#and ironically i think this is my favorite vi moment from act 3

[arcane-ish]

I don't think that "we were interested in those characters (ie [my guess] Caitlyn, Jinx, Warwick, Viktor)" implies "we don't think Vi is interesting".

My suspicion is more that they saw it "Vi got her turn and now we also want to do those other characters".

Take Silco for example. My guess is that they enjoyed writing him, but they felt that his story came to a natural and so they killed him and didn't feature him a ton in season 2. They had gotten what they wanted out of him. Silco fans clearly felt very differently. But in the end, it is their call to make.

Writers will always make decisions about who gets screentime and hero moments and badass lines. Them making Vi the character with the most focus in season 1 in itself is a favoritism choice because from an IP point of view, all these charactres are pre-existing and there is no practical reason to make Vi the point of view character of season 1 when in game is is equal to Caitlyn and to Ekko and to Viktor and to Bliktzcrank and to Camille and to 100 characters that didn't make it into the show.

They chose her because they like her (favoritism) and because they had potential. But they also like other charactres and see potential in other stories.

. If Vi is not interesting for you to explain to us more then why did you make us attached to her?

I find that an approach I can't get behind. The same logic could be used by the Silco fans to argue "you made us love Silco now you HAVE to make season 2 completely about him". What if fans have decided they have attached to Heimerdinger or to I dunno, the SevikaxSalo pairing and now the writers OWE them. (also worth nothing, it seems season 2 was written in 2019? before Arcane ever aired to the general public)

In the end to some extent it is normal that the writers want to make you care about all the characters, but they will make calls about what to focus on.

Don't get me wrong, I DEEPLY dislike many of their decisions. I for example DEEPLY think that doing the whole Viktor glorious evolution stuff and making it the main threat of Act 3 was a strategic mistake.

But at the same time, reading/listening to the interviews I understand that it's a story he really wanted to tell and it's one the artists put tons of creative effort in and some fans are into it and others (like me) aren't.

In the end, they get to have artistic freedom. (and I'm glad that he's at least smart enough to want to step away and have the next stories handled by other people)

they made her a dumbass character who only understands fighting,

That's not the vibe I got from season 2. I see a lot of traces of Vi having good instincts about people (ie following Singed, Remi's people). Act 1 seemed to be about the moral instincts vis a vis Cait.

Amanda Overton did an interview from which I got "We wanted to explore who Vi is if you take everything away from her/we see Vi's fundamental trait as being a protector and we wanted to explore who she is if she no longer has anybody to protect". To which I say ... okay... but it feels like the answer you came up with is something like "a shellshocked self destructive traumatized husk"?

I genuinely don't think that it's that much of a problem that they made Vi so heavily about physical fighting... it's that they did that and THEN made her fighting pretty useless? I wrote a lenthy analysis of the finale battle and I genuinely think that if Vi had gotten to be more heroic and successful, even just in a pure physical sense we would have walked away feeling a lot better about Vi. At least superficial satisfaction for "she's a figther and being a fighter is important and valuable and essential to this world".

Caitlyn and Ekko do heroic moves in the battle because of their smarts and their iron hard determination. Jinx and Jayce do heroic moves by reaching out to the baddie and doing heroic sacrifice. And what does Vi do?

I think it's one thing that let's say Vi fans wanted deep hurt-comfort exploration of Vi's trauma. I would say that was always unlikely to happen (I feel the same way when I see people the bemoan that the show wasn't about Zaun crushing Piltover in the dirt of Mel fans saying they wish the show had been only about schemes and politics and not action fighting). But imo they failed Vi even within the story they gave her.

I genuinely think Vi's story would have "rolled off the tongue" better if she had been down there with Caitlyn fighting back to back against Ambessa instead of Mel. Or if it had been her instead of Ekko smashing Viktor's mask.

Of it the show ended up on Vi finding the evidence that Jinx might still alive and not Caitlyn. (signalling = oh, Vi smart)

Or if the show had ended on episode 8. If it would have felt that the conclusion of her story is "okay, if you strip her of everthing, then Vi will choose life, symbolized by her having sex with Caitlyn". But instead we have:

1.) a whole episode where Vi does barely anything except watch in horror as other people die (after we already had that sort of in the Act 2 finale too)

2.) the looming idea that Jinx might be alive and okay ... so how would Vi feel about that? It leaves her story feeling unfinished in a particularly unsatifying way

(I compare that to Ekko for example, Ekko is strictly speaking in the same situation where if Jinx faked her death he doesn't know and his ending is very mornful and bittersweet-to-bitter. But I think it works better because his theme that arc was the whole "leaping forward while leaving something behind", so I personally walk away with a slighty better feeling for Ekko, like he would understand. But of course he also got "wins". He smashes Viktor's mask. He talks Jinx out of suicide. He is just a supporting character (outside of maybe episode 7), but you can still feel good about his character).

Vi was not devoid of good character moments. Her standing up to Cait at the end of Act 1 was an important moment. Her trusting Jinx and about Vanderwick was an important moment. The problem is that Act 3 doesn't manage to tie to together in a way that is satisfying.

"Dirt under your nails" isn't without merit. I guess it's supposed to signal to us, that no matter what you take away from Vi (original family, Jinx, Vanderwick) she will keep on fighting? But it just feels kind of meh, especially with how ill fitting she was in the big action finale.

I'm afraid the same writers will be writing the next shows.

