best movie reviewers on instagram

OUR CHANNELS

• > Entertainment
• > 8 Film-Related Accounts On Instagram For Those Who Can’t Get Enough Of Cinema

Entertainment

Sep 30, 2021 at 06:14 PM

8 Film-Related Accounts On Instagram For Those Who Can’t Get Enough Of Cinema

There are tons of accounts on Instagram that serve the cinema-loving audience in their own unique ways. Here we list 8 of our favourites.

1.  Humans of Cinema

One of the most popular cinema accounts with the main focus on Indian cinema and shows, Humans of Cinema  analysis almost every part of filmmaking with beautiful detail. They also give regular recommendations, so you can follow them to never have to struggle with what to watch next.

View this post on Instagram A post shared by Humans of Cinema (@humansofcinema)

2.  Cinema Mon Amour

This account mostly features popular/impactful dialogues from the movies, in the form of carousels. They do it so tastefully, though, that more often than not you will develop a curiosity for the movie and even end up watching it.

View this post on Instagram A post shared by Cinema Mon Amour (@cinemamonamourpage)

3.  Color Palette Cinema

Their bio is also their theme:  Color can affect us psychologically, often without us being aware, and can be used as a strong device in a story. Basically, they analyse scenes based on their colour palette, which is fascinating, to say the least.

View this post on Instagram A post shared by Color Palette Cinema (@colorpalette.cinema)

4.  Screenplayed

Are you also fascinated with the way the scenes written on paper are translated on screen? This is the right place to understand that. They have a video compilation of some of the most brilliant scenes in world cinema and how they were written by the screenwriters.

View this post on Instagram A post shared by Screenplayed (@screenplayed)

5.  thatindiancinephile

As the name suggests, this account is a celebration of Indian cinema, carrying posts that feature noteworthy dialogues from the films, along with the pictures of the scene. Truly heartwarming.

View this post on Instagram A post shared by Yash (@thatindiancinephile)

6.  filmtourismus

So, this account does something really interesting. The admin takes a photo of a particular scene, holds it against the location where it was shot, and then takes a photo of that. It’s always fascinating to note how much the location contributes to filmmaking.

View this post on Instagram A post shared by Andrea David 🎬 (@filmtourismus)

7.  Murtaza Ametwala

All posts on this account are not dedicated to the cinema but some of the recent ones are similar to those on  filmtourismus . Except, here we look at the scenes from Indian flims.

View this post on Instagram A post shared by Murtaza Ametwala (@murtaza.ametwala)

8. best.movie.lines

I think the name of this page is self-explanatory. It features dialogues + scenes from popular or even not-so-popular but brilliant shows and movies. Must follow this one.

View this post on Instagram A post shared by MOVIE QUOTES & SCENES 🎬 (@best.movie.lines)

For those who can never get enough of cinema.

follow scoopwhoop

Models Vs Me: Clothes From Sarojini Nagar

Women Guess The Price Of Men’s Clothes

Women Review Mens Intimate Products

₹5000 At Amazon Vs ₹5000 At Flipkart

Drunk Vs Sober Cook Off: Chai & Samosa

Men Guess The Price Of Women’s Dresses

Adult Toy Or Innocent Item?

Men Try Identifying Women’s Intimate Products Part 2

₹10,000 At Uniqlo VS ₹10,000 At Marks & Spencer

Can We Cook Better Than Saransh Goila?

20 Instagram accounts film and cinema lovers should follow

Take account of some terrific screen accounts. Image: filmtourismus

Whether it’s watching classic film scenes with the script rolling alongside the video, seeing what goes into framing the perfect shot, how special effects were achieved before CGI or expertly curated stills to inspire you, there’s plenty for screen aficionados on Instagram. Here are 20 of the best to get you going.

An unabashed celebration of cinema with little-known facts about famous scenes.

Real-life scenes that look like they could be stills from one of Wes Anderson’s films.

Owned – but not operated – by Quentin Tarantino, who bought the iconic LA cinema in 2007.

Classic film scenes, behind-the-camera shots, memes and movie trivia.

For those interested in how film is made – including shot breakdowns and colour palettes

Gorgeous stills from film and TV, new and old.

Learn more about mise-en-scène, lighting and camerawork.

Videos of iconic film scenes set against the rolling script.

Striking film images with information about the director and other key creatives.

Inspirational stills from arthouse and mainstream cinema.

The colour palettes of horror and sci-fi movies from the 1960s to present day.

Analysis and imagery with a focus on Indian cinema.

Curated dialogue from films … and gorgeous images.

A sumptuous celebration of Indian cinema.

Photos of film scenes held up against the actual location of shooting.

Dialogue and scenes from shows and movies.

Curated highlights from the international centre for the preservation and exhibition of film and video.

Excellent behind-the-scenes shots and videos.

Focussing on camera rigs and shot set-ups.

Highlighting non-computerised special effects.

Unlock this content?

Access this content and more.

Paul Dalgarno

Paul Dalgarno is author of the novels A Country of Eternal Light (2023) and Poly (2020); the memoir And You May Find Yourself (2015); and the creative non-fiction book Prudish Nation (2023). He was formerly Deputy Editor of The Conversation and joined ScreenHub as Managing Editor in 2022. X: @pauldalgarno. Insta: @dalgarnowrites

Related News

Cinema guide: new films in Australia this week

New films in cinemas from 25-31 March, from Godzilla x Kong to Io Capitano.

Silvi Vann-Wall

The Neverending Story is being re-made with a modern twist

The novel that inspired the 1984 film is getting a new adaptation thanks to See-Saw Films.

Late Night With The Devil: David Dastmalchian and directors confirm AI used in film

The directors of Late Night With the Devil confirmed there is AI-generated art in the film, but that its use…

Margot Robbie reportedly set to produce The Sims movie adaptation

Hollywood reporter Jeff Sneider has revealed a live-action Sims adaptation is progressing.

Leah J. Williams

T-Blockers review: body horror and the trans experience

With delicious body horror, vibrant colour aesthetics, and layers-upon-layers of metatext, T-Blockers achieves something amazing with its tiny budget.

Want more content?

Get free newsletters full of the best in Australian screen news, jobs and more delivered to your inbox!

Must-Follow Instagrams For Cinephiles & Aspiring Filmmakers

Get your fix of independent film, behind-the-scenes action, and industry insight.

Instagram is full of photographers, but it’s also home to some of the world’s most talented creators of moving images.

We’re not talking about the actors you already follow, or the big-time studios promoting their work. We’re talking about the industry players behind the cameras and screenplays, the organisations dedicated to spreading fine filmmaking, and the civilian cinephiles who simply want to share their love of the craft.

These writers, directors, cinematographers, producers, institutions, and fans make up an inspiring set of Instagrams for movie lovers and aspiring filmmakers alike. Below you’ll find a few of our favourites.

Jon Favreau

@robertdowneyjr @tomholland2013 A post shared by Jon Favreau (@jonfavreau) on Apr 28, 2017 at 10:39pm PDT

13. Flash Gordon, 1980: Princess Aura. Welcome to Mingo City. Home to the gaudy and cruel court of Ming the Merciless. After subjugation you will be brought before the court for sentencing. Obviously, your sentence is death but whoa… Who is that foxy lady prowling the court wearing the gold skeletal bikini armor, rainbow plush scarfs and cape, towing an umpa lumpa sex slave on a gold chain? Never mind boring goody two shoes, Dale whatsherface, meet Princess Aura, played by Ornella Muti. She will burn her omnipotent father and her fiancée at the drop of a hat for a beef cake like Flash Gordon but prefers her men drugged and in coffins. Like a real femme fatale, when she is caught and brought in for flogging she wears her finest red spandex bodysuit and melts masacara with her hot pouty tears even better than Tammy Faye Bakker. A post shared by Aramis Gutierrez (@anti_cgi) on Aug 10, 2017 at 11:21pm PDT

Emmanuel Lubezki

Face Of R # 19 A post shared by @chivexp on Jan 14, 2016 at 8:02am PST

American Film Institute

The 28th #AFILife Achievement Award brought together three icons in 2000: honoree Harrison Ford, Steven Spielberg and George Lucas. #AFI50 #stevenspielberg #georgelucas #harrisonford A post shared by American Film Institute (@americanfilminstitute) on Jul 10, 2017 at 11:18am PDT

The Black List

2010: ARRIVAL makes the annual Black List. 2016: It’s chosen as one of the #NationalBoardofReview’s 10 Best Films of the year. Read #GoIntoTheStory’s interview with #EricHeisserer! https://gointothestory.blcklst.com/interview-eric-heisserer-2012-2014-black-list-233f5a867e7#.5cjyatpxc A post shared by The Black List (@theblcklst) on Dec 7, 2016 at 5:09pm PST

“You see that? What’s that look like?” “Looks like a trailer…” A post shared by Eli Roth (@realeliroth) on Aug 1, 2017 at 6:58pm PDT

David Katzenburg

werk #ballers A post shared by David Katzenberg (@davidkatzenberg) on Feb 15, 2017 at 7:37pm PST

Film Independent

“Something that’s benefitted me is to not really wait for projects to come my way—to make things that interest me and to create things even if no one is asking for them. It helps me to learn my craft, but also to have things that become calling cards in a way. Maybe that’s a short film or music video. But you don’t need anyone’s permission to go out and start making things. I always say absorb as much as you can. Watch everything and try to understand how it was made. You need to remember to focus on the story and the characters and how the camera is interacting with them.” – #WednesdayWisdom from #FiFellow and#GhostStory DP @DrozPalermo. Check out his full interview on the blog. Link in bio. #filmindependent #independentfilm #ghoststorymovie #cinematography #rooneymara #A24 A post shared by @filmindependent on Aug 9, 2017 at 1:12pm PDT

Anthology Film Archives

#JeanCocteau — born on this day in 1889.⠀ We’re screening three of his masterworks this week on 35mm! ⠀ (They’re all FREE for members, just $9 general admission!)⠀ ⠀ THE BLOOD OF A POET⠀ – Fri, July 7 at 7:00 PM⠀ – Sat, July 8 at 6:30 PM⠀ ⠀ ORPHEUS⠀ – Fri, July 7 at 8:30 PM⠀ – Sun, July 9 at 8:00 PM⠀ ⠀ BEAUTY AND THE BEAST⠀ – Sat, July 8 at 8:00 PM⠀ – Sun, July 9 at 6:00 PM A post shared by Anthology Film Archives (@anthologyfilmarchives) on Jul 5, 2017 at 1:58pm PDT

• Entertainment
• About DMARGE
• Editorial Policy
• Privacy Policy
• Affiliate Policy
• Terms & Conditions
• In The Media
• Corrections Policy
• Fact-Checking

Get the latest breaking news and original content across sport, entertainment, luxury and travel.

Empire Movies

Reviews, News, Trailers 2018 2019

Top Movie Pages On Instagram That Worth to Follow

December 1, 2018

Let’s be honest, we all know that we spend at least an hour on Instagram these days! I have seen people, literally they live on Instagram! They eat and sleep Instagram and some smart people they make money and pay the bills through the Instagram.

However, spending time on Instagram won’t consider as waiting your time if you follow the right pages there! They are some pages on Instagram with great and valuable content, strong stories and shareable posts. You can learn from them, gain more knowledge or even bring a smile on your face. That really depends on what type of content you are looking for. Obviously, we all look for the great movie pages on Instagram as movie fans. Hence I made a research on Instagram to find the worthy pages with awesome content of movies and news to keep you updated about the movies world. Before revealing these pages make sure that you are holing your phone and ready to follow them on Instagram.

