movie reviews july 2023

July 2023 Movies

Best Movies Released July 2023

Theater Camp

Sympathy For The Devil

Insidious: The Red Door

Mission: Impossible – Dead Reckoning Part One

Haunted Mansion

Oppenheimer

Jump to: July TBA • July 4 • July 5 • July 7 • July 11 • July 12 • July 13 • July 14 • July 17 • July 18 • July 19 • July 20 • July 21 • July 23 • July 24 • July 25 • July 26 • July 27 • July 28

Released July TBA, 2023

The First Slam Dunk PG-13

Released tuesday, july 4, 2023.

Sound of Freedom PG-13

Warhorse One R

Once Upon a Time in Uganda

Bad Girl Boogey

Released wednesday, july 5, 2023.

Kizazi Moto: Generation Fire (series)

Released Friday, July 7, 2023

Insidious: The Red Door PG-13

The League PG

The Crusades

The Out-Laws R

The YouTube Effect

Released tuesday, july 11, 2023.

Released Wednesday, July 12, 2023

Mission: Impossible – Dead Reckoning Part One PG-13

Released thursday, july 13, 2023.

Gray Matter

The Jewel Thief

Released friday, july 14, 2023.

Theater Camp PG-13

The Channel

Bird Box Barcelona

Black Ice R

Love Tactics 2

Lakota Nation Vs. United States PG-13

The Flood R

The Modelizer R

The Miracle Club PG-13

Two Tickets to Greece

Imagine Dragons Live in Vegas

Fourth Grade

Released monday, july 17, 2023.

Unknown: Cave of Bones

Released tuesday, july 18, 2023.

Released Wednesday, July 19, 2023

The Deepest Breath PG

Released thursday, july 20, 2023.

Superpowered: The DC Story

Released friday, july 21, 2023.

Oppenheimer R

Barbie PG-13

Mother, May I?

They Cloned Tyrone R

Natty Knocks

Fear The Night

Return to Dust

The Beanie Bubble R

See You On Venus

Stephen Curry: Underrated

Released sunday, july 23, 2023.

Special Ops: Lioness (Series)

Released monday, july 24, 2023.

Unknown: Cosmic Time Machine

Released tuesday, july 25, 2023.

Justice League: Warworld R

Resident Evil: Death Island R

Take The Ice

Released wednesday, july 26, 2023.

After the Bite

Released thursday, july 27, 2023.

Dead Man's Hand

Happiness For Beginners

The Lady of Silence: The Mataviejitas Murders

Released friday, july 28, 2023.

Haunted Mansion PG-13

The Mistress

Hidden Strike

Miraculous: Ladybug & Cat Noir, The Movie

The Unknown Country

For The Animals

Sons of Summer

Talk to Me R

Kokomo City R

The Essential Church PG-13

The Slumber Party

How to Become a Cult Leader (series)

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The 10 best movies of 2023 (so far)

EW critics pick the standout titles from the first half of the year, from "Past Lives" to "Spider-Man: Across the Spider-Verse."

Devan Coggan (rhymes with seven slogan) is a senior writer at Entertainment Weekly. Most of her personality is just John Mulaney quotes and Lord of the Rings references.

Maureen Lee Lenker is a senior writer at Entertainment Weekly with over seven years of experience in the entertainment industry. An award-winning journalist, she's written for Turner Classic Movies, Ms. Magazine , The Hollywood Reporter , and more. She's worked at EW for six years covering film, TV, theater, music, and books. The author of EW's quarterly romance review column, "Hot Stuff," Maureen holds Master's degrees from both the University of Southern California and the University of Oxford. Her debut novel, It Happened One Fight , is now available. Follow her for all things related to classic Hollywood, musicals, the romance genre, and Bruce Springsteen.

Christian Holub is a writer covering comics and other geeky pop culture. He's still mad about 'Firefly' getting canceled.

When film historians look back at the pop culture of 2023, what will stick out to them? A robot who slays literally and figuratively? Nike sneakers? Gun-fu? Maybe intimate, personal stories about a mother and son, paths untaken, and teenage growing pains? EW critics Christian Holub, Devan Coggan, and Maureen Lee Lenker discuss all of that and more with the best movies of (the first half) the year.

A Thousand and One

History as seen from the street, A Thousand and One evokes film favorites from the past decade like Moonlight and Boyhood in its decades-spanning story of Inez (Teyana Taylor), a single mother who steals her young son Terry from foster care so that they can pursue the American dream of independence and family together. The film takes place over the course of Terry's childhood and teen years; like Moonlight 's Chiron, he is thus played by three different actors: Aaron Kingsley Adetola at 6, Aven Courtney at 13, and Josiah Cross at 17. Although other people come in and out of the protagonists' lives, A Thousand and One is especially focused on the unshakable bond between mother and son, as they try to survive in a gradually gentrifying New York City (depicted through occasional archival speeches from politicians like former Mayor Rudy Giuliani) that somehow always manages to be most expensive for poor people. Gary Gunn's skilled score keeps everything moving, from one time period to the next. The real highlight of the film, though, is Taylor's passionate performance. She's been a musician, a dancer, and a reality TV star, but here she proves she is truly an actress to reckon with. — Christian Holub

2023 is the year for crisp, cool takes on corporate IP. (See: Blackberry , Tetris , Flamin' Hot. ) But the flashiest (and the best) of them was Ben Affleck 's Air , the first film from Affleck and Matt Damon 's production company, Artists' Equity Studio. It follows Phil Knight (a delightfully gonzo Affleck), his company Nike, and employee Sonny Vaccaro (Damon) as they attempt to forge a business deal with Michael Jordan and develop the Air Jordan shoe line. Corporate business meetings and athletic shoe design hardly seem the stuff of scintillating drama, but as with so much of his work, Affleck leads with humanity, digging into the people behind Air Jordans and why that personal touch was essential to their success. Chris Messina steals scenes as unhinged, foul-mouthed agent David Falk, while Jason Bateman underlays his straight-man deadpan with subtle emotion as Rob Strasser. But much like Jordan on the court, Viola Davis is the GOAT as Jordan's steadfast mother, Deloris, who is determined to play hard ball for her son. In some ways Air is a thesis statement for Artists' Equity itself, a tautly written drama about upending traditional licensing deals in favor of a policy where athletes (and artists) get a piece of everything they touch. Air is a richly entertaining, nimbly paced ensemble piece, but it's also a passionate tribute to innovation and equity — something industry (entertainment and otherwise) could use a whole lot more of. — Maureen Lee Lenker

Are You There God? It's Me, Margaret

Quiet, but never precious, this adaptation of Judy Blume 's beloved coming-of-age novel is everything fans of the book could have wished for and then some. (If you need proof, consider that Blume outright refused to sell the film rights for 50 years until writer-director Kelly Fremon Craig's insightful pitch came her way.) Abby Ryder Fortson leads the film as the titular Margaret, avoiding anything cloyingly precocious, opting instead for a relatable awkwardness that feeds her interactions with gal pals and cute boys alike. She's bolstered by an adult supporting cast including a luminous, yet harried Rachel McAdams as her mother, Barbara; Bennie Safdie as her nebbish, loving father, Herb; and Kathy Bates as Margaret's boisterous, affectionate grandmother. Craig, as has always been the case with Blume, never tries to talk down to her pre-teen audience or dismiss their intelligence. Instead, she meets them (and their parents) where they are with a poignant, funny, honest portrayal of puberty and growing up (understanding that for a tween buying a bra can be as traumatic as questioning one's faith). Margaret deserves a place in the coming-of-age movie hall of fame alongside the likes of Stand By Me and American Graffiti , particularly for the ways it treats girlhood with grace and gravitas, uplifting the fresh, relatability of Blume's voice. — ML

Asteroid City

Every time Wes Anderson makes a new movie, it feels like "the most Wes Anderson movie ever." That's because the director is constantly improving on his trademark mixture of intricately constructed fantasy worlds and deadpan dialogue delivery, and the powerful friction that results from the collision. Even more than The Grand Budapest Hotel or The French Dispatch , the nesting-doll structure of Asteroid City (which plays out as, essentially, a documentary about a play) can throw you for a loop upon first contact. But the deeper you go, the deep emotions about loss and changing times can strike with unexpected power. On the level of filmmaking, Anderson outdoes himself by riffing on genres as diverse as social realist Broadway theater and '50s Technicolor Westerns. The cast combines veterans of his movies (like Jason Schwartzman and Adrien Brody ) with newcomers (like Tom Hanks and Steve Carell ) and some of the most charming child actors you'll see on screen this year, all of whom get to put their own spin on Anderson's funniest dialogue yet. Sometimes Asteroid City goes black-and-white like the director's original Bottle Rocket short film, and in two truly transcendent scenes Anderson deploys the stop-motion animation he perfected on Fantastic Mr. Fox and Isle of Dogs . It really is the most Wes Anderson movie yet — of course it's one of the best this year has to offer. — CH

