Happy new year! I’m sending all best wishes for health and happiness for everyone who visits me here. You are all most welcome and most appreciated.

As usual, we have a lot to look forward to from Hollywood, as it comes roaring back from the WGA and SAG-AFTRA strikes. We can expect the usual book adaptations and sequels — we know about them now because they get announced earlier. But as always, there will be some surprises and a year from now, there will be films and writers, directors, and performers so much a part of our culture we cannot believe we did not know them already in 2023. Here’s some of what we know about what to expect.

SEQUELS AND REMAKES

Just as we had last week with “The Color Purple,” we have a movie musical based on a Broadway show based on a beloved movie. This time, it’s Tina Fey’s “Mean Girls,” updated for a new generation. I’m pretty sure, though, that fetch still is not going to happen.

Two of the biggest action movies of 2023 were titled as “Part 1.” So we expect the new “Fast and Furious” and “Mission Impossible” films to be just as thrilling as their first chapters. We also expect that these “final” chapters might not be the last we will see of these characters

“Dune 2” continues the saga of Frank Herbert’s acclaimed bestseller with returning and new stars, including Oscar nominee Timothée Chalamet, Zendaya, Rebecca Ferguson, Josh Brolin, Austin Butler (“Elvis”), Florence Pugh, Dave Bautista, Oscar winner Christopher Walken, Léa Seydoux, Souheila Yacoub, Stellan Skarsgård, Charlotte Rampling, and Javier Bardem.

“KUng Fu Panda 4” The animated series continues with Jack Black as the big-hearted panda martial artist.

“Ballerina” is a character from the “John Wick” universe, meaning she’s an assassin, played by Ana de Armas.

“Bad Boys 4” brings back Martin Lawrence and Will Smith. Shouldn’t they be bad men by now?

“Despicable Me 4” — still despicable?

“Deadpool 3” and yes, Wolverine is in it, along with “The Crown’s” Emma Corbin.

“The Karate Kid” brings back at least some of the original cast, with Ralph Macchio and Jackie Chan returning.

“Beetlejuice 2” brings back director Tim Burton and our favorite ghost/demon, still played by Michael Keaton, with a now-grown Winona Ryder. Catherine O’Hara is back, too. Which Harry Belafonte song will she dance to this time?

“Twisters” is somehow connected to the Helen Hunt/Bill Paxton movie with the flying cow, but will have all new characters played by Daisy Edgar-Jones, Glen Powell, and Anthony Ramos.

“Inside Out 2” takes our beloved Riley one step further into the increasingly complicated world of college life. So, the entry of a new character in her emotions line-up, Anxiety, played by Maya Hawke.

“The Lord of the Rings: The War of the Rohirrim” is a prequel, taking place almost centuries before the events of “The Two Towers.” So expect new characters and cast, except for Miranda Otto as Eowyn.

“Mufasa: The Lion King” is another origin story, the background on Mufasa and his brother. What makes this one intriguing is that the person behind it is director Barry Jenkins of “Moonlight” and “If Beale Street Could Talk.”

“Kingdom of the Planet of the Apes” is the I forget what number in the series. But if people keep going, they’ll keep making them.

“Ghostbusters: Frozen Empire” brings the new and original Ghostbusters together to save the world.

“Furiosa: A Mad Max Saga” gives us the origin story of the character played by Charlize Theron in “Fury Road.” George Miller returns as director and Chris Hemsworth co-stars.

“Godzilla x Kong: The New Empire” — the title says it all.

“Sonic the Hedgehog 3” — the title says it all.

“Beverly Hills Cop: Axel F” four decades after the original, has Eddie Murphy and his pals played by John Ashton and Judge Reinhold, and Bronson Pinchot as Serge (pronounced Saaaaarge), along with Joseph Gordon-Levitt and “Zola’s” Taylour Paige.

“The Fall Guy” may not sound promising, an update of an all-but-forgotten 80s television series with Lee Majors as a stunt man/bounty hunter. But if I tell you it stars Ryan Gosling and Emily Blunt and “Ted Lasso’s” Hannah Waddingham, and is directed by John Wick’s David Leitch, you are likely to be as excited as I am.

