JULY
“Spider-Man: Far From Home” – July 2
We’re at the point where superhero movies have become so embedded in our culture that we’ve come full circle to meta-commentary casting. Allegedly, after hurting his back filming the Academy Award-nominated “Seabiscuit,” our first live-action Peter Parker, Tobey Maguire, was reportedly injured, causing ‘Spider-Man’ producers and director Sam Raimi to panic and scurry to potentially recast. Jake Gyllenhaal was in talks to be his web slinging replacement, so there’s something weirdly endearing about his casting coming full circle, as he appears opposite the swagger of Tom Holland in the newest Spidey sequel. A master of illusion, the wannabe superhero, Mysterio, is a special effects artist who is often living a life of lies he tells himself. The character has always been ripe for reinterpretation, and Gyllenhaal’s pious eagerness looks to be a potentially brilliant casting decision. The villain formula has grown pretty stale in caped crusader movies (which is arguably why Thanos and Kilmonger were such a breath of fresh air for so many viewers) and while the trailer suggests there might be a few too many rogues flying around, we hope that “Spider-Man: Far From Home” is more in line with Raimi’s second film – that could have possibly starred Jake Gyllenhaal – than the third one with Topher Grace that we’d all like to magically wipe from our memory. – AB
“Midsommar” – July 3
Ari Aster made one of the more assured and memorable cinematic debuts of 2018 with “Hereditary,” an elegant and unnerving horror film that scared the pants off of practically everyone who watched it. Given that Aster’s first film was one of the highest-grossing films in A24’s history (second only to “Lady Bird”), it makes sense that the tastemaker studio would want to work with the director once more. So here we are a year later with the A24-produced “Midsommar,” which looks to be another high-minded arthouse creepfest. The director has been coy with the particulars of the story – he’s called his second film a “psychedelic fairy tale” as well as “‘The Wizard of Oz’ for perverts.” Plot details are mostly being kept under lock and key, but we do know that the film focuses on a young American couple (Florence Pugh and Jack Reynor) who take a vacation to a secluded festival somewhere in Sweden – one that devolves into a series of brutal Pagan cult rituals. With a supporting cast that includes the increasingly interesting Will Poulter and “The Good Place’s” William Jackson Harper, “Midsommar” looks to do for the breakup movie what “Hereditary” did for anguished mental breakdown dramas. – NL
“Sword of Trust” – July 12
Lynn Shelton is one of the most earnest and talented cinematic artists working today, but one rarely hears her name come up in such conversations. This may have something to do with her early association with the mumblecore movement – which was more of an indie scene commodity, until recently, But let’s be honest, most likely, it’s because she’s a woman who makes quiet and empathetic movies, not loud blockbusters or Oscar players. Her newest, “Sword of Trust,” which our very own review praised as “hilarious and emotional,” co-stars Marc Maron and premiered at SXSW, following a couple that travels back home to Alabama to collect an inheritance. Cynthia (Jillian Bell) expects that her partner Mary (Michaela Watkins) might be given the keys to her grandfather’s home, but instead, they are handed an antique Civil War sword, along with a seething letter he left behind describing the “War of Northern Aggression.” Sounds like the perfect kind of comedy for these times, one perfectly suited for a director who’s also helmed episodes of countless modern TV classics, ranging from “Mad Men” to “Master of None.” – AB
“The Mountain” – July 26
Rick Alverson’s 2012 breakthrough “The Comedy” prompted walkouts at Sundance and proved polarizing for even the most ardent “Tim and Eric” fans. That squirmy masterpiece also established Alverson as one of the most singular and uncompromising up-and-coming voices in independent film. In “The Mountain,” Alverson’s latest dissection of American delusion, the director reunites with his “Entertainment” collaborator Tye Sheridan (who also executive produced) to tell what might be his most ambitious and challenging story. Following a young photographer (Sheridan) as he embarks on a cross-country tour of America’s mental health facilities with a charismatic doctor known for performing lobotomies (Jeff Goldblum, in an inspired bit of casting), Alverson will be taking on mid-century nostalgia with his trademark mix of droll comedy and austere drama. Our review labeled it “Lanthimos meets Roy Andersson meets a heavy dose of lithium,” and honestly, that sounds right up our alley. This one might not see Alverson gaining any new fans, but it’s another impressively dark addition to the filmography of a director who is proving to be one of the more exciting voices in American independent cinema.- NL [Our review]
“The Art of Self-Defense” – July 12
Dark comedies aren’t always an easy sell for multiplex crowds. While the early half of this past decade gave us an onslaught of mean-spirited “Hangover” knockoffs, honest-to-goodness black comedies are sometimes tough to come by in today’s sanitized moviegoing climate. Enter the Jesse Eisenberg-starring “The Art of Self-Defense,” the new film from indie stalwart Riley Stearns. Stearns is returning to the big screen this summer following his 2014 festival darling “Faults,” which has since amassed a small, but dedicated, fanbase on Netflix in the wake of its initial release. This wince-worthy new effort sees Stearns bringing his deadpan, yet sensitive, touch to the world of karate (there are touches of autobiography here, Stearns being a real-life Jiu-jitsu fighter). By blending the kind of detached, coal-black humor of Yorgos Lanthimos with the scathing attack on male fragility found in something like Jody Hill’s “The Foot Fist Way,” Stearns could have a sleeper hit on his hands here. At the very least, this could be a cult item/midnight movie in the making. – NL [ Our review]
“The Farewell” – July 12
Last year was a breakthrough year for cultural landmark films in the mainstream. “Black Panther” became not only the highest grossing film of 2018, domestically, but the first Marvel Studios film to be nominated for a Best Picture Oscar. Then late in the summer, “Crazy Rich Asians” became a word-of-mouth hit that ended its lucrative run with over $200 million in worldwide grosses. Studios could no longer ignore what they had long turned their backs on: there were plenty of audiences hungry for new stories that reflected a confluence of multicultural perspectives. Following in the footsteps of those studio hits on a smaller scale is Lulu Wang’s “The Farewell.” Wang’s sophomore feature was the talk of Sundance, and it’s shaping up to be another crossover hit from the folks at A24. Rapper/comedian Awkwafina gives what’s already being hailed as a star-making performance as a Chinese-American woman who reunites with her extended brood after it is revealed that her grandmother has been diagnosed with terminal cancer. Wang has proven herself as a real-deal humanist with a deft touch for modest, unfussy drama, and the film’s PG rating means you can actually see it with your own family! – NL [Our review]