They won't. For one supposedly the Noxus show has been in the works for a year while Arcane was still being finished. And Christian Linke had talked explicitly about how he wanted to find new people to tell those other stories. That they think of the new shows as representing the regions and him and Alex were the right people for Piltover and Zaun but they need to find somebody else for Noxus for example.

I wouldn't rule out that he might do another show (he has mentioned somewhere that he would like to maybe do more with the more whimsical parts of the IP, but to be honest, other parts of statement sound like they were pretty exhausted [and that was before the criticism over the finale was in] )

My guess is the Noxus thing will have a different creative team with their own priorities. (that said this approach with a multi character focus might by a likely side effect of League and of how League is structured).

For what it's worth, I don't think you and I ware even that much in disagreement about the flaws of season 2. i just don't think that switching Vi to supporting was necessary impossible to pull off. I think there's plenty of ways that could have been done and still have left her with a story that makes the fans feel reasonably good about it.

(for what it's worth, I think Warwick's story was also extremely messy and similarly jumbled as Vi's even thought that was one of the new stories they wanted to tell. Or the Commander Caitlyn story was introduced with so much pomp in Act 1, I wouldn't say it was completely fumbled [it ends with Caitlyn's badass sacrifice of her eye], but I would argue it still wasn't as emotionally resonant as it could have been, this is my read of Jinx's ending btw and why I think it is meant to be uplifting by the writers [mileage may vary])

Vi season 2

Saying this about Vi, considering the fact that fundamentally the very basis of the show is about the relationship between her and Jinx is INSANE. The description for the show literally tells the audience it’s a story about two sisters and because the writers grew uninterested with one of them, they sidelined her.

I’m happy she got her happy ending, and i do believe that her writing remained consistent, my biggest issue with Vi this season was that she did feel sidelined, THAT was very obvious. I love her as a character outside of her relationship with Jinx and Caitlyn, however we didn’t get to see that this season.

Regardless if the ending stayed the same, Jinx and Vi barely interacting in the last act felt off. It’s really disappointing to see that one of the shows main and most important characters get sidelined in favour of others

anyway yeah there’s my rant bc seeing this shit on twitter has been pissing me off

[jinxnvi]

ARCANE | 2.07 "Pretend Like Its the First Time"

[papistark]

hi hello haven’t shared anything over here in a while let alone opinions but here are some Thoughts about the Loki series and why I’m disappointed (for now)

Main Issue: this show compared to the other Marvel shows so far felt like it had SUCH a wide disconnect between character and plot. The premise of Wandavision was a tool in telling Wanda’s story, and giving us new insight to her (and Vis) as characters. Both Sam and Bucky had very clear character journeys that were the focal point of the show, while the plot helped foil it but didn't feel like it overshadowed their personal development. 

Meanwhile the Loki show... didn’t employ either of those things. It felt more like the writers had a big meta story they wanted to tell, and decided throwing in enough scenes of Tom Hiddleston's lovely cry acting would distract from the fact that they didn't give him any real arc. I had high hopes after ep 1, both for plot and Loki’s development! I thought we were getting on a classic buddy cop, Bad Guy Has to Work For the "Good Guys", time traveling ride. and I still feel like there were Moments of what could've been (things like the pompeii scene)

Anyways that’s my main crux. A lesser complaint is just the failure to adapt a lot of fun comic material in any meaningful way (the other Lokis in ep 5 felt throwaway and like they were just there for trailer hype) also not even a flash of Jötunn Loki?? weak sauce

Sylvie complaint: didn't hate her as a chara, I actually enjoyed her quite a bit, especially in the acting and the costuming! But I do think the Lady Loki idea could've been handled better, even if Disney/Marvel still refuse to give any actual representation and found a female version from another universe more palatable than just making Loki genderfluid like the source material... My main problem w/ Sylvie is that I don't get why she wasn't just... Amora?? Other than maybe the writers having a GOTCHA moment on the comic readers, which I also don't support because they’ve done it before, and they've done it much better!!! IRON MAN 3?? The way they subverted The Mandarin reveal was still so good and I stand by that!! They could've easily done something similar w/ the enchantress character and just didn’t. 

I was excited for these marvel shows because Limited Series are one of my fave types of media. While Loki having another season will hopefully improve my feelings on the show as a whole, I don't know why some fat couldn't have been trimmed to make maybe a longer show BUT  my theory is that they need to space it out because other moving pieces in the MCU need to be introduced before they can finish the story. Which I’m still not really a fan of.

EDIT: a friend told me that apparently Loki is being split into 2 seasons bc of covid, which totally makes sense and I’m fine with. It actually makes the pacing of the show so far make a lot more sense as well, namely because I was expecting episode 5 to be a classic “penultimate” episode and it didn’t feel like that at all.

Anyhoo I’m interested to see if they can bring me back around in s2 bc I’m a Loki simp at the end of the day. There were still plenty of things I enjoyed about Loki s1, but I feel like the negatives are kind of on par with the positives, and it just didn’t rise up to WandaVision and TFATWS (Loki was originally the show I was MOST excited for when they announced the D+ stuff)

I’ll be happy if s2 (I guess technically what was supposed to be the last half of s1?) includes more focus on Loki as a character, showing jotunn Loki or some hint of it, and ALSO I wanna get hype for a Final Episode Look of a new, Asgardian Loki fit that’s inspired by comic stuff as well as his previous costuming. As good as he looks in the TVA uniform, Loki’s costuming has always been some of my favorites, and if there’s one thing I can count on not being disappointed w/, it’s Marvel’s costuming department.

