#22 years and it still haunts me in the most bizarre yet beautiful ways

[peachsukii]

Might be a little radio silent today and tomorrow, but I'll be back soon. Gonna run off a queue & pop in and out. 💜

[thedollarcrate]

50 Best Albums (That I Own on Vinyl) of the Decade

It’s hard to comprehend how much transpires over the course of a decade or wrap your head around how long (or short) of time that really is.

But what better way to try than to make a list!

Now, I know “Best of” lists like this one are inherently subjective – and probably say more about their maker’s preferences than actually reflecting the best music released in a particular time period. And, I’ll be the first to admit that the list below is incredibly limited, and that I need to widen my exposure to more artists and genres.

But hey, this is all in fun.

So feel free to debate, pick apart or share your own favorite albums from the past decade. But before you dive in, just a few quick points for context:

-I only ranked albums I actually own on vinyl released between 2010 and 2019, which limited my choices to about 170 records.

-I only ranked new music released this past decade, so no reissues or older material released for the first time (sorry Prince’s Piano & A Microphone and Originals).

-I first started buying vinyl around ’09-’10 and started off purchasing mostly new releases before my habits shifted and I started looking for older records. This shows in the list below – nearly a quarter of the albums below were released in 2010 and almost 70% from the first half of the decade.

And we’re off…

50. Centipede Hz, Animal Collective (2012)

Let’s be honest, it was impossible for Animal Collective to top a universally acclaimed and era-defining album – and it was unfair to expect them to. But maybe the continuous onslaught of bizarre and eclectic music found on Centipede Hz was just what we needed after all.

49. Singles, Future Islands (2014)

So much more than Sam Herring’s pelvis busting dance moves and “Seasons (Waiting On You),” every track on Singlesbursts with life and heart pumping  energy. To quote Letterman: I’ll take all of that you got.

48. Paul’s Tomb: A Triumph, Frog Eyes (2010)

I don’t think I’ll ever understand Carey Mercer’s lyrics, but I’m certain I’ll never tire of getting lost in his hidden words and knotty melodies.

47. Leaving Atlanta, Gentleman Jesse (2012)

Thirty seven minutes of Pure Power Pop Perfection (note the capital “Ps”).

46. Burst Apart, The Antlers (2011)

If there’s another album with a song titled “Putting the Dog to Sleep” that is as haunting and beautiful as this one, I don’t want to know about it.

45. Carrion Crawler/The Dream, Thee Oh Sees (2011)

With John Dwyer churning out record after record in the ‘10s, it should come as no surprise that at least one landed on this list (and they’re all great). Garage rock. Surf rock. Post-punk rock. Psych rock. Noise rock. Rock rock. I don’t care what you call it, Thee Oh Sees put the pedal to the metal on Carrion Crawler/The Dream, taking you for a wild ride that never lets up.

44. 1989, Taylor Swift (2014)

Irresistibly catchy, everyone needs to satisfy their pop sweet tooth every now and then. 1989 is so sugary, it might just give you a cavity or two.

43. City Music, Kevin Morby (2017)

The city. The countryside. A beach. Aboard a train. At the pearly gates. It doesn’t matter where you listen to City Music because Kevin Morby’s jams will immediately transport you to your own laid back, happy place.

42. Remind Me Tomorrow, Sharon Van Etten (2019)

You’ll regret it if you keep waiting to listen this powerhouse – and powerful – synth-soaked record.

41. You Want It Darker, Leonard Cohen (2016)

It doesn’t get much darker, bleaker or sparse than this, but I wouldn’t want it any other way from the masterful Leonard Cohen.

40. American Dream, LCD Soundsystem (2017)

Retirement never sounded so good.

39. Capacity, Big Thief (2017)

Quietly captivating, mesmerizing and elegant, Big Thief knock you out without you even realizing it.

38. St. Vincent, St. Vincent (2014)

Annie Clark’s shapeshifting album won’t only shred your face off, it somehow makes you feel smarter, too.

37. Before Today, Ariel Pink's Haunted Graffiti (2010)

So, so weird and so, so good.

36. Expo 86, Wolf Parade (2010)

Like #50, Wolf Parade might always live in the shadow and expectations of a towering classic, yet somehow Spencer Krug and Dan Boeckner still continually craft eccentric and bombastic rock albums. Expo 86 is no exception, and it is an underrated classic in its own right.

35. Golden Hour, Kacey Musgraves (2018)

Like a sunset or sunrise, Golden Hour radiates beauty and warmth with each of its glowing tracks.

34. Yuck, Yuck (2011)

Despite their name and its hideous album cover, there’s nothing gross about Yuck’s infectious indie rock.

33. Play It Strange, The Fresh & Onlys (2010)

I once saw The Fresh & Onlys play at a tiny club in D.C. It might’ve been the loudest show I’ve ever been to – my ears rang for days. This record is just as rollicking, hazy and good as that show was loud.

32. Natalie Prass, Natalie Prass (2015)

There’s a reason “Welcome to 1979” is stamped in tiny letters on this vinyl’s inner ring – it’s silky smooth, filled with impeccable soft ballads and finely tuned jams – and just a tinge of funk.

31. I Am Easy To Find, The National (2019)

Few bands matched the consistent output of quality albums in the ‘10s as The National. They had one heck of a run, and I Am Easy To Find was a fascinating way to end it – a 21st rock album that felt more complex and expansive than anything they’d done before.

30. Melodrama, Lorde (2018)

Everything a pop record should be and then some – bold, breathtaking and exuberant.

29. Just Enough Hip To Be Woman, Broncho (2014)

If you can’t tell from its playful title, this pop rock album wants nothing more than to have fun – and it succeeds on every level.

28. Avi Buffalo, Avi Buffalo (2010)

Sometimes all you want is a light, sunny and meandering album to wash over you and get lost in, and this one will do the trick every time.

27. Hippies, Harlem (2010)

Imagine a band practicing inside a garage inside a garage inside another garage and you’ve got Harlem. This is garage rock to the max – and at its rambunctious best.

26. Puberty 2, Mitski (2016)

It’s hard to describe Puberty 2. Sure, it might sound like simple dreamy indie rock, but it ebbs and flows in unexpected ways that leaves you guessing where it’s heading next.

