THE ODYSSEY (July 17)

The first of two chalk choices from Amarú Moses… If you know anything about me, you know that Christopher Nolan is my favorite director of all time. You also know that, based on my love for (almost) all things Percy Jackson, I am a sucker for Greek and Roman mythology. So, no-brainer here. Nolan pulled together another stacked cast to tackle this epic, and the only thing I wonder about is how Nolan is going to attack a film for which he didn’t get to write his own story. I know he can adapt source material with the best of them, but we’ve yet to see how he approaches a narrative trajectory this well known. That excites me. What flair will he add to the well-known tale? What is he going to bring out of Matt Damon in the lead role? How beautiful are The Sirens? What will the Cyclopes, Scylla, and Charybdis look like?  Also, as I write this, I realize that my top two most anticipated movies for the next six months both feature Peter Parker and Frank Cast… I mean Tom Holland and Jon Bernthal (hint, hint). I’m just geeked for the whole experience. But don’t worry, I’m not one of those who bought my ticket a year in advance. I will purchase opening weekend like normal fanboys. — Amarú

SPIDER-MAN: BRAND NEW DAY (July 31)

Back-to-back with my second chalk choice… But what is there to not look forward to when you’ve got my favorite Peter Parker (Tom Holland) joining up with my favorite Frank Castle (Jon Bernthal), not to mention my favorite Bruce Banner (Mark Ruffalo)? Plus, after Shang-Chi and the Legend of the Ten Rings and Wonder Man, I trust Destin Daniel Cretton to direct the hell out of action set pieces and character-focused stories. Finally getting into the friendly neighborhood version of Holland’s Spidey is going to be interesting, especially after the events of No Way Home. Yes, one of the reasons the first three Spidey movies didn’t seem grounded was because of the cameo appearances from the bigger MCU players, but I feel confident that both Castle and Banner will be true supporting characters that don’t create world-shattering stakes for our web-slinging hero. Castle and The Hand, who appears to be a factor in the story, have always been New York street-level, while Bruce has been a secondary character ever since Ruffalo took over the role. This is going to start the next chapter in what has been a golden era for Spider-Man content (at least for me), and I can’t wait to continue this journey. — Amarú

THE END OF OAK STREET (August 14)

In 1975, Steven Spielberg directed Jaws. Since that time, there have been several successful shark-centric movies, like The Shallows, The Meg, and even the cult hit Sharknado. In 1993, Steven Spielberg directed Jurassic Park, but for some reason, Hollywood has struggled to make successful dinosaur movies outside of that franchise. Even the Jurassic World sequel trilogy failed to live up to the 1993 classic. The End of Oak Street hopes to buck that trend. The story is shrouded in mystery, but it pairs the prehistoric creatures with two dynamic leads in Ewan McGregor and Anne Hathaway. Equally as important, it comes from the mind of David Robert Mitchell, who wrote and directed one of the more creative and inventive horror films of the 21st century: It Follows. For this reason, I expect this to align far more with the horror elements of Jurassic Park than what we were given with the sequels. Dinosaurs are scary, and I’m ready to see that back on the big screen. — Nick

RESIDENT EVIL (September 18)

Zach Cregger is quickly becoming an event filmmaker in the horror genre. With just two films under his belt, Barbarian and Weapons, he has already proven capable of delivering original and compelling horror stories. This time around, he’s taking a crack at an IP project with Resident Evil. Thankfully, Cregger has stated that this is an original standalone story set in Raccoon City, meaning it is not connected to any of the previous live-action movies. While I'm not a gamer and I’ve tried to forget the franchise's previous seven adaptations, Cregger hasn't let me down yet. The sinister yet adventurous vibe of the trailer gives me hope that Resident Evil can finally reach its full potential on the big screen. Considering how bad the previous films have been, the franchise has nowhere to go but up. In Cregger’s hands, I have no doubt that this will be the fresh start this property deserves. — Paige

SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM (September 18)

