September 5

September 5, director Tim Fehlbaum’s gripping newsroom thriller about the 1972 Munich Olympics terrorist attack, doesn’t just evoke the look of the '70s; its grainly look and gritty dialogue-driven script feels like it was plucked straight from the era’s cinematic vault (All the President’s Men The China Syndrome).

The film takes viewers inside a TV control room in 1972, where ABC Sports broadcasters face an unprecedented crisis: gunmen from the Palestinian militant group Black September have infiltrated the Olympic village, killed two members of the Israeli athletic team, and taken nine others hostage. The movie dives into the moment live television transformed into something more than just news—it became entertainment too.

The ABC Sports team is overseen by network executive Roone Arledge (Peter Sarsgaard), who declares that rather than give the story to the news division and let it be reported remotely. But it’s John Magaro’s portrayal of producer Geoffrey Mason that steals the show as Manson’s every move is tinged with the moral weight of broadcasting tragedy in real-time.

It’s also a fascinating “process movie” as Fehlbaum leans heavily into the logistics of getting the crisis on the air, including fabricating new logos with photos and art supplies and then shooting them with a video camera, and very quickly developing 16mm film of events to be shown on live TV (this is where the phrase “Film at 11” comes from). Simply put, September 5 is a meditation on the birth of modern media.

Even if you’re familiar with the tragic outcome of the Munich attacks, September 5 keeps you on edge. It’s the feel bad thriller of the year.

In a nutshell: A morally complex newsroom drama that lingers long after the credits roll.

Where to see it: In theaters, starting January 17, 2025. Sneak previews begin January 10 in Dallas with a recorded Q&A.

Would it be better with Olivia Colman? Everything is. The one female part, however, is played brilliantly by Leonie Benesch, a female and German translator who brings poignant humanity to the film in some small but key scenes.

Award potential: It’s a very quiet film in late release with understated performances and isn’t heavily promoted but despite all that, it's likely to end up with a few top nominations such as the big one, Best Picture.

The Ten Buck Review: Worth ten bucks.

Where to stream all the films of Award Season

Did you catch the Golden Globes and find yourself shouting, “What is that movie?" like a senior? Don’t worry, you’re not alone—some of those films have barely touched a theater screen, and a few have never seen one at all. In fact, one of the frontrunners quietly dropped on your Netflix the same night as the Tyson fight, and somehow, no one noticed.

But don’t worry movielovers, Ten Buck Review has the inside scoop on where to catch those elusive films, along with a sneak peek at the Oscar frontrunners you’ll want to pencil in for your 2024 watchlist.

BEST PICTURE CONTENDERS (Information as of 1/6/2025)

Currently in theaters: A Complete Unknown, Anora, Babygirl, A Real Pain, Sing Sing, Hard Truths and Wicked

Wicked is in theaters and also available for $19.99 on Amazon Prime Video, Fandango at Home, YouTube or Google Play Movies.

Conclave is available for streaming on Peacock as well as purchase for $19.99 on Google Play, Amazon Prime Video, Apple TV, and Fandango at Home.

Emilia Pérez Is available now on Netflix.

Anora is in theaters and available for rent on Apple TV, Amazon Prime Video, Google Play Movies, YouTube and Fandango at Home for $19.99.

Dune: Part 2 is available on Max and Netflix. Users can also use premium subscriptions on Hulu, YouTube, YouTube TV, Sling TV, Amazon Prime Video and The Roku Channel, or rent the movie for $3.99 on Fandango at Home and $7.99 on Google Play Movies.

The Substance, the horror movie starring Demi Moore and Margaret Qualley, is available on Amazon Prime Video with the Mubi subscription, or for rent starting at $5.99 on Amazon Prime Video, Apple TV and Fandango at Home.

A Real Pain is available to rent on YouTube, Apple TV, Amazon Prime Video, Google Play Movies and Fandango at Home for $19.99.

Sing Sing is being re-released in theaters on January 17.

The Brutalist, an undetermined wide release in January. 

September 5, January 17 wide release.

The Seed of the Sacred Fig, All We Can Imagine As Light, Nickel Boys: Currently playing in NY and LA

BEST ANIMATED PICTURE CONTENDERS

Moana 2, it's in theaters now.

