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The 25 Best Feel-Good Movies to Make You Happy

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The 25 Best Feel-Good Movies to Make You Happy

You’ve had a bad day. You’ve had a bad week. You’ve had a bad year (hello, 2020!). And sometimes, you’re not in the mood to watch “the best” films. There’s nothing wrong with Citizen Kane, Vertigo, or 2001: A Space Odyssey, but if you’re feeling like garbage, it’s probably not the film you want to watch while you’re down in the dumps. You need feel good movies. You need uplifting movies. You want the best feel good movies.

With that in mind, we’ve humbly compiled a list of 25 of the best feel good movies to put you in a better mood. These aren’t just blithely cheerful, brain-dead pictures. They’re all terrific movies that carry an uplifting message that is earned, thoughtful, and will definitely leave you smiling as the credits roll.

RELATED: The 20 Best Comedies of the 2010s, Ranked

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Aladdin (1992)

Directors: Ron Clements, John Musker

Writers: Ron Clements, John Musker, 18 other credits…

Cast: Scott Weinger, Linda Larkin, Robin Williams, Jonathan Freeman, Frank Welker, Gilberg Gottfried, Douglas Seale, Charles Adler, Corey Burton, Jim Cummings

It’s hard to go wrong with a Disney film when you need a little emotional pick-me-up. This 1992 classic tale of sand, sorcery, and a street-rat’s rise to fame is hands down one of the best the studio has to offer. It’s got all the hallmarks of the Disney greats: a likable underdog for a protagonist who falls in love with a beautiful princess and, despite all odds, wins her hand; a bevy of supporting characters, from a flying carpet, a thieving monkey, and a hilarious genie, to tigers, a talking parrot, and sword-wielding palace guards; and a thrilling adventure story that perfectly blends magic and music together into an unforgettable tale. Do yourself a favor and revisit the Cave of Wonders and take a magic carpet ride to a whole new world with Aladdin and Jasmine; you’ll be glad you did. – Dave Trumbore

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The Princess Bride (1987)

Director: Rob Reiner

Writer: William Goldman

Cast: Cary Elwes, Robin Wright, Mandy Patinkin, Chris Sarandon, and Christopher Guest

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The framing device of this movie is literally an old man reading the story you’re about to see to his grandson in order to make that grandson feel better. I’ve never read William Goldman’s original novel, but I wouldn’t hesitate for a second to show this a kid who was feeling under the weather or to an adult for that matter. “Fencing, fighting, torture, revenge, giants, monsters, chases, escapes, true love, miracles…” this is a movie that truly has it all, and even in it’s “darkest” moments, it’s still funny, warm, and a reprieve from your daily worries. And if “Hello, my name is Inigo Montoya…” doesn’t put a smile on your face, I fear nothing will. – Matt Goldberg


An American Tail (1986)

Director: Don Bluth

Writers: Judy Freudberg, Tony Geiss, David Kirschner

Cast: Phillip Glasser, Amy Green, Erica Yohn, Nehemiah Persoff, Christopher Plummer, John Finnegan, Pat Musick, Neil Ross, Madeline Kahn, Dom DeLuise

You would be forgiven for thinking that this animated tale that starts with an anti-Semitic attack, a troubled ocean crossing, and the separation of a family of America-bound immigrants is not exactly “feel good.” But it’s in the first act of this under-appreciated classic that the dismal stakes are established so that the film’s ultimate conclusion is that much more rewarding.

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The underdog in this case is actually a tiny, charming mouse of Russian Jewish heritage by the name of Fievel Mousekewitz. Rather than be stopped in his tracks by those who would choose to prey on him when he gets lost in the big city, Fievel makes a variety of friends from all classes, nationalities, and backgrounds throughout his travels. It’s through his quest to reunite with his family that he actually manages to bring about meaningful change in mouse society at large in the New World. That’s a lesson that’s every bit as uplifting today as it was 30 years ago. – Dave Trumbore


Clueless (1995)

