Matthew Monagle

With the exception of technical honors, there’s still probably no Academy Winner as surprising as Marisa Tomei in My Cousin Vinny. To be fair, Tomei’s performance is absolutely delightful  —  funny at times, forceful at others, and the perfect counter for Joe Pesci’s endless barrage of conversation — but movies like My Cousin Vinny don’t typically take home Academy Awards for anything, least of all performances. That award speaks to the soft spot everyone has in their heart for that film; it may not be the most prestigious work of either Tomei or Pesci’s careers, but it’s a hard movie to say no to after a long day at the office.

Let me make this perfectly clear: I’m less of a Top Gun fan and more of a fan of putting Tom Cruise and Val Kilmer in more blockbuster movies, but the end result is pretty much the same: I am ready for a little Top Gun 2 action. The long-rumored film — or perhaps just long-desired film — was finally confirmed by Cruise earlier this year, and now Paramount Pictures is cranking up the movie-making machine to deliver on the promise of more midair dogfights and subtle homoeroticism. With Cruise back, and Kilmer hopefully soon to follow, this could be the perfect throwback to the heydays of studio filmmaking of the late ’80s and early ’90s.

It would seem that there are two stages every iconic musician must got through in the twilight of their career: induction into the Rock & Roll Hall of Fame and a guest spot in one of the Pirates of the Caribbean movies. Such was the case with Rolling Stones guitarist Keith Richards, who  —  in a nod to Johnny Depp’s appropriation of elements of his persona  — appeared in two films as the father of Jack Sparrow. And now the franchise has pulled in another iconic musician, with Beatles legend Paul McCartney sharing his slightly foppish character.

It’s amazing how much difference a song makes. We’ve been treated to several teasers for Guy Ritchie’s upcoming King Arthur: Legend of the Sword movie, and to this point, I would have described them all as just OK. Ritchie’s particular brand of historical fiction and modern action aesthetics  —  including his signature fast-slow-fast brand of fight choreography —  is something I’ve gone back and forth on a little bit in the last few years. I’m not a big fan of Ritchie’s Sherlock Holmes movies, but I did rather enjoy The Man From U.N.C.L.E., meaning King Arthur was kind of a net zero in my book.

Like most cinephiles, I was vaguely aware that Joe Pesci has been retired from acting for a while now, but I assumed that meant he had made a few low-budget movies in the early 2000s and walked away. Imagine my surprise, then, when I realized that Pesci has made exactly two live-action movies since Lethal Weapon 4 in 1998. One was The Good Shepherd, the Robert De Niro-directed 2006 drama about the early history of the CIA. And if a close friend can lure Joe Pesci out of retirement once, maybe he can do it again.

In the four decades that Star Wars has dominated pop culture, we’ve never had to hear a soundtrack for a live-action movie that wasn’t written by John Williams. Williams wrote the original trilogy, and then the follow-up prequels, and even dove back in for the soundtrack for Star Wars: The Force Awakens. So the fact that Williams did not write the music for Rogue One: A Star Wars Story is just one of many ways in which Rogue One represents a departure from the main story. No Star Wars crawl, no John Williams, no problem? I guess we’ll see.