Top 10 movies currently in theaters (2023)

Movie theaters are officially back. With theatrical offerings slowly making their way back to the big screen compared to streaming services and various digital rental companies, we're here to find out what really is the best bang for the buck at the box office.

A new year and a new variant of COVID are in full swing, so now might be a good time to exercise restraint, even as the biggest budget offerings hit the big screen.

Of course, use your discretion when deciding whether or not to return to the movies, but there is a growing percentage of vaccinated moviegoers who are committed to getting back in front of the big screen. And I'm very happy to say that we're back to help.

Things are a bit strange in film distribution these days, though, so along with some recent big blockbusters, there's a mix of Oscar-winning long-term releases, indie films, and classics, depending on the theater. to be. But luckily, some good movies came out this year, so you shouldn't have a problem finding something good to watch.

Look at the 10Best MoviesCurrently in the cinema:

10Black Panther: Wakanda Forever

Black Panther: Wakanda ForeverRyan Coogler is the same director (and writing team of Coogler and Joe Robert Cole) who has once again crafted a story whose conflicts and character arcs run deeper than your average MCU fare. of equal importancewakanda foreverReprises Oscar-winning talent Hannah Beachler (production design) and Ruth E. Carter (costume design). Wakanda is still a vividly realized (even mourning) Afro-futuristic cityscape and the MCU's newest realm, Talokan, though it's significantly less flashy than James Wan's Atlantis.to the water, it feels as real and wonderful as a fictional Aztec/Mayan underwater empire. The cast is largely the same, with Michael B. Jordan's antagonist Erik Killmonger stealing the scene, being replaced by Tenoch Huerta's equally convincing and cleverly reimagined anti-hero Namor (who is far more important to Marvel). Comics, and probably the MCU, than Killmonger). . But how great is the loss contained in that word: "for the most part." Chadwick Boseman's portrayal of T'Challa was a magical piece of casting alchemy, on a par with Chris Evans' Steve Rogers. Coogler faced defeat early in thewakanda foreverin a beautiful opening tribute to the actor and character. T'Challa's Funeral is a reminder of just how strong the cast is overall and features some dueling scenes for Angela Bassett, Letitia Wright, and Danai Gurira. WhereThor: Love and Thunderit looked likelighter, sloppy versionyour predecessor,wakanda foreverseems like a thoughtful and necessary next step for a loss-hit franchise. It's a bit confusing - an entire subplot starring Everett Ross (Martin Freeman) feels more like a dastardly Fiat to ensure certain characters and developments are properly anticipated - but it only serves as a reminder of the fine line between "innovation" and over. packing. . . Despite the great challenge facing Coogler and his team,Black Panther: Wakanda Foreverit feels like the safest move made in the MCU since Thanos was reduced to ashes. It's an impressive achievement and a promising development, especially when you consider the strong comic connections between Namor, mutants (he's one), and certain Fantastic Four on the MCU horizon.Miguel Burgin

9.infinite pool

Heart racing and cumming are the be-all and end-all of Brandon Cronenberg's vacations at White Lotus Hell, where tourists loosen their necks and let loose their lizard brains. The limbic system and the most basic biological processes of life dominateinfinite pool, the filmmaker's descent into a slimy, sexy and terrifying world where death is just another rich man's game. It's a hit-and-run satire on Western nonsense that cleans up the mess our goal-seeking upper class causes in other cultures and the mystical false enlightenment praised by gurus and clingy chumps: those who are too rich to have real problems, those who aspire to achieve this status and those who profitably take advantage of both. In this tropical attempt they merge forever and ever. Ego Death have nothing against Brandon Cronenberg's brilliantly twisted resource. The juicy dangling hook isn't subtle: a seemingly normal couple approached by strange Europeans (probably swinging) always causes trouble. We'd be fools not to suspect Gabby (Mia Goth) and Al (Jalil Lespert) when they meet their hotel roommate pair, James (Alexander Skarsgård) and Em (Cleopatra Coleman). One of them is played by Mia Goth, which is a sure sign that you'll take him back to your room and flip the do not disturb sign. But James is a novelist with a bad book (the variable layer, fantastic bogus title) that was only published because he married the rich publisher's daughter. Gabby's proclaimed fandom strokes the part of her ego that's almost withered and turned to dust: she's weak, she's hungry for it, she's the perfect target. When whites inevitably do something irreversibly horrible to Li Tolqa's natives, their unsuspecting alienation from her culture is disturbingly comic. They do not speak the language and cannot read the forms that the police ask for. But it's stranger than that: Brilliant production design, location scouting, and cinematography send you on a late-night binge. Really dig into what exactly is going on insideinfinite poolit's like drawing the surrounding edge of the building that breaks the horizon of your title. It won't ruin your pleasures, but you can't really understand it until you're in it. Until Cronenberg leads you down a dark side street long enough for you to wonder if you're dreaming or awake. But what is most evident in this gallows comedy is that its characters exist. The people who believe they have settled reality, the vain kind who have the luxury of dying because death was never real to them.infinite poolThis mob's inspired critique is fierce and funny, its hallucinations snappy and cloying, and its all-encompassing nightmare you'll remember without having to bust through your holiday slideshow.—Jakob Oller