John Wick: Chapter 4

Several big-name film franchises came to an end this year, but no film finale was grander than this goodbye (for now…?) from Keanu Reeves ' gunslinging hitman. All four John Wick films have been directed by Reeves' former stuntman Chad Stahelski , and that continuity paid off in a fourth installment stacked top-to-bottom with one grand, colorful fight scene after another — each of which outdoes anything in the original — all executed to precision by a team that knows exactly what they're doing at this point. The John Wick series has always borrowed heavily from Asian action cinema, and finally paid that marker by giving Donnie Yen and Hiroyuki Sanada meaty roles that let them kick ass. But the biggest surprise comes from musician Rina Sawayama, who manages to repeatedly steal the screen in her film debut — and bring a whole different energy to post-credits scenes. — CH

When AI finally conquers humanity, I'll welcome our new robot overlords with open arms — provided they're half as fun as M3GAN . In a year filled with self-serious reboots and unimaginative genre fare, this horror-comedy is pure schlocky joy, centering on an awkward tech employee ( Allison Williams ) and the companion robot she programs for her niece. The trailer alone was enough to turn M3GAN into a social media sensation, and the film itself is an unhinged delight, following the titular android as she chops up tech CEOs and TikTok dances her way into our hearts. The horror genre is littered with killer dolls, but M3GAN is truly one of a kind — a lean, mean, meme-worthy machine who's both hilarious and deeply unsettling. You'll never hear Sia's "Titanium" the same way again. — Devan Coggan

While IP-driven blockbusters continue to fixate on the multiverse, Celine Song's Past Lives spins the ideas of paths not taken and alternate lives they might've created into an actually relatable, heartbreaking human drama. Nora (Greta Lee) and Hae Sung (Teo Yoo) knew each other as kids in South Korea, but naturally grew apart after Nora's family emigrated to North America. Twelve years later, they reconnect over Facebook and Skype — and Song disproves the old truism that the internet is inherently un-cinematic by drawing real pathos out of shaky connections and televisual catch-up conversations. Twelve years later, they reunite again, and the longing is almost unbearable. (Lee and Yoo do justice to comparisons with In the Mood for Love. ) Song is a playwright, but this movie is far from "stagey." There are nearly as many beautiful close-ups on puddles as there are on human faces — further proof that even the most romantic human stories are deeply formed by the geography that surrounds us. — CH

Polite Society

Like so many modern young people, Ria Khan (Priya Kansara) wants to be a superhero. But it's not like she's waiting around for a freak accident to give her special powers; instead, she practices fight techniques every day on her YouTube channel, honing her skills so that she can become a professional stuntwoman like her role model, Eunice Huthart — the kind of person who makes those big-screen Marvel movies possible in the first place. Ria soon gets the opportunity to put her fighting skills to the test when her beloved sister Lena (Ritu Arya) gets roped into a marriage whose beautiful trappings are just a cover for the sinister motives of her prospective mother-in-law (Nimra Bucha). In her feature film debut, director Nida Manzoor deploys the comedic timing and quick editing she sharpened on her Channel 4 sitcom We Are Lady Parts , and demonstrates once again the joy of seeing smart, funny women team up against the forces seeking to crush their dreams. — CH

Spider-Man: Across the Spider-Verse

When the first Spider-Verse premiered in 2018, the multiverse was still a niche concept, familiar only to comic book nerds and theoretical physicists. Five years later, we're inundated with movies about the multiverse — and still, no one's doing it better than Spider-Verse. Expectations were high for the long-delayed sequel, and Across the Spider-Verse proved to be worth the wait, a colorful, jaw-dropping spectacle that pushes the boundaries of studio animation. Directors Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson pack every frame with clever callbacks and giddy Easter eggs — but fan service is useless without a well-crafted story. (Cough cough, The Flash .) Spider-Verse expertly juggles both, following Miles Morales (Shameik Moore) as he struggles to balance his Spidey responsibilities with his loyalty to his family. In a sea of seemingly identical superhero movies, Across the Spider-Verse feels like the reset button we need. — DC

Makoto Shinkai's Suzume feels representative of this year in animation, where beauty and innovation have come from unexpected corners. One of the most successful anime directors in Japan, Shinkai broke through with American audiences in 2016 thanks to his surprise hit Your Name , a lovely story of two teenagers who keep switching bodies. Suzume furthers the filmmaker's fascination with our weird bodies: Shortly after magic-wielding adventurer Souta recruits the titular heroine to help prevent cosmic incursions from "the Worm," he finds himself transformed into… a chair. Rest assured this is the most lively chair you've ever seen (watch it hurriedly hobble down the street in pursuit of the cat that cursed it!) thanks to a blend of 2D and 3D animation techniques , as well as a potent metaphor for the post-pandemic experience — don't we all feel a little frozen in place? Don't we all wish similar civilization-shaking disasters could be prevented by locking the right door? As with Shinkai's previous two films, the soundtrack for Suzume comes from the Japanese rock band Radwimps, and they help deepen the emotions behind the director's out-there ideas. — CH

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“Barbie,” director and co-writer Greta Gerwig ’s summer splash, is a dazzling achievement, both technically and in tone. It’s a visual feast that succeeds as both a gleeful escape and a battle cry. So crammed with impeccable attention to detail is “Barbie” that you couldn’t possibly catch it all in a single sitting; you’d have to devote an entire viewing just to the accessories, for example. The costume design (led by two-time Oscar winner Jacqueline Durran ) and production design (led by six-time Oscar nominee Sarah Greenwood ) are constantly clever and colorful, befitting the ever-evolving icon, and cinematographer Rodrigo Prieto (a three-time Oscar nominee) gives everything a glossy gleam. It’s not just that Gerwig & Co. have recreated a bunch of Barbies from throughout her decades-long history, outfitted them with a variety of clothing and hairstyles, and placed them in pristine dream houses. It’s that they’ve brought these figures to life with infectious energy and a knowing wink.

“Barbie” can be hysterically funny, with giant laugh-out-loud moments generously scattered throughout. They come from the insularity of an idyllic, pink-hued realm and the physical comedy of fish-out-of-water moments and choice pop culture references as the outside world increasingly encroaches. But because the marketing campaign has been so clever and so ubiquitous, you may discover that you’ve already seen a fair amount of the movie’s inspired moments, such as the “ 2001: A Space Odyssey ” homage and Ken’s self-pitying ‘80s power ballad. Such is the anticipation industrial complex.

And so you probably already know the basic plot: Barbie ( Margot Robbie ), the most popular of all the Barbies in Barbieland, begins experiencing an existential crisis. She must travel to the human world in order to understand herself and discover her true purpose. Her kinda-sorta boyfriend, Ken ( Ryan Gosling ), comes along for the ride because his own existence depends on Barbie acknowledging him. Both discover harsh truths—and make new friends –along the road to enlightenment. This bleeding of stark reality into an obsessively engineered fantasy calls to mind the revelations of “ The Truman Show ” and “The LEGO Movie,” but through a wry prism that’s specifically Gerwig’s.

This is a movie that acknowledges Barbie’s unrealistic physical proportions—and the kinds of very real body issues they can cause in young girls—while also celebrating her role as a feminist icon. After all, there was an astronaut Barbie doll (1965) before there was an actual woman in NASA’s astronaut corps (1978), an achievement “Barbie” commemorates by showing two suited-up women high-fiving each other among the stars, with Robbie’s Earth-bound Barbie saluting them with a sunny, “Yay, space!” This is also a movie in which Mattel (the doll’s manufacturer) and Warner Bros. (the film’s distributor) at least create the appearance that they’re in on the surprisingly pointed jokes at their expense. Mattel headquarters features a spacious, top-floor conference room populated solely by men with a heart-shaped, “ Dr. Strangelove ”-inspired lamp hovering over the table, yet Will Ferrell ’s CEO insists his company’s “gender-neutral bathrooms up the wazoo” are evidence of diversity. It’s a neat trick.

As the film’s star, Margot Robbie finds just the right balance between satire and sincerity. She’s  the  perfect casting choice; it’s impossible to imagine anyone else in the role. The blonde-haired, blue-eyed stunner completely looks the part, of course, but she also radiates the kind of unflagging, exaggerated optimism required for this heightened, candy-coated world. Later, as Barbie’s understanding expands, Robbie masterfully handles the more complicated dialogue by Gerwig and her co-writer and frequent collaborator, filmmaker Noah Baumbach . From a blinding smile to a single tear and every emotion in between, Robbie finds the ideal energy and tone throughout. Her performance is a joy to behold.

