#and : maybe pop music will cure my seasonal depression

[mooosicaldreamz]

We obviously need your song by song analysis of evermore please!

i got asked to do this about four times so here it is.....much anticipated. i know. please note that when i say that i hate her or despise her i don’t actually mean that. but i do

EVERMORE

OK LETS GO

WILLOW - ok, groovy first time you hear it, right? has a strong rumbly wiggle. let’s VIBE. the low of the verse, the high of the chorus…oh my goodness! what is she doing. she’s just out there! wow. “wherever you stray i follow” is a banger. “life was a willow and it bent right to your wind” with the overlay oof let’s go.!!!! a shockingly strong first entry of the record…best one since “welcome to new york” maybe!!! let’s just say it!!! for some reason “i come back stronger than a 90s trend” throws me off though…i don’t know. it’s just so moody pop, no one is doing it like her!!! i hate her

CHAMPAGNE PROBLEMS - every time i listen to this song i listen to it four times. not a joke. it’s perfect. i don’t think i need to convince anyone! it’s perfect!!!!! what are you doing? taylor swift, the most dramatic bitch, has been writing dramatic bitch songs since she was fourteen and yet, somehow, she contrives to write even more dramatic things as she ages. this song is a JOKE. there are not ENOUGH songs about denying proposals! it’s just simple and sad. oh my god. it’s insane. the fact that she wrote this with her boyfriend (i have a running theory that they are married, we are going to refer to joe as her Perfect and Glorious Husband from now on) …… come on. the ENTIRE BREAKDOWN. “YOUR MIDAS TOUCH ON THE CHEVY DOOR / NOVEMBER FLUSH YOUR FLANNEL CURE / THIS DORM WAS ONCE A MADHOUSE / I MADE A JOKE WELL ITS MADE FOR ME / HOW EVERGREEN OUR GROUP OF FRIENDS / DON’T THINK WE’LL SAY THAT WORD AGAIN / AND SOON THEY’LL HAVE THE NERVE TO DECK THE HALLS THAT WE ONCE WALKED THROUGH” ……. concluding with that absolute stabby killer “what a shame she’s fucked in the head” oh my god……….. and the song resolving in a very adult “you��ll find someone else” god

GOLD RUSH - ok so like this song is like ok it’s got the same groovy high /low that’s happening on willow but it’s so different! it’s so good! the pulse of the beat propelling the whole thing through and then the falling apart “oh what must it be like to grow up that beautiful”……………..ok. the visceral image of “my eagles t-shirt hanging from the door” …………. i admire very much taylor’s oncoming gift of moving through high/low imagery…… i love her so much? it’s so HARD. “my mind turns your life into folklore” beautiful! BEAUTIFUL! also i have some belief in me that this is about karlie kloss but i shall not dive into that hole.

TIS THE DAMN SEASON - oh so i’m supposed to LIVE with this song EXISTING. WHY!!!! HOW……..oh my god………..taylor was like, yes, i’m going to write a song about a famous girl going home and banging her high school flame for a week and jack and aaron were like oh ok. “i parked my car between the methodist and the school that used to be ours.” she is such a joke. “you could call me babe for the weekend” like ok emo!! emo!!! OK. I LOVE THIS SONG

TOLERATE IT - taylor really gave us the most depressing track 5, but it’s absolutely a banger and i love her! she is just vibing! oh my god. what a specific emotion to pinpoint with this song….it’s such a gift. no one is hitting this space

NO BODY NO CRIME - this song has no business being on this record but in the BEST WAY, like how daddy lessons mysteriously appears in the middle of lemonade. oh my goodness. this is just pure country revenge song. taylor was like oh actually i haven’t forgotten my roots and i hate men more than i ever have. and she got haim to sing with her. and it’s so good. the low “i think he did it” oh my goodness. this song is a joke. how is it real? it’s just a perfect radio song. it reminds me very much of “before he cheats” but it’s a lot more sonically calm

HAPPINESS - similar to “tolerate it” and i think “champagne problems” this song is beating on an emotional bush that is really really hard to hit the head of. like, so she collabed with the national and bon iver on this record and previous obvi, and i LOVE them, but their music can often be very………impressionistic? perhaps? is how i might put it. it’s sometimes hard to get a note of specificity from it. imo. but taylor loves a fucking story bro. and she has figured out how to tell made up stories. she can’t be stopped now. like…this space of a breakup and knowing that it’s for the best and being sad in this way? name a pop star who has a song this nuanced. for real! god. i despise her. “across a great divide / there is a glorious sunrise”

DOROTHEA - the other half to the far superior TIS THE DAMN SEASON and a banger all the same. it has the bouncy joy of the most buoyant national songs. in the same vein as the also far superior BETTY, she has her sweet dumb boy slurry and less intelligent voice. i love that she paints these narrators this way, it’s just nothing she would have ever reached for ever before this period. she has a Perfect and Glorious Husband now and she has begun to understand teenage boys, FINALLY.

