One of the most universally and rapturously praised movies in recent memory, Joachim Trier’s The Worst Person in the World is now in theaters following a dream festival run in the latter half of 2021. The biting Norwegian romantic comedy is making legions of Letterboxd members feel seen with its empathetic insights, anchored by a star-making performance from Renate Reinsve.

“Starting to think I’m not the only person who can feel the weight of time passing resting on my shoulders every day,” says Muriel. “Thank you Renate Reinsve I feel very well represented,” concurs Liam. Will Steele celebrates how Trier “has dismantled the intricacies of intimacy like no other with this film. His dissection of human relationships is performed with such surgical accuracy. Everything is laid bare.” Read Mitchell Beaupre’s chat with Trier, in which they discuss the joys of Éric Rohmer.

Moonfall, the latest disaster epic from disaster-epic specialist Roland Emmerich, feels like a throwback in a blockbuster era defined by intellectual property. A cinemaplex film featuring characters we’ve never heard of before—that almost never happens. This film features some lunar shenanigans that require a heroic response from Halle Berry and Patrick Wilson. Do look up, the moon is falling on the earth. “Pure unfiltered Emmerich bliss,” proclaims Russell Hainline. “So f—kin stupid and I loved every minute of it,” opines Mess Anderson.

Disney appears to be simply putting its head in the sand regarding Armie Hammer’s presence in Death on the Nile, previously delayed for Covid-related reasons. It’s Kenneth Branagh’s second Agatha Christie adaptation after Murder on the Orient Express (he directs and stars as Belgian detective Hecule Poirot), and whodunnit purists know that the resolution here is much more satisfying than in the train-based film—and even more so than the book, in Robbie’s opinion. There are enough stars to fill the Nile, but the low expectations stemming from the problems surrounding its release suggest this burgeoning franchise may be snuffed out earlier than originally hoped, to Herman’s dismay: “I would watch one of these every year.”

Reboot fatigue is real, but the talent involved in The Batman makes it hard to ignore. A quiet achiever in the world of genre cinema, director Matt Reeves never fails to deliver something fresh to whatever sandbox he’s playing in, as seen in Cloverfield, and the second and third Planet of the Apes films. Also, he’s a Twilight Zone nerd (as revealed in Felicity, which he co-created with JJ Abrams), which is always a good thing. (In theaters March 4.)

A Hero, the latest from celebrated Iranian filmmaker Asghar Farhadi, is now available to view on Amazon Prime Video, and is generating reviews on par with Farhadi’s previous works, “Farhadi’s best since A Separation, and on the same level. There may be better filmmakers right now, but there’s no better dramatist,” espouses Scott Tobias. “Another powerful and immersive human drama, that’s deceptively simple yet complexly layered,” writes Michael Green. Letterboxd’s Mitchell Beaupre spoke to Farhadi for this extensive interview.

Jackass Forever arrives a long twenty years after the first movie (yes, you’re old), but just in time for pandemic-fatigued audiences in search of light relief (and pig semen). It’s a franchise defined by juvenile misadventure, and these dudes are getting on, so they’ve recruited some new talent to help shoulder the pain. “It’s literally impossible to have a bad time watching Jackass,” promises Jamie Jirak. “Happy to report it is some of the gnarliest of them all,” enthuses Sam. We surveyed more of your reactions to the DILF-stacked sequel in this HQ story.

Sony has been trying to make an Uncharted movie for so long that Mark Wahlberg, who was originally attached to play the lead character, treasure-hunting adventurer Nathan Drake, is now playing Drake’s older mentor, Sully. Golden boy of the moment Tom Holland plays Drake, much younger here than he appears in the highly cinematic and popular video games, which naturally allows for plenty of sequels—if that doesn’t feel like a threat. (In theaters February 18.)

We often complain that the major studios seem to have forgotten about romantic comedies with movie-star leads, so we should all get out and support Marry Me, a movie straight out of 2005 if ever there was one. As Lucy writes, “It feels like most sweet and beautifully corny rom coms aren’t appreciated until it’s too late so let’s skip that part and put on the soundtrack.” Jennifer Lopez plays a pop star who impulsively marries a man (Owen Wilson) in the crowd at her concert, who she mistakenly thinks is proposing to her. That totally happened to me once. (In theaters now.)

British filmmaker Sean Ellis marked himself a talent to watch with the bold Cashback in 2006, but his follow-up film, the Lena Heady doppelganger horror The Broken failed to make an impact. His latest is definitely worth a gander; it premiered at Sundance last year under the name Eight for Silver, and is understandably-but-unfortunately being released with the highly generic moniker The Cursed. It’s a nineteenth-century werewolf thriller with a stylistic edge and some highly memorable set pieces, not least of which is a one-shot slaughtering of a Roma village instigated by a British land baron. Who soon regrets it. “Impressively gnarly Hammer-esque creature feature that, despite showcasing some janky monster CGI, delivers an unpretentious ripper of a genre rollercoaster,” says Jacob Knight. (In theaters February 18.)

