Perhaps the definitive Wes Anderson movie is about a New York family with, um, some issues. How willing you are to get on the movie’s wavelength will probably determine whether you love it or remain baffled.
An incredibly beautifully animated film about a 10-year-old girl figuring out how to solve her own problems, while also giving baths to monsters, it helped turn Studio Ghibli into a global brand.
In which I finally find a movie too weird for me, or perhaps more accurately, a movie that left me wondering what all of its weirdness was actually in service of.
The last of the 2007 AFI Top 100 for us to cover is also an all-time favorite of mine. All of my dogs are named after its characters. But how to parse whether one of the parts of what is basically one long three-part movie is one of the best films of all time on its own?
These movie about LA street racers stealing electronics is better than it has any right to be, by which I mean it should truly terrible and is mostly fine. Also it somehow spawned a multi-billion dollar franchise.
We open ten days of the movies of 2001 with a completely bonkers musical mash-up that transplants all of the pop songs to Paris circa 1900… and I love it.
An extremely beloved holiday classic about a small child in 1940 who only wants one thing for Christmas. But what if he shoots his eye out?
Alastair Sim plays the title character in what was considered for decades to be maybe the definitive version of the Dickens story, though I was a little thrown by the way the movie makes up a bunch of extra bits of Scrooge’s origin story for no discernible reason.
Festival Season continues with ten movies from the far-off future year of 2001, starting January 1
A beloved holiday Christmas special involving both Chuck Jones and Boris Karloff, which centers around the greatest diss track ever written and launched an increasing awful media franchise.