters to life make her one of the most exciting actresses of our time.

10 Actors Who Wrote Comics Too

The Intersection of Acting and Comic Book Writing

Starring in comic book movies or TV shows has become a rite of passage for actors aiming to reach A-list celebrity status. However, many of these actors have taken their passion for the source material a step further by contributing to the very medium that brought them fame. From reimagining classic characters to creating original stories, several actors have expanded their careers into the realm of comic book writing.

Kevin Smith: A Multifaceted Creator

While Kevin Smith is primarily known as a writer and director, he has also played a significant role in the comic book world. His character Silent Bob, along with his “hetero life mate” Jay (Jason Mewes), inspired the fictional comic book hero duo Bluntman & Chronic. This was just the beginning of Smith’s involvement in the comic book industry.

Smith has written multiple stories featuring Batman, including the controversial Batman: Cacophony and its follow-up, The Widening Gyre. He has also contributed to Daredevil comics for Marvel and worked on releases such as The Bionic Man and The Green Hornet with Dynamite. Additionally, he has created content within his View Askewniverse, including a continuation of Clerks and a crossover between Archie and Jay and Silent Bob.

Keanu Reeves: The Creator Behind BZRKR

Keanu Reeves has not only starred in comic book adaptations like The Matrix and the Bill and Ted franchise but has also created his own comic book character. The protagonist of Boom! Studios’ 2021 limited series BZRKR, B, is based on Reeves’ likeness. Co-written with Matt Kindt and illustrated by Ron Garney, the comic features an immortal, super-powered hero. Reeves has since released more comics set in this world, showcasing his creative versatility.

Rashida Jones: A Spy Genre Twist

Rashida Jones, best known for her roles in Parks and Recreation and I Love You, Man, has also ventured into comic book writing. She co-wrote Frenemy of the State with Nunzio DeFilippis and Christina Weir. The graphic novel follows Ariana Von Holmberg, a wealthy socialite turned CIA operative. Universal Pictures had previously optioned the rights for a film adaptation, which Jones would write, though it has yet to be realized.

Samuel L. Jackson: A Cosmic Odyssey

Samuel L. Jackson, whose career has been heavily influenced by comic book adaptations, also took on the challenge of creating his own comic. In 2010, he collaborated with Eric Calderon and Jeremy Rock to write Cold Space, a sci-fi reimagining of Akira Kurosawa’s Yojimbo. The story follows an outlaw who crash-lands on a distant planet and takes advantage of a brewing conflict. Jackson’s likeness is used for the protagonist, making him a natural fit for any potential film adaptation.

Thomas Jane: A Sci-Fi Comic Collaboration

Thomas Jane, known for his portrayal of Frank Castle in The Punisher, has also ventured into comic book writing. After befriending artist Tim Bradstreet, he pitched the idea for Bad Planet, a sci-fi comic about an extraterrestrial warrior protecting Earth from malevolent creatures. Co-written with Steve Niles, the series has run under Image’s Raw Comics imprint since 2005, though only eight of the 12 envisioned issues have been published.

Mark Hamill: The Black Pearl

Mark Hamill, famous for his role as Luke Skywalker in Star Wars and his iconic portrayal of The Joker in animated form, also contributed to the comic book world. In the mid-1990s, he and his cousin Eric Johnson created The Black Pearl, a five-issue comic published by Dark Horse. The story follows Luther Drake, a man mistakenly branded as a costumed hero by the media, offering a satirical take on sensationalist journalism.

Brian Posehn: A Deadpool Writer

Brian Posehn, recognized for his work on Just Shoot Me! and The Wedding Singer, has also made a name for himself in the comic book world. He co-created the Image title The Last Christmas and became a notable writer for Marvel, particularly for Deadpool. From 2012 to 2015, he and Gerry Duggan were the main writers behind the Merc with a Mouth’s adventures, including The Wedding of Deadpool, which broke a world record for most comic book characters on a single cover.

John Barrowman: Reviving Torchwood

John Barrowman, known for his role as Capt. Jack Harkness in Torchwood, helped revive the canceled TV series as a comic book. Collaborating with his sister Carol E. Barrowman, Barrowman co-wrote the series for Titan Comics, bringing back the beloved character for fans of the British sci-fi series.