Flow, the frontrunner, is available on Apple TV for $3.99 or The Roku Channel for free with ads.

The Wild Robot is available for $5.99 on YouTube, Amazon Prime Video, Google Play Movies and Fandango at Home.

Inside Out 2 is available on Disney+ and other VOD.

Wallace & Gromit: Vengeance Most Fowl, is available on your Netflix.

Memoir of a Snail is available for purchase on Amazon Video, Apple TV, Fandango At Home as download or you can rent it on Amazon Video, Apple TV, Fandango At Home and more.

BEST INTERNATIONAL FEATURE CONTENDERS

Emila Perez (France) available on Netflix.

The Seed of the Sacred Fig (Germany), You can stream on Apple TV, Fandango at Home, NEON, and IMVBox. You can also buy it on Fandango at Home.

Touch (Iceland), watch it on Peacock TV, ROW8, Fandango at Home, Prime Video or Apple TV.

Flow (Larivia) is currently available to stream on digital video-on-demand platforms, including Prime Video, Apple TV+ and Fandango at Home. 

From Ground Zero (Palestine), in theaters and on WatchDocs.

Waves (Czech Republic) is available to stream on Netflix, and you can buy or rent it on Apple TV, Amazon Video and Cineplex.

I’m Still Here (Brazil), no streaming options at blog-writing time.

BEST DOCUMENTARY CONTENDERS

Sugarcane is currently streaming on Disney+, Hulu and Nat Geo.

Black Box Diaries, by MTV docs, is naturaly on Paramount+ with Showtime, Paramount+ Amazon Channel, Paramount+ and Roku Premium Channel.

Soundtrack to a Coup d’Eetat, you can rent on Fandango at Home, or buy it on Fandango at Home.

Daughters, can currently be streamed on Netflix.

Will & Harper, with Will Farrell, is also available on Netflix.

Porcelain War, is in a theater run (opens Friday in Dallas), or you can rent through Eventive.

Dahomey, streaming on MUBI, MUBI Amazon Channel, and available to buy on Apple TV or Fandango At Homel.

Union, in theaters, expect streaming dates soon.

The Remarkable Life of Ibelin, available on Netflix.

No Other Land, still seeking U.S. distribution.

ACTOR/ SUPPORTING ACTOR CONTENDERS

In theaters now: Timothee Chalamet and Ed Norton in A Complete Unkown, Kierian Culkin in A Real Pain

In theaters soon: Adrian Brody and Guy Pearce in The Brutalist

Ralph Fiennes and Stanley Tucci in Conclave, available for streaming on Peacock and purchase for $19.99 on Google Play, Amazon Prime Video, Apple TV and Fandango at Home.

Colman Domingo and Clarence Maclin in Sing Sing, now being re-released in theaters on January 17.

Sebastian Stan in A Different Man, rentable on VOD, and on Max on January 17.

Sebastian Stan and Jeremy Strong in The Apprentice, rentable on VOD.

Yura Borisov in Anora, in theaters and available for rent on Apple TV, AmazonPrime Video, Google Play Movies, YouTube and Fandango at Home for $19.99.

Denzel Washington in Gladiator II, in theaters and on VOD.

ACTRESS/ SUPPORTING ACTRESS CONTENDERS

In theaters now: Fernanda Torres in I’m Still Here, Nicole Kidman in Babygirl, Marianne Jean-Baptiste and Michele Austin in Hard Truths.

In theaters soon: Felicity Jones in The Brutalist.

Demi Moore and Coralie Fargeat in The Substance, available on Amazon Prime Video with the Mubi subscription, or for rent starting at $5.99 on Amazon Prime Video, Apple TV and Fandango at Home.

Karla Sofía Gascón, Selena Gomez and Zoe Saldaña in Emilia Perez, available on Netflix.

Angeline Jolie in Maria, on Netflix.

Mikey Madison in Anora, in theaters and available for rent on Apple TV, Amazon Prime Video, Google Play Movies, YouTube and Fandango at Home for $19.99.

Isabella Rosselini in Conclave, available for streaming on Peacock as well as purchase for $19.99 on Google Play, Amazon Prime Video, Apple TV and Fandango at Home.

