#inspired by cam hitting on that woman in modern family

[bambinafangirls]

emily: i am so gay. i love women.

tara, without looking up: breaking news, fork found in kitchen.

[wolfofwinchester]

💘 / I'm getting to ours but I'd like to see what you have in mind uvu!

send me 💘 + A SHIP and i���ll tell you—

where they first met and how

When Lord Phantomhive brought home his bastard, a few key villainous nobles were present to meet her a few days after her arrival. The Undertaker was among them, although he was hidden away and out of her eyesight so she never really seen him outside of flashes of silver and a flow of black. Inevitably, it turned into The Hunt of her trying to find out who this mysterious “Aristocrat” was.  

how long their ‘flirting’ phase was before feelings got involved

I could see playful flirtations being part of their aesthetic. It fits, I think! Never serious before and they knew it, they were just messing around with winks and flirtatious comments, sometimes getting a rise out of the other, other times pretending to be one another’s significant other for reasons of their own (let it be getting a free meal for Valentine’s Day or for a cover-up where they’re both in disguise). As such, I think the playfulness went on for a gooooood while, some years of cozy play before things got r e a l.

who fell for who first ( if applicable )

To even their writers, I feel this is meant to be ambiguous. 🙊 They’re That Kind of Couple.

where their first date was and what it was like

I think they both thought it more comfortable if it was a private affair; nothing so public as a dinner at a restaurant, and nothing so closed-in as the manor. I think their first date was something of a very elegant and rich picnic somewhere in the countryisde, lost from civilzation and farm buildings. A little peace of solitude where they got to enjoy one another’s company while Lilac chased the hounds around the rolling fields of green. 

A picnic and just wiling away the hours talking, huddled up side-by-side and safe from blinding light beneath an enormous willow tree. After that, I think they went back to Azrael’s Funeral Parlor and spent the rest of the evening there just having laughs and wine. Just a really long, and really good day that ended with both of them snoozing in Azrael’s coffin. It’s not made for two people, so Claudia slept on top of him and he held her the whole night through. They woke to find Lilac sleeping on top of her and a floor flooded with hound dogs + Gelert. 

who asks who out and how ( with a sign? spelled out on a cake? just a simple ‘will you go out with me’? )

Azrael steals first proclamation of love and kiss, but Claudia steals these moments. She made the first step after their confessions, asking with a sly grin if he’d like to have dinner with her. It was done very smoothly while they were still in the afterglow of requited feelings, when they were both basking and feeling that glowing mirth. An hour or so after that, I believe. 

who proposes first

Claudia, absolutely. Marriage is never a concern of Azrael’s, he’s fine with things as they are! It’s never a required step in his mind. He goes with his lover’s flow.

if they keep / kept their relationship secret or let everyone know right away

Claudia’s rebellion in the Watchdog role succeeded into her relationship. Azrael’s vigilant and he wants them to stay a secret for Claudia’s own good in her public image, but Claudia’s ambitious nature to not let this life control her gently tussles with that. As such, the public sees them as a very odd pair, not there’s no confirmation of their relationship. They’re a forbidden romance waltzing in plain sight who have rumors spark up that end up hushed immediately.

“We’ll be discovered,” He whispers into her lips, earning a sharp-toothed grin that nips his bottom lip. “And so what? I’m already goin’ down in history as the most notorious Bastard of Phantomhive. ♪”

where the proposal happens and how ( kiss cam at a baseball game? on a hillside surrounded by ducks? at a disney park? )

It wasn’t precisely the ideal or dreamy, romantic proposal Claudia wanted it to be. For over a year, she’d been secretly working on the perfect ring for Azrael in her workshop, and it’s led to many rejects she felt were never perfect. The frustration of an artist led to art block, and that clashed direly with her desire to propose to the man! Lots of ring rejects! Despite them all being quite lovely, she never felt they were correct. There were strings of rings around her workshop at this point that she turned to for inspiration.

Finally, she had the perfect ring. Polished, and just right. The hyper glory of having perfected the ring after this long led the very tired, frazzled and disheveled woodworker zipping on horseback into London to that old Funeral Parlor, throwing open the door, finding a VERY befuddled Azrael who hadn’t seen her in days, and proceeding to capture his wedding hand.

For a solid minute, Azrael swore he seen his unlife flash before his eyes with how fast she approached him! He thought he did something wrong, or was falsely accused! You’d never seen a more bewildered man be proposed to by a very exhausted but very passionate woman. From an outsider’s point of view, it was hilarious before it became very tender and quiet. ???? WHAT’D I D- oooh?

It wasn’t scenic, but it was full of heart. Claudia apologized for storming in, but she had to do this right away because she couldn’t hold herself back another minute. She told him how important he was to her, and how important he’s been to her. He’s been her sole companion who didn’t need to be by her side, but he chose to be, despite how dangerous her life is and how loony of a woman she is. He’s been her trusted companion, and in this life, he’d come to be her best friend over so many years of them knowing each other. 

It went from flighty to quiet and emotional. She asked him to marry her, and whattaya know, he accepted.

if they adopt any pets together

They’re pretty happy with their fuzzy family already, but I think Azrael’s tendency to take in strays leads to them having a few kits down the road. Any cat of his at this point is extended to being auto-adopted by Claudia.

who’s more dominant

They’re.. both dominant. Unless Claudia’s having a low energy day where she gives Azrael the full reins (which he loves), she’s right there tussling for control and they’re both playfully wrestling and nipping! They both get their time on top before someone gets coherent enough to flip, and the cycle continues.

where their first kiss was and what it was like

It was very cute. Like the rascals they are, they were chasing one another in the forest behind Phantomhive Manor, a fox chasing a wolf. It was Autumn, and the sun was creeping across the sky. There was a chill in the air enough to see one’s breath. Azrael caught up to Claudia and towered over her after she’d hid behind a tree, and they shared a laugh.

The Fall light was hitting her so sweetly, though. The way the orange light danced across her sapphire eyes and skin as she beamed up to him so slyly. He had to kiss her, and it stunned her entirely in the best way.

if they have any matching couples stuff ( mugs? sweaters? pillowcases? )

“If lost, return to [x]” shirts for the modern age, definitely. For a more time appropriate thing, they have matching hand mirrors that they’ve poured their hearts and soul into enchanting. It’s an imperfect enchantment, but it lets them see the other so they can check on one another throughout the day. 

They’re mirrors bound with their love. When Claudia died, all other hand mirrors they’ve ever used to communicate their secret messages through shattered, but Azrael’s enchanted hand mirror, and Claudia’s, survived. 

On a more casual level, they both have matching sleep shirts. Black poet styled shirts that are very big and drape on their persons so they can effortlessly wear one another’s without issue!

how into pda they are

They’ve always been a connected duo, so it’s not out of the park to see the with joined arms or holding hands. They’re constantly cuddled up, although Azrael becomes very aware of how affectionate they’re being time-to-time, only to be consoled back into comfort by Claudia. 

They’re very PDA, but Azrael is sometimes wary when things like kissing begins. They oft hide behind Claudia’s fan for things like that. He’s a lot more eased into the intimate affections when Claudia’s under a glamour or heavily disguised. 

who holds the umbrella when it rains

Azrael’s taller. He tends to ask for Claudia’s parasol and holds it for them both, which leads to her ribbing him gently and grinning. “Such a gent!”

where their usual ‘date spot’ is ( if applicable )

In one of their old threads, Claudia brought up an inconspicuous B&B that was in the more rural setting outside of London. Way out of the way of city limits and seeing only light traffic. I think this would be a neat “date spot” for them, as well as a safe location for exchanging information. No one can peep on them, and they both know the owners well enough to know they keep to themselves and give their guests privacy. There’s no reason for either to be nosy about Claudia&Azrael either, they’re just friendly faces who return for a spot of breakfast, lunch or dinner before heading out. 

who’s more protective

You’d expect the Immortal to be more protective, but the fact of the matter is, it’s equal. Azrael is protective over Claudia, and she is the same over him. They’re both very heavily laden with grief and know great loss, something that’s a deep level of understanding with them; grief is part of their character, and that’s made them both very guarding individuals who protect the other with everything they got and a fierceness that will, and has, spilled blood.

how long it is before they sleep together ( can be as in ‘had sex’ or as in ‘shared a bed’ )

Sharing a bed is nothing unusual; platonically, they’ve taken many naps together before and one has flopped on the other when finding them in a moment of rest. They’re not stiff and awkward about it, and it flows pretty easily when they enter an intimate relationship. They are THE HUMAN KNOT. 

Intimacy, however, is not something they immediately leapt into, especially when Claudia mentioned she’d never been with a man before. Although there’s certainly tension, it’s a good while before they actually do anything outside of kisses and frisky touches, which is fine with both of them. When Claudia’s ready, Azrael makes a very comfortable and romantic scene in the upstairs bedroom she’s fixed up so well for him over the years. It’s a very slow and tender first time. 

if they argue about anything

They don’t argue, they have disagreements, even when those disagreements happen to be about something they’re both very passionate about and clashes with their moralities. They don’t escalate into something so careless and uncontrollable as screaming and yelling, accusations and blame. They don’t do that. Claudia’s upbringing and Azrael’s calm stance come into agreement here, and they’ve agreed-to-disagree before, and both agreed to air out the tension by spending a little time away from the other to let the feelings subside. 

They’re very mature about this, which is more than can be said for a lot of relationships. Wild individuals them both, but very conscious and thoughtful ones. They’d never seek to hurt or jab at the other.

who leaves more marks ( lipstick, hickeys, scratchmarks etc. )

Claudia. Without a doubt, it’s Claudia. She loves to mark him up with hickeys and scratch marks, but seldom does anyone see anything due to his cassock riding high in collar. Sometimes, someone might see a mark, or a purple lip stain, peeking from above the white though, if they’re perceptive enough.

