With a new network, new ownership, and newly for-profit status, the Golden Globes march on, this year with a new category and an extra nominee in all the returning ones. Continue reading our predictions and analysis of all fifteen film categories whose nominees will be announced on Monday morning, December 11th.
Get pre-release movie reviews for the latest films in theaters for 2023, comprehrensive ratings to movies and TV now streaming, new releases on DVD and Blu-ray, and insight to timeless classics and indie films.
Dive into critiques, revelations, and must-see details on the latest movies in theaters, streaming, or on DVD for your next home movie night. Check out DVDizzy’s latest movie and DVD reviews…
“Merry Little Batman” never finds the right approach to distinguish itself or entertain you in the process.
Chock-full of familiar family film tropes, “Candy Cane Lane” runs at least a half-hour longer than you’ll want it to.
“Wish” leans heavily on Disney’s time-tested traditions with ample artistry and a moderate amount of success.
A mix of history and human interest material, Ridley Scott’s “Napoleon” holds your attention more with the latter.
Meticulously well-crafted and creatively challenging, “Saltburn” is a thought-provoking, genre-defying character study strictly for adults who are not easily offended.
The look may be similar and many of the key personnel are back, but this “Hunger Games” prequel does not feel like it’s part of some big cultural movement.
DreamWorks’ threequel subjects us to an endless string of boy band puns and no shortage of medleys comprised of new covers of familiar pop songs.
This mediocre standard team sports comedy marks a big step back for its Oscar-winning writer-director Taika Waititi.
“The Holdovers” is the kind of movie that sweeps you up in its world, holds you captive, and remains in your thoughts for weeks to come.
There isn’t much issue to take with this okay kid-friendly thriller, whose reactions will be shaped as much by the video games as what’s onscreen.
The average person would reasonably expect a Barbie movie to be superficial escapism, but that is absolutely not the kind of comedy that interests indie-seasoned writer-director Greta Gerwig and her partner/co-writer Noah Baumbach.
Martin Scorsese’s latest requires patience, a formidable bladder, a substantial attention span, an eye for detail, and the ability to think critically. If you can supply those, you will greatly appreciate the best film to have been released this nearly half-done decade.
“The Burial” is a crowd-pleaser in which you’re proud to be part of the crowd.
Time travel is one of fiction’s great devices and has inspired so many creative and entertaining movies. This isn’t one of them.
With a handful of jump scares and an assortment of body horror, The Exorcist: Believer doesn’t unearth anything wholly new or revolutionary, but it should still manage to satisfy if not impress all but the most jaded of horror junkies.
The latest music-filled tale from Ireland’s John Carney (“Once”, “Sing Street”) might very well be his best film yet.
Dumb Money has enough substance and style to make it impossible to ignore, but also difficult to love.
Despite clunky expositions and a cast shaking off rust, this threequel maintains a refreshing and unexpected amount of charm in lieu of palpable demand.
It’s only formulaic and familiar if you’ve seen a lot of inspirational sports dramas.
“Landscape” is full of timely ideas and social commentary, but the dystopian science fiction makes for a fairly miserable experience.
It remains to be seen how much the audiences for gross-out comedy and talking dogs overlap, but “Strays” provides a decent amount of laughs with the right expectations.
“Mutant Mayhem” wants “Super Mario‘s” returns and “Spider-Verse‘s” respect, but it deserves neither.
Instead of aiming for mass appeal, “Theater Camp” digs deep into its subject matter, ending up with a film that its target audience will absolutely love but is unlikely to impress anyone without some kind of stage or backstage experience.
The laughs outnumber the thrills, but that’s in line with the Disney ride and in 2023 it’s simply nice to encounter characters and a story you don’t already know from a better animated movie made decades ago.
With this ambitious, gripping epic, Christopher Nolan finds plenty of ways to breathe vitality into what could easily be a stage play.
Tom Cruise is sixty years old and both he and this saga should be long in the tooth and well past their prime. But they’re not.