Cynthia Erivo and Ariana Grande in Wicked, in theaters and also available for $19.99 on Amazon Prime Video, Fandango at Home, YouTube or Google Play Movies.

Review: A Complete Unknown

While some of the best movie biopics have come from actors who don’t exactly resemble their subjects, the idea of the slender, emo Timothée Chalamet channeling Bob Dylan seemed, at least on paper, a bit off. I’m sure I’m not alone in my curiosity, though it might not be entirely fair to Chalamet. 

In his favor, the trailers did look promising, and let’s not forget, Dude pulled off a pretty powerful Dune Jesus—something I’m not sure fellow short actors DiCaprio or Cruise could do. On the flip side, it’s Bob Dylan we’re talking about, the ultimate troubadour hero, and the world has seen countless comic impersonations of him. 

After watching A Complete Unknown, I can confidently say that Timothée Chalamet mostly pulls off the young Bob Dylan vibe—about 89.5% of the time. When he's singing or simply gazing into the camera, he nails it. It's almost uncanny how much he channels the elusive, poetic energy of Dylan. But, and this is where things get a little tricky, those moments of physicality, when the character is alone with their thoughts, like riding off into the distance on a motorcycle. In these quieter, unspoken scenes, where movement is all we have to read, you start to notice the wig a bit too much. Suddenly, it feels less like Dylan and more like Pee-wee Herman on a bicycle. It’s a little jarring, but hey, the other 88% of the time? Total magic. 

Chalamet didn't try to become Bob Dylan, he crafted a performance that evokes him. Sorry, I went on too much about that, but it's key to the success of this film isn't it?

So is the director, James Mangold who is gold when it comes to films like the Johnny Cash rock biopic Walk the Line, Ford V Ferrari and Logan, the best comic book film there is. Mangold certainly knows how to create chemistry onstage whether it's a duet (Dylan and Joan Baez, June and Johnny Cash) or an iconic solo performance.

And the cast gets every note right too. Elle Fanning takes on the role of Sylvie Russo, a character clearly inspired by the free-spirited Suze Rotolo—though, for reasons only the producers of Dylan himself might fully understand, she gets a new name. The film plays like a companion piece to her own biopic, My Freewheelin’ Time, offering a glimpse of the real, sometimes uncool, and decidedly human Bob Dylan—stripping away the legend to reveal the guy we rarely get to see.

Ed Norton, portraying Pete Seeger, is the emotional heart of the film. Yes, you read that right. In a surprising departure from his usual roles and own personality, Norton steps into the shoes of the earnest, deeply empathetic friend—becoming the film's soulful center. Director James Mangold doesn't attempt to explain Bob Dylan; instead, the film offers a perspective on him from the outside, seen through the eyes of those around him—particularly Seeger, Russo, and Baez.

Purists and die-hard fans may feel a bit of whiplash from the creative liberties taken with song placements at key concerts and moments in Dylan's life. Rumor has it that Dylan himself insisted on several fake additions as well, the prankster he is. 

But for those of us less familiar with the specifics, the film's straightforward storytelling is a refreshing change. Regardless, everyone will appreciate the music, the glimpse into a transformative era, and the vibrant atmosphere—from the bohemian clubs of Greenwich Village in the '60s to the spirited festivals that defined the scene.

Based on the book Dylan Goes Electric!, by Elijah Wald, this film is more than just a biopic; it’s a snapshot of a moment when the world began to realize Bob Dylan was more than a musician. It's a great film to sink into and enjoy this season with your fave folks.

In a nutshell: Dylan gets the Walk the Line treatment and Chalamet is electric.

Where to watch it: In theaters, starting December 25.

Would it be better with Oliva Colman? Of course it would

Award potential: Good news for red carpet fans. Chalamet should score or win at SAG and Oscars, however, he'll always be up against the fact that he'll be there again. Time will tell if this performance is too powerful to deny him more acclaim now. 

Norton is powerful here and should have similar love in the supporting actor category. Fanning, too, should be on the radar. While the film has a solid shot at a Best Picture nod, it’s the performances that are the sure bets.