25. mbv, My Bloody Valentine (2013)

Picking up right where they left off – even if it was more than a decade later – My Bloody Valentine reminded everyone why they are the masters of reverb soaked shoegaze.

24. A Moon Shaped Pool, Radiohead (2016)

Even after all these years and albums, Radiohead still found a way to reinvent themselves and push the boundaries of rock music – and our expectations of them. With gorgeous arrangements and slow-burning, tension filled tracks, AMSP proves that even Radiohead can still take risks – and proves rock bands can make quiet, intimate songs sound epic. Oh yeah, and it has “True Love Waits.”

23. Art Angels, Grimes (2015)

Grimes gave us the future of pop music before most could even envision it. This laid the groundwork for all the challenging and intricate – and danceable – pop music that would follow. And it still sounds ahead of its time.

22. Meet Me At The Muster Station, PS I Love You (2010)

The first sounds out of Paul Saulnier’s mouth on Meet Me At The Munster Station aren’t words at all but two short, ecstatic yelps. And this same boundless energy and passion bleeds through on every fuzzy, raucous second of every track. Did I mention there’s a song called “Butterflies & Boners”?

21. More Than Any Other Day, Ought (2014)

You really ought to listen to Ought if you aren’t already. Tim Darcy and co. sound a bit uneasy, paranoid and self-aware, but they make the most minute challenges sound so exhilarating and life-altering – even the struggle deciding between two percent and whole milk at the grocery store.

20. Lemonade, Beyoncé (2017)

All hail Queen Bey.

19. Twin-Hand Movement, Lower Dens (2010)

This album sounds like 2 am on a dark, rainy Saturday night – in the best way imaginable.

18. Tomboy, Panda Bear (2011)

You can always count on Panda Bear to make hypnotic, loopy electronic music sound so breezy and effortless.

17. Modern Vampires Of The City, Vampire Weekend (2013)

I don’t know why, but I want to dislike Vampire Weekend so much. But that’s impossible when their music is so damn good and every note sounds so neat and perfect.

16. Past Life Martyred Saints, EMA (2011)

Just do yourself and listen to this album please.

15. The Archandroid, Janelle Monáe (2010)

Blending too many genres to count, this is what I imagine music sounds like in space.

14. Carrie & Lowell, Sufjan Stevens (2015)

I’ll let you know how I feel about this one after I stop crying.

13. The Suburbs, Arcade Fire (2010)

It’s everything you either love or hate about Arcade Fire. Grand, sincere and sweeping rock that swings for the fences with every guitar chord, drumbeat and horn blast. I love it.

12. Silence Yourself, Savages (2013)

Savages grab you by the throat and never let go – this is one intense album.

11. Helplessness Blues, Fleet Foxes (2011)

This might be the epitome of ‘10s indie rock – and for good reason. Introspective, sensitive and searching for some greater meaning, Robin Pecknold holds nothing back and lays it all out on Helplessness Blues.

10. Kaputt, Destroyer (2011)

Dan Bejar is an enigma and seemingly reluctant rock star. I saw him perform an acoustic set where he spent a majority of the time playing with his back towards the audience (although in fairness, it was at a free outdoor show on a college campus with people mostly chatting obnoxiously over him), and yet it’s as if his creativity requires him to constantly release new albums and show them off. Kaputt is as equally strange and mysterious – and just as creative – as its maker.

9. Black Star, David Bowie (2016)

Take away the heartbreaking circumstances surrounding this album’s release and it would still be in the top tier of David Bowie’s extensive catalogue. Experimenting until the very end, Bowie morphed into something entirely new one last time. Part jazz, part rock and part I’m not sure what you would call it, the results were once again out of this world. He couldn’t give it all away, but we’re sure thankful for what he could.

8. Bon Iver, Bon Iver (2011)

Shedding the cabin in the woods vibe, Justin Vernon took a giant leap forward with Bon Iver and made ‘80s soft rock popular.

7. Celebration Rock, Japandroids (2012)

Perhaps the most aptly named album on this list, no other album exudes the joy of making music and rocking out with your buddy than this one. It’s hard to believe all that noise and energy comes from just two people.

6. Burn Your Fire For No Witness, Angel Olsen (2014)

Angel Olsen’s hypnotic and seductive vocals, lyrics and guitar suck you in immediately, mesmerizing you from the first gentle strums to the peaks and valleys of “Lights Out” and “Stars” all the way to the closer’s pulsing drumbeats and majestic piano.

5. Black Messiah, D'Angelo And The Vanguard (2015)

Oozing with cool, sexy and confident R&B funk, D’Angelo returned after 14 years with an instant soul masterpiece.

4. The Monitor, Titus Andronicus (2010)

It says a lot when a band can a.) make an hour plus punk rock record b.) loosely base it on the Civil War c.) quote Abraham Lincoln d.) close it out with a 14 minute track inspired by a famous naval battle and e.) still make you want to listen to it over and over and over again.

3. Lost In The Dream, The War On Drugs (2014)

The rare album that can feel vast and ambitious and yet deeply private and personal all at once. You really will get lost in these soaring songs.

2. Halcyon Digest, Deerhunter (2010)

At times perfectly melodic and structured and at others feeling on the brink of falling apart, Halcyon Digest is a paradox – sounding peaceful, bright and idyllic while also peering over the edge into something darker. This is a remarkable record from a remarkable band. If not for the abrupt end to the darkly beautiful closer “He Would Have Laughed,” Halcyon Digest sounds like it could go on forever.

1. Let England Shake, PJ Harvey (2011)

A stunning, thought-provoking, and moving – not to mention endlessly listenable – transcendent piece of art about life and the Great War. PJ Harvey doesn’t hold back on the brutality and absurdity of armed conflict, and the album’s devastating closing track – “The Colour of the Earth” – will linger in your mind long after the record stops spinning. As powerful today as it was eight years ago, this album will remain timely and important for years – and decades – to come.

[girlonfilmmovies]

The Top 25 Films of 2019

25: Shadow (dir. Zhang Yimou)

"Without the real, there can be no shadow. A principle no one's understood."

