Here are Cinephile Corner’s 10 recommendations for movies like La La Land:
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.
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.
Read our full review of Better Man
The End
I’m drawn to many of the technical achievements in The End—its set design, cinematography, and sheer audacity are undeniably impressive. However, Joshua Oppenheimer has previously delivered films that feel more cohesive and incisive, works that seamlessly blend their tone and style with their themes. Tilda Swinton and Michael Shannon lead a movie that feels overbaked and often heavy-handed.
Read our full review of The End
Whiplash
I imagine sometimes it’s just a matter of the right film hitting you at the right time. As a young lad interested in a minute portion of the film medium, I attached myself to Damien Chazelle’s debut film Whiplash and never looked back. Some may say it’s a core text for the eventual style and storytelling conventions that I now gravitate towards quite frequently. Or maybe I find myself relating to the Miles Teller character a bit too much in my daily life. Whatever it may be, Whiplash is a seminal moment for both myself and film industry.
Read our full review of Whiplash
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.
Read our full review of Maestro
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 full review of A Complete Unknown
Babylon
Damien Chazelle announces himself as the antichrist with Babylon – a film focused on the fake it til you make it side of the industry, and Chazelle might just be faking it after all. I’ll be tossing and turning in my head for months about whether he deserves the ending that he presents, because he’s having his cake and eating it to with that final montage, but at least along the way he also throws it up and laughs at you for thinking he’d do anything else. I love it.
Read our full review of Babylon
Spirited
Spirited is an overly-indulgent holiday mess that sets the bar extremely low for the seasonal slate coming up. Ryan Reynolds and Will Ferrell are wasted in a highly convoluted plot that ultimately leaves you feeling nothing.
Read our full review of Spirited
Joker: Folie à Deux
Regardless of how you feel about Joker, Todd Phillips‘ blockbuster film was a striking reinvention of the superhero genre when it debuted in 2019. It was received with a level of reverence rarely granted to superhero films, winning the Golden Lion at the Venice Film Festival and becoming a major contender during awards season. What set Joker apart was its grounded, almost claustrophobic atmosphere, which felt far removed from the usual bombastic superhero fare. It was a character study, not a franchise entry, and it didn’t suggest a larger universe or an inevitable sequel. This sense of finality and self-containment made it feel like a singular, daring vision—one that didn’t need anything more, which is what makes Joker: Folie à Deux such an odd and ill-conceived idea.
Read our full review of Joker: Folie à Deux
Bob Marley: One Love
I still generally like Bob Marley: One Love more than some of the most uninspired musical biopics, but it pales in comparison to movies that better establish history through their central figures. Kingsley Ben-Adir and Lashana Lynch are remarkable in Reinaldo Marcus Green‘s underwhelming follow-up to King Richard.