#i wish they explored more their capital sins. because i feel like it was obvious jericho envied marius above all

[daiisiy]

u guys ever think about that moment when jericho saw marius, his friend and companion, and his first instinct was to see if he could set him on fire. i think about it a lot

[myhahnestopinion]

THE AARONS 2019 - Best Film

Once again setting a personal record and winning a friendly competition, I watched 105 films from the year 2019. That’s more films than there are seconds of screen-time for Rose Tico in The Rise of Skywalker! That one won’t be found here, but after ranking all 105 movies, here are the ones that did rise to the top of my list. Here are the Aarons for Best Film:

#10. Marriage Story

Marriage Story twists a knife we never even saw go in; its tragedy is a fully formed snowball of once seemingly-insignificant bad decisions that the viewer is powerless to reverse, only observe. Director Noah Baumbach, however, makes only great decisions in his tale of the difficulties and distractions of divorce (in the context of the film, that is. The infusion of Baumbach’s informed personal experiences is unmissable here). The film splits its focus between the perspectives of the two former spouses, but not evenly. Through both, we understand the effects of unintentional harm of other being; in the unbalance, we empathize with people reaching that realization at different times. Marriage is a story about learning that, no matter the effort to relate to another, there will always be unknowns, but in trust, there is peace.

#9. Little Women

The best adaptations play to the strengths of the screen. The kinetic timeline shifting of director Greta Gerwig’s new version of Little Women is a feat only manageable in cinematic form. The shake-up to the traditional script enlivens the familiar story; the bits of happiness and heartbreak all feel a little bit bigger. Backed by an exceptional cast, Gerwig illustrates that the importance of retelling stories is the same as the importance in telling them to begin with. The movie is undoubtedly the superior cinematic version of the story; if it’s not too blasphemous to say, it’s the best version on the big-screen or off. 

#8. The Farewell

Secret secrets are no fun, but can shared secrets spare someone? It’s the question at the heart of director Lulu Wang’s The Farewell, in which a family decides not to tell their grandmother she only has a short while to live, and stage a wedding as an excuse to gather the family together before she dies. Such a heavy burden seems unbearable alone; the cycle of shame and fear when trying to find the best way to love someone is inexorable. Sharing has never been a strong suit of the Western world; the culture clash of the understated film ends up a surprising source of comfort. Yet there will always come a point where one must face such uncertainty alone, and choose whether to say goodbye to the guilt or not. The Farewell is a comfort there as well.

#7. Parasite

It’s not what you know, it’s who you know; survival depends on sticking together. Like The Farewell, Parasite’s premise unearths questions of solidarity; unlike The Farewell, its execution is not understated. Director Bong Joon-ho’s lampooning of late-stage capitalism is as unmissable as a big dumb rock, and he lampshades it as such. Parasite is the most unexpected of heist films, but one that cuts to the heart of the genre: the world as-is is a mad scrabble for a good job, and morality need not apply. The insidious ploy of the film is an insightful exploration of class conflict. The two families at its center may not have a single person between them who’s not hungry for more, but only one is deciding how many seats are at the table. It’s not our world, we’re just living in it. 

#6. Knives Out

After the dregs of the internet came for him with knives out, director Rian Johnson decided to kill them with kindness… and gift everyone with another masterful work of cinema. There’s no foul play made in Johnson’s new murder mystery; the cast is stacked with talent and the screenplay stacked with twists. The story subverts genre expectations in revolutionary ways, keeping viewers guessing and engrossed. The additional emotional undercurrent is similarly revelatory; even when killers are caught and loose ends are tied up, questions of justice remain. Pointed, poignant, and uproarious, Johnson has carved up an excellent mystery. Considering his debut feature Brick, it’s no surprise the director’s dunnit again. 

#5. Shazam!

After shifting its focus from an overambitious shared universe to its lesser known characters, DC Comics has captured lightning in a bottle once again. The selling-point of Shazam! is, in a word, magical: a young boy given the power to transform into a full-grown superhero (play with infectious charm by Zachary Levi) boils down the appeal of the genre to its base wish-fulfillment elements. With superpowers dominating the cinemas right now, Shazam!’s recentering of their collective narrative is more powerful than Zeus. Zack Snyder sought to bring maturity to the Superman story by questioning the burden of possessing power. Made for kids but holding the wisdom of Solomon, Shazam! combats Snyder’s misguided notions: with great power comes great responsibility, but responsibility is sharing power. 

#4. One Cut of the Dead

While there are many films shot in one-take, including one vying for Best Picture at the Oscars this year, One Cut of the Dead’s pure commitment to its craft makes it a cut above the rest. In the film, things go haywire for a small filmmaking crew on the set of a zombie movie when real zombies attack; what happens next is best left unspoken (to preserve its wonderful surprises). The tightly-crafted horror-comedy is a bloody beast; its multi-limbed nature reaches every mark its aiming for, tearing at one’s heart, brain, and stomach in equal measure. It deconstructs its own movie magic only to build up an even more fantastic monument to cinema and the cooperation demanded by its creation. Within One Cut of the Dead’s endless inventiveness, the art-form’s rarely felt so alive.