Also, she just loves to pelt him with kissy marks. That man oft has to clean his face from mulberry lipstick when he leaves her! 

who steals whose clothes and how often

Claudia’s more curvy than Azrael (lanky boy) so his clothes don’t exactly fit proper, but that doesn’t stop her from slipping on his shirts and leaving a few buttons undone. Azzy, on the other hand, enjoys stealing a plethora of her shirts because they fit him without issue - baggy on him, if anything! They’re very cozy and he enjoys the fabric, from cotton to silk! He has more of her shirts in his dresser than she does of his.

However, they do tend to swap their coats whenever Claudia’s on Watchdog duty and wears her leather duster. His is more flowy and baggy, hers is more protective and thick, but no less stylish with a popped collar. They look really good when they swap. 

how they cuddle ( spooning? facing each other? )

Absolutely mushed and tangled together, preferably laying down because Claudia can throw a spanner into the height gap that way. They’re usually face-to-face, noses nuzzled and forehead crowned together. It’s easier to smooch (and bite) this way! 

what their favourite nonsexual activity is

The world can burn and fall to ruin, and they’ll be sweeping through the flames with their transcendental waltz undeterred. Dancing is, and will always remain, these two’s thing. They’ll dance through Death and they’ll dance through Spring, making Persephone & Hades proud.

If you can get them to stop for two seconds, they also enjoy traveling and seeing what the world has to offer two wicked goblins like them. Wanderlust is something they both share, or perhaps it’s something Claudia’s infected Azrael with! But they do like getting out of the country.

how long they stay mad at each other

Not long at all. They’ve had their moments of clashing before, but the anger doesn’t really last that long at all. They step away from one another to let the other have their space as I said before, to let the feelings subside since they’re both passionate individuals who do not budge at all, but.. they just don’t stay mad at one another. They’ve gone to bed before without meeting up right away due to their lives preoccupying their time, and every morning afterwards they’ve found one another’s company. 

I just. cannot see them as a couple who stay mad at one another for a long time, or carry anger. Individually, they don’t strike me as the personalities that do that with loved ones, and they certainly don’t do it together. Distance makes the heart grow fonder? It makes them a little anxious, to be honest. Just a little. They get a little jittery when life circumstances keep them from coming back together after a disagreement.

Very attached couple. But of course, I could be wrong about this for Azrael! I don’t want to assume. Claudia definitely gets a little jittery for sure.

what their usual coffee / tea orders are

They’re an order you’d prefer not to mix up on the general. Claudia likes three spoonfuls of sugar with a hint of rosemary and no cream in her pine-needle tea, Azrael likes two drops of cream and no sugar. They will notice immediately and kind of swivel their heads like, “Whoa!”. One’s too sweet, and the other’s not nearly sweet or pine-y enough!

if they ever have any children together

They are a happy conjoined family with furbabies, thank you very much! 

if they have any special pet names for each other

Claudia is notorious for pet names. “Mr. Callows” always remains the first affectionate term of endearment that has evolved through the years from platonic to romantic, and she never drops it when addressing him. For Azrael, it’s always a sweet french pet name woven with “wolf”. She thinks that is absolutely precious, by the way. Loves it.

However, for fun, a list of pet names she’s made for him so far

Bonekeeper

Loveweaver

Coffinweaver

Sugarpuss

Lover

if they ever split up and / or get back together

Nope.avi

what their shared living space is like ( messy? clean? what kind of decor? )

Azrael’s cottage out and away from everyone is pretty much the perfect insight to how their living style is mashed together; it’s incredibly rustic and you’d swear you walked straight into a witch’s cabin, which is only half true! Dried herbs hang around the place, acting as passive aromatics mixed with the lovely scent of pine incense, but it’s all very light as they keep the windows open to allow for a nice breeze. There’s wicker baskets filled with mushrooms, berries and other foraging goods, there’s dried & salted meat hung up in the kitchen area, and a cauldron that always seems to be bubbling with something delicious.

There’s chairs Claudia’s made for them both around the Hearth, covered with knitted blankets they’ve made with forest embroidery - foxes and wolves, cats and hounds. Baked apples or some sort of fruit lay beside the fireplace on sticks. Azrael has Lilac’s area primmed and proper here, her own cozy corner with little feather toys the couple made. 

It’s clean, and it’s a cozy clutter of goods. They’re not suffocated, but it’s obvious they have treasures here and lots of stuffed shelves. Outside they have a hammock they both made from scratch. :’)

what their first christmas / hanukkah / etc as a couple was like

Azrael never really knew how to celebrate the Holiday, and never really had reason to in earlier years until Claudia pulled him along for the ride of Yule, and this was long before they were ever an item. She taught him tradition, she’s taken him hunting for the perfect Yule log, they’ve sat side-by-side making wreathes and making feasts with their own two hands in the manor, and they’ve both kept the log burning while hanging bits of evergreen around. Not to mention, the fun of decorating a pine and the tales of how they’d hang treats and food on the branches for spirits to nibble on in good favor. 

However, their first Yule as a couple allowed Claudia to sneak in the cheekier tradition of Kissing Boughs. For the first time, they made little doll versions of Claudia & Azrael to hang in the middle of these boughs, and entwined mistletoe at the bottom as is tradition for making. Every berry on the mistletoe is a kiss promised, and one plucks off a berry for each kiss given. They both had to do their damnedest to not pluck off every berry right away, and it’s become one of their favorite parts of Yule. The purposefully look for mistletoe with the most berries because of this!

what their names are in each other’s phones

On Claudia’s phone: “Mr. Callows ⚰️ 🖤” / “Big Spook 👻” /  “Love Goblin 1 🖤″ On Azrael’s phone: “Ma louve 🐺 💚” / “Little Spook 👻” / “Love Goblin 2 💚“

if they have any ‘couple traditions’ ( buying a new mug for their collection every year? baking every friday evening? )

The escape to Azrael’s cottage is absolutely tradition, and prized at that. Come Hell or High Water, they will have their time where they escape the life as Countess and Informant to be domestic - to live a slice of a normal life together, no matter how short-lived. That time is so precious to the both of them. Normalcy, peace, togetherness, and no one else around to tarnish their Elysium. It’s good for their critters, too. <3

who falls asleep first and who wakes up first

Claudia falls asleep first, but she’s always the first to always wake up, too. Azrael tends to sleep in and has his small wife peppering him awake with kisses and bites, leading to a grouchygami who tries to trap her in bed and snuggle. He can never win against her wake-up calls. v_v

who’s the big spoon / little spoon

It depends! They both are fans of switching. Sometimes Claudia will be found with Azrael curled up as small as can be, tucked away in her frame with his face in her neck, hugging her waist and humming delightfully as she nuzzles into the top of his crown and covers it in kisses, holding him very tight and very protectively (as she loves to do). Other times, you’ll just see Azrael curled up around something because she straight up vanishes beneath all that hair and the long overcoat LMAO. He hides his smol spook very, very well, and she does like that.

who hogs the bathroom

Claudia has to spend quite a while when it comes to fixing her hair in the morning; straightening it and then putting it in a braided bun with all those pearls takes time! Meanwhile, Azrael has a lot of hair maintenance of his own. I think they just make it work in the bathroom, no matter how crammed it is LMAO? Even if the mirror is itty bitty they just. make it work! It’s chaotic when they’re using the tiny bathroom at Azrael’s place, but they do it! With playful nudges and hip bumps, of course. Outta the way, you’re hoggin’ the mirror!

And with showers / baths, I still stick with an old way I answered this question; Without warning, Claudia hops in and joins, especially if she’s in a rush. Azrael’ll be minding his own business when OH HELLO NAKED WIFE FANCY MEETING YOU HERE.

There’s not as much hogging as there is Invasion.

who kills the spiders / takes them outside

It’s a fucking race to who gets it first. Will Azrael eat it first, or will Claudia swipe up the little eight-legged nightmare and whisk it away outside? IT ALL DEPENDS, especially when they both spot it!

[artycloudpop]

1hey are u bored at home, wanna chill and netflix....... but just can’t find some thing nice to watch? here’s a list of movies for u watch

A Ghost Story (2017)

Director David Lowery (Pete's Dragon) conceived this dazzling, dreamy meditation on the afterlife during the off-hours on a Disney blockbuster, making the revelations within even more awe-inspiring. After a fatal accident, a musician (Casey Affleck) finds himself as a sheet-draped spirit, wandering the halls of his former home, haunting/longing for his widowed wife (Rooney Mara). With stylistic quirks, enough winks to resist pretension (a scene where Mara devours a pie in one five-minute, uncut take is both tragic and cheeky), and a soundscape culled from the space-time continuum, A Ghost Story connects the dots between romantic love, the places we call home, and time -- a ghost's worst enemy.

Airplane! (1980)

This is one of the funniest movie of all time. Devised by the jokesters behind The Naked Gun, this disaster movie spoof stuffs every second of runtime with a physical gag (The nun slapping a hysterical woman!), dimwitted wordplay ("Don't call me, Shirley"), an uncomfortable moment of odd behavior ("Joey, have you ever seen a grown man naked?"), or some other asinine bit. The rare comedy that demands repeat viewings, just to catch every micro-sized joke and memorize every line.