@script.to.screen

Source:youtube

No doubt @script.to.screen shares great content. They are very innovative in terms of creating a post with the epic script of the movie mixing with video of the same movie. You won’t get bored by browsing on this Instagram account to see interesting content all day! There is also a website in their page bio for those who are interested to get deeper in their work to see and read more about movies and great scripts of the movies.

Source:time.com

Who does not like Starwars ! The Starwars official page is one of the popular pages for the Starwars fans around the world. They share news about the movie, the upcoming event of Starwars and many more on their Instagram page. Do not miss this one!

@thesithcode

The true Starwars memes page! This page shares the great and funny memes. It is very well known for the dark memes of Starwars. Moreover, they have a community of bloggers on their website for sharing stories and opinions.

@superheronow

If you are a fan of superhero’s this is the right page for you to follow on Instagram. Sharing daily of the interesting Marvel Studios and DC hero’s make this page unique for the followers.

@movie.effects.vfx

Personally, this is one of my favorite movie pages although this page is not very popular on Instagram , but they share very unique videos. If you are interested in visual movies effect and what’s going on behind the scene for all those mind-blowing scenes, you should hit the follow button for this account! They show all those work and tricks that Hollywood uses in the movies! Absolutely amazing!

@best.movie.lines

As you can guess the content based on the Instagram account name, they share the best movies line. We can not deny that the admin of the page has a great taste of picking up the great sentence and dialog of the actor in popular movies.  Furthermore, they have a Facebook page too! You can follow them on Facebook if you are looking for more text content which comes with the great visual content on their page.

You can also start your own page on Instagram based on your interest to share the quality movies content, news or even movie memes. If you do not know how to start your page in order to reach a decent number of followers, Social Tradia can be helpful for your purpose. You can get your movie page from the influences that are ready to trade their accounts and give you hints to keep growing the Instagram account.

There are so many other great pages out there on the Instagram that might be missed in this list. However, these pages worth to follow because of the quality and interesting content that they share with their followers. If you like to keep up with the news and see great movie content, you should not miss them.

Related Posts:

• Corey Harrison Net Worth 2019 – How Much is the Pawn…
• Chuck Norris Net Worth 2019 – How Much is the…
• Warner Bros Net Worth 2019 – How Much is the…
• 7 Rules To Follow When Making A Short- Form Documentary
• Top 10 Movie Streaming Apps for iOS 13
• Movie Review Writing Tips: Top Ideas to Make the Work Star

@movie.effects.vfx @script.to.screen @superheronow @thesithcode Movie Pages On Instagram Starwars

Last modified: December 1, 2018

About the Author: Peter Jackson

Comments are closed.

Recent Posts

February 8, 2024

Reinventing the Sphere of Contact Management: Scrupp’s Unmatched Technological Breakthroughs Against LinkedIn

In the rapidly evolving digital landscape, the way we manage our professional contacts has seen a dramatic transformation. At the forefront of this revolution is Scrupp, …

The Rise of Riversweeps: Analyzing the Impact of a Leading Sweepstakes Software Distributor

The Future of Cyber Cafes: How Riversweeps is Shaping the Landscape

February 6, 2024

How AI Technology is Revolutionizing Filmmaking: Insights and Trends

January 29, 2024

• Box Office Results
• Cars from movies
• Celebrity Couples
• Movie News 
• Movie Posters 
• Movie Reviews 
• Movie Trailers 
• Movies History
• Photography
• Superheroes
• Uncategorized
• Upcoming Movies

duleweboffice [at] opptrends.com

By providing your information, you agree to our Terms of Use and our Privacy Policy . We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

The Best Movie Reviews We’ve Ever Written — IndieWire Critics Survey

David ehrlich.

• Share on Facebook
• Share to Flipboard
• Share on LinkedIn
• Show more sharing options
• Submit to Reddit
• Post to Tumblr
• Print This Page
• Share on WhatsApp

Every week, IndieWire asks a select handful of film critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)

While this survey typically asks smart critics to direct readers toward good movies, we hope that the reverse is also true, and that these posts help movies (good or bad) direct readers towards smart critics. 

In that spirit, we asked our panel of critics to reflect on their favorite piece of film criticism that they’ve ever written (and we encouraged them to put aside any sort of modesty when doing so).

Their responses provide rich and far-reaching insight into contemporary film criticism, and what those who practice it are hoping to achieve with their work.

Siddhant Adlakha (@SidizenKane), Freelance for The Village Voice and /Film

Related Stories The Future of Movie Streaming Is an ‘Exhausting’ ‘Beautiful Nightmare’ After 25 Years, These Are the ‘Friends’ Characters Critics Love the Most

Let’s cut right to the chase. Christopher Nolan is probably my favourite working director, and going five thousand words deep on his career after “Dunkirk” was an itch I’d been waiting to scratch for nearly a decade. “The Dark Knight” was my dorm-room poster movie — I’m part of the generation that explored films through the IMDb Top 250 growing up — though as my cinematic horizons expanded and my understanding of storytelling grew, I didn’t leave Nolan’s work behind as I did the likes of “Scarface” and “The Boondock Saints.” What’s more, each new film by Nolan hits me like a tonne of bricks. I’m waiting, almost eagerly, for him to disappoint me. It hasn’t happened yet, and I needed to finally sit down and figure out why.

In “Convergence At ‘Dunkirk,’” by far the longest piece I’ve ever written, I’d like to think I unpacked a decade worth of my awe and admiration, for a filmmaker who uses the studio canvas to explore human beings through our relationship to time. Tarkovsky referred to cinema as “sculpting in time.” Time disorients. Time connects us. Time travels, at different speeds, depending on one’s relationship to it, whether in dreams or in war or in outer space, and time can be captured, explored and dissected on screen.

What’s more, Nolan’s films manipulate truth as much as time, as another force relative to human perception, determining our trajectories and interpersonal dynamics in fundamental ways. All this is something I think I knew, instinctively, as a teenage viewer, but putting words to these explorations, each from a different time yet connected intrinsically, is the written criticism that I most stand by. It felt like something that I was meant to write, as I interrogated my own evolving emotional responses to art as time went on.

Carlos Aguilar (@Carlos_Film), Freelance for Remezcla

At the 2017 Sundance premiere of Miguel Arteta’s “Beatriz at Dinner,” starring Salma Hayek, I found myself in shock at the reactions I heard from the mostly-white audience at the Eccles Theatre. I was watching a different movie, one that spoke to me as an immigrant, a Latino, and someone who’s felt out of place in spaces dominated by people who’ve never been asked, “Where are you really from?” That night I went back to the condo and wrote a mountain of thoughts and personal anecdotes that mirrored what I saw on screen.

This was a much different piece from what I had usually written up to that point: coverage on the Best Foreign Language Oscar race, pieces on animation, interviews with internationally acclaimed directors, and reviews out of festivals. Those are my intellectual passions, this; however, was an examination on the identity that I had to built as an outsider to navigate a society were people like me rarely get the jobs I want.

My editor at Remezcla, Vanessa Erazo, was aware of the piece from the onset and was immediately supportive, but it would take months for me to mull it over and rework it through multiple drafts until it was ready for publication in time for the film’s theatrical release. In the text, I compared my own encounters with casual racism and ignorance with those Hayek’s character faces throughout the fateful gathering at the center of the film. The reception surpassed all my expectations. The article was shared thousands of times, it was praised, it was criticized, and it truly confronted me with the power that my writing could have.

A few months later in September, when Trump rescinded DACA, I wrote a social media post on my experience as an undocumented person working in the film industry, and how difficult it is to share that struggle in a world were most people don’t understand what it means to live a life in the shadows. The post was picked up by The Wrap and republished in the form of an op-ed, which I hope put a new face on the issue for those who didn’t directly knew anyone affected by it before. Once again that piece on “Beatriz at Dinner” regained meaning as I found myself filled with uncertainty.

Ken Bakely (@kbake_99), Freelance for Film Pulse

Like many writers, I tend to subconsciously disown anything I’ve written more than a few months ago, so I read this question, in practice, as what’s my favorite thing I’ve written recently. On that front, I’d say that the review of “Phantom Thread” that I wrote over at my blog comes the closest to what I most desire to do as a critic. I try to think about a movie from every front: how the experience is the result of each aspect, in unique quantities and qualities, working together. It’s not just that the acting is compelling or the score is enveloping, it’s that each aspect is so tightly wound that it’s almost indistinguishable from within itself. A movie is not an algebra problem. You can’t just plug in a single value and have everything fall into place.

“Phantom Thread” is Paul Thomas Anderson’s dreamy cinematography. It is Jonny Greenwood’s impeccably seductive, baroque music. It is Vicky Krieps’s ability to perfectly shatter our preconceptions at every single turn as we realize that Alma is the movie’s actual main character. We often talk about how good films would be worse-off if some part of it were in any way different. In the case of “Phantom Thread,” you flat-out can’t imagine how it would even exist if these things were changed. When so many hot take thinkpieces try to explain away every ending or take a hammer to delicate illusions, it was a pleasure to try and understand how a movie like this one operates on all fronts to maintain an ongoing sense of mystique.

Christian Blauvelt (@Ctblauvelt), BBC Culture

I don’t know if it’s my best work, but a landmark in my life as a critic was surely a review of Chaplin’s “The Circus,” in time for the release of its restoration in 2010. I cherish this piece , written for Slant Magazine, for a number of reasons. For one, I felt deeply honored to shed more light on probably the least known and least respected of Chaplin’s major features, because it’s a film that demonstrates such technical virtuosity it dispels once and for all any notion that his work is uncinematic. (Yes, but what about the rest of his filmography you ask? My response is that any quibbles about the immobility of Chaplin’s camera suggest an ardent belief that the best directing equals the most directing.) For another, I was happy this review appeared in Slant Magazine, a publication that helped me cut my critical teeth and has done the same for a number of other critics who’ve gone on to write or edit elsewhere. That Slant is now struggling to endure in this financially ferocious landscape for criticism is a shame – the reviews I wrote for them around 2009-10 helped me refine my voice even that much more than my concurrent experience at Entertainment Weekly, where I had my day job. And finally, this particular review will always mean a lot to me because it’s the first one I wrote that I saw posted in its entirety on the bulletin board at Film Forum. For me, there was no surer sign that “I’d made it”.

Richard Brody (@tnyfrontrow), The New Yorker

No way would I dare to recommend any pieces of my own, but I don’t mind mentioning a part of my work that I do with special enthusiasm. Criticism, I think, is more than the three A’s (advocacy, analysis, assessment); it’s prophetic, seeing the future of the art from the movies that are on hand. Yet many of the most forward-looking, possibility-expanding new films are in danger of passing unnoticed (or even being largely dismissed) due to their departure from familiar modes or norms, and it’s one of my gravest (though also most joyful) responsibilities to pay attention to movies that may be generally overlooked despite (or because of) their exceptional qualities. (For that matter, I live in fear of missing a movie that needs such attention.)

But another aspect of that same enthusiasm is the discovery of the unrealized future of the past—of great movies made and seen (or hardly seen) in recent decades that weren’t properly discussed and justly acclaimed in their time.”. Since one of the critical weapons used against the best of the new is an ossified and nostalgic classicism, the reëvaluation of what’s canonical, the acknowledgment of unheralded masterworks—and of filmmakers whose careers have been cavalierly truncated by industry indifference—is indispensable to and inseparable from the thrilling recognition of the authentically new.

