After barely surviving a mandatory shutdown in response to the Coronavirus pandemic, the executive class running some of the largest film studios in the world decided that they weren’t quite ridiculously rich enough yet and furthermore they hadn’t taken enough liberties – financial, creative and moral – with those employed by them.

And so the actors and writers collectively said no and downed tools for five months in a dispute over pay (including residual payments in the age of streaming), working conditions, and especially the increasing threat of artificial intelligence being used to not only write screenplays based on algorithms but to steal the likenesses of actors (living and dead) and store them in perpetuity without just compensation.

With Hollywood productions quiet for half the year and none of the “talent” allowed to promote those movies that were completed prior to the strikes, we ended up with a more limited and less enthusiastically received slate of major releases. Not even superhero movies or franchise sequels fronted by Harrison Ford and Tom Cruise were guaranteed hits anymore.

Despite all this, 2023 ended up being a pretty good year for cinema, with plenty of examples of not only memorable blockbusters but of distinct filmmakers leaving their mark and under-represented communities providing vibrancy and freshness to a myriad of new stories. Based upon UK release dates, these are my 10 Best Films of 2023.

Follow me @SSPThinksFilm on X (Twitter).

10. You Are So Not Invited to My Bat Mitzvah

You Are So Not Invited to My Bat Mitzvah Review

2023 has been a great year for films about how Gen-Z processes their major life experiences, and this delightful, hilarious little film starring most of the Sandler clan (including Adam as an adorably schlubby dad) is up there with the very best.

As she approaches her her 13th birthday and the Jewish coming-of-age ritual, Stacy Friedman (Sunny Sandler) is determined to make her Bat Mitzvah the most perfect and memorable of her peer group, including that of BFF Lydia (Samantha Lorraine). But things get a lot more complicated as hormones, teenage crushes and petty but damaging psychological manipulation via social media enter the mix.

Five years ago, Bo Burnham made his memorable feature debut with Eighth Grade and told one of the most connective, visceral stories about becoming a teenager in years. Sammi Cohen’s film has the same aim but demonstrates how seismically culture has changed in just half a decade, all through a Jewish cultural lens. There may have never been a more challenging time to be growing up in an always-online age, and Alison Peck’s insightful script in addition to the across-the-board wonderfully naturalistic performances help to make this an unexpectedly profound crowd-pleaser.

9. Guardians of the Galaxy Vol 3

Guardians of the Galaxy Vol 3 Review

#JusticeforJamesGunn incarnate, the final chapter of the unlikeliest a-hole superhero team’s story shatters expectations and satisfyingly delivers on almost every level.

After years of defending the countless worlds together, the Guardians team has reached a precarious place. Their leader Peter Quill (Chris Pratt) has slumped into a depressed, alcoholic stupor after losing the love of his life Gamora (Zoe Saldaña), and Rocket’s (Bradley Cooper) past as a bio-engineered test subject comes back to haunt him in a very real way. Can the team come together one last time and save the galaxy, and themselves?

Marvel is seen as a pretty risk-averse studio and certainly much of their recent output has been received with a shrug from many viewers, but Guardians Vol 3 shows what happens when one of the best directors they partnered with is left to finish the story he wanted to tell. The action has never been more polished and visually dazzling, the performances from people and animated raccoons alike so honest and full of pain, Gunn’s love of animals so prominent as the team go up against a truly detestable figure who causes pain for the hell of it.

Recommended for you: MCU Marvel Cinematic Universe Movies Ranked

You Are So Not Invited to My Bat Mitzvah (2023)
Director: Sammi Cohen
Screenwriters: Alison Peck
Starring: Adam Sandler, Idina Menzel, Sadie Sandler, Sunny Sandler, Samantha Lorraine, Dylan Hoffman, Sarah Sherman

The last time Idina Menzel and Adam Sandler tried to raise a good, Jewish family together, Sandler ended up in the trunk of a loan shark’s car and Idina’s father found himself hundreds of dollars in debt. The film was Uncut Gems (2019). This time around, Stacy Friedman (Sunny Sandler) is planning her Bat Mitzvah and the stakes are just as high. 

Sure, the cerebral A24 cult classic and the family flick boasting an Olivia Rodrigo needle drop might not have a lot in common, but this does speak to the versatility of the Sandler family. We can’t help but to compare the two sides of fatherhood––from gambling addiction to embarrassing your daughter at the movies on a Saturday night, Adam Sandler has done it all. 