A24

American Honey (2016)

Writer/director Andrea Arnold lets you sit shotgun for the travels of a group of wayward youth in American Honey, a seductive drama about a "mag crew" selling subscriptions and falling in and out of love with each other on the road. Seen through the eyes of Star, played by Sasha Lane, life on the Midwest highway proves to be directionless, filled with a stream of partying and steamy hookups in the backs of cars and on the side of the road, especially when she starts to develop feelings for Shia LaBeouf’s rebellious Jake. It’s an honest look at a group of disenfranchised young people who are often cast aside, and it’s blazing with energy. You’ll buy what they're selling.

Anna Karenina (2012)

Adapted by renowned playwright Tom Stoppard, this take on Leo Tolstoy's classic Russian novel is anything but stuffy, historical drama. Keira Knightley, Jude Law, Aaron Taylor-Johnson, Domhnall Gleeson, Alicia Vikander are all overflowing with passion and desire, heating up the chilly backdrop of St. Petersburg. But it's director Joe Wright's unique staging -- full of dance, lush costuming, fourth-wall-breaking antics, and other theatrical touches -- that reinvent the story for more daring audiences.

NETFLIX

Apostle (2018)

For his follow-up to his two action epics, The Raid and The Raid 2, director Gareth Evans dials back the hand-to-hand combat but still keeps a few buckets of blood handy in this grisly supernatural horror tale. Dan Stevens stars as Thomas Richardson, an early 20th century opium addict traveling to a cloudy island controlled by a secretive cult that's fallen on hard times. The religious group is led by a bearded scold named Father Malcolm (Michael Sheen) who may or may not be leading his people astray. Beyond a few bursts of kinetic violence and some crank-filled torture sequences, Evans plays this story relatively down-the-middle, allowing the performances, the lofty themes, and the windswept vistas to do the talking. It's a cult movie that earns your devotion slowly, then all at once.

Back to the Future (1985)

Buckle into Doc's DeLorean and head to the 1950s by way of 1985 with the seminal time-travel series that made Michael J. Fox a household name. It's always a joy watching Marty McFly's race against the clock way-back-when to ensure history runs its course and he can get back to the present. Netflix also has follow-up Parts II and III, which all add up to a perfect rainy afternoon marathon.

NETFLIX

The Ballad of Buster Scruggs (2018)

The Coen brothers gave some big-name-director cred to Netflix by releasing their six-part Western anthology on the streaming service, and while it's not necessarily their best work, Buster Scruggs is clearly a cut above most Netflix originals. Featuring star turns from Liam Neeson, Tom Waits, Zoe Kazan, and more, the film takes advantage of Netflix's willingness to experiment by composing a sort of death fugue that unfolds across the harsh realities of life in Manifest Destiny America. Not only does it revel in the massive, sweeping landscapes of the American West, but it's a thoughtful meditation on death that will reveal layer after layer long after you finish.

Barbershop (2002)

If you've been sleeping on the merits of the Barbershop movies, the good news is it's never too late to get caught up. Revisit the 2002 installment that started Ice Cube's smack-talking franchise so you can bask in Cedric the Entertainer's hilarious wisdom, enjoy Eve's acting debut, and admire this joyful ode to community.

NETFLIX

Barry (2016)

In 1981, Barack Obama touched down in New York City to begin work at Columbia University. As Barry imagines, just days after settling into his civics class, a white classmate confronts the Barry with an argument one will find in the future president's Twitter @-mentions: "Why does everything always got to be about slavery?" Exaltation is cinematic danger, especially when bringing the life of a then-sitting president to screen. Barry avoids hagiography by staying in the moment, weighing race issues of a modern age and quieting down for the audience to draw its own conclusions. Devon Terrell is key, steadying his character as smooth-operating, socially active, contemplative fellow stuck in an interracial divide. Barry could be any half-black, half-white kid from the '80s. But in this case, he's haunted by past, present, and future.

Being John Malkovich (1999)

You can't doubt the audacity of screenwriter Charlie Kaufman (Eternal Sunshine of the Spotless Mind, Anomalisa), whose first produced screenplay hinged on attracting the title actor to a script that has office drones discovering a portal into his mind. John Cusack, Catherine Keener, and Cameron Diaz combine to create an atmosphere of desperate, egomaniacal darkness, and by the end you'll feel confused and maybe a little slimy about the times you've participated in celebrity gawking.

A24

The Blackcoat's Daughter (2017)

Two young women are left behind at school during break... and all sorts of hell breaks loose. This cool, stylish thriller goes off in some strange directions (and even offers a seemingly unrelated subplot about a mysterious hitchhiker) but it all pays off in the end, thanks in large part to the three leads -- Emma Roberts, Lucy Boynton, and Kiernan Shipka -- and director Oz Perkins' artful approach to what could have been just another occult-based gore-fest.

Bloodsport (1988)

Jean-Claude Van Damme made a career out of good-not-great fluff. Universal Soldier is serviceable spectacle, Hard Target is a living cartoon, Lionheart is his half-baked take on On the Waterfront. Bloodsport, which owes everything to the legacy of Bruce Lee, edges out his Die Hard riff Sudden Death for his best effort, thanks to muscles-on-top-of-muscles-on-top-of-muscles fighting and Stan Bush's "Fight to Survive." Magic Mike has nothing on Van Damme's chiseled backside in Bloodsport, which flexes its way through a slow-motion karate-chop gauntlet. In his final face-off, Van Damme, blinded by arena dust, rage-screams his way to victory. The amount of adrenaline bursting out of Bloodsport demands a splash zone.

Blue Ruin (2013)

Before he went punk with 2016's siege thriller Green Room, director Jeremy Saulnier delivered this low-budget, darkly comic hillbilly noir. When Dwight Evans (Macon Blair) discovers that the man who killed his parents is being released from prison, he returns home to Virginia to claims his revenge and things quickly spin out of control. Like the Coen Brothers' Blood Simple, this wise-ass morality tale will make you squirm.

WELL GO USA ENTERTAINMEN

Burning (2018)

Some mysteries simmer; this one smolders. In his adaptation of a Haruki Murakami short story, writer and director Lee Chang-dong includes many elements of the acclaimed author's slyly mischievous style -- cats, jazz, cooking, and an alienated male writer protagonist all pop up -- but he also invests the material with his own dark humor, stray references to contemporary news, and an unyielding sense of curiosity. We follow aimless aspiring novelist Lee Jong-su (Yoo Ah-in) as he reconnects with Shin Hae-mi (Jeon Jong-seo), a young woman he grew up with, but the movie never lets you get too comfortable in one scene or setting. When Steven Yeun's Ben, a handsome rich guy with a beautiful apartment and a passion for burning down greenhouses, appears, the film shifts to an even more tremulous register. Can Ben be trusted? Yeun's performance is perfectly calibrated to entice and confuse, like he's a suave, pyromaniac version of Tyler Durden. Each frame keeps you guessing.

Cam (2018)

Unlike the Unfriended films or this summer's indie hit Searching, this web thriller from director Daniel Goldhaber and screenwriter Isa Mazzei isn't locked into the visual confines of a computer screen. Though there's plenty of online screen time, allowing for subtle bits of commentary and satire, the looser style allows the filmmakers to really explore the life and work conditions of their protagonist, rising cam girl Alice (Madeline Brewer). We meet her friends, her family, and her customers. That type of immersion in the granular details makes the scarier bits -- like an unnerving confrontation in the finale between Alice and her evil doppelganger -- pop even more.

THE ORCHARD

Creep (2014)

Patrick Brice's found-footage movie is a no-budget answer to a certain brand of horror, but saying more would give away its sinister turns. Just know that the man behind the camera answered a Craigslist ad to create a "day in the life" video diary for Josef (Mark Duplass), who really loves life. Creep proves that found footage, the indie world's no-budget genre solution, still has life, as long as you have a performer like Duplass willing to go all the way.

The Death of Stalin (2017)

Armando Iannucci, the brilliant Veep creator, set his sights on Russia with this savage political satire. Based on a graphic novel, the film dramatizes the madcap, maniacal plots of the men jostling for power after their leader, Joseph Stalin, keels over. From there, backstabbing, furious insults, and general chaos unfolds. Anchored by performances from Shakespearean great Simon Russell Beale and American icon Steve Buscemi, it's a pleasure to see what the rest of the cast -- from Star Trek: Discovery's Jason Isaacs to Homeland's Rupert Friend -- do with Iannucci's eloquently brittle text.

Den of Thieves (2018)

If there's one thing you've probably heard about this often ridiculous bank robbery epic, it's that it steals shamelessly from Michael Mann's crime saga Heat. The broad plot elements are similar: There's a team of highly-efficient criminals led by a former Marine (Pablo Schreiber) and they must contend with a obsessive, possibly unhinged cop (Gerard Butler) over the movie's lengthy 140 minute runtime.  A screenwriter helming a feature for the first time, director Christian Gudegast is not in the same league as Mann as a filmmaker and Butler, sporting unflattering tattoos and a barrel-like gut, is hardly Al Pacino. But everyone is really going for it here, attempting to squeeze every ounce of Muscle Milk from the bottle.

NETFLIX

Divines (2016)

Thrillers don't come much more propulsive or elegant than Houda Benyamina's Divines, a heartwarming French drama about female friendship that spirals into a pulse-pounding crime saga. Rambunctious teenager Dounia (Oulaya Amamra) and her best friend Maimouna (Déborah Lukumuena) begin the film as low-level shoplifters and thieves, but once they fall into the orbit of a slightly older, seasoned drug dealer named Rebecca (Jisca Kalvanda), they're on a Goodfellas-like trajectory. Benyamina offsets the violent, gritty genre elements with lyrical passages where Dounia watches her ballet-dancer crush rehearse his routines from afar, and kinetic scenes of the young girls goofing off on social media. It's a cautionary tale told with joy, empathy, and an eye for beauty.

