Fall 2021 Movie Preview

With the arrival of fall and the persistence of COVID, we movie lovers find ourselves in a weirdly discombobulated, in-between state. Theaters are open, the big film festivals have already jump-started lively conversations among cineastes, and the fall movie season is packed with exciting releases – some of which are opening only in theaters, others on streaming, and still others in some combination of both. This leaves those of us who prefer to see movies in theaters constantly calibrating our COVID comfort levels and trying to decide which movies we “need” to see on the big screen and which we can be content with seeing at home. I’m still working out that calculus myself. It’s complicated by the fact that so many of the films I want to see are from Netflix – whose MO for awards contenders is a short, limited theatrical run before releasing the film on streaming. But regardless of how or when I see them, these are the movies I’m most looking forward to over the next few months:

THE CARD COUNTER – in theaters now

I actually saw this one the other day, but am keeping it on the list because it’s definitely worth your attention. Oscar Isaac plays a low-stakes card shark with a very dark past who unexpectedly finds himself torn between a potential uptick in both his romantic and professional prospects (represented by Tiffany Haddish – a curious match that somehow works) and the ghost of his crimes, embodied in a troubled youth (Tye Sheridan) he takes under his wing. Don’t be fooled by the trailer, which makes the film look like an updated The Color of Money - this is very much a Paul Schrader Journey into the Soul of a Morally Tormented Man. To be frank I did not find the writing to be as convincing as the acting – but, my god, the acting! Isaac is fan-fucking-tastic in what may be the best performance of his career to date, and the film’s worth seeing for him alone.

I’M YOUR MAN – in limited theaters September 24

This German sci-fi romantic comedy directed by Maria Schrader (Unorthodox) stars Dan Stevens (I almost wrote “Matthew Crawley,” even though he’s actually had a pretty interesting film career since Downton Abbey) as a robot programmed to be a perfect romantic partner for whoever buys him and Marin Eggert as the skeptical woman who’s asked to give him a trial run. Yes, apparently Dan Stevens speaks fluent German. Early reviews have been very good, and Germany’s already selected the film as its Oscar submission for Best International Feature.

MY NAME IS PAULI MURRAY – in theaters now, begins streaming on Amazon Prime October 1

From the folks behind “R.B.G.,” a documentary about another truly remarkable woman who should have as much recognition as – well, Ruth Bader Ginsburg. A civil rights lawyer cited by both RBG and Thurgood Marshall, Murray laid the groundwork for both Brown vs. Board of Education and Reed vs. Reed, the case (argued by RBG) that extended the Fourteenth Amendment to cover discrimination by sex. Always extraordinarily ahead of her time, Murray also sat at the front of the bus 15 years before Rosa Parks did, was the first African American to earn a DJS from Yale Law School, and the first African American woman to be ordained as an Episcopal priest. Did I mention she was also gay and possibly/probably transgender? Like I said – a remarkable woman whose story deserves to be amplified.

DUNE – in theaters and on HBO Max October 22

No, I’ve never read the book(s) or seen the previous gonzo adaptation by David Lynch. But I really liked Denis Villeneuve’s last venture into iconic sci-fi (Blade Runner 2049) and early word is his take on the first part (half? Third?) of the Frank Herbert classic is just as visually stunning and immersive. Even though it’ll be on HBO Max, this is one movie I can’t imagine seeing on anything but the biggest screen I can find. Timothée Chalamet leads a stacked cast that includes Oscar Isaac, Rebecca Ferguson, Charlotte Rampling, Stellan Skarsgaard, Zendaya, and many more.

THE FRENCH DISPATCH – in theaters October 22

Wes Anderson’s latest confection, set in (1960s?) France, is a love letter to the New Yorker and, more generally, foreign-correspondent journalism of a bygone era. Will it be overly stylized and precious bordering on twee? Almost certainly. But even at their most artificial, WA’s films still have a certain wistful, escapist charm that’s agreeable in the right doses. As usual, this one boasts an impressive array of A-list character actors (Tilda, Frances, Bill Murray, Adrien Brody, Liev Schreiber, Jeffrey Wright, Benicio del Toro, many others) plus current arthouse heartthrob du jour Timothée Chalamet.