Director: Amy Heckerling

Writer: Amy Heckerling

Cast: Alicia Silverstone, Stacey Dash, Paul Rudd, and Brittany Murphy

Let’s face it: Clueless is the Jeff Goldblum of ‘90s movies. Easy to like and simply stuffed with charm, Clueless is a breezy comedy with some knowing bite thanks to sharp-toothed scripting from writer/director Amy Heckerling and such a pure-hearted center that it’s as impossible to dislike as its bubbly protagonist. Carried deftly by the preternaturally charming Alicia Silverstone in a star making role as the immaculate and perpetually optimistic Cher and flanked by similarly shiny-haired co-stars in Stacey Dash, Brittany Murphy (RIP!) and the baby-faced Paul Rudd, the film is a classic high school comedy of genius proportions. Making the most of its gleefully shallow setting in Beverly Hills, Heckerling never shortchanges the intellect or innate goodness of her less than deep protagonist, a foresight that ultimately helps to define it from similar films of its ilk. So go ahead, sit back, ignore that Cher’s love interest is her ex-stepbrother, and relax. Are you feeling those blues anymore? Ugh! As if! – Aubrey Page

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School of Rock (2003)

Director: Richard Linklater

Writer: Mike White

Cast: Jack Black, Joan Cusack, Mike White, and Sarah Silverman

Often overlooked in favor of the blingier and prestigious stones in Linklater’s crown (lookin’ at you, Boyhood and Dazed and Confused), the real feel-good title of the director’s filmography is the blindingly optimistic and infectious School of Rock. Led by Jack Black at his most charmingly manic, the film follows a music-obsessive man child named Dewey who nabs a substitute teaching gig from his goody two-shoes best friend in the interest of making a quick buck. In an initially selfish attempt to spite his ex-band mates, Dewey enlists the students to form a new band of his own. The film is formulaic at its core – Dewey inevitably is charmed by the children, and the newly formed musical group goes on to blow the roof off of a concert hall at a local battle of the bands – but few family comedies are quite as charming, sharply written, or, simply put, musically perfect than the strange, beguiling melange that is School of Rock. Stuffed with catchy original songs and earnest through and through, School of Rock is one of the best unofficial musicals of its time, and a perfect cinematic salve to soothe your wounds. – Aubrey Page


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Singin’ in the Rain (1952)

Directors: Stanley Donen, Gene Kelly

Writers: Betty Comden, Adolph Green

Cast: Gene Kelly, Debbie Reynolds, Donald O’Connor, Jean Hagen, and Cyd Charisse

Golden Age Hollywood is always a treasure trove of feel-good movies. Without the fanciful visual effects films enjoy these days, classic films hinged entirely on story and character, resulting in a much more intimate viewing experience. Singin’ in the Rain is an excellent example, and as one of the best musicals ever made, is a swell feel-good movie pick—especially for film lovers. The film is a “backstage musical” that takes place during Hollywood’s transition from silent film to talkies. Gene Kelly plays a popular silent film star whose singing and dancing acumen makes the transition easy, but his leading lady’s dreadful voice puts her career in danger. Meanwhile, Kelly comes across a fan/chorus girl played by Debbie Reynolds, and together they join forces with Cosmo (Donald O’Connor) to turn Kelly’s new talkie into a fully-fledged musical. The performances are winning, the set design is spectacular, and the musical numbers are some of the best ever filmed. You really can’t go wrong with Singin’ in the Rain. – Adam Chitwood


The Last Days of Disco (1998)

Director: Whit Stillman

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Writer: Whit Stillman

Cast: Kate Beckinsale and Chloë Sevigny

Despite centering around the improbably shallow and entitled lives of some of New York’s young white elites, Whit Stillman’s lush ode to the age of Disco is simply stuffed with colorful and increasingly odious characters, the highlight of which is Kate Beckinsale’s effervescently callous narcissistic, whose entitlement and lack of self awareness allows her to flit in and out of near-ruin without so much as smudging her makeup. The Last Days of Disco is a talky, loose amalgam of narratives centering around an increasingly diasporic group of college friends, and while the topics of conversation aren’t always light (there’s a mortifying scene in which a girl learns that she’s contracted an STD after her very first sexual experience), Stillman’s touch is. Hilarious without being pointed, filled with dancey jams of the late ‘70s era and capped with a final sequence that would melt the heart of even the most unconvinced viewer, The Last Days of Disco is an underrated gem of mood-raiser. – Aubrey Page


