John Podhoretz

The Best Year for Movies in Forever

And the winner is… anything!

The two late entrants into the Oscar race, Little Women and 1917, both scored Best Picture nominations and are both credible possibilities to take the statuette at the awards ceremony in February. That's not only because both of them are good, which they are; Little Women is an emotional knockout (its last hour in particular), while 1917 is a riveting and harrowing thriller, inventively told and staggeringly well-photographed.

Review: Marriage Story

You don’t want to see it. You’re wrong.

I really, really didn't want to see Marriage Story, despite the rapturous reviews and the fact that it’s the work of Noah Baumbach, one of the most interesting writer-directors in America. It turns out I'm not alone.

Review: ‘Star Wars: The Rise of Skywalker’

Who cares?

Star Wars: The Rise of Skywalker is total sci-fi eye candy featuring about 50 different planets, many spaceships, lots of lasers, good fake animals, a cute new robot—all designed and photographed beautifully. It passes what is pretty much the basic test for any moviegoer, which is that it is fun to watch. But this conclusion to the third Star Wars trilogy has a basic problem it cannot solve. Simply put, who cares?

Review: ‘Jojo Rabbit’

Taika Waititi puts whimsy to good use in what may be the year's best film

If there's anything worse than whimsy, I haven't encountered it. Fine—murder is worse than whimsy. But only just a little. Which is why I avoided seeing Jojo Rabbit, a new movie written and directed by the New Zealander who made Thor: Ragnarok. His name is Taika Waititi, though he was known as Taika Cohen (his Jewish mother's last name) until he decided to take his Maori father's surname.

Why ‘Charlie’s Angels’ Flopped

You may not have noticed, but movies no longer open on Fridays; almost all major releases begin their runs in theaters with a 7 p.m. showing on Thursday. This meant that Sony Pictures knew by the time midnight rolled around on November 14, only five hours after its first showings, that they had a monumental turkey on their hands with the new version of Charlie’s Angels.

Review: ‘Ford v Ferrari’

A buddy movie of the old school

Ford v FerrariI’ve praised Once Upon a Time and The Irishman here, so now let me heap praise on the bracing, exciting, brilliantly executed Ford v Ferrari—the best sports movie in memory.

Review: ‘The Irishman’

Good. Long. Not really juicy.

I like a good, long, juicy movie, so when I heard Martin Scorsese’s The Irishman ran three-and-a-half hours, I sure knew it was long.

Review: ‘Dolemite Is My Name’

A tribute to an entrepreneur

There's a whole subgenre of movies about bad movies, which is odd. After all, most industries don't offer testimonials to their greatest failures and disasters. This strange love of cultural detritus testifies to Richard Rushfield’s theory that the true subject of Hollywood is Hollywood, for even its garbage is turned into the Garbage of Legend.

Review: ‘Parasite’

The insane movie goes Oscar

I love a totally insane movie as much as the next guy. You know the kind. The movie that seems like it emanated from the brain of someone with ADHD who is also a cocaine addict. I’m talking about a movie as nuts as its creator is surely nuts.

Review: ‘Judy’ and ‘Joker’

JokerYou might not think that a biopic about a Hollywood legend on the glide path to her early death in swinging 1969 London and a comic book movie about a villain on the loose in 1970s New York would have anything in common besides titles that begin with the letter J. And yet Judy and Joker are very much alike. They both center on incredibly flashy lead performances with stars who appear in nearly every frame of the picture. They are both unflinching examinations of the toll of mental illness. And they are both astoundingly unpleasant.