Dolemite Is My Name (2019)

Eddie Murphy has been waiting years to get this movie about comedian and blaxploitation star Rudy Ray Moore made, and you can feel his joy in finally getting to play this role every second he's on screen. The film, directed by Hustle & Flow's Craig Brewer, charts how Moore rose from record store employee, to successful underground comedian, to making his now-cult classic feature Dolemite by sheer force of passion. It's thrilling (and hilarious) to watch Murphy adopt Moore's Dolemite persona, a swaggering pimp, but it's just as satisfying to see the former SNL star capture his character at his lowest points. He's surrounded by an ensemble that matches his infectious energy.

The Edge of Seventeen (2016)

As romanticized as adolescence can be, it’s hard being young. Following the high school experience of troubled, overdramatic Nadine (Hailee Steinfeld), The Edge of Seventeen portrays the woes of adolescence with a tender, yet appropriately cheeky tone. As if junior year isn’t hellish enough, the universe essentially bursts into flames when Nadine finds out her best friend is dating her brother; their friendship begins to dissolve, and she finds the only return on young love is embarrassment and pain. That may all sound like a miserable premise for a young-adult movie, except it’s all painfully accurate, making it endearingly hilarious -- and there’s so much to love about Steinfeld’s self-aware performance.

FOCUS FEATURES

Eternal Sunshine of the Spotless Mind (2004)

Romance and love are nothing without the potential for loss and pain, but most of us would probably still consider cutting away all the worst memories of the latter. Given the option to eradicate memories of their busted relationship, Jim Carrey's Joel and Kate Winslet's Clementine go through with the procedure, only to find themselves unable to totally let go. Science fiction naturally lends itself to clockwork mechanisms, but director Michel Gondry and screenwriter Charlie Kaufman never lose the human touch as they toy with the kaleidoscope of their characters' hearts and minds.

The Evil Dead (1981)

Before Bruce Campbell's Ash was wielding his chainsaw-arm in Army of Darkness and on Starz's Ash Vs. Evil Dead, he was just a good looking guy hoping to spend a nice, quiet vacation in a cabin with some friends. Unfortunately, the book of the dead had other plans for him. With this low-budget horror classic, director Sam Raimi brings a surprising degree of technical ingenuity to bear on the splatter-film, sending his camera zooming around the woods with wonder and glee. While the sequels double-downed on laughs, the original Evil Dead still knows how to scare.

The Firm (1993)

The '90s were a golden era of sleek, movie-star-packed legal thrillers, and they don't get much better than director Sydney Pollack's The Firm. This John Grisham adaptation has a little bit of everything -- tax paperwork, sneering mobsters, and Garey Busey, for starters -- but there's one reason to watch this movie: the weirdness of Tom Cruise. He does a backflip in this movie. What else do you need to know?

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The Florida Project (2017)

Sean Baker's The Florida Project nuzzles into the swirling, sunny, strapped-for-cash populace of a mauve motel just within orbit of Walt Disney World. His eyes are Moonee, a 6-year-old who adventures through abandoned condos, along strip mall-encrusted highway, and across verdant fields of overgrown brush like Max in Where the Wild Things Are. But as gorgeous as the everything appears -- and The Florida Project looks stunning -- the world around here is falling apart, beginning with her mother, an ex-stripper turning to prostitution. The juxtaposition, and down-to-earth style, reconsiders modern America in the most electrifying way imaginable.

Frances Ha (2012)

Before winning hearts and Oscar nominations with her coming-of-age comedy Lady Bird, Greta Gerwig starred in the perfect companion film, about an aimless 27-year-old who hops from New York City to her hometown of Sacramento to Paris to Poughkeepsie and eventually back to New York in hopes of stumbling into the perfect job, the perfect relationship, and the perfect life. Directed by Noah Baumbach (The Meyerowitz Stories), and co-written by both, Frances Ha is a measured look at adult-ish life captured the kind of intoxicating black and white world we dream of living in.

NETFLIX

Fyre: The Greatest Party That Never Happened (2019)

Everyone's favorite disaster of a festival received not one, but two streaming documentaries in the same week. Netflix's version has rightly faced some criticism over its willingness to let marketing company Fuck Jerry off the hook (Jerry Media produced the doc), but that doesn't take away from the overall picture it portrays of the festival's haphazard planning and the addiction to grift from which Fyre's founder, Billy McFarland, apparently suffers. It's schadenfreude at its best.

Gerald's Game (2017)

Like his previous low-budget Netflix-released horror release, Hush, a captivity thriller about a deaf woman fighting off a masked intruder, Mike Flanagan's Stephen King adaptation of Gerald's Game wrings big scares from a small location. Sticking close to the grisly plot details of King's seemingly "unfilmable" novel, the movie chronicles the painstaking struggles of Jessie Burlingame (Carla Gugino) after she finds herself handcuffed to a bed in an isolated vacation home when her husband, the titular Gerald, dies from a heart attack while enacting his kinky sexual fantasies. She's trapped -- and that's it. The premise is clearly challenging to sustain for a whole movie, but Flanagan and Gugino turn the potentially one-note set-up into a forceful, thoughtful meditation on trauma, memory, and resilience in the face of near-certain doom.

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Good Time (2017)

In this greasy, cruel thriller from Uncut Gems directors the Safdie brothers, Robert Pattinson stars as Connie, a bank robber who races through Queens to find enough money to bail out his mentally disabled brother, who's locked up for their last botched job. Each suffocating second of Good Time, blistered by the neon backgrounds of Queens, New York and propelled by warped heartbeat of Oneothrix Point Never's synth score, finds Connie evading authorities by tripping into an even stickier situation.

Green Room (2015)

Green Room is a throaty, thrashing, spit-slinging punk tune belted through an invasion-movie microphone at max volume. It's nasty -- and near-perfect. As a band of 20-something rockstars recklessly defend against a neo-Nazi battalion equipped with machetes, shotguns, and snarling guard dogs, the movie blossoms into a savage coming-of-age tale, an Almost Famous for John Carpenter nuts. Anyone looking for similar mayhem should check out director Jeremy Saulnier's previous movie, the low-budget, darkly comic hillbilly noir, Blue Ruin, also streaming on Netflix.

The Guest (2014)

After writer-director Adam Wingard notched a semi-sleeper horror hit with 2011's You're Next, he'd earned a certain degree of goodwill among genre faithful and, apparently, with studio brass. How else to explain distribution for his atypical thriller The Guest through Time Warner subsidiary Picturehouse? Headlined by soon-to-be megastar Dan Stevens and kindred flick It Follows' lead scream queen Maika Monroe, The Guest introduces itself as a subtextual impostor drama, abruptly spins through a blender of '80s teen tropes, and ultimately reveals its true identity as an expertly self-conscious straight-to-video shoot 'em up, before finally circling back on itself with a well-earned wink. To say anymore about the hell that Stevens' "David" unleashes on a small New Mexico town would not only spoil the fun, but possibly get you killed.

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The Hateful Eight (2015)

Quentin Tarantino has something to say about race, violence, and American life, and it's going to ruffle feathers. Like Django Unchained, the writer-director reflects modern times on the Old West, but with more scalpel-sliced dialogue, profane poetry, and gore. Stewed from bits of Agatha Christie, David Mamet, and Sam Peckinpah, The Hateful Eight traps a cast of blowhards (including Samuel L. Jackson as a Civil War veteran, Kurt Russell as a bounty hunter known as "The Hangman," and Jennifer Jason Leigh as a psychopathic gang member) in a blizzard-enveloped supply station. Tarantino ups the tension by shooting his suffocating space in "glorious 70mm." Treachery and moral compromise never looked so good.

High Flying Bird (2019)

High Flying Bird is a basketball film that has little to do with the sport itself, instead focusing on the behind-the-scenes power dynamics that play out during an NBA lockout. At the center of the Steven Soderbergh movie -- shot on an iPhone, because that's what he does now -- is André Holland's Ray Burke, a sports agent trying to protect his client's interests while also disrupting a corrupt system. It's not an easy tightrope to walk, and, as you might expect, the conditions of the labor stoppage constantly change the playing field. With his iPhone mirroring the NBA's social media-heavy culture, and appearances from actual NBA stars lending the narrative heft, Soderbergh experiments with Netflix's carte blanche and produces a unique film that adds to the streaming service's growing list of original critical hits.

PARAMOUNT PICTURES

Hugo (2011)

Martin Scorsese hit pause on mob violence and Rolling Stones singles to deliver one of the greatest kid-centric films in eons. Following Hugo (Asa Butterfield) as he traces his own origin story through cryptic automaton clues and early 20th-century movie history, the grand vision wowed in 3-D and still packs a punch at home.

I Am the Pretty Thing That Lives in the House (2016)

A meditative horror flick that's more unsettling than outright frightening, I Am the Pretty Thing That Lives in the House follows the demise of Lily, a live-in nurse (Ruth Wilson) who's caring for an ailing horror author. As Lily discovers the truth about the writer's fiction and home, the lines between the physical realm and the afterlife blur. The movie's slow pacing and muted escalation might frustrate viewers craving showy jump-scares, but writer-director Oz Perkins is worth keeping tabs on. He brings a beautiful eeriness to every scene, and his story will captivate patient streamers. Fans should be sure to check out his directorial debut, The Blackcoat's Daughter.

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I Don't Feel at Home in This World Anymore (2017)

In this maniacal mystery, Ruth (Melanie Lynskey), a nurse, and her rattail-sporting, weapon-obsessed neighbor Tony (Elijah Wood) hunt down a local burglar. Part Cormac McCarthy thriller, part wacky, Will Ferrell-esque comedy, I Don't Feel at Home in This World Anymore is a cathartic neo-noir about everyday troubles. Director Macon Blair's not the first person to find existential enlightenment at the end of an amateur detective tale, but he might be the first to piece one together from cussing octogenarians, ninja stars, Google montages, gallons of Big Red soda, upper-deckers, friendly raccoons, exploding body parts, and the idiocy of humanity.