PASSING – in limited theaters October 27, begins streaming on Netflix November 10

Rebecca Hall’s directorial debut adapts Nella Larsen’s 1929 novel about two mixed-race women (Tessa Thompson and Ruth Negga) and childhood friends whose paths diverge when one of them (Negga) chooses to “pass” for white – only to cross again later in life. Shot in black and white, which seems almost too apropos, and was well received at Sundance.

SPENCER – in theaters November 5

While I’ve never really understood the world’s (ok, mostly Anglo-American) fascination with the British royals, color me intrigued both by the casting of Kristen Stewart as Princess Di and by her pairing with Chilean director Pablo Larraín. As you’ll recall, Larraín guided Natalie Portman to an Oscar nomination for embodying the closest thing America ever had to its own female royalty in Jackie. All early signs point to him bottling lightning a second time with Stewart. The film focuses on a (fictional) weekend at the Queen’s winter holiday estate during which Diana decides to end her marriage.

BELFAST (theaters) – in theaters November 12

Kenneth Branagh goes personal with this semi-autobiographical coming-of-age B&W film about a young boy growing up in – you guessed it – Belfast in the 1960s. Winner of the People’s Choice Award (basically, the audience favorite award) at TIFF [Toronto International Film Festival], it features a strong cast that includes Ciarán Hinds and Judi Dench as Branagh-surrogate’s grandparents and Jamie Dornan and Caitríona Balfe as his (remarkably good-looking) parents. Shades of an Irish Hope and Glory with the Troubles standing in for WWII? We should be so lucky.

TICK, TICK...BOOM! – in limited theaters November 12, begins streaming on Netflix November 19

Based on a semi-autobiographical musical by the late Jonathan Larson (better known for Rent) that chronicles his early-career angst and fear of failure, its poignancy is underscored retrospectively by his tragically premature death just before Rent’s wildly successful Broadway premiere. I’m taking a bit of a flyer with this one since I’ve never seen the musical on stage. However, given that it’s by Larson and that the film is directed by Lin-Manuel Miranda and stars Andrew Garfield, I feel pretty bullish about its quality.

THE POWER OF THE DOG – in limited theaters November 17, begins streaming on Netflix December 1

Fans of Jane Campion have been salivating over this one – her first film in over a decade – since its announcement. Based on the novel by Thomas Savage, it’s a modern (20th century) Western about a psychologically fucked-up rancher (Benedict Cumberbatch) who, following the unexpected marriage of his brother (Jesse Plemons) to a woman (Kirsten Dunst) with a teenage son (Kodi Smit-McPhee), proceeds to harass and torment both mother and son…and perhaps also himself? Not a spoiler since I genuinely don’t know more about the story, but I smell suppressed homoerotic vibes here. Won the Silver Lion for best direction at this year’s Venice Film Festival.

C’MON C’MON – in theaters November 19

Mike Mills (Beginners, 20th Century Women) delivers what looks like another tender exploration of complicated, not-quite-conventional, but loving family dynamics. This one’s in black and white, for some reason, and stars Joaquin Phoenix.

THE HAND OF GOD – in limited theaters November 24, begins streaming on Netflix December 15

Another semiautobiographical coming-of-age tale – this one from Paolo Sorrentino, director of the La Grande Belleza and Youth, as well as the HBO series The Young Pope. If you, like me, are a fan of Sorrentino’s sumptuous, plangently melancholic style, it sounds like we won’t be disappointed by his latest effort. Winner of the Grand Jury Prize (the runner-up award) at this year’s Venice Film Festival.

THE LOST DAUGHTER – in limited theaters December 17, begins streaming on Netflix December 31

Maggie Gyllenhaal makes her directorial debut with an adaptation of an Elena Ferrante novel starring Olivia Colman? Yes, please. Winner of best screenplay at Venice. Maybe last year’s success of female directors and/or actresses making their directorial debuts wasn’t a fluke – here’s hoping, anyway.

PARALLEL MOTHERS – in theaters December 24

Pedro Almodóvar. Penelope Cruz. Mothers. SOLD. No, really – have you seen Volver? Pain and Glory? All About My Mother? Broken Embraces? Ok, that last one isn’t really about mothers, but it’s still one of my favorite and most underrated ’Modo films, and Cruz is great in it.