Some of my favourite films of all time are family-friendly animations, but I find truly good ones are few and far between. Even the likes of Pixar don’t always impress me. However, the renowned Aardman Studios have never once disappointed me, so I’m very excited to see the inevitably delightful and expertly crafted Shaun the Sheep: The Beast of Mossy Bottom. It’s always a privilege to witness the painstaking stop-frame animation that defines Aardman films and infuses them with their signature charm, so this, combined with the horror genre, sounds perfect for me. One of the things I love most about Aardman films is the constant stream of references, parodies, and homages to cinema history, and judging by the trailer, it looks like I’ll be treated to many allusions to classic horror movies, reminding me of my favourite Aardman animation, The Curse of the Were-Rabbit. — Katie

DIGGER (October 2)

The teaser for Digger is one of the most exciting and effective I’ve seen in a long time. It’s wonderfully simple, yet it has me utterly intrigued and excited by the concept, story, and execution. It introduces Tom Cruise’s character and the tone of the film with excellent use of a Gorillaz track but leaves everything else unexplained. It declares itself “a comedy of catastrophic proportions,” and I’m thrilled by the idea of seeing Tom Cruise in a comedy, using his talent for dark humour. Alongside Cruise, the incredible cast features Sandra Hüller, John Goodman, Riz Ahmed, and Jesse Plemons, to name a few, while director Alejandro González Iñárritu’s diverse filmography includes notable films such as the Oscar-nominated Amores Perros and the Oscar-winning Birdman or (The Unexpected Virtue of Ignorance) and The Revenant. Could we be looking at the film responsible for Tom Cruise’s well-deserved and long-overdue Oscar recognition? — Katie

STREET FIGHTER (October 16)

With one anticipated video game adaptation down, why not rally for the next one? Since Mortal Kombat II was fun and didn’t try too hard, my expectations for Street Fighter occupy a similar space. When it was announced with the eclectic cast attached, bonkers was the only way to describe it… and that’s saying something considering the 1994 version. However, the trailer hit a tone that indicated plot is secondary: campiness, vibes, and actual FIGHTING are the foremost qualities the creatives are focusing on for this ride. Street Fighter was a game I played at home and in arcades whenever it was available, and video game movies have been less apocalyptically awful the past decade, which inspires hope. Kitao Sakurai is unfamiliar to me as a filmmaker, but he directs comedy television with a scale that mirrors the aesthetic I am looking for with this IP. If you can find another movie where 50 Cent could be fighting Roman Reigns, Cody Rhodes, AND Jason Momoa, I would consider swapping my answer, but without that alternative, I can only sit back for the upcoming manna from heaven that is dudes beating the hell out of a Lexus for…reasons. — Robert

CLAYFACE (October 23)

Batman: The Animated Series was a seminal television program for me as a child, and it could be argued as the greatest Batman content this side of director Christopher Nolan. One of the most haunting episodes of that run was “Feat of Clay,” where the character Matt Hagen was introduced: an actor aiding a businessman in criminal pursuits in return for a specialty beauty drug to help with his career is double-crossed, with a horrific accident turning him into a shapeshifting monster named Clayface. He was terrifying and tragic, a story built on how trying to hold onto success can generate monstrous results. Thus, a horror movie is the correct avenue to explore these themes, and even though it is set in Gotham, it seems to be smaller-scale, allowing for Clayface (Tom Rhys Harries) to remain the focus. James Watkins had an incredible start to his directing career before it short-circuited a bit, but with Mike Flanagan writing and wanting to stay true to the source material as inspiration, a character that seemed impossible for live-action adaptation will be ready to produce nightmares as a true specter from within the Caped Crusader’s Rogues Gallery. — Robert

WILDWOOD (October 23)

