May December

In December, people’s entertainment vibes tend to be either festive (romantic comedies, holiday movies, musicals, action films) or big and bright (tentpole films like Wonka or epic Oscar bait). Ironically, May December is just the type of movie one craves in the quiet of January. I think Netflix missed on releasing this film at the wrong time and it runs the risk of not getting noticed. In the middle of the holiday excitement, I  struggled to fully enjoy this sly, slow-burning, uneasy film that explores the “grays” in people.

In this film by director Todd Haynes (Far From Heaven, Carol), television actress Elizabeth (Natalie Portman), visits tabloid couple Gracie (Julianne Moore) and Joe (Charles Melton) for her next role.

May December is mostly the story of two women and the lies they tell themselves — until the final arc where the focus shifts to Joe, a shift that elevates the emotion and depth.

The Ten Buck Review: Unnerving and undeniably well crafted.

Where to see it: On Netflix. See it in the chill of winter, not the joy of the holiday season.

Would it be better with Olivia Colman: Undoubtedly.

Award potential: Moore and Portman’s synced performances are undeniable and may cancel each other out in Oscar season, but Charles Melton is the film’s standout and most deserving of recognition. Golden Globes nominated all three actors. Its unnerving story and curious score choices should keep it out of Best Picture conversation.

The Ten Buck Review: Worth ten bucks.

Iron Claw

Similar to the electrifying atmosphere of the wrestling world, "Iron Claw" pulsates with raw energy, captivating entertainment, and raw emotion. Unlike the world of wrestling, this A24 drama is predominantly true. The narrative revolves around the six Von Erich brothers—Kevin (Zac Efron), David (Harris Dickinson), Kerry (Jeremy Allen White), and Mike (Stanley Simons)—and their wrestling dynasty during the 1970s and '80s led by their domineering father Fritz (Holt McCallany).

Writer-director Sean Durkin’s “The Iron Claw” delivers an emotional blow to those who may not know the tragic story of the Von Erich family and that’s about all I’ll say here about this Texas tale.

Iron Claw is skillfully crafted, featuring stunning cinematography and a compelling ensemble cast. (Despite Zack Efron's Hulkish transformation, which is equally impressive and distracting, similar to Bradley Cooper’s recent Maestro performance.)

However, its main drawback lies in the final stretch, where it doesn’t land the one-two punch. The narrative meanders a bit, and the inclusion of a dream sequence feels out of place, detracting from the authentic and raw story that had preceded it.

While its flaws and classic storytelling choices will probably miss the mark for Top Ten lists and award nominations, this is a solid, captivating and fully entertaining 2023 film that I recommend for almost all audiences.

In a nutshell: A film-quality true story and a solid KO for entertainment.

Where to find it: In theaters, starting December 22, 2023.

Would it be better with Olivia Colman: Of course it would.

Award potential: I think it will come just shy of picture and acting nominations, but the ensemble is strong. I would love to see a SAG ensemble nod.

The Ten Buck Review: Worth ten bucks.

Wonka

As someone who last saw Willy Wonka & The Chocolate Factory (1971) in the early 1980s and preferred the book back then, and as a film lover who never saw Tim Burton’s 2005 adaptation, it’s safe to say I was not looking for a franchise reboot. That is, until I saw that the director of the two Paddington movies, Paul King, was involved. I’m sure glad I gave it a chance.

Wonka is an unexpectedly sweet delight. King has delivered an unapologetically, old-fashioned musical treat that may be too sugary for those expecting the cynical and edgy devilishness of Johnny Depp’s recent take.

In a word, it’s charming.

Willy, a young man and chocolate maker now played by Timothee Chalamet in all his boyish sweetness, arrives in London with hopes that his confectionary treats will be discovered so that he can open his own shop. His hat is full of tricks and imaginations that come to life filling the first hour or more of the film with visual wonder, dazzling ensemble numbers and the spirit of limitless imagination.

