In just ten years, the Middleburg Film Festival has become one of the most thrillingly curated festivals of the year. The 2022 program includes some of the most highly anticipated films of 2022. Launching the four-day festival is “White Noise” from Academy Award-nominated writer/director Noah Baumbach. Based on Don DeLillo’s novel of the same name, the black comedy stars Adam Driver as a renowned professor of Hitler studies who along with his wife (Greta Gerwig) and children face an “airborne toxic event” hanging over their town that threatens everyone’s lives. Don Cheadle, Jodie Turner-Smith, Sam Nivola and Raffey Cassidy also star. Baumbach will be returning to MFF to accept the 10th Anniversary Spotlight Filmmaker Award – he attended in 2019 with his Oscar nominated film “Marriage Story.”

The “Knives Out” sequel “Glass Onion” will screen on Friday, October 14 as the Friday Centerpiece Film and will include a discussion with writer/director Rian Johnson where he will receive the Distinguished Screenwriter Award. Additionally, Johnson and his film editor Bob Ducsay will be presented with the inaugural Variety Creative Collaborators Award and participate in a separate conversation that will not only focus on their current film but take a look back at their previous collaborations including “Looper,” “Star Wars: The Last Jedi,” and “Knives Out.” In “Glass Onion: A Knives Out Mystery,” Daniel Craig returns as detective Benoit Blanc who time travels to Greece to uncover a fresh mystery involving a new cast of colorful suspects, played by Edward Norton, Janelle Monáe, Dave Bautista, Kathryn Hahn, Leslie Odom Jr., Kate Hudson, Jessica Henwick, and Madelyn Cline.

Screening as the festival’s Saturday Centerpiece film is “Somewhere in Queens,” written, directed by, and starring Ray Romano. It is a family dramedy and love letter to New York’s largest boroughs and it is produced by MFF Advisory Board members Albert Berger and Ron Yerxa (“Nebraska,” “Little Miss Sunshine”). They will join Romano at the festival to discuss the film following the evening screening on Saturday, October 15. Co-written by Mark Stegemann, the film features an ensemble cast that also includes Laurie Metcalf, Jacob Ward, Tony Lo Bianco, Sadie Stanley, Sebastian Maniscalco, and Jennifer Esposito.

The Friday Spotlight Film is “The Whale,” directed by Darren Aronofsky, adapted by Samuel D. Hunter from his play. Brendan Fraser has received extended standing ovations for his performance as a reclusive English teacher living with severe obesity who attempts to reconnect with his estranged teenage daughter. The film also stars Hong Chau, Sadie Sink, Ty Simpkins and Samantha Morton. Fraser and Hunter will be on hand for a post screening conversation to discuss their collaboration.

MFF will recognize Stephanie Hsu with the Rising Star Award for her breakthrough performance in “Everything Everywhere All at Once,” opposite Michelle Yeoh. She will participate in a conversation following a special screening of the film after which she will be presented with the award. The box office hit film broke records by becoming A24’s first film to surpass the $100 million benchmark.

The event I look forward to most every year is the tribute to a composer. In honor of the 10th anniversary, many of MFF’s previous Distinguished Composer and Songwriter honorees will each have a selection of their works performed by a 40-piece orchestra. Joining the 10th Anniversary Concert celebration are songwriter Diane Warren, composers Mark Isham, Marco Beltrami, Kris Bowers, Charles Fox and the 2022 Distinguished Composer Award recipient Michael Abels. Abels is known for his genre defying scores for Jordan Peele’s “Get Out,” “Us” and this year’s “Nope.” He also composed the upcoming LA Opera production “Omar,” which is premiering October 22.

The Academy of Motion Picture Arts and Science has published an excellent list of “Must-Read Books About Modern Cinema, Movies and the People Who Make Them.”

Some of my favorites from the list:

Camera Man: Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century by Slate movie critic Dana Stevens is more than a biography or a critical assessment of one of the formative characters in movie history. It is a cultural examination of Keaton in his times and I loved it.

Mark Harris, author of Five Came Back and Pictures at a Revolution, two of the best books ever written about movies and the people who made them, has produced a superb biography of the director of “The Graduate,” “Who’s Afraid of Virginia Woolf,” and “Charlie Wilson’s War.”

Just as I Am is Michelle Burford’s biography of the incandescent Cicely Tyson.

“Just as I Am is my truth. It is me, plain and unvarnished, with the glitter and garland set aside. In these pages, I am indeed Cicely, the actress who has been blessed to grace the stage and screen for six decades. Yet I am also the church girl who once rarely spoke a word. I am the teenager who sought solace in the verses of the old hymn for which this book is named. I am a daughter and a mother, a sister and a friend. I am an observer of human nature and the dreamer of audacious dreams. I am a woman who has hurt as immeasurably as I have loved, a child of God divinely guided by his hand. And here in my ninth decade, I am a woman who, at long last, has something meaningful to say.”

Isaac Butler’s The Method is a fascinating history of a revolution in acting that was especially well suited for the movies. Instead of declaiming for the back row of the theater, the Method encouraged actors to look inside and access their own genuine emotions.

Spike Lee: Director’s Inspiration Last week, I visited the Academy’s new museum for the first time and one of my favorite exhibits was from the collection of Spike Lee. That was just a small portion. This book covers his extensive collection of original film posters and objects, photographs, artworks and more―many of these inscribed to Lee personally by filmmakers, stars, athletes, activists, musicians and others who have inspired his work in specific ways.