Indiana Jones and the Raiders of the Lost Ark (1981)

With a bullwhip, a leather jacket, and an "only Harrison Ford can pull this off" fedora, director Steven Spielberg invented the modern Hollywood action film by doing what he does best: looking backward. As obsessed as his movie-brat pal and collaborator George Lucas with the action movie serials of their youth, the director mined James Bond, Humphrey Bogart, Westerns, and his hatred of Nazis to create an adventure classic. To watch Raiders of the Lost Ark now is to marvel at the ingenuity of specific sequences (the boulder! The truck scene! The face-melting!) and simply groove to the self-deprecating comic tone (snakes! Karen Allen! That swordsman Indy shoots!). The past has never felt so alive.

Inside Man (2006)

Denzel Washington is at his wily, sharp, and sharply dressed best as he teams up once again with Spike Lee for this wildly entertaining heist thriller. He's an NYPD hostage negotiator who discovers a whole bunch of drama when a crew of robbers (led by Clive Owen) takes a bank hostage during a 24-hour period. Jodie Foster also appears as an interested party with uncertain motivations. You'll have to figure out what's going on several times over before the truth outs.

DRAFTHOUSE FILMS

The Invitation (2015)

This slow-burn horror-thriller preys on your social anxiety. The film's first half-hour, which finds Quarry's Logan Marshall-Green arriving at his ex-wife's house to meet her new husband, plays like a Sundance dramedy about 30-something yuppies and their relationship woes. As the minutes go by, director Karyn Kusama (Jennifer's Body) burrows deeper into the awkward dinner party, finding tension in unwelcome glances, miscommunication, and the possibility that Marshall-Green's character might be misreading a bizarre situation as a dangerous one. We won't spoil what happens, but let's just say this is a party you'll be telling your friends about.

Ip Man (2008)

There aren't many biopics that also pass for decent action movies. Somehow, Hong Kong action star Donnie Yen and director Wilson Yip made Ip Man (and three sequels!) based on the life of Chinese martial arts master Yip Kai-man, who famously trained Bruce Lee. What's their trick to keeping this series fresh? Play fast and loose with the facts, up the melodrama with each film, and, when in doubt, cast Mike Tyson as an evil property developer. The fights are incredible, and Yen's portrayal of the aging master still has the power to draw a few tears from even the most grizzled tough guy.

NETFLIX

The Irishman (2019)

Opening with a tracking shot through the halls of a drab nursing home, where we meet a feeble old man telling tall tales from his wheelchair, The Irishman delights in undercutting its own grandiosity. All the pageantry a $150 million check from Netflix can buy -- the digital de-aging effects, the massive crowd scenes, the shiny rings passed between men -- is on full display. Everything looks tremendous. But, like with 2013's The Wolf of Wall Street, the characters can't escape the fundamental spiritual emptiness of their pursuits. In telling the story of Frank Sheeran (Robert De Niro), a World War II veteran and truck driver turned mob enforcer and friend to labor leader Jimmy Hoffa (Al Pacino), director Martin Scorsese and screenwriter Steven Zaillian construct an underworld-set counter-narrative of late 20th century American life. Even with a 209 minute runtime, every second counts.

It Comes at Night (2017)

In this post-apocalyptic nightmare-and-a-half, the horrors of humanity, the strain of chaotic emotions pent up in the name of survival, bleed out through wary eyes and weathered hands. The setup is blockbuster-sized -- reverts mankind to the days of the American frontier, every sole survivor fights to protect their families and themselves -- but the drama is mano-a-mano. Barricaded in a haunted-house-worthy cabin in the woods, Paul (Edgerton) takes in Will (Abbott) and his family, knowing full well they could threaten his family's existence. All the while, Paul's son, Trevor, battles bloody visions of (or induced by?) the contagion. Shults directs the hell out of every slow-push frame of this psychological thriller, and the less we know, the more confusion feels like a noose around our necks, the scarier his observations become.

WARNER BROS. PICTURES

Jupiter Ascending (2015)

Jupiter Ascending is one of those "bad" movies that might genuinely be quite good. Yes, Channing Tatum is a man-wolf and Mila Kunis is the princess of space and bees don't sting space royalty and Eddie Redmayne hollers his little head off about "harvesting" people -- but what makes this movie great is how all of those things make total, absolute sense in the context of the story. The world the Wachowskis (yes, the Wachowskis!) created is so vibrant and strange and exciting, you almost can't help but get drawn in, even when Redmayne vamps so hard you're afraid he's about to pull a muscle. (And if you're a ballet fan, we have some good news for you.)

Jurassic Park (1993)

Perhaps the only movie that ever truly deserved a conversion to a theme-park ride, Steven Spielberg's thrilling adaptation of the Michael Crichton novel brought long-extinct creatures back to life in more ways than one. Benevolent Netflix gives us more than just the franchise starter, too: The Lost World and JP3 sequels are also available, so you can make a marathon of it.

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Killing Them Softly (2012)

Brad Pitt doesn't make conventional blockbusters anymore -- even World War Z had epidemic-movie ambitions -- so it's not surprising that this crime thriller is a little out there. Set during the financial crisis and presidential election of 2008, the film follows Pitt's hitman character as he makes sense of a poker heist gone wrong, leaving a trail of bodies and one-liners along the way. Mixed in with the carnage, you get lots of musings about the economy and American exceptionalism. It's not subtle -- there's a scene where Scoot McNairy and Ben Mendelsohn do heroin while the Velvet Underground's "Heroin" plays -- but, like a blunt object to the head, it gets the job done.

Lady Bird (2017)

The dizzying, frustrating, exhilarating rite of passage that is senior year of high school is the focus of actress Greta Gerwig's first directorial effort, the story of girl named Lady Bird (her given name, in that "it’s given to me, by me") who rebels against everyday Sacramento, California life to obtain whatever it is "freedom" turns out to be. Laurie Metcalf is an understated powerhouse as Lady Bird's mother, a constant source of contention who doggedly pushes her daughter to be successful in the face of the family's dwindling economic resources. It's a tragic note in total complement to Gerwig's hysterical love letter to home, high school, and the history of ourselves.

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The Lobster (2016)

Greek style master Yorgos Lanthimos' dystopian allegory against romance sees Colin Farrell forced to choose a partner in 45 days or he'll be turned into an animal of his choice, which is a lobster. Stuck in a group home with similarly unlucky singles, Farrell's David decides to bust out and join other renegades in a kind of anti-love terror cell that lives in the woods. It's part comedy of manners, part futuristic thriller, and it looks absolutely beautiful -- Lanthimos handles the bizarre premise with grace and a naturalistic eye that reminds the viewer that humans remain one of the most interesting animals to exist on this planet.

Mad Max (1979)

Before Tom Hardy was grunting his way through the desert and crushing tiny two-headed reptiles as Max Rockatansky, there was Mel Gibson. George Miller's 1979 original introduces the iconic character and paints the maximum force of his dystopian mythology in a somewhat more grounded light -- Australian police factions, communities, and glimmers of hope still in existence. Badass homemade vehicles and chase scenes abound in this taut, 88-minute romp. It's aged just fine.

Magic Mike (2012)

Steven Soderbergh's story of a Tampa exotic dancer with a heart of gold (Channing Tatum) has body-rolled its way to Netflix. Sexy dance routines aside, Mike's story is just gritty enough to be subversive. Did we mention Matthew McConaughey shows up in a pair of ass-less chaps?

The Master (2012)

Loosely inspired by the life of Scientology founder L. Ron Hubbard -- Dianetics buffs, we strongly recommend Alex Gibney's Going Clear documentary as a companion piece -- The Master boasts one of the late Philip Seymour Hoffman’s finest performances, as the enigmatic cult leader Lancaster Dodd. Joaquin Phoenix burns just as brightly as his emotionally stunted, loose-cannon protege Freddie Quell, who has a taste for homemade liquor. Paul Thomas Anderson’s cerebral epic lends itself to many different readings; it’s a cult story, it's a love story, it's a story about post-war disillusionment and the American dream, it's a story of individualism and the desire to belong. But the auteur's popping visuals and heady thematic currents will still sweep you away, even if you’re not quite sure where the tide is taking you.

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The Meyerowitz Stories (New and Selected) (2017)

When Danny (Adam Sandler), Matthew (Ben Stiller) and Jean (Elizabeth Marvel), three half-siblings from three different mothers, gather at their family brownstone in New York to tend to their ailing father (Dustin Hoffman), a lifetime of familial politics explode out of every minute of conversation. Their narcissistic sculptor dad didn't have time for Danny. Matthew was the golden child. Jean was weird… or maybe disturbed by memories no one ever knew. Expertly sketched by writer-director Noah Baumbach (The Squid and the Whale) this memoir-like portrait of lives half-lived is the kind of bittersweet, dimensional character comedy we're now used to seeing told in three seasons of prestige television. Baumbach gives us the whole package in two hours.

Monty Python and the Holy Grail (1975)

The legendary British comedy troupe took the legend of King Arthur and offered a characteristically irreverent take on it in their second feature film. It's rare for comedy to hold up this well, but the timelessness of lines like, "I fart in your general direction!" "It's just a flesh wound," and "Run away!" makes this a movie worth watching again and again.

