I love the movie “Moneyball” so much that I get chills whenever I think about it. Quarantine has given me the opportunity to indulge in the wonderful world of sports movies. After a couple of weeks now of rediscovering this wonderful world, I’ve confirmed the notion that there are very, very few bad sports movies.

 Before breaking down why this is true, I think it’s important to note what the world has become. For the first time since World War II, we won’t even have an Olympics to watch. Without sports, no one got to witness someone sinking a buzzer beater to win the March Madness NCAA tournament, no one got to see the opening day of America’s pastime, and no one got to witness what would’ve been the greatest NBA playoffs of all time. 

The coronavirus has taken away moments that unite us. That same binding force is what inspires all the kids who dream of going pro, the same that allows a stressed out parent needing something to unwind and forget about all the pains of the day, that same force drives decade-long fans of teams to follow them through the postseason blindly rooting for them despite the fact that they know the team won’t make it far. 

Sure, you can try to recapture these moments by re-airing old games, but it’s not the same. But if there’s one place where that magic doesn’t go away, it’s sports movies. If sports are already so captivating to Americans, adding some fancy editing, decent characterization, and an engaging narrative, it’s hard to lose. Think “The Game Plan” on Disney+ starring none other than The Rock. It is a movie I saw before my age was in the double digits and still provides the same wonderful overwhelming sense of optimism the same way it did when I saw it for the first time. Maybe it’s not entirely realistic that a star NFL quarterback would abandon his daughter at a celebrity party, but the beauty of sports movies always prevails in the end, always with a feel-good, high-tension victory against the odds. 

Think about “Field of Dreams,” “Bull Durham” or “For the Love of the Game.” Kevin Costner and baseball movies scream feel-good, as they’re some of the most wholesome movies you’ll ever see. Hockey deserves love too, as “Miracle” is an American classic that’s bound to give chills every time you watch it, even if you already know how it ends. 

Even the direct-to-TV B sports movies are good, as “Goon” is a sleeper hit that blends a feel-good romance with the high octane entertainment derived from hockey. “The Way Back” just recently released straight to digital due to the coronavirus. It is a deeply moving story of a man who uses a high school basketball coaching gig to guide him through his recovery. 

Sports movies are important now more than ever. If you ever get bored during the quarantine, which you will, find a good sports movie to watch, and try not to smile by the time the credits roll. We’re missing out on a lot of moments, but we can still unlock the child in us who sees the world with a blinded sense of optimism using the magic of sports movies. 

For the first time ever, an international film won the Oscar for best picture when the South Korean film “Parasite” took home the award at the 92nd Academy Awards. Bong Joon-Ho also took home Oscars for best director and best original screenplay. There was some criticism of the fact that “Parasite” won best picture in addition to its win for best international feature film earlier in the night, but overall, movie fans were thrilled to see “Parasite” clean up at the Oscars this year.

This praise and excitement is well-deserved, as “Parasite” is, in my opinion, one of the best films to come out in the last 10 years. Often a film will either have an interesting message or will tell a story in a unique and beautiful way. Many films fail to do both, but director Bong Joon-Ho and cinematographer Kyung-pyo Hong have crafted a visual and storytelling masterpiece – a rare gem among the recent influx of sequels and remakes that typically fill the movie theaters these days. 

Starting with the cinematography, the film is breathtaking. Bong-Joon Ho uses lighting in really intriguing ways. Not only does the flickering light in the Park home create an eerie atmosphere at times, it is also crucial to the story, as we find out later in the film. The red-tinted light in the flooding scene is also quite stunning. There are also several shots of people looking out windows, which not only creates for some cool reflection shots but also creates a feeling of separation between the rich Park family and the poor Kim family, a contrast which is at the heart of the film.

The framing is masterful, especially with the staircases at both the Park’s house and the Kim’s house. The shot of Park Yeon-kyo coming up the stairs with the light directly above her head and her face in the center of the frame is the most iconic example of this. It is shots like this that really pull the audience into the film and will cause this film to be considered a classic by later generations.

It is hard to talk about this film without praising the acting. The entire cast does a fantastic job, and it shocked me that not a single actor was nominated for an acting award at the Oscars. Kang-Ho Song as Kim Ki-taek was the standout for me, and his long take monologue at the shelter was a hypnotizing moment in the film. Overall, the entire cast truly brings their characters to life.

This film is full of twists, turns and some intense moments, but a commentary on the differences between social classes lies in the center of it all. This is an important issue throughout the globe today. This is why I encourage everybody to see this film – it has something to say to people of all languages and backgrounds.

My favorite part of this movie is that neither side of the economic divide is inherently good or bad, and the movie does not try to force us to hate one side or the other. Both the Park family and the Kim family do some really bad things. The Park family is rude and entitled, and the Kim family lies, assaults and kills in order to move up the social and economic ladder. But the way in which the story plays out shows that it is not inherent evil in the characters that causes these actions, it is the situations that play out throughout the story that lead the characters to commit more drastic acts. 

Similar to “Joker,” “Parasite” tells a story about people who are easy to sympathize with despite their evil actions. The fact that we sympathize with the Kim family tells us that deep down, we know that we each have our own breaking point. We are not perfect, and sometimes it is important that we are reminded of that. 

Overall, I cannot recommend this film enough. To me this is a once-in-a-generation film that, despite the language barrier, can connect with absolutely anybody. Whether you are looking for a beautiful film, a film with a powerful message and great acting, or just a good time, “Parasite” is for you. 

Everyone knows the best films come out closest to the holidays, and this year seems like no exception. November is already seeing a great many fantastic looking films. Here are five notable films that recently opened or will open within the month.