Deany Hendrick Cheng (@DeandrickLamar), Freelance for Barber’s Chair Digital

It’s a piece on two of my favorite films of 2017, “Lady Bird” and “Call Me By Your Name”, and about how their very different modes of storytelling speak to the different sorts of stories we tell ourselves. Objectively, I don’t know if this is my best work in terms of pure style and craft, but I do think it’s the most emblematic in terms of what I value in cinema. I think every film is, in some way, a treatise on how certain memories are remembered, and I think cinema matters partly because the best examples of it are prisms through which the human experience is refracted.

Above everything else, every movie has to begin with a good story, and the greatest stories are the ones that mirror not just life, but the ways in which life is distorted and restructured through the process of remembering. Every aspect of a film, from its screenplay on down, must add something to the film’s portrayal of remembering, and “Lady Bird” and “Call Me By Your Name” accomplish this organic unity of theme with such charm yet in such distinct ways, that they were the perfect counterpoints to each other, as well as the perfect stand-ins for cinema as a whole, for me.

Liam Conlon (@Flowtaro), Ms En Scene

My favorite piece of my own work is definitely  “The Shape of Water’s” Strickland as the “Ur-American.”  I’m proud of it because it required me to really take stock of all the things that Americans are taught from birth to take as given. That meant looking at our history of colonialism, imperialism, racism, anticommunism and really diving into how all Americans, whether they’re liberal or conservative, can internalize these things unless they take the time to self-examine. Just as “Pan’s Labyrinth’s” despotic Captain Vidal was a masterful representation of Francisco Franco’s fascism, Richard Strickland represents a distinctly American kind of fascism. Writers Guillermo del Toro and Vanessa Taylor took great care in Strickland’s creation, and my piece was my own way of self-examining to make sure I never become or abide by a person like Strickland ever again.

Robert Daniels (@812filmreviews), Freelance

This is tricky, but “Annihilation” is definitely my favorite piece of film criticism that I’ve written. My writing style is a combination of criticism and gifs, and sometimes the words are better than the gifs, and the gifs are better than the words. With “Annihilation,” I thought the balance was perfect . My favorite portion: “Lena is just an idea, part of an equation that’s been erased from a chalkboard and rewritten with a different solution. The shimmer is part of her, even down to the DNA” is up there as one of my best. It was also a struggle to write because that film had more wild theories than the Aliens in Roswell. Also, the amount of research I had to do, combining Plato’s Ideal Forms, Darwin, the Bible, and Nietzsche, was absurd. However, it did make it easier to find matching gifs. The result made for my most studious, yet lighthearted read.

Alonso Duralde (@ADuralde), The Wrap

I’m the worst judge of my own material; there’s almost nothing I’ve ever written that I don’t want to pick at and re-edit, no matter how much time has passed. But since, for me, the hardest part of film criticism is adequately praising a movie you truly love, then by default my best review would probably be of one of my favorite films of all time, Charlie Kaufman’s “Synecdoche, New York.”

David Ehrlich (@davidehrlich), IndieWire

I can’t summon the strength to re-read it, but I remember thinking that my piece on grief and “Personal Shopper” was emblematic of how I hope to thread individual perspective into arts criticism.

Shelley Farmer (@ShelleyBFarmer), Freelance for RogerEbert.com and Publicist at Film Forum

My favorite piece is a very recent one: For this year’s Women Writers Week on Roger Ebert, I wrote about “Phantom Thread”, “Jane Eyre,” and twisted power dynamics in hetero romance . I loved that it allowed me to dig deep into my personal fixations (19th century literature, gender, romance as power struggle), but – more importantly – it was exciting to be part of a series that highlighted the breadth of criticism by women writers.

Chris Feil (@chrisvfeil), Freelance for The Film Experience, This Had Oscar Buzz Podcast

My answer to this would be kind of a cheat, as my favorite work that I do is my weekly column about movie music called Soundtracking that I write over at The Film Experience. Soundtracks and needle drops have been a personal fascination, so the opportunity to explore the deeper meaning and context of a film’s song choices have been a real labor of love. Because of the demands and time constraints of what we do, it can be easy to spend our all of our energy on assignments and chasing freelance opportunities rather than devoting time to a pet project – but I’ve found indulging my own uncommon fascination to be invaluable in developing my point of view. And serve as a constant check-in with my passion. Pushed for a single entry that I would choose as the best, I would choose the piece I wrote on “Young Adult”‘s use of “The Concept” by Teenage Fanclub for how it posits a single song as the key to unlocking both character and narrative.

Candice Frederick (@ReelTalker), Freelance for Shondaland, Harper’s Bazaar

“ Mother ” written for Vice. It’s one of my favorites because it conveys how visceral my experience was watching the movie. It’s truly stifling, uncomfortable, and frantic–and that’s what my review explains in detail. I wanted to have a conversation with the reader about specific aspects of the film that support the thesis, so I did.

Luiz Gustavo (@luizgvt), Cronico de Cinema

Well, I recently wrote a piece for Gazeta do Povo, a major outlet at Paraná state in Brazil, about Guillermo del Toro’s “The Shape of Water” (it is not on their site, but they were kind enough to let me replicate on my own website ). I don’t know the extent of the powers of Google Translator from Portugese to english, so you have to rely on my own account: is a text in which I was able to articulate de cinematographic references in the work of Mr. Del Toro, as well his thematic obsessions, the genre bending and social critique. All of this topics were analyzed in a fluid prose. On top of that, it was really fun to write!

This article continues on the next page.

Continue Reading: The Best Movie Reviews We’ve Ever Written — IndieWire Critics Survey Next »

Most Popular

You may also like.

• Science Fiction
• All the Rest
• Recaps & Reviews
• Tabletop Games
• Video Games
• GGA Crush of the Week
• Anime Roundup
• Millennial Misremembers
• Mobile Game Monday
• Most Anticipated Video Games
• New Release Radar
• Tavern Talk Thursday
• Trek Tuesday
• Saturday Morning Webtoons
• Indigenerd Wire
• List Articles
• Mental Health
• Think Pieces

Select Page

Home » Stuff We Like » The Most Liked Movie Accounts on Instagram

The Most Liked Movie Accounts on Instagram

Posted by Betty Bugle | Jul 18, 2022 | Stuff We Like | 0

Instagram has always been a popular platform for movies. Whether it is showing behind the scene set photos, great film trivia, or snippets from movies, Instagram has a lot to offer. Which are the most liked movie accounts on Instagram? Here is a selection of great profiles for you to follow.

1. Cinema Magic

One of the top Instagram accounts to follow is Cinema Magic. This is a collection of trivia on key and famous (or infamous) scenes from some big blockbusters. Their content looks at cinema’s finest releases, both old and new. 

At the same time, they incorporate the latest news to inspire content. They’re a great inspiration for movie bloggers who start on the platform, but if you want to be at the top of Instagram like this account and want to keep costs cheap, then you might want to buy likes with gradual delivery .

2. New Beverly

Quentin Tarantino owns this account linked to a cinema chain. The director of popular movies saved the cinema from collapse and being redeveloped. While the famous director doesn’t actually operate the account himself, the account is certainly interesting to follow. 

Movie posters are normally the main content published on the feed, each of the top-rated movies. Though there are occasional other images shared with followers.

3. History of Cinema

The History of Cinema feed is a top account to follow for those who love the cinema and want to know more about those best scenes. The feed is full of interesting trivia as well as videos, stills, memes, and more. 

In one of their latest trends, they’ve been showing images of actors as they looked like when they played iconic roles to how they appeared when reunited. The images of the original cast from the Lord of the Rings film series are the funniest and simply the best.

4. Criterion Collection

If you’re more of an independent or international film lover, then you will probably want to follow Criterion Collection. This is a distribution company that specializes in contemporary films. They used to home deliver these films to customers, but now, they also offer streaming services. 

They offer a wide range of content ideas for the film fanatic; however, they’re well-known for having guest actors/directors choose their favorite films from a closet full of films on Blu-Rays and DVDs. They’ve had Richard E. Grant and Kim Cattrall in their closet, who chose ‘Some Like It Hot,’ ‘The Graduate,’ and ‘Nashville’.

5. Studio Binder

Studio Binder is an app that helps video editors to create high-quality films. Their Instagram feed is something that showcases how films have been made to inspire audiences to create their own epic shots. 

Some of the content showcases key quotes, advice on editing, and even how a special effect was added to the scene. It is highly entertaining and also educational, a great one for any film fanatic or nerd.

6. Strange Harbors

Strange Harbors is an online pop culture magazine. They’ve truly mastered the Instagram strategy with a host of content ideas that are ideal for cinema fans. They have stills from all types of films, including new releases, indies, classic films, and cult favorites. 

They include lots of information about the stills, scenes, and even random bits of trivia, which makes following their feed one of the best choices for film fans.

7. Rodrigo Prieto

You might think that following the stars of movies is the best option, but you might want to change your plan. Following the creative minds working the lens is sometimes a great way to get closer to the creative process of creating great movies. 

Rodrigo Prieto has worked on some of the cinema’s most acclaimed films, including ‘The Wolf of Wall Street,’ ‘Brokeback Mountain,’ and ‘The Irishman.’ As director of photography, he has a creative eye and can provide insight into the best angles for any shot. While he doesn’t publish much on films, his travel shots are excellent and look like they could have come from any blockbuster movie.

8. Comp Cam

For all those who are looking to find their inner movie geek, Comp Cam is one of the best Instagram feeds to follow. They showcase the geometric elements that are there to make movies work and capture your attention and awe. 

While some might feel this takes the fun out of the movies, the way the shots are done is inspiring and is a great reminder of how some movies are not just a spectacle but also a work of magic.

Did you know that when comparing the average critic score of British and American films, the average British film received a 30% higher score? That is why British cinema is considered one of the best in the world, and the British Film Institute aims to showcase why that is the case. 

Their feed supports the British film industry from old classics like ‘Brief Encounter’ to modern new Romances and even documentaries there to stimulate your mind. The problem is that after following them for a few months, the list of films you will want to watch will be incredibly long.

10. Screenplayed

No film can be shot without a script or screenplay. Without those pages of words, directions, and speeches, nothing would be on at the cinema. But how do actors, directors, and others involved in the creative process get those pages to the screen? That is what this Instagram account showcases in the finest form. 

Their content breaks down scenes and shows audiences exactly how all parties made scenes great. They even use the original screenplay as a reference for their work. A truly great account to follow. The feed is also managed by the talented Kinnane Brothers, who are independent filmmakers.

11. The Cinegogue

It is truly amazing how a simple feed of stills from films can be inspirational. This feed takes those stills, whether they are from the best blockbusters just released or classic Anime from the best studios in Japan, these stills are inspirational and will help you choose the next movie for family or date night. Or it could be a great way for you to geek out.

12. Film Tourism US

Sometimes it is not about seeing the scene on screen. Sometimes you want to travel to the location where your favorite movie scene was shot or took place, or even just join in the fun by visiting a well-known location. Film Tourism US allows you to find out where those scenes are, and then you can plan your next vacation based on that. 

To help you recognize, the author, Andrea, will also hold up a still of the iconic scene and overlay that on the actual location. It is a great way to bring you closer and more in-depth with the best films available.

13. ‘FILM GRAB’

Film-grab.com is one of the largest storage of film stills. These are arranged on their website so that anyone can access them with ease. However, on their Instagram account, they display some of the best stills they have in their catalog on their feed.