You Are So Not Invited to My Bat Mitzvah is a family comedy about the woes of 7th grade Stacy Friedman who is desperate to have the coolest Bat Mitzvah in the school. This is no simple task given her best friend, Lydia (Samantha Lorraine), is already totally rich with a huge mansion and neither girl is exactly in with the popular crowd. To make matters more complicated, a good Bat Mitzvah needs a killer DJ, a crazy venue, and a dance with the cutest boy in school, Andy Goldfarb (Dylan Hoffman). Of course, the latter causes some major tensions between the two best friends. As Stacy and Lydia careen into womanhood, they must overcome their feud to throw the ultimate party. 

The Sandler children, who play sisters Stacy and Ronnie (Sadie Sandler), are undeniably charming and turn up that sibling rivalry the way only true sisters can. Even Jackie Sandler has her moment in a cameo as Lydia’s mother Bree. The story, which is already a sweet tale of growing up, is made that much more genuine with the family connection. It is clear that the cast is a tight knit group of Sandler’s friends and family. In the case of this film, if the cast is having fun, we are too.

The film also works as a heartfelt crash course in coming of age in a Jewish community. The world is carefully crafted with sentimental details that explore a vibrant New York community. One of the highlights is the over the top Hebrew School teacher Rabbi Rebecca (Sarah Sherman) who provides tough love, guidance, and of course a themed song when the students come to class. Throughout the film, we get a sense of the closeness of this community but also the pressure to perform for their peers. Here it is proven that the universal lies in the specifics. 

Additionally, You Are So Not Invited to My Bat Mitzvah is an ode to girlhood. Soundtracked by hits from the likes of Taylor Swift, Olivia Rodrigo, Remi Wolf, and Selena Gomez, the film feels informed by real teenage girls. Unlike other Netflix Originals that are fraught with disjointed Gen Z slang and cringy references to outdated trends, You Are So Not Invited to My Bat Mitzvah manages to feel current and in the know (which is a soaring feat for a culture that moves as fast as ours does). The flick is angsty, melodramatic, and flamboyant enough to be ripped from the pages of a teenage girl’s diary––where a boy ignoring you in the hallway feels like the biggest tragedy in human history. 

You Are So Not Invited to My Bat Mitzvah is a quick and enjoyable watch that is good for reminiscing on the plights of early teendom. Sandler’s comedy seems to mature with his growing family. While it maintains his usual goofy antics, he steps aside to make room for his daughters––who prove that they are worthy comedy leads and then some. The family comes together to make a heartwarming and silly comedy that is great for a pick me up. 

Score: 18/24

Recommended for you: Top 10 Adam Sandler Performances

Now known primarily for his outdated and often culturally inappropriate but ever-popular self-produced comedies, Adam Sandler has long been seen by critics and audiences alike as a bastion of bad movies, his once youthful exuberance becoming more lazy and low-brow as the years have passed.

Never a critical darling but always highly thought of within Hollywood itself, Adam Sandler has made a reputation for being a nice guy with a positive attitude. Over the years he has also quietly established a rich catalogue of memorable performances, both in the comedy realm and as a character actor, working with some of the film industry’s most talented hit-makers and most critically acclaimed filmmakers to offer work in films as diverse as Happy Gilmore and The Meyerowitz Stories.

In this Movie List from The Film Magazine, we’re looking back at The Sandman’s seventy-plus film credits to determine his very best performances, judging the quality of comedic and dramatic performances alike to determine which films feature the Top 10 Adam Sandler Performances.

Follow us on Twitter.

10. Big Daddy (1999)

Despite the movie being named after a famous British wrestler (of no resemblance), 1999 family comedy Big Daddy was at least slightly less likely to leave you feeling tired, warn down and like your head had just been beaten in. Slightly.

Sandler’s turn at a family comedy was mixed with his famed 1990s Generation X sense of humour to make something of a mess of a film that saw his unlikely father figure teaching a small child how to eat what he wants and pee in the street. You know, man stuff!

The arc Sandler’s character undergoes is from man-child to fully fledged grown up, with his character embracing change and responsibility to grow as a human being as the film goes on, offering Sandler the opportunity to add a little more than obnoxious comedy to his performance, bringing this offering onto our list.

9. Airheads (1994)

There’s a sense of innocence in Adam Sandler’s 1994 Airheads performance that, when combined with his vastly different look and supporting role, make him hard to identify as the mosher-rocker he portrays.

Essentially the good guy of the group, Sandler’s performance as the band’s drummer alongside band-mates Brendan Fraser and Steve Buscemi becomes one of the more ultimately likeable of the quite uplifting (if not a little ridiculous) movie.