To me, stop-motion animation is the best kind of animation. I can always feel the staggering artistry and human touch behind each frame, and that’s something that can’t easily be replicated with digital CGI or even 2D animation, as painstaking as those probably are too. It’s just a shame that it’s not considered a mainstream industry standard like those latter methods, but luckily, Laika is one of a few studios doing their best to keep the form alive. While they haven’t made as many films as Pixar or direct competitor Aardman, they’re just as consistent, with the likes of Coraline, ParaNorman, and Kubo and the Two Strings contributing to their great track record. Every Laika film is an event in my eyes, and Wildwood is no exception, especially as it re-teams director Travis Knight (pulling double-duty this year as he also helmed the live-action Masters of the Universe adaptation) and screenwriter Chris Butler. Not only that, but it’s an adaptation of a fantasy novel written by Colin Meloy, perhaps best known as the frontman of The Decemberists. You can’t get more indie-coded than that, especially with a fantastically cut trailer soundtracked by M83. I’m already signed up. — Bode

GODZILLA MINUS ZERO (November 6)

Godzilla Minus One was a refreshing take on the famed monster; at least more refreshing than what the character had become in pop culture. Case in point: a few months later, Godzilla x Kong: The New Empire released, a terrible movie that tried to turn Godzilla into an Avenger. God bless director Takashi Yamazaki for coming to wash the taste of that movie out of our collective mouths with Godzilla Minus Zero. Like Minus One, from the looks of it, we’re staying with the roots of Godzilla’s origins with another exciting film, but it also looks to be a character-driven film that shows a filmmaker using the iconic kaiju to express something. Minus One is easily one of my favourite surprises of the decade, so I’m uncharacteristically welcoming this sequel with open arms. — Adriano

WILD HORSE NINE (November 6)

There has been some chatter recently about “Event Directors.” If you aren’t familiar, these are the never-miss directors who work relatively infrequently, so every time they have a new release, it’s an event. Quentin Tarantino and Christopher Nolan are a couple that come to mind. One name that isn’t often mentioned is Martin McDonagh, which, incidentally, probably is my favorite director of the current generation. I will, sight unseen, buy whatever McDonagh is selling. He only has four movies (In Bruges, Seven Psychopaths, Three Billboards Outside Ebbing, Missouri, and The Banshees of Inisherin), but they all are acclaimed bangers that have garnered a combined 58 nominations (20 wins!) from the Oscars, BAFTAS, and Golden Globes. His ability to weave razor-sharp comedy, existential melancholy, and layered character development through extreme violence, witty one-liners, and complex moral plays is unmatched, so I will be there on opening night regardless of what the actual story is or who is in it. The fact that Wild Horse Nine stars Sam Rockwell and John Malkovich as CIA officers (giving strong In Bruges-inspired odd-couple vibes) working on Easter Island in the 70s, with Steve Buscemi, Parker Posey, and Tom Waits in supporting roles… I mean, I can only get so excited. — Quentin

THE ADVENTURES OF CLIFF BOOTH (November 25)

When I first heard that David Fincher would be directing a film written by Quentin Tarantino, I thought someone was playing Mad Libs. But the more I thought about it, the more I realized this could be a match made in heaven. While we still know very little about this standalone sequel, we do know it's set in the 1970s, roughly eight years after Once Upon a Time in… Hollywood, and it follows Cliff Booth (Brad Pitt) as he navigates a changing Hollywood industry in his new role as a fixer. Even that vague premise has me intrigued. Considering Pitt won the Oscar for Best Supporting Actor playing Booth, I can’t wait to see him step back into the role. Plus, he’ll be surrounded by another stellar ensemble, including Elizabeth Debicki, Carla Gugino, Yahya Abdul-Mateen II, Holt McCallany, and Timothy Olyphant. Lastly, Netflix is giving the film an exclusive, two-week IMAX release on November 25 before it hits the streamer on December 23. With two of my favorite filmmakers collaborating on a sequel centered around one of my favorite Brad Pitt characters, what more could I really ask for? — Paige

MADDEN (November 26)