8.M3GAN

Long beforeM3GANwas released, the film's eponymous cyborg is best described as a mix of Renesmeetwilight(if I were a rabid sadist) and a Yassifiedbaby anette, became a viral sensation. something miraculouslyM3GANmanages to live up to its spectacular publicity. (Although, in retrospect, this new triumph in the field of terror should not beOamazing howMALIGNANTJames Wan and Akela Cooper aka The People Who Gave Usthis scenelast year he co-wrote the film). After losing her parents in a tragic car accident, young Cady (Violet McGraw) moves in with her Aunt Gemma (Allison Williams), a robotic toy company who is partly responsible for PurrpetualPetz: stuffed animals with teeth. Human-like and other shit. Realizing that she is incapable of caring for a teenager, Gemma takes it upon herself to finish building M3GAN, or Model 3 Generative Android, a robot specially designed to become her son's most loyal best friend. Soon enough, M3GAN begins taking their "Protect Cady at all costs" programming too literally (who could have predicted?), leading to a series of dark and violent comic sequences, one of which may or may not include the another: liner doll eagerly wielding a nail gun.M3GANis more than another solid entry in this horror subgenre. In fact, I might be bold enough to say that it's the ultimate horror camp classic and M3GAN is one of the biggest horror icons of recent years.M3GANIt miraculously hones the horror-comedy tone and is able to consistently push the envelope.forsilly: From the passive-aggressive, condescending, sickly sweet timbre of M3GAN (Jenna Davis-approved, the "penny of a penny"vine girl), to her tattered blonde wig, never crossing it.M3GANUltimately, the most impressive feat is that it gives us movie addicts exactly what we want without sacrificing size. And yes, what we want is a killer breakdancing doll. Is that a crime?aurora amidon

7.skin mark

This is a daring, disturbing, unfathomable, and at times deeply boring adventure bordering on horror esotericism, unlike anything most viewers have seen before. If one made a film competition whose stated goal was to build a work that could be as divisive as possible, surelyskin markwould be a sure bet to win the grand prize. Created on a budget of $15,000 (Canadian!) as the feature debut of filmmaker Kyle Edward Ball and dedicated to assistant director Joshua Bookhalter, who died in post-production.skin markis an exercise in sensitive and experimental horror cinema. Now, speaking of "driven by the senses" in this context, one might expect to imply a certain exuberance that overwhelms the senses, a la the James Cameron approach.Avatar: The Path of Water.skin markThe opposite, however: the film's ultra-grainy visual aesthetic and murky audio (with cleverly coded subtitles) slowly but surely captivate the viewer into a more suggestive state until the viewer's mind begins to acquire its own hallucinatory meaning. visual. allegedly,skin markIt is about two brothers: Kevin, four years old, and Kaylee, six. They live with their invisible father in a modest house, the condition of her mother being a veiled secret that heralds pain and separation. They wake up one night to discover that the house seems to have changed: the doors and windows are gone and the entire presence of their parents is absent. Objects scatter in apparent patterns as a deep, gurgling voice whispers through the darkness. "Dreamlike" is the perfect word for this experience. His images are like watching security camera surveillance cameras during a fever dream showing a person's mental projections. Its sounds are reminiscent of things heard in a child's room in the middle of the night and then blissfully forgotten in the morning, only to be recalled decades later in a moment of terror. I'm looking forward to seeing everyone find out.skin markThey, for all intents and purposes, feel that they have stumbled upon a parallel dimension. As son of the title ofdie twilight zoneIn Little Girl Lost, they will see how a familiar place becomes an apparent prison, limited by the logic of the dream, limitless and empty. I certainly won't forget it.he told them

