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Top 10 Movie Review YouTube Channels for Film Enthusiasts

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YouTube has become a go-to platform for movie lovers seeking insightful and entertaining film reviews. With countless channels dedicated to dissecting the latest releases and discussing cinematic classics, it can be overwhelming to find the best ones. In this article, we will showcase the top 10 movie review YouTube channels that provide unique perspectives, engaging content, and expert analysis. Whether you’re looking for in-depth critiques, humorous reviews, or passionate discussions, these channels have got you covered. To find more about the most popular movie review youtube channels, please stay with us and follow our recommendations for the best movie reviews on YouTube on BEST CINEMA REVIEW . 

1. Chris Stuckmann, beyond  youtube movie review channels

With over two million subscribers, Chris Stuckmann’s channel is a favorite among movie enthusiasts. Known for his sincere and detailed reviews, Stuckmann offers a balanced blend of thoughtful analysis and personal opinions. His passion for cinema shines through in his content, which includes film essays, retrospectives, and spoiler-free reviews. Stuckmann’s articulate delivery and thorough exploration of various film elements make his channel a must-watch for those seeking well-rounded critiques.

2. CinemaSins, A dash of biting humor for film criticism on YouTube

We could not claim to write an article on Top 10 Movie Review YouTube Channels, without naming Cinemasins. If you enjoy a humorous take on movie reviews, CinemaSins is the channel for you. This popular YouTube channel playfully dissects movies with a comedic touch. Through their “Everything Wrong With” series, they humorously point out inconsistencies, plot holes, and clichés in films. While not a traditional review channel, CinemaSins offers a unique and entertaining perspective on movies, making it a great choice for those looking for a light-hearted approach to film analysis.

You may also be interested in this: The Best movie critic websites

3. Jeremy Jahns; owner of best movie review youtube channels

Jeremy Jahns is known for his energetic and entertaining movie reviews. With his charismatic personality and concise delivery, Jahns on his movie review youtube channels manages to capture viewers’ attention with his quick yet insightful critiques. His channel features spoiler-free reviews, trailer reactions, and occasional collaborations with other YouTubers. If you prefer concise and engaging movie reviews, Jeremy Jahns’ channel is definitely worth a visit.

4. Screen Junkies; one of the best movie youtubers

Screen Junkies is renowned for its Honest Trailers series, where they create humorous and satirical trailers for popular films. Additionally, their Movie Fights segment brings together various movie enthusiasts to debate and discuss different topics related to the film industry. With their mix of informative content and comedic flair, Screen Junkies offers a refreshing approach to movie reviews.

5. Red Letter Media; in list of the best movie review youtube channels

Red Letter Media is a unique channel that combines movie reviews with comedic sketches and analysis. Their most popular series, “Half in the Bag,” features in-depth discussions and reviews of recently released films. Their satirical character, Mr. Plinkett, adds a distinctive touch to their content, making it both informative and entertaining.

6. Beyond The Trailer

Hosted by Grace Randolph, Beyond The Trailer covers a wide range of movie-related topics, including film reviews, trailer reactions, and industry news. Randolph’s expertise and industry connections provide viewers with valuable insights into the world of cinema. Her channel is particularly popular for its coverage of superhero movies and franchises.

7. The Cosmonaut Variety Hour

The Cosmonaut Variety Hour offers detailed video essays and analyses of popular movies and TV shows. The channel delves into the creative aspects of filmmaking, exploring themes, symbolism, and narrative techniques. The host’s thoughtful approach and well-researched content make this channel a goldmine for those seeking in-depth cinematic analysis.

You may also be interested in this:  Best Cinema Critics

8. Flicks and the City; one of the Top 10 Movie Review YouTube Channels

Flicks and the City stands out for its coverage of film premieres, interviews with actors and directors, and comprehensive movie reviews. The channel provides a unique behind-the-scenes perspective on the film industry, offering viewers an insider’s view of the latest releases. If you’re interested in exclusive interviews and event coverage, Flicks and the City is a channel worth subscribing to.

9. The Nostalgia Critic

The Nostalgia Critic, played by Doug Walker, specializes in reviewing films and TV shows from the past, particularly those that hold a nostalgic significance. With a humorous and often satirical approach, Walker dissects beloved classics, pointing out both their strengths and flaws. His channel offers a delightful blend of entertainment and nostalgia for movie lovers.

10. FilmJoy

FilmJoy, formerly known as “Movies with Mikey,” offers unique and passionate film analysis. Hosted by Mikey Neumann, the channel explores the emotional impact of movies and dives into the storytelling techniques that make them memorable. Neumann’s love for cinema is evident in his passionate delivery and well-crafted content, making FilmJoy a compelling choice for movie enthusiasts.

As Hindi YouTube channels for movie critiques are gaining popularity, we aim to introduce two of them. “Shemaroo Movies” and “Ultra Bollywood” are two of the best Indian movie review channels on YouTube.

We want to introduce 2 more film critics populare Indian YouTube Channels:

1. Film Companion 

Film Companion is one of the best Indian YouTube channels dedicated to movie criticism and analysis. Led by renowned film critic Anupama Chopra, the channel offers insightful reviews, interviews, and discussions about Indian and international cinema. Anupama Chopra’s deep understanding of films and her ability to articulate her thoughts in a clear and engaging manner make Film Companion a go-to destination for movie enthusi asts. She is  one of best female movie reviewers. 

Film Companion’s content goes beyond mere reviews and explores the various aspects of filmmaking. The channel features in-depth conversations with filmmakers, actors, and industry professionals, providing viewers with valuable insights into the creative process. Moreover, Film Companion has a diverse roster of critics and hosts, ensuring a variety of perspectives and opinions. Whether it’s dissecting the nuances of storytelling, analyzing performances, or commenting on social and cultural impact, Film Companion offers a comprehensive and thought-provoking exploration of the world of cinema.

2. The Quint 

The Quint is another exceptional Indian YouTube channel that excels in movie criticism and analysis. With a team of insightful reviewers and journalists, The Quint offers a unique blend of entertaining and informative content related to films. The channel covers a wide range of movies, from mainstream Bollywood releases to independent and regional cinema, ensuring a diverse range of reviews and discussions.

What sets The Quint apart is its ability to connect movies with broader social and political contexts. The channel’s content often delves into the social issues depicted in films, providing a deeper understanding of their relevance and impact. The Quint also features interviews with filmmakers and actors, shedding light on their creative process and the thought behind their work. With its engaging hosts, well-researched analysis, and thoughtful approach to cinema, The Quint offers a refreshing perspective on movies that goes beyond surface-level critique.

All of them are commendable YouTube channels that provide exceptional movie criticism and analysis. Their commitment to exploring various aspects of filmmaking, engaging with industry professionals, and offering diverse perspectives make them invaluable resources for cinephiles seeking intelligent and insightful discussions about movies. You could find best movie reviewers there. Do not hesitate to find more about best film critics in the history of Cinema in our other article .

These top 10 movie review YouTube channels provide a diverse range of perspectives and styles for film enthusiasts to explore. Whether you prefer in-depth analysis, light-hearted humor, or behind-the-scenes insights, these channels offer something for everyone. From Thoughtful reviews like Chris Stuckmann to comedic critiques like CinemaSins, there’s a channel to suit every taste. So, grab your popcorn, sit back, and let these YouTube movie reviewers guide you through the world of cinema with their unique perspectives and engaging content. Happy watching!