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Moonlight (2016)

Chronicling the boyhood years, teenage stretch, and muted adult life of Chiron, a black gay man making it in Miami, this triptych altarpiece is at once hyper-specific and cosmically universal. Director Barry Jenkins roots each moment in the last; Chiron's desire for a lost lover can't burn in a diner booth over a bottle of wine without his beachside identity crisis years prior, blurred and violent, or encounters from deeper in his past, when glimpses of his mother's drug addiction, or the mentoring acts of her crack supplier, felt like secrets delivered in code. Panging colors, sounds, and the delicate movements of its perfect cast like the notes of a symphony, Moonlight is the real deal, a movie that will only grow and complicate as you wrestle with it.

Mudbound (2017)

The South's post-slavery existence is, for Hollywood, mostly uncharted territory. Rees rectifies the overlooked stretch of history with this novelistic drama about two Mississippi families working a rain-drenched farm in 1941. The white McAllans settle on a muddy patch of land to realize their dreams. The Jacksons, a family of black sharecroppers working the land, have their own hopes, which their neighbors manage to nurture and curtail. To capture a multitude of perspectives, Mudbound weaves together specific scenes of daily life, vivid and memory-like, with family member reflections, recorded in whispered voice-over. The epic patchwork stretches from the Jackson family dinner table, where the youngest daughter dreams of becoming a stenographer, to the vistas of Mississippi, where incoming storms threaten an essential batch of crops, to the battlefields of World War II Germany, a harrowing scene that will affect both families. Confronting race, class, war, and the possibility of unity, Mudbound spellbinding drama reckons with the past to understand the present.

NETFLIX

My Happy Family (2017)

At 52, Manana (Ia Shughliashvili) packs a bag and walks out on her husband, son, daughter, daughter's live-in boyfriend, and elderly mother and father, all of whom live together in a single apartment. The family is cantankerous and blustery, asking everything of Manana, who spends her days teaching better-behaved teenagers about literature. But as Nana Ekvtimishvili and Simon Groß's striking character study unfolds, the motivation behind Manana's departure is a deeper strain of frustration, despite what her brother, aunts, uncles, and anyone else who can cram themselves into the situation would like us to think. Anchored by Ia Shughliashvili's stunningly internal performance, and punctured by a dark sense of humor akin to Darren Aronofsky's mother! (which would have been the perfect alternate title), My Happy Family is both delicate and brutal in its portrayal of independence, and should get under the skin of anyone with their own family drama.

The Naked Gun (1988)

The short-lived Dragnet TV spoof Police Squad! found a second life as The Naked Gun action-comedy movie franchise, and the first installment goes all in on Airplane! co-star Leslie Nielsen's brand of straight-laced dementia. Trying to explain The Naked Gun only makes the stupid sound stupider, but keen viewers will find jokes on top of jokes on top of jokes. It's the kind of movie that can crack "nice beaver," then pass a stuffed beaver through the frame and actually get away with it. Nielsen has everything to do with it; his Frank Drebin continues the grand Inspector Clouseau tradition in oh-so-'80s style.

The Notebook (2004)

"If you’re a bird, I’m a bird." It's a simple statement and a declaration of devotion that captures the staying power of this Nicholas Sparks classic. The film made Ryan Gosling a certified heartthrob, charting his working class character Noah's lovelorn romance with Rachel McAdam's wealthy character Allie. The star-crossed lovers narrative is enough to make even the most cynical among us swoon, but given that their story is told through an elderly man reading (you guessed it!) a notebook to a woman with dementia, it hits all of the tragic romance benchmarks to make you melt. Noah's commitment to following his heart -- and that passionate kiss in the rain -- make this a love story for the ages.

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Okja (2017)

This wild ride, part action heist, part Miyazaki-like travelogue, and part scathing satire, is fueled by fairy tale whimsy -- but the Grimm kind, where there are smiles and spilled blood. Ahn Seo-hyun plays Mija, the young keeper of a "super-pig," bred by a food manufacturer to be the next step in human-consumption evolution. When the corporate overlords come for her roly-poly pal, Mija hightails it from the farm to the big city to break him out, crossing environmental terrorists, a zany Steve Irwin-type (Gyllenhaal), and the icy psychos at the top of the food chain (including Swinton's childlike CEO) along the way. Okja won't pluck your heartstrings like E.T., but there's grandeur in its frenzy, and the film's cross-species friendship will strike up every other emotion with its empathetic, eco-friendly, and eccentric observations.

On Body and Soul (2017)

This Hungarian film earned an Academy Award nomination for Best Foreign Film, and it's easy to see why. The sparse love story begins when two slaughterhouse employees discover they have the same dream at night, in which they're both deer searching the winter forest for food. Endre, a longtime executive at the slaughterhouse, has a physically damaged arm, whereas Maria is a temporary replacement who seems to be on the autism spectrum. If the setup sounds a bit on-the-nose, the moving performances and the unflinching direction save On Body and Soul from turning into a Thomas Aquinas 101 class, resulting in the kind of bleak beauty you can find in a dead winter forest.

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The Other Side of the Wind (2018)

Don't go into Orson Welles' final film expecting it to be an easy watch. The Other Side of the Wind, which follows fictional veteran Hollywood director Jake Hannaford (tooootally not modeled after Welles himself) and his protegé (also tooootally not a surrogate for Welles' own friend and mentee Peter Bogdanovich, who also plays the character) as they attend a party in celebration of Hannaford's latest film and are beset on all sides by Hannaford's friends, enemies, and everyone in between. The film, which Welles hoped would be his big comeback to Hollywood, was left famously unfinished for decades after his death in 1985. Thanks to Bogdanovich and producer Frank Marshall, it was finally completed in 2018, and the result is a vibrant and bizarre throwback to Welles' own experimental 1970s style, made even more resonant if you know how intertwined the movie is with its own backstory. If you want to dive even deeper, Netflix also released a documentary about the restoration and completion of the film, They'll Love Me When I'm Dead, which delves into Welles' own complicated and tragic relationship with Hollywood and the craft of moviemaking.

Pan’s Labyrinth (2006)

Guillermo Del Toro’s dark odyssey Pan’s Labyrinth takes a fantasy setting to mirror the horrible political realities of the human realm. Set in 1940s Falangist Spain, the film documents the hero’s journey of a young girl and stepdaughter of a ruthless Spanish army officer as she seeks an escape from her war-occupied world. When a fairy informs her that her true destiny may be as the princess of the underworld, she seizes her chance. Like Alice in Wonderland if Alice had gone to Hell instead of down the rabbit hole, the Academy Award-winning film is a wondrous, frightening fairy tale where that depicts how perilous the human-created monster of war can be.

Paranormal Activity (2007)

This documentary-style film budgeted at a mere $15,000 made millions at the box office and went on to inspire a number of sequels, all because of how well its scrappiness lent to capturing what feels like a terrifying haunted reality. Centered on a young couple who is convinced an evil spirit is lurking in their home, the two attempt to capture its activity on camera, which, obviously, only makes their supernatural matters worse. It leans on found footage horror tropes made popular by The Blair Witch Project and as it tessellates between showing the viewer what’s captured on their camcorders and the characters’ perspectives, it’s easy to get lost in this disorienting supernatural thriller.

UNIVERSAL PICTURES

Poltergeist (1982)

If you saw Poltergeist growing up, chances are you’re probably equally as haunted by Heather O’Rourke as she is in the film, playing a little girl tormented by ghosts in her family home. This Steven Spielberg-penned, Tobe Hooper-directed (The Texas Chainsaw Massacre) paranormal flick is a certified cult classic and one of the best horror films of all time, coming from a simple premise about a couple whose home is infested with spirits obsessed with reclaiming the space and kidnapping their daughter. Poltergeist made rearranged furniture freaky, and you may remember a particularly iconic scene with a fuzzed out vintage television set. It’s may be nearly 40 years old, but the creepiness holds up.

Pride & Prejudice (2005)

Taking Jane Austen's literary classic and tricking it out with gorgeous long takes, director Joe Wright turns this tale of manners into a visceral, luminescent portrait of passion and desire. While Succession's Matthew MacFadyen might not make you forget Colin Firth from 1995's BBC adaptation, Keira Knightley is a revelation as the tough, nervy Lizzie Bennett. With fun supporting turns from Donald Sutherland, Rosamund Pike, and Judi Dench, it's a sumptuous period romance that transports you from the couch to the ballroom of your dreams -- without changing out of sweatpants.

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Private Life (2018)

Over a decade since the release of her last dark comedy, The Savages, writer and director Tamara Jenkins returned with a sprawling movie in the same vein: more hyper-verbal jerks you can't help but love. Richard (Paul Giamatti) and Rachel (Kathryn Hahn) are a Manhattan-dwelling couple who have spent the last few years attempting to have a baby with little success. When we meet them, they're already in the grips of fertility mania, willing to try almost anything to secure the offspring they think they desire. With all the details about injections, side effects, and pricey medical procedures, the movie functions as a taxonomy of modern pregnancy anxieties, and Hahn brings each part of the process to glorious life.

The Ritual (2018)

The Ritual, a horror film where a group of middle-aged men embark on a hiking trip in honor of a dead friend, understands the tension between natural beauty of the outdoors and the unsettling panic of the unknown. The group's de facto leader Luke (an understated Rafe Spall) attempts to keep the adventure from spiralling out of control, but the forest has other plans. (Maybe brush up on your Scandinavian mythology before viewing.) Like a backpacking variation on Neil Marshall's 2005 cave spelunking classic The Descent, The Ritual deftly explores inter-personal dynamics while delivering jolts of other-worldly terror. It'll have you rethinking that weekend getaway on your calendar.