After a string of terrible films trying to play to Hollywood audiences, Zhang Yimou manages to successfully return to the goldmine he stuck in the early 2000s and craft another absolutely gorgeous wuxia. Here he swaps out the poetic, colorful beauty in favor of monochromatic, surprisingly violent tone poem about deceit. It ultimately works against it, as by the seventh or eighth double cross you kind of just give up trying to figure out who's on what side, but the main action setpiece is so wonderful it deserves a spot for that alone. Hopefully a good sign for Yimou's future, as long as we don't have another nationalist war epic that somehow inexplicably also has a white savior narrative too.

24: Climax (dir. Gaspar Noé)

"...something's kicking in..."

Noe takes us for another plunge into the dark, twisted, vomit-inducing, neon-lit hellscape that is his mind and at least has the common courtesy to put the pleasant parts upfront this time. While it will eventually devolve into the same type of chaos that we all love/hate from him, the first act is kind of a wonderful departure from him. He basically accidently makes a musical for a while, with wonderful and deeply intricate dance choreography as well as a fantastic extended sequence where every character jumps in and out of frame and gets a chance to strut their stuff. That movie would have been a strong top five contender, but alas, the man has his particular quirks that he must abide by. But at least he also strung together probably the best soundtrack and sound design of the year, with the fantastic EDM bangers rumbling through the walls throughout the entirety of the film.

23: Long Shot (dir. Jonathon Levine)

"Oohhh boooy!"

Charlize Theron and Seth Rogen doing a political comedy that manages to be both smart and extremely funny seems like a long shot indeed, but Johnathon Levine finally strikes gold again after a number of disappointing duds. He manages to make a pretty good story about how navigating the political minefield destroys what little hope and dreams high level politicians still manage to have, but then he also happens to make it all absolutely hilarious too. Theron demonstrates a surprisingly strong comic game too, easily matching all the other talent and cracking jokes along with them. It ends up being a charming romance where the woman takes charge in a very pleasant change of pace. And if nothing else, the way Seth Rogen yells "oh boy" in that video is always going to make me laugh no matter what.

22: 6 Underground (dir. Michael Bay)

"Ghosts have one power above all others: to haunt the living. Haunt them... for what they've done."

Theoretical question: what say Netflix gave Michael Bay a blank check and no restrictions, and he turned in the most overblown, dialed to eleven, nonsensical spectacle that he ever crafted and was allowed to put it into almost every American home for free? Now what if I told you that it was actually kind of awesome? Sure, it's basically a child playing with his $150 million dollar GI Joe set, smashing his toys together and making pew-pew sounds, but it's also probably the best testament to the power of conventional effects work over the increasing insistence on CGI for big setpieces. Let's face it: explosions are pretty cool, every one likes exotic locales and bright sports cars, and there's at least someone here to appeal to you (least surprisingly for me, it was Melanie Laurent with bangs wearing a suit). It almost reaches a late Michael Mann kind of abstraction, as both are respectively breaking apart the action movie into stranger combinations. Bay gives plot only because he contractually has to, and even then doesn't seem as committed to characterization as he is showcasing surprisingly brutal ways for the gang to dispatch their enemies. It's nonsense, but the damn best nonsense of the year.

21: Ip Man 4: The Finale (dir. Wilson Yip)

"Is that it?! Is this your Chinese Kung Fu?!"

The finale in the decade-long quadrilogy of supremely silly and borderline racist worship of China finally attempts to tackle America to delightfully amusing results. Scott Adkins doing his best evil R. Lee Ermey impression while slipping in modern neo-con punchlines, neverending Bruce Lee worship, and more nationalism and bad fake American accents than you could ever believe. Yet also a more bizarrely honest portrayal of racism in 1960s America than most movies would ever have the courage to acknowledge. It’s almost fascinating considering how a lot of the non-Asian racism basically serves as set dressing, but they still put more effort there than pretty much every Hollywood movie set in the 60s that isn’t directly about civil rights. But ultimately they're selling you a bill of goods saying "watch Ip Man beat the crap out of racist meatheads" and you better believe they're going to give you what you want.

20: Let It Snow (dir. Luke Snellin)

"Have you ever been with someone, and you stay up until like 4AM just talking about everything, and you're just like, I can't believe I get to exist at the same time as you?"

Okay, so let me explain myself on this one:

So yeah, it certainly is a generic teen romcom where everyone plays into basic teenage stereotypes, half the cast is clearly nowhere near eighteen, and all of the romance is oddly chaste. But there truly is something to be said about representation in a romcom, and after a thousand boring cis, straight, hetero couples falling in love for decades, this movie actually managed to hit a lot of notes that are at best rarely explored in the genre and also manages to probably sneak in some genuine firsts. While both the "tomboy/softboy" and "Latina struggling with her family" storylines have been done before, these are some nice, cute little iterations on those befitting a teen-friendly movie. But the Dorrie/Kerry story is not only legitimately groundbreaking, but also an absolutely perfect encapsulation of the types of problems that queer teenagers struggle with during that time of their lives. It's a queer romance, played by two actually not-straight people, with one of them being a nonbinary actor too. And it's not cordoned off into some bargain bin DIY indie that fell out the back of the truck on the way to an indie film festival; no, this is in a major holiday release, with well-known actors, and as one of the central storylines! Plus, it perfectly captures the woes of modern teen coming out, knowing that everything will probably still be cool, but the fear haunting you as all you can do is look jealously at someone who is out and proud. And it does it without being real shitty and horribly traumatic too. Eat your fucking heart out, Love, Simon!

19. John Wick: Chapter 3 -- Parabellum (dir. Chad Stahelski)

"Si vis pacem, para bellum!"

Another year, another John Wick movie. There's more plot; you don't care, and let's be honest, neither do I. Stahelski is here to serve up more badass characters and incredible action, and no one in Hollywood does it quite like him. It's got familiar action favorites demonstrating why they still remain supreme, with Yayan Ruhian, Cecep Arif Rahman, Tiger Chen, and the ever underrated Mark Dascascos. It's got surprising action showcases for Halle Berry, Lance Reddick, and somehow Boban Marjanović. It's got great character actors doing their thing, from the returning McShane and Fishburne to newcomers Saïd Taghmaoui and Anjelica Huston. It's got Asia Kate Dillon as an awesome nonbinary shadow organization asshole. It has a bewildering Jason Mantzoukas cameo. And above all else, it has Keanu Reeves, still demonstrating not only his incredible physical skill, but also how to perfectly utilize his particular acting style to create an iconic character.

