The summer movie season is always eagerly anticipated — and even more eagerly forgotten — but the shit show known as the summer of 2016 has left a lasting scar: Ghostbusters; Suicide Squad; Ghostbusters; Independence Day: Resurgence; people tweeting about Ghostbusters; The Legend of Tarzan; and let's not forget Ghostbusters.
That said, summer hope springs eternal, especially if you count a pair of films that open shortly before the June solstice. Following is a guide to 10 highly anticipated films that might just make for the best... summer... ever.
Finally! A female superhero movie helmed by a female director... was that really so difficult? Beyond checking off overdue boxes and rubbing Marvel's nose in it, DC's Wonder Woman could break out of the comic book bubble of bland mediocrity, if only because the character is more identified with bravery and sincerity than with wisecracking smugness or goth mopey-ness. It helps that the demigoddess warrior princess is played by real-life demigoddess warrior princess Gal Gadot.
It Comes at Night
Nobody watched Trey Edward Shults' brilliant debut film Krisha, but apparently the right nobodies watched it, because it won the 28-year-old director a two-picture deal with highly respected indie outlet A24. This follow-up is a horror movie, and after seeing Shults turn a Thanksgiving family dinner into hell on earth, it will be fascinating to watch him plant two feet in the genre.
After a number of abandoned projects, including a famously failed attempt to make Ant-Man, Edgar Wright finally delivers his first film since 2013's The World's End. I'll take anything I can get from the maniacally creative Wright at this point, even if this romantic action musical looks like the sort of film that talented directors make when they have no idea what to make.
I'm not usually stoked about remakes, especially a remake of a good film like Don Siegel's kinky 1971 drama The Beguiled, but I'm very curious to see a female take on this somewhat misogynistic material. It will also be interesting to see if Sofia Coppola can snap out of her funk and invest the film with some of her old Lost in Translation spark.
A Ghost Story
David Lowery provided one of last summer's pleasant surprises with Pete's Dragon, a project conceived as a cynical CGI remake, but imbued with love and optimism and old-school Disney magic (no wonder it tanked). His follow-up film, a supernatural love story starring Casey Affleck as a white-sheeted ghost trying to connect with his wife, received wide acclaim at Sundance.
Christopher Nolan is practically the only auteur permitted to make money-is-not-an-object, off-brand blockbusters anymore. That sucks, if only because Nolan seems inclined to make the sort of movies an important director is supposed to make (pretentious space epics and bloated WWII anything) rather than following his Memento muse. Still, this story of the Allied evacuation is probably our best chance for non-superhero-related IMAX awesomeness this summer.
A longtime stunt coordinator and one of the creative forces behind John Wick, David Leitch officially steps behind the camera with Atomic Blonde, starring Charlize Theron as an undercover agent kick-punching her way through a buffet line of Cold War-era stooges. Leitch has Deadpool 2 lined up for next year, so hopefully we get one decent genre film out of him before that abomination kills us all.
Kathryn Bigelow reteams with Hurt Locker and Zero Dark Thirty screenwriter Mark Boal for her first film in five years, a visceral ensemble piece about the 1967 Detroit riots featuring John Boyega, Anthony Mackie and John Krasinski. Sparked by racial injustice and inflamed by police brutality, the riots seem like the sort of historical event tailor-made for the director's brand of compellingly problematic cinema.
This is the second directorial effort from Taylor Sheridan, but the barely released 2011 genre film Vile was made before he became "Wunderkind Screenwriter Taylor Sheridan," the Oscar-nominated scribe behind Sicario and Hell or High Water. Now there are legitimate expectations for this low-key mystery about a murder on a Native American reservation.
Steven Soderbergh is very bad at retirement. He claimed to call it quits following 2013's Behind the Candelabra, but he has been working nonstop ever since, most notably on his Cinemax show The Knick. And now he even manages to beat the already overhyped Ocean's Eight to the punch with his own heist movie, starring Channing Tatum and Adam Driver as brother thieves.