Sandler’s approach to the role from the position of someone with a childish innocence in every adult action is one we would become familiar with in mainstream cinema throughout the years that followed, but it was in Airheads where he first put these talents to the silver screen so effectively.

Despite what feels like a year of negativity, there have been some great films released in 2020 that deserve celebration. Here are Annice White’s Best Films of 2020. Note: these are 2020 films based on UK release dates.

Make sure to follow the author of this article, Annice White, on Twitter @annicewhite_.

10. The Climb

The opening of The Climb sets up beautifully for the rest of the feature – long shots of ‘best friends’ Mike (writer, director, and star Micheal Angelo) and Kyle (Kyle Marvin) cycling a leg of the Tour De France. Kyle is excited about his upcoming wedding, and his fiancée is amazing. Unfortunately, Mike is already very much aware of this. He is also in love with her, and they have been having an affair behind Kyle’s back. Mike is a terrible person and an even worse friend. The Climb is an anti-bromance film.

It is a beautiful film filled with slow and controlled shots. Many have criticised The Climb on the basis that ‘little happens’, but that is the beauty of this small budget independent. We are there to observe life as it happens. There may be moments of heartbreak, but The Climb has honesty and humour at its core.

9. The Boys in the Band

This Netflix Original, based on the play by Mart Crawley and previously adapted for the big screen in 1970, has flown under the radar in a noteworthy year for streaming giants. The film was released with some audience uncertainty as an ‘unnecessary remake’, however, the cast of the film are the stars of the 2018 Broadway revival, so this version comes from a place of respect for the source material. The film was also possibly overlooked due to its lead being played by the often typecast Jim Parsons, though in The Boys in the Band the former ‘Big Bang Theory’ actor shows that he can play much more than a geeky scientist.

The central narrative of how LGBTQ+ people have to hide a part of themselves is unfortunately still relevant. An old college friend of Michael’s (Parsons) is stopping by for a drink but he does not know that Micheal is gay, and Micheal would like his friends to act accordingly. This night throws up issues of internal and external homophobia, and expectations that are placed on a person based on their sexuality. The cast of The Boys in the Band is comprised of openly gay actors, which is something to be championed in 2020, but this not a gimmick and the performances are captivating. The Boys in the Band is a real treat to watch.

Two such noteworthy inhabitants are the Safdie Brothers, a maverick pair of filmmaking siblings, who have used their intrinsic New York charm to penetrate the film industry. Their anxiety-inducing, neo-realist depictions of characters existing inside the very city that raised them, are as equally enticing as they are repellent. Through a nearly devout commitment to capturing realism, the Safdies puppeteer our emotions, perversely infatuating us with their sordid cinematic realities; once held in the vice-like grip of their vagrant characters, we are unable and unwilling to escape. With neurotic wit and unbridled energy, the Safdies focus on self-serving protagonists who exist inside a hell of their own creation—managing to frame each self-centred individual in a way that makes us care deeply for each of them, without straying too far into overly sympathetic territory. Although their films may feel chaotic, Josh and Benny’s presence looms large over each production: by taking up roles in directing, acting, sound, writing and editing, they are able to smear their fingerprints over every frame.

Cheeky and meddlesome, it’s impossible not to find Josh and Benny endlessly endearing and likeable. Listen to them speak and try not to alight with the same spark of chaotic energy they exude as they continuously interrupt one another like excitable children, babbling on about their crafty techniques and their favourite movies. They are endearing as both hands-on filmmakers, like Benny, who insists on holding the boom mic during every scene, and as brothers, like Josh, when he affectionately pulls on Benny’s ear whenever he says something smart.

To put their unique work in order of quality and calibre feels like a task existing outside the realm of possibility. Still, in this edition of Ranked, we odyssey through the vibrant worlds of the Safdie Brothers, trying to find some semblance of order among the pandemonium. 

Make sure to let us know your thoughts on the Safdies in the comments at the end of this article, and follow us on Twitter for updates on more articles like this one. 

Honourable Mention – The Pleasure of Being Robbed (2008)

Directed by Josh Safdie alone, The Pleasure of Being Robbed is an early peep at the budding talents of one half of the extraordinary sibling duo.

