Nobody could accuse iconic filmmaker Francis Ford Coppola of not being committed to his art. Over the years he has, on multiple occasions, staked everything on an ambitious ion project. And Megalopolis might be his most ambitious yet. Concerning the battle over how to rebuild a huge urban city in the wake of devastation, the cast is led by Adam Driver, Aubrey Plaza and Giancarlo Esposito, among many others. Riley says it’s “so intrinsically personal and egotistical that it turns into the purest distillation of a mad artist you could want from a guy like Francis.” “One of the most baffling and creative films ever made, incoherent yet truly exhilarating,” concurs FilmLandEmpire. Mike has a notable reaction: “It’s kind of like listening to The Beatles’ ‘Revolution 9’ for the first time then being asked if it’s good or bad. Instead I just respect its audacity.” “An atonal, arhythmic symphony from the decaying mind of a baroque master,” suggests Jeckiboy. “Definition of unhinged,” assesses Davenm, who goes on to call it “visually and mentally insane”. Cinema! Now in theaters in most territories, with Italy and Brazil release dates next month.

Leaning into the ‘painterly’ visual approach it first explored with great success in Puss in Boots: The Last Wish, DreamWorks Animation releases what may well be its greatest ever film (all due respect to Trolls Band Together): The Wild Robot. Coming from How to Train Your Dragon and Lilo & Stitch co-director Chris Sanders, the film takes place on an isolated island where a stranded high-tech robot (voiced by Lupita Nyong’o) attempts to raise an orphaned goose. Powerfully, almost cruelly, humanistic, this is a guaranteed cry no matter how hardened your heart. Letterboxd are lapping it up, with the film currently sitting on a whopping 4.1 average rating. “Pretty sure almost the entire audience was crying for like the last half of this movie,” says Moviemattk, describing something very similar to my own experience. “One of the biggest surprises of the year. Hilarious, wholesome and savage at the same time,” observes Buddy. Brian describes it as “a feast for the eyes, heart and imagination.” “The best Iron Giant since The Iron Giant,” is LeShroeck’s (accurate) assessment. Of note, Sanders and some of his voice cast gave us their Four Faves at the film’s premiere. Now in US, Australian and New Zealand theaters with a European rollout in the coming weeks.

Somehow not a miniseries, Apartment 7A is a prequel to the legendary 1968 horror Rosemary’s Baby starring Julia Garner as a young dancer who rents a room from a kindly elderly couple, and finds herself caught in a Faustian quandary. Only revealed as a prequel following production, the film has its work cut out surviving comparisons to the extremely well-regarded original film. As Jeremy says, “You have to respect the audacity required to try and make a prequel to Rosemary’s Baby.” “Everyone’s kinda making Rosemary’s Baby prequels this year,” observes Travtheguy, referencing the similarly themed Immaculate and The First Omen, “but this one actually kills it.” “Better than anticipated, but this didn’t need to be made,” reckons Diannank. Now on Paramount+ in the US.

Director and co-writer Jason Reitman depicts the build-up to the first broadcast of Saturday Night Live in real time in comedy supervillain) Lorne Michaels, surrounded by a host of actors playing the then-about-to-be-mega-famous cast. Tasha says it’s “absolute nonsense as history, exaggerated to a ridiculous degree,” but that “as a comedy packed with credible impersonations of very familiar faces, jam-packed with one liners and feel-good moments and condensed, collapsed, heightened stories from Saturday Night Live’s first season, this was an absolute blast.” “90 minutes of utter chaos and man, it’s a delight to watch,” agrees Cob. “Some fun to be had,” its Matt, who goes on to warn that “in many aspects this felt more self-referential and cameo-focused than Deadpool & Wolverine.” Now in select US theaters, goes wide on October 11, the day before the 49th anniversary of the film’s events.