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Famous Female Film Critics

List of famous female film critics, listed by their level of prominence with photos when available. This greatest female film critics list contains the most prominent and top females known for being film critics. There are thousand of females working as film critics in the world, but this list highlights only the most notable ones. Historic film critics have worked hard to become the best that they can be, so if you're a female aspiring to be a film critic then the people below should give you inspiration.

This list has a variety of people in it, from Ella Taylor to Margaret Pomeranz.

Claudia Winkleman

• Dig Deeper... Famous Presenters from England
• And Deeper... List of Famous Film Critics
• # 1 of 64 on Who Is The Most Famous Claudia In The World?

Margaret Pomeranz

Janet Maslin

Jami bernard, b. ruby rich, manohla dargis, maitland mcdonagh, cecelia ager.

Molly Haskell

Christy lemire, ulrike schirm, ella taylor, dana stevens, nikhat kazmi, nina hibbin.

• Entertainment
• Female Professionals
• Watchworthy

15 Great Female Film Critics You Ought to Be Reading

So come to find out, there’s not just a shortage of women acting in movies and making them ; we’re also seeing fewer and fewer women writing about them. A new study conducted by San Diego State professor Martha Lauzen of Rotten Tomatoes’ “Top Critics” found women were writing a mere 18% of reviews — down from a still-ugly 30% six years ago. It’s not a new issue , but disturbing nonetheless: yet another area of the film business in which female talent is going severely underused, a self-closing loop where more often than not, men make movies for men that men review. But there are a few voices in the wilderness — a handful of female critics for outlets big and small whose words are worth seeking out and savoring. (Note: these recommendations are limited to those who primarily focus on criticism, as opposed to news and blogging and so on.)

Manohla Dargis WRITES FOR: The New York Times FIND HER AT: The Times ; she’s not on Twitter and seldom makes public appearances (but when she does, they’re worth paying attention to ). STYLE: She’s not chief critic at the paper of record for nothing; her prose is sharp, confident, and stimulating. SAMPLE: “ ‘Stories We Tell’ has a number of transparent virtues, including its humor and formal design, although its most admirable quality is the deep sense of personal ethics that frames Ms. Polley’s filmmaking choices. Although it touches on intimate points, many recounted by Michael Polley in voice-over, the movie is revelatory rather than exploitative. And while the movie finally proves as much an autobiographical tale as a biographical one, Ms. Polley resists turning it into a flattering self-portrait of a young artist in search of her origins. Instead, building on the interest in narrative form that she expressed in earlier movies like ‘Take This Waltz,’ she explores storytelling itself and the space between a life lived and its different, at times conflicting representations.”

Stephanie Zacherek WRITES FOR: The Village Voice FIND HER AT: The Voice ; @szacherek on Twitter STYLE: Zacharek was championed early on by Pauline Kael, and you can see why — her thoughtful style and careful yet vigorous phrasing recall that of the late, great New Yorker icon. SAMPLE: “ Before Midnight — visually stunning, in a late-summer way — is more vital and cutting than another recent marriage picture, Michael Haneke’s old-folks-together death march Amour ; it has none of Amour ‘s tasteful restraint, and in the end, it says more about the nature of long-term love. The unhappiness Celine and Jesse are working through isn’t what love becomes; it’s part of what it is. For now, in the place where our hopes and dreams for fictional characters nestle uncomfortably next to our own disappointments, they’re still together. That’s more than good enough.”

Linda Holmes WRITES FOR: NPR FIND HER AT: Her “Monkey See” blog ; @nprmonkeysee on Twitter STYLE: Thoughtful, considered, and situated outside the frame — Holmes writes about television and pop culture as well, so her film reviews don’t have the insulated-within-the-bubble quality of many of her peers. SAMPLE: “It’s clear that everyone involved [in The Great Gatsby ] so loves the prose of the book that they felt the film could not exist without it — could not exist without, probably most importantly, Nick solemnly intoning, ‘So we beat on, boats against the current, borne back ceaselessly into the past.’ Apparently convinced that this could only be a voice-over and a voice-over needed to be explained, Luhrmann and co-screenwriter Craig Pearce came up with not one but two framing devices: Nick telling the story of Gatsby to a psychiatrist and Nick tapping out the tale on a typewriter. (The final shots related to Nick’s writing project are, it must be said, embarrassing. There is simply no other description that feels honest.)”

Carrie Rickey WRITES FOR: The Philadelphia Inquirer FIND HER AT: Her website ; @CarrieRickey on Twitter STYLE: Snappy, fast, and cracklingly intelligent — Rickey, like Roger Ebert, is one of the last of the great daily newspaper critics. SAMPLE: “ Trance, an art-heist movie from Danny Boyle, is a thriller cloaked in a film noir twisted into a Mobius strip and shoved into a cranny where movie amnesiacs hide repressed memories that audiences try to retrieve.”

Michelle Orange WRITES FOR: Freelance FIND HER AT: Her website ; @michelleorange on Twiter STYLE: Orange hasn’t been doing as much film writing lately; she spent some time writing a book of non-fiction essays (and promoting it). Here’s hoping we won’t have to wait much longer for more of her intellectually challenging and rhetorically rigorous reviews. SAMPLE: “But even good stories don’t tell themselves, especially not if they aim to be great. Watching her wriggle free from the story of a lifetime’s every formal and narrative constraint confirms Kathryn Bigelow as some kind of escape artist. Leaving Zero Dark Thirty , neither documentary nor pure genre, journalism nor entertainment, real world nor an exercise, and which ends with a whiskery glimpse of our generation’s greatest escape artist, that was all I knew or felt for sure.”

Christy Lemire WRITES FOR: Newly freelance FIND HER AT: @christylemire on Twitter STYLE: Lemire recently stepped down from the Associated Press after more than 15 years, but should have no trouble finding a home; she’s developed a nearly perfect balance of emotional engagement and filmmaking savvy. SAMPLE: “On a lark, Frances [in Frances Ha ] takes a weekend jaunt she can’t afford to Paris, which Baumbach strips of all its usual romance; she can’t even do something traditional like this correctly, but her trip is appealing in its messiness. But what’s so great about her is that after each setback, she picks herself up again. Call it stubbornness or delusion, she is determined to be her flawed self at all times; Gerwig makes us fall in love with this seemingly mundane figure by revealing all her shades, all her humanity.”

Lisa Schwarzbaum WRITES FOR: Freelance FIND HER AT: Entertainment Weekly ; @lisaschwarzbaum on Twitter STYLE: Schwarzbaum had been with EW for more than 20 years when she left her post there last spring, but she’s still writing eloquent stage reviews for them on a freelace basis (and penning hilarious “fake Cannes” updates on Twitter: “Ha ha ha ha ha I saw ‘Inside Llewyn Davis’ and you didn’t but some day you will, so really, you’re the lucky ones. Le blog!”) SAMPLE: “Shall I go on about all the ways in which this fake-opulent Les Miz made me long for guillotines while millions of viewers who have softer, more generous hearts than I may swoon with money’s-worth contentment? (At least it doesn’t skimp on length: The movie is approximately as long as the 1832 Paris uprising it depicts.)”