And yet, Ryan Gosling is a consistent scene-stealer as he revels in Ken’s himbo frailty. He goes from Barbie’s needy beau to a swaggering, macho doofus as he throws himself headlong into how he thinks a real man should behave. (Viewers familiar with Los Angeles geography will particularly get a kick out of the places that provide his inspiration.) Gosling sells his square-jawed character’s earnestness and gets to tap into his “All New Mickey Mouse Club” musical theater roots simultaneously. He’s a total hoot.

Within the film’s enormous ensemble—where the women are all Barbies and the men are all Kens, with a couple of exceptions—there are several standouts. They include a gonzo Kate McKinnon as the so-called “Weird Barbie” who places Robbie’s character on her path; Issa Rae as the no-nonsense President Barbie; Alexandra Shipp as a kind and capable Doctor Barbie; Simu Liu as the trash-talking Ken who torments Gosling’s Ken; and America Ferrera in a crucial role as a Mattel employee. And we can’t forget Michael Cera as the one Allan, bumbling awkwardly in a sea of hunky Kens—although everyone else forgets Allan.

But while “Barbie” is wildly ambitious in an exciting way, it’s also frustratingly uneven at times. After coming on strong with wave after wave of zippy hilarity, the film drags in the middle as it presents its more serious themes. It’s impossible not to admire how Gerwig is taking a big swing with heady notions during the mindless blockbuster season, but she offers so many that the movie sometimes stops in its propulsive tracks to explain itself to us—and then explain those points again and again. The breezy, satirical edge she established off the top was actually a more effective method of conveying her ideas about the perils of toxic masculinity and entitlement and the power of female confidence and collaboration.

One character delivers a lengthy, third-act speech about the conundrum of being a woman and the contradictory standards to which society holds us. The middle-aged mom in me was nodding throughout in agreement, feeling seen and understood, as if this person knew me and was speaking directly to me. But the longtime film critic in me found this moment a preachy momentum killer—too heavy-handed, too on-the-nose, despite its many insights.  

Still, if such a crowd-pleasing extravaganza can also offer some fodder for thoughtful conversations afterward, it’s accomplished several goals simultaneously. It’s like sneaking spinach into your kid’s brownies—or, in this case, blondies.

Available in theaters on July 21st. 

Christy Lemire

Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series “Ebert Presents At the Movies” opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here .

• Margot Robbie as Barbie
• Ryan Gosling as Ken
• America Ferrera as Gloria
• Will Ferrell as Mattel CEO
• Kate McKinnon as Weird Barbie
• Ariana Greenblatt as Sasha
• Issa Rae as President Barbie
• Rhea Perlman as Ruth Handler
• Hari Nef as Doctor Barbie
• Emma Mackey as Physicist Barbie
• Alexandra Shipp as Writer Barbie
• Michael Cera as Allan
• Helen Mirren as Narrator
• Simu Liu as Ken
• Dua Lipa as Mermaid Barbie
• John Cena as Kenmaid
• Kingsley Ben-Adir as Ken
• Scott Evans as Ken
• Jamie Demetriou as Mattel Executive
• Alexandre Desplat
• Mark Ronson
• Greta Gerwig
• Noah Baumbach

Cinematographer

• Rodrigo Prieto

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Best Movies of 2023: Every Certified Fresh Movie of the Year

Welcome to the best new movies of 2023, where you can discover the latest films championed by the critics community! Every movie on the list is Certified Fresh, meaning they held on to a Tomatometer score of at least 75% after a minimum number of critics review — 40 for limited or streaming releases, 80 for wide theatrical releases, with five of those reviews coming from Top Critics. — Alex Vo

Are You There God? It's Me, Margaret. (2023) 99%

BlackBerry (2023) 97%

Godzilla Minus One (2023) 98%

Rye Lane (2023) 98%

Fallen Leaves (2023) 97%

Joyland (2022) 98%

The Beasts (2022) 99%

Full Time (2021) 98%

The Taste of Things (2023) 97%

Shayda (2023) 97%

The Teachers' Lounge (2023) 96%

Aloners (2021) 98%

The Innocent (2022) 98%

The Three Musketeers: Part I - D'Artagnan (2023) 98%

Klondike (2022) 98%

Return to Seoul (2022) 97%

A Thousand and One (2023) 97%

Monster (2023) 96%

Huesera: The Bone Woman (2022) 97%

Fremont (2023) 98%

Past Lives (2023) 95%

The Holdovers (2023) 97%

Teenage Mutant Ninja Turtles: Mutant Mayhem (2023) 95%

Anatomy of a Fall (2023) 96%

The Boy and the Heron (2023) 97%

Suzume (2022) 96%

birth/rebirth (2023) 96%

The Wonderful Story of Henry Sugar (2023) 95%

R.M.N. (2022) 97%

Earth Mama (2023) 97%

The Blue Caftan (2022) 96%

Four Daughters (2023) 96%

Spider-Man: Across the Spider-Verse (2023) 95%

They Cloned Tyrone (2023) 95%

Blue Jean (2022) 96%

Nimona (2023) 92%

How to Have Sex (2023) 97%

Attachment (2022) 95%

Amanda (2022) 95%

John Wick: Chapter 4 (2023) 94%

Talk to Me (2023) 94%

You Hurt My Feelings (2023) 94%

Sisu (2022) 94%

Passages (2023) 95%

How to Blow Up a Pipeline (2022) 95%

Saint Omer (2022) 94%

Scrapper (2023) 94%

Smoking Causes Coughing (2022) 94%

The Night of the 12th (2022) 94%

Radical (2023) 95%

Falcon Lake (2022) 94%

After Love (2020) 92%

Oppenheimer (2023) 93%

Air (2023) 93%

M3GAN (2022) 93%

Poor Things (2023) 92%

American Fiction (2023) 93%

Flora and Son (2023) 93%

All of Us Strangers (2023) 96%

Reality (2023) 94%

Revoir Paris (2022) 94%

Alcarràs (2022) 93%

American Symphony (2023) 94%

The Zone of Interest (2023) 93%

The Starling Girl (2023) 92%

Perfect Days (2023) 96%

Juniper (2021) 93%

Influencer (2023) 91%

War Pony (2022) 93%

Jethica (2022) 92%

Dungeons & Dragons: Honor Among Thieves (2023) 91%

May December (2023) 91%

Joy Ride (2023) 90%

Dream Scenario (2023) 91%

Afire (2023) 91%

You Are So Not Invited to My Bat Mitzvah (2023) 91%

Godland (2022) 92%

Other People's Children (2022) 91%

Society of the Snow (2023) 90%

Chile '76 (2022) 91%

The Artifice Girl (2022) 92%

The Unknown Country (2022) 92%

Leonor Will Never Die (2022) 91%

The Origin of Evil (2022) 92%

Bottoms (2023) 90%

Polite Society (2023) 91%

Brooklyn 45 (2023) 90%

Dreamin' Wild (2022) 90%

All Dirt Roads Taste of Salt (2023) 90%

The Cow Who Sang a Song Into the Future (2022) 88%

You Can Live Forever (2022) 90%

Sanctuary (2022) 88%

A Million Miles Away (2023) 89%

Aporia (2023) 90%

Aristotle and Dante Discover the Secrets of the Universe (2022) 88%

Mutt (2023) 89%

Barbie (2023) 88%

Creed III (2023) 88%

The Iron Claw (2023) 89%

Showing Up (2022) 89%

Missing (2023) 88%

The Royal Hotel (2023) 89%

Emily (2022) 87%

Tori and Lokita (2022) 87%

Sick of Myself (2022) 88%

Il buco (2021) 86%

Infinity Pool (2023) 87%

The Blackening (2022) 87%

The Color Purple (2023) 81%

Totally Killer (2023) 87%

Pacifiction (2022) 87%

Sick (2022) 85%

Brother (2022) 87%

Theater Camp (2023) 87%

Of an Age (2022) 86%

The Five Devils (2022) 85%

The Wrath of Becky (2023) 86%

The Killer (2023) 85%

Fair Play (2023) 85%

Eileen (2023) 82%

Nyad (2023) 85%

Suitable Flesh (2023) 85%

The Angry Black Girl and Her Monster (2023) 85%

Cairo Conspiracy (2022) 85%

Wonka (2023) 82%

Evil Dead Rise (2023) 84%

Dumb Money (2023) 84%

Rustin (2023) 84%

Thanksgiving (2023) 84%

Shortcomings (2023) 85%

Jules (2023) 85%

Guardians of the Galaxy Vol. 3 (2023) 82%

Priscilla (2023) 84%

Tetris (2023) 82%

El Conde (2023) 82%

No One Will Save You (2023) 82%

Linoleum (2022) 82%

The Persian Version (2023) 84%

Rotting in the Sun (2023) 83%

Monica (2022) 84%

Maestro (2023) 78%

Leo (2023) 83%

Perpetrator (2023) 81%

Saw X (2023) 80%

Biosphere (2022) 80%

Quiz Lady (2023) 81%

Extraction 2 (2023) 79%

Chicken Run: Dawn of the Nugget (2023) 82%

Enys Men (2022) 80%

Origin (2023) 81%

Between Two Worlds (2021) 79%

Scarlet (2022) 79%

Blue Beetle (2023) 77%

Plane (2023) 78%

Chevalier (2022) 76%

The Lost King (2022) 77%

Scream VI (2023) 76%

A Haunting in Venice (2023) 75%

Red, White & Royal Blue (2023) 75%

The Lesson (2023) 76%

Sitting in Bars with Cake (2023) 75%

Asteroid City (2023) 76%

Leave the World Behind (2023) 73%

Strange Way of Life (2023) 77%

Moving On (2022) 75%

The Offering (2022) 74%

The Inventor (2023) 75%

Elemental (2023) 73%

Medusa Deluxe (2022) 71%

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Hollywood reporter critics pick the best films of 2023.