As anyone who has seen “The Holiday” knows, movies love the “meet cute.” In “The Holiday,” Eli Wallach plays a screenwriter from the 1940s who tells Kate Winslet that a “meet cute” is where there is something awwww-some about the way the couple we’ll be rooting for first see each other. The example he gives is a man and woman meeting at a store when he is trying to buy just the bottom half of a pair of pajamas and she is trying to buy just the top half. That’s a real movie, by the way. It has a cute title, too: “Bluebeard’s Eighth Wife.”

The term takes on extra dimension in this new rom-com, a time-traveling dimension. We may think that Sheila (Kaley Cuoco) and Gary (Pete Davidson) are meeting for the first time at a sports bar and that it is a charming coincidence or maybe a hint that they were meant to be together when they order the same cocktail, an old fashioned. But there are hints about what Shiela will reveal. It is the first time for Gary, but not for Sheila. She has been using a time machine in the back of a nail salon that looks like tanning bed to repeat the same night for months so she can make it perfect.

She has also been going back in time to tweak some of Gary’s earlier experiences to make him a little more perfect, too. Both Gary and Sheila had painful childhoods. She thinks if she can eliminate some of the trauma he experienced, he will be happier and..better. Apparently no one ever explained the Butterfly Effect to her. You can’t just tweak experiences and expect people to be the same. Pain is part of what makes us who we are.

This is a high-concept movie that delivers a satisfying level of insight beyond the will they/won’t they of the romance. It is likely that anyone who has ever been in a close relationship, romantic, familial, or friendship, has wondered if the other party might not be easier or wished to be able to fix something that hurt a loved one long ago.

Cuoco has already shown herself to be an actress of range far beyond her excellent work in sit-coms. Davidson was a less likely choice as he pretty much always plays himself, quite literally in his only previous lead role. They are both quite good here, as Cuoco becomes more and more honest about what is going on and about her own struggles and Davidson shows us how small changes in his past would have produced a more confident, less empathetic version.

There are some odd choices here, including Sheila’s murderous disposal of her alternate timeline versions and the only two characters of color being relegated to wise counselor roles to prop up the white couple. But the parts that work have great charm and Cuoco and Davidson are a pleasure to root for.

Parents should know that this movie has very strong language, sexual references, a light-hearted portrayal of murder and attempted murder, a less lighthearted portrayal of suicide attempt and suicidal ideation, and alcohol and drugs.

Family discussion: If you could travel through time, what would you change? Is it okay for things to be messy?

If you like this, try: “Groundhog Day,” “Palm Springs,” “About Time,” “Happy Accidents,” and “Map of a Thousand Perfect Things”

“Confess, Fletch” is a reboot of the affectionately remembered Chevy Chase films based on the series of books by Gregory MacDonald. The post for the new film, with Jon Hamm as the title character, is charmingly retro, evoking the style and font of the 70s. The film, from writer/director Greg Motolla, is not as effective as updating the character and settings. Motolla, the gifted director of films including “Superbad,” “The Daytrippers,” “Adventureland,” and “Paul,” has an exceptional gift for combining action, comedy, and heart, often episodic with a collection of engaging characters and always with a terrific score. But the character of I.M. Fletcher, smart-mouthed, twice-divorced investigative reporter, is never effectively updated in this intermittently enjoyable film, and the episodic screenplay drags, especially when it assumes the characters are more appealing than they are.

Hamm, who co-produced, is well cast, with great comic timing and all the charm his character needs to get away with behavior which ranges from smart-aleck to obnoxious. There are a couple of tough balancing acts in bringing this movie together, and both work only intermittently.

The first is balancing the expectations of the fans of the original films with the very different environment of the present day. The earlier films are very much of their era and not familiar or translatable to the world of 2022. Fans of the original will want to see their favorite parts on screen. People new to the character will need learn who he is and find him appealing. The poster leans toward the former, with a 70s-retro drawing that looks like a book cover.

And then there is the balance between the comedy, mostly based on Fletch’s smart-aleck quips and romantic escapades, and the mystery, which has to do with some stolen paintings worth many millions of dollars that happen to have been the property of the father of the woman Fletch was seeing and thinking of proposing to.

I’m not sure if it says something about our time or if it just says something about the lack of ideas, but we’ve seen a number of “whoops, my rental is double-booked” storyline in movies lately (see “Alone Together” and “Barbarian” for example). Fletch returns to the US after his time in Italy, planning to work on a book. His beautiful girlfriend has arranged the rental. Small problem: someone else is already there. Big problem: she’s dead. And so in true movie fashion, Fletch has to get out of trouble by solving the mystery himself.

There’s a shaggy dog quality to the storyline, as Fletch drifts from one encounter to another. Some are fun to watch, especially his interactions with a grumpy editor played by Slattery. Some are less fun, like the wonderful Marcia Gay Hard, stuck in an impossible role as the vampish stepmother of Fletch’s girlfriend. Their scenes together are among those with actors who appear to be acting in different movies when it comes to the tone and pacing. And the ending could so easily have been more satisfying instead of ridiculous and borderline nihilistic. As entertaining as it is to see Hamm in the role, the conclusion leaves a sour aftertaste.

Parents should know that this film has some mature material including alcohol and drugs, very strong language, and sexual references and situations.

Family discussion: In what ways is Fletch trustworthy and in what ways is he not? Was what he did at the end fair?

If you like this, try: the Fletch books and the earlier movies

If you’re in the Washington DC area, you can join me for a free screening of the family film “The Railway Children,” loosely based on the classic book by beloved children’s author E. Nesbit. Three evacuee children are sent by their mother to the rural English countryside to escape the bombings during WWII. A dangerous adventure ensues when they discover injured US soldier Abe, hiding out in the railyard.

RSVP here before Friday September 16, 2022. Hope to see you there!