Karina Longworth WRITES FOR: Freelance FIND HER AT: @KarinaLongworth on Twitter; on Tumblr STYLE: Longworth stepped down at the LA Weekly back in December (sensing a pattern?) to focus on long-form writing (she has a new book out on Al Pacino ), and her wickedly sharp and intellectually precise commentary is dearly missed. SAMPLE: “The film reflects a real, right-now hatred of women that is not retrograde so much as totally delusional, a side effect of a dangerously distorted worldview that itself might be the endgame of the ‘total corporate mentality.’ The biggest disappointment of Killing Them Softly is that such suggestions about said mentality, which add up to more than the sum of their parts, are far outnumbered by airless tabulations of criminal/corporate equivalency.”

Kate Erbland WRITES FOR: Film School Rejects, MSN Movies FIND HER AT: Her website ; @katerbland on Twitter STYLE: Erbland is one of the most entertaining critics on Twitter, so unsurprisingly, her reviews are conversational and (deceptively, considering their intellectual heft) casual. SAMPLE: “Luhrmann holds back until the former lovers are finally reunited in a sequence that artfully blends the beauty of the film with genuine feeling and even trace amounts of humor and, suddenly, Luhrmann’s film appears to have a beating heart. But The Great Gatsby is never any better than this singular bridging sequence, the only one that manages to join together hollow spectacle and heart-wrenching emotion. Once Daisy and Gatsby launch into their renewed affair, Luhrmann’s Gatsby switches gears into a standard-issue cinematic adaptation, the party over, the style gone, everything plunging headlong into unavoidable and surprisingly banal tragedy.”

Farran Smith Nehme WRITES FOR: The New York Post FIND HER AT: Blogging the classics at Self-Styled Siren ; @selfstyledsiren on Twitter STYLE: Nehme’s Post reviews are short, quick, and to the point; she doesn’t suffer fools gladly, which gives her work an extra jolt of pleasure. SAMPLE: “ ’No One Lives ’ is so unspeakably dull that it can’t even offend, save when the filmmakers have the almighty nerve to quote Alfred Hitchcock and Jonathan Demme. It would be far better to rip off a William Castle movie, and aim for a level they have a prayer of actually hitting.”

Kim Morgan WRITES FOR: Freelance FIND HER AT: Her blog ; @SunsetGunShot on Twitter STYLE: Tough, crackling, and steeped in film history. Her cover story on Marilyn Monroe in last December’s Playboy is one of the great pieces of contemporary film writing. SAMPLE: “ Quentin Tarantino knows what I want to see. I want to see girls in short shorts dancing to T. Rex in a run-down Texas bar; I want to see a weird, rough-looking Kurt Russell quoting Robert Frost while asking for a lap dance; and, I want to see a brave woman belted to the hood of a white 1970 Dodge Challenger (the ‘Vanishing Point’ car) while her friend clocks somewhere around 80 mph. Wasn’t this part of the reason cinema was invented?”

Jenni Miller WRITES FOR: Film.com FIND HER AT: Film.com , @msjennimiller on Twitter STYLE: Loose and chatty, with a welcome feminist slant. SAMPLE: “There are plenty of worthy works of art that don’t pass the Bechdel Test, or whose creators were particularly monstrous in their private lives. The artist leaks into his or her work, no doubt, but I’m not giving them a free pass on being a piece of crap just because I take pleasure in their art. Poorly written female characters are the work of lazy writers. Actually, that’s giving some of these writers more credit than they’re due; maybe they’re just emotionally stunted or something, but I don’t know because I’m not Todd Phillips’ therapist.” (from the “Filminism” entry on Mud )

Katey Rich WRITES FOR: Cinema Blend FIND HER AT: @kateyrich on Twitter STYLE: Heartfelt and evocative, and admirably intent on finding what’s good in even the worst films she reviews. SAMPLE: “The fulcrum of Place Beyond the Pines is a single, relatively minor act of violence, the kind of thing mentioned in passing on local news and quickly moved past in most films. Cianfrance, who so precisely probed heartbreak in Blue Valentine , takes a similarly unflinching approach to the violence here, watching its waves ripple out and its effects linger as long as they would in real life: forever. Perhaps feeling pressure to escalate things, he goes a bit too far with it in the third act, pushing the story toward unrealistic synchronicity with the past. But the Shakespearean dimensions of the story — sons avenging fathers, fathers damaging sons, man grappling with his own demons — allow for the grandiose high stakes, and Cianfrance’s tenderness toward his characters keeps the heavy story just on the side of bearable.”

Sheila O’Malley WRITES FOR: Freelance FIND HER AT: Her blog ; @sheilakathleen on Twitter. STYLE: A recent addition to the roster of fine critics at Roger Ebert’s site , O’Malley’s writing is scholarly (yet lively) and filled with writerly flourishes — unsurprising, as she’s also a playwright and monologist. SAMPLE: “The scenery the killers travel through [in Sightseers ] is breathtaking, with the melancholy grandeur of English landscapes: fields and fog, lonely roads winding through green. The past is all around Tina and Chris, the greatness of England’s history shimmers behind every action. They cannot access the power inherent in such a history, it is denied them. Chris begins to seem more and more trapped in the abyss between his ideals and his reality, and Tina starts to seem more and more released from the ties that bind. The ending, when it comes, is perfect. Of course it would end this way.”

Sarah Ward WRITES FOR: Freelance FIND HER AT: @swardplay on Twitter STYLE: Formalist, yet never dull — Ward examines popular cinema and digs out subtext thoughtfully and articulately. SAMPLE: “ The Paperboy may straddle the line between exploitation and noir in its sometimes playful, sometimes profane subversion of the norm in both obvious and unexpected fashions, yet it does so with determination and daring… Though the surrounding content overflows with symbolism, it is the embodiment of the feature’s themes and approach through performance that not only soars, but affords the demanding but dynamic film with its confronting, compelling core.”

These are just a few of the great female film scribes — feel free to share your favorites in the comments.

Favoree's guide to YouTube

14 Best Movie Review YouTube Channels

Mark Berger

Finding a new film to watch can be a daunting task, with countless genres, directors, and hidden gems waiting to be discovered. It is in these moments that the guidance and recommendations of trusted sources become invaluable!

Thankfully, YouTube is full of passionate movie reviewers who provide inspiration on what movies to watch.

In this article, we present 14 exceptional YouTube channels dedicated to movie reviews, offering insightful critiques, engaging discussions, and a roadmap to your next unforgettable film experience.

Wanna know how and where to review YouTube channels ? Check out this article !

Top Film Review YouTube Channels

1. redlettermedia – 1.5m subscribers.

RedLetterMedia is a veritable institution for movie reviews. The channel offers insightful critiques, hilarious satires, and in-depth analyses of both mainstream and lesser-known films.

2. Jenny Nicholson – 1M subscribers

Jenny Nicholson brings a refreshing and humorous take on movie reviews. With her witty observations and engaging storytelling, she dissects films with an unapologetic charm that keeps her subscribers coming back for more.

3. Alt Shift X – 1.7M subscribers

Alt Shift X explores the fantasy and science fiction genres, delivering intricate breakdowns and theories that satisfy the most ardent fans.

From Game of Thrones to Westworld, this channel offers compelling insights into complex narratives. Perfect if you are a fan of the series!

