Arriving hot on the heels of Godzilla Minus One could work both for and against Godzilla × Kong: The New Empire. For, in that Godzilla fever is raging thanks to the success of the Oscar-winning breakout sensation, and against, in that director Takashi Yamazaki and his collaborators’ craftsmanlike approach demonstrated just how creative and emotional a kaiju picture can be—and on a budget approximately a fraction of the size of this new one. Ultimately, though, the two movies are attempting something different, and returning director Adam Wingard had some cool ideas up his sleeve in 2021’s Godzilla vs. Kong. Member FULCiBABY is more than satisfied, calling it “a bonafide monster-mashing metro-mulching schlockbuster of the highest order.” Ben stresses the importance of the big screen in appreciating it: “not sure how I would feel about this film if viewed from home, but it’s a five-star jam from the fourth row at the IMAX Theatre.” Now in theaters.

Amongst the ocean of underutilized actors who got the chance to shine in Oppenheimer, it was especially gratifying to see the always appealing David Krumholtz sink his teeth into the relatively meaty role of Nobel Prize-winning physicist (and Oppenheimer confidant) Isidor Rabi. Still perhaps best known for memorable youthful performances in movies like Addams Family Values and 10 Things I Hate About You, Krumholtz has long since graduated into a versatile grown-up cinematic presence. He gets a rare lead in indie comedy Lousy Carter, in which he plays the titular misanthrope whose bad behavior gets worse when he receives troubling medical news. If anyone could sell such a premise, it’s Krumholtz, and Chloe is onboard the Krum-train: “Absolutely understand the appeal of David Krumholtz now. This movie is so spiky and mean, and yet there’s still a warmth to it. Tart and delightful.” SwargAces says the dark comedy “lulls you into thinking it’s another self-pity-filled apologia for the mediocre yet narcissistic white man; it upends those expectations with charm, humor and confidence.” Now in select US theaters.

A key inciting cinematic presence for your humble Call Sheet editor with his unparalleled run of amazing ’80s comedies, Steve Martin gets the (long overdue) documentary treatment from Oscar-winner Morgan Neville (20 Feet from Stardom, Won’t You Be My Neighbor?) in STEVE! (martin) a documentary in 2 pieces. Martin’s 2007 memoir Born Standing Up revealed an inclination for demystifying his stratospheric success as a comedian, and it’ll be interesting to see how/if that applies to his many other creative pursuits, as documented here. “Less a box-checking overview of a creative life than it is a portrait of someone becoming happier,” says Scott. Now on Apple TV+.

A little known but rather notable scandal surrounding poison-pen letters in a small British village in the 1920s comes to light in Wicked Little Letters, a gleefully profane comedy starring two of the top actresses currently working. Olivia Colman and Jessie Buckley are both strong enough talents to spin the saying of naughty words into cinematic gold. “Felt like it was made just to give Olivia Colman a reason to swear a lot. Not that I’m complaining,” says Matthew. Ema concurs: “Nothing brings me more joy than hearing Olivia Colman swear like a sailor and give a full-body cackle.” The film teases a contemporary resonance with its tagline ‘Be Careful What You Post’, and Liam could clearly feel that: “I can only dream of being this much of a hater.” Summarizes Matt, “One of the most entertaining English period films made in years. A vulgar and hilarious whodunnit scandal stirred by female repression and false superiority.” Now in select US theaters, expanding wide on April 5.

French star Léa Seydoux and British actor George MacKay star in French filmmaker Bertrand Bonello’s time-spanning sci-fi romance The Beast. Loosely inspired by Henry James’ 1903 novella The Beast in the Jungle, the film follows Seydoux’s character, who undergoes a procedure that will allow her to experience her past lives. The 146-minute picture received considerable acclaim upon its premiere at Venice last year, and there are plenty of enticing comparisons being made in reviews: “An epic, artful and challenging vision akin to Mulholland Dr., The Tree of Life, Cloud Atlas and The Holy Mountain,” says Diego. Seth reckons it “will undoubtedly divide opinion once it’s widely available”, and that in addition to the “Lynchian storytelling”, it at times, “feels quite modern Cronenberg-esque”. “Uncomfortable, emotional, sometimes juvenile, but insightful, and truly bracing,” says Michael Mann Facts, who then goes on to compare it to two albums by the post-hardcore band Thursday. Keep an eye out next week for Rafa Sales Ross’s interview with Bonello on Journal. In select US theaters April 5.

Long-time Letterboxd fave Dev Patel makes his feature directing debut with action-thriller Monkey Man, in which he also stars as a monkey-mask-wearing underground fighter in Mumbai who embarks on a bloody quest for vengeance. The Jordan Peele-produced effort apparently blew the roof off at its SXSW premiere, where Annie Lyons spoke to Patel and Peele for Journal. Kit calls it a “crunchy, sweaty, down-and-dirty brawler anchored to a bloody, beating heart”. Tessa promises a “gory revenge story packed with intense action, stunning cinematography and a fire score.” AmandaTheJedi says she “saw one of the best action-movie kills of [her] life in here”, while Sydney simply states that “there was action before Dev Patel and now there is action after Dev Patel”. In theaters in most territories April 5.

The ever-escalating preciousness of tangible media informs the new documentary Kim’s Video, which has been charming audiences at festival screenings all around the world since its premiere at Sundance 2023 more than a year ago. Concerning a legendary New York video store (which counted filmmakers Alex Ross Perry and Todd Phillips amongst its former employees), it’s mainly about the crazy story of what happened to its huge collection of movies when it closed down. Will says that, as a VHS fan, he found it a “very emotional viewing experience”. “It starts out insane and it ends up INSANE,” promises Karl. Sara says the film “shows the everlasting staying power of the physical.” In select US theaters April 5.

Finally emerging from Warner Bros. copyright claims thanks to parody law, The People’s Joker has already garnered a reputation as an anarchistic assault on corporate intellectual property and comedy conformity. Director/​co-writer/​star Vera Drew plays the titular figure, a trans woman who moves from Smallville to Gotham to break into stand-up. Alt-comedy staples such as Scott Aukerman, Tim Heidecker, Maria Bamford and Bob Odenkirk (as Bob the Goon) pop up in unrecognizable roles, and the film is currently sitting at an extremely impressive 3.9 average rating. “Punk rock as f*ck,” lauds horror-director Joe Lynch, while Jack says it’s “a film that makes you realize that art that really has something to say is rarer than you think, so it’s no surprise it was silenced for so long.” “For the people and deserves to be seen by the people,” preaches Dan. We’ve got an interview with Drew coming soon, but until then, let’s give Alexei the final word: “No question, the best superhero movie since Batman Returns.” In select US theaters April 5.