CONEY ISLAND - i have upon many occasions opined that i love the national VERY MUCH. i once went to a festival with my gf and her sister to see them even though i was expressly not invited and you know what despite the fact that it caused a lot of angst, i got to see the national play TERRIBLE LOVE in the middle of the night and I SCREAMED IT. so like, listen. what is matt berninger doing here, to me, specifically????????? i was somewhat hesitant about how their voices might blend, but it works astonishingly well. and i think that it’s so wonderful, i can’t. the imagery of a dreary coney island…..”sorry for not winning you an arcade ring.” as taylor always proves, the bridge is spectacular. “were you standing in the hallway / with a big cake / happy birthday”……”and when i got into the accident / the sight that flashed before me was your face / but when i walked up to the podium / i think that i forgot to say your name” sorry to yOU calvin. she had ISSUES. and now she has a Perfect and Glorious Husband. also “sorry for not making you my centerfold” ok kaylor

IVY - this song is about emily dickinson and i DARE you to tell me that i’m wrong. I DARE YOU. I DARE YOU. you’d be wrong! embarrassing for you. taylor finally writing a probably legitimate queer song and it’s about fucking emily dickinson is so on brand…..it’s dripping with poetry and groove and she’s so fucking dumb i hate her so much. her narrative of ivy and poetry and the lakes district…….ok taylor. i know. i know you watched all the dickinson things that came out and you identified with her. the gentle sway of the “oh, goddamn” and the “oh, i can’t”……i CAN’T EITHER TAYLOR !!! i CAN”T TAYLOR!!!! “oh goddamn / my pain fits in the palm of your freezing hand / taking mine but it’s been promised to another / oh i can’t / stop you putting roots in my dreamland” TAYLOR. and then she says, “oh you didn’t realize this wasn’t gay?” “i want to know the fatal flaw that makes you long to be magnificently cursed” like @ emily yourself taylor “he wants what’s only yours”……TAYLOR. give me the entire catalogue of emily dickinson songs!!!!! i can’t do this. “springs breaks loose / but so does fear” “i’d live and die for moments that we stole / on begged and borrowed time / so tell me to run / or dare to sit and watch what we’ll become / and drink my husband’s wine.” taylor if you see this post, a, i love you, b, i need you to tell me about ivy, and c, PLEASE can i have tickets to your next tour in the year 2025 or whenever because my gf never buys me any to your shows……….i love this song if it isn’t clear. i think i’d love it if it wasn’t gay

COWBOY LIKE ME - ok this will sound weird and if you’ve read this far i’m going to assume that you don’t care about me being weird…but this song reminds me of the fanfiction STAY THE NIGHT by lynnearlington (maybe u’ve heard of it). please reply if you think about this and feel the same. “never wanted love / just a fancy car” “you had some tricks up your sleeve / takes one to know one / you’re a cowboy like me” the opening line re: the tent-like thing reminds me very strongly of the fourth of july at our family’s country club and they set up a tent over the parking lot and this song just makes me think of that vibe????? i don’t know. i have vibes. i love this song a lot, which is impressive because it follows after the gay euphoria of IVY. perhaps this is because it gives me its own gay euphoria. “now you hang from my lips like the garden babylon” ???? is one of the most gay, seductive, brutal lyrics i have ever heard. she wrote that down and was like, oh yeah, vibez, hundo p. she did that to me

LONG STORY SHORT - this song is an honorary sequel to I FORGOT THAT YOU EXISTED from the lover era (honestly i’m still in the lover era). but i actually think this song is better! so we are taking that. “actually i’ve always thought that i looked better from the rearview” ok taylor let’s access that feeling! “no more keeping score / i just keep you warm” is like, stupidly sweet.  rip to calvin but now taylor has a Perfect and Glorious Husband.

MARJORIE - made me cry, simple and beautiful. one of the more personal songs on the tracklist! and something that i had never considered that she would write about, but i think the quarantine period has allowed a lot of us to dig into our feelings, so….vibez. we’re vibing!

CLOSURE - this song’s production sounds a lot like bon iver’s recent productions, very tech-y and repetitive and spare. rip to karlie kloss but taylor has a Perfect and Glorious Husband and karlie’s legal last name is kushner so who really won? hmm? i love “i’m fine with my spite / and my tears / and my beers / and my candles” the inclusion of candles is just. vibez. there are four candles lit rn in our apartment!

EVERMORE - i think this song is very intriguing and i’m still puzzling with it! the simplicity of her depressive gray November phase and then the very ebullient and bold bon iver interlude……..really has a manic/depressive, sad/angry vibe???? it feels so on brand for this pandemic quarantine…..and it works shockingly well, except for that i’d rather listen to the bon iver part for 10 minutes more. “all my waves are being tossed / is there a line that i can just go cross” and then taylor’s sort of call and response with his interlude……should just be the whole song.  but it’s still good. that’s how annoying she is

[franeridart]

Merry Christmas!! I hope you are happy, and have a good New Year! 😁

Thank you!!! I hope you had a wonderful Christmas and will have a wonderful New Year too!!

Anon said:aaaaawwwnnn the good ol' platonic (or not, depending on the interpretation) bak*deku

I’m not anti anything anon, so you never gotta worry about that! I have ships I like and ships I don’t and ships I’m indifferent about, but I’m a firm believer in the ship and let ship principle~ sadly bkdk is strictly platonic for me (I see them too much as sibs for it to work in a romantic way, at this point), but I do adore their relationship and the way Horikoshi is writing it TT^TT it’s def one of my favorite Bakugou relationships, such a wonderfully complex story 💕

Anon said:Have you ever thought about drawing Bakushima as different ships? Like, from different shows. Put them in their outfits and such? I thought that wouls be pretty cool. Sorry if someone has already suggested this! I thought maybe Black Butler style ? Fruits basket, Death note, ect. ❤

I have in the past drawn them in AUs inspired by characters from other fandoms, if that’s what you’re asking! At the top of my head I can remember drawing them as Black⭐Star and Tsubaki from Soul Eater, Doumeki and Watanuki from xxxHolic and Jacuzzi and Nice from Baccano!, but I’m sure those are not the only ones... I’m never against that sort of AUs, if you have anything you’d like to see ask and I’ll see if I know the fandom you’re thinking about! :D

Anon said://squints// did your.... Did your lineart imPROVE??? holy maples Fran ur killing me with ur art I wanna survive my last 7 months of high school--

If you think so, then I’m seriously happy and glad to hear it! Thank you so much!! I feel like I’ve been getting sloppier actually, ngl, but I have been trying new tools for the line, so maybe that’s the difference you’re seeing!