4. History Buffs – 1.5M subscribers

History Buffs stands out by exploring the historical accuracy of movies. With meticulous research and attention to detail, the channel examines how well films portray the past, separating fact from fiction with an expert touch.

5. Cinema Therapy – 1.4M subscribers

Cinema Therapy combines psychology and film analysis to explore the therapeutic value of movies. Through thought-provoking discussions, the channel explores how films can heal, inspire, and provide catharsis for viewers.

6. Dead Meat – 6M subscribers

For horror enthusiasts, Dead Meat is a must-watch channel. Hosted by James A. Janisse, this channel dissects the gory details of horror movies, counting kills, exploring tropes, and sharing behind-the-scenes trivia.

7. Just Write – 700K subscribers

Just Write delves into the art of storytelling in movies. Through analysis of plot structure, character development, and thematic elements, the channel offers valuable insights into what makes a great film.

8. The Closer Look – 1M subscribers

The Closer Look takes a meticulous approach to movie analysis, dissecting every frame to uncover hidden details, symbolism, and deeper meanings. Their videos are a treasure trove for fans seeking a deeper understanding of their favorite films.

9. Accented Cinema – 440K subscribers

Accented Cinema focuses on non-English language films, providing an exploration of cinema from different cultures. From international classics to hidden gems, this channel offers a fresh perspective on global cinema.

10. Cinema Wins – 2.2M subscribers

Cinema Wins celebrates the positive aspects of movies. Rather than nitpicking flaws, the channel highlights the best moments, character arcs, and storytelling choices that make films truly special.

11. MauLer – 450K subscribers

MauLer’s channel shines as a guiding light for movie enthusiasts who crave detailed and analytical reviews.

With a meticulous approach, MauLer dissects films, examining elements such as plot structure, character development, and thematic consistency. Their in-depth analysis helps viewers make informed decisions about which movies to add to their watchlist!

12. Screen Crush – 1.5M subscribers

Screen Crush offers a wide range of movie-related content, including trailer breakdowns, Easter egg compilations, and engaging discussions on various film topics. With their informative yet entertaining approach, they keep film lovers hooked.

13. Every Frame a Painting – 2M subscribers

Although Every Frame a Painting has not been active in recent years, it remains an iconic and influential channel for film enthusiasts.

Through their meticulously crafted video essays, the channel explored various aspects of filmmaking, including cinematography, editing, and storytelling techniques.

Their insightful analysis and captivating visuals provided a deeper understanding of the artistry behind cinema, making Every Frame a Painting a beloved resource for cinephiles.

14. Mr Sunday Movies – 1.4M subscribers

Mr Sunday Movies injects humor and fun into movie reviews. With his charismatic style, he explores the latest blockbusters, comic book adaptations, and cult favorites, delivering entertaining and informative content that keeps viewers entertained.

Thankfully, YouTube has become the go-to destination for movie reviews, providing a platform for talented creators to share their thoughts and analysis.

From the humorous and entertaining to the analytical and thought-provoking, each channel brings its own unique perspective to the table. Whether you’re seeking expert critiques, in-depth analysis, or simply a good laugh, these channels offer something for every movie lover.

And if you want to find more quality channels about cinema like these ones, here is a  list of 50 of the best channels about movies  on Favoree.

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List of Female Film and TV Critics/Writers

Back to Resources »

Erica Abeel, Huffington Post

Mae Abdulbaki

Brittany Acts , Black Nerd Problems

Thelma Adams

Bim Adewunmi

Paige S. Allen

Kasia Anderson , Truthdig

Melissa Anderson, 4Columns

Mallory Andrews, cléo

Corrina Antrobus

Marina Antunes, Quiet Earth

Lindsey Bahr , Associated Press

Martha K. Baker, KDHX

Miriam Bale

Dana Barbuto , Patriot Ledger

Linda Barnard

Amyana Bartley , Film Inquiry

Nikki Baughan, Screen Daily

Angelica Jade Bastién , Vulture

Marjorie Baumgarten, Austin Chronicle

Abbey Bender

Trish Bendix , Into

Alanna Bennett, BuzzFeed

Blaire Bercy, Hello Giggles

Laura Berger, Women and Hollywood

Paula Bernstein, Filmmaker Magazine

Ashlee Blackwell, Graveyard Shift Sisters

Jagger Blaec

Lisa Bolejeka, Bitch Flicks

Tara Brady, Irish Times

Liz Braun, Toronto Sun

Catherine Bray

Jamie Broadnax, Black Girl Nerds

Anne Brodie, What She Said Radio

Katherine Brodsky

Emily Buder, No Film School

Lauren Bullock , Black Nerd Problems

LaNeysha Campbell

Michele Canty

Diane Carson, KDHX

Monica Castillo

Jeannette Catsoulis, The New York Times

Jen Chaney , Vulture

Susan Cheng , BuzzFeed

Nancy Churnin, Dallas Morning News

Casey Cipriani, Bustle

Diana Clarke , Village Voice

Lesley Coffin , Movies, Film, Cinema

Devan Coggan, EW

Sandy Cohen, AP

Jacqueline Coley , Black Girl Nerds

Valerie Complex , Black Girl Nerds

Sherilyn Connelly

Joanna Connors, Cleveland Plain Dealer

Amelia Cook, Animefeminist

Manohla Dargis, The New York Times

Cherry Davis

Jaime Davis, Moviejawn

Virginia DeBolt, Old Ain’t Dead

Laura DeMarco, Cleveland Plain Dealer

Yohana Desta, Vanity Fair

Miriam Di Nunzio, Chicago Sun-Times

Serena Donadoni , Village Voice

Kayleigh Donaldson, Pajiba

Amber Dowling (TV)

Lauren Duca

Chaz Ebert, Robert Ebert.com

Molly Eichel, Philadelphia Enquirer

Lynn Elber , AP (TV)

Vanessa Erazo , Remezcla

Kate Erbland, IndieWire

Francesca Fau, Film School Rejects

Leslie Felperin , The Hollywood Reporter and The Guardian

Julia Felsenthal, Vogue

Marilyn Ferdinand, Ferdy on Films

Hanna Ines Flint

Caroline Framke, Vox

Candice Frederick , Reel Talk Online

Cynthia Fuchs, Pop Matters

Constance Gibbs

Adriana Gomez-Weston, The Cinema Soloist

Pam Grady, San Fransisco Chronicle

Alisha Grauso , Movie Pilot News

Susan Granger, SSG Syndicate

Sabina Graves

Ellen Gray, Philadelphia Daily News (TV)

Leah Greenblatt, EW

Fionnuala Halligan, Screen International

Angie J. Han, Mashable

Anissa Hanley

Rachel Handler , Vulture

Simran Hans

Asyigin Haron, Geeks of Color

Kosi Harris

Tina Hassannia

Leba Hertz, SF Chronicle

Carolyn Hinds , Black Girl Nerds

Lauren Hoffman

Linda Holmes, NPR

Ann Hornaday, Washington Post

Karama Horne , The Blerd Gurl

Jane Horwitz, Washington Post

Lauren Humphries-Brooks, We Got This Covered

Jan Lisa Huttner, FF2 Media

Wendy Ide , The Observer and Screen International

Caryn James , BBC

FoxyJB, Foxy Jazzabelle

Mary Ann Johanson, Flick Filosopher

Kimberley Jones, Austin Chronicle

Monique Jones, Just Add Color

Aisha Jordan, Black Nerd Problems

Valerie Kalfrin

Kelly Kanayama

Inkoo Kang , Slate

Kay-B , Black Girl Nerds

Rebecca Keegan, Vanity Fair

Allison Keene, Collider

Lisa Kennedy, Denver Post

Clarkisha Kent

Laura Kern, Film Comment

Jessica Kiang , The Playlist and Variety

Rosalie Kicks, Moviejawn

Kristen Yoonsoo Kim

Crystal Shaw King , Refinery29 and more

Loren King , Boston Globe

Tatiana King

Anna Klassen, Bustle

Yasmin Kleinbart, The Young Folks

Genevieve Koski , Vox

Sandra Kraisirideja, AudioHollywood

Kayla Kumari Upadhyaya

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A searing replay of insurrection, ‘The Sixth’ should be seen by all

The chilling documentary immerses us in the sensations and shock of Jan. 6, 2021. Civics lessons rarely come this disturbing or this convincing.