These striking images include the movie’s directors, casts, and other important information. Even those who are working in the film industry, like recruitment , might find this account’s feed interesting.

14. ‘It Came From Beyond Planet X’

This little extra on the list is not just about movies, but it does include a lot of content about science-fiction movies that makes it a key account to follow. There are content updates that include scene stills, promotional posters, and other content to inspire your movie-watching. 

There is even some behind-the-scenes content that will provide you with some of the best trivia that you can recite to anyone who will listen.

STAR TREK: STRANGE NEW WORLDS – You’re Invited to the Captain’s Table

• Recent Posts

• Innovating the Future: Hugewin Casino’s Impact on Online Gaming - March 24, 2024
• 5 of the Most Popular TV Show Inspired Slots, Ranked - March 22, 2024
• How to Monitor a Phone Through an App: A Comprehensive Guide - March 22, 2024

About The Author

Betty Bugle

Betty Bugle writes promotional pieces for Geek Girl Authority.

Leave a reply Cancel reply

You must be logged in to post a comment.

In My Opinion Flicks

Make the most of movies, latest movie reviews.

popular Posts

MOVIE REVIEW GENERATORS

The Best Movie Blog for Movie Bloggers!

Learn How to Start A Movie Review Blog!

Movie review blog resources.

Looking for the perfect movie-themed gifts for movie lovers? Well, look no further because if you don’t know what to gift a movie lover, I, a movie lover myself, have ...

Do you want to know how to make a perfect blog? Are you overwhelmed by the mountains of unreliable blogging info that you don’t even know where to begin? Would ...

Has this ever happened to you? — You know you’ve watched the movie but the moment someone brings up a discussion about it, you can’t remember any of the details. ...

Keeping a film journal is a fun, relaxing, and personalized way to organize the overwhelming amount of movies we can access in this digital age of multiple streaming platforms. However, ...

Studying movie review examples is a great place to start if you’re looking for inspiration for your own movie reviews.  This article has gathered different kinds of movie review examples ...

Starting a movie blog is a fun, exciting journey. I’ve been writing movie reviews since 2018, decided to invest in a self-hosted movie review blog in 2020, and have not ...

Want to learn how to write a movie review? Well, it really doesn’t have to be a daunting process. Movie reviews can be a lot of fun when approached correctly. ...

If you want to know how to rate a movie, this article is going to walk you through the 7 most popular movie rating systems so you can determine which ...

Is Canva Pro worth it? Yes, it is, and let me tell you why. I actually got Canva Pro by accident. I completely forgot to cancel the Canva Pro trial ...

Browse the FREE Movie Review Templates!

Lowest rated movies & tv.

0-3.9 Stars

Mid Rated Movies & TV

Highest Rated Movies & TV

7.1-10 Stars

Read Movie Reviews

Start your movie blog, track your movie reviews, create movie reviews.

• Transfer News
• Premier League
• Champions League
• Lionel Messi
• Cristiano Ronaldo
• Saudi Pro League
• Anthony Joshua
• Deontay Wilder
• Conor McGregor
• Khabib Nurmagomedov
• Daniel Cormier
• Dustin Poirier
• Horse Racing
• Rugby League
• Rugby Union

To make sure you never miss out on your favourite NEW stories , we're happy to send you some reminders

Click ' OK ' then ' Allow ' to enable notifications

Conor McGregor's Road House given shock rating as best films to watch in 2024 ranked

The film was released on amazon prime earlier this month..

Tom Jenkins

Conor McGregor's new film Road House has been snubbed by Rotten Tomatoes as the Amazon Prime exclusive was not included in the website's 'best films to watch in 2024' list.

The former two-weight UFC champion has ventured into Hollywood with his debut role in a modern adaptation of the classic 1980s action film featuring Patrick Swayze.

In this remake, Nightcrawler actor Jake Gyllenhaal shares the screen with McGregor . You can watch the trailer for Road House below.

In the updated rendition of the movie, Oscar-nominated Gyllenhaal portrays James Dalton, a former UFC fighter turned bouncer at a roadhouse in the Florida Keys.

His character faces off against Knox, a merciless gun-for-hire portrayed by McGregor.

The movie has received some unwanted press due to fan concern over McGregor , who appeared tired and struggled to get his words out in a recent interview.

The reporter who conducted the interview for Sports Illustrated, Robin Lundberg, has now spoken out.

"I did this interview. I was actually expecting to only talk to Jake when I went in. Conor was certainly cordial but I do hope everything is ok with him," Lundberg posted on X.

Directed by Doug Liman, the action-packed film has received varied reviews since its release with a 6.2 from IMDB and 63% from Rotten Tomatoes.

With an audience score of just 57% from Rotten Tomatoes, the film has failed to make the cut for the website's annual 'Best New Movies' list despite the major hype surrounding the film.

Best new films to watch in 2024 via Rotten Tomatoes, view the full list here:

1- Hundreds of Beavers, Mike Cheslik (94%)

2- The Crime is Mine, Francois Ozon (98%)

3- Inside the Yellow Cocoon Shell, Pham Thien An (98%)

4- Molli and Max in the future, Michael Lukk Litwak (98%)

5- Late Night with the Devil, Colin Cairnes and Cameron Caines (96%)

6- Totem, Lila Aviles (97%)

7- The Promised Land, Nikolaj Arcel (96%)

8- Io Capitano, Matteo Garrone (96%)

9- Fitting In, Molly McGlynn (95%)

10- Driving Madeleine, Christian Cairon (94%)

11- Dune Part Two, Denis Villeneuve (93%)

12- The Settlers, Felipe Galvez Harberle (93%)

13- Love Lies Bleeding, Rose Glass (93%)

14- About Dry Grasses, Nuri Bilge Ceylan (93%)

15- Orion and the Dark, Sean Charmatz (91%)

Topics:  Conor McGregor , UFC , MMA

Tom Jenkins is a Social Editor and Journalist for SPORTBible. Specialises in Football and F1 but has experience covering a variety of sports such as MMA, Boxing and Cricket. Suffers weekly as an Evertonian.

@ tomjenkns

• Fans all saying same thing about Conor McGregor's performance in Road House as UFC star makes acting debut
• Conor McGregor 'broke world record' filming Road House as mind-blowing figure revealed
• UFC legend Conor McGregor dreading his mum watching one specific scene in Road House film
• Fans express concern for Conor McGregor after interview appearance alongside Road House co-star Jake Gyllenhaal

Choose your content:

Dana White opens up on 'the biggest fight ever' collapsing which would have broken all UFC records

Ufc chief dana white was serious about promoting the fight before it fell through..

Dana White pays UFC fighter unique bonus after opponent fired for using illegal Mike Tyson move on debut

Ex-UFC star Paige VanZant reveals terrifying 'stalker' turned up at her gym after being released from jail

Conor McGregor uses Road House interview to aim savage dig at Khabib Nurmagomedov

Cookie banner

We use cookies and other tracking technologies to improve your browsing experience on our site, show personalized content and targeted ads, analyze site traffic, and understand where our audiences come from. To learn more or opt-out, read our Cookie Policy . Please also read our Privacy Notice and Terms of Use , which became effective December 20, 2019.

By choosing I Accept , you consent to our use of cookies and other tracking technologies.

Follow The Ringer online:

• Follow The Ringer on Twitter
• Follow The Ringer on Instagram
• Follow The Ringer on Youtube

Site search

• March Madness
• What to Watch
• Bill Simmons Podcast
• 24 Question Party People
• 60 Songs That Explain the ’90s
• Against All Odds
• Bachelor Party
• The Bakari Sellers Podcast
• Beyond the Arc
• The Big Picture
• Black Girl Songbook
• Book of Basketball 2.0
• Boom/Bust: HQ Trivia
• Counter Pressed
• The Dave Chang Show
• East Coast Bias
• Every Single Album: Taylor Swift
• Extra Point Taken
• Fairway Rollin’
• Fantasy Football Show
• The Fozcast
• The Full Go
• Gambling Show
• Gene and Roger
• Higher Learning
• The Hottest Take
• Jam Session
• Just Like Us
• Larry Wilmore: Black on the Air
• Last Song Standing
• The Local Angle
• Masked Man Show
• The Mismatch
• Mint Edition
• Morally Corrupt Bravo Show
• New York, New York
• Off the Pike
• One Shining Podcast
• Philly Special
• Plain English
• The Pod Has Spoken
• The Press Box
• The Prestige TV Podcast
• Recipe Club
• The Rewatchables
• Ringer Dish
• The Ringer-Verse
• The Ripple Effect
• The Rugby Pod
• The Ryen Russillo Podcast
• Sports Cards Nonsense
• Slow News Day
• Speidi’s 16th Minute
• Somebody’s Gotta Win
• Sports Card Nonsense
• This Blew Up
• Trial by Content
• Wednesday Worldwide
• What If? The Len Bias Story
• Wrighty’s House
• Wrestling Show
• Latest Episodes
• All Podcasts

Filed under:

• Pop Culture

Is This the Best Movie of 2024 So Far?

Radu Jude’s ‘Do Not Expect Too Much From the End of the World’ won’t take the box office by storm, but it still stands out for its incisive dark comedy, subtle acting, and extraordinary choreography 

Share this story

• Share this on Facebook
• Share this on Twitter
• Share All sharing options

Share All sharing options for: Is This the Best Movie of 2024 So Far? 

Driving endlessly through hazy, sun-deprived Bucharest to scout potential interview subjects for a corporate video , an overworked and underpaid production assistant named Angela (Ilinca Manolache) battles traffic, construction, and the weight of her own eyelids. The irony that she’s risking life and limb to help produce a PSA for job-site safety is not lost on our heroine, and neither is the fact that her overlords are only truly interested in exercising caution when it comes to covering their asses (they’re offering victims not-so-subtle hush money in exchange for participation in the videos). Angela’s white-hot loathing of her time-sucking, gas-guzzling gig is palpable, but it’s also sublimated beneath steady, pounding waves of boredom. Blond-tressed and statuesque in a sparkly, sequined T-shirt, she’s an unlikely and indelible embodiment of alienated labor.

To blow off steam (or maybe just to stay awake), Angela punctuates her errands by recording outrageously profane videos in character as “Bobita,” a racist, sexist, xenophobic alter ego addressing “a nation of sluts and pimps.” “You won’t catch me dead here,” crows Bobita, who’s been modeled, visually and rhetorically, after Andrew Tate, the notorious kickboxer turned social media star who was recently under house arrest in Romania on charges of human trafficking and rape. Angela’s scenes are shot in black and white on grainy 16 mm celluloid, but when she transforms into Bobita, the format switches to cellphone video, with Tate’s visage digitally superimposed over her own. The result is a wonderfully layered sight gag that renders Bobita as a blurry, androgynous refugee from the uncanny valley, at once hyper-macho and strangely coquettish. Tate, who got rich off his grift as the king of toxic masculinity , would not be amused.

He might be the only one: Bobita is the comic creation of the year, a spleen-venting Greek chorus in a modern odyssey through a crumbling European metropolis. As its title suggests, Do Not Expect Too Much From the End of the World has distinctly apocalyptic vibes; where some movies evoke dystopia by way of special effects, writer-director Radu Jude simply keeps his lens trained on everyday life, refracted through multimedia prisms that distort it like a fun-house mirror. In this degraded present tense, everybody—even a posturing shock artist like Bobita—can be infamous for 15 seconds. To paraphrase the author of “The Hollow Men,” this is the way the world ends: not with a bang, but a TikTok.

