As the year progresses, movie enthusiasts like Mark Olsen are reflecting on 2023’s cinematic landscape which, until recently, has felt lacking in compelling new releases.
However, this weekend promises excitement with the arrival of three highly anticipated films: Ryan Coogler’s ‘Sinners,’ Isaiah Saxon’s ‘The Legend of Ochi,’ and David Cronenberg’s ‘The Shrouds.’
‘Sinners’ marks Coogler’s return as a director after his successful work on the ‘Creed’ series and the ‘Black Panther’ franchise.
This new film features Michael B. Jordan as Smoke and Stack, twin brothers who return to their hometown in 1930s Mississippi to operate a juke joint, only to discover that the world around them has transformed.
Amy Nicholson, reviewing the film, notes, ‘What a blood rush to exit Ryan Coogler’s ‘Sinners’ aware that you’ve seen not merely a great movie but an eternal movie, one that will transcend today’s box office and tomorrow’s awards to live on as a forever favorite.’
Coogler and his regular collaborator, composer Ludwig Göransson, faced unique challenges with the movie’s music-centric narrative.
Coogler expressed a sense of urgency during production, emphasizing, ‘Everybody had this sense of urgency where we all knew that this might be the last time in our lives where we could make something like this that requires this much of ourselves.’
Meanwhile, ‘The Legend of Ochi,’ directed by Saxon, employs old-school animatronic puppetry to bring its bizarre creatures to life, a topic thoroughly explored by journalist Carlos Aguilar.
Saxon shares his vision, stating, ‘The goal was that it felt like it was something from nature, not something from a movie.
I want kids to accept that maybe this is a real place and maybe this is a real animal that they just haven’t discovered yet.’
Cronenberg’s ‘The Shrouds,’ starring Vincent Cassel as a tech entrepreneur grappling with memory and grief, emerges from a deeply personal context for the filmmaker, having been made after the death of his wife.
Despite the somber themes, Cronenberg distinguishes between therapy and art, asserting, ‘Art, to me, is not therapy — it’s something else.
Even a somber movie, it’s really playtime.
You’re in the sandbox.
You’re putting on funny mustaches and funny voices, playing people that you aren’t.’
Cronenberg is set to attend Q&As for the film in Los Angeles this weekend, including an appearance moderated by filmmaker Richard Kelly.
On a different note, the film ‘In the Spirit’ is gearing up for its first 35mm screening since its initial release in 1990.
Presented by Hollywood Entertainment at Brain Dead Studios, this feature is the sole directorial effort of acting coach Sandra Seacat and stars Jeannie Berlin and her mother Elaine May alongside notable actors like Marlo Thomas and Peter Falk.
Co-writer Laurie Jones will introduce the screening, complemented by a video introduction from co-producer Julian Schlossberg.
Described as a New Age satire, the film unexpectedly veers into murder-mystery territory.
Schlossberg reminisces about the film’s production, recalling, ‘A group came together who were friends who cared for one another.
And we had a good time.
And we had a tough time because when you make an independent movie — oh, boy, that’s one tough thing to do.’
Courogen’s recent book, ‘Miss May Does Not Exist,’ reveals May’s crucial involvement in the lengthy postproduction editing process, yet Schlossberg clarifies that May did not overshadow Seacat during filming.
He asserts, ‘Sandra directed the movie — there’s no question.
But in the postproduction, Elaine did come in.
I asked her to come in and work with Sandra and myself.
If you hire an actor who happens to be a writer-director, it’s kind of dopey not to use them if they’re willing to help.’
In her original review, Sheila Benson remarked on Elaine May’s unmatched comedic talent, stating, ‘To be truthful, after a richly funny start, ‘In the Spirit’ crumbles around her at roughly its halfway point.
To an Elaine May junkie, however, that is almost irrelevant.’
Benson also appreciated the comedic prowess of Berlin, who co-wrote the screenplay, saying she has her mother’s timing and perspective ingrained in her performance.
May previously crafted a humorous promotional short film for ‘In the Spirit,’ which provided a candid look at the movie’s challenges, even making Schlossberg a recurring joke.
Reflecting on May’s input, Schlossberg added, ‘She said, I never saw such a bunch of crap.
Talk about how great everything is.
It’s not great.
It’s a tough thing to make a movie.’
According to Schlossberg, May is informed about the upcoming screening and expresses her pleasure at the film’s revival, indicating the enduring trust they’ve shared throughout the years.
He emphasizes, ‘In the motion-picture or the show-business world, the word genius is bandied around and the word artist is bandied around.
I’ve met very few geniuses and, I must say, very few artists.
And Elaine May is both.’
Simultaneously, the Academy Museum is showcasing ‘Something Mysterious: The Art of Philip Seymour Hoffman,’ a series that highlights the Oscar-winning actor’s work following his passing in 2014 at the age of 46.
Displaying an impressive array of Hoffman’s performances, the series includes films like ‘Magnolia,’ ‘The Savages,’ ‘Almost Famous,’ and ‘Synecdoche, New York,’ all restored for screening in 35mm.
In a particular highlight, ‘The Master’ will be shown in 70mm as part of this series, celebrating Hoffman’s immense talent.
Kenneth Turan, in 2000, praised Hoffman’s growing reputation, declaring him to be ‘more and more the most gifted and inspired character actor working in film.’
Similarly, Turan lauded Hoffman’s performance in ‘The Master,’ noting it as ‘impeccable’ and ‘magnetic,’ while stressing the film’s exploration of complex themes.
Hoffman’s impressive range was particularly noted in ‘Charlie Wilson’s War,’ where he effectively delivered Aaron Sorkin’s sharp dialogue, cementing his status as a standout in the ensemble cast.
The series will also include screenings of ‘A Most Wanted Man,’ which marks Hoffman’s final leading role, allowing fans to reflect on his legacy.
In addition to new releases and retrospectives, notable anniversaries are being celebrated, including the 20th anniversary of Joe Wright’s adaptation of ‘Pride & Prejudice.’
The film features Keira Knightley as Elizabeth Bennet and highlights the early-career performances of actors such as Matthew Macfadyen and Carey Mulligan.
Carina Chocano’s review in 2005 noted the film’s vibrant energy, contrasting it with previous adaptations, while Wright expressed his desire to connect the characters with their earthy surroundings.
Also receiving a fresh look is the classic concert film ‘Pink Floyd at Pompeii — MCMLXXII,’ newly restored in 4K to enhance the visuals and sound quality of the 1971 performance.
Fans can experience Pink Floyd’s experimental music in the stunning backdrop of Pompeii, with screenings occurring in local theaters on the 24th and 27th.
Reflecting on the film’s concept, Dennis Hunt remarked on its ambitious setting and the challenge of making the band’s performance engaging in such a unique context.
Lastly, Louis Malle’s ‘My Dinner With Andre’ will be shown, featuring André Gregory and Wallace Shawn engaging in a profound conversation over dinner.
Critically acclaimed for its exploration of meaningful dialogue, the film defies conventional storytelling and interrogates the essence of life.
Kevin Thomas reflected on its artistic merits, asserting, ‘It suggests that life may have some meaning after all — if an attempt to know is balanced with an acceptance of the unknowable.’
Through these exhibitions, screenings, and releases, filmmakers and enthusiasts are given ample opportunity to celebrate both prominent and overlooked works in modern cinema.
image source from：https://www.latimes.com/entertainment-arts/movies/newsletter/2025-04-18/in-the-spirit-elaine-may-jeannie-berlin-peter-falk-philip-seymour-hoffman-pride-prejudice-keira-knightley-pink-floyd-pompeii-my-dinner-with-andre-indie-focus