Anon said:Gonna say anonymously caz' i'm too embarrassed to reveal myself for now, but I love your blog and art so damn much!!! Been following you for two years and you really inspired me to draw and really to stay in touch with bnha. Again, love you so much and hope you a merry Christmas!!!

Ahhhhh anon thank you so much!!! I’m happy I can make you keep up with bnha, ngl!! And I hope you’ve had a wonderful amazing christmas too!!!

Anon said:Sero with the long hair can murder me

He wouldn’t!

Anon said:what do you think of bakukamijirou 👀

I don’t ship it, sorry :( as far as shipping Bakugou goes, I only ship him around if Kirishima is involved - I do have a few Baku ships I like just for the aesthetics (like with Jirou, or Todoroki!) but I wouldn’t really call it “shipping”, I just like to see them next to each other cause their designs work well together haha

Anon said:Hello? Yes. Hi. Dave I love. Thank you.

I’m so happy to hear that!!! TT^TT thank you so much!!!

Anon said:Kamijirou cures my depression :3

WELL IF THAT ISN’T A MOOD!!

Anon said:Have you every considered a voltron au for your ocs? I know youve made a voltron au befores so i was wondering if you ever did it for anything else (i really love all your art have a lovely day

I’ve never, actually :thinking: the vld fandom is very scary to me so I try to keep away from it, ngl! I’ve also not watched past the first season of the cartoon itself so by now I don’t think I have the necessary information to make AUs based on that fandom, but the concept of my kids in space or piloting mechas is a wonderful one nonetheless haha

Anon said:Ah man I love dav so much. It makes me so happy when you post your sweet green haired boy. Day: brightened.

:sob: thank you SO MUCH!!!! TT^TT it makes me so happy to hear you like my boy!!

Anon said:I love and appreciate every variety of your ocs

THANK YOU!!!💕💕

Anon said:You: This is my boy. | Me: I love him so much and his hair and his shirt- 👌

Thank you so much!! His hair and clothes make less sense every time I draw him, but I have fun with it so I’m glad you like them anyway hahaha

Anon said:Hey! Who is he? He looks cool

Thank you so muuuccchhhh!!! His name is Dave!! He doesn’t really have much of a story, but he’s a uni student and likes music, philosophy and cats! He has a bunch of friends I draw him with now and again, and they mostly spend their time avoiding studying and being generally ridiculous :D

Anon said:Just wanted to let you know your art style is GORGEOUS. You're one of the few people on this site whose art always makes me excited to see it. I'm a huge Bakushima fan to begin with but your Bakugou is just...oof. lol I don't know if it's the hooded eyes or the undercut but you make him HAVE it!

That’s such high praise oh my god! TTOTT I’m glad you like how I draw my boy, he makes me so happy to doodle !!!!! 💞💞💞

Anon said:The two art post with "An unexpected sappy thought" and "Bunch of stuff from yesterday I finally managed to finish" were both flagged. i tried to send them to u, but couldn't. Just thought you should know if you haven't been notified yet! sorry that i cant be much help. (also the protest starts in like 10 min for me, so youre probably off already if youre doing it) sorry for bothering!

Anon said:hey your post (a colored fanart) of kirishima and bakugou cuddling w/ song lyrics as the caption got flagged, just thought i’d let you know if you didn’t see it :( stupid tumblr

These are pretty old asks at this point but I wanted to thank you for the heads up anyway! I have gone through my posts twice already and new flagged things always pop up, so the fact that you took the time to let me know was seriously huge help! Thank you so much!!

Anon said:hi i just saw your year summery-thingy and i just realized that i have followed you for more than a year now and i just want to say thank you for all the beutiful art i have seen !! you are truly one of my favorite artist i hope that you are well

Ah man thank you so much!!! I’m so so happy to hear you’ve been following me that long, it’s incredible to me!! I hope I’ll manage to get out of the slump I’ve fallen into soon enough orz meanwhile thank you for sticking around!! 💕

Anon said:Seeing your art summary makes my soul feel the urge to have your beautiful kiribaku art in a book. Have you ever thought about making a little zine with some of your illustrations? Or selling prints ;___; You're absolutely amazing!

Oh heck thank you so much for being interested in something like that! I’ve actually thought about something of the like, but if I ever did it would be a small zine with pieces made specifically for it! I have to research the whole thing a bit more, but in case I’ll reach a point where it’s a concrete possibility I’d first post something to check the actual interest in it between everyone! ;^;

Anon said:... Why BakuJiro tho?

Why not! They are good friends, have a nice dynamic, and their styles match together well! And Jirou’s so tiny next to him, I like the idea of Baku hugging her a whole lot as it might have become obvious by this point haha

Anon said:7w7r I see you there

I dunno what this is about but !!! neat!!