The Ten Buck Review: Worth ten bucks.

Gladiator II

Ridley Scott’s Gladiator (2000) is a cinematic masterpiece. It’s the kind of film that doesn’t need a sequel. The only justification for one is the Roman numeral “II” — and yet, here we are. Since they made it, naturally I'm all in.

The Roman numeral two perfectly describes this film. This is a story of repetition, of twin characters, dual identities, double gladiators and mirrored fates. There's even twice the bloodshed in the Colosseum. 

Scott’s pleasurably immersive epic about ancient Roman fighters will definitely entertain. Especially to those of us always thinking about the Roman empire.

The first Gladiator followed Maximus (Russell Crowe), a Roman general wronged by a usurper, who eventually fights his way to the Colosseum, becoming a crowd favorite. Joaquin Phoenix’s scene-stealing Commodus was one of the film’s most memorable antagonists.

Gladiator II shifts focus to Lucius (Paul Mescal), a humble man from Numidia, Africa, thrust into the heart of Rome by the violent political machinations of General Acacius (Pedro Pascal). From there, he’s thrust into the Colosseum, where his fate, like Maximus’s, is sealed. The sequel doesn’t stray far from its predecessor, with symbolic callbacks — including a shot of hands grasping grain — reinforcing the connection.

Paul Mescal, one of the finest actors there is, is no Russell Crowe, as he struggles to command the gravitas that Crowe brought to Maximus. He even seems uncomfortable at times in his own gladiator gear. Denzel Washington, in the Phoenix role, shines. Connie Nielsen also returns as Lucilla, almost 25 years after her first appearance, and she brings a sense of redemption to her character, adding emotional depth.

Where the original Gladiator was more of a film, Gladiator II is a muscle-bound spectacle designed to pack theaters. I prefer lions and tigers to CGI baboons and sharks as well as and accuracy like uh, "the printing press hasn't been invented yet so put down that newspaper," but the action is relentless, and almost every scene involves a physical or political battle. It's thrilling, and it’s impossible to look away. 

This all lands in a unique moment in modern history, as it is also a film about hope for the people and the promise of a Rome that is not run by dictators. It’s an intriguing reflection of our own political climate.

Gladiator II might have jumped the sharks once or twice, but still the epitome of Roman epics. Ridley Scott is having good fun as did Washington— and so did our packed audience

In a nutshell: Scott’s pleasurably immersive epic about ancient Roman fighters will definitely entertain.

Where to watch it: In theaters now.

Would it be better with Olivia Colman: For sure; but not needed.

Award potential: I expect to see this film nominated for Best Picture, Best Supporting Actor (Washington) and all the technical categories, battling those out with another sequel, Dune 2, as well as Wicked. Mescal has a great shot at Best Actor but may need to campaign in that tough category given his softer take on the gladiator.

The Ten Buck Review: Totally ten buck worthy.

Anora

Anora, directed by Sean Baker (The Florida Project), is the first American film to win the Palme d'Or in over a decade. It is also on most lists of likely Best Picture award nominees and on all early top ten lists for the year.

I was initially excited to see what the famed director would do with a love story or perhaps discover how he'd merge his authentic storytelling with something more widely commercial. My reaction to the film in one word is — disappointment. My fault for reading headlines noting that this was a love story with screwball comedy thrown in. It has neither.

This "modern Cinderella story" revolves around the relationship between Brooklyn stripper Anora/Ani (Mikey Madison) and Vanya, the heir to a Russian fortune. I never felt any romantic connection or otherwise.

Baker has always excelled at portraying fully-developed characters on society’s margins, but here the story feels like a well-worn template. Anora’s journey—her relationship with the wealthy Vanya, her struggles and the eventual fallout—feels less like an exploration of the American Dream and more like a recycled version of narratives we've seen before. By making its titular character a stripper, everything is all too familiar. Swap Vanya's Russian parents with drug dealers and you've essentially got Hustlers or Zola.

I think what Baker is attempting to explore is the joy and despair of someone from the fringes who briefly tastes success only to lose it all. There’s an important theme about the fragility of dreaming big, but it doesn’t quite come through with the depth or nuance that Baker’s best work usually has. Unfortunately, I think he just made a raunchy and sad remake of Pretty Woman.