At first, you may be wondering why A24, the film distributor known for edgy independent fare, is opting not to release “The Sixth” in theaters and is instead sending it straight to streaming services. Having seen the movie, I think I understand.

This chilling documentary by Andrea Nix Fine and Sean Fine, immersing a viewer in the sounds, sights, sensations and shock of Jan. 6 , 2021, is best watched not at a public screening, with a restive and possibly argumentative audience, but at home, attended to with sober concentration and preferably older children or grandchildren by one’s side. Civics lessons rarely come this disturbing or this convincing.

The Fines, Oscar-winning documentarians (“Inocente,” 2012), have drawn upon an immense trove of news and personal footage to re-create the events of the day-long attempt by Donald Trump supporters to storm the U.S. Capitol building and halt the official tabulation of votes that would certify Joe Biden as the 46th president. Images from news cameras, body cameras, security cameras and cellphones have been cut together by editors Jeff Consiglio and Chrystie Martinez Gouz to create an Argus-eyed mosaic of insurrection. A discreetly ominous score by H. Scott Salinas rumbles beneath the sounds of chaos that build from early morning on the 6th and culminate in the breaching of the police line outside the Capitol by a mob estimated at 10,000 and the invasion of its corridors by 1,200 rioters.

“The Sixth” relies on the stories of six narrators who were there, told directly to the camera and in voice-over. Two officers with the D.C. police, Christina Laury and Daniel Hodges, provide harrowing accounts from the white-hot center of the assault, while their boss, Robert J. Contee III, named acting chief of the D.C. police only four days earlier, gives us the broader vantage point. Rep. Jamie Raskin (D-Md.), who had buried his 25-year-old son, Tommy, the day before, recalls events as he saw them from the House chamber, while Erica Loewe, deputy communications director for then-House Majority Whip James E. Clyburn (D-S.C.), gives us the view from the barricaded congressman’s office as the mob pounds on the door. Finally, news photographer Mel D. Cole was in the crowd of Trump supporters as the day progressed from rally to march to riot, and it’s through his lens and memories that we come closest to the attackers themselves.

These are the true believers in Trump’s Big Lie, and they are terrifying. Mostly male, many of them armed, all of them swollen with self-righteous rage, the rioters are seen as individuals and as a seething, pulsating, unified mass of hate. “It was the crowd that was the weapon,” says Officer Hodges, and in the footage of that day, we see that weapon used to crush him and his fellow officers. The police were assaulted with poles, boards, their own batons and bear spray far more harmful than pepper spray. A rioter screams at Hodges to “give me your helmet! I paid for that helmet!” “These people made it clear that they wanted to kill certain members of Congress,” the officer tells the filmmakers.

Embedded in the mob, photographer Cole documented D.C. police Officer Michael Fanone being beaten with pipes and attacked with a stun gun; Fanone suffered burns, a heart attack and traumatic brain injury. “I came for war, man,” one ebullient rioter tells Cole, who expresses horrified amazement that these were the same people who normally expressed their belief that “blue lives matter.” “Not that day,” he says.

Questions remain unanswered by the film, and they nag at history. Among them: Why did the Defense Department hold back National Guard troops stationed nearby while the battle raged for four hours and Contee was forced to call in local officers from Virginia, Maryland and New Jersey? With their arrival, the tide of battle turned and, in Cole’s words, “It was just weirdly … over.” Loewe recalls being led by police out of the Capitol building and seeing a handcuffed rioter laughing. “It was funny to him,” she says with disbelief.

By contrast, “The Sixth” documents a singular tragedy in the life of America with an immediacy that makes one grateful for recording technology; it’s as though we were privileged to witness the Salem witch trials, the Battle of Gettysburg or the Tulsa race massacre at close secondhand. There should be no sense of celebration in this. “I felt embarrassed for all of us,” says Cole, shaking his head. “For all of America.” A true patriot watches “The Sixth” with a deep sense of shame that this happened to our country and a deeper determination to never let it happen again.

Unrated . Available May 3 for purchase and May 10 for rent on Apple, Google Play, Prime Video, YouTube and other platforms. Mob violence, language. 111 minutes.

Ty Burr is the author of the movie recommendation newsletter Ty Burr’s Watch List at tyburrswatchlist.com .

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The Kingdom of the ‘Planet of the Apes’ Evolves, for Better or for Worse

The fourth installment of the ‘Planet of the Apes’ reboot franchise highlights the ups and downs of diving headfirst into a post-Caesar world

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There may be no more astonishing image in the history of modern science-fiction cinema than the severed torso of the Statue of Liberty strewn on the sand at the end of Planet of the Apes (1968): the torch that once welcomed the tired, poor, huddled masses reduced to the wretched refuse of the beach, with nobody left to hold it high. In the same year that Stanley Kubrick punctuated 2001: A Space Odyssey with a cosmic question mark, Planet of the Apes went with an exclamation point: Lady Liberty’s broken body was a perfectly pulpy avatar of Cold War anxieties about nuclear proliferation and shattered American democracy. It confirmed the worst fears of Charlton Heston’s wayward astronaut about what his countrymen were capable of, leaving him—and us—with a cruel variation on Thomas Wolfe’s truism: you can’t go home again if you never really left.

It’s one thing to craft a twist ending that genuinely surprises an audience, and another to corkscrew collective expectations so wickedly that it rewrites the syntax of genre cinema. If there’s a common denominator between the movies of Christopher Nolan, M. Night Shyamalan, and Jordan Peele, it’s that they’re perpetually chasing the conjoined conceptual elegance and thermonuclear impact of Rod Serling’s climactic masterstroke, which was neatly plagiarized from the writer’s own private corner of The Twilight Zone and then carefully tuned to the cultural moment. Released into a paranoid, skeptical zeitgeist in which institutions were assumed to be crumbling under their own weight, the doomy grandeur of that tableaux helped Planet of the Apes transcend its B-movie pedigree and become an instant classic.