[thirteenthspirit]

Not a Very ‘Organized’ Organization (XIII)

I thought hard about this week’s topic of choice. Brexit was on my mind - I pondered about doing a comparison between parliament’s never-ending struggle with delays and failed agreements, vs Harvest Moon’s unending gameplay, farming and shipping and eventually marrying and digging in the mines and COLLECTING ALL THE DAMN SPRITES in that DS one. But that’s as far as it goes… I didn’t think I’d be able to milk it like those cows (hey!).

Speaking of Hey, I still want to get Space Channel 5 in there somewhere, those Chu’s and Hey’s have been on my mind like crazy…

So I settled on writing about one of my favorite topics – Organization XIII!

Organization XIII was always one of my favorite parts of the Kingdom Hearts series. They are cool and mysterious and (debatably) heartless, ranging everywhere from the mute heavyweight champions (*cough* Lexaeus *cough*) to the twink rockstar wannabes.

So, Organization XII is, like the name implies, a group of 13 nobodies – wait, scratch that – a group of 14 nobodies (eyeroll) who have banded together to… um… depends on who you ask. And in which game. Their primary goal was to be whole, to be granted a heart/soul, even if practically EVERY ONE OF THEM had a different agenda and there was a whole underlying separate reason for the creation of the Organization. NO WORRIES, let’s stick with that, because it’s more fun.

Ok so, breaking down the members, should we go by number? Order of appearance? Relevance? Element of choice? Maybe click (you know, high school clichés)?

Well – first you have the Mains. Roxas (no. XIII), is the counterpart of Sora, the main character in the whole series. So you know he’s gotta be pretty high on the list. The most interesting thing about Roxas is surprisingly NOT that he’s voice by Jesse McCartney, but the duality of elements he controls. Light and Darkness are everywhere with this guy – his outfit has chess squares on it and he wields both Oathkeeper and Oblivion, not to mention having an incredibly sad and traumatic origin story! He’s like, a slightly smarter and moodier Sora. I like Roxas, I’m sad they didn’t give him anything to do in KH3. Dual-wielding keyblades is pretty awesome and his light attacks can hit pretty hard. One of my favorite moments of the series will always be his fight with Riku in the secret ending of KH1, over 10 years ago! Seeing Roxas clash with Riku in mid-air in front of that clock tower (not to be confused with the one from Neverland – I mean England) really made my heart race as a kid. He can also boast to having shared quite a couple of awesome struggles (go Vivi), with Sora in that “Station of Awakening” place where Destati usually plays, and then with both his best friends - while trying not to be kidnapped by his “Flurry of Dancing Flames”, best friend Axel, and when dispatching Xion.

Xion (no. XIV) is a “puppet”, made to take over Roxas’s place and role in the Organization, should anything happen. She is an interesting character, tragedy befalls her and her journey with coming to the realization that she must sacrifice herself for Sora’s behalf (in order for him to become whole again) is a beautiful one to see. Vector to the Heavens plays when you’re fighting Xion for the last time, ending with Roxas effectively killing her and is a beautifully crafted piece. Xion suffers a bit from that ‘unintentional retcon’ where she didn’t really have a place, story-wise, and was created solely for 358/2 Days. So she was effectively written-out of the main storyline until the later games, with every character practically forgetting about her (literally losing their memories of her).

Rounding out the trio is one of everyone’s favorites – bad-guy good-guy Axel (no. VIII). Axel’s portrayal changed throughout the series. In CoM, he is responsible for unmasking a conspiracy and dispatching rogue members of the organization. He is the de-facto assassin. With not a hint of remorse. As his friendship with Xion and Roxas builds, he regains access to some degree of emotion – perhaps it’s caused by the (stick with me on this one) Lea-Ventus-Sora-Roxas-Axel connection, or perhaps he grows a heart, sitting on that clock tower overlooking the (ALWAYS SETTING) sun of Twilight Town and eating sea-salt ice cream. Eventually he turns on the organization, proving his loyalty is to his friends and even joins the main cast as a Keyblade wielder, turning the tides on some occasions (he really makes the end of DDD worth it). It helps that he has a wicked-cool design. His element is Fire and he wields twin Chakrams, boasting two tear tattoos and incredibly spiky hair. His relationship with Kairi is a cute element to the story, I wish (aside from some more combat or like ANY AT ALL) they had more scenes together and overall relevance to the main storyline. My favorite moment, aside from him rescuing Sora from his peers in DDD, has to be when he executes Vexen in Castle Oblivion.

From Axel, the most closely linked member, aside from Roxas and Xion, is SaÏx (no. VII). SaÏx is a warewolf. The moon sends him into a trance and he is often plagued with anger management issues. Berserk is his Nirvana. Him and Axel go way back and there is still a storyline to be uncovered there, judging from the secret reports found in KH3. In the end, his motivations aren’t really clear and fully explored, so his presence is not much more than Axel’s right arm, who happens to have a big “X” scar on his face. Sorry SaÏx – maybe see a therapist. At least you got a happy ending! SaÏx was one of the last Organization members to fall, in KH2. One of the last defenders of the Castle in (one my my all-time favorite KH worlds), The World That Never Was.