Rushmore (1998)

Director: Wes Anderson

Writers: Wes Anderson & Owen Wilson

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Cast: Jason Schwartzman, Bill Murray, and Olivia Williams

Though in a current career renaissance thanks to the boom of his increasingly ambitious modern efforts like Moonrise Kingdom and The Grand Budapest Hotel, the primmest examples of Anderson’s optimism come in his earlier efforts. And no shade to Bottle Rocket (the first feel-good offering from the quirky American voice), but Rushmore is easily the best creation of his early years. Featuring a young and untested Jason Schwartzman as the central Max Fischer, Anderson’s ode to his schoolboy years is a gorgeous and riotously funny coming of age story that follows young Fischer as he simultaneously develops an attachment to a mysterious and European teacher (Olivia Williams) and a friendship with an idiosyncratic local businessman (Bill Murray). As relationships tend to do, things get increasingly complicated from there as a treacherously complicated love triangle forms. Rushmore isn’t afraid to tackle darker sides of the human experience, but as is often the case with Anderson, the film’s final sequence plays like some of the most gorgeously life-affirming of the last few decades. Sometimes, shedding a few happy tears can be even more cathartic than a few laughs. – Aubrey Page


Sing Street (2016)

Director: John Carney

Writer: John Carney

Cast: Lucy Boynton, Maria Doyle Kennedy, Aidan Gillen, Jack Reynor, and Kelly Thornton

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While 2016 was quite possibly the worst year ever, it did give us one of the best feel-good movies ever: Sing Street. This 80s-set musical/coming-of-age story hails from Once and Begin Again filmmaker John Carney and follows a young Irish boy who starts a band in order to impress a girl. In writing their original music, they cover the various trends of the decade—there are songs that sound like Duran Duran and there are songs that sound like The Cure. At heart, it’s a story about young love and discovering who you are while not shying away from the harsh realities of real life—yes indeed, this is optimism that doesn’t ignore realism. That’s sometimes a tough mix, but one that’s certainly necessary at this particular point in time. The songs are genuinely great, the performances are incredible (especially from newcomer Lucy Boynton), and the ending is a humdinger. I dare you to watch this movie and not smile. – Adam Chitwood


Zootopia (2016)

Directors: Byron Howard and Rich Moore

Writers: Jared Bush and Phil Johnston

Cast: Ginnifer Goodwin, Jason Bateman, Jenny Slate, Idris Elba, Nate Torrence, J.K. Simmons, Bonnie Hunt, and Octavia Spencer

Who knew an animated feature from Disney would be one of the most socially conscious films of 2016? Zootopia is a surprisingly thoughtful chronicle of prejudice and inherent bias, telling the story of a young bunny who wants nothing more than to be a top police officer in a world filled with various types of animals. However, while the world of Zootopia is integrated with predators and prey working and living side-by-side, historical prejudices are alive and well, and the film doesn’t shy away from showing that oftentimes the fault lies with those who believe themselves to be wholly innocent and justified. The movie is funny and gorgeous, with top-notch world building, but it also has something to say, which ensures that it’s much more than a lazy cash grab. It’s wildly entertaining and it ends on a solid upbeat note (hence “feel-good”), but it’s refreshingly introspective about the world we live in. – Adam Chitwood

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Shakespeare in Love (1998)

Director: John Madden

Writers: Marc Norman, Tom Stoppard

Cast: Gwyneth Paltrow, Joseph Fiennes, Geoffrey Rush, Colin Firth, Ben Affleck, and Judi Dench

While infamous for shocking everyone and taking Best Picture over Saving Private Ryan, there’s plenty to love about Shakespeare in Love, and it’s the perfect feel-good movie. It’s a delightful film with a delightful story and a delightful cast, offering a romantic fan-fiction-style take on the creation of William Shakespeare’s most famous play. While a bit slight, there’s something about this movie that makes it feel like a warm blanket. It’s comforting and sweeping in its crafting of the central romance between Shakespeare and the daughter of a wealthy merchant, and Ben Affleck makes for a pretty hilarious self-absorbed actor. It’s charming as all get-out, and for all the anglophiles out there, Shakespeare in Love is something like comfort food in the form of a romantic historical fiction dramedy. – Adam Chitwood