#3. Midsommar

Midsommar is an honoring of tradition, but it quickly evolves into something all its own. Its most obvious influence is The Wicker Man, yet while that film’s pagan horror turned a twist of fate and a twist of faith into its punchline, Midsommar lets viewers in on the joke. Director Ari Aster lets events unfold at a meticulous pace in the closed-off community, but dread never sets in. The film is perhaps entirely miscategorized as horror; any screams crescendo into a potent catharsis. Midsommar is a banquet of visual treats that leaves viewers to chew on a shocking ending. With both, Midsommar is nothing but fulfilling.

#2. Us

Many directors can’t escape the shadow of such a successful debut, but luckily for us and for Us, Jordan Peele was no less effective at holding up a mirror to society’s sins in his sophomore feature. Like Get Out, Us rips the ineffectual bandage off this country’s festering wounds, demanding they be properly addressed lest they be allowed to kill us. The effect is once again deeply uncomfortable, gnawing at the viewer long after it’s over, as all proper horror films should. Peele, however, is entirely comfortable, further solidifying himself as an unmissable auteur through an assured handling of tone. The movie is both a crowd-pleaser and entirely uncompromising; we have met both friend and enemy, and it is Us.

AND THE BEST FILM OF 2019 IS...

#1. It: Chapter Two

It is inexplicable. The first half of the new adaption of Stephen King’s monstrous book was #8 on this same list back in 2017, yet while Chapter Two is much more uneven and unwieldly, it floated all the way to the top as my favorite film of 2019. It’s victory certainly owes a debt to its origins; the second part is a reflection on the first, as the adult version of the Loser’s Club must remember their past to battle the child-eating clown one last time. With this intent in mind, the film’s ungainly composition shifts into a new form. Chapter Two is an eerie and eerily-accurate encapsulation of the sensation of unpacking past trauma. It’s confusing, frustrating, disheartening, scary, and often unexpectedly funny trying to control such a narrative. Sometimes, all one can do is scream at the cyclical cruelty. In those moments, the greatest thing is to have someone screaming with you. Perhaps the It sequel suggests that there is no such thing as good movies or bad movies - maybe there are just movies that you need. Chapter Two is a cinematic barbaric yalp, indulgent in its runtime and its special effects because that is how it can and chooses to be heard. I needed it.

NEXT UP: THE 2019 AARONS FOR WORST FILM!

[mwolf0epsilon]

Out of curiosity, what are your favorite companions out of all of the Fallout games, and why?

Fallout

The Original Dogmeat (After looking into it, it feels like this ornery dog had a lot more personality than the available human companions, enough so that he made a comeback in FO2.)

Fallout 2

Goris (A sentient and intelligent albino deathclaw scholar that wears a robe to hide his appearence from trigger happy assholes. What's not to like? Goris is an interesting character and I hope there will be another deathclaw companion in a future game!)

K-9 the Cyberdog (Cyberdogs are cool. Talking Cyberdogs with good moral compasses? Even better! Super pissed the NCR ended up destroying him to gather Intel on the Enclave. That's something I'd expect from the BoS instead, and it's left a bitter taste in my mouth. Rest in peace you poor pup.)

Fallout 3

Butch Deloria (He was an asshole and a bully during his and the Lone Wanderer's childhood, but you can't deny he isn't loyal to a fault. He's still a bit of an asshole with an unobtainable greaser teen dream, but honestly he's not that bad considering he was neglected as a child thanks to his mother's alcoholism. If you scratch his back he'll definitly scratch yours, even if he pretends he's not a goody-two-shoes like you. Plus he can give you a haircut, who wouldn't want a personal barber out in the Wastes?)

Charon (His situation is an uncomfortable moral conundrum since he's basically a brainwashed slave by anything but name. Oxhorn put it best in his video on Charon's situation, and I agree that the only good thing you can do for him is buying his contract and doing good out in the Capital Wasteland with him as your companion, as a form of atonement for any past shady/cruel actions his former employers have had him perform.)

Fawkes (A super mutant who may or may not have been a man named Shelton Delacroix, Fawkes is unfortunate in the sense that he was alienated by his fellow vault-tec security officers for having a conscience, and then alienated by his super mutant kin for being uniquely intelligent and kind. To add to these tragedies, Shelton was apparently married so Fawkes has a wife he can't recall who is either dead or a mindless super mutant herself.)

Dogmeat the Second (A loyal heterochromatic cattle dog who would fight to the death if just to avenge his fallen master. Dogmeat is a scruffy scavenger and definitly man's best friend. You have to wonder if he might be a descendant of the Original Dogmeat with just how strong his personality comes off. Some dogs in the wasteland are definitely smarter than others.)

Fallout: New Vegas

Arcade Ganoon (A gay mess of a doctor with social anxiety and a lot of personal demons related to his origins. Arcade is an intelligent and interesting character in the sense that he has a deep-seated desire to help everyone, but knows the consequences of one's ideals outgrowing the needs of others. He's grateful to the Enclave Remnants's loyalty to him and his mother, after his father passed away, and he definitly considers them his family. That in itself is an issue because the Enclave's sins will follow and haunt him for the rest of his life, even if he was just born into that life and not one of the people commiting atrocities.)

