A title card solely featuring movies centered around boxing would more than likely go into the next day. Each of these would provide the typical jabs, uppercuts, and hooks with the hope that one of the moves will land a much-anticipated knockout. As it were, boxing movies ultimately rely on decisions to be determined a winner. The latest to climb into the quadrilateral, The Fire Inside, delivers a bout worthy of a unanimous decision.
 
After having been the first woman to receive an Academy Award nomination for best cinematography on Mudbound, Rachel Morrison assumes new challenges by stepping into the director’s chair for the boxing film. The trailblazing narrative between her achievements and that of the film’s subject Claressa Shields (Ryan Destiny), run parallel, as both find success in typically male dominated worlds.
 
For Shields, the challenges of “making it” in the sport of boxing where misogyny runs rampant not just within the sport, but also exist because of external expectations, is exacerbated by a difficult comeuppance in Flint, Michigan. With the tutelage of her coach and former boxer Jason Crutchfield (Brian Tyree Henry), Shields faces the whirlwind of obstacles stacked against her.
 
Additionally, the commentary surrounding the role and expectation for women in sports is loud and resounding. Shields is expected to act nice, dress sexy, and take less money than her male counterparts for equally if not more substantial and successful work. Halfway through, Shields accomplishes what she believes is her ultimate purpose, expecting her fortunes and those of her family to change for the better.
 
At first, the anticipated results do not materialize for Shields, leading her to reassess her position. With this introspection, the film uses these moments to tack on added layers concerning the meaning of success not just in life, but in sport where supposed greatness is measured and recognized by accolades and achievements. Therefore, this perspective makes The Fire Inside one of the few “sports” movies that offers views on the politics and purpose of sport as it relates to female participation.

Review by Camden Ferrell

Ever since his first feature, The Witch, came out in 2015, writer and director Robert Eggers has carved himself a definitive place in contemporary cinema. His fourth feature, Nosferatu, is his attempt to adapt and reimagine a cinematic classic. Even if it isn’t as strong as his previous works, this movie boasts performances and impressive craft that confirm that Eggers is a modern auteur through and through.
 
Thomas is a man working in real estate when he finds himself tasked with working for enigmatic Count Orlok. Little does he know that his new client is a vampire obsessed with Ellen, Thomas’s wife who is suffering intense and concerning episodes of horror. This is a story that many are familiar with, but Eggers adds more narrative and character depth that makes this quite engaging.
 
In my opinion, Eggers excels more as a director than a writer, and this is no exception. His script is well-written as always, but I find that there are moments where his style usually compensates for a script that might not be the most well-paced. His dialogue is strong as usual, but he continues to suffer from an extremely subtle and forgivable tendency to bloat his script.

It’s no surprise that he continues to get good performances from his actors, but the acting exceeded expectations. Hoult plays Thomas very well, serving as a frightened yet relatable audience surrogate. Bill Skarsgård delivers a transformative performance as Count Orlok that is extremely compelling without being too campy. However, the real star of the show is Lily-Rose Depp as Ellen. She surpassed all expectations with a haunted and extremely physically demanding performance that steals almost every scene she is in. It’s one of the best performances you’ll see this year, and it is a showcase for the potential she has as an actress.
 
It wouldn’t be a Robert Eggers movie without gorgeous visuals, and this movie delivers. He collaborates with cinematographer Jarin Blaschke yet again to capture this Gothic world with stunning brilliance. Grim but never dull, the visuals elevate the movie to overcome its few shortcomings.
 
Fans of horror and vampires will absolutely love Nosferatu. General audiences might also find much to love about this movie as well. It’s creepy, well-acted, beautiful shot, and incredibly eerie. While it’s my least favorite of Eggers’ movies, it’s hard to deny it’s extremely well-made even if slightly bloated.
 
Nosferatu is in theaters December 25.
 
Rating: 4/5

After almost two hours, The Six Triple Eight concludes with an inspiring coda it wishes the rest of the movie could have lived up to. During these final 10 minutes, archival footage and interviews with the surviving members of the 6888 battalion help the movie reach its goal; shining a light on the remarkable story of 855 black women tasked with an impossible challenge during World War II.

Morale for American soldiers was low in 1943. Over 17 million pieces of mail remained undelivered due to changing strategies, yet the importance of making sure these were delivered was essential to provide comfort during difficult times. As such, the six triple eight battalion, composed of black women are assigned the task of sorting and delivering the letters: all 17 million of them in three months.

