Elizabeth Weitzman

Te advertimos: a pesar de su brillante reparto y su hábil campaña de marketing, Amores Materialistas no es una comedia romántica. En cuanto a lo que es, ni siquiera su creadora parece estar del todo segura… Deberías ver: Entrevista con David Corenswet, Rachel Brosnahan y James Gunn por Superman.  ¿Qué es Amores Materialistas? Una anti comedia romántica con Pedro Pascal y Dakota Johnson Al principio, la guionista y directora Celine Song (Past Lives) parece decidida a dar la vuelta a las convenciones del género: a exponer el romance como la simulación sin alma que a menudo parece ser. Así, siguiendo la tradición clásica de las comedias románticas, nuestra heroína, Lucy (Dakota Johnson), se dedicó a juntar parejas, es pragmática y tan exitosa en el manejo de los algoritmos de citas que está celebrando la novena boda de uno de sus clientes. Es en esta boda donde conoce a Harry (Pedro Pascal), un sujeto con pinta de banquero o corredor de bolsa que su sector considera un “unicornio”: guapo, rico y alto. (Los clientes de Lucy, al igual que la propia película, fetichizan la altura masculina y la juventud femenina, así que si eres un hombre que mide menos de 1,80 m o una mujer mayor de 30 años, prepárate para sentirte indigno). Casualmente, el exnovio de Lucy, John (Chris Evans), también está en la recepción. Pero mientras Harry es un invitado, John es un camarero. Y ahí radica su dilema: ¿nuestra chica materialista elegirá el amor o el dinero? Lujo, tragedia y dilemas morales en una

It’s been a banner year for horror movies. In fact, it seems like all the buzziest films to come out so far aim to terrify. What’s truly great about the current horror bumper crop is that none of the standouts really resemble one another.  Cannes hit The Substance icked its way into the awards conversation on the back of Demi Moore’s staggeringly strong lead turn, Osgood Perkins’ hit Longlegs mixed ’90s serial killer procedurals with the Satanic panic of the previous decade, while I Saw the TV Glow was David Lynch directing Buffy the Vampire Slayer. Late Night with the Devil made found-footage fun again, while In a Violent Nature invented a new subgenre that people called ‘ambient slasher’. And that’s to name just a few. Below, you’ll find our best and scariest movies of 2024. 🎃 The 100 best horror films ever made 😱 The scariest movies based on a true story 🔥 The best horror films of 2025 (so far)

Pity the casual moviegoer who just wanted to see a Marlon Wayans football flick, or a Jordan Peele-produced horror joint. Because Him is, instead, a mind-scrambling primal scream in the spirit of anti-capitalist provocations by the likes of Robert Downey Sr (Putney Swope), Boots Riley (Sorry to Bother You), and Coralie Fargeat (The Substance). It does start generically enough; in flashback, we find a football-mad family cheering their beloved San Antonio Saviors. Dad is particularly obsessed, and he sees future glory in his young son. Ten years later, he's been proved right: Cam (Atlanta’s Tyriq Withers) is a rising star quarterback tapped to replace the Saviors’ retiring hero, Isaiah White (Wayans). First, though, he has to prove himself at White’s private boot camp. Cam is still recovering from a mysterious attack that left him concussed, but his father – who’s since died – always insisted that a real man pushes through any pain. So he shows up at White's isolated bunker of a home, where it soon becomes clear this isn’t ordinary training: White plans to break him down to build him back up. Before long, Cam is put through a surreal gauntlet that involves body horror, hallucinations, and maybe, though he's in no shape to be certain, murder. Director Justin Tipping and his co-writers, Zack Akers and Skip Bronkie, have a lot on their minds. Him addresses the cult of football, but it's also about – among other things – fame, family, religion, race, and class. In its feverish eff

Ironies – both intimate and enormous – imbue It’s Never Over, Jeff Buckley with much of its thematic weight. So it’s only apt that they also contribute to its artistic buoyancy. For the most part this does feel like a straightforward musical biography, with copious and well-chosen footage of the late singer-songwriter both onstage and off. But though his life and art were influenced most visibly by men, director Amy Berg (West of Memphis) chooses to tell his story in large part through women. We hear emotional memories and thoughtful insights from his single mother, Mary Guibert, his good friend Aimee Mann, his former girlfriend Rebecca Moore, and his longtime partner Joan Wasser (the musician known as Joan as Police Woman).  We’re also witness to his own broken heart, cleaved both by the parent who abandoned him and the world that wouldn’t allow him to move on. Even as Jeff was trying to understand what it meant to be the son of celebrated singer Tim Buckley, he despised the way everyone else wanted to understand it, too. And there’s another paradox as well, one that’s likely to remain with viewers every time they hear his music from here on. As his admirers already know, and Berg shows us at length, he put tremendous effort into crafting his own work. He also pushed back hard against a commercial mindset that coldly exploited creativity. Fans will fiercely argue that Buckley has so much more to offer than Hallelujah Buckley became increasingly disenchanted by the business

Be warned: despite its glossy cast and slick marketing, Materialists is not a romantic comedy. As to what it is instead, not even its creator seems entirely sure. At first, writer-director Celine Song (Past Lives) appears determined to turn genre conventions inside out: to expose romance as the soulless simulation it often seems to be. So, in classic romcom tradition, our heroine Lucy (Dakota Johnson) is a pragmatic matchmaker so successful in juggling dating algorithms that she's celebrating her ninth client wedding. And it's at these nuptials that she meets Harry (Pedro Pascal), a financier her industry considers a ‘unicorn’: handsome, wealthy, and tall. (Lucy's clients, like the film itself, fetishise male height and female youth, so if you are a man under six feet or a woman over 30, prepare to feel vaguely unworthy.) Coincidentally, Lucy’s ex-boyfriend John (Chris Evans) is also at the reception. But while Harry is a guest, John is a waiter. And therein lies her dilemma: does our material girl choose love or money?  For a while, Lucy enjoys the fancy restaurants, enormous bouquets and easy life that Harry offers. But Lucy's Cinderella story hits midnight in a jarringly dark manner, when a client experiences unexpected tragedy. And suddenly, Lucy wonders whether John – with his two roommates, lack of savings, and uncertain future – might actually be the stronger prospect. Like any good matchmaker, Song wants to give her audience everything it desires Song has, undeniably,