The movie follows Eleonore (Eleonore Hendricks), a young woman with a meddlesome desire to take things that do not belong to her. Eleonore is an opportunist with a finely tuned instinct to wriggle herself out of the trouble she pathologically gets herself into. We watch her meander through New York City’s bustling streets, brazenly working out how far she can push the people she encounters, all the while sizing them up for treasures they might possess. Eleonore’s prizes come in many forms, a handful of grapes, a sackful of kittens, the stuff rattling around in the bottom of a stranger’s handbag—each item more alluring and dazzling to her than money, which doesn’t seem to interest her at all. The film’s directionless narrative often threatens to get in the way of itself, yet, before the staleness of her inconsequential activity can catch up with her, Eleonore is already onto her next small adventure. 

With its low production value, small budget and naturalistic (if not improvised) dialogue, The Pleasure of Being Robbed shares the spirit of early Mumblecore movies; although not as self-conscious or subdued, the essence of that DIY style of filmmaking lingers throughout. While the film lacks the immersive style and unbearable tension that will become synonymous with Josh Safdie in his later work, his first feature perpetuates the merits of independent filmmaking, reminding us that aesthetically pleasing, art-house cinema can be as compelling as big-budget blockbusters.

The film is a fun glimpse at the evolving talents of Josh Safdie and is worth checking out to see him perform in an acting role—in which he steals the show, radiating unparalleled levels of cute energy in the world’s goofiest hat. 

5. Lenny Cooke (2013)

This 2013 sports documentary follows Lenny Cooke, a promising young basketball player who was once ranked higher than NBA megastars LeBron James and Amar’e Stoudemire. In archival footage, we watch as Lenny announces, his eyes filled with tears, that he will be entering the 2002 NBA draft. Partly through circumstance, partly through his own mistakes and against the expectations of his friends, players and peers, Lenny goes undrafted, thus beginning his downward spiral into a pit of failure and dead-end dreams.

The footage, primarily made up of abandoned documentary footage, home-movies, news segments and basketball coverage, tells a tragic tale of a budding talent who finds that fame and success are just that tiny bit out of his reach. In the third act of the documentary, the Safdies pick up with Cooke, who has since grown up and started a family. In their affectionate footage, we see a man who has found peace with his failed dreams. Lenny, surrounded by his friends and family, singing R&B songs to his fiancé, is a million miles away from the NBA, yet, presented to us through the fresh eye of a Safdie brother’s lens, it’s hard to imagine that he belongs anywhere else.

There is something for everyone in this melancholic documentary, even if your entire knowledge of basketball comes from the movie Space Jam. The Safdies’ deep-rooted obsession with the sport shines through, making Cooke’s world just as fascinating as any of their narrative features. The documentary speaks to Josh and Benny’s dynamic ability to tell cinematic tales regardless of the medium.

Here are the Top 10 Most Streamed Netflix Original Movies:

1. Extraction – 99 million streams
2. Bird Box – 89m streams
3. Spenser Confidential – 85m streams
4. 6 Underground – 83m streams
5. Murder Mystery – 83m streams
6. The Irishman – 64m streams
7. Triple Frontier – 63m streams
8. The Wrong Missy – 59m streams
9. The Platform – 56m streams
10. The Perfect Date – 55m streams

Topping off the list is this year’s Extraction starring Chris Hemsworth (Thor: Ragnarok). The film reunited the global star with producers Joe and Anthony Russo, who directed Avengers: Endgame, coincidentally another record breaker – the highest grossing theatrical film of all time. Of course, the current global situation may be responsible for this film charting so high, as audiences have only had access to streaming for new releases due to theaters being closed. This film was released during the lock down period.

Some of the most acclaimed Netflix originals have not made the list, such as Roma and Marriage Story, which were both heavy awards contenders. The exception to this would be Martin Scorsese’s crime drama The Irishman which was also nominated for a slew of awards, including 10 nominations at the 2020 Oscars.

One reason why this appeared on the list while the other two did not, could be due to the sheer amount of star power: Scorsese, De Niro, Pacino and Pesci to name a few. Audiences are likely familiar with their work and the crime genre, which has proven to be popular in Hollywood for much of the past century with classics such as The Godfather and Goodfellas. Star power is a key factor in a lot of the other films on the list, with most having a big name in the leading role, such as Ryan Reynolds (Deadpool 2; The Hitman’s Bodyguard) in 6 Underground, Sandra Bullock (Demolition Man) in Bird Box and Adam Sandler (Uncut Gems) in Murder Mystery. 

Unlike The Irishman however, a lot of the other films are more action based as opposed to dialogue focused. Triple Frontier, Extraction, Spenser Confidential and 6 Underground are all action films. These are more friendly to casual audiences and therefore reach a wider appeal. This suggests that these films are more entertaining to viewers who just want to watch a film in a leisurely way.