Rosario Dawson: Occult Crimes Taskforce

Rosario Dawson, a prominent figure in comic book adaptations, also created her own comic series. Occult Crimes Taskforce, co-written with David Atchison and illustrated by Tony Shasteen, follows Investigator Sophia Ortiz as she investigates mystical activity in New York City. Dawson served as the visual inspiration for the central hero, showcasing her creative vision.

Patton Oswalt: A Prolific Comic Book Writer

Patton Oswalt, known for his stand-up comedy and voice work, has also made a mark in the comic book world. He has written for DC, Dark Horse, and even a Bongo release inspired by The Simpsons. He co-created Minor Threats, a miniseries about C-list supervillains, published by Dark Horse in 2022. His diverse contributions highlight his versatility as a writer.

Top 10 Heaviest Action Movies of All Time

A Deep Dive into Heavy-Going Action Movies

Action movies are typically seen as a form of entertainment that delivers high-octane sequences, thrilling chases, and intense combat. However, not all action films follow this traditional formula. Some of them are more than just spectacle; they are deeply serious, emotionally taxing, and often leave a lasting impact on the viewer. These movies may still have elements of action, but they’re far from being purely escapist or fun. Below is a rundown of some action movies that are genuinely heavy-going and challenge the notion that action films are always light-hearted.

Rolling Thunder (1977)

Like many thrillers from the 1970s, Rolling Thunder is unapologetically uneasy and tense, but unlike some of the thrillers from that time, it can also technically call itself an action movie. It’s about a veteran from the Vietnam War returning home to America, but struggling to settle in, with things falling apart and getting stomach-churning in a Taxi Driver-esque way. Paul Schrader wrote both Taxi Driver and Rolling Thunder, and this film came out the year after Taxi Driver.

Even if there is a bit by way of violence and even action in Rolling Thunder, it’s of the more stomach-churning and despairing variety than what’s seen in most action films. The film features one of Tommy Lee Jones’ earliest big roles, and William Devane is pretty great in the lead role. Rolling Thunder is just very nihilistic and not all that fun, but by design.

Thriller: A Cruel Picture (1973)

It rather flatly calls itself Thriller: A Cruel Picture, but even then, the word “Cruel” only goes so far, because this one is absolutely ruthless. The premise after the particularly nasty stuff mostly revolves around a quest for vengeance against people who more than had it coming. It’s a cycle of violence, and it’s all graphic enough that you can understand why Thriller: A Cruel Picture has been banned in a fair few territories. You do need a strong stomach to get through this one, and the brutality of it all carries over and makes it further challenging to watch for the emotional exhaustion it inspires.

Mandy (2018)

Mandy doesn’t have a lot to its narrative, at least on the surface, but when you’re giving a summary of a movie’s plot, you can really only touch upon what’s on the surface. So… well, it’s hard not to ruin anything, because there’s not much to ruin. Maybe this much can be said about Mandy: it’s slow-going at first, and kind of ominous, and then at a point, it switches gears and becomes incredibly bloody, over-the-top, and nightmarish. It’s certainly a horror film, albeit a weird one, and doesn’t really have much action until its second half, but there is quite a bit of it once that aforementioned gear-switch happens. What matters most is that Mandy is the rare film that lets you see both sides of Nicolas Cage; his underrated knack for quieter performances, and his more bombastic side that’s more explosive than just about any other actor of his generation.

Killer Constable (1980)

There were plenty of great martial arts movies released in the 1970s and 1980s, but few have action that’s quite as non-stop as Killer Constable does. This is so relentless, even by modern-day standards, with the fairly simple narrative involving a constable who’s tasked with retrieving a large amount of stolen gold at any cost, and so he sets out ruthlessly cutting through any and all adversaries to carry out his objective. There’s a little more to it than that, but for as exciting and spectacular as it is, Killer Constable is also pretty damn dark, considering how ruthless its protagonist is, and the fact that he’s far from a hero.

The Northman (2022)

Since it’s based on the legend of Amleth, which in turn inspired Hamlet, The Northman getting grim, bloody, and nihilistic ultimately isn’t too surprising. Like a lot of dark action movies, revenge is a pivotal theme here, with the main character being a boy whose father is murdered, which upturns his whole life, and he grows into a man who seems unwilling to rest until he gets answers and vengeance for what happened. It would be silly to expect fun action stuff out of this, but if you expected more traditional action movie conventions, you also might leave The Northman disappointed, since it’s very much a Robert Eggers movie and sees him making some fairly offbeat and unsettling creative decisions.