Anon said:Soooo,,, DabiHawks or Hawks single? I have curious for how would a drawing of them be made by you

I’ve said this a couple of times before, but I’m really only interested in dabihawks if Dabi is Touya at this point! I might change my mind if Hori develops their relationship more, but right now that’s how it is... and until I have more concrete proofs of Touya and Dabi being the same person I don’t wanna get too involved with the ship, in case I end up disappointed haha

Anon said:Fran, have you ever posted a selfie before? For some reason, I imagine you looking a little more like Kuroo from Haikyuu!! Haha.

I haven’t! I prefer being behind the camera instead of before it hahaha a couple years ago you would have been right! By now I have too much hair for it, tho lol also, I wear glasses and have a bunch of piercings and earrings that Kuroo doesn’t have (but should have, cause it’d be hot 👀👀👀)

[angelsd0ntkill]

End of Year Questions

I saw this ask meme going around and I thought I’d answer them all, not only because that’s What I Do, but also coz I enjoy this kind of year-in-review thing.

1. Song of the year? Ignoring release dates, my picks are “Morrigan” by Children of Bodom, “Drink” by Alestorm, “As If It’s Your Last” by Blackpink, and “Roppongi Rumble” by Warmen.

2. Album of the year? Look, man, The Forest Seasons (Wintersun) and Two Paths (Ensiferum) were good shit, but I gotta give this one to Alestorm’s No Grave But The Sea. That was what first pulled me back into paying attention to music releases, etc. and it’s a damn great album!! Also, shout-out to Children of Bodom’s I Worship Chaos because even though it came out in 2015 I only listened to it this year. Oops. :X

3. Favorite musical artist / group you started listening to this year? WARMEN, no doubt about it. Why did I put off listening to them for so long...?

4. Movie of the year? One Piece Film Gold.

5. TV show of the year? I don’t keep up with new TV shows at all so I’m giving this one to Firefly. Watched it for the first time this year and absolutely adored it.

6. Episode of tv or webisode that defined the year for you? Ehh, I can’t really answer this, TV shows aren’t important enough. Plus, well, see above.

7. Favorite actor of the year? Bruh, I don’t know who people on this site are talking about 90% of the time when it comes to actors, I don’t know shit.

8. Game of the year? Pokemon Go. :^D Also Neko Atsume. I know, I’m late to the party.

9. Best month for you this year? Probably July. My friend Andrew came to visit and we had a blast, I hung out with Hana and J, I got naked with J, I still had hopes that would go somewhere... it was nice. Good times. :^)))

10. Something that made you cry this year? ... the fact that that didn’t go anywhere, and probably never will. And yet I keep hoping. 

11. Something you want to do again next year? Fall in love, maybe with someone who Definitely deserves it this time? Alternately, have visitors from Canada.

12. Talk about a new friend you made this year. Hana is an incredible person with incredible style and the coolest vibe and personality. Her make-up skills are a thing to envy and so is her whole wardrobe, from her lolita pieces to the things she’s made herself. Her sense of humour is so on point, she can always make me laugh. She’s really open and honest, and I feel like she always knows what to say when someone’s having a bad/hard time, which is great, since she’s one of the volunteer leaders at the mental health place I go to (Verso). She’s one of the few people I feel like I can go to with anything. We like similar but different things -- like, we both like metal and pop; anime; super heroes; collecting figures/dolls, etc.but we have very few matches in terms of bands, series, characters, etc. She’s also my only irl friend who Gets internet/social media culture, which sounds ridiculous tbh. I love hanging out with her at Verso, going shopping, having coffee, hanging out at her place, hitting the bar(s), whatever. We’ve got plans to go to Helsinki in January at some point and I’m already excited. :3

13. How was your birthday this year? It was nice. My three youngest siblings were still here at that point, and the youngest of them had her birthday the day before mine. She’d gotten some cash, and so on my birthday we went to Hyvinkää to a shopping center. I remember I showed them the hamster I wanted and then caught the youngest two whispering because the youngest could afford it and wanted to get it for me as a birthday gift. ;A; I told her not to, of course, since ya can’t just buy a hamster without a cage and stuff, but my heart melted.

14. Favorite book you read this year? “The Cyber Effect” by Mary Aiken, “Pimp State” by Kat Banyard, and “The Lucifer Effect” by Philip Zimbardo were all pretty striking reads.

15. What’s a bad habit you picked up this year? Drinking to (try and) ease the pain. Don’t worry, it’s far from a problem, I doubt it can really even be called a habit at this point, but. It’s a thing.

16. Post a picture from the beginning of the year.

This is actually from New Year’s Eve, but I’m not sure if the clock had struck 12. Featuring my uglyass old glasses and my brother creeping in the corner.

17. Post a picture from the end of the year.

This is my most recent selfie, I think. Or at least the most recent one that isn’t shitty. ;D

18. A memorable meal this year? One meal when my siblings were here. We were having fries and different kinds of chicken nuggets, and damn they went fast, I forgot how that happens in a family with lots of kids, like u almost have to fight for your fair share. xD

19. What’re you excited about for next year? Finally seeing Children of Bodom after all these years.

20. What’s something you learned this year?

I cannot, in fact, have any man I want.

I can control my reactions to feelings of jealousy, and one day I am sure I will master them.

Exercise does, in fact, help ease depression. I hate to admit it, but it’s true. Not the miracle cure those “Have you tried yoga?” folks seem to think it is, though.