NETFLIX

Roma (2018)

All those billions Netflix spent paid off in the form of several Oscar nominations for Roma, including one for Best Picture and a win for Best Director. Whether experienced in the hushed reverence of a theater, watched on the glowing screen of a laptop, or, as Netflix executive Ted Sarandos has suggested, binged on the perilous surface of a phone, Alfonso Cuarón's black-and-white passion project seeks to stun. A technical craftsman of the highest order, the Children of Men and Gravity director has an aesthetic that aims to overwhelm -- with the amount of extras, the sense of despair, and the constant whir of exhilaration -- and this autobiographical portrait of kind-hearted maid Cleo (Yalitza Aparicio) caring for a family in the early 1970s has been staged on a staggering, mind-boggling scale.

Schindler's List (1993)

A passion project for Steven Spielberg, who shot it back-to-back with another masterpiece, Jurassic Park, Schindler's List tells the story of Oskar Schindler, a German businessman who reportedly saved over 1,200 Jews during the Holocaust. Frank, honest, and stark in its depiction of Nazi violence, the three-hour historical drama is a haunting reminder of the world's past, every frame a relic, every lost voice channeled through Itzhak Perlman's mourning violin.

A Serious Man (2009)

This dramedy from the Coen brothers stars Michael Stuhlbarg as Larry Gopnik, a Midwestern physics professor who just can't catch a break, whether it's with his wife, his boss, or his rabbi. (Seriously, if you're having a bad day, this airy flick gives you ample time to brood and then come to the realization that your life isn't as shitty as you think.) Meditating on the spiritual and the temporal, Gopnik's improbable run of bad luck is a smart modern retelling of the Book of Job, with more irony and fewer plagues and pestilences. But not much fewer.

WELL GO USA

Shadow (2019)

In Shadow, the visually stunning action epic from Hero and House of Flying Daggers wuxia master Zhang Yimou, parasols are more than helpful sun-blockers: They can be turned into deadly weapons, shooting boomerang-like blades of steel at oncoming attackers and transforming into protective sleds for traveling through the slick streets. These devices are one of many imaginative leaps made in telling this Shakespearean saga of palace intrigue, vengeance, and secret doppelgangers set in China's Three Kingdoms period. This is a martial arts epic where the dense plotting is as tricky as the often balletic fight scenes. If the battles in Game of Thrones left you frustrated, Shadow provides a thrilling alternative.

She's Gotta Have It (1986)

Before checking out Spike Lee's Netflix original series of the same name, be sure to catch up with where it all began. Nola (Tracy Camilla Johns) juggles three men during her sexual pinnacle, and it's all working out until they discover one another. She's Gotta Have It takes some dark turns, but each revelation speaks volumes about what real romantic independence is all about.

The Silence of the Lambs (1991)

The late director Jonathan Demme's 1991 film is the touchstone for virtually every serial killer film and television show that came after. The iconic closeup shots of an icy, confident Hannibal Lecter (Anthony Hopkins) as he and FBI newbie Clarice Starling (Jodie Foster) engage in their "quid pro quo" interrogation sessions create almost unbearable tension as Buffalo Bill (Ted Levine) remains on the loose, killing more victims. Hopkins delivers the more memorable lines, and Buffalo Bill's dance is the stuff of nerve-wracking anxiety nightmares, but it's Foster's nuanced performance as a scared, determined, smart-yet-hesitant agent that sets Silence of the Lambs apart from the rest of the serial killer pack.

THE WEINSTEIN COMPANY

Silver Linings Playbook (2012)

Jennifer Lawrence, Bradley Cooper, and David O. Russell’s first collaboration -- and the film that turned J-Law into a bona fide golden girl -- is a romantic comedy/dramedy/dance-flick that bounces across its tonal shifts. A love story between Pat (Cooper), a man struggling with bipolar disease and a history of violent outbursts, and Tiffany (Lawrence), a widow grappling with depression, who come together while rehearsing for an amateur dance competition, Silver Linings balances an emotionally realistic depiction of mental illness with some of the best twirls and dips this side of Step Up. Even if you're allergic to rom-coms, Lawrence and Cooper’s winning chemistry will win you over, as will this sweet little gem of a film: a feel-good, affecting love story that doesn’t feel contrived or treacly.

Sin City (2005)

Frank Miller enlisted Robert Rodriguez as co-director to translate the former's wildly popular series of the same name to the big screen, and with some added directorial work from Quentin Tarantino, the result became a watershed moment in the visual history of film. The signature black-and-white palette with splashes of color provided a grim backdrop to the sensational violence of the miniaturized plotlines -- this is perhaps the movie that feels more like a comic than any other movie you'll ever see.

Sinister (2012)

Horror-movie lesson #32: If you move into a creepy new house, do not read the dusty book, listen to the decaying cassette tapes, or watch the Super 8 reels you find in the attic -- they will inevitably lead to your demise. In Sinister, a true-crime author (played by Ethan Hawke) makes the final mistake, losing his mind to home movies haunted by the "Bughuul."

NETFLIX

Small Crimes (2017)

It's always a little discombobulating to see your favorite Game of Thrones actors in movies that don't call on them to fight dragons, swing swords, or at least wear some armor. But that shouldn't stop you from checking out Small Crimes, a carefully paced thriller starring the Kingslayer Jaime Lannister himself, Nikolaj Coster-Waldau. As Joe Denton, a crooked cop turned ex-con, Coster-Waldau plays yet another character with a twisted moral compass, but here he's not part of some mythical narrative. He's just another conniving, scheming dirtbag in director E.L. Katz's Coen brothers-like moral universe. While some of the plot details are confusing -- Katz and co-writer Macon Blair skimp on the exposition so much that some of the dialogue can feel incomprehensible -- the mood of Midwestern dread and Coster-Waldau's patient, lived-in performance make this one worth checking out. Despite the lack of dragons.

Snowpiercer (2013)

Did people go overboard in praising Snowpiercer when it came out? Maybe. But it's important to remember that the movie arrived in the sweaty dog days of summer, hitting critics and sci-fi lovers like a welcome blast of icy water from a hose. The film's simple, almost video game-like plot -- get to the front of the train, or die trying -- allowed visionary South Korean director Bong Joon-ho to fill the screen with excitement, absurdity, and radical politics. Chris Evans never looked more alive, Tilda Swinton never stole more scenes, and mainstream blockbuster filmmaking never felt so tepid in comparison. Come on, ride the train!

The Social Network (2010)

After making films like Seven, The Game, Fight Club, Panic Room, and Zodiac, director David Fincher left behind the world of scumbags and crime for a fantastical, historical epic in 2008's The Curious Case of Benjamin Button. The Social Network was another swerve, but yielded his greatest film. There's no murder on screen, but Fincher treats Jesse Eisenberg's Mark Zuckerberg like a dorky, socially awkward mob boss operating on an operatic scale. Screenwriter Aaron Sorkin's rapid-fire, screwball-like dialogue burns with a moral indignation that Fincher's watchful, steady-handed camera chills with an icy distance. It's the rare biopic that's not begging you to smash the "like" button.

SONY PICTURES RELEASING

Spider-Man: Into the Spider-Verse (2018)

In this shrewd twist on the superhero genre, the audience's familiarity with the origin story of your friendly neighborhood web-slinger -- the character has already starred in three different blockbuster franchises, in addition to countless comics and cartoon TV adaptations -- is used as an asset instead of a liability. The relatively straight-forward coming-of-age tale of Miles Morales (Shameik Moore), a Brooklyn teenager who takes on the powers and responsibilities of Spider-Man following the death of Peter Parker, gets a remix built around an increasingly absurd parallel dimension plotline that introduces a cast of other Spider-Heroes like Spider-Woman (Hailee Steinfeld), Spider-Man Noir (Nicolas Cage), Peni Parker (Kimiko Glen), and, most ridiculously, Spider-Ham (John Mulaney), a talking pig in a Spider-Suit. The convoluted set-up is mostly an excuse to cram the movie with rapid-fire jokes, comic book allusions, and dream-like imagery that puts the rubbery CGI of most contemporary animated films to shame.

Spotlight (2015)

Tom McCarthy stretches the drama taut as he renders Boston Globe's 2000 Catholic Church sex scandal investigation into a Hollywood vehicle. McCarthy's notable cast members crank like gears as they uncover evidence and reflect on a horrifying discovery of which they shoulder partial blame. Spotlight was the cardigan of 2015's Oscar nominees, but even cardigans look sharp when Mark Ruffalo is involved.

The Squid and the Whale (2005)

No movie captures the prolonged pain of divorce quite like Noah Baumbach's brutal Brooklyn-based comedy The Squid and the Whale. While the performances from Jeff Daniels and Laura Linney as bitter writers going through a separation are top-notch, the film truly belongs to the kids, played by Jesse Eisenberg and Owen Kline, who you watch struggle in the face of their parents' mounting immaturity and pettiness. That Baumbach is able to wring big, cathartic laughs from such emotionally raw material is a testament to his gifts as a writer -- and an observer of human cruelty.

SONY PICTURES RELEASING

Starship Troopers (1997)

Paul Verhoeven is undoubtedly the master of the sly sci-fi satire. With RoboCop, he laid waste to the police state with wicked, trigger-happy glee. He took on evil corporations with Total Recall. And with Starship Troopers, a bouncy, bloody war picture, he skewered the chest-thumping theatrics of pro-military propaganda, offering up a pitch-perfect parody of the post-9/11 Bush presidency years before troops set foot in Iraq or Afghanistan. Come for the exploding alien guts, but stay for the winking comedy -- or stay for both! Bug guts have their charms, too.