Another of the final defenders and members of the Organization to be vanquished at Sora’s had is – *drumroll* arguably MY FAVORITE OF THEM ALL, the incredibly hot and suave Luxord (no. X). Now – this guy is blonde. Has facial hair. Earrings. A British accent (maybe that’s just in my mind) and makes me look up his voice actor just to drool over that sweet sweet voice. He is the “Gambler of Fate” and shows up in the POTC world to basically taunt you and play a few games. Everything’s a game to this guy, even fighting. Which I can’t say he is great at… For someone able to control the element of Time, he’s kind of a pushover. But he’s still got a place in my heart – and maybe we’ll get to see him again, since he was the one who gave Sora that “wild card”… “Parlay!” more like “Let’s play strip poker pls”.

Who next… well let’s round out the oddballs with this guy. Ladies and gents, fans of the underground metal, garage bands and mohawks – I give you… Demyx (no. IX)! The Melodious Nocturne! …although there is nothing ‘nocturnal’ about him. This guy irradiates happiness and excitement and joy. I suppose he is just pretending, since Nobodies can’t really feel, rather they remember what it was like. Dem-dem too is a fan favorite. He is very young and has a different disposition than the rest of the members, he’s just your lazy, average Joe that just wants to spend his days jamming out on his Sitar. He is the first Organization member to fall in KH2, and is considered “not much of a fighter”. I would obviously disagree with this BECAUSE DANCE WATER DANCE MOTHERF***** is hell. Hell! Still, Dem-dem brings some lightheartedness to the game and the entire group, so he is a welcome addition. He is shunned even in KH3 but that’s just a side note of his… personality traits, I suppose. Never forget when he ‘drops the act’ just before turning on Sora, before what would be his final battle. Demyx controls the element of Water.

And since when it rains, it pours; and when it pours, usually it thunders (at least here in Portugal), that seems like a decently-crafted segway to the next member – Larxene (no. XII). Larxene is… a bitch. I don’t say that lightheartedly, I consider myself a feminist and I never forget that quote “when a man is assertive, he’s called a Boss. When a woman is assertive, she’s called a bitch.” But Larxene is just MEAN. She’s the mean girl of the bunch – together with her GBF Marluxia. Larxene poses some of the hardest fights in CoM but sadly, and like most female characters in this series, she’s shunned in favor of other members. This is a critic I have with the entire KH series – Aqua is virtually my favorite character but she’s really the only female character that is given storyline, relevance and overall strength. And like most fans I was DYING to see Kairi kick ass in KH3, but… we all know how that went. Not much to say about Larxene, her lightning-fast attacks and knives give her a pretty sharp demeanor and she’s not afraid to play every trick to her advantage. Standout moment is, unfortunately, her demise in CoM, fading into darkness. Oh and that laugh.

Larxene’s ‘somebody’ appears in KH: Unchained, together with Marluxia’s somebody. Marluxia (no. XI) controls the attribute of Flowers.

Yes.

Flowers.

He also boasts pink hair and – the best part – a huge pink scythe. His nickname is “The Graceful Assassin” but aside from plotting to overthrow the Organization and posing as the main antagonist in CoM, he doesn’t really do a lot of killing. The fights against him in KH2: Final Mix are among my favorites, especially with that countdown as he swings about the field. It seems he has quite a role in the Mobile game, so maybe we’ll get to see more of his backstory in the future. His final parting words were somewhat mysterious. Together with Larxene and a sneaky Axel, Marluxia betrays the Organization and his fellow members in Castle Oblivion, for his own agenda.

The assignment to Castle Oblivion introduces us to 3 other members of the organization – Vexen (no. IV), Lexaeus (no. V) and Zexion (no. VI). And 3 character tropes. The mad scientist, the jock, and the emo kid.

Vexen, aka “The Chilly Academic”, controls my favorite element, Ice. He is, ironically, killed by Axel in a flurry of flames, in a very dramatic moment in CoM. Vexen merely wants to conduct his experiments in peace – he doesn’t care who rules, what happens to the worlds, even who might or not be possessing him. He only cares about his “Replica” program. The Replica program consists on the creation of “puppets”, bodies able to function who are only missing a heart. He plays quite the role in KH3, effectively redeeming himself. Vexen is one of the creepiest characters around – he has long blond hair and green eyes, but really that ‘mad scientist’ vibe is all that transpires. Shout-out to his English voice actor, Derek Stephen Prince, for giving him a creepy vibe. He’s not much of a fighter, with his weapon of choice being an icy shield called “Frozen Pride”.

Zexion is one of the younger members of the Organization – perhaps even younger than Demyx. He is also arguably one of the smartest. Like Vexen, he cares mostly about his research and specific topics of interest *cough* Riku *cough*. However, his young demeanor reflects some innocence – he is the only member you don’t fight against in CoM, ending up murdered at the hands of Axel (with a little help from a Replica…). I really like Zexion, to battle he wields a book (the Lexicon) and would rather dazzle the opponents with some crafted illusions than hit them hard. He is one of the most prominent figures in KH3 and his reunion with his Master, Ansem the Wise, is very touching and reveals once again his innocence. He is often accompanied by Lexaeus, who is essentially a shadow of Zexion, a silent guardian to the smaller member. It is suggested he has been protecting Zexion since the latter was a small child.

Lexaeus fights Riku at one point, effectively forcing Riku to unleash the darkness in his heart just to defeat him. The Organization member is a towering figure and barely ever talks – he is just muscle, but emanates a safe and caring feel outwards, especially in his interactions with Zexion. To battle he wields a huge hammer-like weapon (which totally reminds me of Rikku’s weapons from FFX) called the Skysplitter and commands the element of Earth.