A whole lot about human behaviour, considering a lot of what I’ve read as well as discussions I’ve had with people.

Some things about politics and social justice.

What it feels like to get hit on my random drunk men (in broad daylight on a fucking weekday). It’s not fun, and I’m still Super Offended that my therapist suggested I enjoyed it a little the first time it happened.

21. What’s something new about your place of residence (room, home, or general location) now vs the start of the year? Fewer anime figures. Not by a lot, but. I’m trying, man, I’m trying.

22. Favorite place you visited this year? This little cafe at the harbour when Andrew was here. OR, OR, the cat cafe, also with Andrew. OH!! AND THE VIKING RESTAURANT, I almost forgot!!

23. If you could send a message to yourself back on the first day of the year, what would it be? Me: [spooky ghost voice] Beware the beautiful long-haired man!! Past Me: Which one???? Me: [disappears spookily]

24. Did you keep any New Year’s Resolutions? My only resolution was to Keep Being Awesome, and I do believe I have kept it. I may have even become MORE awesome. ;D

25. Did you create any characters (in games, art, or writing) this year? Describe one. Depressingly enough ... I haven’t. At least not any fleshed out ones. I scribbled a short thing in Finnish class earlier this year that had two unnamed characters, but that’s it. One was a short lesbian on her way to a quest that would result in her becoming a certified witch, the other was a lanky, curly-haired asexual dude who saw her waiting in the rain & just wanted to check on her but ends up getting swept up in the adventure. Oh, the girl’s sister left on her quest a year before but never returned so the girl’s also searching for her. There’s 3 vague characters for the price of 1 lmao.

[chmcdo]

The 15 Best Horror Movies of 2017

The best horror movies of 2017 writhe in grief and mourning: Evil is mundane, they say—sure—but what does that actually mean about moving on with one’s life? In two of these films, the grief-stricken struggle to communicate with those they’ve lost, realizing the process of doing so is difficult, an incredibly tedious series of motions (much like one’s everyday life) in which we’re never really sure they’re succeeding, or just feeding their own serious neuroses, plunging them deeper into depression. One film is a musical reveling in the harshness of young love, in the terrifying lengths to which someone, women especially, are expected to go to be loved. One is the highest grossing horror film of all time, and another is a genre-transcending treatise on America’s treacherous post-Obama racial landscape, both changing the industry for low-budget genre films immeasurably. Even M. Night Shyamalan’s pulpy thriller ends on a surprisingly bleak note. In 2017, we’re just trying to find some way out of all of our most pessimistic impulses. We’re just trying to not wake up every day and assume the worst.

In other words, it was a fertile year for horror, America’s most vital form of filmmaking, especially for non-white, non-male voices laying waste to the genre’s most tired tropes. A number of titles almost made our list, worth mentioning: The Blackcoat’s Daughter, a film awe-struck with despair for humanity and a mind-bogglingly great performance from Kiernan Shipka; The Girl with All the Gifts; We Are the Flesh; Alien: Covenant, proving that the older Ridley Scott gets the grosser he’s willing to be; Happy Death Day; one of many good Stephen King adaptations this year (see below), Gerald’s Game; and The Killing of a Sacred Deer, which isn’t a horror movie but kind of works like one, and anyway it’s fine because you’ll see it on other lists elsewhere.

Here are the 15 best horror movies of 2017:

15. A Cure for Wellness Director: Gore Verbinski It’s a bit of a tragedy that Gore Verbinski’s delightfully bizarre, absurdly violent and grotesque A Cure For Wellness went largely unnoticed. Hollywood’s versatile trickster, Verbinski and screenwriter Justin Haythe go for broke cramming various sub-genres and mood-drenched tropes into an overstuffed, batshit-crazy horror epic, a loving nod to old Universal monster movies, among many, with the mad scientist conducting experiments that “defy god and nature” in a picturesque old castle perched atop a village that somehow skipped the 20th Century, Bojan Bazelli’s gorgeous cinematography taking full advantage of the Euro-gothic aesthetic. It’s a no-fucks-given gonzo experiment, laced with the riskiness of Giallo and the surrealist imagery of a Lynchian nightmare, disparate tones wrapped dreamily around an angry, blunt satire about the self-destructive, soul-sucking nature of greed and ambition. —Oktay Ege Kozak

14. XX Directors: Roxanne Benjamin, Annie Clark, Karyn Kusama, Jovanka Vuckovic, Sofia Carrillo It’s important that the scariest segment in XX, Magnet Releasing’s women-helmed horror anthology film, is also its most elementary: Young people trek out into the wilderness for fun and recreation, young people incur the wrath of hostile forces, young people get dead, easy as you please. You’ve seen this movie before, whether in the form of a slasher, a creature feature, or an animal attack flick. You’re seeing it again in XX in part because the formula works, and in part because the segment in question, titled “Don’t Fall,” must be elementary to facilitate its sibling chapters, which tend to be anything but. XX stands apart from other horror films because it invites its audience to feel a range of emotions aside from just fright. You might, for example, feel heartache during Jovanka Vuckovic’s “The Box,” or the uncertainty of dread in Karyn Kusama’s “Her Only Living Son,” or nauseous puzzlement with Sofia Carrillo’s macabre, stop-motion wraparound piece, meant to function as a palate cleanser between courses (an effectively unnerving work, thanks to its impressive technical achievements). Most of all, you might have to bite your tongue to keep from laughing uncontrollably during the film’s best short, “The Birthday Party,” written and directed by Annie Clark, better known by some as St. Vincent, in her filmmaking debut. XX is a horror movie spoken with the voices of women, a necessary notice that women are revolutionizing the genre as much as men. —Andy Crump

