Here are Cinephile Corner’s 10 recommendations for movies like Remarkably Bright Creatures:
The Life Aquatic with Steve Zissou
The Life Aquatic with Steve Zissou may never be the most celebrated or critically lauded of Wes Anderson’s movies, but it’s undeniably one of his most distinctive. Over time, its stature has grown—not just as a quirky outlier, but as a poignant, unpredictable exploration of legacy, family, and self-reckoning. It’s a movie about a man who tries to film everything so he doesn’t have to feel anything, only to discover—too late—that the feelings are all that matter. For all its eccentricities, it sticks with you. That’s the mark of a great film, even a strange one.
Paddington in Peru
Paddington in Peru had an uphill climb from the start. Making a third Paddington movie without director Paul King—who turned the first two into modern family classics—already felt risky, and replacing Sally Hawkins with Emily Mortimer as Mary Brown only heightened that sense of change. King’s films struck a rare balance: sharp British wit, slapstick CGI bear hijinks, and an almost radical kindness that landed at a moment when audiences were desperate for warmth. Without him, it’s no surprise this third outing feels different.
Goodrich
Goodrich is the kind of mid-budget adult drama that feels increasingly rare in today’s film landscape. Once a staple of the box office, movies like this now struggle to find an audience, often landing as overlooked streaming releases rather than getting a fair shot in theaters. It’s a shame because, while Goodrich isn’t a revelation, it’s a solid, well-acted film that relies on the strength of its cast—especially Michael Keaton—to elevate its familiar premise.
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 Wild Robot
The overall package of The Wild Robot is ultimately quite honorable and noteworthy. The animated genre offers just a few great movies a year, and The Wild Robot falls into that category. It’s probably the frontrunner for Best Animated Picture at the Academy Awards, and I’d add that we’ve had much worse winners should this take home the prize. It’s sweet and effortlessly likeable, even if you can see the mechanisms of it working behind the scenes.
Nonnas
Nonnas is a reminder that charm, good casting, and a touch of sincerity can elevate a standard script into something enjoyable, if not exactly essential. It’s not destined for rewatchability or critical acclaim, but for a streaming comedy in 2025, that’s probably enough.
Flow
Flow attempts to push the boundaries of visual storytelling in the animated genre, and in many ways, it succeeds. Created entirely using Blender rendering software, typically reserved for 3D video game sprites, the film builds a nearly 90-minute animated feature filled with an abundance of visual ideas and thematic density. It’s a technical marvel that redefines the potential of its medium through its innovative use of technology.
The Thursday Murder Club
It’s difficult to figure out what The Thursday Murder Club (2025) is actually trying to be. On paper, the setup suggests a witty, modern spin on the classic whodunit—something in the vein of Clue, Knives Out, or an Agatha Christie mystery. In execution, though, it’s a surprisingly flat and meandering adaptation that never delivers the intrigue, tension, or even the breezy fun that the genre thrives on. Instead of feeling like an event film, Chris Columbus’ direction leaves it playing more like a disposable mid-week Netflix watch than the foundation of a new mystery franchise.
The Holdovers
The Holdovers is a gem that sits among the best films of 2023. The movie‘s engaging narrative, stellar performances, and melancholic tone makes it a standout addition to the holiday film canon. Three central performances by Paul Giamatti, Dominic Sessa, and Da’Vine Joy Randolph pull the film together.
Hoppers
Hoppers feels like coked-out Pixar. A zany great time, an original story with the perfect amount of heft and weight, loaded with more jokes and gonzo energy than the studio has mustered in years. One moment in particular (spoiler: the squishing of a certain insect) had my significant other audibly gasp in the theater, which has to be a first for the studio, or close to it. Hopefully, Pixar is finding a couple of new voices to bank on going forward, because Hoppers is genuinely refreshing to see.
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