Oldboy (2003)

Like Thriller: A Cruel Picture and The Northman, Oldboy revolves around a quest for vengeance, and so it gets appropriately bloody and visceral at times, especially since the person after revenge feels they have so little to lose. He’s imprisoned out of nowhere, kept separate from everything and everyone he knows for 15 years, and then motivated purely by getting answers and/or vengeance once he’s suddenly released one day. There is at least one stunning action sequence here, plus a few other bursts of energetic and uneasy violence found throughout Oldboy, but it’s probably the pacing and the intensity of the film as a thriller/mystery one that makes it feel a bit more action-packed than it really is.

Ran (1985)

Yeah, so this one’s right on the line of being an “action movie” in the traditional sense, but Ran has action tagged as one of its genres on Letterboxd, so it’s going to slot in here. There are some grand and impressively staged battle sequences for sure, and there is a certain excitement and dread to some of those large-scale scenes, even if most of the film is more of a war/drama one. The heaviness here is doing some of the, uh, heavy-lifting, because if Ran is called a semi-action movie by one reliable source, then it’s worth considering here because it really is about as heavy, bleak, and despairing as cinema gets.

Battle Royale (2000)

It’s easy to summarize what makes Battle Royale so intense and bleak, since it’s all about a group of teenagers being sent to an island and made to take part in a fight to the death. It’s something that happens to control the youth of a dystopian Japan, apparently, and it’s established very early on that it’s very much not a joke, or any kind of role-playing game, with the first instance of death being a shock to all the characters and the viewers alike. From there, Battle Royale is always fairly thrilling, but it’s an upsetting kind of thrilling. In a sense, you’re never bored, but you’re also never at ease, and the film really does make you witness one brutal and upsetting death after another, never slowing down or easing up.

To Live and Die in L.A. (1985)

There’s some living in To Live and Die in L.A., but more dying. This is a William Friedkin thriller, after all, and that guy didn’t mess around when it came time to make his audience anxious. Well, it’s a little more than a thriller, seeing as it’s also a very gritty crime film, and one that moves forward at a ferocious pace while also having quite a bit of action, including an incredible car chase that might well outdo the one Friedkin directed in The French Connection the previous decade. Also, though it wasn’t the first movie with squibs, by any means, people bleed a lot when they’re shot in To Live and Die in L.A., and some of the violence is startling and graphic enough to still feel shocking 40 years later.

The Sword of Doom (1966)

And then, like with Thriller: A Cruel Picture, The Sword of Doom lets you know things are going to be gloomy and emotionally hectic with the title, since it does feature the word “Doom” and all. Actually, to compare it to another previously mentioned film, it’s a little like Killer Constable in its portrait of a violent and ruthless man assigned with carrying out a bloody task, only this one is a little less action-packed, and even more disturbing. As a samurai film, The Sword of Doom makes Harakiri look like The Hidden Fortress. It’s desolate, and not at all willing to give you catharsis, even at the very end of the film. It’s gripping, sure, but the level of despair is at an almost unthinkable height throughout all 122 minutes of The Sword of Doom, and it holds a certain power even though it originally came out many decades ago.

Awards Chatter Pod: Rian Johnson on ‘Wake Up Dead Man,’ ‘Knives Out’ Future, and Muppet Movie Hype

A Conversation with Rian Johnson

Rian Johnson, a filmmaker known for his unique storytelling and creative vision, recently sat down for an engaging conversation on The Hollywood Reporter‘s Awards Chatter podcast. The episode was recorded in front of an audience at the Newport Beach Film Festival, just before the festival honored him with its Director Award for his latest film, Wake Up Dead Man: A Knives Out Mystery. Johnson has been recognized by various publications as one of modern Hollywood’s most unpredictable directors. The New York Times called him “a pop-culture savant with technique to spare,” while Natasha Lyonne, his collaborator on Poker Face, described him as “one of our greatest living auteurs.”

Over the past two decades, Johnson has written and directed seven feature films, including Brick (2005), The Brothers Bloom (2008), Looper (2012), Star Wars: The Last Jedi (2017), Knives Out (2019), Glass Onion: A Knives Out Mystery (2022), and now Wake Up Dead Man. He also directed three standout episodes of Breaking Bad, one of the greatest TV series of all time. Additionally, he created and wrote or directed five episodes of Poker Face, a comedy series that previously aired on Peacock and is now seeking a new platform.