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Harry Potter and the Sorcerer’s Stone (2001)

Director: Chris Columbus

Writer: Steve Kloves

Cast: Daniel Radcliffe, Emma Watson, Rupert Grint, Alan Rickman, Richard Harris, Maggie Smith

Harry Potter and the Sorcerer’s Stone may not be the best Harry Potter film, but it is in many ways the most hopeful. This first installment in the iconic franchise introduces viewers to the wizarding world as an escape from the daily grind, and the journey of Harry Potter in particular—from abused orphan to wizard with magical powers—is one audiences can wholly identify with. Is it wish-fulfillment? In some ways, sure. But at heart the Harry Potter series is a story of love trumping hate, of good winning out over evil, and of the power of friendship. It’s a hopeful, joyous, honest story that certainly gets darker as it progresses, but Sorcerer’s Stone is a warm introduction. Be careful, though. If you watch Sorcerer’s Stone, you’re gonna have a hankering for bingeing the entire franchise in one sitting. – Adam Chitwood


Ocean’s Eleven (2001)

Director: Steven Soderbergh

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Writer: Ted Griffin

Cast: George Clooney, Brad Pitt, Julia Roberts, Andy Garcia, Matt Damon, Casey Affleck, Don Cheadle, Scott Caan, Shaobo Qin, Bernie Mac, Elliott Gould, Carl Reiner

If it’s a movie to take your mind off of everything that you’re looking for, look no further than Ocean’s Eleven. Filmmaker Steven Soderbergh’s star-studded remake is a rip-roaring, stylish heist tale with charm to spare. The cast is phenomenal, but Soderbergh’s narrative choices make the film a joy to watch, keeping the audience on its toes until the final reveal. Even when you know the outcome, the film is compelling all the same thanks to pitch-perfect comedic timing from this spectacular ensemble. And Soderbergh’s photography captures Las Vegas like never before. – Adam Chitwood


Love Actually (2003)

Director/Writer: Richard Curtis

Cast: Hugh Grant, Keira Knightley, Liam Neeson, Emma Thompson, Alan Rickman, Colin Firth, Laura Linney, Martine McCutcheon, and Bill Nighy

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When it comes to feel-good movies, schmaltz really isn’t an issue. Sure Love Actually is ooey gooey and incredibly sentimental, but isn’t that also part of its charm? This is the ultimate romantic comedy combined with the ultimate Christmas movie to make one, super-charming concoction that’s guaranteed to pick you up—or at least make you feel all warm and fuzzy inside. – Adam Chitwood

Matilda (1996)

Director: Danny DeVito

Writers: Nicholas Kazan and Robin Swicord

Cast: Mara Wilson, Danny DeVito, Rhea Perlman, Embeth Davidtz, Pam Ferris, Paul Reubens, Tracey Walter, Kami Davael

There’s nothing subtle abut Matilda’s positive message. Danny DeVito’s adaptation of Roald Dahl’s children’s classic is a film that celebrates the kind, the creative, and the underdogs without reserve. The good characters have cutesy names like Miss Honey and Lavender while the bad guys, each of them uniquely grotesque but for their shared baseness, have dissonant, cringe-y names like Trunchbull and Wormwood. But that direct simplicity is part of what makes Matilda such a delightful spirit-lifter. Through the story of the titular brilliant and magical bookworm, Matilda is 100% pure in it’s pursuit to celebrate the best of humanity, invite the audience to embrace their own peculiar magic, and demonstrate that the power of kindness ensures the good always overcomes the bad. — Haleigh Foutch

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Frozen (2013)

Directors: Chris Buck, Jennifer Lee

Writers: Jennifer Lee, Hans Christian Andersen, Chris Buck, Shane Morris

Cast: Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad, Santino Fontana, Alan Tudyk, Ciarán Hinds, Chris Williams, Stephen J. Anderson, Edie McClurg, Robert Pine, Maurice LaMarche

It may be one of Disney’s most modern animated movies, but it’s also one of the studio’s most progressive. Sure, there are moments where Disney slips back into its predictable princess mode, but for every step back, Frozen takes two steps forward.