Your eyeroll is probably deserved, but of course I picked a Nic Cage movie. Madden isn’t a “normal” Cage movie, though. In fact, it might be one of the more “odd” Cage projects in the context of his filmography. Think about it… Madden is a seemingly standard biopic that features Cage as legendary Oakland Raiders coach and NFL broadcaster John Madden. That sounds straightforward and normal to me, which is odd for Cage, who usually stars in movies with off-the-wall concepts that have him making choices. On top of that, there are several other factors that got me immediately on board. First, I’m a football fan that grew up playing the Madden NFL video game. I’d be interested regardless of Cage. Second, speaking of Cage, he’ll be in a fat suit (Madden weighed nearly 275 pounds). That’s just good fun. Third, chameleonic Christian Bale as eccentric Raiders owner Al Davis should be a site to behold. Fourth, Madden is from probable dirtbag but still acclaimed director David O. Russell, which…we’ll see how that goes. And lastly, it’s being released directly to Prime instead of getting a theatrical release, which is surprising given the talent involved. Did test audiences hate it, or is this a purely synergy-driven decision since Prime is the home of NFL Thursday Night Football and NFL’s only Black Friday game (note that the movie hits Prime on Thanksgiving)? But, more than anything, it is the first Cage casting announcement I’ve heard in a long while where I didn’t instantly think, “that sounds exactly like something he would do.” That alone would be enough for me. — Quentin

AVENGERS: DOOMSDAY (December 18)

There is a lot to be nervous about when it comes to Avengers: Doomsday. Whether it’s the disappointment of Phases Four and Five, the decision to bring Robert Downey Jr. in as Doctor Doom, or the attempt to build another Avengers “super film” without the methodical development through multiple phases of the Marvel Cinematic Universe – pick your poison. And I hear you, but that doesn’t quell my anticipation for the film. I’m actually filled with intrigue about how they're going to pull it off. Most importantly, unlike everything else post-Endgame, Doomsday feels like a definitive conclusion that will lead to something new. If that isn’t enough, this will be the first time we get to see the X-Men in a non-cameo appearance since Fox held the rights. As someone who always loved those versions of the uncanny mutants, I can’t wait to see them back on my screen. I know there are a lot of people being very negative towards the film, proclaiming there's no way the directing duo Russo Bros. can pull it off again. But, to that I say, what if they can? — Nick

DUNE: PART THREE (December 18)

For the longest time, it seemed nearly impossible that we would ever get a worthy adaptation of Frank Herbert’s still-influential sci-fi novel Dune, but director Denis Villeneuve miraculously defied the odds. In fact, by splitting the story of Paul Atreides’ (Timothée Chalamet) rise to power into two distinct films, he did it twice over. It’s a risk that paid off, not just narratively, but certainly commercially. As any Dune fan knows, though, the rise is only the beginning, and Villeneuve — himself a massive fan — intends to see it through its bitter, tragic end. With the second novel, Dune Messiah, being Part Three’s main source material, I’m very much looking forward to seeing how he goes about fully dismantling the hero’s journey (as Herbert intended to do) and exploring how Paul is a prisoner of his own foreknowledge. Most importantly, I’ll be curious to see how non-readers experiencing this arc for the first time take to that subversion, especially if the really weird and unsettling material of the novel is brought over. Could we have a new contender for the feel-bad movie of the holiday season? Only time will tell. — Bode

WERWULF (December 25)

Of the new-age, “elevated horror” filmmakers, I don't think it’s a stretch to say Robert Eggers is the most universally consistent. He's got a penchant for folklore horror as seen in…well, all his films…and a keen eye for historically accurate set design that enhances the unease of everything he’s doing. His latest, Werwulf, promises another raw horror film, this time taking on, obviously, werewolves. Considering he just successfully tackled another classic monster in Dracula with Nosferatu, I highly doubt he’ll disappoint. And considering the set images we have of Aaron Taylor-Johnson covered in blood and howling like, I assume, the titular wolf, he has no signs of getting any less weird. — Adriano