The best New Year’s Eve movies playing this week, plus more showing in L.A.
Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
Even as the year winds down, there are still some exciting new releases hitting theaters.
Few films this year are arriving on quite the wave of expectation behind Josh Safdie’s “Marty Supreme,” in part because of the unhinged, go-for-broke promo push from its star Timothée Chalamet. The film tells the story of Marty Mauser, a shoe salesman in 1950s New York who dreams of becoming a champion table tennis player and will stop at nothing to make it happen.
As Amy Nicholson put it in her review, “Like Marty, Chalamet was raised in New York City, and since he arrived on the scene, there’s never been a doubt he’ll win an Oscar. The only question is, when? To Chalamet’s credit, he’s doing it the hard way, avoiding sentimental pictures for pricklier roles about his own naked ambitions. … The movie’s moxie makes it impossible not to get caught up in Marty’s crusade. We’re giddy even when he’s miserable.”
The surprise winner of the Golden Lion at this year’s Venice Film Festival, Jim Jarmusch’s “Father Mother Sister Brother” is a gently enigmatic film revolving around, as the title suggests, parents and siblings. Told in three separate stories — set in New Jersey, Dublin and Paris — the film stars Adam Driver, Tom Waits, Mayim Bialik, Cate Blanchett, Vicky Krieps, Charlotte Rampling, Luka Sabbat and Indya Moore.
Tom Waits in Jim Jarmusch’s movie “Father Mother Sister Brother.”
(Atsushi Nishijima / Mubi)
In his review, Tim Grierson wrote, “The film’s persistent brittleness may make some viewers antsy. That’s partly the point, but hopefully, they’ll soon be swept away by the movie’s melancholy undertow. … Eventually, we learn to look past Jarmusch’s deceptively mundane surfaces to see the fraught, unresolved issues within these guarded families. The characters occasionally expose their true selves, then just as quickly retreat, fearful of touching on real conflict.”
Tim Grieving spoke to composer Daniel Blumberg, who won an Oscar earlier this year for “The Brutalist,” about his work on “The Testament of Ann Lee,” director Mona Fastvold’s portrait of the founder of the Shaker religious movement. Singing and dance were an integral part of the Shakers’ spiritual practice, so the music for the film was of special importance.
“Ann Lee was very radical and extreme,” said Blumberg, “and Mona is as well.”
De Los also recently published a list of the 25 best Latino films of 2025 as picked by Carlos Aguilar. His favorites include Amalia Ulman’s “Magic Farm,” Pasqual Gutierrez and Ben Mullinkosson’s “Serious People,” Diego Céspedes’ “The Mysterious Gaze of the Flamingo,” Petra Costa’s “Apocalypse in the Tropics” and Kleber Mendonça Filho’s “The Secret Agent.”
All three of this year’s Envelope roundtables are now available to watch: actors, actresses and directors.
New Year’s Eve at the movies
Daniel Day-Lewis and Vicky Krieps in the movie “Phantom Thread.”
(Laurie Sparham / Focus Features)
When people talk about holiday films, they typically mean Christmas. But what if the movies that featured a New Year’s Eve scene were sneakily better? To judge by the titles playing around town this week, an argument could be made.
Take for example Kathryn Bigelow’s “Strange Days.” An exciting techno-thriller set during the last two days of then-future 1999, it’s about a hustler (Ralph Feinnes) who finds himself in way over his head. The film builds to a huge millennial New Year’s Eve street party filmed in downtown Los Angeles. Still something of a rarity on streaming, “Strange Days” will be showing in 35mm at the New Beverly on Friday afternoon and then at the Aero on Wednesday 31, early enough in the evening to leave time for more fun after.
Then there is Paul Thomas Anderson’s achingly romantic and bitingly funny “Phantom Thread,” in which the controlling fashion designer Reynolds Woodcock (Daniel Day-Lewis) initially refuses to leave the house on New Year’s Eve, but then races to be with his muse and lover Alma Elson (Vicky Krieps) after she goes out without him. The movie will be showing on New Year’s Day in 70mm at the Aero.