18. Doctor Sleep (dir. Mike Flanagan)

"Man takes a drink. A drink takes the drink. And then the drink takes a man."

While not the most accurate adaption, it might be the only Stephen King adaptation that comes to mind that actually successfully channels what makes him such an appealing author. King's stories have an inherent corniness to them and for as much as you unsuccessfully try to cover that up (look to this year's The Outsider for a good example), it's where the true charm of his work shines. It's what makes this so fun, because as much as an epic, eldritch terror is exciting, it still doesn't have the goofy fun of a bunch of vampiric bohemian drifters led by a Stevie Knicks knockoff in a top hat breathing up souls. Plus, the epic three hour runtime actually allows Flanagan to at least try to cover all the more subtle serious characterizations of Danny Torrance, from his recurring alcoholism to him seeking closure with regards to his parents. It manages to actually make the final act's nostalgia play kind of work, or at the very least get the terrible memory of the Ready Player One version out of my head.

17. Her Smell (dir. Alex Ross Perry)

"I thought you were better than this, but deep down I knew you weren't."

Perry must have had some extra pent-up nastiness in him after having to restrain himself while writing Christopher Robin (by the way, that happened), because he really created one of the nastiest characters in cinema here. Her Smell is the equivalent of being locked in a room with the shittiest person you'll ever meet, as she constant lashes out at everyone and everything with the kind of delirium that the truly demented are cursed with. And credit to Elizabeth Moss where it's due: she really perfectly embodies such a horrible human being and proceeds beat you damn near to death with it during a majority of the runtime. Eventually it slows down and all of the problems become apparent once they script isn't flying by at a thousand words a minute. But Moss literally did her job so well that people fucking hate this movie because of her character, and if that isn't a testament to her acting talent than I don't know what is.

16. High Life (dir. Claire Denis)

"At 99% the speed of light, the entire sky converged before our eyes. This sensation, moving backwards even though we're moving forwards, getting further from what's getting nearer. Sometimes I just can't stand it."

Denis finally makes her English debut with what she does best: nauseatingly uncomfortable sexuality oozing from terrible people doing horrible things. In this case, she takes an innovative detour into sci-fi, setting up a decades-long story of human experimentation, murder, the horrors of space travel, and whatever unholy things are going on inside of the "Fuck Box". It has an appropriately dingy production design too; the clean retro-futurist spaceship design soon dissolves into a torn apart den of depravity, caked in a mixture of filth and dry blood. Pattinson once again manages to be likeable while also being extremely standoff-ish; only playing with his baby daughter do we seem to see him actually enjoy interacting with a human being. Kind of gets lost in the sauce near the end, but at least manages to land some surprising emotional notes considering the kind of horrors that they've shown up until then.

15. The Farewell (dir. Lulu Wang)

"Chinese people have saying: when people get cancer they die. It's not cancer that kills them, it's the fear."

Lulu Wang's followup to Posthumous is such a massive step up in talent it's not even funny. She manages to make such a wonderfully soulful and loving movie about impending death by utilizing near perfect comic timing to defuse a situation that threatens to stray too dark. Not to mention her point of view on modern China from a non state-sponsored eye actually captures a much more accurate shot of the country itself. It's almost as if an Edward Yang movie had set itself more modest expectations -- it's pleasant, goes down well, teaches you a couple of things about Chinese culture, and manages to do it all in only a hundred minutes. And Awkwafina manages to hold her own against far more experienced actors, even if you can tell her Mandarin is still a little spotty.

14. Uncut Gems (dir. Josh and Benny Safdie)

"I think you are the most annoying person I have ever met. I hate being with you, I hate looking at you... And if I had my way I would never see you again."

Adam Sandler's magnum opus performance -- there will never be another character that fully embraces every grating aspect of his style of acting and manages to weaponize them for two anxiety-inducing hours of hell. Sandler's Howard Ratner is an absolute sewer rat scumbag, an untrustworthy coward, and a perennial fuck-up of epic proportions. But he's still so charismatic and powerful on screen that you root for him every time he drives you further up the wall. And the Safdie brothers know how to keep him moving too, never letting the audience catch a breath of air for this movie-length panic attack as the odds stack further against Howard each minute. Whenever you see Sandler phoning in his comedies for fat checks, just remember this performance and how pretty much every awards committee completely ignored this film. No wonder he doesn't bother trying anymore.

13. The Last Black Man In San Francisco (dir. Joe Talbot)

"You don't get to hate it unless you love it."

A wonderfully evocative love letter to a changing city that is so full of life in every way, from the vibrant movement of the camerawork to the bombastic and powerful soundtrack blasting throughout. But it actually plays more like a New Orleans' funeral march, a melancholic chronicle of the original denizens of San Francisco even as the city warps into the caricature that it's slowly becoming. There is a definite feeling that the aggressive gentrification is unavoidable and even the love of the original quirky denizens can only stave off the metaphorical steamroller that paves over the past. It makes for a wonderful counterpoint to the previous year's Blindspotting: both about young black men dealing with gentrification in the Bay Area, but Blindspotting starts as a very angry comic satire that eventually ends on a note of hope and a will to survive the changing tide, whereas this begins as a joyous celebration of the city and ends on a heartbreaking resignation in the face of everything. Both come from respectively very different sides of San Fran culture, but it's rather interesting seeing each have such different approaches to the same topic.

12. The Standoff at Sparrow Creek (dir. Henry Dunham)

"How do we know it's not you?"

A simple "pressure cooker" scenario done to perfection: one empty warehouse, a bunch of hardened standoff-ish militia men, a missing gun, a ticking clock, and a whole lot of suspicious side eyes and probing questions. It helps that the gruff suspects are a perfect who's who of roughened character actors, all previously well-versed in playing suspicious people, and all of them hiding the kind of unspoken rage that makes a man secretly join an armed militia. All of this told with a nerve-wracking minimalism and style as weirdly detached from reality as some of these men are. One hell of a debut for Henry Dunham and hopefully a sign of good things to come.

11. Booksmart (dir. Olivia Wilde)

"How about we play a *rousing* round of J'ACCUSE!"

