Walt Disney Studios
No matter how much independent film flourished in 2020, which was one of the few positive things that came out of the pandemic, we all knew there was something missing. We craved those expensive, beautiful, cast-of-thousands, mainstream, familiar and fun studio movies, the ones that ignite our imagination and take our breath away. Now that theaters are back open, the studios are starting to release their films that have been sitting and waiting and the first one out of the gate not only doesn’t disappoint, but it reminds us exactly what we’ve been missing.

Cruella is Walt Disney Studio’s most recent exploration of a familiar character and story, bringing it to life in a new and exciting way. The studio’s live-action remakes and reboots of their classic franchises have been hit-or-miss, but, with inventive director Craig Gillespie (I, Tonya) at the helm of this origin story of the villain from Disney’s classic 1961 animated feature, 101 Dalmatians, Cruella is a knockout and is the best live action Disney film in a very long time.

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A Quiet Place Part II

Paramount Pictures
Wondering what will bring people back to the movie theater? Look no further than A Quiet Place Part II, a pulse-pounding, heart-stopping (yes, it’s both), sweat-inducing monster movie from no other than mild-mannered actor/writer/director John Krasinski. Yes, Jim from The Office is now scaring the living daylights out of you, and boy, is he good at it.

The first A Quiet Place film, released in 2018, was huge, made a ton of money and assured a sequel. The only problem with a sequel to that film is the “hero,” Krasinski’s character, was killed off at the end of the movie. Well, A Quiet Place Part II doesn’t miss a beat, assuredly carrying on, something that’s easy to do when you have Emily Blunt in the cast.

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Master of None, Season 3

Master of None, the Netflix series from co-creators Aziz Ansari and Alan Yang, was a critical darling when it debuted in 2015, its first two seasons earning a rare perfect score from Rotten Tomatoes, and Emmy wins for Outstanding Writing for a Comedy Series in 2016 and 2017. But just when the show was gaining significant momentum, Ansari was accused of sexual misconduct, which put the show into hibernation. Now, over four years after the last episode aired, there is a new season of Master of None, but it is nearly unrecognizable.

While the first two seasons were an intimate and deeply personal exploration of the life of struggling New York actor Dev, played by Ansari, as he searches for the love of his life, the third season, which is officially titled Master of None presents Moments in Love, focuses instead on Dev’s writer best friend, Denise, played by Lena Waithe. There obviously had to be some sort of tectonic shift in order for the show to come back, and this approach was a stroke of genius, finding a way to switch the focus to an already-familiar character, making Dev’s disappearance more palatable (although Dev does appear, briefly, in two episodes). The transition was made simpler, I’m sure, by the fact that Waithe is not only established as a performer on the show, but as a writer, having won an Emmy for writing the episode “Thanksgiving” in season two.

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The Woman in the Window

Whether or not director Joe Wright was intending to make a camp classic with his new film, The Woman in the Window, is unclear, but the result certainly is. The Netflix film, finally making its debut after three years of delays (and the pandemic), has been highly anticipated since it moved from its original October, 2019 release date. Based on a best-selling novel by A.J. Finn, featuring a top-tier director and a star-studded cast, the film seemed a sure awards season contender, but test screenings apparently caused the producers to bring the film back for new edits, and now we can see why.

The Woman in the Window stars 6-time Academy Award nominee Amy Adams as Anna Fox, an agoraphobic child psychologist who becomes obsessed with the lives of the family who live across the street from her New York City brownstone. When she thinks she witnesses a murder inside the house but has no evidence to support her claim, Anna desperately tries to get the police to believe her, but, with her history of mental illness, alcoholism and hallucinations, she has a hard time convincing anyone of anything. As her own demons and haunted past threaten to consume her, Anna must find a way to prove what she saw was real and save herself from a psychotic killer.

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The Killing of Two Lovers

Nothing comes as expected in The Killing of Two Lovers, the new film from writer/director Robert Machoian (God Bless the Child). That includes the title, which is meant to draw you in right from the beginning, and serves as another whole character–the hidden, unseen cloud that hangs over the entire film. That title, ominous and illustrative, enticing and foreboding, sets the shaky ground that this story lives on, giving unsure footing for the audience.

Machaoian reverse-engineers a story that blasts out of the gate with purpose, establishing violent intents in the opening scene (and, again, that title) that aren’t carried through, but, no matter how calm and ordinary the rest of the movie may be, the underlying tension remains, and the audience’s anxiety is maintained, creating a visceral, organic and ultimately claustrophobic experience that is hypnotic and, ultimately, savagely satisfying.

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The tagline for the newly-released Netflix film, Monster, is “No one has any idea who I am.” Sadly, though, in a world that feels completely different than it did three years ago when this film debuted at Sundance Film Festival in January, 2018, we are all too familiar with who the lead character, Steve Harmon, is. As part of Netflix’s Black Lives Matter collection, Monster tells of how Harmon, a seventeen-year-old kid from Harlem who dreams of going to film school, gets caught up with neighborhood gang members and is put on trial for murder after a bodega robbery goes bad.

There are two separate and distinctly different tones in this film, directed by Anthony Mandler and written by Radha Blank, Cole Wiley and Janece Shaffer, based on the novel by Walter Dean Myers, and, although there are moments when the film’s intentions are overly spoon-fed to the audience, the overall effectiveness is quite palpable. The structure of the film is built on the before-and-after for Steve, and the two tones of the film are clearly delineated between the two. Before his arrest, we get to know Steve as a regular teenage boy who has friends, a great family, a girlfriend, and big dreams of being a filmmaker. He sees the world through a camera, filming and photographing everything, making an impression on his adult film club teacher at his prestigious high school. This kid has it all, a bright future built on a solid foundation. There’s only one thing seemingly working against him, and that’s the fact that he’s a black man in America. So, when Steve gets arrested for being part of a robbery-turned-murder, it’s easy to swipe aside everything else and paint him with that one, single brush. Such is the point of Monster, and, in a post-George Floyd world, it hits home louder than ever.

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