Another commonality some of the films share is their global appeal. Extraction, for example, takes place in India. 6 Underground features a diverse cast and multiple locations, such as Florence and Hong Kong. Murder Mystery is a globe-trotting crime thriller and Triple Frontier is primarily set in South America. Their popularity not only illustrates the importance of representation, but also proves how much of a global player Netflix has become in targeting specific national demographics. Further proof of this is The Platform, which is a Spanish language film.

Overall, we can draw a few conclusions from the data provided. First and foremost, Netflix are relentless in releasing successful original content – they are clearly succeeding and proving that despite the escalation of the streaming wars, they are still sat securely at the top. The data also suggests Netflix follow a formula to make their films as popular as possible. This formula produces films that have a global appeal through a diversity in cast and location, as well as a focus on action, which casts a wider net on the potential audience. Additionally, the inclusion of a big name actor usually results in better viewing figures as it provides familiarity, the service’s latest action hit The Old Guard starring Charlize Theron being a recent example.

For updates on more stories like this one, follow The Film Magazine on Twitter.

Billy Madison (1995)
Director: Tamra Davis
Screenwriters: Adam Sandler, Tim Herlihys
Starring: Adam Sandler, Bradley Whitford, Bridgette Wilson, Josh Mostel

I loved Billy Madison when I was a kid. My friend and I would quote it incessantly because it’s an irresistible cornucopia of school humor. After a few reenactments of “t-t-t-today, Junior,” teachers lose the will to combat it because they know it’s coming. We joked about how sloppy we like our sloppy joes at lunch, or we would declare how cool peeing our pants was when we spilled water on the crotch. It was internet memes, except only nine other people (it was a tiny school) were subjected to our shenanigans (yes, we quoted Super Troopers just as much).

It was years ago that I last watched Billy Madison, and the passing of time has not helped it. Not that it was some critical gem in the first place, but it’s clear that our society’s collective sense of humor has changed since then.

That’s not good for a movie that is relying on the jokes to prop it up.

The big standout is how often the movie punches down. I don’t think Sandler intended for the film to be mean-spirited, and it doesn’t come across that way, but I can’t support the decision to use a fat, non-hetero character as the butt of a joke. The principal, AKA The Revolting Blob, is a former wrestler who killed someone and makes Billy uncomfortable with sexual advances. Those are the jokes he’s a part of! Billy makes fun of a kid with a stutter, and his black maid is only used as a person for Madison to make weird sexual advances towards. The most tasteless moment is when Billy sexually assaults his teacher on a double dare (after acknowledging that such an act is assault), and she’s fine with it! The film, unintentionally or not, is showing that if a woman rejects your advances, you need to just keep trying — and that she’ll find your violation of her bodily autonomy endearing. 

But, who is Billy Madison?

Picture Trump 50 years ago, begging his dad for a small loan of one million dollars for a business while chasing penguins and reading nudie magazines. He’s a spoiled fuck-up who feels entitled to his dad’s business. He’s a wildly incompetent nuisance, and it’s revealed that his high school diploma was paid for by his father. To earn a chance to run his dad’s business, Billy has to go through school all over again.

Billy’s wealth feels more like a storytelling convenience than a vital part of the film’s structure. It gives us a character without a care in the world — no struggles or hardships. There are no comments on class, and Billy never realizes the extent of his privilege compared to others. No one plainly addresses his utter lack of qualifications after “graduating” high school. He doesn’t renounce his father’s wealth or the benefits of the business. Even if the ridiculousness is part of the joke, it’s not so funny that things couldn’t have been changed to make the movie better, and the character relatable. Frankly, I have a hard time feeling much for the rich kid who doesn’t need anything but his name to be guaranteed survival.

Sandler’s goofball schtick isn’t funny. Speaking in gibberish and making weird voices are weak attempts at humor, but there are moments where Sandler shows life as a lovable loser. Bridgette Wilson plays her problematic role perfectly, showing a pretty convincing turn from Billy’s biggest hater to his lover. He’s not worth it, but damn it if she isn’t great in the pool scene where she motivates him to finish school. Norm McDonald’s bits never fails to crack me up, and Chris Farley is the best cameo in the movie. 