These 3 members are one half of the initial 6 apprentices, who formed the Organization. These founding members all worked together under the tutelage of Ansem the Wise and range from the scientists like Vexen and Zexion to the guardians like Lexaeus and Xaldin.

Xaldin (no. III) is very much… wasted. His virtually only appearance is in KH2, in his vain attempts to turn The Beast into a heartless. His most evident feature is his sideburns. Xaldin’s sideburns are thick, dark and intimidating. He also wields a lot of lances – like, more than 3, which he uses his wind powers to attack you with. He has a really cool attack where he forms a dragon out of wind and blows you to pieces with. Other than another “werewolf” look, that’s pretty much it. Mickey to the rescue!

Then we get to Xigbar (no. II). Xigbar, or Braig, or Luxu, OR ONE-EYED PIRATE, I’m not sure there is much of a difference, became a usual presence throughout the series. Apparently he’s been around for a loooooong time, ever since the forgotten time of the mobile game. He is a cool dude. His “As If” will go down as a pretty cool quote. Xigbar’s nickname is The Sharpshooter and he immediately stands out from the bunch. We are still unaware of his agenda and interests, not knowing to what extent he is controlled or, rather, he is controlling the narrative. He is overall an awesome character, essentially sniping you from afar with his stylish gun-like weapons. He even fakes his own death in KH3! In what is one of the best moments from the final act. His interactions with the rest of the Organization are always funny to watch, especially with his on-and-off younger lover, Demyx. The standout moment against him is undoubtedly that moment during his fight where he corners you and forces you to run around trying to avoid the millions of blue bullets being aimed at you. One of the best members overall.

And then there was I. Mr. Xemnas (no. I) aka “The Superior of the In-Between” (seriously bro, that’s the nickname you’re gonna pick?) aka “MANSEX” among the fans, aka “Xehanort’s nobody”. He is the man behind the Organization, the one really pulling all the strings. I’m gonna skip the part behind his motivations, they’re murky and the writers decide to change them between games, and I’ll get right down to the cool bits – THE SWORDS. Yes, Xemnas wields two red lightsabers. No, he is not Darth Maul, just a fan. He is calm and has a raspy voice, never really getting too flattered (that one’s yours, Axel). The coolest interaction with Xemnas is the final battle against him. Besides his black and white coat, he eventually summons a plethora of red projectiles which surround Sora and Riku, as they (in a very realistic, grounded and believable moment), deflectem with their respective keyblades. Xemnas ends up falling a bit short when compared with Ansem, Seeker of Darkness… He was just never that menacing of a villain, especially with his always calm behavior.

And that’s it. That’s the full list of the organization members. This turned out to be more of an exposé on each of the members, than anything else. I thought about trying to find real-life personalities to match each of the members, but eventually came up short on that. Organization XIII’s struggle to “be whole” and regain the part of their humanity they had lost – their soul, the ability to feel, always struck me as a really interesting motivation. For quite some time, the idea that you could shed the part of you that is able to “feel” struck me as something good, something to be envious of. I was, of course, wrong – even the dark feelings within us are what gives us the ability to connect and empathize with others.

So be sure to deflect those projectiles, and someone PLEASE give my number to Luxord,

                                                                                               -João A. (Pachiren)  

[ahouseoflies]

The Best Films of 2018, Part III

Parts I and II are here and here.

GOOD MOVIES

70. Mid90s (Jonah Hill)- I usually applaud filmmakers for letting visuals tell the story instead of spelling everything out, but Mid90s needs to spell some more stuff out, especially at the truncated end. His brother brought him an orange juice, so all of the abuse is forgotten? I need a bit more there.

I was always going to be in the tank for this though, having been the same age as the protagonist at the time, owning some of the same shirts as him and hanging some of the same posters on my wall. Despite the "My First Screenplay" beef I had up top, each supporting character gets something to do. Hill shows promise as a director (and the fingerprints of his influences) by being able to shift between poles of emotions in a matter of seconds.

69. McQueen (Ian Bonhote)- Although it waits too long to get into McQueen's depression, this documentary does an adequate job of showing the ups and downs of his life. It was great seeing things I've only read about, like the Voss show.

Here's the thing though: I'm not a genius, but if I were, I would hope that my closest friends and advisers would be able to articulate what made me great. A little less "We were working sixteen-hour days." A little more "He changed art forever."

68. Beautiful Boy (Felix Van Groeningen)- For better and worse, this portrait of a parent's worst nightmare is unrelenting. Surprisingly, the toughest moment is when Nic is fierce with pride, clean for fourteen months. Because when you pause and see that there's an hour left in the movie, you shudder at how low he might end up going.

Van Groeningen's sort of french braid of past and present hasn't changed for his English-language debut, but things worked best for me when he locked in on Timothee Chalamet's mannered but touching performance. I wish the movie had a proper ending.

67. The Kindergarten Teacher (Sara Colangelo)- This takes a little while to get sick and twisted, but I liked it once it did. Part of why it works is Gyllenhaal's commitment to the role. As dark as the character gets--and the film does seem hell-bent on establishing her as a failure when I'm not sure that's true--Gyllenhaal never judges her. It's probably her best performance since SherryBaby.

As for Gael Garcia Bernal, who plays a poetry professor who kisses people and then apologizes and says that he misread the moment and acts all bashful, are we sure about him? Are we sure he's good at acting?