13. Split Director: M. Night Shyamalan Split is the film adaptation of M. Night Shyamalan’s misunderstanding of 30-year-old, since-discredited psychology textbooks on Dissociative Identity Disorder, but if we deign to treat it with scientific scrutiny, we’ll be here all night. Suffice it to say, don’t go looking at anything in this film as psychologically valid in any way. But do go see Split, because it’s probably M. Night Shyamalan’s best film since Signs. Or maybe since Unbreakable, for that matter. And if there’s one way that Splitreinvigorates Shyamalan’s stock most, it’s as a visual artist and writer-director of tension and thrilling action. The film looks spectacular, full of Hitchcockian homages that remind one of Vertigo and Psycho, to name only a few. It’s a far scarier, more suspenseful film in its high moments than Shyamalan’s last film, The Visit, ever attempted to be, and it may even be funnier as well, although these moments of levity are sown sparingly for maximum impact. Mike Gioulakis deserves major props for cinematography, but the other thing that will stick in my mind is the unexpectedly great sound design, full of rumbling, groaning metallic tones. After so many films that relied on the kind of overwrought twist ending that made The Sixth Sense so buzzy in 1999, it seems like Shyamalan has finally gotten over the hump to make the kinds of stories he makes best: atmospheric, suspenseful potboilers. Here’s hoping that this newfound streak of humility is here to stay. —Jim Vorel

12. Thelma Director: Joachim Trier Thelma (Eili Harboe) is a meek and quiet young woman moving away from her strict Christian parents (Henrik Rafaelsen, Ellen Dorit Petersen) for the first time in her life. To study Biology at a Norwegian university. She’s devoted to her faith and doesn’t indulge in alcohol, drugs or other earthly desires. But all of that changes when she sits next to Anja (Kaya Wilkins), a warm-hearted and empathetic schoolmate, during a study session. The two don’t even know each other yet, but Thelma’s close proximity to a girl she feels an intense attraction toward is enough to trigger a violent seizure, which may or may not be the result of her intense rejection of her feelings, spurned by her religious upbringing. With subtle yet passionate performances by its two leads, the film would have worked fine as a straight drama about Thelma’s journey towards (hopefully) acknowledging her nature. What makes Thelma so special is in the way Trier and co-writer Eskil Vogt wrap this already palpable drama around a fairly downplayed supernatural horror premise with surgical precision. —Oktay Ege Kozak

11. It Director: Andy Muschietti 2017 was the year of blockbuster horror, if ever such a thing has been quantifiable before. Get Out, Annabelle: Creation and even would-be direct-to-video gems such as 47 Meters Down turned sizable profits, but they were just priming the box office pump for It, which shattered nearly every horror movie record imaginable. Perhaps it was the uninspiring summer blockbuster season to thank for an audience starved for something, but just as much credit must go to director Andy Muschietti and, especially, to Pennywise star Bill Skarsgård for taking Stephen King’s famously cumbersome, overstuffed novel and transforming it into something stylish, scary and undeniably entertaining. The collection of perfectly cast kids in the Loser’s Club all have the look of young actors and actresses we’ll be seeing in film for decades to come, but it’s Skarsgård’s hypnotic face, lazy eyes and incessant drool that makes It so difficult to look away from (or forget, for that matter). The inevitable Part 2 will have its hands full in giving a similarly crackling translation to the less popular adult portion of King’s story, but the camaraderie Muschietti gets in his cast and the visual flair of this first It should give us ample reasons to be optimistic. Regardless, it’s impossible to dismiss the pop cultural impact that It will continue to have for a new generation discovering its well-loved characters. —Jim Vorel

10. The Lure Director: Agnieszka Smoczynska In Filmmaker Magazine, director Agnieszka Smoczynska called The Lure a “coming-of-age story” born of her past as the child of a nightclub owner: “I grew up breathing this atmosphere.” What she means to say, I’m guessing, is that The Lure is an even more restlessly plotted Boyhood if the Texan movie rebooted The Little Mermaid as a murderous synth-rock opera. (OK, maybe it’s nothing like Boyhood.) Smoczynska’s film resurrects prototypical fairy tale romance and fantasy without any of the false notes associated with Hollywood’s “gritty” reboot culture. Poland, the 1980s and the development of its leading young women provide a multi-genre milieu in which the film’s cannibalistic mermaids can sing their sultry, often violently funny siren songs to their dark hearts’re content. While Ariel the mermaid Disney princess finds empathy with young girls who watch her struggle with feelings of longing and entrapment, The Lure’s flesh-hungry, viscous, scaly fish-people are a gross, haptic and ultimately effective metaphor for the maturation of this same audience. In the water, the pair are innocent to the ways of humans (adults), but on land develop slimes and odors unfamiliar to themselves and odd (yet strangely attractive) to their new companions. Reckoning with bodily change, especially when shoved into the sex industry like many immigrants to Poland during the collapse of that country’s communist regime in the late ’80s, the film combines the politics of the time with the sexual politics of a girl becoming a woman (of having her body politicized). And though The Luremay bite off more human neck than it can chew, especially during its music-less plot wanderings, it’s just so wonderfully consistent in its oddball vision you won’t be able to help but be drawn in by its mesmerizing thrall. —Jacob Oller