When Do Not Expect Too Much From the End of the World premiered last fall at various international film festivals—including Locarno, Toronto, and New York—it made an explosive impact. Imagine a dirty bomb blowing a hole in all that surrounding art-house austerity. Such shrapnel-like sharpness is Jude’s stock-in-trade: In a pop-cultural moment that’s increasingly come to be defined by political provocation, the Bucharest-born director’s staunchly incorrect sensibility places him in the vanguard of contemporary edgelord auteurs. After cutting his teeth as an assistant director on his countryman Cristi Puiu’s harrowing, pitch-black comedy The Death of Mr. Lazarescu (2005)—a film widely credited with kick-starting the influential movement known as the New Romanian Cinema —Jude made his feature-director debut with The Happiest Girl in the World (2009), a gentle but pointed comedy whose preteen protagonist is tapped to star in a car commercial, only to receive a harsh lesson in the realities of the hard sell. The theme of behind-the-scenes satire continued in 2018’s superb I Do Not Care If We Go Down in History as Barbarians , in which a young female theater director attempts to dramatize a dark chapter in Romanian history only to suffer threats of government censorship. Her struggles with the project—and the attendant questions about the ethical representation of violence and genocide—provide the spine for a movie that both celebrates and subverts the impulse to re-create the past.

In 2021, Jude scored international headlines—and won the Golden Bear at the Berlin Film Festival—for his kamikaze comedy Bad Luck Banging or Loony Porn , a delirious, satirical tour de force in which a female history teacher becomes a local pariah after a homemade sex tape gets uploaded to an X-rated website. Carefully divided into three parts that increasingly veer away from straightforward narrative—including extended, stylized digressions into Godardian essay-film territory and documentary interludes depicting work and play in the shadow of a pandemic— Bad Luck is swift, confrontational, and self-consciously obnoxious; a shot of a priest wearing a face mask emblazoned with the words “I Can’t Breathe” dares to be deconstructed. Such semiotic high jinks are catnip to critics looking to anoint vanguard auteurs, but unlike, say, Yorgos Lanthimos—whose Poor Things ultimately flatters its audience under the guise of subversion —one gets the feeling Jude couldn’t care less about award races or even good reviews. In the film’s funniest sequence, Angela ends up crashing the set of a science-fiction thriller being directed by none other than Uwe Boll, who crows about literally getting into the ring with the critics who panned his movies and beating the shit out of them. “They came, and I smashed them,” says the bullet-headed director of Alone in the Dark and BloodRayne. “That’s the history of cinema,” Angela replies.

The Ringer ’s Streaming Guide

There’s a lot of TV out there. We want to help: Every week, we’ll tell you the best and most urgent shows to stream so you can stay on top of the ever-expanding heap of Peak TV.

Suffice it to say that Jude knows plenty about the history of cinema, and Do Not Expect Too Much From the End of the World has been carefully annotated for cinephiles via a series of thoughtful but scattershot homages ranging from art house to trash-humping. Jude’s style is to keep bouncing images, ideas, and epigrams off of each other until they either spark meaning or become redundant—a throw-everything-at-the-wall style that might be called shitpost modernism. The dialogue is peppered with allusions to current affairs, including the war in Ukraine, yet the script’s two biggest reference points bridge the gap between past and present, as well as between the Old and New Worlds. Firstly, Angela’s adventures behind the wheel directly invoke Romanian director Lucian Bratu’s 1981 film Angela Goes On , about a female taxi driver winding her way through Bucharest. The film, while by no means famous, is a key audiovisual artifact of the Nicolae Ceausescu regime, and, in an inspired act of solidarity, Jude edits footage from Bratu’s movie into his own, drawing pointed parallels between images of a country buckling beneath dictatorship and one supposedly liberated by democracy. Forty years ago, Bratu’s film flummoxed the country’s censors by embedding its critique into a deceptively banal slice-of-life style, with the titular cabbie as a passive tour guide puttering, quietly, through scenes of widespread poverty. On the other side of the millennium, Jude leans into the idea of Angela 2.0 as a rhetorical shit-stirrer, duly inventorying injustices at every intersection, as well as a directorial surrogate. “I satirize through caricature,” she announces at one point, effectively instructing the film’s audience on how to watch it.

Jude’s other guiding light is one that will be more familiar to Western viewers: the freewheelin’ Bob Dylan. Dylan’s landmark video for “Subterranean Homesick Blues” —in which he silently flips through a series of cue cards containing his cryptic, poetic lyrics—becomes an important motif in the film’s second half, including in an extraordinary, 30-minute, single-take sequence that is probably the best scene of the year so far. This extraordinarily choreographed and acted static shot not only serves as the climax to Angela’s labors, but also ropes in Bratu’s version of the character—now a senior citizen and played by the original actress, Dorina Lazar—for a kind of metatextual coup de grâce. After two hours of relentless digression and momentum, Jude’s camera comes to rest on the “winner” of Angela’s search—a wheelchair user recently out of a coma—and depicts, in excruciating detail, his participation in a spectacularly disingenuous PSA designed to absolve its producers of all responsibility for his condition. For what feels like a small eternity, the man’s testimony about the nature of his accident is cheerfully critiqued, revised, and eventually silenced altogether; under cover of corporate politeness, a broken man is reduced to a ventriloquist’s dummy and then a literal placeholder—an absurdist doppelgänger for Dylan, except his cards are blank, waiting for somebody to fix them in post. “Don’t worry, we’ll write what we said we would,” says one of the filmmakers, lying through his teeth. Not that anybody on set believes him anyway. As the man himself said, you don’t need a weatherman to know which way the wind blows; with fresh air in short supply, Jude’s brilliantly corrosive movie invites us to breathe in a toxic lungful.

Next Up In Movies

• ‘Road House’ and the Top 10 Junk Fight Movies. Plus: Sydney Sweeney’s ‘Immaculate’!
• How AI Is Already Transforming Moviemaking
• Sydney Sweeney Is More Than Meets the Eye
• 2024 Summer Preview
• ‘Internal Affairs’ With Bill Simmons, Chris Ryan, and Van Lathan
• Ant Goes Superman, Nabers Vs. Harrison, and J.J. McCarthy Trade-Ups With Todd McShay. Plus, Actor Ben Mendelsohn Joins!

Sign up for the The Ringer Newsletter

Thanks for signing up.

Check your inbox for a welcome email.

Oops. Something went wrong. Please enter a valid email and try again.

United’s Manchester Derby Disarray, Frustration in Dagenham and a Bus Ride to Birmingham

Flo Lloyd-Hughes is joined by Gilly Flaherty and Jessy Parker Humphreys to discuss another 3-1 defeat for Manchester United and City’s brief moment at the top

A Weekend of Favorites, and Can the Rockets Make the Play-In? Plus, Best Bets.

Best odds for the Sweet 16, best plays for Monday night’s slate, and more

The Beer Rankings for WrestleMania 40: Who Are You Having a Beer With?

David and Kaz have a fun episode for you

England’s Three Big Questions and End of Season Predictions

Ben Foster is joined by Darren Bent and Danny Thomas to discuss the problems England need to address ahead of Euro 2024 following the Three Lions’ 1-0 defeat to Brazil on Saturday

The Winners and Losers of the NCAA Tournament’s Second Round

Round 2 of March Madness featured power conference domination, a stunning Kim Mulkey press conference, and a pity party for non-Duke fans. Here are the winners and losers from the second round of the NCAA tournament.

The ‘3 Body Problem’ Exit Survey

Time to discuss Sophons, wallfacers, and whether the creators of ‘Game of Thrones’ have made another hit

10 Movie-Review TikTok Accounts to Watch

Rotten Tomatoes isn’t the only website for movie reviews anymore; many are heading to TikTok.  TikTokers have plenty to say on new and old movies alike — the hashtag #moviereview has over 932.7 million views. If you’re a movie-lover, a brand looking to work with movie buffs or an influencer hoping to step into film reviews, there are plenty of opportunities to share new and exciting content on TikTok .

10 movie-review TikTok accounts to watch

Madi Koch, or Madi Moo as she goes by on TikTok, has created an audience of 3 million film buffs with her movie reviews. She’s been invited by brands like Netflix to see and review new films before they come out to the public. If you’re looking to work with a film reviewer or you want to focus your own TikTok around movies, check out Madi’s videos.

@maddikoch THE LIE. Spoiler posted ! #movierecommendation #movie #moviesuggestion #movieclip #scarymovie #moviescene ♬ original sound - Maddi Moo

Cameron Kozak

Dubbed “Your TikTok Movie Guy,” Cameron Kozak on TikTok has built a following of almost 790,000 followers by sharing his movie reviews. Most of his videos share a scene from the film with his own voiceover giving his opinion, like this one in the movie, “ Encanto ,” or this one about what he’s looking for in the “ Batman” movie. Don’t worry, though — Cameron always lets you know if he’s giving away any spoilers so the film doesn’t get ruined for you!

@kodak_cameron Come back every week for a new mystery waiting to be solved, stream POKER FACE today! only on @peacock streaming now. #pokerfacepeacock ♬ original sound - Cameron Kozak

J Buck Studios

With 393,000 followers, J Buck Studios is another favorite film and movie review TikTok account to work with or follow. Equipped with sarcasm, J Buck gives fun, in-depth movie reviews on new films and some of his favorites. He’s even started a YouTube channel where he can give even longer reviews on upcoming films.

@jbuckstudios Did you know this about Clue? #cluemovie #clue #moviedetails #jbuckstudios #jbuck #eastereggs ♬ original sound - JBuck

TikToker J Stoobs (aka Megan) shares in-depth movie and comic reviews with her 420,000 followers. She’s even worked with brands and gone to the red carpet event for the new “Batman” movie. Megan also dives into social injustices and likes to show scenes from movies to help change the conversation.

@jstoobs Also it’s genuinely funny as hell #tv #movies #girls ♬ original sound - stoobs

Let’s Watch That

With 173,000 followers , Let’s Watch That is another TikToker sharing movie reviews, but this channel has a slight focus on horror films . Love ‘em or hate ‘em, horror movies have quite the following and this TikToker shares her feelings on the horror films you should watch despite their bad reviews. If horror films aren’t your thing, don’t worry — she also throws in movies that will boost serotonin levels .

@letswatchthat The Pale Blue Eye is on Netflix now #fyp #newmovies #review #film #thriller #christianbale #harrymelling #thepaleblueeye #filmtok #letswatchthat #films2023 #2023 ♬ Chopin Nocturne No. 2 Piano Mono - moshimo sound design

Cinema Nation

Cinema Nation is a group-run TikTok about all things movies and television. They’ve grown their following to almost 150,000 other movie lovers with their in-depth movie reviews and letting their followers know which movies to watch out for in the upcoming month .

@cinemanation It’s About Drive. It’s About Power. #fyp #blackadam #dc #movie #moviereview #filmtok #cinemanation #greenscreen ♬ original sound - Cinema Nation

Muny Rags, a Toronto-based TikToker , is a movie writer and director who likes to not only give reviews, but show his followers why certain aspects are important in filmmaking. He also likes to show films that aren’t brand new and even explains why props are important in films. Muny Rags’ unique take on film reviews has helped his TikTok grow to almost 80,000 followers.

