| | Video: Vulture/A24 | | Nate Jones made his choice, and he will give you his reasons: “There are Satanists. Someone gets lit on fire. Everybody dies at the end. People open their hearts. It’s a metaphor for grief. It’s weirdly funny.” He had a feeling it could be a contender. Top ten, certainly. Top three, maybe. The middle had been easy — Nate, a Vulture writer, has “a good nose for gradations of mediocre” — and the worst, merely painful. The best, though? That was harder. He knew which movie he loved the most, the career-minter, the Best Picture winner. But these lists can’t be too pat. “Ideally, a Vulture No. 1 is going to be a little bit unexpected, then after you see it, you’re like, ‘Oh, it’s the perfect choice,’” said Nate. “That’s the effect you want.” |
One of the things I find most impressive (if troubling) about my Vulture colleagues is their desire to make epic ranked lists. Each of these takes hours, days, weeks of labor as they haggle their way toward a ranking that all involved can be proud of — with the knowledge that any order they choose will be attacked online as soon as they hit publish. Sometimes an act of service is an act of self-harm. But Nate, who did this A24 list alone over more than two years, insists it was chill: He started watching the films on this list back in spring 2020. Suddenly, he was in his parents’ suburban home with nothing to write about: “Once it was 6 p.m., you’re like, ‘Well, what the fuck do I do with myself?’” A24 was already a phenomenon, having gone from film distributor to studio to Online Ceramics–shirt shiller. There was the buzz. There was the back catalog. There was nothing but time. Nate started watching, and soon, he started ranking. |
Here’s what he came up with. Everything Everywhere All at Once is No. 23. Midsommar (No. 10) is lower than Under the Skin (No. 7). Men is No. 69. Under the Silver Lake is No. 90. Lady Bird is No. 3. U mad, bro? It’s all part of the game — Nate thinking he’s right, you convinced he’s wrong, me pissed that Greta Gerwig made the top five twice (once as director, once as actor … I hope you’re all embarrassed when we finally see Barbie). The special pleasure of reading an A24 list is knowing that, unlike, say, Sony Pictures Classics, this particular scented-candle store has a rabid following that will be discussing these choices for days. Nate wrote about that this week in a piece interviewing both the studio’s stans and the skeptics. He discovered that the A24-fan stereotype of “24-year-old fuckboys who hang out on Canal Street” was far from the norm. “Some of them were like, ‘Oh yeah, I love the merch. It’s fire,’ and some of them were like, ‘I have zero interest in the merch. I’m just about the movies,’” he said. “That made me feel a little less gross about the whole thing — this is something that, at the end of the day, is about people’s relationship to art.” Even when that art is Bodies Bodies Bodies. |
| — Madeline Leung Coleman |
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| | Ryan Reynolds and Rob McElhenney documented together in Wales in May 2022. Photo: Getty Images | | When your job involves watching many hours of often indistinguishable TV, it can be exciting to stumble over a legitimately baffling show. That feeling of uncertainty is so fun! “What is this about? Who is this for? Is this mortifying on purpose?” Still, enjoying the novelty of the unexpected is very different from actually enjoying the show itself, and that’s the state of things with FX’s new series Welcome to Wrexham. It’s a docuseries in which celebrities Ryan Reynolds and Rob McElhenney buy a Welsh football team together even though they don’t know one another or care all that much about football, then attempt to improve that team from thousands of miles away. I know nothing at all about sports, so it’s entirely possible that their investment in this team has been a great thing for Wales. As a show, it’s like watching celebrity gods descending to earth and deciding to fuck around with the mortals because it’s better than being bored. —Kathryn VanArendonk |
“George Miller leans into the winding cadences of the Thousand and One Nights, where a tale might start by leaping centuries and geographies before landing some place specific. It’s a particular, world-traversing rhythm that anyone brought up on such stories will immediately recognize. It enhances both the sense of wonder and the element of surprise, but it also adds a metaphorical kick to a given fable — suggesting that its lessons, such as they are, transcend borders and years. What those long-ago storytellers did with words, Miller does with images, his camera glancing across epic vistas like a rock skipping across a pond.” —Bilge Ebiri |
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“Usually, the replica of a thing is lower in quality than the original, and that is definitely the case when you place these two opening episodes side by side. ‘The Heirs of the Dragon,’ the first episode of House of the Dragon, may borrow themes and story elements from Game of Thrones. But that drama’s pilot, 2011’s ‘Winter Is Coming,’ did it first and better. Here are just six examples of how.” —Jen Chaney |
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“Petersen uses the plane in Air Force One the way he used the submarine in Das Boot and the Andrea Gail in The Perfect Storm: as both a marvel and an obstacle course, one where you never know what challenge it will throw at you next. He also makes sure that the emotions are pitched to unimaginable heights. There isn’t a quiet moment in the film, because why would there be? Read the premise again. The people onscreen are just as bewildered by everything that’s happening as we are. They’re howling, we’re howling, and a silly action movie becomes a work of pure catharsis.” —Bilge Ebiri |
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“Conceptually, I find Clown Parade really intriguing, speaking as a regular listener of Las Culturistas and an admirer of Rogers and Yang’s work. That they’re now able to assume curatorial and taste-making responsibility feels like a natural extension of the cachet the duo has developed over the years through Las Culturistas, and it feels exciting that they’re using that capital to promote a diverse, interesting stable of comedians.” —Nicholas Quah |
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“Scott Adkins is a deity of the direct-to-video realm, proving again and again that you don’t need big budgets or a few hundred overworked VFX artists at your beck and call when you’re capable of providing the spectacle yourself. Adkins is best at rough-and-tumble antiheroes and charismatic villains — he’s incapable of playing a character who has not at some point in his life snapped someone’s arm in two.” —Alison Willmore |
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| — Illustrations by Joe McKendry |
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