It’s not a explicitly a sequel or a remake, but Matthew Vaughn’s “Argyle” looks very much in the same spirit as his “Kingsmen” films, meaning edgy but wildly entertaining action.

COMIC BOOKS AND SUPERHEROS

“Madam Web” stars Dakota Johnson as Spider-Man’s buddy.

“Spider-Man: Beyond the Spider-Verse” has a high bar to reach given the brilliance of the first two, but I am confident they will continue to astonish and impress.

And even some originals:

“Which Brings You to Me” is an unusual romance. The usual part is when two people (played by Nat Wolff and Lucy Hale) with messy lives meet at a wedding and have an impulsive sexual encounter. What makes it different is what happens when they start to tell each other about their past relationships.

“IF” stands for Imaginary Friend. Writer/director John Krasinski has created a story about a man (Ryan Reynolds) who can see people’s imaginary friends.

“Ordinary Angels” has double-Oscar winner Hillary Swank in a fact-based story of an unlikely hero, a hairdresser with a chaotic life who decides to help a family she’s never met. This seems similar to her under-appreciated, also fact-based role in “Conviction,” which has me hopeful.

“Hit Man” stars up-and-coming Glen Powell as professor who pretends to be a hit man, from versatile and always-interesting Richard Linklater. Note: Powell’s first major role was in one of Linklater’s best, “Everybody Wants Some!!!”

“A Different Man” asks questions about identity and purpose, with Sebastian Stan as an actor who drastically changes his appearance only to then lose out on the role that would have been perfect for him before the change.

“Girls State” is a documentary follow-up to the acclaimed “Boys State,” about the program for teenagers interested in politics.

These were my favorite films of 2023. As usual, they’re in alphabetical order because it is too hard to try to rank such different films against each other and I love them all.

“Air”
“American Fiction”
“Barbie”
“Bottoms”
“The Holdovers”
“Killers of the Flower Moon”
“Oppenheimer”
“Polite Society”
“Rye Lane”
“They Cloned Tyrone”

Runners-Up: Carmen, The Color Purple, Dumb Money, Dungeons & Dragons, The Persian Version, Teenage Mutant Ninja Turtles: Mutant Mayhem, Theater Camp, Wish, Wonka

Best documentaries:

American Symphony, Still: A Michael J. Fox Movie

And the most disappointing:

Paint
Mafia Mamma
Strays
FOE and Creator both set in the year 2065, both about AI, both with outstanding actors, both very disappointing

Alice Walker’s novel, The Color Purple is the acclaimed, Pulitzer Prize-winning story of Celie, a young Black woman in the rural Georgia of the early 1900s. Through her letters, written to her sister Nettie, we learned the story of her horrific abuse, told in the simple language of someone who had no education and little sense that she deserved better.

The book was made into a dramatic film directed by Stephen Spielberg, with Whoopi Goldberg as Celie and Oprah Winfrey as Sofia, who becomes Celie’s step-daughter-in-law. It then became a successful Broadway musical with music and lyrics by Brenda Russell, Allee Willis, and Stephen Bray, and a book by Marsha Norman. “American Idol” favorite Fantasia Barrino was a replacement Celie and Danielle Brooks played Sofia.

And now it is a movie again, with Barrino and Books repeating their Broadway roles. This version is unexpectedly joyous and heartwarming. That is in large part thanks to director Blitz Bazawule, who shows us the characters’ strengths with the musical numbers before the storyline does. It is also thanks to the raise-the-roof, powerhouse performances from Barrino, Brooks, and Henspn, any one of which would blow the doors of of a theater, and all three together lift our spirits like a gospel choir. Every note is pure and thrilling. Every one is a revelation. Henson has the showiest part and she brings her endless movie star charisma to Shug the performer. But she also brings infinite compassion and gentleness to the intimate moments. Any lesser performer might make us question why someone as flamboyant and apparently hedonistic as Shug would find what no one else in Georgia seems to see in Celie. But Henson makes us understand why she gives Celie two things she has never had before, respect and a sense that she is worthy of love. She makes Shug another character who has made choices for her own survival but maintains a core of warmth.