@muny_rags #smilemovie #smilemovie2022 #horrormovie #movieanalysis #filmanalysis #learnontiktok ♬ Smile - Lily Allen

Anime and movies are two genres that sum up Cinemonika on TikTok. If you’re looking for anime movie recommendations or funny skits on popular TV shows, Cinemonika has plenty of short TikToks for you to scroll through. While she only has about 16,000 followers on TikTok, you can also find Cinemonika on YouTube with a subscriber base of 138,000. Her YouTube videos show even more in-depth recommendations on anime movies she recommends.

@cinemonika the most wholesome show i’ve seen in a while 🥹💗 #themakanai #netflix #netflixrecommendation #tvshow #japanesetvshow #koreeda #hirokazukoreeda ♬ End Theme of “The Makanai” 舞妓さんちのまかないさん エンドテーマ (feat. キヨ) - Yoko Kanno

With just under 18,000 followers on TikTok, Vidz by V is an 18-year-old filmmaker who shares movie and TV reviews. Because of her love for filmmaking, she has a unique take on watching films and TV shows. She even did a roundup video on what she believes were the best films of 2021 .

@vm_b Just some of my fav films #film #filmtok #movies #spidermannowayhome #animatedmovies #marvelmovies #filmtokers #movieindustry #movietoker #gonegirl #ladybird #intothespiderverse #midsommarmovie #jojorabbit #womeninfilmmaking #womeninfilm #tiktikboom #andrewgarfield ♬ Boho days from tick tick boom Netflix - JameCur

Lindsay Shannon Joyner

Lover of all things film, Lindsay Shannon Joyner shares relaxing reviews of movies with her 25,000 followers. As a “film fatale” as she calls herself, Lindsay joins in on different TikTok trends to share 50 films set in the 50 states and even film ideas to watch on a first date .

@filmlinds movie tag! 🎞️✨ #a24 #filmtok #movietok #moviereview #everythingeverywhereallatonce #greenscreen ♬ sarahs movie tag - sarah ! 🦕

Influencers:

Looking to partner with industry-leading brands?  Create your free profile today. 

The world’s biggest brands trust IZEA. Find which of our  influencer marketing software  or  managed service  solutions are right for you.

Get the latest Influencer Marketing News

Top hair influencers to follow for the best stylish looks, you may also like.

5 Tips for Working With International Influencers

The Followables: 10 Film Critics You Should Follow on Twitter

The world of Twitter can be hard to navigate. We know that you’re already following us @flavorpill , but we decided it would be fun (and possibly helpful) if we rounded up some of our other Twitter favorites in a series we call “ The Followables .” This fourth installment of Twitter all-stars spotlights the tweeting *film critics who we love. And we’re always looking for recommendations, too. Do us a favor and leave a comment with anyone who you enjoy who didn’t make our list.

@alisonwillmore

Who: Alison Willmore, editor of IFC.com ‘s film section, founder of the Indie Eye blog

Why: Because along with being extremely informative, her feed is also just really hilarious.

@akstanwyck

Who: Anne Thompson of Thompson on Hollywood

Why: Because she’s a seasoned pro at industry analysis.

Who: Erik Davis, editor-in-chief of Cinematical.com

Why: Because he’s a bit of a fanboy, and we mean that in the best way possible.

Who: Eugene Hernandez editor-in-chief of indieWIRE

Why: Because he has his finger on the pulse of the indie film world.

@karinalongworth

Who: Karina Longworth, film writer for LA Weekly

Why: Because her tweets are a mashup of off-the-cuff reviews and personal anecdotes that make us feel like we know her.

Who: Melissa Silverstein of Women & Hollywood

Why: Because she looks at the film industry from a feminist perspective, which is way too rare in our humble opinion.

@NikkiFinke

Who: Nikki Finke of Deadline Hollywood

Why: Because she’s usually the first with industry scoop — and never shy about reminding us of that fact.

Who: Peter Sciretta, editor-in-chief of SlashFilm

Why: Because he’s super connected to the filmmaking community, and as a result, usually the first to tweet about new clips.

@petertravers

Who: Peter Travers, Rolling Stone ‘s movie critic

Why: Because his film reviews are our favorite part of Rolling Stone , and his tweets are just as readable. An added bonus: He finds Michael Bay just as distasteful as we do.

@ebertchicago

Who: Roger Ebert, Chicago Sun-Times film critic

Why: Because, as you probably know by now, we’re totally obsessed with him. Chaz better watch her back.

* As James points out in the comments below, we’re using the term really loosely here. But you get the gist. Nikki Finke is not a film reviewer, but certainly critiques the industry. Peter Sciretta runs one of the most important film blogs around, and it certainly has a point of view. So there you go.

Find anything you save across the site in your account

The Best Movies of 2021

By Richard Brody

From an artistic perspective, 2021 has been an excellent cinematic vintage, yet the bounty is shadowed by an air of doom. The reopening of theatres has brought many great movies—some of which were postponed from last year—to the big screen, but fewer people to see them. The biggest successes, as usual, have been superhero and franchise films. “The French Dispatch” has done respectably in wide release, and “Licorice Pizza” is doing superbly on four screens in New York and Los Angeles, but few, if any, of the year’s best films are likely to reach high on the box-office charts. The shift toward streaming was already under way when the pandemic struck, and as the trend has accelerated it’s had a paradoxical effect on movies. On the one hand, a streaming release is a wide release, happily accessible to all (or to all subscribers). On the other, an online release usually registers as a nonevent, and many of the great movies hardly make a blip on the mediascape despite being more accessible than ever.

New Yorker writers reflect on the year’s highs and lows.

When tracking the fortunes of ambitious movies, it’s important to keep an eye on the spread—not, as in sports betting, the handicap of numbers but the aesthetic spread that separates the most original films of the day from prevailing commercial norms. The past two decades have been a time of peaceful revolution in the movies. Established auteurs, from Spike Lee to Martin Scorsese, have found liberation through the rise of independent producers, and ultra-low-budget outsider independents—including Greta Gerwig, Barry Jenkins, the Safdie brothers, Joe Swanberg, the late Lynn Shelton, and others in their orbits —have broken through to the mainstream and shifted the very core of commercial cinema. (Among the marks of the narrowed spread are the overwhelming success of such distinctive movies as “Moonlight,” “Us,” and “Little Women,” and the franchise stardom of Adam Driver.) But these shifts have led to an industry snapback—a reconquest and occupation of studio terrain. The hiring of Terence Nance to direct “Space Jam 2” was a welcome sign of progress; his departure from the project , in July of 2019 (reportedly because of creative differences), was a sign that the winds of Hollywood were pushing back to familiar shores. (The movie, titled “ Space Jam: A New Legacy ,” came out in July; it isn’t good, but it’s high on the year’s box-office chart.) The double whammy of overproduced mega-spectacles in theatres and audiovisual snackables at home is a sign that, even if theatrical viewing bounces back, movies’ place in the market is likely to be even more tenuous.

In one sense, this pattern is as old as the movies themselves: for every advance, there’s a reaction. In the earliest years of Hollywood, a century ago, a star-driven system gave way to a director-driven one, which studio executives then quickly clamped down on. What emerged was a top-down system that, ever since, has seemed, absurdly, like a natural and ineluctable state of the art. More recently, in the seventies, filmmakers such as Steven Spielberg and George Lucas came along to devise a new pop conservatism, rooted in television and nostalgia, that quickly pushed the most forward-looking of their New Hollywood peers toward the industry’s margins. The lesson is that there is nothing natural, inevitable, or immutable about the Hollywood way of doing things—neither the methods of production nor the dictates of style and form that result. (The absence of a unified and centralized documentary system is why nonfiction, as reflected in this year’s list, has continued its aesthetic expansion uninhibitedly.)

Even before the pandemic, it was becoming tougher for artistically ambitious, low-budget features to get any theatrical release, let alone achieve commercial viability. (Several of the best independent films that I’ve seen in recent years remain unreleased to this day.) But the economics of streaming services present their own peculiar challenges. With theatrical releases, viewers don’t pay for a ticket unless they want to see a movie. Streaming subscriptions, in effect, amount to paying in advance for movies before they are available, which means that platforms have an incentive to deliver the familiar—whether narrowly formatted star-and-genre movies or films by name-brand auteurs, who can easily draw interest. And the widening spread between the most profitable movies and the most original filmmakers risks putting pressure on directors to soften or suppress their most original inspirations, or to filter them into formats, genres, or systems that resist or counteract them.

There’s a danger worse than the studios and their overproduced, over-budgeted methods: a debilitated Hollywood that would relinquish its filmmaking dominance to an even smaller number of giant streaming services. Netflix and Amazon (and, to a lesser extent, Apple TV+) have done respectable jobs of producing and releasing artistically worthy movies, including some that are high on my list. They do it so that they can compete, as players rather than disrupters, with studios and major independent producers for prestigious artists and projects. But if theatrical viewing continues to shrink, taking with it the studios’ preëminence and turning independent producers and distributors into dependent husks, the big streaming services will have much less incentive to finance movies of any significant artistic ambition.

The economics of any individual movie are irrelevant to the progress of the art form; the pantheon of classics has no connection to the industry’s treasury. Yet the careers of filmmakers are inseparable from their ability to secure access to financing, and the history of cinema is a graveyard of unrealized projects that should serve as a cautionary tale against the squandering of worthy talent. Young filmmakers working outside the system and with scant expectations of getting in are the future of the cinema, which is an art form that doesn’t know what it needs until it gets it. The art advances through a generational takeover—which can happen only when movies seem worth taking over at all. As an avid moviegoer wary of the threat of contagion, I go to theatres cautiously, with careful attention to screenings where there are large numbers of empty seats around me. Yet each empty seat bodes ominously for the future of feature filmmaking over all. The cinema has weathered crises of many sorts, economic and political, but if movies themselves hold any lesson, a rebirth is as likely to resemble a zombie as a phoenix.

A note on this list: for last year’s picks , when releases were in flux because of the pandemic, I included movies that were available to stream through festivals and special series. Several of those films have had official releases in 2021, and I’ve included them again, to retain (or restore) adherence to the traditional calendar.

Wes Anderson’s wildly comedic, yet fiercely serious, adaptation of stories and personalities from the classic age of The New Yorker unleashes a self-surpassing torrent of dramatic and decorative complexity, philosophical power, and physical intensity. It’s an extraordinary film of the life of the mind-body connection, of history in the present tense.

What Paul Thomas Anderson lays out as a pugnaciously romantic coming-of-age story for a teen-age actor and a hectic trip of self-discovery for a twentysomething dreamer, set in the San Fernando Valley of the early seventies, turns wondrously and gleefully into his version of “Once Upon a Time . . . in Hollywood”—and a vastly superior one at that, owing to the wide-ranging scope of his tenderness, skepticism, humor, and insight.

Janicza Bravo’s antic drama about two young dancers’ wild road trip to Florida—for fun and for profit—as it goes off the rails terrifyingly, violently, and absurdly, is based on a real-life Twitter thread by the title character, and Bravo’s exuberantly imaginative and stylized direction reflects the woman’s retrospective tall-tale wonder at having survived it.

Christopher Makoto Yogi’s second feature is one of the great movies about death; it’s the drama of an elderly man of Japanese descent in rural Oahu who, while terminally ill, is visited by the ghost of his late wife. Her spectral presence conjures the island’s troubled history and his own family conflicts—and Yogi films the metaphysical and the practical with the same lyrical audacity.

In an astounding combination of personal documentary and investigative journalism, Nanfu Wang reconstructs the earliest days of the COVID pandemic in her native China (where she happened to be visiting relatives while the virus’s spread was being censored)—and the similarly politicized mishandling of the crisis, soon thereafter, in the United States.