Craig Boone (His story is the typical wasteland hardened ex-soldier. He committed atrocities that left him mentally scarred and suffering from PTSD, lost his wife who was the only good thing in his life, his need to avenge her has left him dangling between cold-blooded killer and decent human being, and on top of that he's a bit of a cynical asshole. Still a pretty cool companion to have around, and honestly it feels nice to have him around doing some good for the Mojave wasteland instead of stewing in his depression and self-hatred. His sniping skills could help a lot of people with the Courier's encouragement.)

Lily Bowen (She's a super mutant elite spy soldier. She's also a sweet old granny with schizophrenia and a murderous imaginary friend. Lily is another tragic character who's story pulls at your heartstrings, and the three choices regarding her meds are another moral conundrum. Again I'd recommend Oxhorn's video on her story, since I wholly agree with his assessment on what choice is actually the best for her.)

Rex the Cyberdog (His background before he joined the Kings is shrouded in mystery, with the Legion's faded mark painted on his armour platting. Rex is a loyal pup with a hate for rats, hats and people who wear hats. His greatest ire is probably reserved for rats with hats. His recruitment story arc is also pretty interesting and it definitely affects his personality and endings. If you have Old World Blues and construct Roxie the Cyberdog he even becomes a father of a litter of "Boston terrifiers"!)

ED-E (Honestly it's my love for robots that make this little damaged travel companion so appealing. His mission is interesting, and the cashe of Enclave Intel he holds can be benefitial, but most of his endings point to ED-E continuing his journey eventually so there's a sadness with letting this little guy go if you get attached.)

Fallout 4

Preston Garvey (All Preston has ever wanted to do was help make the Commonwealth a better place for people to live in. He's a selfless man who joined a militia at age 17 to do some good, and it honestly breaks my heart that the Minutemen collapsed as hard as it did. Preston had to watch as the ideals of the Minutemen were crushed underfoot by a bunch of selfish assholes, along with an entire settlement of innocent people. He did everything in his power to keep the only four survivors safe and alive, and he's clearly traumatized, depressed and suicidally throwing himself at danger because he'd rather die fighting the good fight than caring for his own safety. He puts everyone else above himself and it infuriates me that people are so hellbent in painting him off as a bland character or a pest. Oxhorn puts it best in his profile of Preston.)

X8-88 (The Institute's top of the line Courser, the closest the Commonwealth will ever get to the Terminator, and livable despite his cynical remarks and persistence that he's incapable of emotions or attachment. It saddens me that X6 is only obtainable if you follow the Institute. It also pains me that if you do manage to befriend him and destroy the Institute, you're destroying this loyal synth's only home. You're basically stripping away everything he knows and believes in, inherently doing what the Institute has done to the Sole Survivor: Taking their life away from them. It leaves a bitter taste in my mouth...)

Nick Valentine (Moral conundrums are painful. Ethical conundrums are just as bad. Nick didn't deserve anything that happened to him, and it's obvious he struggles with his identity and purpose but chooses to follow in the Original Nick's footsteps to do some good, rather than hide away and mope. He's a good person overall, even if he's a bit of a smartass sometimes. He's the perfect robodad for anyone in need of a fatherly figure in the Commonwealth.)

John Hancock (This man has a lot of emotional baggage and has made a LOT of bad choices, but if there's anyone you can trust to be loyal and helpful out in the wastes, it's definitly Hancock! His crude humour and liberal use of drugs and knives to deal with his problems can be a bit off-putting, but Hancock will defend you no matter what. Heck, he would even defend Danse from the BoS and the guy's a racist dickbag to him from the very moment they meet. That says a lot about his character.)

Codsworth (He waited for the Sole Survivor to return. For 200 fucking years. Please be kind to him, he's probably one of the nicest companions and also one of the most lovable too! He is the friend you'd wish you had if you ever found yourself in the same situation as the Sole Survivor. Cherish Codsworth, he's all you have left, and he'll protect you to the best of his ability.)

Dogmeat the Third (A brilliant genius dog that is very likely a synth. Dogmeat, like Codsworth, is a lovable guy and should definitely be cherished. I'd recommend getting the "Everyone's Best Friend" Mod so that you can have him travel with you and another companion. It's almost like FO2!)

Deacon (He's intelligent. He's sneaky. He's a pathological liar with good intentions. Deacon is mysterious and charming, and definitly a little fucked in the head. I'd like to meet his plastic surgeon if they can make him flawlessly look like a woman and a ghoul, no questions asked. Oxhorn has a pretty interesting video that explores Deacon's character and intentions, if you're interested!)

Paladin Danse (I'll admit I wasn't all that impressed with Danse when I got my first impression of him. He's rude, he's impatient, he's condescending, and worst of all he is an asshole to anyone just a bit different from him. Still, the plot-twist left space for this racist Buzz Lightyear knockoff to go through some personal growth. The years of militaristic indoctrination will probably take a while to be resolved, but Danse IS redeemable if given time. He's not inherently evil, just in dire need of a tolerance lesson.)