The movie’s songs, written by Neil Hannon, move the plot along but you won’t remember any of them after this. Ironically, the film utilizes two original film songs “Pure Imagination” and the “Oompa Loompa”, which are both earworms.

I can only find criticism in that Wonka is challenged to provide more depth than an escape, and that the final half hour spends more focus on wrapping up a silly good-guy bad-guy plot.

Chalamet is a warm and winning Willy Wonka and this film surprised me. I’m not sure if this Ted Lasso-inspired goodness is a wholesome new trend or if the makers of the film have a surely dreadful trilogy planned where he starts out saintly before landing on the dark side, but I choose to think that King wanted to make a fully delightful film and succeeded.

In a nutshell: Surprisingly sweet and just the right dose of fun for a film released around the holidays. It’s this season’s golden ticket for the whole family.

Where to find it: In theaters. Opens Friday, December 15.

Would it be better with Olivia Colman: Surprise. Surprise. She’s in it (in a Miss Hannigan-type role) as is Mr. Bean (Rowan Atkinson), Mr. Carson (Jim Carter), Sally Hawkins, Keegan Michael Key— and Hugh Grant as an Oompa Loompa.

Award potential: It has the best shot at the Golden Globes which awards comedy/musical.

The Ten Buck Review: Worth ten bucks.

Maestro

Bradley Cooper's directorial debut (A Star is Born) hinted that a stellar director may have been introduced and now his second film as director and lead cements this status. Maestro shares the captivating life of legendary American composer and conductor, Leonard Bernstein, utilizing an impressionistic style that achieves a challenging task —distinguishing itself from conventional biographical films.

Maestro reveals itself in the gorgeous black and white, square aspect ratio and lush romantic style of its years before it digs deeper into the expanded, quite colorful life of Bernstein. The artistic flair continues from the symphonic emotions of early relationships to its dizzying climax that makes last year's Tar (2022) seem suddenly tame.

Cooper stars in the lead role as he did in 2018's A Star Is Born. Similarly to that film with Lady Gaga, he gives the most powerful scenes to his female co-lead, Carey Mulligan (Promising Young Woman, Drive, An Education) as actress Felicia Montealegre and wife of Bernstein. This is not a typical "wife" part as Mulligan delivers the most emotionally demanding scenes of her stellar career.

As someone who has overplayed his CD of Leonard Bernstein's New York, I was curious to learn the story of the man who brought us West Side Story's unforgettable score. Unexpectedly for me, the film takes a distinctly personal approach, delving into the intricacies of Bernstein and Montealegre's marriage. While we catch glimpses of the virtuoso in action on the podium, which Bradley Cooper tackles with fervor, I wanted a deeper exploration of the man responsible for West Side Story, Candide, and the most monumental symphonies of the last century.

That being said, and reviewing the film they decided to make, Maestro unfolds as a compelling narrative of an unsettling relationship, probing the fundamental question of what love truly is and whether various manifestations of it can unveil something transcendent.

From the sweeping youthfulness of their meet-cute to an On The Town-inspired musical flourish (that somehow Cooper pulls off) to their revelations to each other, as a Macy's Thanksgiving Parade float passes by their window, Maestro stands as an indelible portrayal of two lives intricately intertwined.

Cooper, hidden in both prosthetics and a talented transformation, is almost miscast as I found myself observing his disappearance into character and director choices for his own close-ups multiple times. Luckily, the success of the full film nullifies that critique.

In a nutshell: Cooper orchestrates this personal story with high style and a bravado performance as both actor and director.

Where to watch it: In theaters now, where it should be seen and heard. On Netflix December 20. Caution: it's not a holiday movie.

Would it be better with Olivia Colman: Of course.

Award potential: This film will do well at Golden Globes where Cooper is famously adored, but will continue on through SAG and Oscars in acting roles. Cooper's competition is tight for director when pitted against Scorsese Nolan and Gerwig — but I believe this daring vision-realized will land nominations for Oscar's Best Picture, Director, Screenplay, Actor and Actress.

The Ten Buck Review: Worth ten bucks.