Of the four quickie sequels released between 1970 and 1973, only 1970’s Beneath the Planet of the Apes came close to equaling its predecessor’s sense of majesty but fell short in the absence of any similar narrative revelation (the surprise turned out to be that Heston needed the work). By contrast, Tim Burton’s misbegotten millennial remake swung for the fences for a shock ending that aped Serling’s political iconography but, unfortunately, didn’t make a lick of sense: it suggested not pieces sliding into place but a house of cards falling apart. Hence the lowered expectations for 2011’s Rise of the Planet of the Apes , which, in a different (and happy) kind of twist, turned out to be a swift, witty piece of intellectual property renovation—one that reimagined the premise from the ground up and found the sweet spot between innovation and homage. Working in a likably scrappy style, director Rupert Wyatt crafted a rousing narrative that visualized its simian heroes’ upward mobility via a series of dizzying action scenes; meanwhile, Andy Serkis’s soulful chimpanzee Caesar was non-human hero worth rooting for through two solid (if increasingly over-serious) sequels.

Caesar appears in the prologue of Kingdom of the Planet of the Apes , but only to confirm what the ending of 2017’s War For the Planet of the Apes had already suggested. After years of distinguished service as a revolutionary leader and self-styled peacemaker, history’s most eloquent primate had scampered up his last tree branch: Apes Together Sad. For all the solemnity that director Wes Ball bestows on the character’s funeral, there’s also a quiet sense of relief and even excitement at the possibility of exploring what has become one of contemporary Hollywood’s best-developed dystopian worlds in the company of some new protagonists. After flashing forward “many generations”—about three hundred years, give or take—we’re introduced to Noa (Owen Teague), an intrepid young chimpanzee who looks enough like the late Caesar that we can’t help but wonder about the shape of his proverbial family tree.

The decision to start over with a new hero is deepened by the fact that neither Noa nor any of the other major characters introduced in Kingdom are played (or voiced) by recognizable stars, a cost-saving measure that also clarifies the new film’s approach. Part of the greatness of Planet of the Apes lay with the casting of Heston, one of the most imperious movie stars of his generation; seeing Ben-Hur stripped, beaten, and humbled went a long way toward hooking audiences used to seeing their man large and in charge (ditto the joke of Taylor sitting through endless sermons about ape law; the dude brought the Ten Commandments down from the mountain). In Rise , the dramatic tension—and suspension of disbelief—stemmed from Serkis’s ability to inhabit palpable, white-hot emotions from the confines of a motion-capture suit, and then bounce them off his flesh-and-blood castmates. Here, nearly every speaking role is filled by a CGI creation. If the illusion proves unusually convincing this time out, it’s partially because of rapid quantum leaps in special effects technology—the sheer fluidity of the movements makes Rise ’s visuals look like cave paintings—but also because humanity has effectively become the story’s structuring absence.

For those with short memories, a set of title cards give us our bearings: the same genetically engineered virus that once upon a time imbued apes with the ability to speak and think has rendered human beings mute and also notably scarce; the clusters of battered, hollowed-out buildings dotting the skyline are—no less than that blasted Statue of Liberty—monuments to a civilization’s gradual and inexorable erosion. The imagery has a certain elemental power; it evokes no less than Alan Weisman’s 2007 nonfiction bestseller The World Without Us , a thought experiment about the environmental resurrection that would occur on suddenly depopulated Earth. Seeing what is essentially a graveyard treated like a playground is unsettling, and the sequence when Noa and his teenage pals clamber through a series of overgrown high-rises in search of eggs for a coming-of-age has a haunting ambiance—even if Ball can’t resist over-cranking the tension in the end to turn their outing into a frenetic life-or-death set piece.

A more patient movie might have spent more time establishing the rules and routines of Noa’s clan, who are distinguished by their communion with eagles—an unlikely bond that feels partially borrowed from the world of Avatar (note that screenwriter Josh Friedman had a story credit on The Way of Water ) and raises all kinds of interesting questions and narrative possibilities. But even though Kingdom of the Planet of the Apes is long (145 minutes), it’s also rushed, and no sooner have we been introduced to our hero’s family members and their cozy, well-hidden existence then they’ve been variously abducted and murdered by members of a rival tribe who, seemingly, still worship Caesar in the flesh, quoting his dictums in between acts of savagery. From there, the film finds its shape as a quest narrative, with Noa setting out to rescue and/or avenge his loved ones, aided by characters who exist either solely to dole out exposition—i.e., Raka (Peter Macon), a sweetly rotund orangutan who happens to be a fount of knowledge—or else to grease the wheels of the plot, like Mae (Freya Allan), a feral human woman who’s retained her intelligence (and rebellious spark) and is determined to locate a cure for her species’ debilitating collective condition.

There’s a key difference between efficiently hitting your marks and goldbricking between them, and Ball—whose previous directorial credits comprise the Maze Runner trilogy—doesn’t quite get the pacing right. He does, however, nail the crucial plot point about the “new” Caesar, who, once discovered in a location filled with references to the original film, turns out to be a hoot—a much better bad guy than Woody Harrelson’s discount Colonel Kurtz riff in War for the Planet of the Apes (a movie that demonstrated the downside of Matt Reeves’s po-faced approach). Like the vindictive, machine-gun-toting, tank-driving Koba, who energized Dawn of the Planet of the Apes , the self-described “Proximus Caesar” is a bonobo: the series’ rampant vilification of this benign, highly-intelligent species continues apace. The character is played by the ever-eccentric Canadian journeyman Kevin Durand as a sly, wannabe demagogue threading his aspirations through the words of a fallen hero. Liberated from the demands of realism, Durand imbues the character with an arrogance that’s both hearty and heartless; his line readings thunder with a gusto somewhere between Shakespeare and Trump.

Literary allusions have always been part of Planet of the Apes ’ DNA: Serling was a master of middlebrow moralism, and he wasn’t above flattering his audience by letting them feel smart (i.e., the scattered nods in the original to Darwin and the Scopes trial). At one point in Kingdom , the camera comes to rest on a battered copy of Kurt Vonnegut’s classic sci-novel Slaughterhouse-Five —a sight gag that points up the film’s aspirations while hinting at its deficiencies. While Planet of the Apes never explicitly quoted Jonathan Swift, it vibrated with the same strangeness as a book like Gulliver’s Travels —a feeling of a world out of joint (or, as Heston bellowed, a “madhouse” ) . Like Swift, Vonnegut was a writer who thrived on making the reader uncomfortable both in terms of theme and prose style, but Kingdom only gets the equation half right. There are some tricky questions here about the thin line between co-existence and subjugation and the ethics of collaboration (bound up in a second human character, played by an actor whose identity I will not spoil), but they’re all shoehorned into a form that’s too conventional for its own good—one that’s crying out to be exploded.

Ultimately, it’s probably unfair to ding a movie with a $160 million budget for not being weird enough: one can only expect so much experimentation with that kind of money on the line. Still, the fact that material that was once so genuinely mind-blowing (as well as politically pressurized) has grown so domesticated doesn’t necessarily seem worth celebrating (for a primate-themed movie with a little bit of weirdness to it, try the Zellner brothers’ recent indie hit Sasquatch Sunset , which builds to a wry parody of the Statue of Liberty scene). The reason that Planet of the Apes endures as it does is because it had the element of surprise, which, over the course of six decades has been reduced to formula and routine; a passable but unremarkable exercise in monkey-see, monkey-do lacking the spark of genuine daring. At one point during one of his vainglorious monologues, Proximus Caesar shows a naive—and finally self-defeating—understanding of what evolution and progress actually means; the same can be said for the film as a whole.