THE TRAGEDY OF MACBETH – in theaters December 25, begins streaming on AppleTV+ January 14

Joel Coen (sans Ethan) directs this B&W adaptation of the Scottish play, which stars Denzel Washington as Macbeth and Frances McDormand as Lady Macbeth. I’d be more excited about this one if I didn’t remember being excited and then let down by the Justin Kurzel Macbeth (2015) starring Michael Fassbender and Marion Cotillard. But then Kurzel has a very different style from Coen – or at least the Coens - so I will keep my hopes up for now. It’s scheduled to premiere at the New York Film Festival this week.

A couple more I’ll probably be too curious not to see, though I’m definitely waiting for streaming:

THE EYES OF TAMMY FAYE - in theaters now

The makeup and prosthetics look a little much - although you could argue that is true to Tammy Faye, who was always more than a little much - but Jessica Chastain is supposed to be terrific despite them. And my honey Andrew Garfield is also reportedly spot-on as Jim Bakker.

DEAR EVAN HANSEN - in theaters September 24

Yes, yes, I know all the issues with this one: panned by the critics, problematic story, problematic casting of a 27-year-old Ben Platt who can no longer pass plausibly for a high school student (at least not on the big screen). However, the fact is that Platt, who by the way has a stunningly beautiful voice, originated the role on stage and won a Tony for it, and I’m still bitter I missed the chance to see him in the musical's pre-Broadway run in D.C. back in 2015 - I tried but was too slow to get tickets. So if this is the only way I can see Platt as Evan Hansen, so be it. Plus the film’s directed by Stephen Chbosky, who still has some residual goodwill points with me for The Perks of Being a Wallflower.

And finally, a few more films I’m keeping an eye out for – or at least for the reviews:

THE LAST DUEL – in theaters October 15

A Rashomon-like take on a 15th century French tale of a knight (Matt Damon) who challenges his friend (Adam Driver) to a duel after his wife (Jodie Comer) accuses the latter of raping her. Directed by Ridley Scott, but the screenplay’s by the unusual combo of Damon, Ben Affleck (who’s also in the film), and Nicole Holofcener (Lovely and Amazing, Enough Said, screenplay for Can You Ever Forgive Me?). Alas, most of the early buzz has been less about the film’s merits than about the unfortunate hairstyles sported by Damon and Affleck.

LAST NIGHT IN SOHO – in theaters October 29

I’m not a big Edgar Wright fan, and early reactions to his latest – a psychological thriller about a young woman (Thomasin McKenzie) who comes to London to be a fashion designer and finds herself channeling the spirit of a glamorous swinging-’60s night club singer (Anya Taylor-Joy) – have been decidedly mixed. Still, there’s no denying it looks divinely cool. Then again, so did Baby Driver, which started out promisingly only to turn into a tedious slog.

ETERNALS – in theaters November 5

Knowing nothing of the comics or the characters, I have no strong feelings about the next chapter in Phase Four of Marvel’s world dominance. I do, however, have strong (positive) feelings about director Chloé Zhao. We’ll see what imprint, if any, she leaves on the Marvel machine.

NIGHTMARE ALLEY – in theaters December 17

Guillermo del Toro takes on a 1946 novel – previously adapted in a classic film starring Tyrone Power – about a con man who hooks up first with a circus and then with a psychopathic psychiatrist. Bradley Cooper and Cate Blanchett star in this version, along with Toni Collette, Willem Dafoe, Richard Jenkins, Ron Perlman, David Strathairn, and more. The question is will this be more Crimson Peak or Pan’s Labyrinth / Shape of Water?

THE MATRIX RESURRECTIONS – in theaters and on HBO Max December 22

Loved the first Matrix, found the second deeply disappointing, and didn’t bother seeing the third after a friend told me it was literally the worst movie he’d ever seen. So, nearly two decades later, where does that leave me for Matrix 4? Stay tuned…

9/28/21: Edited to add LICORICE PIZZA - in limited theaters November 26, nationwide by Christmas

I go hot and cold with Paul Thomas Anderson, but in returning to the (San Fernando) Valley he looks to be returning to his roots, which brings back fond memories of BOOGIE NIGHTS, his warmest and most appealing film. One reservation: the story seems centered on two screen newcomers, Alana Haim (better known as a member of the band Haim) and Cooper Hoffman, son of Philip Seymour. However, I love Haim and there's no denying Hoffman has great acting genes. So we'll see.