66. The Spy Who Dumped Me (Susanna Fogel)- The spywork of the last half-hour is way too convoluted, but the comedy is fast and loose in service of a sweet female friendship. We're at the stage with the genius of Kate McKinnon in which I just assume that she came up with anything funny on the spot. For example, there's an off-hand joke that her character went to camp with Edward Snowden and was surprised that the news didn't mention how "into ska" he was. It's so bizarre that it had to be improv. Later, when Edward Snowden shows up as a character, I had to admit that the movie was tightly written. But I assumed it was McKinnon first. 65. Ready Player One (Steven Spielberg)- Halfway through Ready Player One, there's a sequence that takes place inside The Overlook Hotel of The Shining. The characters are walking through a photorealistic recreation of that setting, down to the smallest details, but it has been repurposed with different angles for this film. Not only have I literally never seen something like this in a movie, but I never imagined the possibility of such a thing existing. And somehow...it's corny and derivative.

So goes Ready Player One. It takes the simple pleasures of a Chosen One narrative with a killer villain, loads every corner of the frame with Ryu or Beetlejuice or a Goldie Wilson campaign poster, and punishes you with maximalism. Each piece reliably contributes to the whole, sometimes in thrilling and amusing fashion, but no matter when you check your watch, forty-five minutes are left.

When imdb came out, Steven Spielberg was one of the first people I looked up. What shocked me was how many projects I attributed to his direction when he had only produced them. In my kid brain, Spielberg had directed Gremlins or Goonies or An American Tail. They had his imprimatur of whimsy and wonder and childhood identification even if they were, you know, a bit more conventional and less purposeful than the movies he directed. Well, not since Tintin has there been a Steven Spielberg-directed film that feels more Spielberg-produced.

My favorite reference was the Battletoads. Or more accurately, imagining the seventy-two-year-old filmmaker going, "Oh, you know I gotta get the 'Toads up in this bih!"

64. Ben Is Back (Peter Hedges)- Despite a little bit of note-card screenwriting--"Get a line about how insurance doesn't care about drug addiction in there!"--The first two-thirds take their time revealing information to the viewer, dropping bread crumbs of the family history quite gracefully. Roberts and Hedges play off each other well, and their charisma powers the first half. She, of course, has an ample bag of Movie Star tricks, but, surprisingly, he already does too. You can see, in the confrontation at the mall, for example, how the mother's dissembling and conniving would pass down to him.

So it's a real bummer when the final third decides to separate the leads and rushes to a baffling conclusion. It falls apart like few movies in recent memory.

63. Avengers: Infinity War (Anthony Russo, Joe Russo)- Whatever. I admire the skill that it must have taken to balance the revolving wheel of characters--even if it does feel like check-ins half the time. The movie is exhausting in a bad way until it's exhausting in a good way. More importantly, here are my power rankings. (Their power in my own heart. Thanos is obviously the most powerful.)

1. Rocket 2. Hawkeye (Renner Season even when it isn't.) 3. The Collector 4. Black Panther 5. Thanos 6. Iron Man 7. Ned 8. Nick Fury 9. Star Lord 10. Thor (His scene with Rocket is the best one in the film.) 11. Gamora 12. Hulk (Your boy is so earnest in this. "They KNEW!") 13. Spider-Man 14. Wong 15. Okoye 16. Doctor Strange (Way cooler in this than his own movie.) 17. Captain America (His hair was beautiful.) 18. Drax 19. Pepper Potts 20. Falcon 21. Groot 22. Black Widow 23. Winter Soldier 24. Loki (Is he alive? Was he alive before this? Can he impersonate people or whatever even if he's dead? What's his deal?) 25. Scarlet Witch (Her first line is, getting out of bed, "Vis, is it the stone again?") 26. Gamora's Sister (No, you look it up.) 27. War Machine (Do you think Cheadle forgets that he's in these? Like, he misses a day of shooting just because he forgot?) 28. Vision 29. Whatever Peter Dinklage Was

62. The Old Man & the Gun (David Lowery)- Sissy Spacek's character explains, on a tour of her house, that she pulled up some wallpaper and found a signature from 1881 underneath, which is so unique that--ugly as it is--she couldn't bear to cover it. The movie is sort of about that. Does a way of life from a long time ago matter now?

Does it matter how you present yourself? How much does intention cancel out action?

The questions play themselves out in a way that is formally interesting--Lowery swish-pans and advances the scenes in a way that he hasn't since Ain't Them Bodies Saints--but informally pretty dull. Redford is engaging as possible, but I feel like I maxed out on my concern for a person who refuses to change.

I've had the Sean Penn "on one" scale for a long time, but I'm introducing the "off one" scale for Casey Affleck, who is so purposefully muted that he seems like he's going to pass out in some scenes. Keep doing you, Case. As far as acting goes.

