Ridley Scott gets back into the historical-epic business with Napoleon, and reunites with the co-star of his greatest success in that genre, Joaquin Phoenix, whom Scott directed to an Oscar nomination in 2000’s Gladiator. With a notable dearth of big-screen Napoleons in recent decades—save for the one in this movie, of course, (and this guy, I suppose)—Scott and Phoenix have an opportunity to define the character for modern audiences. Many early reactions are taking note of the unexpected humor in the film. “I’m glad Ridley Scott has revealed that Napoleon was hilarious,” writes Mike, while Brett dubs it “Beau(naparte) Is Afraid”. Scott confirms in his Journal conversation with Ella Kemp that it’s okay to laugh with Napoleon, and at Napoleon. Now in theaters the world over.

Filmmaker Sam Esmail, who came to prominence as the principal creative force behind hacker TV hit Mr. Robot, returns to feature films (following 2014’s Comet) with Leave the World Behind, an adaptation of Rumaan Alam’s 2020 novel about a small group of people in an isolated location contending with the possible end of the world. Julia Roberts, Mahershala Ali and Ethan Hawke lead the weighty cast. Evan says it’s “both intriguingly and frustratingly vague with its intentions.” “One of the more frightening non-horror films in my lifetime,” declares Stephen. “This may have been the most anxiety inducing film I’ve ever watched,” writes Isabella, who goes on to call it “an interesting take on an apocalyptic psychological thriller.” Now in theaters. On Netflix from December 8.

After silencing the doubters with his well-received (and Oscar-lauded) directorial debut A Star Is Born, Bradley Cooper takes on the role and story of Leonard Bernstein for Maestro, which charts the celebrated composer’s complicated marriage to actress Felicia Montealegre, played here by Carey Mulligan. If “Lenny” sounds familiar to non-classical music folk, you have Lydia TÁR to thank for fueling an obsession. George declares that “Carey Mulligan is the absolute star here”, and Ana concurs, writing that Mulligan is  “spellbinding in the role of Felicia, treating us to a masterclass in the art of subtlety every time the frame closes in on her face.” Matt says the film constitutes “a tremendous leap forward for Bradley Cooper as an artist.” Ezra agrees that Maestro “solidifies … Cooper as an exceptional director,” and describes one sequence as “among the most powerful depictions of an artist pouring their profound love into their craft.” Now in select US theaters, with a global rollout in the coming weeks. On Netflix December 20.

Legendary documentarian Frederick Wiseman, the man behind such landmark, genre-defining works as 1960s films Titticut Follies and High School, is still going strong at 93. His new 240-minute film Menus-Plaisirs Les Troisgros chronicles the daily life of three high-end Parisian restaurants owned and run by the Troisgros family. Chris writes that Wiseman makes full use of the “total-immersion” four-hour running time, which highlights “Wiseman’s unceasing fascination with the roots of serious science, math and labor that twist and turn right beneath the veneer of all creative and sensual fields.” Similarly, Chloe had no problems with the length: “I could have watched these people do fascinating things to foods I’ve never seen before for hours more!” “Don’t interrupt me… thinking about cheeses,” warns Topher. Now in select US theaters.

It isn’t the first Japanese Godzilla movie to get a decent global theatrical rollout, but it feels like Takashi Yamazaki’s Godzilla Minus One is getting a bigger push, with the trailers emphasizing the large-scale CGI spectacle to distinguish this from its more man-in-suit-leaning predecessors. Taking place in Japan in the aftermath of World War II, it’s also breaking bold new ground in sequel/prequel naming-conventions. Long-time online film presence Drew declares: “Might be the best Godzilla movie. Ever. Including the 1954 original.” “The throwback movie that long-time Godzilla fans have been waiting for,” hails Chris. “Wildly imaginative, visceral, and at times incredibly mean and evil,” says FULCiBABY, whose handle suggests they know a thing or two about mean and evil. In select theaters worldwide on December 1.

Hot on the heels of the theatrical success of Taylor Swift: The Eras Tour, Queen Bey releases her own concert movie, Renaissance: A Film by Beyoncé, which chronicles the superstar’s eponymous world tour. Beyoncé’s last concert film, the Coachella-centric Homecoming, enjoys a 4.3 average rating. As does The Eras Tour. Can Renaissance take it higher? (And yes, concert movies are subject to “fan-rating” more than other kinds of films on Letterboxd, but quality also counts: Talking Heads’ Stop Making Sense takes the crown with a whopping 4.7-out-of-five-star average.) Remember when Beyoncé starred in that Fatal Attraction riff, Obsessed? That was fun. In theaters in most regions December 1.

Silent Night, iconic Hong Kong action director John Woo’s first English-language movie in twenty years, is being hailed as a throwback to the glory days of Hard Boiled and The Killer (not the Fincher, more on that below). Woo’s Hollywood career arguably peaked with 1997’s Face/Off, although there are many among us (myself included) who consider Mission: Impossible II to be an unfairly maligned masterpiece. (Paycheck has fewer defenders.)

Joel Kinnaman, one of the most underrated leading action men working today, stars in Silent Night as a grief-soaked father, unable to speak due to injury, who seeks violent revenge against the scumbags who killed his son. On Christmas Eve. “An awesome return to form for John Woo that also feels inventive and new,” writes Steve of the almost dialogue-free film. NCWheeler calls it “Woo’s Death Wish with some Xmas tinsel”. “If John Woo can do this at 77 there is truly no excuse,” observes Ethan. In US theaters December 1.

Sean Price Williams, who’s been the cinematographer for filmmakers such as Alex Ross Perry and the Safdie brothers, makes his directorial debut with The Sweet East, hailed by our Journal team as one of the best films of Cannes 2023, where it premiered in the prestigious Director’s Fortnight section. Talia Ryder stars as high-schooler Lillian, who absconds from a field trip and subsequently encounters an eclectic variety of characters representing various elements of the American experience. They’re played by zeitgeisty actors like Simon Rex, Ayo Edebiri, Jacob Elordi and… erm, Butthole Surfers frontman Gibby Haynes.

“A beautifully chaotic exploration [of] contemporary American division and radicalization,” says José. Ash calls it a “scathingly authentic, yet often darkly humorous, unhinged, f—ked up, and sarcastic portrayal of contemporary Americana”. “This film is how I feel when I’m on an acid trip, to be honest,” admits Andre’u. Ryder, Williams and Rex spoke to George Fenwick for Journal at Cannes. In select US theaters December 1.