Profoundly silly and yet also so disarmingly sweet, Olivia Wilde whips a wildly stylized portrait of Gen Z high-schoolers and the many ways that they vastly differ from their older peers. Certainly much more welcoming and accepting of the diversity of teenagers than pretty much any other teen movies from the past, although they still poke fun at some particular brands of modern "wokeness" too. Stuffed to the brim with wonderfully weird characters, between the lovable catty theatre duo of George and Alan, the cringe-inducing desperate rich kid Jared, the endearingly dumb thirstball Theo, the dorky and blissfully unaware queer-bait Ryan, the effortlessly cool and extremely "top energy" Hope, and the absolutely batshit wildness that is Gigi. But mainly it serves as a vehicle for Devers and Feldstein, with both bouncing perfectly back and forth off each other in moments of comedy and drama. Feldstein always pulls off huge laughs pretty much every line and Devers sells a perfect amount of baby-gay awkwardness in one of the sweetest (and heartbreaking) queer romance stories in film. But above all else, it's just so damn fun and aware of what teenagers are actually like than most movies ever have been.

10. Luce (dir. Julius Onah)

*chuckles* "You really think I believe that stuff?"

One of the most wildly uncomfortable experiences in recent cinema history, but not due to any horrifyingly explicit graphic content being shoved in our faces. No, Onah and Lee created something much more discomforting: a constant challenging of all our biases and stereotypes, of us wanting to give chances and have faith in those that we trust. Kelvin Harrison Jr. delivers one of the best acting performances in recent memory because he's able to literally do everything; his Luce somehow manages to perfectly walk the tightrope required for a performance like his. With him behind it, Luce is such a charming, loving, likeable character but there's always just something that seems off about him. And even if Spencer's Wilson has a fixation on him that crosses all sorts of legal and moral boundaries, wouldn't we be cheering her on under different circumstances? In a way, she herself is trying to communicate a lesson about perception too, one that also mires in deep, troubling waters. Even if the film still feels very stage-y due to it's source material, the cold clinical aesthetic only further helps it make us squirm in our seats.

9. Violet Evergarden: Eternity and the Auto Memory Doll (dir. Haruka Fujita)

"Nobody wants a letter that cannot be delivered."

An absolutely magical experience that artistically excels over the original TV series it's based off of. The production is still as impressive as any other KyoAni work, but the composition and lighting in particular are outstanding, selling the social isolation of the first half and the childlike wonder of the second half. Beginning with a sublime Victorian romance in the first half, the story eventually morphs into a tribute to the workers of the world, the cogs in the machine. But in the context of the studio's recent history and the horrific arson attack that claimed 36 members of the studio, this instead comes off as a battlecry against the opposition against them. It's a story valuing those who are overlooked in the process of creation, a story about strong determined women, a story of a young girl defining her own future against society. KyoAni as a studio were most known for treating all their employees exceptionally as well as being a primarily female-led studio, both unfortunate exceptions in the industry as well as the target for a lot of unfair online hatred against them (and surely played some sort of role in why the arson attack happened to them specifically). To see the studio make their first post-attack work so proudly emblematic of what made them unique makes this so much more powerful than you would expect.

8. The Nightengale (dir. Jennifer Kent)

"You know what it's like to have a white fella take everything that you have, don't ya?"

The classic revenge fantasy narrative warped into a bleak, cynical portrait of racist cruelty in 1800s Tasmania. Jennifer Kent, improving leaps and bounds from the relatively straightforward Babadook, crafts a searing indictment of the foundations of colonialism and the misogynistic undercurrent of the barbarous society. It's a revenge movie where the vengeance is horrible and unsatisfying -- there's no crowd pleasing murderous money-shots, just brief moments of comeuppance in the face of everything in the world working against our two protagonists. Those who are squeamish should be aware that it is exceptionally graphic and grueling at times, although Kent does manage to keep up a very good pace for the two and a half hours of hell.

7. Transit (dir. Christian Petzold)

"They say that those who were left never forget. But it's not true. They have the sweet, sad songs. Pity is with them. Those who leave, no one is with them. They have no songs."

Hitchcock by way of Kafka -- a classic existential mystery told in a disorienting separate reality not quite like our own. It's a bold move to take a Holocaust set narrative and completely throw out the actual setting itself, but Petzold only enhances the weird themes of the story by taking it to a completely different but still very familiar time. This is a classic tale of becoming the person you say you are but really aren't -- then begging the question of what if you're not the only one also living a false identity. Buoyed by an excellent and very enigmatic lead performance from Franz Rogowski, who displays a tremendous skill for playing somebody so closed off but also very charismatic and watchable.

6. Once Upon a Time... in Hollywood (dir. Quentin Tarantino)

"When you come to the end of the line, with a buddy who is more than a brother and a little less than a wife, getting blind drunk together is really the only way to say farewell."

Tarantino trades in his B-movie worship and penchant for comical bloodbaths (well, for the most part) to make something I certainly didn't expect from him: a relaxed hangout movie about getting old and falling out of fashion. Exceptional production design whisks us away to the height of Hollywood and three different people all looking at their future careers in very different lights. Leo gets to stretch his wings in all sorts of silly fun ways and Brad Pitt finally lets go of the young superstar image and easily slips into his more natural "hot single dad" swagger, playing the most effortlessly cool character of his career. Tarantino sets aside time to look back on his own flaws as well and playfully reflects on his own particular ...quirks. Easily his best since his 90s prime and the first time in a long time I've felt the maturity that he showcased in Jackie Brown.

5. The Lighthouse (dir. Robert Eggers)

"Damn ye! Let Neptune strike ye dead Winslow! HAAARK!"

Hyper-masculine mania as told through a wonderful blend of dark comedy and cosmic horror and with some of the most lush black-and-white cinematography maybe ever in a film. Eggers' now trademark devotion to absolute accurate period detail in both visual design and dialogue greatly helps this reach transcendent heights. But it's truly the two performances of Dafoe and Pattinson that help it weave a perfect spiral of insanity that also manages to be so oddly fun. Never could there be any other paring of actors that would perfectly showcase these two dirty sea-dogs going stark raving mad at each other so well.

4. Midsommar (dir. Ari Aster)

"As Hårga takes, so Hårga also gives."