In a nutshell: Anora isn’t a bad film—it just doesn’t live up to the potential that its premise and director suggested and it's not a lot of fun so I can't recommend it.

Where to see it: In theaters now.

Would it be better with Olivia Colman: Wouldn't anything?

Award potential: I'm in the minority on this one, look for it in every major category. Mikey Madison's last scene is a heartbreaker.

The Ten Buck Review: Not worth ten bucks.

A Real Pain

Writer, director, and star Jesse Eisenberg teams up with (an outstanding) Kieran Culkin to craft a character-driven flick about mismatched cousins, neurotic David and charismatic Benji, as they trudge through Poland on a “Holocaust tour” to honor their grandmother’s memory.

What starts as a “cringe comedy” road trip film soon reveals itself to be a lighthearted exploration of grief, identity and connecting. I thoroughly enjoyed it.

 

Culkin shines as Benji, infusing him with enough warmth and complexity to make even the dark moments feel alive and relatable. Eisenberg’s script is super sharp, balancing banter with authentic laughs. 

The dynamic between the cousins is so real and dysfunctional that you’ll swear you’ve been on a trip with them in a past life.

A Real Pain isn’t going to excite many cinemagoers to leave their couch on a Friday night, but that’s precisely the point. It’s a throwback to the days of small-scale, character-driven films (Woody Allen, Rob Reiner) that Hollywood has mostly sidelined.

 Eisenberg has crafted a lovable little movie that’s witty, melancholic, and full of heart—perfect for those who appreciate a little laughter with their emotional introspection.

Simply put: At a perfect little 90 minutes, it’s an endearingly awkward journey worth taking.

Where to watch: In theaters starting November 11, 2024.

 

Would it be better with Olivia Colman? Absolutely.

 

Award Potential: Culkin is likely to get some awards attention, but Eisenberg is just as impressive in a subtler but arguably trickier role. I imagine showier films will be in discussion by January.

 

The Ten Buck Reiview: Worth Ten Bucks

Conclave

Fresh off All Quiet on the Western Front, director Edward Berger trades in trench warfare for a subtler kind of tension with Conclave. This time, he’s working from Robert Harris’s novel of the same name, adapted by screenwriter Peter Straughan (Tinker Tailor Soldier Spy), who certainly knows his way around a tightly wound thriller.

Conclave imagines the tense and secretive process following the fictional death of the Pope. Cardinal Thomas Lawrence (Ralph Fiennes), as Cardinal-Dean, must oversee the papal conclave—a gathering of cardinals cloistered to elect a new pontiff. Fiennes is joined by an exceptional ensemble, including Stanley Tucci, John Lithgow and Isabella Rossellini, whose performances add layers of gravitas and intrigue.

The setting itself is practically a character too. Production designer Suzie Davies and cinematographer Stéphane Fontaine have created a Vatican so convincing you’ll forget it’s not the real thing. Rome may not have been built in a day, but it’s impressive this set came together in under ten weeks.

Though Conclave looks like elitist Oscar bait, and kinda is, it’s also a genuine popcorn thriller that offers a fascinating voyeuristic peek into a process most of us only imagine. Watching the cardinals’ power plays reveals as much about human ambition as it does about the church.

Conclave weaves timely social commentary on biases within religious institutions with the high-stakes drama of a dramatic succession. This dual richness is what we’ve been missing in cinema all year.

In a nutshell: Yes, it's a pope 'n popcorn movie. A riveting fictional peek behind the curtains of religious power. The story feels so genuine that, aside from its wild ending, casual viewers may mistake it for historical fact.

Where to watch: In theaters now

Would it be better with Olivia Colman? Of course. But it is still a cinematic thrill to see Isabella Rossellini, daughter of Ingrid Bergman (The Bells of St. Mary's) as a nun.

Award potential: This should score nominations in all top categories, acting and lower-line ones, including production design, costume, sound, and editing.

Composer Volker Bertelmann, who won an Oscar for his score for All Quiet on the Western Front, should also be nominated for his distinctive work here.

The Ten Buck Review: Worth ten bucks.