Johnson has received numerous accolades, including being named one of TIME’s 100 most influential people in the world. He has won awards from the Directors Guild and National Board of Review and has been nominated for prestigious honors such as Producers Guild, Writers Guild, Golden Globe, Critics Choice, BAFTA, Spirit, and Emmy awards. He has also been nominated for two Oscars — for best original screenplay for Knives Out and for best adapted screenplay for Glass Onion. A third nomination for Wake Up Dead Man is expected.

Reflecting on His Career

During the conversation, Johnson reflected on his entire career, including Star Wars: The Last Jedi, which remains one of his most well-known projects. The film received a polarized response from Star Wars fans, but Johnson insists it didn’t hurt him personally. “I’m a lifelong Star Wars fan,” he said. “I know the deal. I know that Star Wars fans are passionate about this stuff. We love the stuff we love, we hate the stuff we hate, and we fight about it, and that’s been happening since the original trilogy.”

He added that many people who have seen the film have deep connections to it, making the experience one of the most positive he has had with any of his work. “I came out the other end of it loving the Star Wars fandom more than I did even going into it.”

The Knives Out Series

For Johnson, the Knives Out series, centered around detective Benoit Blanc (Daniel Craig), has become a major part of his life. He described the murder mystery genre as something he deeply loves, and it was a project he had been thinking about for over a decade. “Finally, after Star Wars, I sat down and wrote this little murder mystery and thought, ‘Well, this will be a one-off!’” he recalled.

Initially, many were skeptical about the appeal of the first Knives Out film. “When we were trying to sell it to studios, everyone was like, ‘Oh, a murder mystery, huh?’ And even friends who I showed the script to were like, ‘You’re coming off of Star Wars dude, you sure you want to do just a little murder mystery movie?’”

Now, three films later, Johnson can’t imagine not continuing the series. “I’m very, very lucky, with Daniel, to have a creative partner in this who’s on the same page. I feel like, for me, the only kind of restrictions are first of all that audiences are still digging them, and second that Daniel and I feel like we’re trying something different and reaching for something new and challenging ourselves and thus hopefully giving you guys something new every time.”

No Muppet Movie in Sight

One idea that often comes up online is a Knives Out Muppet movie. Johnson addressed the concept directly. “On the Internet, the notion of a Knives Out Muppet movie comes up a lot, and I wanted to get you guys together here so that I could explain why that’s a bad idea.” He explained that while both Knives Out and Muppet movies are beloved, they are fundamentally different. “If you put Muppets in a Benoit Blanc movie, it would feel totally wrong because they would be getting murdered. The alternative is to just stick Benoit Blanc into a Muppet movie, which admittedly would be very fun, but would kind of break the reality of what Blanc is.”

In conclusion, Johnson expressed his desire to continue making Knives Out films as long as audiences enjoy them. “I would be a happy man if, amongst other things, I can come back and keep making these the rest of my life.”

The Best Rewatchable Films of the 2000s

The 2000s: A Decade of Cinematic Diversity

The 2000s were a unique time in the world of cinema. This decade was a bridge between traditional filmmaking techniques and the rise of new-age storytelling. Studios took risks, directors experimented with genres, and films maintained an intimate feel that continues to resonate with audiences today. The 2000s weren’t defined by one type of movie, but rather by the variety of stories told. Here are some of the most rewatchable movies from each year of the decade.

American Psycho (2000)

American Psycho is one of the most brilliant satires of the 2000s. At first, it appears to be just another serial killer thriller, but the real horror lies in the fact that no one pays attention to Patrick Bateman’s actions. Christian Bale delivers a masterful performance as a cold, detached Wall Street investment banker who seems devoid of human emotions. The supporting cast, including Willem Dafoe, Chloë Sevigny, and Jared Leto, adds depth to the film’s gripping narrative. Mary Harron’s direction remains relevant today as it explores themes of identity and societal pressure. The film’s ambiguity becomes its strength, making it a must-watch for any fan of psychological thrillers.

The Royal Tenenbaums (2001)

Wes Anderson’s The Royal Tenenbaums is a masterpiece that gets better with every watch. The story follows Royal Tenenbaum, played by Gene Hackman, who returns to his family after years of absence. The film is filled with hidden meanings and emotional layers that unfold with each viewing. Ben Stiller, Gwyneth Paltrow, and Luke Wilson portray the Tenenbaum children, each dealing with their own personal failures. The film’s detailed world-building, especially the Tenenbaum house, makes it a standout. Despite its comedic elements, the emotional core of the film resonates deeply with viewers.

