The Invisible Man
Rather than move forward with their Dark Universe (read: Universal Monsters but superheroes), Universal reset after the failure of The Mummy and entrusted Blumhuose and writer-director Leigh Whannell with a new take on The Invisible Man. That trust was well placed as Whannell has made a brilliant new take on the character by recasting the story as a parable about domestic abuse. Elisabeth Moss stars as a woman on the run from her abusive boyfriend (Oliver Jackson-Cohen), and she seems to be in the clear when he apparently commits suicide. But he’s just found a way to turn himself invisible and torment her further. The Invisible Man is a nerve-wracking ride, but thrives thanks to Moss’ excellent performance, Whannell’s thoughtful direction, and the underlying themes about a serious social issue.
Emma.
It’s been over 20 years since our last theatrically released adaptation of Jane Austen‘s classic comedy Emma, but director Autumn de Wilde makes the material all her own with her vibrant and lovingly crafted adaptation. The story still follows young Emma Woodhouse (Anya Taylor-Joy) in her misguided attempts to play matchmaker and learning the value of empathy along the way, but de Wilde’s version knows how to make the character and her world feel young and immediate without veering into anachronism. The entire cast manages to make their characters their own, and while Austen purists may take some umbrage with a few of de Wilde’s choices, most audiences will find Emma the fresh new period piece they’ve been waiting for.
Wendy
Filmmaker Behn Zeitlin broke out big with his 2012 debut Beasts of the Southern Wild. It’s taken a little while for him to return, but he’s back with a unique spin on Peter Pan with Wendy. Rather than putting Peter at the center of the story with Wendy as a mother figure, Wendy is the protagonist here in a film that may have the familiarity of Peter Pan, but Zeitlin deconstructs and reinvents what makes the myth so enduring. Yes, there’s the fear of growing up, but he brilliantly melds it with a story about climate change and how adults are seeking to be young again while wrecking a planet that kids will need to live on. All the skills Zeitlin showed in Beastsare on display here, and it makes Wendy a movie that will make you want to run outside, scream in joy, and then save the world.
Little Women
Greta Gerwig’s adaptation of Louisa May Alcott’s classic novel is one of the best movies of the year. Gerwig takes the story of the March sisters and makes it her own by playing with the chronology to move away from the book’s episodic nature and give stronger thematic arcs to her characters. The world also feels lush and lived-in, a nice departure from previous adaptations that felt more like visiting a historical preservation society than actually living alongside the characters. Gerwig’s Little Womenproves she’s one of the best directors working today and her entire cast gives terrific performances with outstanding work being done by Florence Pugh as Amy March and Timothee Chalamet as Laurie. If you’re worried that Little Women may feel like too much of a staid period piece, fear not. It’s immediate, effervescent, and lovely.
1917
Sam Mendes made his World War I movie so that it looks like it was done in a single take, but it’s not a gimmick. The decision works perfectly to put you alongside soldiers Blake (Dean-Charles Chapman) and Schofield (George MacKay), who are tasked with delivering a message across enemy lines to stop an attack that could result in the deaths of 1600 British troops, including Blake’s brother. If you love how movies are made, you’ll spend all of 1917 in awe of the craft on display. But even if you just wanted to be wrapped up in the story, Mendes keeps you pinned on the edge of your seat without glorifying war or trying to turn it in a video game. You’ve never seen a movie quite like 1917 and it demands to be seen in theaters.
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