Anderson’s 1997 “Boogie Nights,” which will show in 35mm at Vidiots on the afternoon of Dec. 31, features a very different take on New Year’s Eve. In a pivotal sequence, many of the film’s characters converge on a NYE party to ring in the transition form 1979 to 1980. It does not go well.
jack Lemmon and Shirley MacLaine in 1960’s “The Apartment.”
(Bettmann Archive / Getty Images)
Billy Wilder’s “The Apartment” will play in 35mm at the New Beverly on Saturday and Sunday and also at the American Cinematheque’s Los Feliz Theater on Dec. 30. In the film Jack Lemmon is a lonely office drone who finds his complex relationship with a co-worker (Shirley MacLaine) ultimately coming to a head on a fateful New Year’s Eve.
Rob Reiner’s 1989 “When Harry Met Sally…” will likely be playing several times over the next weeks in tribute to the filmmaker. Starring Meg Ryan and Billy Crystal as two friends trying to figure out if their relationship can (or should) be something more, the film features not one but two memorable New Year’s Eve scenes. It will be playing at the New Beverly on Tuesday, Wednesday and Thursday.
Katie Holmes, left, and Sarah Polley in the movie “Go.”
(Tracy Bennett / Columbia Pictures)
Doug Liman’s “Go,” from a screenplay by John August, is not strictly speaking a New Year’s Eve movie, but it does take place in the sort of liminal zone of ongoing partying that occurs during holiday time. With a cast that includes Sarah Polley, Katie Holmes, Timothy Olyphant and many more, the film revolves around a few grocery store co-workers, some low-stakes drug dealing, questionable choices and a lot of miscommunication. The movie shows at Vidiots on Tuesday.
In a review of the film, Kevin Thomas wrote, “When all is said and done, ‘Go’ is a film about people going too far, which works precisely because its makers know when to hold back. ‘Go’ keeps us guessing … but it never forgets it’s a comedy; if it was too serious it would burst like a bubble. So uniformly skilled and talented is the film’s cast, which has 15 featured players, that it is impossible to single out any one. ‘Go’ is perfectly titled: Exhilarating and sharp, it never stops for a second.”
Points of interest
The Marx Brothers’ eternal comic mayhem
Chico Marx, left, Groucho Marx, Harpo Marx and Margaret Dumont in the movie “Animal Crackers.”
(Universal)
It has become a tradition around town for theaters to show Marx Brothers movies at the holidays, and who are we to argue with that? For pure whimsy and comedy that hits somewhere deep in the unconscious, the Marx Brothers are still pretty much unbeatable.
The New Beverly played some Marx Brothers movies on Christmas Day. For those who still want more, Vidiots will be showing 1935’s “A Night at the Opera,” directed by Sam Wood and including the famous stateroom scene in which more and more people cram into a single room on an ocean liner.
On New Year’s Day, the Aero will show 1933’s “Duck Soup,” directed by Leo McCarey, in which the brothers take over the fictional nation of Freedonia. That will be followed by 1930’s “Animal Crackers,” directed by Victor Heerman, in which Groucho Marx plays African explorer Rufus T. Firefly.
Eric Rohmer’s ‘The Green Ray’
A scene from Eric Rohmer’s “The Green Ray.”
(Janus Films)
Initially released as “Summer” in the U.S., Eric Rohmer’s “The Green Ray” won Venice’s Golden Lion in 1986. The film follows Delphine (Marie Rivière, who co-wrote the script with Rohmer), a single woman in Paris, as she struggles to find someone to go on a holiday trip with her, leading to a series of serio-comic misadventures. The film will show Thursday in 35mm at the American Cinematheque’s Los Feliz Theater.
Reviewing the film in 1986, Michael Wilmington asked if watching a Rohmer film is really, to quote Gene Hackman on Rohmer movies in “Night Moves,” like watching paint peel? “Not at all,” Wilmington wrote. “‘Summer’ is one of the masterpieces of 1986. It’s one of the most finely wrought, stimulating films of an erratic year. It’s intellectual in the best sense: engaging you emotionally and mentally. It moves faster, wastes less time, and has more to offer than most movies now on view — and those who are skipping it are missing one of the year’s real treats.”