Adam Nayman is a film critic, teacher, and author based in Toronto; his book The Coen Brothers: This Book Really Ties the Films Together is available now from Abrams.

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Kingdom of the Planet of the Apes Isn’t Quite a Worthy Heir

The sequel to one of hollywood’s greatest franchises is back, but the new movie can’t escape its predecessors’ shadow..

Tacking a fourth chapter onto a trilogy as strong as the 2011–17 run of  Planet of the Apes movies poses a serious filmmaking challenge. That series departed from an entirely different premise than the  Apes  movies of the 1960s and early ’70s (not to mention that of Tim Burton’s best-forgotten 2001 remake ), themselves based on a popular sci-fi novel by French author Pierre Boulle. Instead of envisioning a future when humankind lives under the rule of sentient primates, the 2010s reboot series imagined the present-day moment when the apes became sentient in the first place.

Specifically, the trilogy told the life story of a single world-changing chimpanzee, Caesar (played in motion capture by the great Andy Serkis), the subject of an experiment that left him not only with increased intelligence and the capacity for spoken language but with wisdom, compassion, and leadership skills far beyond most members of our own species. At the end of the first and best film of the series,  Rise of the Planet of the Apes , Caesar is a triumphant revolutionary, having led the world’s primates in an uprising against the humans, who are rapidly devolving thanks to the same lab-grown virus that is making the apes evolve in fast motion. Over the course of the next two chapters, Caesar becomes a leader of a different kind: first a philosopher-king who resists the temptation of tyranny and, by the end of the last film, a kind of Moses who leads his followers to the Promised Land, only to die before he can enjoy any of its fruits.

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So strongly marked and memorable a character was Caesar that the new fourth chapter in the saga,  Kingdom of the Planet of the Apes , begins at the scene of his funeral, then goes on to tell a story that revolves in large part around his place in ape history. After that solemn funeral scene, we skip ahead “many generations”—apes don’t do calendars, apparently—to a world that, while still dominated by simians, has lost its utopian character. Apes are divided into hermetic clans with no communication among them. Some groups live peaceful if fearful lives, while others raid and pillage, disregarding Caesar’s primary law “Ape not kill ape.” Meanwhile, humans—at least as far as the apes know—are to them what wild animals now are to us, mute beasts who live in packs and are at best observed from afar and at worst, fought off.

After an ape-on-ape raid on his village, one young chimp, Noa (Owen Teague), sets out to find the members of his clan who have been kidnapped. On the way, he comes into contact with a wise orangutan, Raka (Peter Macon), who is keeping the tradition of Caesar alive by working toward the newest ape accomplishment, deciphering written language. (Raka is also, in a throwaway line that’s easy to miss, established as the series’ first out queer ape, having lost his male partner in an attack by the same group of marauding apes.)

The two primates set out together in search of Noa’s lost tribe, eventually accompanied by a tagalong human (Freya Allan) who reveals herself to be both more sentient and more useful than either ape expected. When they finally arrive at the oceanside compound ruled over by the tyrannical Proximus Caesar (Kevin Durand), the travelers are taken prisoner and conscripted into the ruler’s plan to break into a vault of weapons and destructive technology left behind long ago by humans, thereby enabling ape violence on a previously impossible scale.

The director Wes Ball, who made all three of the Maze Runner movies, demonstrates a flair for helming big set pieces so that the action is legible and (within the limits set by a movie about mass interspecies warfare) believable. I was especially impressed by an early scene in which a herd of loincloth-clad humans, along with our ape protagonists, is chased away from a watering hole by a pack of war-whooping apes on horseback. The recurring image of apes riding horses over vast stretches of land evokes the open landscapes of the Hollywood Western, a welcome departure from the visions of urban techno-dystopia that have dominated the apocalyptic blockbuster for decades.

But despite its impressive attention to craft—including exquisite motion-capture work by the groundbreaking digital-design studio WETA— Kingdom of the Planet of the Apes never fully establishes its reason for being. The screenplay, by Josh Friedman ( War of the Worlds , The Black Dahlia ), is a cut above the average blockbuster in its world building and character development, but its insights into ape politics (and by allegorical extension, our own) never rise to the height of the scripts created for the Apes movies of the 2010s. Those were written by an evolving creative team that included Rick Jaffa, Amanda Silver, Mark Bomback, and Matt Reeves (who also directed the previous two installments), and they shared a fascination with the moral complexities of leadership.

Not unlike Shakespeare’s troubled monarchs (Prince Henry, Macbeth, King Lear), Serkis’ Caesar was repeatedly confronted by both external and internal challenges to his rule. Though the bad guys he faced down were at times thinly drawn—I’m thinking of Woody Harrelson’s one-note Colonel Kurtz clone in the trilogy’s final chapter—Caesar himself always showed the full range of human/ape response to the difficult position of being a beloved and powerful leader in a moment of violent upheaval. Questions about how best to wield his power, and how much force to use in the process of holding on to it, were the character’s driving motivations. In this fourth chapter of the Apes saga, the threat of authoritarianism is entirely externalized: The antagonist, Proximus Caesar, holds fascist-style rallies to motivate his subjects to perform what is basically slave labor. He’s a worthy enough villain, played with sadistic glee by Durand and attended by a toadying human played by William H. Macy. But the Manichean opposition between the evil dictator and the gentle, bird-loving Noa is a far cry from the subtler exploration of power’s corrupting influence that was at work in the past three Apes installments.

The complexity of the original Caesar character came across mainly thanks to the performance of Serkis, the first (and really still only) motion-capture movie star. As Gollum in the Lord of the Rings and Hobbit trilogies and the mournful mega-gorilla in Peter Jackson’s otherwise unmemorable adaptation of King Kong , Serkis found ways of moving and speaking that made his digitally enhanced nonhuman characters more specific and relatable than plenty of the non-animated human actors around them. To watch a behind-the-scenes featurette on the creation of Gollum is to watch a new style of acting being invented before your eyes.

Now that the process of motion capture has become both more widely used and more technologically advanced, there is less novelty in the simple knowledge that these expressive and remarkably differentiated nonhuman faces have been created by actors wearing microphone headsets and reflective stick-on dots. (Even in large crowd scenes, each individual ape in the background has its own unique features and physiognomy.) But although all of the human-as-ape performances here are solid—Teague is touchingly vulnerable as the initially naïve Noa, and Macon magisterial yet twinkling as the sage elder Raka—there is no one on screen, ape or human, who can match what Serkis achieved in his creation of Caesar. It’s perhaps fitting that his performance is unrepeatable, given that the whole franchise departs from the notion that a single ape could change history forever via the technology-aided blending of human and nonhuman traits. Like the fictional apes in this new installment, the whole franchise exists in the shadow of its noble ancestor.

The 30 Best Jokes and Craziest Moments From Tom Brady’s Netflix Roast, From Gronk Smashing Glasses to Gisele Divorce Puns

By Clayton Davis

Clayton Davis

Senior Awards Editor

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It was a long night for Tom Brady at his live Netflix comedy roast, as it was for the rest of us watching from home.

Starting with a bloody OJ Simpson jersey and ending with Brady smashing an iPhone on stage, the Netflix live event, “The Greatest Roast of All-Time: Tom Brady,” honored the seven-time Super Bowl champion. The modern-day legend faced his biggest challenge yet: being roasted by comedians and his former NFL teammates.