A romantic collision of past and present, a subversive feminist fairy tale, a metaphysical ghost story, an epic retelling of a horrific footnote in American history and a sublime anti-rom-com are among this year’s highlights.

By David Rooney , Jon Frosch , Lovia Gyarkye , Sheri Linden December 13, 2023

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Any year in which an unlikely summer double bill became a global moviegoing event — with one film soaring toward $1.5 billion in worldwide grosses and the other closing in on $1 billion — can’t be considered bad news for Hollywood. But the Barbenheimer phenomenon aside, bad news plagued the film industry for much of 2023.

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Theatrical grosses remained inconsistent, struggling to regain pre-pandemic momentum for most genres except horror (all hail, new scream queen M3GAN ; a big hand for Talk to Me ), and even the once-reliable cash cow of the superhero blockbuster sputtered more often than not.

The Marvels was a major flop for the MCU, as was The Flash for DC, and although many of us found Blue Beetle an unexpected delight that overcame our weariness with folks in spandex and capes, the movie’s considerable charms failed to translate into healthy ticket sales.

No one knows what’s a safe bet at the box office anymore.

Still, the annual task of whittling down the year’s releases to a Top 10 was more challenging than ever. As is invariably the case, the best of them were festival discoveries. My list is bookended by Sundance premieres, with titles from Cannes, Venice and Telluride occupying every spot in between.

This was a year to celebrate auspicious debuts by women filmmakers whose command of the medium was matched by thematic maturity and an ability to coax transfixing performances from their female leads. In addition to Celine Song’s Past Lives and Savanah Leaf’s Earth Mama , both of which appear on my list, that includes Raven Jackson’s All Dirt Roads Taste of Salt , Georgia Oakley’s Blue Jean , A.V. Rockwell’s A Thousand and One and Tina Satter’s Reality .

The documentary field delivered too many highlights to name, but the nonfiction films that stayed with me included Wim Wenders’ visually seductive Anselm ; D. Smith’s intimate portrait of Black trans sex workers, Kokomo City ; Maite Alberdi’s shattering glimpse into one couple’s lives together, The Eternal Memory ; and Jesse Shortbull and Laura Tomaselli’s searing indictment of the theft of sacred land from its Indigenous owners, Lakota Nation vs. United States .

Two music docs were among my most exhilarating viewing experiences this year — Lisa Cortes’ rip-roaring bio of a singular rock pioneer, Little Richard: I Am Everything ; and Rob Epstein and Jeffrey Friedman’s you-are-there account of a sui generis marathon concert by one of our most original performers, Taylor Mac’s 24-Decade History of Popular Music .

Finally, seasoned documaker Roger Ross Williams segued into narrative features with the uplifting Cassandro , giving Gael García Bernal his best role in years, as a trailblazing queer lucha libre wrestler.

Read on for my ranked Top 10, plus 10 honorable mentions, followed by those of my brilliant comrades in the THR critics’ trenches, Jon Frosch, Lovia Gyarkye and Sheri Linden. I know I speak for all of us in saying 2023 was such a stellar year for movies that our lists could easily have been twice as long. — DAVID ROONEY

2. Poor Things Yorgos Lanthimos has been irreverently thumbing his nose at genre constraints since his Greek Weird Wave breakout with Dogtooth . But nothing in his unique filmography can compare with the fantastical flights of this inspired riff on Mary Shelley’s Frankenstein . Led by a spectacular high-wire act of physical comedy, intellectual curiosity and gleeful licentiousness from a never-better Emma Stone, this adventurous adaptation of Scottish cult author Alasdair Gray’s novel is part absurdist comedy, part picaresque feminist Candide and 100 percent breathtaking original. There’s not a weak link in a supporting cast that includes Mark Ruffalo, Willem Dafoe, Ramy Youssef, Kathryn Hunter and Christopher Abbott.

3. All of Us Strangers There was no tighter ensemble this year than Andrew Scott, Paul Mescal, Jamie Bell and Claire Foy in Andrew Haigh’s dreamy metaphysical ghost story. While it’s a companion piece of sorts to the Brit writer-director’s 2011 breakthrough, the instant queer classic Weekend , the new film mirrors its contemplation of romantic love with an equally thoughtful probe into familial love. Imaginatively adapted from a Japanese novel, this emotional depth charge plumbs the complex relationships between gay men and their parents with uncommon compassion, while also reflecting on the scars of a generation that came of age during the AIDS crisis.

5. Fallen Leaves Six years after Finland’s poet of the proletariat murmured about retirement following his typically idiosyncratic Syrian refugee story, The Other Side of Hope , Aki Kaurismäki returns with an expertly chiseled tale of romantic missteps that lead — with patience, playfulness and humor simultaneously deadpan and steeped in melancholy — to the exultant possibility of love. Laced with winking cinephile references to the director’s auteur heroes, this deceptively modest film is both dour and droll, every frame finding beauty in a dingy milieu that seems frozen in time. As the lonely souls fumbling for connection, Alma Pöysti and Jussi Vatanen are gloriously attuned to Kaurismäki’s wavelength, while his own dog nails a scene-stealing supporting role.

7. Showing Up Comedy has not factored much in the films of Kelly Reichardt, but the director’s latest collaboration with frequent muse Michelle Williams and Pacific Northwest author Jon Raymond has a low-key vein of humor that often recalls the eccentric American microcosms of vintage Robert Altman. Set around the now shuttered Oregon College of Art and Craft in Portland, it tracks the frantic preparations of Williams’ flinty sculptor for a solo gallery show as she deals with the headaches of her messy family, her fellow artist landlord (a hilarious Hong Chau) and a wounded pigeon. Rich in seemingly casual but telling observations, the film is equal parts funny and affecting; it might be Reichardt’s most personal work in its depiction of the challenges of making art amid chaos.

9. Perfect Days A serene film for chaotic times, Wim Wenders’ best narrative feature in years returns to the Japanese capital, almost four decades after he retraced the footsteps of Ozu in the documentary Tokyo-Ga . The great Kōji Yakusho plays a middle-aged man living a life of monastic austerity, greeting each new day with gratitude in his morning routine and approaching his job of cleaning restrooms in the city’s public parks with almost religious devotion. Little by little, hints are dropped of the more complicated earlier existence he left behind, as the rewarding drama becomes a poetic, unexpectedly moving account of one man’s hard-earned peace and contentment.

10. Passages Another German actor, like Hüller, who had a major breakout year is Franz Rogowski, playing the narcissistic film director at the center of Ira Sachs’ bruising Paris-set drama. Rogowski’s Tomas is an emotional wrecking ball, blithely beginning a relationship with Adèle Exarchopoulos’ French schoolteacher without anticipating the wedge it will drive into his marriage to Ben Whishaw’s seemingly more mild-mannered English printmaker. Caustically amusing, sexy, sad and unflinchingly intense, this is an intimate study of the formation and collapse of a romantic triangle, played with an invigorating absence of sentiment by three actors at the top of their game.