(Director's Cut) Every generation deserves their own paranoia-fueled pagan horrorshow, but Aster strikes a much deeper vein in his epic take on the classic territory The Wicker Man had previously claimed. The brutal rituals of the Hårga are only set dressing most of the time, with much more focus poured into the vile toxicity plaguing the relationship between students Dani and Christian. Reynor's Christian is such a perfect portrayal of a terrible influence -- he's charming, fun, and likeable when he's on your side, but the second anybody goes against him his seedy manipulation begins to seep into everything he says. Pugh continues her winning streak too, delivering a broken person desperately trying to put a smile on while falling apart on the inside as she realizes she truly is all alone in the world. While some might be disappointed by the lack of actual "terror" for a good chunk of the movie, Aster has found something much more likely to scar us than these friendly Swedish cultists.

3. Sunset (dir. László Nemes)

"The horror of the world hides behind these infinitely pretty things."

After striking gold with Son of Saul, Laszlo Nemes takes a hard turn into a very different genre but manages to create a wonderfully unique spin on classic detective noir. His signature camerawork powers this yarn, successfully taking the claustrophobic eye of Saul and using it to give a truly immersive sense of place in the tumultuous world of 1913 Budapest, where danger is simmering under the surface and ready to boil over at any moment. After all, noir is always about the eye of the detective, so Nemes' style takes it to a literal degree where everything outside of Irisz' field of vision is incomprehensible. We catch the same shady sideways glances and hushed whispers at the same time she does too. The plotting, like all noir tales, gets a little too complex for its own good, although it's less because of double-crossing and deceit and more from the story slowly dropping its connection to reality to function on a far more allegorical level. But as far as immersive, experiential cinema goes, not even 1917 can stack up to this film's highs, as the enraged lower-class populace eventually comes for the heads of the bourgeoise and Irisz suddenly realizes she is in the very wrong place at the very wrong time.

2. Portrait of a Lady on Fire (dir. Céline Sciamma)

"Do all lovers feel they're inventing something?"

An absolutely breathtaking portrait (hehe) of yearning and love, so astonishingly romantic and actually aware of what will make a woman swoon. Every technical aspect is perfect, from the gorgeous locale to the lovely windswept dresses to the soft, classical cinematography. But the true magic comes from Merlant and Haenel perfectly delivering every line of Sciamma's wonderous script. Those two have a sexual tension strong enough to burn down the theater, as their shy glances turn into deep longing stares and both their steely professional reserves give way to poorly suppressed joy at just being able to be with the other. Even their initial terse dialogue melts into pure romantic splendor, as they lovingly catalog all the little gestures the other does when flustered. Their connection during filming was powerful enough to fuel rumors around the two in the press and is currently providing the desire for every thirsty lesbian who finishes this to immediately pull up videos from the press tour and hunt for those same things between the actors themselves. And trust me, they are there.

1. Parasite (dir. Bong Joon-ho)

"Not 'rich but still nice.' Nice because she's rich, you know? Hell, if I had all this money, I'd be nice too!"

Very rarely does a film come along that actually warrants to be described as "perfect", as in one that literally generates no critiques in any way even if I was forced to pick something at gunpoint to complain about. But Parasite truly does every single thing right. Even Bong's tonal whiplash style, which does grate on me at times, somehow fits perfectly here as the schemes become increasingly madcap and the increasing sense that this will all come crashing down horribly mounts ever higher. Until then, it's an absolute joy to watch in every way, as Bong stacks the card deck higher and all the characters dive further into the sewer for their own benefit. The midpoint pivot works wonderfully too, as it goes to show that literally every person is getting played in the world of Parasite. It's massive success is only surprising to those who haven't seen it: it's the perfect movie for the era it came out in and may as well be the watershed moment for a new age of cinema where Hollywood finally admits that it's not the king of the world anymore.

[mystiamusicalopinions]

Top 30 Songs of 2017 (part 1 30-21)

M: Hello everyone. Its still Christmas time which means this isn't technically late yet. It's time for year-end lists and for starters, let's begin the best songs of the whole year. I'm gonna be blunt here, I wasn't all that up to date with music this year, and that's mostly my fault. But hey better late right? And yeah a lot of fantastic music came out in 2017, and it's time for me to share a bit of it. So let's start off with something very unexpected...

Number 30: Asking Alexandria-Alone In a Room.

I may have had mixed feelings about the self-titled release from Asking Alexandria at the tail-end of this year, but it's opening track is easily a standout. We hear our protagonist describe his battle with his mental issues and struggles to deal with fame, only to find that just talking about it, getting help from people who CAN help, was all he ever needed, and the last thing he wanted. There's real power behind this song, and it's sealed with a thunderous chorus.

Number 29: The Mountain Goats- Andrew Eldritch Is Moving Back To Leeds

Of course our protagonist might find comfort in the fact that that fame can't last forever, and home is still there, waiting to re-absorb you into it's membrane, as it were. Andrew Eldritch of the Sisters of Mercy certainly does in the story of this song. Images of a musty velvet rope and a rusted fog machine no one even cares enough to steal cement the image of a dying music scene and counterculture going comfortably into the night. And John Darnelle's weirdly peppy delivery, some groovy bass, and wispy wind instruments are all here to see goth rock off, as it returns to it's old homes to settle down one last time.

Number 28: P.O.S.- Faded ft. Lady Midnight & Justin Vernon

But sometimes we have a few too many regrets to feel like settling down. The haunting feeling of something lost perpetuates this lonely song. Beautiful delivery from P.O.S. and Lady Midnight that perpetuate a tearjerker of a beat, though not one cheaply so. Even the delivery on the chorus has really grown on me, and the rapping here is the perfect balance of delicate and powerful for it's somewhat vague, but somehow still resonant message.

Number 27: Run The Jewels- Call Ticketron

Not that there isn't still a place in the world for rapper swagger, as El-P and Killer Mike prove effortlessly. Any political comments here, and they certainly are, are more just part of a torrent of powerful lines and statements from two titans of modern hip-hop. They flow perfectly both on the great and subtlely intimidating beat, and off on one another. These two have serious charisma when playing off one another, more than you'd probably think, but this is the third RTJ album, you all already know these 2 are great with one another, but I don't think they've ever felt THIS complementary since maybe Banana Clipper. Also the music video for this is something special.