The “Attack of the Clones” to “Kingdom of the Crystal Skull”‘s “Phantom Menace”, Indiana Jones’ underwhelming send-off’s greatest effect may be in making the public reassess the hero’s widely-loathed prior outing.
It’s hard to believe that Jennifer Lawrence, a leading lady upgrade from Cameron Diaz in every way imaginable, could somehow end up in a far less entertaining version of “Bad Teacher“, but that’s what happens here.
Although it looks like Wes Anderson at his most Wes Andersoniest, “Asteroid City” is an improvement over the director’s last two efforts, which by default makes it his best live-action film in over a decade.
Fun, imaginative, and only somewhat derivative, “The Flash” is the most enjoyable movie from DC since Christopher Nolan’s “Dark Knight” trilogy wrapped up.
Pixar’s history of excellence urges us to judge them harshly, but “Elemental” gives us much of the weakest writing to ever bear the animation studio’s name.
To the pile of Stephen King adaptations that have fallen flat in translation, we can add “The Boogeyman“, a limp curiosity that no one will be talking about within a couple of weeks.
No amount of nostalgia for the 20th century’s fondly recalled final decade can fully pull attention from the glaring creative shortcomings of “Transformers: Rise of the Beasts.”
“Across the Spider-Verse” has its sights set on the kind of acclaim reserved for the rarest of sequels. You know the type. “The Godfather Part II.” “Toy Story 2” and “3“. Sequels that expand and enrich the mythology established in the original film, without simply repeating beats.
Perhaps it is unfair to expect this inevitable remake to improve upon Disney’s animated masterpiece in any way, but it absolutely does not.
The father-son dynamic provides enough humor and heart to make the movie go down smoothly with an appealing old school vibe somewhere in between the "Fockers" trilogy and Steve Martin's two '90s "Father of the Bride" movies.
While this tenth entry in the Fast saga has no shortage of busy set pieces, international filming locations, and, for some reason, Academy Award-winning actresses, the thrills are minimal this time out.
Venice and Tuscany are as photogenic as ever and that helps to cushion the blows of this sequel's broad, sitcom-esque inanity.
This third and supposedly final entry is the kind of flashy fun we've long come to expect from Marvel at the beginning of the summer movie season.
Guy Ritchie's "The Covenant" is a solid drama that the director can be proud to have his name literally attached to.
Movies are rarely this great at any time of year. Ben Affleck's clever, diverting "Air" is a crowd-pleaser that will stand the test of time.
While there will no doubt be far worse mainstream studio movies put out this year, Renfield disappoints more than most because of the promise it holds.
Super Mario Bros. is certain to extend Illumination's streak of lucrative returns on minimal pleasures. It's just too bad that there is virtually nothing in this movie to justify those financial delights.
There’s no doubt that Adam Sandler can dazzle at will when teaming with higher caliber auteurs, as the still very vocal fanbase of Uncut Gems will attest to. But sometimes the Sandman just wants to goof around in Paris and get paid.
The admirable instincts of writing-directing duo John Francis Daley and Jonathan Goldstein turn an aspiring spring tentpole that from all appearances looks like another misguided IP franchise nonstarter into a genuinely enjoyable crowd-pleaser.
By centering on a quiet, underprivileged black youth at three stages of his upbringing, A Thousand and One invites inevitable comparisons to Moonlight, 2016’s Academy Award winner for Best Picture, that it cannot favorably withstand. Still, there is enough substance to qualify this as a compelling debut for a promising new voice.
If you do not already see the entertainment value in this saga of a retired hitman drawn back into the deadly criminal world, “John Wick: Chapter 4” is not going to change your mind.
If you can accept “Inside” as a movie that is about the journey, not the destination, you should enjoy the ride and another engaging Willem Dafoe descent into madness.
With Michael B. Jordan excelling on both sides of the camera, “Creed III” gives you much more to chew on and think about than your typical third installment.