6.Avatar: The Path of Water

Avatar: The Path of WaterIt's a promise: Like the main road, represented by a happy Na'vi merman princess, the film connects all things: the past and the future; Cinema as a generational ideal and the box office reality of a film that connects the world; the megalomania and justification of James Cameron; a spectator and another spectator on the other side of the world; an archetypal cliché and another archetypal cliché; dreams and waking life.avatarThe sequel to may be nothing less than a delivery of everything Cameron said, hyperbolic or not, that he would deliver. What is less clear is exactly what Cameron intends to offer.the path of waterA lesson in how to appeal to as many markets around the world as possible, the story continues the adventures of Boston native Jake Sully (Sam Worthington, who has spent the last decade trying not to sound like an outback chimney sweep) as he creates the Na'vi family with the warrior Neytiri (Zoe Saldaña screaming from her golden prison) and realizes that Earthlings aren't going to stop colonizing Pandora just because they got kicked in the shit a lifetime ago.the path of waterThe true power of is that it looks like nothing more than the firstavatar, unprecedented in detail and scope, an all-consuming undertaking in its own right. see laterthe path of waterit can sometimes seem unbelievable, as if the brain is gaping at the sheer volume of physical data in each frame, unable to consume it but eager to keep up. We think this film will redefine blockbuster as Cameron touts it as the next evolution: getting the best out of high frame rates, 3-D and IMAX, normalizing their use, and acclimating our brains in ways only Ang Lee can. afford. in a modern blockbuster. Film production. This is an immersion in itself, movie-going as an experience promoted to the next level, impressive in its utterly ironic scope. After so many hours on Pandora, undisturbed by convoluted plots or esoteric myths, this world is easy to take care of. Like tears. The body reacts while the brain rushes.avatarconsumed James Cameron; It's his everything and everything now, the vehicle for every story he wants to tell and every story anyone wants to tell: the all-consuming world he created is such a richly decorated aesthetic marvel that everything falls into its ever-expanding ecosystems. can be mapped Pandora is toolbox and icon ready. No movie will be as beautiful in my life, at least until the next one.avatar.—sinacola house

5.young cabin

young cabinhas a twist that audiences don't expect, if only because it contradicts what people know about director M. Night Shyamalan. It is a change, but it is not, but it is, but it is not. But inyoung cabin- Natch the RomansThe cabin at the end of the worldby Paul Tremblay - it's less about the destination and more about the journey. A film that explores the frequent use of intimate, rotated/inverted close-ups,young cabinit opens with one between Leonard (Dave Bautista) and Wen (Kristen Cui, not Haley Joel Osment, but she's fine). Leonard carries the imposing figure of Bautista, but Bautista knows how to carry himself with a soft touch. He speaks softly and warmly, and there is a tenderness in his presence that reminds you of a large stuffed animal. Accompanied by two women, Adriane (Abby Quinn) and Sabrina (Nikki Amuka-Bird), and a hot-headed man named Redmond (Rupert Grint, whose first leading role in eight years proves he's a force of nature), Leonard and her crew Wen and his adoptive parents, Andrew (Ben Aldridge) and Eric (Jonathan Groff), pave the way for Airbnb. The groups have come together over shared visions of an impending apocalypse that will bring the end of humanity, and the only way to stop it is for this particular family to make the decision to willingly sacrifice one of their own.young cabinit is perhaps the fastest 100 minute movie of all time. From the calm and meditative opening sequence, the last moment of normalcy in Wen's life, the film moves forward with a sense of urgency befitting the doomsday group. Even in moments of stillness, there is a firm, tense, and invigorating drive forward. If you're a fan of Shyamalan, or just know his style, you're used to "having dialogue real people wouldn't say" and "actions real people wouldn't do". It's a frequent complaint from critics of Shyamalan's films, but it's not a creative flaw. It's just part of Shyamalan's cinematic language, operating in a kind of unreality that dialogues with story, emotion, and theme in meticulous logistics. At this point, you're either in or you're not. and if it's youyoung cabincould be considered the best work of his career.—brianna zigler

