Do big-screen rom-coms still exist? Do movie stars still exist? According to Anyone But You, the answers are: yes, and, just you wait. Quite reasonably pinning its fortunes on rising talents Sydney Sweeney and Glen Powell, two shiny young things very much primed for stardom after breaking out in Euphoria and Top Gun: Maverick respectively, the Shakespeare-inspired Anyone But You has as good a chance as any to reaffirm the commercial value of stories about attractive people arguing and then eventually kissing.

Will Gluck, who previously gave us the light-footed likes of Easy A, directs—and he co-wrote the screenplay with Ilana Wolpert, whose five-star Letterboxd review comes with delightful tags. Wolpert’s lists are worth exploring, as she dives into rom-com machinations like “nefarious purpose” and “enemies to lovers”, shares the films that lit her writing fuse, and catalogs ten great picks for that week between Christmas and New Year. Which might include her own: “This movie could revitalize the need to see cheesy rom-coms in theaters,” theorizes Christina; “Put romantic comedies back in movie theaters so we can more regularly have the kind of communal experience I had with my girls tonight!” Sophie insists. Now in US theaters, releases in most other territories on Christmas Day.

After multiple delays, some of them force majeure, Aquaman and the Lost Kingdom finally arrives to ostensibly close out the previous era of the DC Extended Universe. It’s been hard to judge the buzz as they don’t appear to have been screening it to critics—rarely a good sign—but it’s important to remember that few people thought the first Aquaman movie was gonna do anything all that amazing and it ended up making over a billion dollars at the box office. Hard to picture that feat being repeated here, but James Wan is a director who can be relied upon to deliver the goods and Jason Momoa’s megawatt charisma can justify plenty. Here at Letterboxd HQ, we root for anything featuring our Tem. Now in theaters in most territories, releasing over the Christmas break in the rest.

Adapted by Andrew Haigh from a 1987 Japanese novel by Taichi Yamada (previously turned into this movie), All of Us Strangers is a romantic drama starring two currently scorching actors, Andrew Scott and Paul Mescal (enjoy their four favorites). They begin a relationship after a chance encounter, while the former discovers his long-dead parents living in his childhood home (Haigh shot those scenes in his actual childhood home). Cited by Journal contributor John Forde as one of the best films of this year’s fall festivals, the guaranteed awards-contender is reducing almost everyone who sees it to a puddle. “I want to curl up into a ball and die right now,” says Kylo. “I legitimately considered running out of the theater because of how much of it hit close to home,” admits Pate. Men crying, always a moment. Now in select US theaters.

Following up his underrated 2020 yuppie death rattle The Nest, Canadian filmmaker Sean Durkin (who announced his arrival with Sundance sensation Martha Marcy May Marlene in 2011) once again shows himself to be one of the most assured contemporary filmmakers around with The Iron Claw, which tells the true story of the Von Erich wrestling family’s rise to (mostly regional) prominence in the ’80s, while enduring much tragedy. Featuring a touching and revelatory lead performance from a never-better Zac Efron, as well as stellar turns from Harris Dickinson, Jeremy Allen White and Stanley Simons as his brothers—not to mention a cement-like Holt McCallany as their hard-ass pop—The Iron Claw is “a patient yet succinct two-hour movie that recounts the story of an amazing family and I just don’t think you could do much better with the material,” in Raygun’s words. In US cinemas from December 22 and other territories in early 2024.

Perennially divisive director Zack Snyder is back at it again with a new big-budget Netflix film, and this one is in two parts! Snyder has repeatedly explained how Rebel Moon – Part One: A Child of Fire is a reconfigured Star Wars pitch rejected by Lucasfilm. The early reviews are proving… what else?… divisive. Karl reckons that “if you don’t take things too seriously, it’s actually a pretty good time.” Griffin describes it as being “like a Heavy Metal, James Cameronish remix of Star Wars”. And Jaime warns/hypes that it’s “the most Zack Snyder that any of Zack Snyder’s movies could ever get”. Speaking of Zack Snyder’s movies: we have his four favorites in the bag. Now streaming on Netflix.

Celie and Shug are back. Steven Spielberg was Oscar-nominated for his 1985 adaptation of Alice Walker’s 1982 novel The Color Purple and now, 38 years later, comes a cinematic mounting of the Broadway musical adaptation of the same book. Fantasia Barrino, Taraji P. Henson and Danielle Brooks lead the cast of the new version, and Letterboxd reviewers are rapt with their work, with a particular focus on Brooks as Sofia, the role played by Oprah Winfrey in the earlier film. “Danielle Brooks is the mother I never had, she is the sister everybody would want. She is the friend that everybody deserves,” heralds Ira. “Deserves an Oscar for every single scene she steals,” says Zoë. “A rousing musical that brings a number of fantastic songs and a strong ensemble together in spectacular fashion,” is Josh’s endorsement. In US theaters Christmas Day.

One of the most memorable cinema-going experiences of your humble Call Sheet editor’s young life was Frank Marshall’s 1993 film Alive, rarely discussed these days, which told the incredible true story of how a Uruguayan rugby team (and their friends and family) attempted to survive being stranded high in the freezing Andes mountains after a plane crash in 1972. Acclaimed Spanish filmmaker J.A. Bayona (The Impossible) tackles the same real-life incident with Society of the Snow, which promises a non-English, more culturally authentic depiction than the earlier American film. “Harrowing and bleak yet oddly heartwarming, this thematic juggernaut is a somber pondering of friendship, existentialism, survival, religion, stories and the meaning of life,” exclaims Serial Chat Killer.

Aaron appreciates how Society of the Snow showcases Bayona’s directorial mastery better than, say, Jurassic World: Fallen Kingdom: “Don’t ever let those big studio franchises get their hands on J.A. Bayona again. This is where he belongs, telling us deeply human, emotional, riveting stories in an equally cinematic yet authentic way”. One of the most indelible aspects of the earlier film was the plane crash set-piece, a cinematic feat of authenticity in its time, and poor Giovanna’s take suggests the new film goes even further in this regard: “I’m getting on a plane in two days for f—k’s sake”. Marianna concurs: “Will make you want to avoid flying anywhere, any time soon.” Now in select theaters, on Netflix January 4.

Legendary director Michael Mann returns to the big screen for the first time since 2015’s Blackhat with Ferrari, which stars Adam Driver as automobile icon Enzo Ferrari, attempting to prove his brand’s worth by winning a race across Italy in the late ’50s. Tyler calls it “a masterful biopic on the life and misfortunes of one man hell-bent on perfection no matter what or who gets hurt along the way”. “Mann is back in full force with a loud, roaring biopic, showing his strengths as an action and drama director,” raves Nicolò. “Loud, mean, awesome, heartbreaking,” says Colin, who goes on to declare that “there is no excuse for anyone to make a ‘conventional’ biopic again”. Ioan is ready for a rewatch: “The film is simultaneously weird but yet so meticulous, there’s so many little details I’ve thought about that make me want to go back.” In US theaters Christmas Day, UK theaters on Boxing Day.