The enormity of the task was designed to have the battalion fail. Led by Major Adams (Kerry Washington) the soldiers had repeatedly asked to be assigned meaningful work in service of the war effort. Rampant racism and misogyny across the armed forces prevented them from doing so. Finally, the 6888 battalion were given the mail sorting task, but not without the challenges of discrimination.

Review by Adam Donato

The musical sequences are quite dazzling and absolutely nuts. Michael Gracey had previously directed The Greatest Showman, which was an absolute hit at the box office and the songs still persist on the radio to this day. It’s clear how much Gracey has improved as the musical numbers are so full of life. Two that distinctly stand out are when they’re dancing in the street and the concert fight. You don’t even need to previously be a fan of the artist to enjoy his music. The songs range from fun to soulful and are sure to be new additions to your playlist. The clips of the musical numbers have already been making the rounds on social media and hopefully attract more open minded people to give the film a chance.

Most musical biopics follow the same type of structure, but Better Man does everything it can to differentiate itself from the crowd. It should be encouraged when filmmakers take big swings, even when they don’t fully work out. Similarly to Gracey’s past work, the musical sequences serve better as music videos than part of a movie with a compelling narrative. Robbie Williams’s story may not be remembered, but his personality is sure to shine through. American audiences should give this artist a chance in theaters this holiday season.

Better Man will is in select theaters on December 25 before going wide on January 17.

Rating: 3/5

Review by Camden Ferrell

​Pedro Almodóvar has cemented himself in film history with his illustrious catalogue of movies over the last few decades. However, this year marks his first foyer into English-language cinema. The Room Next Door, based on What Are You Going Through by Sigird Nunez, marks his first film in English and had its premiere at the 2024 Venice International Film Festival. While it doesn’t hold a candle to his better works, this movie still benefits from his dreamlike dialogue and great leading performances.
 
Once close colleagues, Ingrid and Martha’s lives went in different directions. Many years later, they meet again as one of them deals with a unique end-of-life situation. From a plot standpoint, this is relatively simple for Almodóvar, which gives the dialogue and performances a chance to take center stage and truly flourish.
 
The biggest variable with this movie is how Almodóvar’s writing would translate into English, and the results are more positive than not. While some moments feel disjointed and unnatural, it largely works. The dialogue is sharp and has a subtly ethereal and poetic quality that is evocative of his previous films. The only weakness is that there are moments throughout where the script feels like its stretched particularly thin which can often make the movie drag more than I’d like.

The clear standout of this film is its leading performances. Julianne Moore and Tilda Swinton lead the film as Ingrid and Martha, respectively. They have solid chemistry throughout and handle the complex subject matter with ease like the seasoned actors we’ve known them to be. Even when the script has its shortcomings, they make up for it more times than not.
 
It wouldn’t be an Almodóvar movie without some unique visual flair, and this movie is no exception, even if it’s less accomplished than most of his movies on a visual level, there is still some great production design and cinematography to give it his signature feel. Pair this with a great score and some truly emotional and poignant moments, and you get enjoyable, albeit minor work from the auteur.
 
At the end of Almodóvar’s career, this movie will be noted for being his first English movie and not much else. While it has a lot of great qualities, it fails to live up to his best works. It’s good supplementary material to his career despite it being not particularly memorable or brilliant. It’ll satisfy his fans even if it’s a minor work by his standards.
 
The Room Next Door is in theaters December 20.
 
Rating: 3.5/5

Review by Adam Donato

Review by Jonathan Berk

It never fails that come December, movie nerds will debate whether Die Hard qualifies as a Christmas movie. Well, director Jaume Collet-Serra's Carry-On feels like a spiritual sequel to Die Hard and Die Hard 2, aiming to be the next holiday action-thriller that frequents screens during the season. While it doesn't quite reach the heights of its inspirations, Carry-On still delivers enough entertainment to be worth checking out.

Taron Egerton stars as Ethan, a TSA agent working on Christmas Eve in Los Angeles. At a crossroads in his life, Ethan decides it’s time to get serious about his career — but those plans are derailed when a mysterious traveler (Jason Bateman) coerces him into letting a dangerous package through security.

Bateman as a villain works surprisingly well. His trademark dry sarcasm and smart-ass charm translate seamlessly into the role of a mastermind antagonist. Bateman’s character exudes calm control, and his portrayal as the smartest man in the room feels utterly convincing.