When it comes to Tim Robinson, there are two very distinct camps: those who can't get enough of his shows I Think You Should Leave and Detroiters, and those who just don’t get his brand of recoil comedy at all. Actually, make that three, so we can include those who are currently thinking, ‘Who?’ Friendship will do nothing to convert nonbelievers, because it exists primarily to thrill existing fans and create new ones. And it’s likely to succeed mightily on both counts. Writer-director Andrew DeYoung (PEN15) wrote the script with Robinson in mind, so his character, Craig, could have stepped straight out of Leave: he’s excruciatingly awkward, entirely out of step with social mores, and increasingly unable to control himself. This explains why he has no friends, either in the bland suburban subdivision where he agitates for more speed bumps, the grim office where he makes phone apps more addictive, or even the home in which his wife, Tami (Kate Mara, ideally deadpan), barely tolerates him. He does get a brief, thrilling reprieve once he meets his new neighbour Austin (a perfect Paul Rudd), an impossibly cool weatherman with a loyal group of friends. When Austin impulsively invites Craig into his incredible life, our desperately basic antihero is engulfed in excitement. But since he cannot handle overwhelming emotions, the inevitable crash is so cringe it will haunt your dreams and spawn countless memes. (‘You made me feel too free!’ he eventually wails to Austin in his defence.)

You’ll get several movies for the price of a single ticket in Ryan Coogler’s (Creed) period drama-thriller-romance-musical Sinners. And while some of these disparate elements are more successful than others, the combination is audacious enough to leave you simultaneously awed and overwhelmed by his outsized ambitions. All of this, remarkably, is packed into a single day in 1932 Mississippi, a place filled with cotton fields and Klan members. Maverick twins Smoke and Stack (both played skilfully by Coogler muse Michael B Jordan) have finally returned home after a law-eliding sojourn in Chicago. They’ve got money, liquor, and a dream: to open a juke joint for their friends and family, a place to safely connect, conspire and pitch a wang dang doodle on a Saturday night.  Everyone in their tight community plays a role, including their teenage cousin Sammie (musician Miles Caton), blues singer Delta Slim (Delroy Lindo), Chinese-American grocers Grace and Bo (Li Jun Li, Yao), and the twins’ old flames Mary (an underserved Hailee Steinfeld) and Annie (standout Wunmi Mosaku). It might not be a Marvel movie but Coogler is making an epic here – and everyone is up to the task. The settings are stunning, the music stirring and the party scenes electric. In one gorgeous, metaphysical moment, Coogler draws across centuries and continents with breathtaking scope, passion, and poetry. See it in IMAX if you can, and stay for the credits. It might not be a Marvel movie, but Coogler is making

Obviously, it’s impossible to watch a Mob biopic directed by Barry Levinson (who also made Bugsy), written by Nicholas Pileggi (who co-wrote Goodfellas and Casino), produced by Irwin Winkler (Goodfellas and The Irishman), and starring Robert De Niro (surely you see where this is going) and not think about the genre-defining classics that came before it.  So let’s just acknowledge up top that comparisons won’t serve anyone well. But if you take The Alto Knights on its own terms – as an eccentric but engaging curio – there’s still plenty of fun to be had. This is particularly true regarding the two central characters: true-life Mafia frenemies Frank Costello, played by De Niro, and Vito Genovese, played by… De Niro. Though his double duty presence is an obvious gimmick, the actor remains invested enough to keep us watching all the way. De Niro imbues New York crime boss Costello with shrewd intelligence and an almost gentle gravitas, as though he genuinely wishes other people didn’t constantly require him to bribe, cheat and steal. And he plays the paranoid, hot-headed Genovese as though nobody was able to drag Joe Pesci out of retirement, so he figured he might as well just do it instead. The only thing left for De Niro to do is play warring gangsters all by himself Sure, it’s all a little quixotic, especially when the pair face off against each other. But it’s also entertaining, as long as you’re willing to go with it. And why wouldn’t you? At this point, it almost seems obvi

It’s been a while since we’ve seen a movie that feels as though it was made by someone who just discovered Quentin Tarantino and Guy Ritchie movies. Meet Love Hurts, an action-comedy based on a script that’s 20 years old and feels 25 years past its sell-by date.  On the bright side, it's only 83 minutes long. And we do get to spend the time with a charming Ke Huy Quan (Everything Everywhere All at Once) as a mild-mannered real estate agent who takes genuine joy in selling prefab houses in bland suburban developments. West Side Story’s Ariana DeBose is equally delightful as his dangerously thorny former crush. When she turns up one fateful Valentine's Day after years away, he knows it’s trouble: he’s a former assassin and she intends to upend his carefully-cultivated life. Cam Gigandet recites his lines as though he learned them phonetically There’s a little more to the story – it involves angry Russian mobsters and Cam Gigandet reciting his lines as though he learned them phonetically – but none of it matters. Quan and DeBose are confident, if chemistry-free, leads who ground both the weak plotting and whipsaw direction, but even they can’t do much about the poorly choreographed fight scenes. This long-gestating passion project from stuntman-turned-director Jonathan Eusebio is a tough Valentine’s Day reminder that some passions are better left buried. In cinemas worldwide Feb 7.