Jon Frosch’s Top 10

1. Killers of the Flower Moon 2. Anatomy of a Fall 3. Passages 4. Afire 5. May December 6. Fallen Leaves 7. Showing Up 8. The Zone of Interest 9. Kokomo City 10. All of Us Strangers

Honorable mentions (in alphabetical order): Asteroid City ; The Holdovers ; Maestro ; Menus-Plaisirs — Les Troisgros ; Oppenheimer ; Other People’s Children ; Past Lives ; Poor Things ; Totém ; You Hurt My Feelings

Lovia Gyarkye’s Top 10

1. Showing Up 2. All Dirt Roads Taste of Salt 3. Earth Mama   4. Passages     5. Our Body 6. Menus-Plaisirs — Les Troisgros   7. Anatomy of a Fall   8. Fallen Leaves 9. Are You There God? It’s Me, Margaret 10. Totém

Honorable mentions (in alphabetical order): The Boy and the Heron ; Fair Play ; Killers of the Flower Moon ; May December ; Monster ; Oppenheimer ; Orlando, My Political Biography ; Our Father, the Devil ; A Still Small Voice ; A Thousand and One

Sheri Linden’s Top 10

1. Showing Up 2. May December 3. Anatomy of a Fall 4. Killers of the Flower Moon 5. Past Lives 6. Oppenheimer   7. Pacifiction 8. Asteroid City 9. Passages 10. The Disappearance of Shere Hite

Honorable mentions (in alphabetical order): The Boy and the Heron ; A Compassionate Spy ; The Delinquents ; Maestro ; Occupied City ; The Peasants ; Rodeo ; The Taste of Things ; The Teachers Lounge ; The Unknown Country

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July 2023 will see the theatrical release of a new movie from the Insidious franchise, Ethan Hunt’s latest mission, Christopher Nolan’s newest project, a movie about the world’s most famous doll, a movie based on a theme park attraction, and more. June 2023 saw the release of some of the most anticipated movies of the year, such as the animated adventure Spider-Man: Across the Spider-Verse , the latest Transformers adventure Transformers: Rise of the Beasts , DC’s The Flash , Pixar’s Elemental , Wes Anderson’s Asteroid City , and the final Indiana Jones movie, Indiana Jones and the Dial of Destiny .

As June’s theatrical releases were mostly big ones, none of them are available to stream yet, and most of them will wait a bit longer to join the world of streaming, but July is also bringing some of 2023’s most anticipated movies . July will welcome a variety of titles from different genres and for all tastes, such as a new entry in the Insidious franchise, Ethan Hunt’s most dangerous mission to date, Christopher Nolan’s latest project, a one-of-a-kind Barbie adventure, a new film adaptation of Disney’s Haunted Mansion, and more. Here’s every movie coming to theaters in July 2023 .

Insidious: The Red Door – July 7

Insidious: The Red Door is a supernatural horror movie directed by Patrick Wilson in his directorial debut, and it’s a direct sequel to Insidious and Insidious: Chapter 2 . Set a decade after the events of the second movie, Insidious: The Red Door sees Josh Lambert (Wilson) heading east to take his son, Dalton (Ty Simpkins) to an idyllic university. Unfortunately, Dalton’s college dream turns into a nightmare when the repressed demons of his past return to hunt him and his father. In order to put an end to the haunting, Josh and Dalton must return to the Further, but it won’t be that easy. Also starring in Insidious: The Red Door are Rose Byrne, Andrew Astor, Lin Shaye, Hiam Abbass, and Peter Dager.

Mission: Impossible – Dead Reckoning Part One – July 12

Mission: Impossible – Dead Reckoning Part One is an action spy movie directed by Christoper McQuarrie, and it’s the sequel to the 2018 movie Mission: Impossible – Fallout . Mission: Impossible – Dead Reckoning Part One will see Ethan Hunt (Tom Cruise) and his IMF team going on their most dangerous mission to date: tracking down a new weapon that threatens humanity before it falls into the wrong hands. With the fate of the world at stake and with dark forces from Ethan’s past closing in, Ethan finds himself in a deadly race around the world while being confronted by a mysterious and very powerful enemy. Also starring Mission: Impossible – Dead Reckoning Part One are Hayley Atwell, Esai Morales, Ving Rhames, Rebecca Ferguson, Vanessa Kirby, and Henry Czerny. The sequel, Mission: Impossible – Dead Reckoning Part Two , will be released on June 28, 2024.

Oppenheimer – July 21

Oppenheimer is a biographical thriller movie directed by Christopher Nolan and based on the 2005 biography American Prometheus by Kai Bird and Martin J. Sherwin. Oppenheimer tells the story of J. Robert Oppenheimer (Cillian Murphy) , the director of the Los Alamos Laboratory during the Manhattan Project, and how his contributions led to the creation of the atomic bomb, crediting him as one of the “fathers of the atomic bomb”. Also starring in Oppenheimer are Emily Blunt, Robert Downey Jr., Matt Damon, Florence Pugh, Josh Hartnett, Kenneth Branagh, Josh Peck, and Rami Malek, among many other well-known actors.

Barbie – July 21

Barbie is a fantasy comedy movie directed by Greta Gerwig and based on the famous Barbie doll. Barbie takes the audience to Barbie Land to meet Barbie (Margot Robbie) and Ken (Ryan Gosling), as well as their many different variations. Living in Barbie Land is all about perfection, but when Barbie has an existential crisis, she leaves Barbie Land to go on a journey of self-discovery to the real world – along with Ken, who invited himself. Also starring in Barbie are Kate McKinnon, Issa Rae, Hari Nef, Alexandra Shipp, Dua Lipa, Simu Liu, Ncuti Gatwa, Scott Evans, John Cena, and many, many more.

Related: Barbie vs. Christopher Nolan Is A $400 Million Battle Where Nobody Can Lose

The Beanie Bubble – July 21

The Beanie Bubble is a comedy-drama directed by Kristin Gore and Damian Kulash, and based on the 2015 book The Great Beanie Baby Bubble: Mass Delusion and the Dark Side of Cute , by Zac Bissonnette. It’s the story of Ty Warner (Zach Galifianakis), a frustrated toy salesman whose life and career take a turn when he collaborates with three women – Robbie (Elizabeth Banks), Sheila (Sarah Snook), and Maya (Geraldine Viswanathan). Their idea grows into the biggest toy craze in history: the Beanie Babies. The Beanie Bubble will be released in select theaters before moving to Apple TV+ a week later on July 28.

Cobweb – July 21

Cobweb is a horror movie directed by Samuel Bodin in his directorial debut. Peter (Woody Norman), an eight-year-old boy, is being haunted by mysterious knocking noises coming from inside the walls of his house, which his parents insist are just his imagination. As Peter’s fear grows, he decides to investigate these noises, but he ends up discovering a horrible and dark secret that his sinister parents had kept hidden from him. Also starring in Cobweb are Lizzy Caplan, Cleopatra Coleman, and Antony Starr. Cobweb is getting a limited theatrical release.

Haunted Mansion – July 28

Haunted Mansion is a horror comedy directed by Justin Simien, and it’s the second film adaptation of Walt Disney’s theme park attraction The Haunted Mansion. When Gabbie (Rosario Dawson) and her son Travis (Chase W. Dillon) move into an old mansion, they quickly find that it is haunted, and they need to get rid of all the spirits inhabiting it. To do so, they hire Ben (LaKeith Stanfield), a former paranormal investigator turned tour guide, a priest named Kent (Owen Wilson), Harriet (Tiffany Haddish), a psychic, and history professor Bruce (Danny DeVito), but it won’t be easy to destroy the ghosts living at the mansion. Also starring in Haunted Mansion are Jamie Lee Curtis, Jared Leto, Dan Levy, Winona Ryder, and Hasan Minhaj.

Sympathy For The Devil – July 28

Sympathy For the Devil is a psychological horror movie directed by Yuval Adler. Sympathy For the Devil follows a driver (Joel Kinnaman) who, in the middle of a family emergency, is forced to take a mysterious passenger (Nicolas Cage) at gunpoint. The Driver soon finds himself in a high-stakes game of cat and mouse, where nothing is as it seems, and the Passenger gradually gets more and more violent. Also starring in Sympathy For the Devil are Kaiwi Lyman, Cameron Lee Price, Burns Burns, and Rich Hopkins.

July 2023 Action Movies

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July 2023 Movie Releases

The weather is getting warmer, but there are plenty of movies to keep you cool in the shade this month!

July might not be quite as stacked as June turned out to be, but that doesn’t mean there aren’t a ton of movies to enjoy this month both in theaters and at home. From the next installment of Insidious, some documentaries, streaming originals, and Disney’s new Haunted Mansion, there’s plenty to keep you busy:

Which July release are you most looking forward to watching this month?

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The Best Movies New to Every Major Streaming Platform in July 2023

David ehrlich.

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Netflix may get most of the attention, but it’s hardly a one-stop shop for cinephiles looking to stream essential classic and contemporary films. Each of the prominent streaming platforms caters to its own niche of film obsessives.

From the boundless wonders of the Criterion Channel to the new frontiers of streaming offered by the likes of Max and Disney Plus (at least during the rare months when the latter’s slate of new releases is large enough to warrant a mention), IndieWire’s monthly guide highlights the best of what’s coming to every major streamer, with an eye toward exclusive titles that may help readers decide which of these services is right for them.

Here is your guide for July 2023.

“Underrated” (dir. Peter Nicks, 2023)

Apple TV’s original programming remains scant when compared to some of its competitors (not necessarily a bad thing), but that helps call attention to each new movie they premiere on the service. The jury’s still out on “The Beanie Bubble,” which continues the recent trend of business biopics with what appears to be a very Zach Galifianakis-like take on the Beanie Babies phenomenon — it drops towards the end of the month. On the other hand, there’s no such uncertainty surrounding Peter Nicks’ Sundance-minuted “Stephen Curry: Underrated,” which focuses on its namesake’s formative years at Davidson College, and finds one of the country’s most probing documentary filmmakers trying to explain one of the country’s most dominant athletes. 