9. The Transfiguration Director: Michael O’Shea Michael O’Shea’s The Transfiguration refreshingly refuses to disguise its influences and reference points, instead putting them all out there in the forefront for its audience’s edification, name-dropping a mouthful of noteworthy vampire films and sticking their very titles right smack dab in the midst of its mise en scène. They can’t be missed: Nosferatu is a big one, and so’s The Lost Boys, but none informs O’Shea’s film as much as Let the Right One In, the unique 2009 Swedish genre masterpiece. Like Tomas Alfredson’s bloodsucking coming-of-age tale, The Transfiguration casts a young’n, Milo (Eric Ruffin), as its protagonist, contrasting the horrible particulars of a vampire’s feeding habits against the surface innocence of his appearance. Unlike Let the Right One In, The Transfiguration may not be a vampire movie at all, but a movie about a lonesome kid with an unhealthy fixation on gothic legends. You may choose to view Milo as O’Shea’s modernized update of the iconic monster or a child brimming with inner evil; the film keeps its ends open, its truths veiled and only makes its sociopolitical allegories plain in its final, haunting images.

8. Creep 2 Director: Patrick Brice Creep was not a movie begging for a sequel. About one of cinema’s more unique serial killers—a man who seemingly needs to form close personal bonds with his quarry before dispatching them as testaments to his “art”—the 2014 original was self-sufficient enough. But Creep 2 is that rare follow-up wherein the goal seems to be not “let’s do it again,” but “let’s go deeper”—and by deeper, we mean much deeper, as this film plumbs the psyche of the central psychopath (who now goes by) Aaron (Mark Duplass) in ways both wholly unexpected and shockingly sincere, as we witness (and somehow sympathize with) a killer who has lost his passion for murder, and thus his zest for life. In truth, the film almost forgoes the idea of being a “horror movie,” remaining one only because we know of the atrocities Aaron has committed in the past, meanwhile becoming much more of an interpersonal drama about two people exploring the boundaries of trust and vulnerability. Desiree Akhavan is stunning as Sara, the film’s only other principal lead, creating a character who is able to connect in a humanistic way with Aaron unlike anything a fan of the first film might think possible. Two performers bare it all, both literally and figuratively: Creep 2 is one of the most surprising, emotionally resonant horror films in recent memory. —Jim Vorel

7. Prevenge Director: Alice Lowe Maybe getting close enough to gut a person when you’re seven months pregnant is a cinch—no one likely expects an expecting mother to cut their throat—but all the positive encouragement Ruth’s (Alice Lowe) unborn daughter gives her helps, too. The kid spends the film spurring her mother to slaughter seemingly innocent people from in utero, an invisible voice of incipient malevolence sporting a high-pitched giggle that’ll make your skin crawl. “Pregnant lady goes on a slashing spree at the behest of her gestating child” sounds like a perfectly daffy twist on one of the horror genre’s most enduring contemporary niches on paper. In practice it’s not quite so daffy, more somber than it is silly, but the bleak tone suits what writer, director, and star Lowe wants to achieve with her filmmaking debut. Another storyteller might have designed Prevenge as a more comically-slanted effort, but Lowe has sculpted it to smash taboos and social norms. Because Prevengehates human beings with a disturbing passion—even human beings who aren’t selfish, awful, creepy or worse—in it, child-rearing is a form of real-life body horror that’s as smartly crafted and grimly funny as it is terrifying. —Andy Crump / Full Review

6. mother! Director:   Darren Aronofsky   Try as you might to rationalize Darren Aronofsky’s mother!, mother! does not accept rationalization. There’s little reasonable ways to construct a single cohesive interpretation of what the movie tries to tell us. There is no evidence of Aronosfky’s intention beyond what we’ve intuited from watching his films since the ’90s. The most ironclad comment you can make about mother! is that it’s basically a matryoshka doll layered with batshit insanity. Unpack the first, and you’re met immediately by the next tier of crazy, and then the next, and so on, until you’ve unpacked the whole thing and seen it for what it is: A spiritual rumination on the divine ego, a plea for environmental stewardship, an indictment of entitled invasiveness, an apocalyptic vision of America in 2017, a demonstration of man’s tendency to leech everything from the women they love until they’re nothing but a carbonized husk, a very triggering reenactment of the worst house party you’ve ever thrown. mother! is a kitchen sink movie in the most literal sense: There’s an actual kitchen sink here, Aronofsky’s idea of a joke, perhaps, or just a necessarily transparent warning. mother! is about everything. Maybe the end result is that it’s also about nothing. But it’s really about whatever you can yank out of it, it’s elasticity the most terrifying thing about it. —Andy Crump

5. Personal Shopper Director: Olivier Assayas The pieces don’t all fit in Personal Shopper, but that’s much of the fun of writer-director Olivier Assayas’s enigmatic tale of Maureen (Kristen Stewart, a wonderfully unfathomable presence), who may be in contact with her dead twin brother. Or maybe she’s being stalked by an unseen assailant. Or maybe it’s both. To attempt to explain the direction Personal Shopper takes is merely to regurgitate plot points that don’t sound like they belong in the same film. But Assayas is working on a deeper, more metaphorical level, abandoning strict narrative cause-and-effect logic to give us fragments of Maureen’s life refracted through conflicting experiences. Nothing happens in this film as a direct result of what came before, which explains why a sudden appearance of suggestive, potentially dangerous text messages could be interpreted as a literal threat, or as some strange cosmic manifestation of other, subtler anxieties. Personal Shopperencourages a sense of play, moving from moody ghost story to tense thriller to (out of the blue) erotic character study. But that genre-hopping (not to mention the movie’s willfully inscrutable design) is Assayas’s way of bringing a lighthearted approach to serious questions about grieving and disillusionment. The juxtaposition isn’t jarring or glib—if anything, Personal Shopper is all the more entrancing because it won’t sit still, never letting us be comfortable in its shifting narrative. —Tim Grierson