Voices carry the intricate, time-bending action in Mike Mills’s turbulent, tender family melodrama and memory piece, in which a radio producer and his young nephew bond amid work trips and recorded interviews, family crises and reconciliations. It features one of the greatest of recent performances by a child actor.

In her directorial début, Rebecca Hall adapts Nella Larsen’s 1929 novel of racial identity with a distinctively literary flair and precision that spotlights the contemplative, yet passionate, artistry of its stars, Tessa Thompson and Ruth Negga, and evokes the period Harlem setting in deft touches.

India’s nominee for Best International Feature Film at the Oscars is P. S. Vinothraj’s first feature, set in a remote Tamil Nadu village, where a rage-filled man uses his young son as a pawn to force his estranged wife to return. Vinothraj films their journey in elaborately nuanced detail and dramatizes women’s and children’s sly and bold forms of resistance to patriarchal violence.

This breathtaking high-concept fantasy, written and directed by Céline Sciamma—in which an eight-year-old girl staying at the house of her late grandmother makes a new friend in the nearby woods who turns out to be her mother as a child—is a grandly imagined and sharply observed tale of female intimacy and family secrets.

The behind-the-scenes revelation of the filmmaking process—and the nature of cinematic authorship—gains historic resonance in Robert Greene’s collaborative movie, in which he teams up with six men, who’d been sexually abused in childhood by Catholic clergy, to make short, dramatic films about their experiences.

The prolific South Korean director Hong Sang-soo features his longtime collaborator (and partner) Kim Min-hee in a quietly ferocious tip-of-the-iceberg melodrama of a woman who visits old friends and unearths their intimate stories of romantic and professional frustration—along with tales of her own troubled past.

Musical performance has rarely been filmed as lovingly or as discerningly as in Chaitanya Tamhane’s drama about a young musician’s devotion to a venerable master of the art, and the fragile endurance of a grand tradition.

Aaron Sorkin fuses the political, romantic, professional, and artistic crises of Lucille Ball and Desi Arnaz into the drama of a single week of production of a single episode of “I Love Lucy” and pays attention to the many varieties of creative imagination that would go into it.

In Pedro Almodóvar’s history-anchored and grief-seared melodrama, a photographer (played by Penélope Cruz) has a child with a forensic archeologist, who is preparing to excavate a mass grave in which her great-grandfather’s body was buried during the Spanish Civil War; meanwhile she forms a passionate bond with a young woman who gives birth in the same hospital.

From a simple, seemingly contrived premise—the effort to film the dozens of slabs of the Berlin Wall that are on display in the United States—Courtney Stephens and Pacho Velez develop a far-ranging documentary of accidental encounters that illuminate American political history and mythology on the wing.

With a blend of personal cinema, investigative journalism, and revelatory research, the documentary filmmaker Theo Anthony connects the politics of police body cams and eye-in-the-sky surveillance to the hidden history of movies, photography, and racial prejudice.

This surprising, ingeniously labyrinthine docu-fiction hybrid, directed by Alonso Ruizpalacios, follows the private and professional lives of two Mexico City police officers and uncovers systemic corruption that distorts their relationships with colleagues, their dealings with the citizenry, and the very terms of public order.

Jia Zhangke’s probing interviews with, and about, writers in China, from before the revolution to the present day, reveal the connections between political circumstances and creative practices, in addition to the ways in which artists maneuver ironically with censorious powers to get published and sustain careers.

The best-selling instrumental artist of all time opens up generously and good-naturedly to the documentarian Penny Lane, who turns the occasion into a sharply ironic probe of the sociology and philosophy of musical taste.

A production of “Uncle Vanya” in Hiroshima by a widowed director gives rise to a vast outpouring of confessions in a drama, by Ryûsuke Hamaguchi, that—as the title suggests—focusses on the automobile as an intimate social space and a tool of art.

An Iraq War veteran battles his tormenting memories of Abu Ghraib at the poker table—and gets caught in a vortex of violence at home—in Paul Schrader’s furious, guilt-torn drama of intimate apocalypse.

In this blend of documentary and drama, by the director Radu Jude, the oppressive investigation of a high-school student in Romania, in 1981, for anti-authoritarian graffiti is the subject of a stage production intercut with an astounding, extended set of archival television clips that reveal the surprisingly alluring shams on which the Communist dictatorship depended.

Sébastien Lifshitz’s documentary is an extraordinary portrait of a transgender girl, who became aware of her gender dysphoria in very early childhood—and who faces hostility and ostracism in her small French town.

In Clint Eastwood’s rueful and introspective drama, an elderly, retired rodeo rider heads to Mexico to rescue both a friend’s young son and the title character—who, in a grandly ironic twist, happens to be the boy’s pet rooster.

Raoul Peck’s mighty, anguished four-part essay-film is a virtual illustrated lecture on the vast history of white supremacy as it reaches from the Crusades and Europe’s genocidal conquest of the New World to the practice of slavery in the United States, to the Holocaust, and to present-day institutionalized racism.

The German director Ulrike Ottinger, one of the most original cinematic stylists, offers a self-portrait of her days in Paris in the nineteen-sixties, which is also a historically rich recollection of the elder artists and writers who inspired her creative sensibility.

Two of the seven parts of this anthology film about the COVID pandemic are miniature masterworks: a warmly comedic, yet candidly death-haunted, tale from the home of the Iranian director Jafar Panahi, whose mother-in-law visits the family after months of enforced separation; and the American director David Lowery’s drama of a solitary woman’s connection to past generations’ grief by way of archival letters and the duty that they impose.

The Sudanese director Amjad Abu Alala’s first feature is a sharply symbolic coming-of-age story about a young man who, under the burden of a curse that makes him a pariah, challenges his rigid religious upbringing and its narrow cultural and political assumptions.

Bruno Dumont, who has been on a wild directorial ride since the extravagant outburst of “Li’l Quinquin” in 2014, now turns his attention to a tumultuous comedy about the Internet fame and infamy of a TV journalist as she confronts the public distortions and private delusions of mass media.

Julia Ducournau’s body-horror fantasy, about a French woman with a titanium plate in her skull who becomes pregnant after sex with a Cadillac, is also a serial-killer thriller and a desperately melodramatic quest for family and identity.

Shatara Michelle Ford’s first feature, dramatizing a woman’s odyssey from hospital to hospital after she has been sexually assaulted, lays bare the misogynous injustices of the medical and legal systems.

In the empathetic, self-questioning vision of the directors Aisling Chin-Yee and Chase Joynt, their film about the transgender musician Billy Tipton is also a wide-ranging analysis of the very implications of making the film.

The Argentinian director Matías Piñeiro’s theatre-centered drama fuses art and life, action and memory, in the story of a pregnant actress whose professional struggles and family conflicts intertwine with her work on a production of “Measure for Measure.”

The director Mohammad Rasoulof’s ferocious, bitter drama is composed of four episodes about the practice of capital punishment in Iran and its corrupting and terrorizing influence throughout Iranian society.

The late artist David Wojnarowicz’s vast archive of audio recordings and images provides the basis for Chris McKim’s harrowing, thrilling, and tragic documentary portrait, which also presents his political and artistic activism on behalf of ACT UP and his resistance to the governmental persecution that he faced.

2021 in Review

• New Yorker writers on the best books we read this year .
• Doreen St. Félix on essential TV shows .
• Ian Crouch on the funniest jokes .
• Amanda Petrusich on the best music .
• Alex Ross on notable performances and recordings .
• Michael Schulman on the greatest onscreen and onstage performances .
• Kyle Chayka on the year in vibes .
• Sign up for our daily newsletter to receive the best stories from The New Yorker .

By signing up, you agree to our User Agreement and Privacy Policy & Cookie Statement . This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

By Justin Chang

Our expert, award-winning staff selects the products we cover and rigorously researches and tests our top picks. If you buy through our links, we may get a commission. Reviews ethics statement

• Services & Software

'3 Body Problem': What to Know About the Netflix Series

You can watch the first season of the sci-fi drama now.

Netflix's new sci-fi series,  3 Body Problem , debuted on Thursday and, yes, dedicated binge-watchers, the entire first season is available now.

Based on a trilogy by Chinese novelist Liu Cixin, the Netflix show in part sets the story in 1960s China, where a young woman's fateful decision "reverberates across space and time into the present day." Mystery is a layer of the eight-episode series, which comes from Game of Thrones co-creators David Benioff and D.B. Weiss, and True Blood producer Alexander Woo.

Netflix's sci-fi offering is complex, spanning multiple genres and transporting viewers to various periods and locations, from China during the  Cultural Revolution to the present-day UK and into a strange virtual reality game. A plot synopsis teases danger to mankind: "When the laws of nature inexplicably unravel before their eyes, a close-knit group of brilliant scientists join forces with an unorthodox detective to confront the greatest threat in humanity's history." 

With big stakes, recognizable cast members from Thrones and plenty of intrigue, here are some more details on the thought-provoking show that may soon hold your attention.

When will the series come out? 

You can stream the full first season of 3 Body Problem now. All eight episodes dropped at midnight PT on Thursday.

Carries 3 Body Problem

Netflix's plans currently range from $7 to $23 a month. If you opt for the $7 a month plan, note that it'll include ads and some titles on the platform will be locked due to licensing restrictions. No Hard Feelings, starring Jennifer Lawrence, and Spider-Man: Across the Spider-Verse are examples of movies you can't currently access with ad-based Netflix. Read more about the streaming service in  our review .

Meanwhile, another Three-Body Problem adaptation -- the Tencent-produced, 30-episode offering Three-Body -- is available now on Peacock .

What's the series about?

Netflix's adaptation will explore how humanity responds to an existential threat. Though you don't have to be up to date with Liu Cixin's book trilogy, season 1 of the show adapts the first novel -- The Three-Body Problem -- bringing in elements from the second and third books in The Remembrance of Earth's Past series. Slight spoiler (seriously, skip this next line if you don't want to know more about what threat humanity is in for): In the books, an alien civilization wants to invade Earth, and some humans decide to fight and others decide to welcome the extraterrestrial beings. 

3 Body Problem shares cast members with Thrones, including John Bradley, Liam Cunningham and Jonathan Pryce. In an interview with ABC News , Bradley, who plays a member of a tight-knit circle known as the "Oxford Five" in 3 Body Problem, said with the show's virtual reality device, "You can plant your characters in any point in history or the future and any place in the world." So expect to be kept on your (hopefully cozy and blanket-covered) toes. 

Fans of the book will note various differences between the show and the source material. While the original novels are written in Chinese and contain mostly Chinese characters, this TV version has been broadened to appeal to a wider international audience. Additionally, viewers should know the creative team received Cixin's approval to move forward with -- and alter -- the new Netflix story.

In an interview with SXSW , Benioff said, "The first scene of the show is very similar to the first scene of the novel and the last scene is very similar to the last scene. In between, there's all sorts of deviations … we brought in some stuff from book two, we brought in stuff from book three, there's some stuff we invented." Benioff said they aimed to be true to what the books made them feel: "Wow, the universe is a lot bigger than we thought about before, we're almost certainly not alone in the universe and that might not be a good thing," Benioff said.

Who's in the cast

Here's the rest of the large cast: Jovan Adepo, Rosalind Chao, Eiza González, Jess Hong, Marlo Kelly, Alex Sharp, Sea Shimooka, Zine Tseng, Saamer Usmani and Marvel actor Benedict Wong.