Catch Me If You Can (2002)

Steven Spielberg’s Catch Me If You Can is a crime comedy-drama that remains one of the director’s most enjoyable works. Leonardo DiCaprio plays Frank Abagnale Jr., a con artist on the run from the FBI. Tom Hanks’ portrayal of FBI agent Carl Hanratty and his dynamic with Frank add a unique charm to the film. The story explores the impact of a broken home and unstable childhood on a young man’s life. Janusz Kamiński’s cinematography gives the film a dreamlike quality reminiscent of the 1960s, making it a perfect choice for repeated viewings.

Kill Bill: Volume 1 (2003)

Quentin Tarantino’s Kill Bill: Volume 1 is a timeless film that still holds up over two decades later. Uma Thurman stars as the Bride, a former assassin seeking revenge. The film is pulpy, hyper-violent, and over-the-top, but that’s exactly what makes it so entertaining. Tarantino pays homage to 70s samurai cinema and martial arts films, creating a visually stunning experience. The House of Blue Leaves sequence and the snow-covered showdown with O-Ren Ishii remain unforgettable. Beneath the action, the film delivers powerful performances and complex backstories that keep it relevant.

Eternal Sunshine of the Spotless Mind (2004)

Eternal Sunshine of the Spotless Mind is a rewatchable film that explores the idea of memory and human connection. Jim Carrey and Kate Winslet play Joel Barish and Clementine, who choose to erase each other from their memories. The film’s narrative plays out in reverse, highlighting the fragility of relationships. Michel Gondry and Charlie Kaufman create a meditation on what it means to be human. Every viewing reveals new details, making the film emotionally impactful and thought-provoking.

Batman Begins (2005)

Christopher Nolan’s Batman Begins revitalized the Batman franchise. Christian Bale portrays Bruce Wayne, a grieving man who transforms into the Dark Knight. The film focuses on Bruce’s journey, exploring his time in a Bhutanese prison and his mentorship under Henri Ducard. Michael Caine and Gary Oldman provide strong support, adding depth to the story. Nolan’s realistic approach and the carefully constructed Gotham city make the film a rewarding watch. The ending sets up the iconic Joker card, leaving fans eager for more.

The Devil Wears Prada (2006)

Meryl Streep’s performance as Miranda Priestly in The Devil Wears Prada is nothing short of terrifying. Anne Hathaway plays Andy Sachs, a junior assistant navigating the high-stakes world of fashion. The film captures the corporate grind and the complexities of identity. Stanley Tucci and Emily Blunt add depth to the power dynamics at Runway. The film’s fashion elements are iconic, but it’s the psychology and character development that make it a must-watch.

Superbad (2007)

Superbad is a defining teen comedy of the 2000s. Jonah Hill and Michael Cera play Seth and Evan, two friends trying to buy alcohol for a party. The film spirals into chaos, with absurd situations and escalating disasters. However, beneath the humor lies a raw portrayal of growing up. The film’s sincerity and emotional ending make it more than just a comedy. It’s a story about friendship, change, and the bittersweet nature of adolescence.

Mamma Mia! (2008)

Mamma Mia! is a must-watch even for those who don’t enjoy musicals. Amanda Seyfried plays Sophie, a woman trying to find her father before her wedding. The film is based entirely on ABBA songs, creating a vibrant and immersive experience. Meryl Streep and Amanda Seyfried deliver heartfelt performances, making the film charming and emotionally engaging. The combination of comedy, drama, and romance makes it a joyful watch.

Avatar (2009)

Avatar is James Cameron’s sci-fi epic that changed the game when it premiered in 2009. Sam Worthington plays Jake Sully, a former Marine who becomes part of the Avatar Program on Pandora. The film’s visual effects and immersive 3D experience set a new standard for cinema. Cameron’s attention to detail in building Pandora’s ecosystem makes the world feel real. The emotional core of the story, focusing on environmental preservation and anti-war themes, makes it a timeless classic.