4.San Omer

In the predominantly white coastal community of Berck-sur-Mer, nestled in the far north of France, stands out literature professor Rama (Kayije Kagame). That's largely due to her complexion, a rich, flawless pecan shade, in stark contrast to the oatmeal-colored locals in town. But there is also the fact of the size of it, the sculptural framework of it. When she comes to Berck, people go crazy. At best, Rama's steely beauty leaves them stunned. At worst, they simply see them for the blackness of it. Rama's outsider status is central to her role inSan Omer, the latest film by Senegalese filmmaker Alice Diop and a departure from her traditional way of working as a documentary filmmaker. as Frederick WisemanA couple,San Omermerges fiction with reality; It is based on the gruesome case of Fabienne Kabou, who was tried in 2016 for abandoning her 15-month-old son on a beach at high tide. Diop attended the trial, and her experience left a lasting impression on him.San Omerhe views Kabou's crimes and the resulting story through the lens of motherhood and daughter, arguing that neither can be separated from the other. Like Diop, Rama travels to Berck to witness the trial of a woman accused of murdering her 15-month-old son. here that character is Laurence Coly (Guslagie Malanga), a Senegalese student and immigrant. And like Diop, Rama intends to transform Laurence's transgression into a fictional narrative, like a retelling of Medea's story. Not thatSan Omerhe treats Laurence like a monster, of course. Diop unveils layer upon layer of humanity in the film, confronting Laurence's horrific act head-on and with clear eyes, as he spares her judgment through sales. There is a version ofSan Omerwhere the horror of the subject gives way to terror as a genre; Instead, Diop opted for a no-nonsense interpretation of a sickening tragedy, where the only thing harder to swallow than infanticide is the realization that there's far less to be burdened with Rama's doubts than learning to deal with them in life.Andy Crump

3.Babylon

Damien Chazelle's latest feature film, a three-hour "hate letter" to the movie-making machine, is aptly titled. The film follows a tradition: Tinseltown decadently drags itself through the mud (or, in this case, urine, elephant dung, rat blood, and Margot Robbie's bullet vomit). But for all his filth and cynicism and poisoned revenge,Babylonhe can't help but be a devout adorer at the movie altar, and his admiration is contagious.Babylonopens in 1926 with a less-than-lavish introduction to Manny Torres (Diego Calva), a lithe leading man who acts as our eyes and ears for much of the film's roller coaster ride. When we first meet the young Mexican immigrant, he wants nothing more than to be on a film set and will do anything to make it happen. His hunger has taken him to strange places, and on this particular day, he is tasked with transporting a full-grown elephant to a hilltop mansion that will later serve as the venue for a sweaty, cocaine-filled party. . At this party, among blaring jazz, hordes of half-naked bodies, and hot tungsten lights, we meet the film's main characters: there's the guest of honor, Jack Conrad (Brad Pitt), a popular leading man from silent Pictures; Sidney Palmer (Jovan Adepo), the talented trumpeter who leads the live band; Lady Fay Zhu (Li Jun Li), the cabaret artist who wows the crowd with her daring rendition of "My Girl's Pussy"; and Margot Robbie's Nellie LaRoy, a feisty Hollywood hopeful who, with a little help from a lovesick Manny, controls her anger. From scene-by-scene references to movies liketwilight boulevardmising in the rainto subtle references to rumors published in Anger's newspaperHollywood-Babylonia,Babylonit is awash in Hollywood history, real and mythical. Although Chazelle continues to point the gold-plated middle finger at the industry,BabylonThe cold heart of s melts again and again with the warmth around her. If you've ever been on a set or tried to make your own cheap student film, you know the production can be a real nightmare, but the result, the sheer magic that can be captured with a camera lens, is well worth it. any effort. There isAnythinglike the moving picture. and here it isAnythingas if you had created it yourself.Babylonit's the good and the bad. The Updown. The profane and the sacred. It's the complicated mess that was and is our film industry. It's the return of a director hurt by the blockbuster of his last film and an attempt to come back with something bigger, bolder and dirtier. It's Hollywood.—Kathy Michelle Chacon