Services and Software Guides

• Best iPhone VPN
• Best Free VPN
• Best Android VPN
• Best Mac VPN
• Best Mobile VPN
• Best VPN for Firestick
• Best VPN for Windows
• Fastest VPN
• Best Cheap VPN
• Best Password Manager
• Best Antivirus
• Best Identity Theft Protection
• Best LastPass Alternative
• Best Live TV Streaming Service
• Best Streaming Service
• Best Free TV Streaming Service
• Best Music Streaming Services
• Best Web Hosting
• Best Minecraft Server Hosting
• Best Website Builder
• Best Dating Sites
• Best Language Learning Apps
• Best Weather App
• Best Stargazing Apps
• Best Cloud Storage
• Best Resume Writing Services
• New Coverage on Operating Systems
• Hostinger Coupon Codes
• HR&R Block Coupons
• ShutterStock Coupon Codes
• FedEx Office Coupons
• Coursera Coupons
• Autodesk Coupons
• Codeacademy Coupon Codes
• iolo Techologies Coupons
• Norton Coupon Codes

Filed under:

The year’s most stylish horror movie so far is about a late-night talk show

Late Night with the Devil should make David Dastmalchian a star

Share this story

• Share this on Facebook
• Share this on Reddit
• Share All sharing options

Share All sharing options for: The year’s most stylish horror movie so far is about a late-night talk show

Horror movies have really been lacking in panache lately. Sure, there have been plenty of horror movies with great narratives or structural conceits , or excellent scares . But covering the basic elements of memorable horror isn’t the same as stretching stylistically, and brazenly committing to a specific aesthetic, time period, or vibe the way Shudder and IFC’s new horror movie Late Night with the Devil does. That movie, in theaters this week, has enough flair to make up for what the rest of the movies have been missing.

Set in the late 1970s, Late Night with the Devil is framed as a documentary that follows the ill-fated final broadcast from fictional late-night TV host Jack Delroy. During that broadcast, something so horrible happened that it’s haunted the history of live television ever since.

Jack ( David Dastmalchian ), we learn, soared up the ranks of late-night talk show fame, and was once second only to Johnny Carson. Jack’s success was thanks to his terrific charm and charisma, though the narration also mentions a shadowy connection to the real-world, cult-like Bohemian Grove — a magnet for ’70s-era conspiracy theories. But since those halcyon days, Jack’s ratings have plummeted, and he’s getting desperate for viewers. That’s how he comes to invite an allegedly possessed young girl onto his show on Halloween night.

Directors Cameron and Colin Cairnes make a stellar commitment to the ’70s vibe, starting with the faux-documentary aesthetic and its perfectly cheap, made-for-TV title cards. The doc introduces Jack’s life and career leading up to the broadcast with the kind of gravelly bravado and manufactured seriousness that used to be the unmistakable sound of true-crime coverage, before that became the realm of millennial podcasters instead.

It’s perfect daytime TV fare, the kind of scintillating programming you might see if you were a kid in the ’70s, home sick from school, watching whatever was on TV, then being scarred by it for years to come. But the Cairnes brothers make sure that Late Night with the Devil ’s version is always unmistakably in on its own joke, as it overdramatically informs the audience that we’re witnessing behind-the-scenes footage, interlaced with that fateful broadcast for the first time ever.

The behind-the-scenes footage is wonderful for a bit of extra flavor, but what makes Late Night with the Devil special is how carefully the Cairnes recreate the look and feel of a ’70s late-night show for the broadcast itself, which makes up most of the movie’s run time. There’s a garish, gorgeous set, with reds and yellows that would pop off the screen even if you still had a black-and-white set, and a studio audience ready to clap and laugh at even the slightest mention of Jimmy Carter’s struggling presidential administration.

Even the cartoon-image interludes that announce the commercial breaks look excellent, though they’ve created some backlash online, because they started out as AI-generated art the production team touched up and altered to make more authentic . Everything from the sets to the band looks outstanding and carefully crafted to evoke the era. But the true star of the show, as always in late-night television, is the host.

Jack is played to twitchy perfection by Dastmalchian, a character actor who’s always a delight in movies but is often relegated to a supporting player or a bit part. Dastmalchian forgoes the ’70s cliches and skips playing a cheap Carson knockoff, instead imbuing Jack with the kind of nervous energy that made Dustin Hoffman a star during the era the movie is evoking. During the broadcast, Jack snaps from charming to worried to desperate in the same heartbeat, like a bundle of exposed nerves all crackling with electricity at once. It’s a terrific, transfixing, transportive performance, and it’s hard to imagine any other actor pulling it off quite so delicately, or with this much heart.

With all its tremendous production design held together by the glue of Dastmalchian’s performance, the Cairnes revel in taking us on Late Night with the Devil ’s ride, playfully tricking us into seeing things that aren’t really there, and winking at the camera whenever they get the chance with little touches like effects that look appropriately of the era, making it impossible to know whether they really happened on the stage or are a trick of the broadcast. All these neat little flourishes build to a finale that feels somewhere between a hallucination and something you could imagine happening on the worst day in live TV history.

The worst part of the movie’s ending, though, is that when we wake up from Late Night with the Devil ’s hypnotic trance, we have to go back to movies that just don’t have the same sense of late-night showmanship. No one can match the devil for style, it seems.

Late Night with the Devil debuts in theaters on March 22.

The 9 best survival horror games you can play right now

The best horror movies of the year so far, ranked by scariness, alien romulus trailer brings the franchise back to straight horror, 45 years later, loading comments....

Taylor Swift and Travis Kelce Enjoy Lunch Date at Nobu Malibu

Guess The Sexy Star Rockin' These Calvin Klein Undies!

Timothée Chalamet Channels Bob Dylan as Biopic Filming Continues in NYC

'Selling Sunset's Emma Hernan And Chrishelle Stause Dazzle On Besties Vacay!

USA, Mexico Soccer Fans Get In Violent Fistfight In Stands At CONCACAF Final

Maluma drops ig pics with newborn, gushes fatherhood best thing ever, maluma fatherhood is best thing ever drops pics with baby girl, 144 3/25/2024 7:08 am pt.

Maluma 's totally vibin' as a girl dad ... calling it the highlight of his life, and he's got the pics to back it up.

Just over 2 weeks after her birth, the Colombian singer dropped a carousel of pics with his adorable newborn daughter, Paris , and his GF Susana Gomez ... and his caption is just pure gushiness!

"Mis primeros 15 días como Papá, esto es lo mejor que he vivido en mi Vida.. 💘," he wrote in Spanish ... which translates to, "My first 15 days as a dad, this is the best thing I have ever experienced in my life."

The pics are real heartstring-tuggers -- one shows Maluma shirtless, chillin' on his bed with his daughter snuggled up on his chest.

In another, they're busting moves in Paris' high-rise crib to Bob Marley and The Wailers' "Is This Love." Kid's got good taste in music.

There are also plenty of other shots of him putting his music gig on the back burner in order to soak up every moment of fatherhood.

Waiting for your permission to load the Instagram Media.

Looks like the paternity break is definitely living up to Maluma's dreams ... especially because, in his baby announcement pic , he gave a big shoutout to GF Susana "for fulfilling my biggest dream of being a father."

As for the story behind their newborn's name, Paris ... Maluma revealed at Feb's Recording Academy and Clive Davis ' pre-GRAMMY Gala she was conceived in the City of Light, hence the name.

Maluma announced he was gonna be a first-time dad back in October when he released the music video for "Procura" -- the vid focused on his romance with Susana, before the pair hit us with the baby news at the end.

• Share on Facebook

related articles

Maluma Swats Away Fan After Trying to Grab His Crotch

Maluma Scolds Fan Who Throws Phone at Him During Concert

Old news is old news be first.

Every 'Ghostbusters' movie, ranked from worst to best (including the new 'Frozen Empire')

Who ya gonna call to rank all the "Ghostbusters" movies? Well ... us!

Ever since Bill Murray , Dan Aykroyd , Ernie Hudson and the late, great Harold Ramis jumped in a tricked-out 1959 Cadillac and saved Manhattan from the Stay Puft Marshmallow Man, the "Ghostbusters" franchise has entertained generations with paranormal adventures and comedy high jinks on the big screen. (Not to mention toys, breakfast cereals, that Ray Parker Jr. music video and the oh-so-cool "Real Ghostbusters" cartoon show.) The latest installment, "Ghostbusters: Frozen Empire" (in theaters now), pays homage to past and present, with the OGs teaming with teen Phoebe Spengler (Mckenna Grace) and her family to deal with an evil threat looking to ice over New York City.

From worst to best, here's how the latest "Ghostbusters" entry compares to the other sequels, the female-centric reboot and the original 1984 classic.

New 'Ghostbusters' review: 2024 movie doubles down on heroes and horror, but lacks magic

5. 'Ghostbusters II' (1989)

Murray called the sequel "unsatisfying" but that's being generous. We're going with abhorrent and dreadful. Five years after saving New York City, the Ghostbusters are barely hanging on financially when they're called back into duty, thanks to the reemergence of 16th-century villain Vigo the Carpathian. He's the pits, there's a baby involved, a sewer full of slime is emotionally charged courtesy of angry New Yorkers, and the Ghostbusters pilot the Statue of Liberty – no, really – in the movie's climax.

4. 'Ghostbusters: Afterlife' (2021)

This "requel" is all about family legacy – it was even directed by Jason Reitman, son of original "Ghostbusters" director Ivan Reitman. The first half is pretty great, strapping a proton pack to quirky Phoebe as the Oklahoma-based heir apparent and adding Paul Rudd as her cool-guy teacher Gary. But then it turns into a forgettable retread, bringing back the old crew and original foe Gozer (this time played by Olivia Wilde) for a finale that at least pays a nice tribute to Ramis.

3. 'Ghostbusters: Frozen Empire' (2024)

The current sequel returns to New York City with a massive cast – the "Afterlife" crew plus OG Ghostbusters – and throwbacks galore. From a nostalgic point of view, it works; in terms of a coherent narrative, not so much. But the emergence of Garraka as the newest big bad, a horned phantom who represents a chilly existential threat to all mankind, is a highlight. So are the returning Slimer, Aykroyd giving new depth to Ray Stantz, Murray being Murray, and Grace's Phoebe befriending a troubled teen ghost (Emily Alyn Lind).

2. 'Ghostbusters' (2016)

Don't believe the online haters or toxic fandom: Director Paul Feig's enjoyably kooky reboot is the closest any "Ghostbusters" film has come to re-creating the snappy humor and go-for-broke attitude of the original. Childhood friends and physicists Abby (Melissa McCarthy) and Erin (Kristen Wiig) team with Egon-esque engineer Holtzmann (Kate McKinnon) and subway worker Patty (Leslie Jones) to prevent a ghostly apocalypse in the Big Apple. Chris Hemsworth is the movie's low-key MVP as crew's hilariously dimwitted receptionist.

Review: Steady new female-led 'Ghostbusters' proves a worthy reboot

1. 'Ghostbusters' (1984)

Not just the best "Ghostbusters" movie – one of the greatest comedies of all time, period. With a mix of adult comedy and kid-friendly antics, the first movie followed four dudes, of all different archetypes, bumbling their way into an ectoplasmic mess, ticking off city officials and still figuring out a way to keep Manhattan from being toasted by an ancient demon and/or stepped on by a ginormous marshmallow guy. The acting is terrific, the visuals still pop 40 years later, but the not-so-secret sauce is really Aykroyd and Ramis' script, one full of memorable lines that finds a brilliant balance between supernatural shenanigans and thoughtful spirituality.