Available to stream July 21.

“Tori and Lokita” (dirs. Jean-Pierre & Luc Dardenne, 2022)

A sweltering embarrassment of riches even by the streamer’s already ridiculous standard, the Criterion Channel’s July lineup would be more than enough to keep you busy for an entire summer. It starts with their big themed series of the month, which offers a fun take on a depressingly relevant theme: AI. Surveying the various roles that artificial intelligence has played in cinema over the last 50 years or so, the wide-ranging program spans from the lo-fi comedy of “Dark Star” and the high-silliness of “Zardoz” and “Johnny Mnemonic” to the existential crises of “Ghost in the Shell” and Steven Spielberg’s heart-shattering “A.I. Artificial Intelligence.” These movies could hardly be more different, and yet all of them serve as compelling reminders that entrusting the future to AI is a more complicated proposition than some corporate overlords might imagine, and paying human writers is probably a more rewarding bet all around.

But that’s just the tip of the iceberg, as the Channel is also serving up a pre-“Priscilla” retro of Elvis classics (all the obvious titles, with “Flaming Star” dropping on September 1), a collection of mid-century British noir that’s perfect for cooling off (“Green for Danger,” “Time Without Pity,” etc.), and — for those who don’t mind the heat — a Roberto Rossellini retrospective that covers everything from “Rome Open City” and “The Flowers of St. Francis” to less-discussed later work like “The Age of Medici” and 1974’s “Cartesius.” 

And yet, despite all that (in addition to Susan Seidelman and George Méliès retros, too!), the real highlights of this slate might be the one-offs, which offer subscribers a chance to catch up with some of the year’s best films. Hlynur Pálmason’s epic “Godland” may lose some of its luster on the small screen, but this rugged tale of a 19th century Danish priest journeying to a remote corner of Iceland should prove transporting all the same. Ditto João Pedro Rodrigues’ scorching musical-comedy “Will-o’-the-Wisp,” and the Dardennes brothers’ singularly devastating “Tori and Lokita,” which is the Belgian duo’s angriest film and a movie capable of rattling you to the bone no matter how you watch it.

Available to stream July 18.

Other highlights:

– “A.I. Artificial Intelligence” (7/1) – “Madeline’s Madeline” (7/1) – “Stromboli” (7/1)

“Diamond Island” (dir. Davy Chou, 2016)

Davy Chou’s astonishing “Return to Seoul” is one of those movies that instantly makes you want to watch everything its director has ever made  or will ever make, which is a bit frustrating when it comes to a young filmmaker whose body of work is both slim and hard to see. Chou has only made one other scripted feature, and until now there was nowhere that his newly minted American fans could find it without resorting to piracy. Enter: Film Movement Plus, who have stepped up to the plate and brought “Diamond Island” to the States, and given domestic audiences a long-overdue second chance to catch up with this dreamy coming-of-age sketch about an 18-year-old boy who leaves his rural village in order to find construction work on a glitzy pleasure island off the coast of Phnom Penh. It’s less assured and complete than “Return to Seoul,” perhaps, but it shares that film’s keen sense of alienation in a world aglow.

Available to stream July 7.

– “Drowning by Numbers” (7/14) – “Darkness” (7/28)

“God’s Country” (dir. Julian Higgins, 2022)

“God’s Country” flew a bit under the radar when it was released last fall after a low-key Sundance debut in January 2022, but this intense Thandiwe Newton vehicle is the kind of movie that’s ripe for rediscovery on streaming. Here’s some of what IndieWire’s Christian Zilko had to say about it when it first premiered :

The premise of “God’s Country” paints the proverbial “two Americas” with the broadest possible brushstrokes, pitting a Black, female humanities professor (Newton) against two white hunters who trespass on her property. Nobody mentions who they voted for, but the preconceived notions write themselves. Yet Julian Higgins’ excellent film digs deeper with each passing scene, subverting our first impressions of each character before letting them prove they are exactly who we thought they were; it constantly dangles redemption in front of our faces, begging us to imagine a better world at the same time as it delivers a stark reminder of how bitterly divided the country is. 

Available to stream July 28.

– “The Quiet Girl” (7/7) – “The Two Faces of January” (7/15) – “In Viaggio” (7/27)

“Fast Color” (dir. Julia Hart, 2018)

There’s a great low-budget sci-fi movie premiering on Max this month about two generations of Black women who are bonded together by the strength of the telekinetic powers that see them hunted by a mysterious white man in a slim-fit suit, but it’s definitely not the one that Max has pasted onto the top of its homepage alongside the latest season of “Project Greenlight” (which documents its doomed production). That’s not to throw the inexorably derivative “Gray Matter” under the bus — “Project Greenlight” never gives first-time directors like Meko Winbush a legitimate chance to succeed in the short-term — so much as it is to highlight the richness of Julia Hart’s “Fast Color,” a similar but far more nuanced film whose relative depth and poignancy illustrates the irreplaceable value of the development process. Its well-honed story beats sparked to life with the help of electrifying performances from Gugu Mbatha-Raw and Lorraine Toussaint, this curiously timed new addition to Max is the movie that “Gray Matter” might have been if its creation had been allowed to slow down a bit.

Available to stream July 1.

– “Election” (7/1) – “Klute” (7/1) – “Shoplifters” (7/1)

“2046” (dir. Wong Kar-wai, 2004)

MUBI is busting out the big guns this July, with a release slate that includes multiple hard-to-find films by Robert Altman (“California Split” and “Kansas City”!), Jacques Rivette (“La Belle Noiseuse” and “Gang of Four”!), a newly restored version of Lars von Trier’s brilliant (but hard-to-watch) “The Idiots,” a 2004 short film by the great Mia Hansen-Løve (“Un Pur Espirit”), and three different movies by Wong Kar-wai. Picking the “best” from a crop like that feels a bit foolish, but I’ll take any chance I can get to proselytize about the magic of Wong’s “2046,” which I conversely have no problem labeling as the Hong Kong auteur’s best film . 

Often lost in the shadow of its sister project, this loose sequel to “In the Mood for Love” reintroduces Tony Leung’s Chow Mo-wan reappears as a divorced, mustached, proto-Don Draper type who lives in a Hong Kong hotel and files garbage journalism whenever he isn’t busy negging on showgirls or trying to write his way out of the love story he continues to tell himself about his time with Maggie Cheung’s Su Li-zhen. That process is discursive and impressionistic, even by Wong’s usual standards; if “In the Mood for Love” flirted with symptoms of “Vertigo,” “2046” is so dizzying that it can leave you feeling a little seasick. Points of interest include a rotating cast of beautiful women (including Gong Li as Maggie Cheung’s doppelganger), a timeline that loops around on itself with little warning, and even a glimpse at an imagined future where people can take a train to 2046 in order to recapture their lost memories. No one has ever come back. Once this movie finally clicks into place for you, there’s a good chance that you won’t be coming back either.

Available to stream July 2.

– “The Idiots” (7/7) – “California Split” (7/9) – “La Belle Noiseuse” (7/20)

“Support the Girls” (dir. Andrew Bujalski, 2018)

It might seem like “Support the Girls” is listed as the best movie added to Magnolia Selects virtually every other month (the company can really only reshuffle its library so many times), but whatever — there’s never a bad time to recommend Andrew Bujalski’s workplace comedy masterpiece, and no such thing as “too many times” to do it.

As an umpteenth reminder of its greatness, here’s what IndieWire’s Eric Kohn wrote about “Support the Girls” when we named it one of the 100 best films of the 2010s :

“Regina Hall is astonishing in Andrew Bujalski’s touching look at an earnest woman who manages a sleazy Texas ‘breastauraunt,’ where many things go wrong over the course of a single hectic day. Bujalski’s typically subdued, character-based storytelling takes on a new volume of warmth and sensitivity with this striking examination of surviving difficult times through unbridled empathy. That might sound cheesy, but Bujalski’s such a wizard when it comes to scripting authentic dialogue that ‘Support the Girls’ may as well be a documentary. Hall’s manager juggles each new challenge with a steely resolve that makes her one of Bujalski’s greatest characters, the indefatigable creation of a filmmaker who excels at exploring the nuances of human behavior.

Available to stream July 4.

– “Broken English” (7/11) – “Ukraine Is not a Brothel” (7/18) – “Survival of the Dead” (7/25)

“Titanic” (dir. James Cameron, 1997)

Finally, you can watch one of the greatest blockbusters ever made the way that James Cameron intended for it to be seen: Streaming on Netflix in the immediate aftermath of a tragic accident that somehow makes watching a 26-year-old movie about the sinking of the Titanic feel like it’s weirdly “too soon.” This is just the latest and most unfortunate wrinkle in a Hollywood legend that had already taken on a life of its own by the time the movie itself even came out, but what makes Cameron’s epic so unbeatable is how all of the noise surrounding “Titanic” fades away the minute you start watching it. 