The plot centers on two royal sisters who drift further and further apart as they grow out of childhood thanks to an accident related to the elder sister’s magical ice powers. Those powers, and the princess’s inability to control them, form the major conflict of the film in the form of a countryside cursed into a frozen eternity. While true love certainly plays a part in breaking the curse in this modern fairy tale, the way it all thaws out is anything but expected. And if the heart-warming conclusion to Frozen’s fantastic story doesn’t put you in a good mood, there’s a very good chance that at least the music will! – Dave Trumbore

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The Wizard of Oz (1939)

Directors: Victor Fleming, King Vidor, George Cukor, Richard Thorpe, and Norman Taurog

Writers: Noel Langley, Florence Ryerson, and Edgar Allan Woolf

Cast: Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley, Billy Burke, Margaret Hamilton, and Charley Grapewin

The enduring power of The Wizard of Oz is a miracle, not only because the production was notoriously plagued by disaster after disaster, but because it’s a fantasy musical made in 1939 that’s still just as magical and wondrous today as it was eight decades ago. There’s a transportative quality to the film that really lets you, the viewer, fully envelope yourself in the wizarding world of Oz, and the songs remain phenomenally catchy to this day. – Adam Chitwood

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Elf (2003)

Director: Jon Favreau

Writer: David Barenbaum

Cast: Will Ferrell, James Caan, Zooey Deschanel, Mary Steenburgen, Bob Newhart, Peter Dinklage, Daniel Tay, Edward Asner

Be Buddy the Elf. Nothing brings down Buddy the Elf. One of Will Ferrell’s most ridiculous character creations (and that’s saying something), Buddy is the embodiment of pure Christmas spirit — nothing but generosity, effusive joy, goodwill toward men, and of course, sugar, all rolled up in a giant green and yellow elf suit. And he never lets a little thing like not actually being an elf keep him from his dream of being Santa’s greatest helper. Jon Favreau is a master of people-pleasing movies, and Elf is his most joyful and playful yet; a fish out of water comedy wrapped in an ode to yuletide glee that celebrates the fact that it doesn’t matter what you are or where you come from, it’s what you believe and what you do that defines you. — Haleigh Foutch


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The Birdcage (1996)

Director: Mike Nichols

Writer: Elaine May

Cast: Robin Williams, Nathan Lane, Diane Wiest, Gene Hackman, Hank Azaria, Calista Flockheart, Christine Baranski, Dan Futterman

If there’s a message the world needs right now, it’s that all it takes to respect lifestyles we don’t understand is to respect the humanity of the person living it. Underneath the politicking and the piety, we’re all just folk. That’s the root of The Birdcage, a brilliant and utterly charming comedy of errors about two gay men in Palm Beach Florida who reluctantly agree to pretend they’re a conventional family so their son can win the approval of his bride-to-be’s family. The flamboyant duo, who own a popular local drag nightclub, find themselves up against her father (Gene Hackman), a conservative senator, the co-founder of the Committee for Moral Order, who’s in the midst of a scandal. The result is a descent into comedy chaos, fully equipped with elaborate schemes, mistaken identities, and vibrant theatricality. Robin Williams is in top form here, human and hilarious, and he’s absolute gold as the contrast to Nathan Lane’s effusive drama queen, but they’re always characters, never caricatures, and that gives The Birdcage a lot of heart to go with the gut-busting laughs. — Haleigh Foutch


Bring It On (2000)

Director: Peyton Reed

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Writer: Jessica Bendinger

Cast: Kirsten Dunst, Eliza Dushku, Jesse Bradford, Gabrielle Union, Lindsay Sloane, Ian Roberts

Bring It On would be a total blast if it only involved the nightmare cheer scenarios of nosebleeds, bad choreographers named Sparky and the frightful fear of a girl’s cheer uniform falling off in front of the whole school, but don’t underestimate the rah-rah spirit on display here. This film pokes fun at jocks who bully based on sexuality and the white bubble privilege of having more tax dollars spent on your education, your athletics and your future.