61. Disobedience (Sebastian Lelio)- I admired how little the film spelled out about the setting and the characters' pasts. The beginning is cautious without being slow, and the women seem drawn to each other with a sort of magnetism that is difficult to pull off. While the triangle of people at the center is realistic and fair, the picture is ultimately a bit staid. I don't want melodrama out of the story either, but I do think it would work better if the characters were more passionate about anything, even the religion that makes them lack passion. 60. Crazy Rich Asians (Jon M. Chu)- This movie is sweet, and it nails the rom-com fulcrum scenes that it has to. Hear me out though: Both of the leads are winning, and Henry Golding's charm keeps us from acknowledging that his character is a psycho. Here is a list of things that, over the course of a year, he does not bother to tell his girlfriend:

a. That his family is the wealthiest in Singapore. Or wealthy at all. But more notably, he tells Rachel no details at all about his family, such as his brothers' and sisters' names. b. That he skipped an important trip home a few months ago, which caused a rift in his family. c. How to pack or dress for their trip to visit his family. d. That his mother did not want them sleeping together at her house, not that he "wants her all to himself." e. That his family wants him to take over their business, which would necessitate a permanent move to Singapore. f. That he went out with one of the women attending the bachelorette party, and that this woman has very good reason to sabotage Rachel and Nick's current relationship. g. That the wedding they're attending is also a super-rich affair that will be covered by international media. h. That the wedding party they're attending the night before is a formal affair with hundreds of guests, not the "family party" that he presents it as. By the way, this is one of the two times that he not only doesn't accompany her to an event, expecting her to meet him there and find him, but he doesn't even send a car. i. That he's thinking about proposing to her. "We haven't even talked about that stuff," Rachel tells her mother.

Communication is key, Nick.

59. Lean on Pete (Andrew Haigh)- I liked the first half and its patient doling out of information. Haigh sews quite a few credible threads to show why the gruff Dell would take a liking to Charley. When the film diverges into a drifter story, I got frustrated with it. To me, drifter characters aren't interesting because they take unpredictable actions, what enliven films, and make them predictable. A dine-and-dash is a dangerous, exciting thing to happen in a movie, but when this scared kid has already done so much similar running, it dulls that edge. This is Haigh's least successful film, but it's still empathetic and sensitive.

58. Hereditary (Ari Aster)- The first third of Hereditary is when it is at its most intimate and compact as a story of grief. And with the bridge of a genuinely shocking event, it becomes less Don’t Look Back and more of a hellish explainer.

Ari Aster is a master craftsman already, investing every element with intention, down to “Why are clocks so present in the frame?” That craft extends to Toni Collette, who is even better than she normally is. But in refusing to be mysterious and small, the film didn't connect with me on a level beyond admiration..

57. Gringo (Nash Edgerton)- The expository information about the company comes too late, the ending is too tidy, and I'm not sure what my girl Mandy Seyfried is doing in this. But it's funny overall, in large part because Theron and Edgerton bounce off each other beautifully, projecting a very specific brand of nouveau riche awful. She says, "Fat people are...hilarious," and he wears too many accessories in his pick-up basketball game, for which there's a running clock.

Many of these crime comedies fail because all of the characters are painted with the same cynical brush, but Oyelowo is so likable here as a frazzled guy in over his head, playing against the type of simmering dignity he inhabited as someone like Martin Luther King. I'm glad that he's getting at-bats with something this different.

56. Bad Times at the El Royale (Drew Goddard)- If you like table-setting (and I do), then this is going to be a fun time. Each room at the motel gets a two-sided mirror, each character is two-faced, many events are presented from two perspectives, and there's even a double in the title. It's hard not to share in Goddard's delight as he patiently lays out all of the Tarantinian pieces.

Once he has to start declaring things though, somewhere halfway in the meandering two and a half hours, the film doesn't end up having much to say. I'm not sure I wanted another Cabin in the Woods ending, but I did want it to add up to more than the modest pleasures that it does. Kudos to Chris Hemsworth and his dialect coach for finally piecing together a serviceable American accent.

55. Thunder Road (Jim Cummings)- As far as calling card movies go, this one is a pretty smart character study. It centers on how the things we find important, the impact of words in this case, can often be the things we struggle with the most, through dyslexia and spoonerisms and messed-up jokes in this case. That being said, no offense, the film would be 25% better with a more capable lead actor. 54. Annihilation (Alex Garland)- Much like Sunshine, another Alex Garland script, this story handles the mystery elegantly, with jolts of real horror, until we get where we're going, which doesn't live up to the promise. I do appreciate that it respects the viewer's intelligence--withholding answers to questions, sometimes never answering questions. I'm grateful that it exists. 53. BlacKkKlansman (Spike Lee)- Like Chi-Raq and Red Hook Summer, BlacKKKlansman would make for a hell of a YouTube compilation if you cut together its best moments. It's sharp and vital when it's at its best, which is pretty much any time it's commenting on the present, through "Now more than ever" Nixon campaign posters, mentions of how David Duke's policies might show up in Republican platforms, or the searing epilogue that brings back one of Lee's oldest tricks.

Like a lot of his recent work though, it's a mess tonally, and basic stuff like the timing of the cuts seems amateurish. I also think Lee's relationship with Terence Blanchard is hurting him at this point; the music doesn't match what's going on at all. I wish it hung together better than it does.

52. Widows (Steve McQueen)- This is the messiest film that Steve McQueen has made, which is its biggest strength and its biggest weakness. That loose quality allows for some expressive moves, such as when the alderman candidate takes a real-time two-minute ride from the poor area where he's campaigning to the tony area where he lives, in the same district. This is a film with admirable ambition to go with its cheap thrills.

But that same messiness produces as many bad performances (Farrell, Neeson, and, yes, Duvall) as it does good ones (Debicki, Henry, Kaluuya), and it elides so many moments near the end that I have lingering questions about whether a major plot point was even resolved. This is definitely the type of movie that has a three-hour cut that is better, and I still hope that director's cut doesn't waste five scenes on Debicki's prostitute relationship with Lukas Haas. (Where is his sliver of a face on the poster?)