Billy Madison‘s strongest moments are when it’s at its most absurd. The “sloppy joes” joke, the kissing at the end, and the musical number are the best parts. The plot is so stupid that there needs to be more of these elements to keep the entire idea in perspective. Surreal visual elements would have made for a more interesting movie visually, too — the film looks so full overall; give us an acid trip and bizarre high school dance! Make everyone’s actions and statements crazy. Anyone can write a joke based on prejudice, but we can never have enough creative, absurdist comedy in the world.

I’ll probably never watch Billy Madison again, and I wouldn’t recommend watching it if you’ve never seen it. It’s not worth the time when there are so many better movies out there. If you take anything away from this experience, it’s that no one stays mired in juvenile humor, and we all have the capability to move on from it. Even Adam Sandler! I’ll continue to quote the “I award you no points” line, though — it’s so incisive… and, ironically, also applies to this movie.

8/24

Uncut Gems (2019)
Director: Josh and Benny Safdie
Screenwriter: Josh Safdie, Ronald Bronstein, Benny Safdie
Starring: Adam Sandler, Lakeith Stanfield, Julia Fox, Kevin Garnett, Idina Menzel, Eric Bogosian

“Each atom of that stone, each mineral flake of that night filled mountain, in itself forms a world. The struggle itself toward the heights is enough to fill a man’s heart.”  – Albert Camus, The Myth of Sisyphus

Sisyphus, the first king of Corinth in Greek myth, was a sly, deceitful, crafty character. He angered Zeus by harming travellers in violation of Greek hospitality customs, and Zeus, in response, commissioned Thanatos to chain Sisyphus up and take him to the underworld. Thanatos was apparently a dummy, and when Sisyphus asked for a demonstration of the chains, Thanatos chained himself up, allowing Sisyphus to escape unscathed. Another story tells that Sisyphus asked his wife to leave him in the town square just before his death. When he arrived across the river Styx without the proper burial traditions, he begged Persephone to allow him to return to the Earth to scold his wife and receive a proper burial. His wish was granted, though he failed to return to the underworld until his death of natural causes many years later. For cheating both Zeus and Hades, Sisyphus was condemned to push a boulder up a hill. Upon reaching the apex, the boulder rolled right back down, forcing Sisyphus to return to the bottom to continue the absurd task for all eternity.

Uncut Gems isn’t a 1:1 translation of the myth of Sisyphus, but there’s no denying the parallels between the Corinthian king and Sandler’s Howard Ratner. Howie cheats his enemies, his friends, and his family. He sells a chain a friend gave him to hold to get $24,000 so he could place a bet. He pawns Kevin Garnett’s championship ring, which the basketball player lent as collateral, for another $21,000. He keeps a love nest for his girlfriend while still married to his wife, he owes his brother-in-law, Arno, $100,000. He’s sly, deceitful, crafty, and decked out in jewels that would make any king envious. Most important is his absurd persistence for that next big hit, never accepting failure or consequence, and doing anything it takes to overcome an obstacle.

The film opens with Ethiopian miners harvesting black opal. The conditions are obviously rough, with an injured worker surrounded by his comrades, showing the viewer the real blood and work that made this story possible. But within the black opal lies the complexity and age of the universe (“You can see the whole universe in opals,” Howie remarks), and the camera travels into the radiant gem before transitioning into the colon of our main character. The edit shows a cosmic connection between the characters and stones on a microscopic level, and surely sets the tone for this tale of tragedy.

This opal was ordered by Howie, and he is delighted to show this valuable rock to Celtics power forward Kevin Garnett, who has come to his shop on the recommendation of a friend. The opal is set to go to auction (where Howie expects to receive $1,000,000), but Garnett is captivated by the gems. He begs to borrow it, believing it to be a sign of good fortune for his playoff game against the Sixers, and Howie reluctantly accepts. Meanwhile, Arno sends tough guys to confront Howie, and Howie aims to avoid paying his debts while obsessively fighting to receive his own collections.

The story is driven by anxiety-inducing scenes that are filled to the brim with chaos. Howie’s jewellery shop is a place of incessant chatter, buzzing, dinging and screaming, all masterfully edited together to create a tense atmosphere. Howie is alive in this anarchy because of his one-track mind. He’s singularly focused on scoring as big as possible, and throughout the movie he ignores co-workers, family, and gangsters as he texts, digs through a fish, or watches his daughter’s play. A viewer’s mind pleads with Howie to do literally the opposite of what he’s doing, but where’s the fun in that? His aggressive nature is the whole reason this film exists, and will surely lead to his downfall.

