Here are Cinephile Corner’s 10 recommendations for movies like Inside Llewyn Davis:
A Complete Unknown
As a Minnesotan, I feel almost obligated to enjoy A Complete Unknown, the movie that chronicles Bob Dylan’s rise to stardom while exploring his strained relationship with music and the people who helped shape his career. Dylan is undeniably one of the most famous musicians of all time—and certainly one of the most iconic figures to emerge from the land of 10,000 lakes.
Read our review of A Complete Unknown
The Banshees of Inisherin
The story in The Banshees of Inisherin is simultaneously laugh-out-loud audacious and deftly potent with real questions on life and legacy. This is essentially Martin McDonagh’s treaties on friendship and what you leave behind once you leave Earth. Colin Farrell is the film’s stand-in for niceness towards those around you, and Brendan Gleeson’s character is a stand-in for tangible contributions to the world (in the film’s case, music). McDonagh constantly tries to unearth what it means to leave behind a legacy, and who will care about us when we die.
Read our review of The Banshees of Inisherin
Maestro
Bradley Cooper‘s Maestro, on paper, sings a seductive aria. A biopic of the iconic composer Leonard Bernstein, it promises a kaleidoscope of artistic genius, turbulent love affairs, and the intoxicating swirl of New York City’s cultural elite. Yet, the movie that stumbles onto the screen feels more like a rehearsal gone awry, leaving audiences with a bittersweet longing for the unplayed potential.
Wonka
In a surprising turn of events, Wonka emerges as one of the standout success stories of 2023, defying initial skepticism surrounding its release. Helmed by director Paul King and starring Timothée Chalamet, this imaginative take on the world of Willy Wonka offers a refreshing and delightful experience that captivates audiences from the opening title sequence to the end.
The Royal Tenenbaums
The Royal Tenenbaums not only stands as one of Wes Anderson’s best movies of his career, but also a defining work of the independent filmmaking scene in the early 2000s. It’s dripping with color and visual intensity, masking a story with deep themes of broken families.
Read our review of The Royal Tenenbaums
No Country for Old Men
While No Country for Old Men is often praised for its stark and brooding tone, revisiting it brought out how slyly funny it is in moments. Not in a way that undercuts the tension, but through the dry, quick-witted one-liners from Llewelyn Moss (Josh Brolin) and the grim absurdities of Anton Chigurh (Javier Bardem). This humor is subtle and fleeting, buried in a narrative that’s otherwise unyielding in its bleakness, but it’s a testament to how finely calibrated every element of this movie is.
Read our review of No Country for Old Men
Elvis
Despite stylizing the hell out of his newest movie, Baz Luhrmann’s Elvis is a colossal misfire that seems off from the jump. Told through the eyes of his manager, Elvis feels more like airing out dirty laundry than it does an honest biopic.
Back to Black
Back to Black is mostly a misfire, and I lack the understanding for why it exists in the first place. Maybe to boost Amy Winehouse’s Spotify streams for a few months. But given that the movie failed to make a splash at the box office, and didn’t even see much of an extended run in theaters at all, I’d venture to guess that it didn’t even do that right.
Read our review of Back to Black
Better Man
At the heart of any biopic lies the audience’s connection to its subject. A film’s success often hinges on how it portrays someone viewers either revere or know little about. I’ve been burned by disappointing depictions of beloved figures and pleasantly surprised by movies that delve deeply into lives I had barely explored. Better Man falls mostly into the latter category, telling the story of Robbie Williams—a member of Take That—charting his rise, struggles, and personal journey. As someone unfamiliar with Williams beyond name recognition, the film offered a compelling introduction, even if it occasionally stumbles over well-worn biopic tropes.
Drive-Away Dolls
Despite Ethan Coen’s Drive-Away Dolls feeling like “lesser Coen brothers” at times, there are still some great lines and hilarious set pieces to make the movie worthwhile. Margaret Qualley and Geraldine Viswanathan shine, and the noir elements hint at a style that the Coens have only ventured into a few times with their earlier films.
Read our review of Drive-Away Dolls
READ MORE: Our Review of Criterion’s Inside Llewyn Davis Blu-ray Edition