The QB took so many hits regarding his failed marriage to supermodel Gisele Bündchen, which was surprising in moments where it didn’t seem to let up for a single moment, bringing some of the evening’s biggest laughs. Nonetheless, the “joke of the night” came from the GOAT himself when addressing Kim Kardashian and referencing her ex-husband Kanye West: “I know Kim was terrified to be here tonight. Not because of this, but because her kids are at home with their dad.”

When Kardashian took the stage to toast Brady, she was met with an onslaught of audible boos, but host Kevin Hart came to her aid.

Part of Netflix Is a Joke Fest , “Greatest Roasts of All Time: Tom Brady” featured the former quarterback, known for his 20 seasons with the New England Patriots and three with the Tampa Bay Buccaneers, taking humorous jabs from some of the biggest names in comedy. Hosted by Hart and roastmaster Jeff Ross, the event included Brady’s former teammates Julian Edelman, Rob Gronkowski and Drew Bledsoe, as well as stand-up comics Tom Segura, Nikki Glaser, Andrew Schulz, Bert Kreischer, Tony Hinchcliffe, Sam Jay and more.

“We’re here to roast the greatest quarterback of all time,” Hart quipped. “Oh, wait, Joe Montana’s here?”

Brady made a grand entrance onto a stage surrounded by his former teammates, exclaiming to the crowd, “Are you guys ready? It’s game time. Let’s go!”

VIP tables, occupied by Chelsea Handler, Jim Gaffigan, Shane Gillis and Netflix executives Ted Sarandos and Bela Bajaria, encircled the stage, adding to the star-studded atmosphere of the event.

Brady’s former teammate Gronkowski took the spotlight with the most peculiar moments of the night, delivering a sometimes incoherent barrage of jokes that culminated in smashing a glass on the stage, causing it to shatter and send shards flying onto nearby tables.

Here are some of the 30 best jokes and craziest moments from the special (in no particular order):

• “This is where Jerry Buss laid his dick out. This was called the Fucking Forum.” – Kevin Hart
• “Tom brought Boston with him tonight. I’ve never seen Inglewood so white. It looks like a Bruce Springsteen concert just let out. This used to be the home of the Lakers; now it’s the home of the Quakers.” – Kevin Hart
• “It’s been two years since Tom has gotten divorced. And since then, Tom’s been fucking. Tom has been putting that two-inch tool to work. Tom has been fucking so much; his dick has gotten CTE.” — Kevin Hart
• “You know who else fucked that coach? Gisele. She fucked that karate man…. eight karate classes a day, and she’s still a white belt?” — Kevin Hart
• “Chelsea Handler is here… Speaking of Black dick, Kim is here tonight.”
• “I’ve just come from hell. Aaron Hernandez says hello.” — Jeff Ross
• “I had to dress like OJ because I’m about to kill this white bitch right here.” — Jeff Ross
• “You really put the Jizz in Gisele.” — Jeff Ross
• “I really wanted Kevin [Hart] to host because he already looks like a deflated football.” — Jeff Ross
• “Surely, if Mark Twain were around today, he would call you a N…. a national treasure.” — Jeff Ross
• “I love you, Dana; you’re like Michael Vick but with human beings.” — Jeff Ross
• “We’re doing it Boston-style tonight. You know, it’s going to marathon, and somebody’s gonna bomb.” — Jeff Ross
• “We wanted to roast you in Florida, but because of your governor, we wouldn’t have been able to call you gay.” — Jeff Ross
• “Tom Brady. Five-time Super Bowl MVP, most career wins, most career touchdowns. You have seven rings — well, eight, now that Gisele gave hers back. The only thing dumber than saying yes to this roast was when you said, ‘Hey babe, you should try jiu-jitsu.’” — Nikki Glaser
• “I’m the best decision your organization has ever made. Would you like a massage?”– Jeff Ross
• “Why the fuck didn’t we cheat when I was there?” — Randy Moss
• “The only difference between Tom Brady and Hitler is that Hitler stuck with his wife until the end.” — Tom Segura and Bert Kreischer
• “I love your movies, or as I like to call them, short films.” — Nikki Glaser towards Kevin Hart
• “Your ex-wife’s new boyfriend can kick your ass while eating hers.” — Nikki Glaser
• “Tom also lost $30 million in crypto… Tom, how did you fall for that? Even Gronk was like, ‘Me know that’s not real money.” — Nikki Glaser
• “That’s why Dana [White] is here, so you can learn how to fuck a Brazilian out of half their purse. Sorry, that was a Gisele quote” — Andrew Schulz
• “Or, as I like to call him, Leonardo DiCaprio‘s ex-girlfriend’s ex-husband.” — Julian Edelman
• “This stage has seen more trauma than a Kennedy on the campaign trail.” — Andrew Schulz
• “ACL is the only injury Gronk can spell.” — Andrew Schulz
• “Nikki, who wrote that? Where was that, your entire career?” — Tony Hinchcliffe
• “Bert Kreischer is a king. He looks like the Tiger King, and the Liver King only ate Burger King and had a liver that looked like Martin Luther King, who got beat up by Rodney King.” — Tony Hinchcliffe
• “Your Super Bowl ring is just like my strap-on; just because you put it on doesn’t mean it’s real.” — Sam Jay
• “My kids now excuse themselves to the bathroom by saying I have to go take a Brady.” — Peyton Manning
• “Despite everything we’ve seen here tonight, Gronk was actually useful on the field. Although the bar for Patriots tight ends was pretty low back then: block, catch, don’t murder.” — Tom Brady
• “You retired, then you came back, and then you retired again. I mean, I get it, it’s hard to walk away from something that’s not your pregnant girlfriend.” — Nikki Glaser

Matt Donnelly contributed to this report.

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Sydney sweeney can't wait to transform her body to play female boxer, sydney sweeney can't wait to warp my hot bod ... to play gritty female boxer.

Sydney Sweeney is all set to play a famous female boxer -- something she says she can't wait to morph into ... so, get ready to see her way differently than what you're used to!

The actress has been tapped to play brawler Christy Martin in a new biopic -- and yes, she's gonna have to get in fighting shape for the lead role ... which will likely see her bloodied and bruised, the way CM used to be in her heyday when she would brawl in the ring.

Sydney is ready to take on the challenge, as she shared with Deadline that she's prepared to tap into her sporty roots for the role.

She said ... "I grappled and did kickboxing from 12-19 years old. I’ve been itching to get back into the ring, train, and transform my body. Christy’s story isn’t a light one, it’s physically and emotionally demanding, there’s a lot of weight to carry. But I love challenging myself."

Perhaps this new tough role will put Sydney's naysayers to rest. Remember, Sydney was put on blast by Hollywood producer Carol Baum , who said she couldn't understand Sydney's appeal as she felt the young star wasn't talented or all that attractive.

Many of Sydney's famous friends came to her defense ... applauding her looks and her natural talent.

Sydney is known for being quite the bombshell ... putting her curves on display in the rom-com "Anyone But You," as well as HBO shows "Euphoria" and "The White Lotus."

Yet, she's taken a more serious turn recently ... just take a look at her work in "Immaculate," in which she played an American nun uncovering a dark secret at an Italian covenant.

So, it's clear Sydney is more than just a pretty face!!!

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