Egerton, meanwhile, demonstrates once again that he has all the makings of a compelling lead, despite somehow seeming to always be just out of the limelight. Known for his standout roles in Kingsman: The Secret Service, Rocketman, and Eddie the Eagle, Egerton brings innate charisma to Ethan. His American accent is solid, and he sells the cat-and-mouse dynamic with Bateman, making their verbal and mental sparring a highlight of the film.  ​

Review by Jonathan Berk

The supporting cast is also quite strong, with Monica Barbaro standing out as Joan Baez. Her scenes with Chalamet crackle with tension, providing some of the film's most electric moments. Their chemistry is palpable, and the highs of the film often come when Dylan and Baez are together on screen. Edward Norton delivers as Pete Seeger and gets two memorable scenes that allow him to showcase his talents. Fanning’s portrayal of Sylvie is emotionally compelling, particularly in a moment where her character comes to a crushing realization—a scene she handles masterfully.
​
Other standout performances include Boyd Holbrook as Johnny Cash, Dan Fogler as Albert Grossman, and Norbert Leo Butz as Alan Lomax. They help shape some of the film's pivotal moments, and the scenes with Johnny Cash are particularly unforgettable. McNairy, portraying Woody Guthrie during his period of decline, has perhaps the toughest role in the film. He conveys depth and emotion through mostly nonverbal communication. Despite the challenge, McNairy’s understated performance speaks volumes.

Adding to the impact of these performances is Mangold’s stylistic direction. From the way the camera moves lovingly around the musical performances, letting us sink into the songs, to the period-perfect costumes and settings, every aspect of the film’s production design immerses us in the era — and it’s just a joy to watch. It often feels as if we are there, witnessing musical history in the making. For viewers like myself, who may not be well-versed in this particular musical movement, it’s a compelling, almost educational experience. Mangold’s evident love for both Dylan and the era of folk music translates clearly to the audience, making this film feel like a celebration of an important musical moment.

Unlike some biopics, A Complete Unknown doesn’t attempt to judge whether Dylan was a "good" person. The film shows questionable decisions and complex relationships, but it leaves room for the audience to draw their own conclusions. The central message is clear: Bob Dylan was an unparalleled musical genius, and his art is worth celebrating, regardless of his flaws. The film's true conflict seems to be that anyone would try to stifle Dylan’s creative brilliance—those who did were clearly misguided or selfish.

A Complete Unknown will likely be divisive. It’s long, and diehard Dylan fans may take issue with some of the choices made by Mangold or Chalamet. However, for those without that baggage, who simply love music and vibrant storytelling, this film will be a joy. I connected with its tone early on and never doubted my enjoyment.

A Complete Unknown is in theaters on December 25.

Rating: 4.5/5​

Review by Jonathan Berk

Review by Daniel Lima

Anyone used to exploring the depths of the low budget genre movies of yesteryear will be familiar with a particular kind of disappointment. You come across a film with an exciting title, a promising premise, and a cool poster: Dracula’s Dog, The Drifting Avenger, most giallo. Then you watch it and find that it’s mostly people standing around and talking to each other, with a handful of moments sprinkled about that capture that imagined greatness. Werewolves hearkens back to that ignoble tradition, but in the days of bloated, sanitized, impersonal studio IP movies, its shaggy contours become charming in their own right.

“One year ago a supermoon turned millions into werewolves.” This ludicrous line opens the film, immediately setting the stakes and the tone. With a new supermoon about to rise, a crack team of CDC scientists seeks to test a way to prevent these transformations. Frank Grillo barricades the home of his brother’s wife and daughter before leaving to head the operation, as the world’s least convincing virologist. Naturally, things go awry, and both Grillo and his family must fight to survive the night.

The ironically self-aware genre throwback has been a plague on modern cinema, and thankfully Werewolves avoids that trap by committing wholeheartedly to the silliness of its premise without ever tipping over into parody. Though many elements are fantastic and absurd — the gung ho neighbor, the repeated use of the word “moonscreen”, the monsters themselves, Frank Grillo playing a scientist — they are treated with the frankness and gravity they should demand within the context of this reality. Beyond providing the audience a level of buy-in that makes what happens feel like it matters, this straight-faced treatment of the material makes it even seem even goofier; I know I laughed every time someone said “moonscreen”, or a character did something that strained credulity, or an entire conversation did nothing but reiterate the obvious.

That’s helpful, because one thing this movie has plenty of is filler. Even at barely over ninety minutes, Werewolves strains to engineer enough narrative momentum to propel it to the credits. There is barely any character work to speak of, with the action divided between Grillo’s homeward quest with his forgettable companion, and his forgettable sister-in-law alone at home with a forgettable child. The number of times the gruff man of action stops to just say, “We have to keep moving”, is truly baffling. As funny as it is at first, when it dawns on you that this will be most of the movie it becomes a tad less amusing.