Number 26: Ayreon-Everybody Dies

From an apocalypse in the music video to one depicted in detail in the music. The AI-fueled collapse of society, pushed along by brutal riffage and performers that sound either terrified, resigned, or psychotically gleeful, build a powerful tension, only for hope to break through near the end, with the offer of a desperate escape, and the genocidal AI seeming to encourage them to try, just to satisfy his curiosity. This song has the power to shatter worlds, and it was certainly one of my most played this year.

Number 25: At The Drive In-Governed By Contagions

Not that you need to end the world to create a song way more chaotic than that. At The Drive-In tells a story of...addiction, maybe(?) with the visceral shredding and versatile vocals that have always been their selling point. The sound of a guillotine and the imagery of biting down further and further into a cyanide tooth, slowly dying, amplify the steadily growing chaos of the whole enterprise. Blistering posthardcore for fans of punk and otherwise.

Number 24: Father John Misty-Balled Of The Dying Man

Of course death comes to us all, and one has to wonder what people think about in those final hours. Maybe how they failed to spread their oh so insightful opinions and fend off the totally real barbarians at the gates? Well everyone knows at least one person like that, and it's probably true some take it to their grave. Imagining a man realizing his own insignifigance at the very end sounds awful sad, but when you realize just how far up his own ass this character is, the true hilarity of this song shines through. It's a fun exploration of a certain insufferable mindset and how it might cope with the ultimate stage of the human experience. As a side note, this song has a special place for me. I'm constantly worried that I'm becoming this kind of person or indulging in this kind of behavior, so it's nice to have something to keep me off balance when I need it.

Number 23: Sadistik- Free Spirits

One thing our dying man might've taken issue with in our culture is the fixation on and glorification of alcohol, but somehow I don't think that he could paint a picture on the level of Sadistik here. A warping, melancholy instrumental backs up simple but powerful bars that give a feeling of impending disaster, and the second chorus pays off all that bizarre, beautiful buildup by...taking everything down a notch in a way that's the best kind of jarring.

Number 22: P.O.S.-Lanes

Not everyone needs alcohol to feel lost. Sometimes you don't even need to get lost by accident. Some of us are isolated by indirect choice, the choice to go against the grain that may give us artistic gratification, but makes us struggle to relate to others, makes us feel alone. Leads to explosions of energy like this, lashing out at the world and yourself, but never turning away from how it all happened.

Number 21: At The Drive In- Call Broken Arrow

And isolation can definitely create some strange people. Call Broken Arrow is certainly a more subtle song with a more subtle story about this enigmatic, possibly completely insane Broken Arrow character. The guitars still shred in a lot of spots, but it's hardly chaos this time. It all builds to a very structured, contained chorus meant to enhance the emotions of the song, and even be the crux of them.

(continued in part 2)

[rob-blog1234]

WEEKEND TV HOT FILM PICKS!

Check out my guide to the top films on TV this weekend and the best of the rest. Enjoy!

LATE FRIDAY 12th MAY

HOT PICKS!

Horror @ 2300      Videodrome (1983) *****

I’m a big David Cronenberg fan. From eXistenZ, Scanners and of course The Fly - He has dealt us some of the creepiest, body horror Sci-Fi around. Videodrome is not his most accessible and for the uninitiated this might be a step too far into Cronrnberg’s world. It follows a man’s decent into what appears madness through hallucinations and as he loses his grip on reality so do we. James Woods is a cable TV programmer who through a new technology begins this decent into the surreal & strange. As with the majority of Cronenberg films this has an ample amount of absurd eroticism, frightening imagery, disturbing scenes and follows themes of control and society. It’s pretty ahead of its time really and over 30 years on it still gets me chewing on its metaphor and social observation. In a world where we are now completely saturated with media as we hop from device to device this film perhaps is more accessible now than it ever was originally. Like Cronenberg? Love this.

Film4 @ 0150    District 9 (2009) *****

The Sci-Fi genre is full of average films churning out the same old dross using the same old stories and ideas… but in a worse way. Fortunately District 9 is nothing like that. Yes it does pull numerous ideas from a number of Sci-Fi greats but it manages to do this in a fresh way proving there is still room in the genre yet.

Director Neil Blomkamp must have been very frustrated when the Halo film was side-lined but he certainly put the 30 million budget he was given for this film to good use. The CGI is ultra-realistic and we witness seamlessly integrated aliens into our world, there is never a moment it faltered or failed. It still has some of the best effects that I’ve ever seen. The action scenes spew obvious talent and the combination of filming styles works really well.

District 9 follows Sharlto Copley’s character - Wikus - the nervous, wet-behind-the-ears yet dedicated MNU agent with the task of coordinating the eviction and relocation of over a million aliens from the rather nasty gang ridden slum known as District 9. His performance is astonishing particularly after I found out that not only is this his first major roll but a hell of a lot of his dialogue was improvised. The film starts off with documentary style, shaky cam footage which works very well to force realism and credibility to the story which does soon change back to standard cinema which although sometimes noticeable doesn’t stop District 9 standing tall as one of 2009’s great Sci-Fi films alongside Moon and Watchmen. Watch this.

Best of the rest:

Film4 @ 2100     Mission: Impossible Ghost Protocol (2011) ****

ITV4 @ 2200       American Gangster (2007) ****

5* @ 2200           The Fifth Element (1997) *****

TCM @ 2300      The Others (2001) ****

***AVOID AT ALL COSTS!***

Syfy @ 2100    The Happening (2008) * AVOID AT ALL COSTS!

I present M. Night Shyamalan’s utterly preposterous disaster movie where uninspiring shots of the wind cause Marky Mark and Zooey - 500 badly read lines - Deschanel to produce some of the worst acting I have ever seen in my life. Some may forgive this film with the misguided assumption that it is some kind of comedy or it was all done like this for a reason. Madness. Who in their right mind, after months of shooting and editing, could sit back in their chair and say - “yep - that’s exactly what I was hoping to achieve”…. It’s quite unthinkable - but somehow it happened and this abomination got to the big screen and now pollutes our TV screens with its poorly structured, scripted and acted attempt to tell us in a roundabout way that “we are destroying our planet”… yes - we know Shyamalanamansa..amana… we know. This film with it’s sewage laden script, face-farted out by seemingly cardboard replicas of Mark Wahlberg and Zooey Deschanel reaches new heights of awful as in one of the more ridiculous scenes we see Mark Wahlberg talking to a pot plant as he doesn’t want it to feel any negativity that they are going to hide in the bathroom… jsifhfjsksksj!!!! They run a bit more, the wind blows through grass and trees a bit more… the end. There - I’ve spoiled it. I’ve done you a favour. If I’ve missed the point… I’m glad. Miss this.

