JUNE:
“The Conjuring: The Devil Made Me Do It”
There is no doubt that the first “Conjuring” and its sequel, both directed by “Aquaman’s” James Wan, are about as entertaining as commercial horror gets these days. So it’s only a mild disappointment then that Wan will not be returning to the director’s chair for the third “Conjuring” installment, “The Devil Made Me Do It.” Still, “The Curse Of La Llorona” director Michael Chaves is a more-than-suitable Wan substitute, and this new chapter sounds nothing if not on-brand, featuring a fresh storyline that follows seasoned paranormal investigators Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga, naturally) into a chilling new yarn that, apparently, relates to the first point in our country’s history where a murder suspect tried to beat a case by citing demonic possession as a psychological factor. Sold yet? So are we. (June 4, Warner Bros)
“Undine”
Christian Petzold is one of our most gifted arthouse directors, constantly making films that enrapture and challenge his audience, even since the days of early triumphs like “Yella” and “Jerichow” (his last picture, the oblique wartime reverie “Transit,” was one of the best films of 2019). “Undine” might just be Petzold’s strangest and most beautiful movie to date: it’s a timeless love story with deep, moving mythological undercurrents, once again featuring the luminous talents of “Transit” stars Paula Beer and “A Hidden Life” standout Franz Rogowski. Comparisons to “The Shape Of Water” are inevitable, but the film, with its folkloric undertow (shout out to the big catfish, Gunther), its obsession with the archeological history of Berlin, and Petzold’s characteristic refusal to explain himself or dispense with tedious exposition, promises its own singular form of arthouse euphoria. In other words, “Undine” is one of the very best films of the year so far – trust us, you’re not going to want to miss it. (June 4, IFC)
“In the Heights”
The jury may still be out as to whether or not Lin-Manuel Miranda is really the once-in-a-generation genius that his most ardent fans believe him to be or just the latest example of Emperor’s New Clothes Syndrome? Whatever the case, no matter what one thinks of Miranda, “Hamilton,” or the man’s body of work, a lot of people are looking forward to “In The Heights,” the big-screen adaptation of Miranda’s 2007 stage musical of the same name. The film is also director Jon M. Chu’s follow-up to 2018’s crazy-popular “Crazy Rich Asians,” and the cast is stacked with a dazzling array of Latinx talent. The vibrant Washington Heights, New York community depicted in the film is one that Miranda knows intimately, and while the rollout could end up making the film a casualty of the much-discussed HBOMax/Warner Bros merger, “In The Heights” is still primed to be smash hit (the film is set to kick off this year’s outdoor Tribeca fest), as well as another notch on Miranda’s belt of recent triumphs. (June 11, Warner Bros)
“Siberia”
The notorious Abel Ferrara has found himself in a more reflective mood as of late if pensive passion projects like “Pasolini” and “Tommaso” are anything to go off of. “Siberia,” from the basis of its recently released trailer, might very well stand as the most unclassifiable film that the controversial director has ever helmed. Willem Dafoe, Ferrara’s BFF and muse, plays a barkeep living on the frigid, forgotten margins of Siberia, who is haunted by otherworldly visions that may be tied to his past. Ferrara has been quite open about the Freudian influence of “Siberia” and how his dream movie is not exactly interpreted at face value. This type of thinking has resulted in a somewhat divided critical response: our own Jack King called “Siberia” “cold” and “altogether frustrating” while making time to praise Dafoe’s performance. Alas, polarized critical consensus doesn’t change the fact that Ferrara is one of the more important directors currently living and that any new film from him should serve as a cause for celebration. (June 18, Lionsgate)
“The Sparks Brothers”
Edgar Wright loves Sparks, and in “The Sparks Brothers,” he seduces you into loving these genre-blending pop polymaths as much as he does. In this effervescent new documentary, Wright assembles a murderer’s row of cooler-than-thou talking heads – Flea, Fred Armisen, members of Duran Duran, Weird Al Yankovic, and “Scott Pilgrim’s” very own Gideon Graves, Jason Schwartzman, to name a few – to worship at the altar of Sparks. It’s not hard to see what Wright, a born cinephile, sees in the group, who are rightfully heralded here as your favorite band’s favorite band: the best Sparks songs contain the same transfixing surprises, one-of-a-kind characters, and layers of narrative irony that one typically finds in great films. If nothing else, “The Sparks Brothers” is one of the most euphorically enjoyable docs we’ve seen in 2021, and it should hold Wright die-hards over until “Last Night In Soho” sees a release in the fall. (June 18, Focus)
“Luca”
Pixar generally maintains a high standard when it comes to its feature
releases, but even by the lofty bar that the studio regularly sets for itself, 2020’s “Soul” was a triumph of family-friendly humanist storytelling. “Luca” is the studio’s follow-up to “Soul”: accomplished Pixar storyboard artist Enrico Casarosa will be making his directing debut, telling this very personal story about growing up in a seaside Italian town and spending summers at the beach with your best pals. Of course, this is Pixar we’re talking about, which means there’s an added element of fantasy involved, not to mention a delightful voice cast that includes Jacob Tremblay and Jack Dylan Grazer as two sea monster BFFs, plus Maya Rudolph, Jim Gaffigan, and also, naturally, a handful of Italian actors in supporting roles. (June 18, Disney/Pixar)
“F9”
