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Fall Movie Preview 2017: Bring On the Oscar Movies, ‘Blade Runner’ and ‘Star Wars’

From the studio’s Academy Award hopefuls to superhero blockbusters, a ‘Blade Runner’ sequel to a brand new ‘Star Wars’

They’ll be damn near 130 films opening between now and the end of the year. This preview doesn’t cover all of them – rather, we just cut the fat and went right to the 30 movies with the best chance of not stinking up the multiplex. We’re pretty sure that nothing will make more money – and be more of a blast – than Stars Wars: The Last Jedi. And then what? Questions remain:

–Is anything opening this fall serious competition for summer’s Dunkirk as Best Picture? Maybe The Post, Downsizing, The Shape of Water, Darkest Hour, Call Me by Your Name? Maybe not.

–Can Justice League somehow not suck?

–Will Meryl Streep (The Post) and a pre-retirement Daniel Day Lewis (starring in the currently untitled Paul Thomas Anderson movie about a London tailor) win their fourth acting awards and make Oscar history?

–Can Jackie Chan (The Foreigner) still kick ass at 63?

–Will James Franco (The Disaster Artist) move his career up a notch by playing a millennial version of Ed Wood?

–Can four great performances exist in one single movie (see Last Flag Flying)?

–Is Call Me By Your Name‘s Timothée Chalamet the young acting find of the year?

–Can the breakthrough director of fall actually not be a dude?

–What will happen when Pixar and Mexico get it on in Coco?

–Is #OscarsSoWhite making a disturbing comeback?

For answers to these questions and more surprises (Adam Sandler will have critics cheering – no, really), here are our picks for which fall movies most likely to shake things up.

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‘Coco’ (Nov. 22nd)

Set
around the Mexican holiday Dia de los Muertos, the latest Pixar film film – directed by Lee
Unkrich (Toy Story 3) –focuses on Miguel (voiced by Anthony
Gonzalez), a 12-year-old wannabe singer who finds himself in the land of
dead. Don’t even think you know what you’ll expect to find there. Among the
all-Latino voice cast is Benjamin Bratt as Miguel’s dead musical hero
and Gael Garcia Bernal as his friend Hector. But it’s the visuals
here that are built to astonish.

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‘Darkest Hour’ (Nov. 22nd)

It’s been a season of Winston Churchill lately: John Lithgow is considered an Emmy lock for portraying the late Prime Minister in
The Crown; Brian Cox acted the venerable English leader hobbled by alcohol and depression in the recent biopic Churchill; and in Dunkirk, we hear the
words of the man himself read by a common soldier. Now comes Joe Wright’s addition to the canon, with the formidable Gary Oldman taking
on the role of the cigar-chomping British bulldog as he refuses to
negotiate a peace with Hitler (“We cannot reason with a tiger when our
head is in its mouth”). The actor, almost unrecognizable behind makeup
and prosthetics, is facing the biggest challenge of his career – but look for
the sure-to-be Oscar nominee to to deliver a career-best performance beneath all that latex.

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‘Call Me By Your Name’ (Nov. 24th)

Expect Academy voters to lose their hearts to Luca
Guadagnino’s emotionally naked tale of first love set in northern Italy
in the summer of 1983. An attraction grows between 17-year-old Elio (breakout star Timothée Chalamet) and Oliver (Armie Hammer), a twentysomething intern for the teenager’s professor father
(Michael Stuhlbarg). Working from Andre Aciman’s
acclaimed 2007 novel, the director revels in the pleasures of the flesh
without losing touch with thought and feeling. Hammer and Chalamet give award-caliber performances that
radiate heat and unexpected humor, but it’s the film’s wisdom and nurturing compassion that sneak up
on you. That’s what makes this hot-blooded and haunting love story
a new classic – and one of the very best movies of the year.

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‘The Disaster Artist’ (Dec. 1st)

The 21st-century version of the globe’s worst
director is indisputably Tommy Wiseau, the Polish-American actor/
filmmaker who won his place in cinema infamy with The Room. Released in 2003, his magnum opus of incomprehensibility is so bad that it’s formed of cult of love/hate
watchers. Now find out how this modern midnight-movie staple was made, courtesy of director James Franco. He also plays
Wiseau, bizarre accent and all, with the same kind of affection that
Johnny Depp brought to Ed Wood. Costar Seth Rogen also says that Franco, who just kills it in the role, stayed in character during the shoot. The Disaster Artist is the shit – in the best sense of the word. 

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Dominique Charriau/WireImage.com

‘Wonder Wheel’ (Dec. 1st)

Woody Allen’s latest, set in in the Coney Island of his youth, tees up Kate Winslet to delivers a tour de force performance as a 1950’s housewife who
cheats on her carousel-operator husband (Jim Belushi). The object of her affection: a stud lifeguard, played by Justin Timberlake. Conflict ensues when a stepdaughter (Juno Temple) shows up to see her dad and falls for
the lifeguard herself. The film has laughs and the richly evocative
atmosphere of the fabled amusement park, but it’s the dramatic sparks
you’ll remember. And watching Winslet fall to pieces is a rollercoaster
ride all by itself.