Across New York, windows and metal catch flashes of light that mimic the appearance of the multicolored opal. A scene in a club is drenched in blacklight, with red lights expressing Howie’s anger at his friend for not bringing him the gem from KG. The most impressive visuals are the trips into the gems or body, which add a sort of spiritual element to the film, elevating it beyond the typical thriller or gangster film. That cosmic element is also found in the score, a blend of synths, sax and flutes that represent the gem or Howie’s mood. It’s a weird score that perfectly fits with the larger themes of universal interconnectivity.

You don’t have to be a degenerate gambler, NBA fan or Jewish person to appreciate the film, but it certainly will boost your enjoyment. The construction of a narrative around real basketball games is impressive, and hearing a family discuss Linsanity and the garbage New York Knicks front office following Passover is so specifically relatable to the right person. What’s really important are the moments that speak to the human condition, like the myth of Sisyphus. The value in Howie is that continuous will to fight no matter how bad things appear. His joy in victory, followed by the depths of anger in defeat, are feelings anyone can understand. There’s joy in the struggle towards one’s goals, and even more in success, no matter how fleeting. One gets to imagine Howard Ratner happy.

23/24

In estimating data accumulated from Nielsen, ComScore, Box Office Mojo and IMDB, as well as industry insiders, Forbes have created a top 10 list of the best paid actors.

(All figures are pretax; fees for agents, managers and lawyers (generally 10%, 15% and 5% respectively) are not deducted.)

10. Will Smith
Earnings: $35million

9. Paul Rudd
Earnings: $41million

8. Chris Evans
Earnings: $43.5million

7. Adam Sandler
Earnings: $57million

6. Bradley Cooper
Earnings: $57million

5. Jackie Chan
Earnings: $58million

4. Akshay Kumar
Earnings: $65million

3. Robert Downey, Jr. 
Earnings: $66million

2. Chris Hemsworth
Earnings: $76.4million

1. Dwayne Johnson
Earnings: $89.4million

All earnings totals are estimated for the period of June 1st 2018 – June 1st 2019.

Dwayne Johnson reportedly has one of the best financial deals of anyone in Hollywood, commanding upwards of $20million as an up front fee for most feature projects and earning as high as 15% of the profits on big productions he stars in like Fast & Furious and Jumanji. The actor is also paid a reported $700,000 per episode of ‘Ballers’ on HBO, while taking home 6-figures from his merchandising deal with Under Armour.

The presence of most Avengers cast members is due to the overwhelming $2billion plus takings at the worldwide box office for the latest instalment in the franchise Avengers: Endgame, though Bradley Cooper is the exception to that rule. Cooper, who earned just 10% of his $57million annual total from his work as the voice of Rocket Raccoon in the franchise, earned the remaining $50million plus from his deal as the writer, director, producer and star of A Star Is Born, one of 2018’s sleeper hits and an awards season headliner.

Read last year’s results, headlined on the male side by George Clooney, here.

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FEATURED IMAGE CREDIT: JOEL C RYAN/INVISION/AP/REX/SHUTTERSTOCK

Whether you’re an NFL (National Football League) fan or not, it’s hard to argue the rise in popularity American Football has had across the globe, and specifically in the UK, in recent years – let’s not go into detail about whether it should be called “football” or not.

With no less than four NFL regular season games scheduled to take place in England next year, awareness for the sport is at an all-time high and there’s no game on the NFL calendar bigger or more important than The Super Bowl.

But before Super Bowl 53 airs on February 3rd. join me as we start all the way back at our own twenty-five-yard line and drive down the field, counting down some of the best American Football films to get you in the Super Bowl mood.

Grab a beer, take a bite of that hotdog and raise some foam fingers, because these are the Top 5 American Football Films of All Time.

5. Varsity Blues (1999)

Kicking off our countdown in the number 5 spot is Varsity Blues.

This one just edged out Draft Day with Kevin Costner to take the lowest spot on this very exclusive list.

The story tells of reluctant second-string quarterback (the guy that throws the ball) Jonathon “Mox” Moxon who’s more concerned about getting into a good college than winning football games for abusive coach Jon Voight, before being forced to lead the team to victory when their star player goes down with an injury.

The story isn’t going to win awards for originality, but a likable cast comprising of a young Paul Walker and Amy Smart, as well as turn of the century heartthrob James Van Der Beek, all bring just enough charm to the screen to make you root for the characters. Despite the film sometimes playing more like a cautionary tale about the dangers of addiction and excess, rather than a straight-up sports drama, the film still manages to have fun with its characters and deliver an entertaining if not by-the-numbers football flick.