51. The Death of Stalin (Armando Iannucci)- I feel as if I have to adjust to the astringency of any Iannucci property, and when I do, I laugh a lot. This movie is hilarious, and I'll save you from a list of the jokes that work the best.

Iannucci and his collaborators take one of the most violent, tyrannical periods of history and expose its perpetrators as sniveling, feckless children who might accidentally spit in their own faces as they're trying to spit on someone else's. Destabilizing those in power--in this case de-memorializing them--and portraying them as lost, scared humans is the goal of satire. So even though he does it so well, part of me wonders, "Is that it?" Bureaucracy is dumb? Isn't this an easy target? For what it's worth, I felt the same way about In the Loop, despite everyone else's praise. I'm waiting for Iannucci to find a weapon sharper than the middle finger.

50. Tully (Jason Reitman)- In a way, it's refreshing for a screenwriter to be bad at writing men. The outdated, clueless, manchild dad is the biggest weakness of the script, especially since everything else is pitched with such realism. There's also one scene that I hate but probably shouldn't spoil.

Put aside that character though, and this is a movie with wit, verisimilitude, and even a bit of visual agility. The protagonist--Marlo, a Diablo Cody name if there ever was one--has a special needs son, and I appreciated the honest way that Marlo's frustration with him sometimes outweighed her understanding.

49. Fahrenheit 11/9 (Michael Moore)- Fahrenheit 11/9 is diffuse, but it's effective enough to be in the top half of Moore's work. He stays out of it mostly (besides that familiar narration, as gentle as it is ashamed), but his heart is clearly in the searing Flint section. In fact, I wish he had made a documentary that focused only on that American travesty, not all of them.

He has the same challenge that many of us do--pointing out the crimes and perversions of Trump while keeping the high ground--and he doesn't always avoid the low-hanging fruit. Dubbing Trump's voice over Hitler's is the type of shit that people hate him for. At most turns, however, Moore's choices make sense. A long diversion into the Parkland kids, even though I find them kind of tiring personally, serves as an inspirational peak to the valley of any people of a generation or two earlier than them.

48. Isle of Dogs (Wes Anderson)- Many Wes Anderson movies are flippant about death and disease. When the effect works, it's refreshing and disorienting. When it doesn't, like in this movie, it feels cold, as if he's moving dolls around in a playhouse.

But in every other way, the sweet and wry Isle of Dogs benefits as a manicured chamber piece. The details are obvious (the tactile fur on all of the dog puppets), less obvious (a translation provides the legend "very sad funeral" to accompany a news story), and even less obvious (more than one joke about how many syllables should be in a haiku). If the narrative--jaded stray finds redemption through guileless child--doesn't offer much in the way of re-invention for the director, then I'm glad the large canvas does.

47. You Were Never Really Here (Lynne Ramsey)- I wanted an artsy crime film, and I got an artsy crime film. I have no idea if I liked it. It's bleak and groady, more of a violence movie than an action movie, concerned with the cycle of abuse and the oily spread of vengeance. It begins twenty minutes after most films of its type might choose to, and it begins in earnest at the hour mark. The atonal Jonny Greenwood score is a perfect approximation of whatever kind of dark clouds are floating in the protagonist's head.

Even when it doesn't work, the film is a reminder that Lynne Ramsey is a real artist. Although this doesn't come close to the catharsis and real-world relevance of We Need to Talk About Kevin, it reveals a focused point of view. Whether it's depicting a sequence through only surveillance footage or cutting to a half-second of flashback, she includes exactly what she wants to.

46. The Commuter (Jaume Collet-Sera)- I gave Non-Stop two-and-a-half stars, and this is a much more elegant version of Non-Stop. Even though it succumbs to gross CGI and outsized conspiracy, the class-conscious table setting is non-pareil, and it lets Neeson act his age.

45. Vice (Adam McKay)- Vice is a difficult film to evaluate because its greatest strength, the resolute, partisan, experimental point of view, is also its greatest weakness, the hand-holding, pedantic, antic point of view. There are moments in this film--the menu scene, the fake-ending--that are more inventive than anything else this year. And credit to McKay for a sui generis structure that covers thirty years in the first hour and two years in the second hour; if nothing else, he has the talent to make unitary executive theory fun.

It's a big, angry, auteurist, '70s swing, so it also takes a lot of chances that don't work and, quite obviously, it wields poetic license in the way that Ron Burgundy swished around a glass of scotch. Sometimes it doesn't know when to trust the viewer, like when it freeze frames and flashes "George H.W. Bush, President, 1989-1993" over a Bush-looking guy talking about "Barbara and I" as his son misbehaves in the background. Through no fault of McKay's, the story feels anti-climactic as well. Although I felt more distance than I expected from events that I consider recent history, the dominoes are still falling in the world that Cheney shaped.

One thing that is less debatable is Christian Bale's transformation into Cheney. That word "transformation" is used any time a famous person wears a wig. This performance, which spans decades and is not directly related to any of Bale's other work, is different. The portrait of Cheney is one of monolithic evil, which Bale suggests, but it's also grounded in reticent, clenched jaw micro-movements. Cheney, who is four inches shorter than Bale, seems like the smallest and biggest man in any room. At this point, if you told me Bale was playing Grendel, I wouldn't bat an eye. In fact, his Grendel might look a lot like Dick Cheney.