2.real estate agents

"Don't have a baby if you let him down." This is the first line inreal estate agents, voiced by Bae Doona's opinionated police detective Soo-jin, as So-young (Lee Ji-eun, aka IU) leaves her swaddled baby, Woo-sung, outside a church on a rainy night in Busan. The next 129 minutes of the film serve to contextualize and complicate this statement. To that end, acclaimed Japanese filmmaker Hirokazu Kore-eda employs a cast of complex and finely drawn characters with differing opinions, some strong, some weak, about So-young's decision. The result is a memoir about the families we form and the systems that prevent us from taking care of each other, and one of the best films of the year. Kore-eda's talent for delicate character work and rich, contemplative pacing is obvious.real estate agents. Everyone has an opinion about So-young's decision to leave her child in a baby box, a designated safe place for parents unable to care for her child, and Kore-eda deals with them throughout. length of the movie. For Dong-soo (Gang Dong-won), a church volunteer who uses his paper to help his friend Sang-hyeon (Song Kang-ho) steal babies for the black market for adoption, the The act of abandoning a baby is personal. deep. mistaken. Abandoned in an orphanage as a child, Dong-soo initially uses So-young as an excuse to vent decades of silent anger. Although some of these characters are deeply condemned,real estate agentshe himself treats each of the members of his group with great empathy. In another world, this could be a family, but Sang-hyeon, Dong-soo, So-young, Hae-jin, and Woo-sung keep finding systems and expectations that remind them why they can't hug each other. Whilereal estate agentsby ultimately (in large measure) asserting the power of the traditional nuclear family unit, it makes room for more creative and flexible systems of care, and is a more successful story for it. All babies deserve to be loved and cared for, but so do all adults.real estate agentsdoes an impressive job of articulating how these two truths are inextricably intertwined.—Kayti Burt

1.The Fabelmans

Spielberg's story, embodied by Sammy Fabelman (Gabriel LaBelle), is one of sacrifice and selfishness, at least that's how he tells it as a 70-year-old man looking back wistfully. Structured to simultaneously track his relationship with the movies and his parents' relationship with each other,The FabelmansMemories flicker and jump. Her drama is deeply intimate and the vignettes are well remembered. If Sammy will be played and recreated by the young Mateo Zoryon Francis-DeFord (perhaps the tallest blue-eyed boy who ever lived).The greatest show in the world.with toy trains or LaBelle, whose adolescent sarcastic touch makes the prodigy likable, has the same disassociation and intimacy with the events and people around him that a filmmaker has with his subjects. Since he was a child, Sammy is the protagonist of his life and the organizer of the lives of others. Except your parents. Mitzi (Michelle Williams) and Burt (Paul Dano), the pianist and computer pioneer. Their split would go on to influence some of America's biggest box office hits, but the way they approached their own calling would delve even deeper into the skin of their first child. Often dressed in ethereal white and always on the verge of succumbing to the smoke, Williams embodies the art reserved for the family, repressed in a way that is slowly killing it. Mitzi is a flashing warning light as red as her fingernails and her lips. Don't block his needs, be creative or romantic, or he will break your heart. Dano hides his feelings just as deeply, burying them under Burt's professional accomplishments: innovation and ambition dictate life for his family, keeping in check the trivialities that make life worth living. He's as serious as the short sleeves and ties NASA employees took to the moon, but with such a geeky giddiness that he's easily forgiven. At least he is doing what he likes. One ofThe FabelmansThe greatest pleasure is his dedication to the filming process and his playful relationship with the execution of this process. Sammy, running into his room after another hard day of growing up, finds the same beauty in everyday photos of him that we find when Spielberg brings them to us throughout Sammy's life. A tornado blew up a procession of delinquent shopping carts at the intersection. Sammy's drunken mother dances in the spotlight, her chiffon nightgown showing her as a woman to her children sitting around the campfire. These are the images that make life, the touchstone sounds (rattling, misaligned wheels on asphalt) and shadows (the dark curves of legs under light fabric) that linger through the decades. As Sammy discovers, alone and in conversations with his sister (Julia Butters), the bad boy (Samrechner) and two industry veterans (Judd Hirsch's great-uncle Boris and David Lynch's phenomenal John Ford), he doesn't know limit yourself to looking for your life as someone who lives it, but as an artist who pretends toto useIt's a lonely road But sometimes you don't have a choice. It takes a terrible price to spend your life understanding that everything and everyone else is inherently relegated to your priority list. Even inThe FabelmansIn winding digressions, Spielberg anticipates the central contradiction of his medium. How can someone sweating through their own frame-by-frame memories be so far removed from them? How can anyone be anything other than a perfectionist workaholic when he knows he's excluding his loved ones in favor of his job? It would be disrespectful to the mourners if you did nothing but the best with your art.The Fabelmanshe makes bargaining seem painful, self-centered, and downright joyous—a genius embracing his regrets while reminding us how lucky we are to all be paying some version of that price, for ourselves and others.Jakob Oller