A quick pass to an open receiver and we make it to mid-field for the number two pick…

4. The Waterboy (1998)

Adam Sandler has had a pretty hit or miss relationship with the box office over the years, but one of his earlier and more successful outings was the 1998 sports comedy, The Waterboy.

In The Waterboy, Sandler plays Bobby Boucher, a simple and over-sheltered momma’s boy who finds himself venting his repressed anger issues as a linebacker (a defensive player/tackler) in Henry Winkler’s underperforming Louisiana Mud Dog’s.

Is it silly? Yes.

Is it clever? No.

But does it have some funny moments and some great comedic performances, such as that by Kathy Bates as Bobby’s overbearing mother and Henry Winkler as the cowardly coach Klein. You also get a nice cameo from pro wrestler The Big Show as Bobby’s hero, Captain Insano.

As a cure for some of the more serious American Football films out there that tend to take themselves a little too seriously, The Waterboy is a perfectly fun departure. If you’re looking for an accurate portrayal of American football, then you’d better move along. This is straight up Adam Sandler slapstick, with heaps of pratfalls and gross-out gags to spare.

If you don’t like it then Bobby will undoubtedly tell his momma on you!

Continuing to drive down the field into opponent’s territory, we come to number three on the list…

3. The Blind Side (2009)

Sandra Bullock won the Oscar for her performance as Leigh Anne Tuohy in this film based on the real-life story of pro footballer Michael Oher. The story recounts the inspiring tale of an underprivileged black boy taken in by a wealthy family and later adopted, who finds his calling as a football player, all the while receiving the education and love that had previously been denied to him.

Focusing less on the football aspects and more on the personal struggles of its characters, The Blind Side is an inspirational tale of overcoming the odds. It’s a heartfelt film with solid performances, earning it a solid 3rd spot on this list.

As our running back breaks a tackle and makes his way to the opponents ten-yard line, we come to…

2. Remember the Titans (2000)

Just missing out on the top spot, Remember the Titans is another film based on true events. Denzel Washington plays the tough-loving Herman Boone who is tasked with coaching the formerly all-white T. C. Williams High School football team as it integrates the new black students. Having to deal with more than simply winning football games, the players and local residents must first overcome the sudden race issues thrust upon their humble town. Suffice it to say, they learn to accept each other, becoming brothers on and off the field and finishing their season 13-0 (a feat that actually happened, despite the film’s many liberties taken in regard to actual events.)

Along the way there are plenty of gags, feel-good moments and toe-tapping montages to keep the film from getting too bogged down in politics, not to mention all the mushy “can’t we all just get along” spiel that a Disney film is bound to have in droves.

With a star-studded cast featuring veteran actor Will Patton alongside future stars Ryan Gosling, Hayden Panettiere, Kate Bosworth and Donal Faison, as well as a soulful soundtrack worthy of any CD collection, Remember the Titans is a must-see movie for any fan of American football.

With the clock counting down, we plant our feet, throw the ball to the endzone and…

1. The Replacements (2000)

Touchdown!

Which means only one thing; we’ve reached my number one American football film of all time.

Yes, long before he was busy combatting evil as Constantine and executing bad guy’s John Wick style, Keanu Reeves played all-American quarterback Shane Falco in The Replacements; a film that is (very) loosely based on the events of the 1987 NFL players strike.

When players across the league go on strike over pay issues, interim coach Jimmy McGinty (Gene Hackman) is tasked with drafting a bunch of Average Joes to fill in for the Washington Sentinels and finish out the last four games of the season. It’s a quintessential underdog story, but one that paves the way for a tonne of fun and laugh-out-loud moments throughout. A memorable scene in a jail cell where the team comes together to dance to Gloria Gaynor’s “I Will Survive” is a personal favourite to many.

Joining Keanu as the rag-tag replacement players are Jon Favreau playing a slightly unhinged SWAT member intent on tackling anyone and anything to the ground (including his own teammates) and Rhys Ifans as a foul-mouthed, chain-smoking striker out of Cardiff. You also get standout performances from Orlando Jones as a prima donna receiver, as well as Sumo wrestler Ace Yonamine as an offensive tackle content on stuffing his face with hard boiled eggs before a game.

Amusing characters, terrific soundtrack and an overall sense of fun earn this film the number one spot on this list.

So there you have it, the top 5 American Football films of all time (and just in time for the Super Bowl!)

All that’s left to do now is heat-up some nachos, put on a pot of coffee, and get ready for kick-off!

By Craig Sheldon

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