Ten years after his last “last movie”, The Wind Rises, Japanese animation icon Hayao Miyazaki (My Neighbour Totoro, Princess Mononoke) returns with a new feature that is once again affirming his status as an (the?) all-time master of the form. Currently enjoying a hefty 4.0 average rating, The Boy and the Heron is being variously described as “astounding”, “overwhelming” and “devastating”. Although he’s retired before, audiences seem to be accepting that this probably is the 82-year-old’s final feature, and are celebrating its appropriately self-reflective nature. “An accumulation of everything Hayao Miyazaki has gifted us throughout his incredible career,” exclaims Chiakiii. “It really does feel like a culmination of Miyazaki’s work and watching it knowing that it’s (probably) going to be his swan song makes it hit even harder,” laments Suspirliam. Except that Studio Ghibli’s own head of publicity tells Gemma Gracewood that the animation maestro is very much talking about his next movie (includes more details and some horror chat with cinematographer Atsushi Okui). Now in US, Australian and New Zealand cinemas.

Arguably the most exciting and unpredictable filmmaker working today (top five, at least), Greek director Yorgos Lanthimos does not appear to be disappointing with his latest effort, period fantasy mélange Poor Things, in which Emma Stone plays a re-animated young woman on a grand adventure. Many reviews are noting the film’s thematic relationship to Barbie, while just as many are celebrating the movie’s overt horniness. “A steampunk fairy-tale fantasia that manages to shock you, move you, and make you burst out laughing. This is Yorgos Lanthimos unchained,” celebrates David. “I’ve seen a lot of films about female independence and cynicism shaping while navigating a man’s world but none quite as funny and visually dazzling as this,” concludes Ellis. To mark the film’s release, all members can customize their Poor Things poster, a privilege usually reserved just for Patrons! Now in select US theaters, expands December 22. Opens in most other territories in January.

Origin, the new film from writer/director Ava DuVernay, is a biographical drama that depicts writer Isabel Wilkerson (Aunjanue Ellis-Taylor) as she endures personal tragedy and writes Caste: The Origins of Our Discontents, her acclaimed 2020 tome on racism in America. Origin is of extra note around the Letterboxd home office as the music video released for the film (remember those?) is ‘I Am’, a song by Māori performer Stan Walker. “A heavy, sweeping exploration about the history of caste worldwide in biopic form, with a lot to take in, process, and talk about,” says Aaron of the film, which has screened in several A-list festivals. “Immensely powerful and stunning in its ambition,” applauds Zach. Tiarra observes from weathered audience experience: “It’s frustrating constantly having media that reflects Black trauma. But as it continued I found myself not only learning but so invested in the beauty of the film.” Now in theaters in New York and Los Angeles, expands January 19.

Jodie Comer and an appealing supporting cast (Joel Fry, Mark Strong, Katherine Waterston) star in The End We Start From, an apocalyptic drama that opens with Comer experiencing childbirth as London is submerged in rising floodwaters. Lucy calls it “a more emotional and personal take on the classic disaster film.” Maria agrees: “An intricate portrait of grief and loss that contemplates the innate humanness of continuing to live.” Frances celebrates how the film “nails an important truth: in any disaster scenario, the preppers will crumble while the city folk survive.” Now in select US theaters.

Jeffrey Wright, an always-excellent actor who seems to get better with every passing year, stars in American Fiction, Cord Jefferson’s adaptation of Percival Everett’s 2001 novel Erasure, which concerns a not-very-successful Black novelist who gains unexpected literary steam when, on a lark, he mockingly pens a book filled with stereotypically over-the-top Black-trauma tropes. Caleb “absolutely loved every minute. I can’t really remember a film speaking so very closely to me in the way this one has,” and Rendy found it to be uncomfortably authentic: “As someone whose journalistic career kicked off because I was a diversity hire this was WAY. TOO. DAMN. ACCURATE.” It’s a “whip-smart, nimble satire” according to RogerEbert.com writer Robert Daniels, while Vulture contributor Angelica Jade Bastién counters that it’s “an incredibly trite affair that feels at least a decade behind the times.” In select US theaters December 15.

