The second 2024 movie about an ambitious architect who seeks to change the world, Brady Corbet’s The Brutalist has been feverishly anticipated by film heads of all stripes since premiering at Venice in September, where Corbet took home the Silver Lion (Best Director). He’s certainly come a long way since starring in that Thunderbirds movie. Currently sitting on an extremely hefty 4.1 average rating (The Brutalist, that is, not Thunderbirds), the plaudits are coming in thick and fast. Detective­Zinc reckons the “70mm film captures the grandeur and majestic architecture shaped by the architect’s vision, seamlessly blending the essence of celluloid with the timeless weight of history.” “I feel like I was hit with a brick,” says Maria, who surely meant to say cinder block. Maxine calls it “an instant classic that reminds you of the whole existence of cinema”. “Stunningly made, impressive movie, as cold, hard, and monumental as the brutalist architecture it shows off so expertly,” praises Marianna. Now in select US theaters, rolling out internationally from late January.

Tyler Perry writes and directs historical drama The Six Triple Eight, which tells the relatively little-known story of the titular battalion—the only all-Black, all-female one in the US Army—which was tasked with a herculean feat involving letters to US servicemen during World War II. Kerry Washington, Oprah Winfrey and Susan Sarandon lead the cast of the Netflix feature, which was granted a rare theatrical outing before landing on the platform. Postal worker Cody felt seen: “As a mailman, I found this film very inspiring. Mail is so integral to human communication and this film celebrates the human species and its capacity for communication.” “Great subject, but on-the-nose execution,” critiques Jeffrey. Lozza was satisfied: “Between Kerry Washington’s stellar performance and the story being about the excellence of [Black] women during the war, I thought it was beautiful.” Now on Netflix.

It feels odd to say it about such a brazenly commercial enterprise, but there’s something quaint about the live-action Sonic franchise. Simply by virtue of the fact that they’re not trying to be everything to everyone, the films set themselves apart from much of the intellectual-property-derived family features that populate multiplexes. Anyway, there’s a third one, titled Sonic the Hedgehog 3 (even the sequel naming convention is quaint, no colons or subtitles here) and they’ve added Keanu Reeves as the voice of fan-favorite character Shadow. Plus, Jim Carrey is now pulling double duty as both (the slightly less-villainous this time?) Dr. Robotnik, and his father Gerald. Which, again, feels cute and quaint. Now in US and Canadian theaters, in most other territories Christmas Day.

Celebrated Spanish filmmaker Pedro Almodóvar brings together two of contemporary cinema’s most iconic leading ladies for his first English-language feature, The Room Next Door, in which Tilda Swinton and Julianne Moore play old friends who reconnect in a unique situation after not having seen each other since their youth. Almodóvar is a filmmaker who delights in subversion, and audience reaction to his latest is running the gamut. It’s “a deeply affecting meditation on mortality, our right to live (and end) our lives on our own , and how to find hope and joy in the most impossible of circumstances,” according to Zoë, while Brandon says it’s “shockingly slight, misshapen and didactic.” Logan, on the other hand, feels that “the central dynamic is so strong and so profound that it shattered [him] to pieces.” Meanwhile, Douglas has thoughts about the somewhat muted initial reaction to the film: “You Venice guys were on crack thinking this was mid!” Now in select US theaters. Previously released in most other territories.

It’s been a big year for steamy May-December romances in cinema, and Bodies Bodies Bodies director Halina Reijn’s Babygirl is perhaps the most well-received of them all. Nicole Kidman plays a powerful CEO who begins an exploratory affair with a young intern played by Harris Dickinson. The Letterboxd that posts Paul Schrader’s cinematic musings from Facebook quotes the master filmmaker as calling it “mesmerizing”, with Schrader saying the film had his “head turned in so many directions”. “Elle for babies, but it’s funny and cute,” writes Mina. “I can’t believe Gen Z got their own version of Eyes Wide Shut and it also stars Nicole Kidman,” exclaims David. Louis calls it “an absolute f—cking delight”. Lexi reckons it belongs alongside “the likes of The Piano Teacher and Secretary for its fearless psycho­logical exploration of female sexuality and power dynamics.” In US theaters Christmas Day, UK theaters January 10.