5. “Honey Boy”

The screenplay for this film is by Shia LaBeouf, once of “Holes” fame but more recently known for his bizarre, erratic behavior. Directed by Alma Har’el and starring Lucas Hedges, the film is described as an act of therapy for LaBoeuf. Following two different timelines, the film shows LaBeouf’s ascent into stardom and his attempt to work out issues with his father via film and art. The film comes out Nov. 8, and it promises to be a wild ride.

4. “The King,” Netflix

This film is loosely based on William Shakespeare’s “Henriad,” a term for the Henry plays, and “Richard II.” Starring the world’s collective boyfriend, Timothée Chalemet, who is most well-known for “Call Me By Your Name” and “Lady Bird,” the film seems to be an attempt to translate Shakespeare for younger audiences, a statement bolstered by the appearance of actors Robert Pattinson and Lily-Rose Depp. Reviews have generally been positive, citing Depp’s strong female character and Pattinson’s short but effectual performance. The film had a limited release in theatres and is now available for streaming on Netflix.

3. “Queen and Slim”

Dealing with a pervasive and somehow divisive premise, “Queen and Slim” follows a couple – Daniel Kaluuya and Jodie Turner-Smith – on a first date thrown into chaos after a traffic stop goes wrong. Smith, known for directing Beyoncé’s “Formation” music video,  makes her leading debut. The film’s screenplay was written by Lena Waithe, known for “The Chi,” her Emmy-winning writing on “Master of None” and the fabulous rainbow cape she wore to the Met Gala in 2018. The film seems topical but not trite, with great attention to detail and lots of care in rendering race thoughtfully and powerfully. The film is released across the United States Nov. 27.

2. “A Beautiful Day in the Neighborhood”

Depicting one of America’s icons, “A Beautiful Day in the Neighborhood” tells the story of a cynical reporter’s life-changing interaction with Mr. Rogers, played by another American icon, Tom Hanks. From the trailer, Hanks seems to embody Mr. Rogers perfectly, showing the triumph of love and acceptance over pessimism and hate in a time which desperately needs some neighborliness. If you’re in the mood for some wholesome, if not a bit saccharine, family cheer this holiday, “It’s a Beautiful Day in the Neighborhood” releases across the United States Nov. 22.

1. “Harriet”

With a star-studded cast featuring Janelle Monae, Leslie Odom Jr. and Cynthia Erivo, this film about famed escaped slave and abolitionist Harriet Tubman has been making headlines for months. The film depicts Tubman’s journey from a young slave through her escape, many subsequent journeys back south to help others escape and her stint in the Union army during the civil war. Although packed with action the film also works to be historically accurate and racially sensitive. While possibly not as horrific as 2014 Best Picture winner “12 Years a Slave” or as stunningly rendered as Toni Morrison’s “Beloved,” “Harriet” seems to be a powerful film that is accessible to audiences without becoming overly distorted. Released Nov. 1, the film is sure to be in theatres awhile, making it the perfect Thanksgiving break monotony breaker!

As the ground and trees return to their verdant hues, the warming of the weather is accompanied by a resumed vigor for outdoor activities – and for a few weeks at least, we renew our appreciation for the feeling of the sun’s rays on our faces.

That said, I decided to eschew that in the name of journalism, electing instead stay inside and watch movies.

This was no weekend Netflix-binge, however. In fact, I spent the past few days checking out the Kansas City International Film Festival. Held at the Cinemark on Country Club Plaza from April 10-14, the festival is a gathering place for film enthusiasts as well as both acclaimed and aspiring filmmakers.

Documentaries, narratives and short films covering a wide range of genre and subject were on display this time around, as well as seminars and press conferences by some of the presenters. The feature-length entries stood on their own, where as the shorts came in blocks, grouped together seemingly at random. In this case, some of them were actually produced by students from the University of Missouri-Kansas City.

The hot-ticket item at the fest this year – one I was unfortunately unable to get into – was the screening of the locally-set drama, “All Creatures Here Below.” Led by Karen Gillian, best known for sci-fi work like “Doctor Who,” and Kansas native and screenwriter David Dastmalchian, an actor whose highest profile role thus far was in the Ant-Man sequel – part of an amorphous blob of cinema which he shares with his costar Gillian. The reception, from what I could gather, was stellar. Dastmalchian, for his part, gave a press conference which may be found for now on the Facebook page for the event.

Though I was unable to attend that, I resolved to see at least one documentary while I was there to make up for my loss. To that end, I was pleased to be able to attend a screening of “The Buffalo Hunt,” a feature by Philip Difiore which follows the intersection of tradition and bleak modernity on the which is described on the Pine Ridge Indian Reservation, South Dakota.

The film, I must say, was both visceral and and beautiful – it follows the ritual killing and preparation of a buffalo by the Lakota people, who reflect candidly on a host of topics including Standing Rock, the meth epidemic and the mysterious disappearances of indigenous women in the U.S. and Canada. I highlight this piece in particular because I feel it is a good example of the sorts of things good documentary cinema should provide: a serious examination of a subject that balances a sense of artistry with one of honesty. Moreover, I believe the greater impetus for the purpose of film is revealed here: it is an opportunity for both celebration and critique of the subject, as is all great art.

It’s unfortunate that I was as constrained in my budget for this excursion as I was because, in truth, the Kansas City Film Festival is a wonderful, culturally-enriching event. Film, as an art form, is not merely a mode of escapism – it is a visual art which at its best suspends all other conditions around us, not to divert us away from them, but to allow the viewer to reflect on them and their representations.

In our era, which has seen Hollywood’s output become near-universally forgettable flops and franchise programming, the art form and the public are more in need of this sort of event than ever before.