Brooks is bursting with life force as Sofia, until her insistence on respect from others brings her devastating repercussions from the only white characters we see in the film. We learn from her story about abuse from outside that creates ripple effects in their community. We also see with Mister’s relationship with his father, how abuse is passed on through generations. And, with his son (Corey Hawkins), how healing through generations is also possible.

Phylicia Pearl Mpasi as young Celie and Halle Bailey (“The Little Mermaid”) as the her sister Nettie show us that having one person care is enough to make a difference. Mister throws Nettie out and she leaves with a missionary family for Africa and their separation is more devastating to Celie than her abuse by Mister, again underscoring the critical importance of a sustaining relationship.

The movie is frank about Celie’s abuse, including repeated rape by the man she believes is her father and then by the man her father sells her to, known to her only as Mister. But this version is more about Celie’s growing understanding of her own power, including the power of forgiveness. We also see other characters show resilience, generosity, and remorse. If the conclusion, as in the book and the previous movie, seems to tie things up a little too quickly, by that time we are so happy for Celie and so moved by the music we are fine with it.

Parents should know that this movie includes extreme abuse of a very young woman including rape and battery and having her children taken away. The film also includes misogynistic and racist attacks, a character beat up by police, betrayal, drinking and drunkenness, and strong language.

Family discussion: What are the events that make Celie understand that she could say no and that she deserved better? Why did Shug see more in Celie than anyone else? What made Mister change his mind?

If you like this, try: the book and the Spielberg movie

I get the feeling everyone was just calling it in on this one. The DCCU is getting a makeover under James Gunn and Peter Safran and who knows what will happen given the prospect of the catastrophic leadership of David Zaslav burying his bad decisions and collecting a huge paycheck with a possible sale of Warner-Discovery to Paramount. And Jason Mamoa already made it clear this was his last Aquaman movie. Whether the behind-the-scenes is the reason for this lackluster, derivative entry in the DC Cinematic Universe or not, the movie is a wait-for-streaming for all but the most devoted fans.

In our last episode, Aquaman (Momoa) killed a pirate named Jesse Kane, and his son, David (Yahya Abdul-Mateen II) vows to kill Aquaman in revenge. And Aquaman seizes control of the underwater kingdom from his half-brother Orm (Patrick Wilson). An extra scene in the credits has David Kane joining forces with marine scientist Stephen Shin (Randall Park), who promises to help David get his revenge if David will help him find the lost kingdom under the sea.

We pick up a few years later, where, in the first of a series of clangingly obvious foreshadowing signals, Arthur/Aquaman is now married to Mera (Amber Heard) and he tells us the most important thing in the world to him is their baby son, Junior. Aquaman divides his time between his home at the shore, with his human father, Tom (Temuera Morrison) helping to care for Junior, and his undersea kingdom. He is often frustrated with the bureaucracy of the kingdom’s council. And he is very concerned about the land countries destroying the environment, but, with his kingdom’s long history of secrecy, he cannot reach out to the upper world.

David has found the lost kingdom and the source of immense evil power in the black trident. A frozen spirit who looks like a cross between Groot and the Green Goblin says he will give that power to David if he will bring him the descendent of his enemy, which turns out to be guess who.

Actually, it’s guess whos, but that comes later. In order to fight David, Aquaman will have to team up with Orm, the half-brother who tried to kill him, and who is now in prison. The council will never approve, knowing that breaking Orm out of prison will start a war with his captors, but no matter, Aquaman does it anyway.

Much of the storyline is similar to “The Black Panther,” a kingdom with superior technology trying to decide whether to let the rest of the world know who they are and a villain seeking revenge with a conclusion for one character very reminiscent of Killmonger. And the mechanical octopus-like machine seems an awful lot like the one from “The Incredibles.” Topo, the real (CGI) octopus, is, fun, though, and I wish we’d seen more of him. The special effects range from okay to pretty good. Martin Short makes the best of a character who seems like a cross between Jabba the Hutt and a champion from RuPaul’s drag race.