4. A Dark Song Director: Liam Gavin In Liam Gavin’s black magic genre oddity, Sophia (Catherine Walker), a grief-stricken mother, and the schlubby, no-nonsense occultist (Steve Oram) she hires devote themselves to a long, meticulous, painstaking ritual in order to (they hope) communicate with her dead son. Gavin lays out the ritual specifically and physically—over the course of months of isolation, Sophia undergoes tests of endurance and humiliation, never quite sure if she’s participating in an elaborate hoax or if she can take her spiritual guide seriously when he promises her he’s succeeded in the past. Paced to near perfection, A Dark Song is ostensibly a horror film but operates as a dread-laden procedural, mounting tension while translating the process of bereavement as patient, excruciating manual labor. In the end, something definitely happens, but its implications are so steeped in the blurry lines between Christianity and the occult that I still wonder what kind of alternate realms of existence Gavin is getting at. But A Dark Song thrives in that uncertainty, feeding off of monotony. Sophia may hear phantasmagorical noise coming from beneath the floorboards, but then substantial spans of time pass without anything else happening, and we begin to question, as she does, whether it was something she did wrong (maybe, when tasked with not moving from inside a small chalk circle for days at a time, she screwed up that portion of the ritual by allowing her urine to dribble outside of the boundary) or whether her grief has blinded her to an expensive con. Regardless, that “not knowing” is the scary stuff of everyday life, and by portraying Sophia’s profound emotional journey as a humdrum trial of physical mettle, Gavin reveals just how much pointless, even terrifying work it can be anymore to not only live the most ordinary of days, but to make it to the next. —Dom Sinacola

3. Raw Director: Julia Ducournou If you’re the proud owner of a twisted sense of humor, you might sell your friends on Julia Ducournau’s Raw as a coming-of-age movie in a bid to trick them into seeing it. Yes, the film’s protagonist, naive incoming college student Justine (Garance Marillier), comes of age over the course of its running time: She parties, she breaks out of her shell and she learns about who she really is on the verge of adulthood. But most kids who discover themselves in the movies don’t realize that they’ve spent their lives unwittingly suppressing an innate, nigh-insatiable need to consume raw meat. Allow Ducournau her cheekiness: More than a wink and nod to the picture’s visceral particulars, her film’s title is an open concession to the harrowing quality of Justine’s grim blossoming. Nasty as the film gets, and it does indeed get nasty, the harshest sensations Ducournau articulates here tend to be the ones we can’t detect by merely looking. Fear of feminine sexuality, family legacies, popularity politics and the uncertainty of self govern Raw’s horrors as much as exposed and bloody flesh. It’s a gorefest that offers no apologies and plenty more to chew on than its effects. —Andy Crump

2. It Comes at Night Director: Trey Edward Shults It Comes at Night is ostensibly a horror movie, moreso than Shults’s debut, Krisha, but even Krisha was more of a horror movie than most measured family dramas typically are. Perhaps knowing this, Shults calls It Comes at Night an atypical horror movie, but—it’s already obvious after only two of these—Shults makes horror movies to the extent that everything in them is laced with dread, and every situation suffocated with inevitability. For his sophomore film, adorned with a much larger budget than Krisha and cast with some real indie star power compared to his previous cast (of family members doing him a solid), Shults imagines a near future as could be expected from a somber flick like this. A “sickness” has ravaged the world and survival is all that matters for those still left. In order to keep their shit together enough to keep living, the small group of people in Shults’s film have to accept the same things the audience does: That important characters will die, tragedy will happen and the horror of life is about the pointlessness of resisting the tide of either. So it makes sense that It Comes at Night is such an open wound of a watch, pained with regret and loss and the mundane ache of simply existing: It’s trauma as tone poem, bittersweet down to its bones, a triumph of empathetic, soul-shaking movie-making. —Dom Sinacola

1. Get Out Director:   Jordan Peele   Peele’s a natural behind the camera, but Get Out benefits most from its deceptively trim premise, a simplicity which belies rich thematic depth. Chris (Daniel Kaluuya) and Rose (Allison Williams) go to spend a weekend with her folks in their lavish upstate New York mansion, where they’re throwing the annual Armitage bash with all their friends in attendance. Chris immediately feels out of place; events escalate from there, taking the narrative in a ghastly direction that ultimately ties back to the unsettling sensation of being the “other” in a room full of people who aren’t like you—and never let you forget it. Put indelicately, Get Out is about being black and surrounded by whites who squeeze your biceps without asking, who fetishize you to your face, who analyze your blackness as if it’s a fashion trend. At best Chris’s ordeal is bizarre and dizzying, the kind of thing he might bitterly chuckle about in retrospect. At worst it’s a setup for such macabre developments as are found in the domain of horror. That’s the finest of lines Peele and Get Out walk without stumbling. —Andy Crump