Torrance (Kirsten Dunst) receives the cheer captain position and is horrified to learn that the previous champion has been stealing cheers from a Compton squad for years, knowing that that talented squad wouldn’t be able to afford to go to Nationals. Torrance understands that Black Cheers Matter (because Black Lives Matter) and attempts to choreograph something they can be proud of and also compete with the East Compton Clovers. This is a feel good movie not just because there is infectious energy, fun cheers, cute teen romance asides (the toothbrush spit battle between Dunst and Jesse Bradford), but also because Bring It On doesn’t allow the white squad to be saviors and fund East Compton’s National Competition fees, they organize and bring it on all on their own. — Brian Formo

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Review: SAMARITAN, A Sly Stallone Superhero Stumble

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Review: SAMARITAN, A Sly Stallone Superhero Stumble

Hitting the three-quarter-century mark usually means a retirement home, a nursing facility, or if you’re lucky to be blessed with relatively good health and savings to match, living in a gated community in Arizona or Florida.

For Sylvester Stallone, however, it means something else entirely: starring in the first superhero-centered film of his decades-long career in the much-delayed Samaritan. Unfortunately for Stallone and the audience on the other side of the screen, the derivative, turgid, forgettable results won’t get mentioned in a career retrospective, let alone among the ever-expanding list of must-see entries in a genre already well past its peak.

For Stallone, however, it’s better late than never when it involves the superhero genre. Maybe in getting a taste of the MCU (Marvel Cinematic Universe) with his walk-on role in the Guardians of the Galaxy sequel several years ago, Stallone thought anything Marvel can do, I can do even better (or just as good in the nebulous definition of the word).

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The property Stallone and his team found for him, Samaritan, a little-known graphic novel released by a small, almost negligible, publisher, certainly takes advantage of Stallone’s brute-force physicality and his often underrated talent for near-monosyllabic brooding (e.g., the Rambo series), but too often gives him to little do or say as the lone super-powered survivor, the so-called “Samaritan” of the title, of a lifelong rivalry with his brother, “Nemesis.” Two brothers entered a fire-ravaged building and while both were presumed dead, one brother did survive (Stallone’s Joe Smith, a garbageman by day, an appliance repairman by night).

In the Granite City of screenwriter Bragi F. Schut (Escape Room, Season of the Witch), the United States, and presumably the rest of the world, teeters on economic and political collapse, with a recession spiraling into a depression, steady gigs difficult, if not impossible, to obtain, and the city’s neighborhoods rocked by crime and violence. No one’s safe, not even 13-year-old Sam (Javon Walker), Joe’s neighbor.

When he’s not dodging bullies connected to a gang, he’s falling under the undue influence of Cyrus (Pilou Asbæk), a low-rent gang leader with an outsized ego and the conviction that he and only he can take on Nemesis’s mantle and along with that mantle, a hammer “forged in hate,” to orchestrate a Bane-like plan to plunge the city into chaos and become a wealthy power-broker in the process.

Schut’s woefully underwritten script takes a clumsy, haphazard approach to world-building, relying on a two-minute animated sequence to open Samaritan while a naive, worshipful Sam narrates Samaritan and Nemesis’s supposedly tragic, Cain and Abel-inspired backstory. Schut and director Julius Avery (Overlord) clumsily attempt to contrast Sam’s childish belief in messiah-like, superheroic saviors stepping in to save humanity from itself and its own worst excesses, but following that path leads to authoritarianism and fascism (ideas better, more thoroughly explored in Watchmen and The Boys).

While Sam continues to think otherwise, Stallone’s superhero, 25 years past his last, fatal encounter with his presumably deceased brother, obviously believes superheroes are the problem and not the solution (a somewhat reasonable position), but as Samaritan tracks Joe and Sam’s friendship, Sam giving Joe the son he never had, Joe giving Sam the father he lost to street violence well before the film’s opening scene, it gets closer and closer to embracing, if not outright endorsing Sam’s power fantasies, right through a literally and figuratively explosive ending. Might, as always, wins regardless of how righteous or justified the underlying action.

It’s what superhero audiences want, apparently, and what Samaritan uncritically delivers via a woefully under-rendered finale involving not just unconvincing CGI fire effects, but a videogame cut-scene quality Stallone in a late-film flashback sequence that’s meant to be subversively revelatory, but will instead lead to unintentional laughter for anyone who’s managed to sit the entirety of Samaritan’s one-hour and 40-minute running time.