Top 20 Christmas Movies of the 2000s

A Nostalgic Journey Through 2000s Christmas Movies

Regardless of the decade, movies from the Christmas genre annually provide endless joy and holiday cheer. However, when it comes to the star-studded 2000s, there was an abundance of memorable Christmastime favorites, including a few that would go on to become seasonal staples. Chocked with rom-coms and more traditional seasonal comedies, the era offers plenty of joy and laughs for viewers of all ages.

While many of these films may be considered mediocre or below average by some, due to lackluster box-office success or poor critical reception, many of them remain beloved; everyone has their own movies they love to throw into rotation every year. Even though new Christmas movies continue to be released every year, it is always a treat to head back to the 2000s, especially for that festive sprinkling of feel-good nostalgia.

Here are 20 of the best Christmas movies the 2000s had to offer.

Fred Claus (2007)

Fred Claus (Vince Vaughn) harbors a disdain for the holiday, having grown up in the shadow of his more popular and universally loved brother, Santa Claus (Paul Giamatti). After a string of bad luck that sees him broke, Fred reluctantly heads back home to help his brother and earn some money in the process. Bringing resentment with him, instead of helping Fred causes issues with the elves and becomes more of a liability. That is until the holiday itself is threatened, and Fred realizes he has to swallow his pride in order to save Christmas.

Fred Claus largely rests on the brotherly dynamic explored between Vince Vaughn and Paul Giamatti, offering a lesser explored family element in Christmas films. Of course, the movie also has that infectious underdog turned savior of Christmas trope which never really grows tired when it results in celebrating how the holiday brings people together. A fun mix of goofy comedy and heartfelt observations on family, Fred Claus is an underrated entry in the Christmas genre.

Friday After Next (2002)

Cousins Craig Jones (Ice Cube) and Day-Day (Mike Epps) get up to antics once again in the third film in the “Friday” franchise. Here, the duo are moving into a new apartment and take up jobs as security guards in a strip mall. Shortly after being hired, a man dressed as Santa Claus ends up robbing the mall, putting the two on a path to try to track him down while dealing with a myriad of eccentric locals.

There is a certain crowd drawn to the stoner comedy (don’t worry, we are not judging) but few look to also make for a holiday film and combine the two genres. Here, fans got the same loved Ice Cube and Mike Epps’ chemistry with some festive cheer thrown in. Over-the-top characters, with Terry Crews’ performance as Damon being particularly memorable, and a mix of laid-back vibes with moments of slapstick, make Friday After Next a great festive choice for those looking to share some laughs.

Tokyo Godfathers (2003)

A homeless trio–middle-aged alcoholic Gin, runaway teen Miyuki, and an animated woman Hana–end up discovering a young child discarded in the garbage on Christmas Eve. Determined to find the parents, the three set out on a journey full of misadventure and heartwarming reflections on the holiday. As they venture forward, each ends up having to confront their past and the reason why they withdrew from society.

Offering a unique perspective on Christmas, with those who ‘have not’ going out of their way to do what is right, the Satoshi Kon animated film is a one-of-a-kind holiday film. You don’t have to love anime to watch Tokyo Godfathers, as the lush visual direction and heartfelt storytelling transcend the genre tropes that dissuade those outside of the fandom. An awe-inspiring and emotional journey that remains one of the best films to inject magical realism into Christmas. The anime movie deserves classic status and needs to be seen by more; it is one of the best animated Christmas movies ever made.

The Family Stone (2005)

Meredith Morton is all business and proper etiquette. Growing up in a conservative family, she finds herself having a difficult time fitting in as she nervously joins her boyfriend and his chaotic family for their annual Christmas celebration. From her mannerisms to her career-oriented perspective, everything contrasts with the family’s bohemian, unfiltered ways.

With a pitch-perfect ensemble led by Diane Keaton and Sarah Jessica Parker, this Christmas movie is nothing if not delightful. The Family Stone directs its entire focus on what makes the season so warm and comfortable – a loving family. The humor and tense moments in the film are balanced out to feel believable and fun, and the ending is definitely something you won’t see coming.

Unaccompanied Minors (2006)

Unaccompanied Minors has a pretty self-explanatory premise. When a blizzard threatens to derail their Christmas plans and cancel their flights just before the holidays, a group of teenagers is stranded at Hoover International Airport, where they create havoc, pull cheap tricks, and squabble with one another. The question is, will they find a way home in time for Christmas Day?