With the folk legend himself ing in the praise, Timothée Chalamet is getting some of the best notices of his career for his performance as Bob Dylan in James Mangold’s A Complete Unknown, which covers Dylan’s early years in 1960s New York. According to Mitchell, Chalamet is “spellbinding, completely immersing himself into the essence of Dylan, with incredible musical chops and an utter embodiment of Dylan’s subversive a—hole attitude that just hits.” Ben concurs: “Chalamet did wonders as Bob and really captured a kind of determined coldness I love to see on screen.” Andrew enjoyed the film, but observes that it’s “entirely inoffensive, which kind of feels like a betrayal of its subject”. “Moving. Tangled. Every moment means something,” says Scott. Lorena gets the final word: “When a diva (Bob Dylan, deroga­tory) and a diva (Joan Baez, compli­ment­ary) forces to maximize their t slay (‘Blowin’ in the Wind’).” In US theaters Christ­mas Day, rolling out internationally from late January.

Contemporary gothic champion Robert Eggers has been talking about mounting a remake of F.W. Murnau’s German expressionist 1922 classic Nosferatu (itself an unofficial adaptation of Bram Stoker’s Dracula) ever since he exploded onto the scene with 2015’s The VVitch. Well, he finally got his vvish, and it’s hard to imagine a more Letterboxd-friendly year-end release. Some of our regulars are lapping this up, which is always a good sign. Jstobbs credits Eggers with living up to the “incredibly daunting task” of following in Murnau’s footsteps, saying she “was so moved by this film” which “evokes a truth so inherent to womanhood it feels uncomfortable”. “Like staring into the face of God and going mad at the sight,” declares Claira, who says the film “encapsulates a clawing, desperate hunger”. “Eggers makes everything feel like a never-ending drift between dreams and nightmares,” observes Luca, “with his knack for total freak sh*t being sharper than ever.” Nice. In theaters Christmas Day in Canada, Spain, and the US, elsewhere from New Year’s Day.

Cited by Journal contributor Robert Daniels as one of the best of the fall film festivals, cinematographer Rachel Morrison (Mudbound, Black Panther) makes her feature-directing debut with The Fire Inside, which tells the true story of American boxer Claressa “T-Rex” Shields (played by Ryan Destiny) as she strives to qualify for the 2012 Olympics as a teenager. Brian Tyree Henry plays her coach in the Barry Jenkins-scripted film celebrated by many for bringing something new to the “inspirational”-sports-story genre. Jeremiah “left the film with a sense of hope and optimism.” Maggie says it “bucks the expectations of a traditional sports movie and lets you really engage with the characters.” Isaac appreciates how it “expertly shows the struggle of what happens after you get what you want to achieve.” In US theaters Christmas Day.

Director Michael Gracey (The Greatest Show­man) injects a welcome, if unexpected, point of difference into the otherwise incredibly staid musician-biopic subgenre in Better Man, which has British pop superstar Robbie Williams portrayed in his life story by a Wētā FX-created CGI chimpanzee. So maybe that’ll be what finally breaks him in the US. I kid! I love Robbie! Incidentally, his former boy bandmates from Take That are currently having something of a cinematic moment, too, with a remix of their song ‘Greatest Day’ used to magnificent effect in Anora. Anyway, folks seem to be getting onboard with the simian gambit in Better Man, with Adrian calling it an “absolutely unhinged, emotional, and impactful cinematic achievement”. “I loved it, I don’t care if it’s silly,” says Gorbus. “Wonderfully imaginative, surprisingly moving, endlessly electrifying,” praises Daniel. Jacob appreciates that it “more deeply explores depression and addiction than most movies of its kind ever dare to, and does so in some incredibly expressive and creative ways.” “Koba would’ve loved this version of Robbie Williams,” winks Fugi456. In select US theaters Christmas Day before expanding January 10, most other territories from December 26 onwards.