Peter Dinklage stars as the titular romantic in Cyrano, Joe Wright’s musical adaptation of Edmond Rostand’s iconic play Cyrano de Bergerac, which has inspired quite a few adaptations so far. None with songs, however. The musical numbers here are written by twins Aaron and Bryce Dessner of the band The National, with lyrics by Carin Besser and her husband—and The National frontman—Matt Berninger. Allison M. is a fan: “Cast Peter Dinklage in more lead roles and enjoy one of the most marvelous stories of all time told in a new and fascinating way!” Listen to our Letterboxd Show conversation with Bryce and Carin, as they discuss favorite films, including Harold and Maude.

Animation heads! With everything from large-scale fantasy epics to intergenerational family histories and hand-painted adaptations of Nobel Prize-winning literature to choose from, Letterboxd’s resident animation guru Kambole Campbell narrowed down ten animated features releasing this year (and a few honorable mentions) for your 2022 watchlists. Among them is Mamoru Hosoda’s new film, Belle, now playing in select theaters in the US.

If you missed our extensive Sundance 2022 coverage, a couple of highlights: Letterboxd’s Indigenous editor Leo Koziol spoke to the team behind Every Day In Kaimukī, the Hawaiian skateboard indie that premiered at this year’s festival, and Issac Feldberg interviewed writer-director Mariama Diallo about her Sundance feature Master.

Wanna get into world cinema but don’t know where to start? Josh has you covered with this impressively thorough Beginners Guide to Global Cinema, featuring one film from each filmmaker you are likely to encounter in a cinephile jaunt around the world. For all the upheaval in the film industry right now, geography has never been less of a hindrance, so get in.

Now that it’s 2022, we promise we’ll stop going on about our tenth birthday (which was late last year), but we must call our attention to one last anniversary feature in which ten long-time Letterboxd members talk about what the platform has meant to them. It’s a powerful ode to the connective power of movies like Demon Seed.

A miniature abyss, they reflect back a shimmering, upside-down impression of reality that somehow seems truer than ours. We are of course referring to wet streets in movies, a motif that John Frankensteiner has a particular affection for. He put together a supercut of wet streets featuring scenes from these films.

To mark Pedro Almodóvar’s Parallel Mothers hitting US theaters, we got die-hard Almodóvar fans Aaron Ruttenberg and Carlos Crespo together for a no-holds-barred discussion about the Spanish filmmaker’s body of work, one that encompasses everything from his bold color palettes to his framing of queer misbehavior. And congratulations to Almodóvar muse and star Penélope Cruz on her Best Actress nomination for the 94th Academy Awards (and to her partner, Javier Bardem, on his Best Actor nod for Being the Ricardos).

For those after films with nude scenes that depict nudity as natural, normal, not a big deal, Matfield has created an extensive list of body-positive options, and welcomes your suggestions. But there are rules: “Topless doesn’t count, I excluded movies like Nude on the Moon where everyone is topless but wearing silly shorts. That’s not naked.” Desmond Davis’s 1981 epic Clash of the Titans makes both this list and another body normalization list by our own editor-in-chief Gemma Gracewood, who wrote for Girls on Tops about why the “ancient and mundane” act of breastfeeding, and parenting diversity in general, need to be more visible on screen.

The British Film Institute recently released a list of 100 overlooked films directed by women, titled The Female Gaze. Lost In Film helpfully compiled the titles into a Letterboxd list. Watchlists at the ready.

The internet brought incidental dates from movies into our daily lives (we just hit the Soylent Green year, don’t you know) and being part of the internet we know you love celebrating those minutes, hours and days that show up in films. So this year, we’ve rolled out a fun new regular fixture: calendaring nerd Laura E. Hall is compiling monthly film lists for fellow fanatics—check those notes on the February list!—along with special-occasion lists. Read all about Laura’s passion for Dating the Movies.

It’s time for Dom’s Pick! Each month, Call Sheet editor Dominic Corry closes with a film for your watchlists. This week: Explorers (1985). One of those ’80s movies that you may remember as being an Amblin movie, but actually wasn’t, this Joe Dante wonder remains an underrated and underwatched gem. It’s a flawed but fascinating sci-fi adventure starring a pre-Dead Poets Society Ethan Hawke, a pre-Stand By Me River Phoenix, and Jason Presson as neighborhood kids who build their own spaceship and venture off to meet aliens. Many take issue with what happens next, but you couldn’t ever accuse the film of being predictable.