Firstly, the film is directed by Paul Feig, known for Bridesmaids and The Heat. Much like his other works, he captures the essence of being with like-minded individuals and persevering through adversity with heart and humor. Dyllan Christopher plays the cheerful and mischievous character of Spencer, and Lewis Black and Wilmer Valderrama are the strict airport official and his assistant, trying to catch the minors.

Just Friends (2005)

What better way to commemorate Christmas than a guilty pleasure viewing of your favorite Christmas rom-com? The plot of Just Friends goes something like this: In high school, Chris was overweight and cruelly rejected by his crush, Jamie. Now years later, he returns home for the holidays as a physically transformed, successful music producer with Samantha, a famous pop star, in tow. When he reunites with Jamie, he “friendzones” her, but later realizes that he still has feelings for her.

Despite having an outdated storyline and a predictable ending, Just Friends serves as a sweet and sincere romantic comedy about an unlikely hero emerging from his awkward past, ultimately allowing him to rewrite his love story. Having Ryan Reynolds as the lead really works for the film, and Anna Faris and Amy Smart light up the screen. Just Friends wraps up lessons about acceptance and second chances in a feel-good movie that goes down smoothly.

The Ultimate Christmas Present (2000)

The Ultimate Christmas Present is a Disney Channel Original Movie directed by Greg Beeman. It follows two teenage girls who decide to embark on a mischievous adventure, stealing a weather machine from Santa Claus right before Christmas Day arrives. But their mishandling leads to the machine breaking down. Some time after, an endless snowstorm blankets their town, sending all the townsfolk into a series of silly troubles.

Like other Disney Channel Christmas movies, this one also packs multiple moments that can be treasured. From watching the girls’ dad being stuck at the airport because of the snow, to Santa Claus’ endless attempts to find the girls and his machine, there is a wholesomeness about the movie that will delight fans of all generations. Though light on spectacle, it delivers a unique and sincere story, making the holiday feel warm and hopeful.

Deck The Halls (2006)

Directed by John Whitesell, Deck the Halls transports you to the fictional town of Cloverdale, Massachusetts. There, Steve Finch, an optometrist who considers himself an expert on Christmas, simply wants his family to have a great holiday. That is, until the beginning of December, when a new set of neighbors move across the street: Buddy Hall, an automotive sales representative, and his significant other, Tia. Before they know it, a rivalry is born between the two, and they indulge in an aggressive competition.

Matthew Broderick and Danny DeVito are absolutely hilarious in this fun family comedy. They keep the humor fast and silly and make sure the viewers are just as involved in the festive and competitive spirit as them. Whitesell keeps the gags coming but ensures that the humor of Buddy and Steve’s fight never overshadows the friendship shared by their children, making the film feel good and nostalgic.

Last Holiday (2006)

In 2006’s Last Holiday, Queen Latifah plays Georgia Byrd, an innocent yet tense department store employee with an enthusiasm for cooking. After she receives an upsetting medical diagnosis, Georgia exchanges her mundane lifestyle as an aspiring chef for a life of luxury in her final days, all while simultaneously traveling to a resort in Europe. A remake of the 1950 film of the same name, it also stars LL Cool J, Alicia Witt, and Giancarlo Esposito.

With lots of laughs, plenty of charm, and an emotional punch, Last Holiday is an underrated gem of a Christmas movie. Latifah excellently portrays Georgia’s desire to enjoy life to the fullest, which helps to give the film a powerful message about never giving up on yourself. While it may suffer from a few jarring tonal shifts, overall, it’s a sweet and life-affirming watch that has all the warmth and fuzziness a holiday movie requires.

Surviving Christmas (2004)

Ben Affleck stars in Surviving Christmas as Drew Latham, a rich but family-deprived advertising executive who, after his girlfriend breaks up with him, desperately tries not to spend Christmas on his own. After traveling to his Chicago childhood home on the advice of his therapist, Drew meets Tom Valco (James Gandolfini) and asks if he could spend Christmas with Tom’s family. However, Tom is unsurprisingly reluctant until Drew offers to pay him $250,000, to which Tom finally agrees.

Featuring a star-studded cast that also includes acting legends Christina Applegate and Catherine O’Hara, Surviving Christmas is a hilariously charming and surprisingly well-executed holiday film. Though it might not be the most intellectually stimulating watch, its mix of slapstick hijinks, deadpan humor, and real heart make it ideal for that post-turkey wind-down.