Other highlights

– “The Squid and the Whale” (7/1) – “Wham!” (7/5) – “The Deepest Breath” (7/1)

“Air Doll” (dir. Hirokazu Kore-eda, 2009)

OVID might be known for showcasing well-curated obscurities and digging up diamonds in the rough, but this excellent little service (itself a diamond in the rough) is making a play for a slightly wider audience with its jam-packed July slate, which features some of the highest-profile movies the platform has ever hosted. Of course, everything is relative: There are few other contexts where early films by Alice Rohrwacher (“The Wonders”) or Kelly Reichardt (“River of Grass”) would feel like 800-pound gorillas, but such vaunted modern classics — alongside the likes of Hirokazu Kore-eda’s heartbreaking and heartbreakingly hard-to-find “Air Doll,” a modern fairytale starring Bae Doo-na as an inflatable sex doll who comes to life — fit beautifully alongside the more esoteric titles in OVID’s library, and might be enough to lure a new audience towards movies they may never have discovered otherwise. 

– “We Are Little Zombies” (7/7) – “River of Grass” (7/7) – “The Wonders” (7/13)

“Aftersun” (dir. Charlotte Wells, 2022)

I’m honestly still trying to figure out what Paramount Plus really  is  beyond the subject of a very strange commercial in which a sentient mountain shaped like Sylvester Stallone sneezes onto some other celebrities, but July sees the new-ish platform adopting a more compelling new identity: For now, at least, Paramount Plus is the place where you can stream the single best movie of 2022, Charlotte Wells’ “Aftersun.” That alone would make it one of the better services out there. Throw in a few more recent gems like the Emily Brontë biopic “Emily” and Luca Guadagnino’s characteristically under-appreciated “Bones and All” and it seems like Paramount Plus might be on its way to becoming something more than “that thing I only re-subscribe to when there are new episodes of ‘Evil.'” 

Available July 1.

– “Emily” (7/10) – “It Follows” (7/12) – “Bones and All” (7/31)

“You Won’t Be Alone” (dir. Goran Stolevski, 2022)

Here’s what IndieWire’s Alison Foreman had to say about “You Won’t Be Alone” when she named it the second-best horror movie of 2022, after “Barbarian”:

You won’t be alone. It’s a hell of a sentence — and an even better title — entirely dependent on the type of the isolation proposed. Said of a dark basement à la “Barbarian,” it’s a terrifying thing to hear. Said of your dying day, it might seem important, even spiritually essential.

Writer/director Goran Stolevski spins that intriguing duality into a stunning supernatural vision for his directorial debut, following a young witch named Navena on a sensual and sorrowful odyssey through 19th-century Macedonia. When “Wolf-Eateress” Maria (a slick but still crushing Anamaria Marinca) comes to collect on an old curse, she turns the 16-year-old Navena into a witch, intending to keep her as a companion. Enthralled by the beauty of life, however, the hyper-sheltered Navena (played in order by Leontina Bainović, Noomi Rapace, Carloto Cotta, and Alice Englert) soon sets out on her own, basking and wilting under the bright light of humanity’s warmth. As Nevena pursues acceptance and Maria pursues Nevena, the film whispers with menace and mercy, “You won’t be alone.”

Available to stream July 16.

– “Jaws” (7/1) – “Role Models” (7/1) – “Ambulance” (7/23)

“Till” (dir. Chinonye Chukwu, 2022)

Chinonye Chukwu’s anguished drama about the lynching of Emmett Till may not have received the attention it deserved last awards season, but this lucid retelling of an American tragedy seems certain to become one of modern Hollywood’s most essential biopics now that it’s available to stream. Anchored by Danielle Deadwyler’s poised yet deeply piercing turn as Emmett’s indomitable mother, Mamie — a singular performance that only seems more powerful in the context of the film’s more conventional choices — “Till” may cover more ground than it can handle, but, as IndieWire’s Kate Erbland wrote in her review , the movie “comes to life when daring to be as fierce, as confrontational, and as passionate as the real Mamie.”

– “Birdman of Alcatraz” (7/1) – “Knock at the Cabin” (7/25) – “Heaven Can Wait” (7/29)

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10 Movies That Exemplify Low-Budget '80s Horror

Every disney animation movie releasing after moana 2, 10 comedy movies from the ‘80s that haven't aged well.

We're halfway through 2023 , and countless movies have already graced the screens, with some receiving massive critical and commercial acclaim while the rest were either global disasters or mediocre productions. In fact, every month has seen at least of few of the mix, which, while not on the caliber of being the year's best, entertained the audiences enough to get them through the day.

In particular, the last month has seen a tremendous upsurge in the release of high-quality films such as Extraction 2 , Spider-Man: Across the Spider-Verse , The Boogeyman , The Lesson and (debatably) The Flash . It should be noted that although many of the anticipated movies have already been released, many more are just waiting for the right time to indulge the viewers in a series of surprises. With that in mind, we've compiled a list of the best movies of this month, which range through all genres from comedy to action.

Barbie (July 21)

Barbie has been one of the year's most anticipated films, thanks to its unbelievable cast, which includes Ryan Gosling, Margot Robbie, Simu Liu, Dua Lipa, Hari Nef, and many others. With the film finally out, we have a clear view of what critics and audiences think, and it's the response is extremely enthusiastic.

While career-best performances from Ryan Gosling and Margot Robbie were thought to be the film's strongest points, the costumes and production designs also seemed to have played a significant role in the film's massive success.

The story is about a doll named Barbie, who is forced to leave Barbieland owing to her imperfections, and despite not being content with her decision, she quickly realizes that true beauty comes from inside, not from others.

Oppenheimer (July 21)

Oppenheimer is a film that sets the standards for audiences incredibly high thanks to the reunion of Cillian Murphy ( Peaky Blinders ) and Christopher Nolan ( Inception ). With the reviews out, the movie is expected to offer a relentlessly paced and well-designed historical drama with stellar performances from all cast members.

Fans of Christopher Nolan , who is himself addicted to truly complicated narratives, will certainly have a mind-blowing experience near the film’s moving conclusion, which binds the sequences together. For those who are unfamiliar with the film's premise, it is based on the real-life story of J. Robert Oppenheimer, a renowned physicist who had a significant part in contributing to developing the first nuclear weapon that changed the course of the world for generations, while also bringing regrets that can never be erased.

They Cloned Tyrone (July 21)

They Clone Tyrone is mildly frustrating in its intellectual exercise, but with a great deal of humor, wonderful performances, and delightful production design, it's certainly a frantic ride that seldom slows down, keeping the audience engaged throughout its runtime.

The film revolves around a trio consisting of a sex worker named Yo-Yo (Teyonah Paris), her pimp, Slick (Jamie Foxx), and Fontaine (John Boyega), who sells them drugs. However, when these people are embroiled in a series of unexpected events, they have no choice but to follow the trail, which leads to a government conspiracy in order to survive.

The Beanie Bubble (July 21)

The Beanie Bubble , based on the book The Great Beanie Baby Bubble: Mass Delusion and the Dark Side of Cute by Zac Bissonnette, is a film you should look forward to not only because of the premise it brings to the table, but also because of a stellar cast that includes Sarah Snook ( Succession ), Elizabeth Banks ( The Hunger Games ), and Zach Galifianakis ( The Hangover ).

The colorful dramedy tells the story of Beanie Babies, the stuffed toys which took the world by storm in the early 1990s. Ty Warner was a frustrated salesman who was displeased with the way stuffed animals were regarded as nothing more than money-making machines. After forming a collaboration with three women, he found a new way to dominate the industry, which later became one of the largest toy companies in the world. The film is a complicated character study of a very flawed man and the three clever women in his life who deserved much more credit.

Theater Camp (July 14)

The delightful film Theater Camp , marking the directorial debut of Molly Gordon and Nick Lieberman, is a sweet comedy that provides a heartfelt tribute to those who share a passion for theater arts. When you combine this intent with witty interactions between the characters played by a stellar cast, you get an excellent film, albeit ione which mainly targets a specific niche audience.

In the movie, when the founder of a theater (Amy Sedaris), falls into a coma, her son (Jimmy Tatro) must seek the help of Amos (Ben Platt) and Rebecca-Diane (Molly Gordon) to save the theater from going bankrupt.

The Flood (July 14)

If there isn't a creature feature on the calendar, it won't be a properly fun movie month, no matter how many anticipated films are released. Luckily for us, The Flood has sneaked its way into July's best horror movies with its scary premise based around ravenous alligators . Sure, it's a little dumb, but it's a lot of fun.

The story takes place in a Louisiana prison when massive hurricane floods unleash something far more terrifying than rising water levels in front of the survivors: a relentless horde of hungry alligators of abnormal size. With no way out, the prisoners and guards form an alliance to fight their way out in hopes of surviving the calamity.