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Samaritan is now streaming worldwide on Prime Video.

Samaritan

Cast
  • Sylvester Stallone
  • Javon ‘Wanna’ Walton
  • Pilou Asbæk

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Matt Shakman Is In Talks To Direct ‘Fantastic Four’

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According to a new report, Wandavision’s Matt Shakman is in talks to direct the upcoming MCU project, Fantastic Four. Marvel Studios has been very hush-hush regarding Fantastic Four to the point where no official announcements have been made other than the film’s release date. No casting news or literally anything other than rumors has been released regarding the project. We know that Fantastic Four is slated for release on November 8th, 2024, and will be a part of Marvel’s Phase 6. There are also rumors that the cast of the new Fantastic Four will be announced at the D23 Expo on September 9th.

Fantastic Four is still over two years from release, and we assume we will hear more news about the project in the coming months. However, the idea of the Fantastic Four has already been introduced into the MCU. John Krasinski played Reed Richards aka Mr. Fantastic in Doctor Strange in the Multiverse of Madness. The cameo was a huge deal for fans who have been waiting a long time for the Fantastic Four to enter the MCU. When Disney acquired Twenty Century Fox in 2019 we assumed that the Fox Marvel characters would eventually make their way into the MCU. It’s been 3 years and we already have had an X-Men and Fantastic Four cameo – even if they were from another universe.

Deadline is reporting that Wandavision’s Matt Shakman is in talks to direct Fantastic Four. Shakman served as the director for Wandavision and has had an extensive career. He directed two episodes of Game of Thrones and an episode of The Boys, and he had a long stint on It’s Always Sunny in Philadelphia. There is nothing official yet, but Deadline’s sources say that Shakman is currently in talks for the job and things are headed in the right direction.

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To be honest, I was a bit more excited when Jon Watts was set to direct. I’m sure Shakman is a good director, but Watts proved he could handle a tentpole superhero film with Spider-Man: Homecoming. Wandavision was good, but Watts’ style would have been perfect for Fantastic Four. The film is probably one of the most anticipated films in Marvel’s upcoming slate films and they need to find the best person they can to direct. Is that Matt Shakman? It could be, but whoever takes the job must realize that Marvel has a lot riding on this movie. The other Fantastic Four films were awful and fans deserve better. Hopefully, Marvel knocks it out of the park as they usually do. You can see for yourself when Fantastic Four hits theaters on November 8th, 2024.

Film Synopsis: One of Marvel’s most iconic families makes it to the big screen: the Fantastic Four.

Source: Deadline

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Dan Aykroyd, Chevy Chase Star in ‘Zombie Town’ Mystery Teen Romancer (Exclusive)

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Dan Aykroyd and Chevy Chase have entered Zombie Town, a mystery teen romancer based on author R.L. Stine’s book of the same name.

The indie, now shooting in Ontario, also stars Henry Czerny and co-teen leads Marlon Kazadi and Madi Monroe. The ensemble cast includes Scott Thompson and Bruce McCulloch of the Canadian comedy show Kids in the Hall.

Canadian animator Peter Lepeniotis will direct Zombie Town. Stine’s kid’s book sees a quiet town upended when 12-year-old Mike and his friend, Karen, see a horror movie called Zombie Town and unexpectedly see the title characters leap off the screen and chase them through the theater.

Zombie Town will premiere in U.S. theaters before streaming on Hulu and then ABC Australia in 2023.

“We are delighted to bring the pages of R.L. Stine’s Zombie Town to the screen and equally thrilled to be working with such an exceptional cast and crew on this production. A three-time Nickelodeon Kids Choice Award winner with book sales of over $500 million, R.L. Stine has a phenomenal track record of crafting stories that engage and entertain audiences,” John Gillespie, Trimuse Entertainment founder and executive producer, said in a statement.

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Executive producers are Trimuse Entertainment, Toonz Media Group, Lookout Entertainment, Viva Pictures and Sons of Anarchy actor Kim Coates.  

Paco Alvarez and Mark Holdom of Trimuse negotiated the deal to acquire the rights to Stine’s Zombie Town book.

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