***AVOID AT ALL COSTS!***

Film4 @ 2335   Predators (2010) ** AVOID AT ALL COSTS!

STEP 1: Take everything that was good about Predator and disregard it all. STEP 2: Instead of picking a really good Arnie challenging actor for the lead role. Pick Adrien Brody and give him a weird beige gun. STEP 3: Cast Laurence Fishburne as he will be really complementary to the Alien forests - They obviously don’t have enough wood in them already. STEP 4: On realising the film is utter garbage pray for redemption by looking again at step one and reintroduce the original score and hope people don’t notice it’s poo.

Well we did notice. A stain on the memory of the original. I’d rather watch AVP… and I’d rather sit on a spike than watch AVP again.

SATURDAY 13th MAY

HOT PICKS!

Film4 @ 1300     Field of Dreams (1989) *****

“If you build it, he will come” I’d forgotten how good this movies is… mainly due to the fact my brother harps on about how much he loves it, to the point that I’d subconsciously made myself dislike the thought of it! :) A perfect film for a lazy Saturday. It’s a fantastical and touching tale that focuses on basic human emotions that leaves you with a lump in your throat and a tear in your eye. Costner seems remarkably believable and I just adore Amy Madigan ever since seeing Uncle Buck. They are a great together and give a grounding to an otherwise bizarre string of events. One of my favourite sports films… definitely up there in my top 5.

TCM @ 2100     The Others (2001) ****

It’s towards the end of WW2; Nicole Kidman is Grace Stewart living with her 2 photosensitive children in a huge remote house in England. She has strict rules to ensure they never come in contact with sunlight. As the house and her chores begin to get difficult to manage she is forced to hire a group of servants. As the rules begin to break down and they are plagued with a few unexplained events, Grace ultimately begins to suspect the house is actually haunted.

Kidman is excellent as Grace and really gets deep inside the character. She oozes frustration and frailty but with a powerful disciplinarian front. It’s a stellar performance. The two child actors also do a grand job and the family unit feels very real. The house is almost a character in itself.

It’s full of rich dark colours and you half expect for something to appear from around every corner as the camera snakes through each gloomy room. It’s a spooky, and suspenseful film with some great tension and has an overall creepy feel. The story is fed to the audience well and the pace and tone are pitch perfect. The cinematography is nothing short of beautiful. This is a great film, with an interesting story that has some great twists. Watch this.

Best of the rest:

TCM @ 1650      Kind Hearts and Coronets (1949) *****

C4 @ 2100         12 Years a Slave (2013) ****

Dave @ 2100    Training Day (2001) ****

5* @ 2100          22 Jump Street (2014) ****

Film4 @ 0110    Fright Night (1985) ****

***AVOID AT ALL COSTS!***

E4 @ 2100    Van Helsing (2004) * AVOID AT ALL COSTS!

It’s a mystery how Jackman and Beckinsale were duped into making a diabolically bad film that not even Bekinsale’s under bust corset could redeem. Terrible CGI, bad hats, bad hair, bad script, bad full stop. Criminally handled, ham-fistedly delivered to soil our screens with yet another simply shite monster movie. AVOID.

SUNDAY 14th MAY

HOT PICKS!

C4 @ 2300     Prisoners (2013) ****

Like a good Thriller? Then get onto C4 on Sunday for the dark investigative Thriller - Prisoners. It’s the English Language debut film for director Denis Villeneuve. I haven’t dabbled in his other work until more recently with the outstanding head twister “Enemy” starring Jake Gyllenhaal. He must have liked working with him as in Prisoners we see him again at his startling best. He is pulling some outstanding performances out the bag of late and here we get none less than the best. Jake plays a young detective who through sheer dedication and a lot of patience works through a serious case of 2 missing girls. Hugh Jackman plays the father of one of the girls, whose frustration with the Police’s seeming inability to make any progress reaches boiling point and he makes more and more morally questionable decisions on how to better the search for the missing girls. Beautifully shot with cinematography that wows on each and every scene, Prisoners is a must see thriller and my top HOT PICK for the weekend.

Film4 @ 2315     Shutter Island (2010) ****

Shutter Island is a creepy, visually rich psychological thriller with a dark and morbid feel throughout. We follow DiCaprio as troubled U.S. Marshal Teddy Daniels - investigating the disappearance of a patient from the islands asylum for the criminally insane. DiCaprio is superb and I can see why Scorsese persists on casting him. Ben Kingsley also stands out as the head of the asylum - the dialogue between the two characters is excellent. We are taken through the almost gothic maze of the island and asylum - its darkness is overwhelming and penetrating, this - combined with the beauty of Scorsese’s direction we are treated to a darkly beautiful ride. There are, as you would expect, a number of twists along the way some more obvious than others but to me that isn’t really the point - It’s the journey through the film and the troubling images that plague our lead that make Shutter Island a must watch film. It inspires a second viewing. The score magnifies the darkness and is superbly put together to make even the seemingly normal of scenes far more tense and suspicious. Shutter Island was eagerly awaited for in 2010 and I was very glad when it finally arrived.

BBC2 @ 2345     Memento (2000) *****

Directed by the amazing Christopher Nolan and with a superb lead role by Guy Pierce, Memento is a complicated story of a man who can make no new memories since he was injured when he and his wife were attacked. Each scene starts from the confused perspective of Leonard (Pierce) so every new situation he finds himself in, so do we - and we have to piece together the story as if we were in his shoes. We follow this chronologically crazy story as he attempts to find his attackers.  He has to rely on a strict system to remember things by - from Polaroid’s to self-made tattoos and notes.  It’s thick with paranoia and confusion which keeps the audience begging for more from scene to scene.  Nolan’s direction is superb and the chronology of the film treats the audience to many rewards. It is an amazing film that deserves everyone’s attention. Watch this!

Best of the rest:

TCM @ 1250      Kind Hearts and Coronets (1949) *****

Film4 @ 1835    Star Trek (2009) *****

Film4 @ 0155    Eyes Without a Face (1960) ****