Look, we don’t need need to sell you on why you should or shouldn’t see “F9,” the latest celebration of auto-vehicular mayhem and familial loyalty to rise from the primordial ooze that is the “Fast and Furious” franchise. At this point, you know what these jumbo-sized blockbuster spectacles offer: cars go fast, things go boom, musclebound dudes growl at each other, platitudes about family are repeated over Wiz Khalifa tracks, rinse, lather, repeat. This flippant description is not intended to dismiss the efficacy of these ludicrously enjoyable popcorn epics, which are pretty spectacular when executed correctly (“Fast Five,” anyone?) While we’re mildly nervous to see how this series functions without two of its most charismatic participants (Hobbs and Shaw, er, Dwayne Johnson and Jason Statham), we’re very curious to see a) John Cena as Dom Toretto’s brother Jakob, b) the inevitable “Tokyo Drift” callbacks, and c) to see how the likes of Michael Rooker and Cardi B (yes, you read that correctly) figure into the larger “Fast”-verse. (June 25, Universal)
“False Positive”
It’s about time Ilana Glazer was given a lead role worthy of her talents. Thankfully, she’s front and center in “False Positive,” which she co-wrote with director John Lee, who had previously directed Glazer and Abbi Jacobson in several episodes of the duo’s beloved Comedy Central sitcom, “Broad City.” “False Positive,” however, sounds quite a bit stranger and potentially much darker than an average episode of that show: this one’s a modern-day twist on “Rosemary’s Baby,” with Glazer and Justin Theroux playing a couple having trouble conceiving and Pierce Brosnan as the charming-yet-ominous doctor who could either solve the couple’s fertility issues or make them much worse. “False Positive” is the latest collaboration between Hulu and A24, and if it catches on with audiences, we could potentially be looking at a “Palm Springs”-style sleeper. (June 25, A24)
“Zola”
Whether or not you respond to the fearlessly weird vision of Janicza Bravo, on display in anti-comedy provocations like 2017’s “Lemon” and also terrific, disturbing short films like “Gregory Go Boom,” it’s difficult to deny that the filmmaker possesses of one of the more singular voices in our contemporary alt-comedy landscape. “Zola,” Bravo’s sophomore feature, looks to be both a step in a potentially more accessible direction and also a uniquely out-there take on Americana, capitalism, sex work, and strained friendship that could have only sprung from her beautifully idiosyncratic brain. Our own Jessica Kiang dug “Zola,” describing the film as the “ultimate internet-age tell of messy bitches being extra.” In other words: come for the wild stripper shenanigans, stay for Riley Keough making her impression of Bhad Bhabie, or Nicolas Braun rapping along to “Hannah Montana” by Migos. (June 30, A24)
The Rest Of June: Genre audiences, get excited for “Samaritan,” the latest from “Overlord” filmmaker Julius Avery; the film features none other than the legendary Sylvester Stallone headlining a strange new spin on the modern superhero saga and will hit theaters on June 4. Kevin Hart will also be making a pivot into more dramatic territory with Netflix’s “Fatherhood,” a Paul Weitz-directed weepie about a man seeking solace following his wife’s abrupt and tragic death. Families will want to seek out Netflix’s new animated adventure, “Vivo,” (formerly dated for June 4, and likely out soon), which may very well offer some kid-friendly viewing respite during the noisy onslaught of summer movie season (on that issue, there’s also, uh, “Peter Rabbit 2”… y’know, if that happens to be your thing).
There will also be a great doc about Rita Moreno seeing a release this summer: it’s titled “Rita Moreno: A Girl Who Just Decided To Go For It,” and will feature revealing interviews with the likes of Whoopi Goldberg, Gloria Estefan, Hector Elizondo, and Morgan Freeman, and will see a domestic release via Roadside Attractions on June 18th. Elsewhere, retired 007 and generally dashing Brit Pierce Brosnan will play a masterful international thief in “The Misfits,” the latest blow-shit-up action extravaganza from the perennially underrated meathead maestro himself, Renny Harlin (“The Long Kiss Goodnight,” anyone?)
June will also see the release of “All Light Everywhere,” a kind of metaphysical cinematic interrogation of what many call “the observer effect,” the Tribeca official selection “Fathom,” “A Crime On The Bayou,” a poignant documentary that tells the story of a lasting bond formed between an unjustly arrested Black man, Gary Duncan, and Richard Sobol, his young Jewish attorney; the Dreamworks animated adventure “Spirit Untamed,” and also “The Birthday Cake,” a grimy Mafia thriller that features Shiloh Fernandez, Ewan McGregor, Val Kilmer, Lorraine Bracco, and Aldis Hodge in its cast. John Ruben‘s “Werewolves Within,” starring Milana Vayntrub, Sam Richardson, Cheyenne Jackson, Michaela Watkins, and many more, also hits this month (June 25 and On Demand on July 2).
As far as Netflix’s “America: The Motion Picture,” any cast that includes the likes of Channing Tatum, Olivia Munn, Bobby Moynihan, Judy Greer, Will Forte, Simon Pegg, Killer Mike, and Andy Samberg… I mean, yeah, that’s enough talent that we’re at least gonna check it out, right? Oh, and for those of you who are itching for the sequel to 2017’s “The Hitman’s Bodyguard,” well, “The Hitman’s Wife’s Bodyguard” will see a release through Lionsgate on June 16. Additional mainstream titles, Netflix, also release the action film “The Ice Road” with Liam Neeson that could scratch that particular itch. June also offers Sundance horror hit “Censor” from filmmaker Prano Bailey-Bond (June 11), and festival favorites François Ozon‘s “Summer of ’85” (June 18), and Charles Officer‘s “Akilla’s Escape” (June 11).