Hopes have been high for Wonka ever since Paddington and Paddington 2 director Paul King, a Letterboxd fave if ever there was one, was announced as director. The presence of actors such as Timothée Chalamet (in the title role), P2 breakout Hugh Grant (as a singing Oompa Loompa) and Olivia Colman hasn’t done much to dampen enthusiasm for the movie. It’s a prequel to the 1971 Gene Wilder film, as opposed to the 2005 Johnny Depp version, and takes its cues from the warm sincerity of Frank Capra (more on that in Ella Kemp’s upcoming interview with King). Although certain parties may have stubbornly held onto their skepticism on account of the shameless IP-reuse of it all (ahem), early reactions suggest we have a winner on our chocolate-covered hands. “Absolutely freaking adorable,” says Annie. Joe appreciated how “not a single cast member is wasted and everyone gets their own time to shine. Also the musical parts are absolute bangers. And incredible acting performances.” In theaters the world over December 15.

Arguably worthy of being alongside Yorgos Lanthimos in that top five referenced above is British filmmaker Jonathan Glazer (Sexy Beast, Birth, Under the Skin), who cut his teeth making music videos for Massive Attack and Radiohead, and only releases a feature film every ten years or so. Those three titles mentioned above—bangers every one—comprise his entire filmography, until now. The Zone of Interest, which took home the Grand Prix (i.e. the runner-up award) at this year’s Cannes Film Festival, depicts the domestic life of Auschwitz commandant Rudolf Höss and family, who reside next door to the death camp during World War II. “A seamless integration of form and ideas,” according to Daniel, and “a cinematically innovative and borderline experimental piece of work on emotional detachment and nonchalance in the face of atrocities,” in Hungkat’s view. “Simultaneously entrancing and unsettling, it feels like you’re watching Little House on the Prairie but listening to Come and See,” is Brandon’s eloquent encapsulation. In select US theaters December 15.

God bless the boffins at Aardman Animation. They may not be the only practitioners keeping stop-motion animation alive and vibrant, but they certainly feel like the candle-bearers for the increasingly imperiled art form. And now they’ve made a sequel to arguably their biggest success outside of Wallace & Gromit (no disrespect to Shaun the Sheep). Zach reckons that Chicken Run: Dawn of the Nugget “goes bigger and bolder than any Aardman film before,” while Luke calls it an “absolutely perfect sequel. Not a boring moment. They got this so right.” “A delicious ode to the heist movie that critically manages to both justify its existence, but not find itself burdened to play the hits,” celebrates Jacob. On Netflix December 15.

It’s time for Dom’s Pick! Every fortnight, your humble Call Sheet editor closes with a recommendation for your watchlists. This edition: Airheads (1994). Viewed mostly with skepticism at the time of its release, this endearingly goofy comedy is a stealth classic that now functions as a fascinating time capsule of a transitional era in studio comedies. Prime Brendan Fraser, an alarmingly youthful, pre-Billy Madison Adam Sandler and a gently unhinged Steve Buscemi, in one of his first purely comedic roles, comprise LA rock band The Lone Rangers. Frustrated by their lack of success, this trio of dim bulbs takes over a radio station with real-looking toy guns in order to get their demo played over the airwaves. But when a technical snafu delays that outcome, the hostage situation descends into Dog Day Afternoon with Van Halen jokes.

Everyone is doing something interesting here, but Buscemi and Sandler (who would go on to collaborate several more times) steal the show for me as brothers Rex and Pip, responsible for the film’s funniest moments. There’s an almost stunt-casting quality to the stacked supporting cast, with the likes of Joe Mantegna, Michael McKean, David Arquette, Chris Farley and Judd Nelson all generating memorable moments. The soundtrack is an equally interesting snapshot of the era (Primus, White Zombie, House of Pain) and director Michael Lehmann (Heathers) keeps things brisk and tight. This seriously underrated comedy is newly available to stream on Hulu.