It swings back and forth between meaningless nods to the issue of climate change (the most damaging technology is imaginary), action scenes with lots of monsters and machines, cliche dialog (“It’s time for me to reclaim my destiny!”), and corny winks at the audience. Here’s hoping the Gunn/Safran regime can do better.

NOTE: Stay for one mid-credits scene

Parents should know that this film has some strong language and constant comic book-style action with some grisly images of monsters. Characters are in peril and there are graphic wounds.

Family discussion: What influenced the relationship between Arthur and Orm? How would we think of environmental threats differently if we thought humanoid creatures lived there? Why did Aquaman try to save David?

If you like this, try: the other DC comics films and the comic books, especially the Neal Adams versions

There are moments in “Maestro” that are as stunning and bravura as the works of the brilliant man who is the subject of the film. It is the story of one of the formative figures of 20th century music, composer/conductor/musician/educator Leonard Bernstein. Bradley Cooper co-wrote, directed and stars as Bernstein, whose music provides every note of the score and sometimes commentary on the narrative. Some of his choices work better than others, but every frame of the film reflects his profound immersion in Bernstein’s life and his growing mastery of cinematic storytelling.

It begins with a brilliant introduction to Bernstein as a character and to his story at an early turning point. Bernstein answers the phone. His voice is measured. Someone is ill. He expresses concern. But that means a once-in-a-lifetime opportunity and the second he gets off the call his ecstatic jubilation bursts from him as he kisses the man in his bed and races down to the theater, still in his robe. Conductor Bruno Walter is ill and Bernstein will conduct that night’s concert. To call it a triumph is an understatement. It was a sensation. And Cooper the director makes us not just see but feel it.

One of Bernstein’s early compositions was the music for what would become the musical and later Gene Kelly film “On the Town.” Cooper makes a very daring choice by having Bernstein and his date and future wife Felicia Montealegre (Carey Mulligan) attend a rehearsal that becomes something of a dream ballet. The characters interact with the dancers to show us the developing dynamic of their relationship.

In another extraordinary scene, Bernstein and Felicia, now married and middle-aged, are having an argument in their Manhattan apartment. It is staged with a deep understanding of the characters, their deep but sometimes toxic connection, and of how we as the audience take in the setting. Felicia sits by the window, still but furious. Leonard hunches over in a chair, talking quickly, deflecting rather than engaging. Surreally, outside the window, the Macy’s Thanksgiving Day parade is passing by and in the next room the Bernstein children are calling out to their parents to come see Snoopy. Every detail of pacing, composition, and emotion is superb.

And one more unforgettable scene — Cooper re-enacts Bernstein conducting Mahler’s 2nd that does more than copy the physicality of Bernstein’s version as it was filmed; he inhabits it, showing us the passion, the depth of understanding, and the way Bernstein was able to communicate the most delicate nuance to a huge number of musicians and singers.

This movie is not about Bernstein as the musician and composer. There are documentaries and scholarly analyses and archival clips for that. This is about Felicia and how their relationship reflected his conflicts but made possible his achievements.
This is the story of the marriage of two people who loved each other deeply and loved their children. Felicia knew that Leonard was gay or bi-sexual (as indicated by the “On the Town” scene) before they were married and she was confident that her acceptance would make their connected impenetrable in any meaningful way. But it is much harder than she expected. It is not just about who he is physically attracted to. It is that seduction is as core to him as music. Cooper at times, especially in scenes that re-create archival material like the Edward R. Murrow television interview, seems to be replicating Bernstein. But in much of the film, especially those moments when he is thrilled by someone new, we see it is all of one piece with his furious engagement with music, with creative partners, with romantic partners, with his children and his environment — to him, with all of life.

Parents should know that this film has extended mature material including sexual references and situations, very strong language, drinking, constant smoking, tense emotional confrontations, serious illness, and a sad death.

Family discussion: What should Leonard have said to his daughter? What held Leonard and Felicia together? Do you have a favorite of his compositions?

If you like this, try: Bernstein’s music in “Candide,” “On the Town,” and “West Side Story” and his wonderful Young People’s Concerts. And learn more about the years of study that went into this performance.