Bird Box Barcelona (July 14)

Bird Box , which was released in 2018, was an instant success for Netflix, and many fans wondered why there wasn't ever a sequel produced for this spectacular horror thriller. To their delight, after five years, a spin-off titled Bird Box Barcelona , which takes place in Europe during the same timeline, has been brought into the light through Netflix.

Related: Best Netflix Thrillers to Watch Right Now, Ranked

The story follows a business manager named Sebastian who, during the apocalypse, unites with his young daughter Anna and tries to fight their way through the barren streets of Barcelona in the hopes of finding a sanctuary where they may be free of all the terror. However, has it ever been that simple in the world of Bird Box ?

Quicksand (July 14)

Movies about survival expose audiences to harsh realities even more so than the thrilling adventures they hope to see. The upcoming thriller film Quicksand depicts just that with its story showcasing the worst scenarios one could ever find themselves in the wild.

The movie stars Carolina Gaitan and Allan Hawco as an American married couple on the verge of divorce. During one of their work conferences, the couple hikes through a rainy forest which ends with them getting trapped in quicksand. With no one to help, the couple struggles for their survival in the sinking sand while dealing with a venomous snake.

Mission Impossible: Dead Reckoning Part One (July 12)

With Mission Impossible: Dead Reckoning Part One being the longest installment in the franchise with a runtime of two hours and 43 minutes, the stakes are higher this time around. Even though Tom Cruise is still riding on the success of Top Gun: Maverick , this seventh Mission Impossible film is expected to hit the fandom with quite a few surprises.

While the movie's plot has never been made clear and remains a mystery to some point, Ethan Hunt will once again fight against a global threat, but this time for the benefit of both the world and his companions.

Insidious: The Red Door (July 7)

The Insidious franchise has evolved with each entry and proved the further you travel, the more terrifying and gruesome the journey will get. Furthermore, each film in the franchise has revolved around an appalling spiritual realm known as "The Further," and the fifth installment, Insidious: The Red Door , decided to take the adventure to the next level with its frightening setting.

Related: Most Influential Horror Franchises of the 21st Century So Far, Ranked

The movie will see the return of the Lambert family, who only appeared in the first two films but were absent in the subsequent ones. This time, Josh (Patrick Wilson) and Dalton (Ty Simpkins) will muster their unimaginable courage to traverse into the depths of The Further to confront the demons that lurk within.

Joy Ride (July 7)

Numerous films have tackled the concept of Asian immigrants trying their best to adjust after moving to Western countries like the US, but most don't specifically emphasize the issue. In the upcoming film Joy Ride , we have a similar theme with the actors Ashley Park ( Emily in Paris ), Sherry Cola ( Good Trouble ), Stephanie Hsu ( Everything Everywhere All at Once ), and Sabrina Wu. The surprisingly dirty, raunchy, hard-R comedy breaks down stereotypes and assumptions in hilarious fashion.

The Out-Laws (July 7)

The Out-Laws is one of the most anticipated comedy films this year , directed by Tyler Spindel and produced by Adam Sandler. The film stars Nina Dobrev ( The Vampire Diaries ), Pierce Brosnan ( Tomorrow Never Dies ), and Adam Devine ( Workaholics ), and follows a bank manager who is about to get engaged to the love of his life.

However, he soon finds out that a group of criminals known as "Ghost Bandits" had robbed his bank, and he suspects that his future in-laws are involved. Given the producer's track record of success in the comedy genre, The Out-Laws should be an intriguing addition to the month's lineup.

The Crusades (July 7)

Teenage can be pretty exciting for many people, especially if they have friends who can organize rocking parties on weekends and love affairs to help them get through those cumbersome emotional years. The upcoming comedy film with the tagline, "Love knows no age," brings in the realities of high school where three friends at Our Lady of the Crusades, an all-boys high school, learn that their school is merging with the rivals.

Knowing that their lives will take a worse turn once it happens, they form a pact to have one last epic weekend where they break the rules, have love affairs, and make even more rivals while having an immeasurable amount of fun. If you like teen comedies, The Crusades could be a great movie to watch this month.

Related: Best Teen Romance Movies, Ranked

Bad Girl Boogey (July 4)

This may not be the best time for Halloween slasher films to be released, but Bad Girl Boogey insists on hitting theaters as soon as possible. The film hopes to create an authentically queer portrait while still retaining the main features of the slasher subgenre: gore and grit.

In the movie, blood was shed by a person dressed in a parasitic mask cursed with black magic one Halloween. 16 years later, Angel (Lisa Fanto) lost their best friend at the hands of the same killer, and they're hell-bent on tracking him down. However, before they attempt such a daring feat, they must be willing to face their fears and save the ones they hold dear before the killer gets to them first.

Sound of Freedom (July 4)

Movies based on true stories always bring something unpleasant and disturbing to the light, probably due to the belief that these things are happening somewhere in the world right now. Sound of Freedom is one such film that tackles the reality of unfortunate younger souls who get caught in sex trafficking and spend the rest of their lives hoping someone will come to their rescue.

In this action biography directed by Alejandro Monteverde, we follow a former government agent as he embarks on a perilous mission to rescue several children from becoming the victims of trafficking. The movie was deemed to be powerful and incredibly compelling by audiences, especially conservative and religious ones.

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Barbie and Ken are having the time of their lives in the colorful and seemingly perfect world of Barbie Land. However, when they get a chance to go to the real world, they soon discover the ... Read all Barbie and Ken are having the time of their lives in the colorful and seemingly perfect world of Barbie Land. However, when they get a chance to go to the real world, they soon discover the joys and perils of living among humans. Barbie and Ken are having the time of their lives in the colorful and seemingly perfect world of Barbie Land. However, when they get a chance to go to the real world, they soon discover the joys and perils of living among humans.

• Greta Gerwig
• Noah Baumbach
• Margot Robbie
• Ryan Gosling
• 1.8K User reviews
• 457 Critic reviews
• 80 Metascore
• 204 wins & 424 nominations total

Top cast 99+

• Weird Barbie

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• Trivia Barbie is 23% larger than everything in Barbieland to mimic the awkward, disproportionate scale that real Barbies and Barbie activity sets are produced in. This is why Barbie sometimes appears too large for things like her car or why ceilings seem to be too low in the Dreamhouses.
• Goofs Gloria drives a Chevrolet Blazer SS EV, yet during the car chase scene her electric vehicle makes conventional gas engine acceleration noises.

Ken : To be honest, when I found out the patriarchy wasn't just about horses, I lost interest.

• Crazy credits All the actors playing Barbies and Kens are not indicative of which Barbie and Ken they portray, and are simply listed as playing "Barbie" and "Ken", with the exception. (Just for clarification's sake, Margot Robbie plays "Stereotypical Barbie", Kate McKinnon plays "Weird Barbie", Issa Rae plays "President Barbie", Hari Nef plays "Dr. Barbie", Alexandra Shipp plays "Writer Barbie", Emma Mackey plays "Physicist Barbie", Sharon Rooney plays "Lawyer Barbie", Ana Cruz Kayne plays "Judge Barbie", Dua Lipa plays all the "Mermaid Barbies", Nicola Coughlan plays "Diplomat Barbie", and Ritu Arya plays "Journalist Barbie".)
• Alternate versions The IMAX version, released on September 22, 2023, has an extended runtime of two hours.
• Connections Edited from 2001: A Space Odyssey (1968)
• Soundtracks Requiem (1963/65): 2. Kyrie Written by György Ligeti Performed by Bavarian Radio Orchestra (as Symphonieorchester des Bayerischen Rundfunks) and Francis Travis Courtesy of Deutsche Grammophon GmbH Under licence from Universal Music Operations Ltd

User reviews 1.8K

• andypaps101
• Jul 18, 2023

Incredible Looks From the 'Barbie' Press Tour

• How long is Barbie? Powered by Alexa
• July 21, 2023 (United States)
• United States
• United Kingdom
• Official Instagram
• Official Site
• Venice Beach, Venice, Los Angeles, California, USA
• Warner Bros.
• Heyday Films
• LuckyChap Entertainment
• See more company credits at IMDbPro
• $100,000,000 (estimated)
• $636,238,421
• $162,022,044
• Jul 23, 2023
• $1,445,638,421

Technical specs

• Runtime 1 hour 54 minutes
• Dolby Digital
• IMAX 6-Track
• 12-Track Digital Sound
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Day: July 21, 2023

10 great underrated 1980s movies you probably haven’t seen.

The 80’s was the video store era. The more indie, the less chain-y, the better. Think San Francisco’s Le Video ad LA’s Vidiots. This is where one went to crate dig for the off beat, the crass, the not-quite sure what the hell it is, the grand artistic statements, or the missed theatrical run. In […]