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Michael Tran/Getty

‘All the Money in the World’ (Dec. 8th)

After Ridley Scott left the Blade Runner sequel to another director
(Denis Villeneuve), he focused his attention on this true-crime drama set in 1973. That’s when tycoon J. Paul Getty
(Kevin Spacey) first refused to pay the ransom demanded by the
kidnappers of his teen grandson (Charlie Plummer). It was left to the boy’s
mother (Michelle Williams) and an ex-CIA agent (Mark Wahlberg) to work
out a deal. Talk about family values! The moral quagmire at the core of
this tale can be found in a Getty quote at the time: “I don’t believe
in paying kidnappers. I have 14 grandchildren and if I pay one penny
now, then I will have 14 kidnapped grandchildren.”

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‘I, Tonya’ (Dec. 8th)

Margot Robbie takes on Tonya Harding, the ice queen of the ice rink who broke records, became an Olympian and later became mired in a scandal involving her bodyguard, her rival Nancy Kerrigan and a tabloid-ready tale of assault. Director Craig Gillespie (Lars and the Real Girl) salts this biopic on the athlete with a pinch of camp and true-crime salaciousness, but never loses sight of his subject’s long, hard road to her early victories and later infamy. Robbie and Sebastian Stan make for a good Harding and Jeff Gillooly, respectively, but it’s Allison Janney’s fearsome mother LaVona Golden who’ll drop audience jaws.

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‘The Shape of Water’ (Dec. 8th)

Guillermo del Toro fans, rejoice – and welcome to the Mexican
visionary’s most sustained feat of creative imagination since 2006’s
Pan’s Labyrinth. This dark fairy tale, set during the Cold War, concerns
a mute janitor (the ever-wonderful Sally Hawkins) who falls for an
amphibious creature (Doug Jones) being held in a secret government water
tank. Also on hand are a sneaky scientist (Michael Stuhlbarg) and a
paranoid government agent (Michael Shannon). But it’s romantic yearning
that interests del Toro. His riveting riff on The Creature from the
Black Lagoon
is filled with movie love, musical interludes and an
intuitive feeling for outsiders that marks his finest work.

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‘Star Wars: The Last Jedi’ (Dec. 15th)

Remember Rey (Daisy Ridley) handing Luke Skywalker (Mark Hamill) his
lost lightsaber at the end of 2015’s Star Wars: The Force Awakens? Want
to find out what happens next? Duh! That alone would make The Last Jedi
unbeatable for crowdpleasing fun and box office glory. But there’s also
tremendous curiosity to see how indie director Ryan Johnson (Looper)
does at the control of a behemoth; how reformed Stormtrooper Finn (John
Boyega) will show his heroism on the casino metropolis of Canto
Bright; how the franchise will say goodbye to Carrie Fisher as Princess
Leia Organa (sniff, sniff); and how to interpret what the hell Luke
meant when he said, “It’s time for the Jedi to end.”

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‘Downsizing’ (Dec. 22nd)

Alexander Payne (Sideways, The Descendents, Nebraska) extends his reach
as a filmmaker with this visionary masterwork. Starring Matt Damon,
Kristen Wiig, Christoph Waltz and an OMG-she’s-great newcomer Hong Chow, this fiercely touching human comedy posits a new world
where we all get the option to shrink into six-inch versions of
ourselves to live like kings and maybe save the environment. Is there a
catch? Hell, yeah. But Payne, working at the top of his game, has some
resonant shocks to deliver to a theater near you come December. Be on
the lookout.

Emma McIntyre/Getty

‘The Post’ (Dec. 22nd)

How can audiences and Oscar voters resist watching Steve Spielberg stick
it to Trump? As the leader of the free world rants about fake news,
Spielberg counters with a timely retelling of how Washington
Post publisher Kay Graham (Meryl Streep) and editor Ben Bradlee (Tom
Hanks) defied Nixon and the feds in 1971 by publishing the Pentagon
Papers. Those documents, leaked by Daniel Ellsberg, exposed how the U.S.
had long covered up its actions in Vietnam. The buzz says Streep may
be line to tie Katharine Hepburn’s record for winning four acting
Oscars. But the heat behind The Post is in its current relevance to the
threat against free speech.

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‘The Greatest Showman’ (Dec. 25th)

Hugh Jackman – so dynamite earlier this year deconstructing Wolverine in Logan – tackles his most ambitious role to date
as P.T. Barnum, the 19th-century entertainment giant who founded a
circus and felt he cheated audiences if he didn’t leave them with their
jaws dropping. Costarring Michelle Williams as Barnum’s wife and Zac Efron as
his business partner, this three-ring biopic has all the bells and
whistles. Director Michael Gracey’s film is also an original musical, complete with
La La Land
Oscar-winners Benj Pasek and Justin Paul creating
songs with the right-now sound of today. A gamble? You bet. Anything
else would be an insult to the showman who lived to astonish.

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Dimitrios Kambouris/Getty

‘Phantom Thread’ (Dec. 25th)

No male star has ever won four Oscars as Best Actor – and many are betting Daniel Day-Lewis can do it as a designer on the 1950’s London fashion scene in Paul Thomas Anderson’s latest. It’s been filming in secret, and an air of mystery is the usual MO for filmmaker Anderson, who directed Day-Lewis to Oscar No. 2 for 2007’s There Will Be Blood. (No. 1 was for My Left Foot; No. 3 for Lincoln.) Recently, the 60-year-old actor announced his this would be his last project before retiring (say it isn’t so), which would make this the last hurrah for an artist known for staying in character – whether he’s onscreen or off – during productions. And for those who think a quartet of Oscars is too much, name one actor you think deserves it more?

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