Those of us who fondly recall Cop Car, the last movie Jon Watts directed before being subsumed by the MCU machine for three Spider-Man films, are eagerly anticipating Wolfs. Although Apple downgraded the original plans for a wide release, this has been playing in some theaters. George Clooney and Brad Pitt play rival underworld fixers who must team up on a job involving a New York political figure. Barbiest’s review isn’t especially encouraging for those aforementioned Cop Car fans: “They’ve allowed Jon Watts to make a non-Marvel movie and he made a Marvel movie.” Bobby calls it “Superbad for guys who dream of driving a BMW and wearing a Rolex.” Ben says it’s the “Dad movie of the year” and Tyler warns/promises that it’s “exactly what you’d expect”. Now on Apple TV+.

Premiering Joker at the Venice Film Festival in 2019 proved to be a masterstroke for the Todd Phillips-directed and Joaquin Phoenix-starring film, with the critical reception it received there the first step on its unlikely path to becoming a billion-dollar-grossing, Oscar-winning cultural lightning rod. Premiering the musical sequel, Joker: Folie à Deux, which adds Lady Gaga’s Harley Quinn into the mix, at the same festival earlier this month, does not appear to have gone as well. Or perhaps Gaby’s review, “La La Land but for degenerates”, is actually an endorsement. It has a defender in James, who says it’s “not only smarter and sharper than the first, but also markedly more tasteful”. Although most reactions are along the lines of FedericodS’s: “A sequel that wants to radically distance itself from the first one, that fails [to convey] any message.” Louise has a suggestion for the haters: “If you’re disappointed, take a good, long, and hard look at yourself in the mirror and smile :) Don’t be self-loathing.” In theaters the world over October 4.

Writer-director Steven Kostanski garnered a whole legion of fans from a certain demographic with his 2020 sci-fi-comedy Psycho Goreman, a loving, gonzo mash-up of The Guyver, Suburban Commando and a bunch of other wonderfully obscure inspirations. His new film, Frankie Freako, doubles down on his charming specificity by seemingly referencing such “beloved” cult treasures as The Garbage Pail Kids Movie, Howard the Duck and former Bud Light spokesdog—official party-animal Spuds McKenzie. God bless this man. Frankie Freako’s plot concerns an “uptight yuppie” (Conor Sweeney) whose life is turned upside down when he calls a late-night party hotline (ask your parents) and unleashes the titular otherworldly rock-’n’-roll goblin. “Cinema peaked here,” calmly states Julia. Tessa calls it “a genuinely good homage to ridiculous stupid ’80s monster movies.” Melly’s response suggests the Psycho Goreman fans won’t be disappointed: “Another instant masterpiece from Kostanski.” Like many viewers, Martin appreciates the tangible approach to the fantastical elements: “The effects and puppetry make this movie feel a lot more fun and special.” In select US theaters October 4.

Not only has the found-footage-centric filmmakers. The seventh film in the series, V/H/S/Beyond, just premiered at Fantastic Fest, and features segments directed by Justin Long together with his brother Christian, scream-queen Kate Siegel (who previously co-wrote her breakout film Hush), and Justin Martinez, who, as part of the Radio Silence collective, worked on the first V/H/S movie as well as fellow horror-anthology Southbound. The new entry is leaning more sci-fi-horror, and Brad says it is “by far the most fun of the series”. Mary Beth calls it “a rip-roaring science-fiction roller coaster that flips through stories of aliens, mad scientists, cosmic nightmares and the sky-diving trip from hell.” Siegel’s segment in particular is getting a lot of love, with Jason calling it “truly skin-crawling”. On Shudder October 4.

Promising much fun with an enticing trailer that evokes low-budget, big-ideas genre efforts such as Coherence, Seven in Heaven and even Talk to Me, It’s What’s Inside garnered many fans following its January Sundance premiere. It concerns a game night with a bunch of young friends that takes a high-concept turn. Caleb was positively inspired, calling it “the type of film that gets you motivated to shoot a movie, just super intentional, fun filmmaking.” “Freaking electrifying. One of the most original, inventive and entertaining films I’ve seen in recent memory,” raves David. “Lit me up like a pinball machine; it’s so maximally entertaining,” enthuses Brother Bro. “A wild, completely original concept that’s tantalizingly creepy, propulsive and unexpectedly hysterical,” says Zach. On Netflix October 4.