Swiss Army Man (2016)

You might think a movie that opens with a suicidal man riding a farting corpse like a Jet Ski wears thin after the fourth or fifth flatulence gag. You would be wrong. Brimming with imagination and expression, the directorial debut of Adult Swim auteurs "The Daniels" wields sophomoric humor to speak to friendship. As Radcliffe's dead body springs back to life -- through karate-chopping, water-vomiting, and wind-breaking -- he becomes the id to Dano's struggling everyman, who is also lost in the woods. If your childhood backyard adventures took the shape of The Revenant, it would look something like Swiss Army Man, and be pure bliss.

NETFLIX

Tallulah (2016)

From Orange Is the New Black writer Sian Heder, Tallulah follows the title character (played by Ellen Page) after she inadvertently "kidnaps" a toddler from an alcoholic rich woman and passes the child off as her own to appeal to her run-out boyfriend's mother (Allison Janney). A messy knot of familial woes and wayward instincts, Heder's directorial debut achieves the same kind of balancing act as her hit Netflix series -- frank social drama with just the right amount of humorous hijinks. As Tallulah grows into a mother figure, her on-the-lam parenting course only makes her more and more of a criminal in the eyes of... just about everyone. You want to root for her, but that would be too easy.

Taxi Driver (1976)

Travis Bickle (a young Bobby De Niro) comes back from the Vietnam War and, having some trouble acclimating to daily life, slowly unravels while fending off brutal insomnia by picking up work as a... taxi driver... in New York City. Eventually he snaps, shaves his hair into a mohawk and goes on a murderous rampage while still managing to squeeze in one of the most New York lines ever captured on film ("You talkin' to me?"). It's not exactly a heartwarmer -- Jodie Foster plays a 12-year-old prostitute -- but Martin Scorsese's 1976 Taxi Driver is a movie in the cinematic canon that you'd be legitimately missing out on if you didn't watch it.

FOCUS FEATURES

The Theory of Everything (2014)

In his Oscar-winning performance, Eddie Redmayne portrays famed physicist Stephen Hawking -- though The Theory of Everything is less of a biopic than it is a beautiful, sweet film about his lifelong relationship with his wife, Jane (Felicity Jones). Covering his days as a young cosmology student ahead of his diagnosis of ALS at 21, through his struggle with the illness and rise as a theoretical scientist, this film illustrates the trying romance through it all. While it may be written in the cosmos, this James Marsh-directed film that weaves in and out of love will have you experience everything there is to feel.

There Will Be Blood (2007)

Paul Thomas Anderson found modern American greed in the pages of Upton Sinclair's depression-era novel, Oil!. Daniel Day-Lewis found the role of a lifetime behind the bushy mustache of Daniel Plainview, thunderous entrepreneur. Paul Dano found his milkshake drunk up. Their discoveries are our reward -- There Will Be Blood is a stark vision of tycoon terror.

Time to Hunt (2020)

Unrelenting in its pursuit of scenarios where guys point big guns at each other in sparsely lit empty hallways, the South Korean thriller Time to Hunt knows exactly what stylistic register it's playing in. A group of four friends, including Parasite and Train to Busan break-out Choi Woo-shik, knock over a gambling house, stealing a hefty bag of money and a set of even more valuable hard-drives, and then find themselves targeted by a ruthless contract killer (Park Hae-soo) who moves like the T-1000 and shoots like a henchmen in a Michael Mann movie. There are dystopian elements to the world -- protests play out in the streets, the police wage a tech-savvy war on citizens, automatic rifles are readily available to all potential buyers -- but they all serve the simmering tension and elevate the pounding set-pieces instead of feeling like unnecessary allegorical padding. Even with its long runtime, this movie moves.

STUDIOCANAL

Tinker Tailor Soldier Spy (2011)

If a season of 24 took place in the smoky, well-tailored underground of British intelligence crica 1973, it might look a little like this precision-made John le Carré adaptation from Let the Right One In director Tomas Alfredson. Even if you can't follow terse and tightly-woven mystery, the search for Soviet mole led by retired operative George Smiley (Gary Oldman), the ice-cold frames and stellar cast will suck you into the intrigue. It's very possible Oldman, Colin Firth, Tom Hardy, John Hurt, Toby Jones, Mark Strong, and Benedict Cumberbatch are reading pages of the British phone book, but egad, it's absorbing. A movie that rewards your full concentration.

To All the Boys I've Loved Before (2018)

Of all the entries in the rom-com revival, this one is heavier on the rom than the com. But even though it won't make your sides hurt, it will make your heart flutter. The plot is ripe with high school movie hijinks that arise when the love letters of Lara Jean Covey (the wonderful Lana Condor) accidentally get mailed to her crushes, namely the contractual faux relationship she starts with heartthrob Peter Kavinsky (Noah Centineo). Like its heroine, it's big-hearted but skeptical in all the right places.

Total Recall (1990)

Skip the completely forgettable Colin Farrell remake from 2012. This Arnold Schwarzenegger-powered, action-filled sci-fi movie is the one to go with. Working from a short story by writer Philip K. Dick, director Paul Verhoeven (Robocop) uses a brain-teasing premise -- you can buy "fake" vacation memories from a mysterious company called Rekall -- to stage one of his hyper-violent, winkingly absurd cartoons. The bizarre images of life on Mars and silly one-liners from Arnold fly so fast that you'll begin to think the whole movie was designed to be implanted in your mind.

NETFLIX

Tramps (2017)

There are heists pulled off by slick gentlemen in suits, then there are heists pulled off by two wayward 20-somethings rambling along on a steamy, summer day in New York City. This dog-day crime-romance stages the latter, pairing a lanky Russian kid (Callum Tanner) who ditches his fast-food register job for a one-off thieving gig, with his driver, an aloof strip club waitress (Grace Van Patten) looking for the cash to restart her life. When a briefcase handoff goes awry, the pair head upstate to track down the missing package, where train rides and curbside walks force them to open up. With a laid-back, '70s soul, Tramps is the rare doe-eyed relationship movie where playing third-wheel is a joy.

Uncut Gems (2019)

In Uncut Gems, the immersive crime film from sibling director duo Josh and Benny Safdie, gambling is a matter of faith. Whether he's placing a bet on the Boston Celtics, attempting to rig an auction, or outrunning debt-collecting goons at his daughter's high school play, the movie's jeweler protagonist Howard Ratner (Adam Sandler) believes in his ability to beat the odds. Does that mean he always succeeds? No, that would be absurd, undercutting the character's Job-like status, which Sandler imbues with an endearing weariness that holds the story together. But every financial setback, emotional humbling, and spiritual humiliation he suffers gets interpreted by Howard as a sign that his circumstances might be turning around. After all, a big score could be right around the corner.

Velvet Buzzsaw (2018)

Nightcrawler filmmaker Dan Gilroy teams up with Jake Gyllenhaal again to create another piece of cinematic art, this time a satirical horror film about the exclusive, over-the-top LA art scene. The movie centers around a greedy group of art buyers who come into the possession of stolen paintings that, unbeknownst to them, turn out to be haunted, making their luxurious lives of wheeling and dealing overpriced paintings a living hell. Also featuring the likes of John Malkovich, Toni Collette, Billy Magnussen, and others, Velvet Buzzsaw looks like Netflix’s next great original.

COLUMBIA PICTURES

Walk Hard: The Dewey Cox Story (2007)

Oscar-baiting, musician biopics became so cookie-cutter by the mid-'00s that it was easy for John C. Reilly, Judd Apatow, and writer-director Jake Kasdan (Jumanji: Welcome to the Jungle) to knot them all together for the ultimate spoof. Dewey Cox is part Johnny Cash, part Bob Dylan, part Ray Charles, part John Lennon, part anyone-you-can-think-of, rising with hit singles, rubbing shoulders with greats of many eras, stumbling with eight-too-many drug addictions, then rising once again. When it comes to relentless wisecracking, Walk Hard is like a Greatest Hits compilation -- every second is gold.

The Witch (2015)

The Witch delivers everything we don't see in horror today. The backdrop, a farm in 17th-century New England, is pure misty, macabre mood. The circumstance, a Puritanical family making it on the fringe of society because they're too religious, bubbles with terror. And the question, whether devil-worshipping is hocus pocus or true black magic, keeps each character on their toes, and begging God for answers. The Witch tests its audience with its (nearly impenetrable) old English dialogue and the (anxiety-inducing) trials of early American life, but the payoff will keep your mind racing, and your face hiding under the covers, for days.

Y Tu Mamá También (2001)

Before taking us to space with Gravity, director Alfonso Cuarón steamed up screens with this provocative, comedic drama about two teenage boys (Diego Luna and Gael García Bernal) road-trippin' it with an older woman. Like a sunbaked Jules and Jim, the movie makes nimble use of its central love triangle, setting up conflicts between the characters as they move through the complicated political and social realities of Mexican life. It's a confident, relaxed film that's got an equal amount of brains and sex appeal. Watch this one with a friend -- or two.

PARAMOUNT PICTURES

Zodiac (2007)

David Fincher's period drama is for obsessives. In telling the story of the Zodiac Killer, a serial murderer who captured the public imagination by sending letters and puzzles to the Bay Area press, the famously meticulous director zeroes in on the cops, journalists, and amateur code-breakers who made identifying the criminal their life's work. With Jake Gyllenhaal's cartoonist-turned-gumshoe Robert Graysmith at the center, and Robert Downey Jr.'s barfly reporter Paul Avery stumbling around the margins, the film stretches across time and space, becoming a rich study of how people search for meaning in life. Zodiac is a procedural thriller that makes digging through old manilla folders feel like a cosmic quest.

13th (2016)

Selma director Ava DuVernay snuck away from the Hollywood spotlight to direct this sweeping documentary on the state of race in America. DuVernay's focus is the country's growing incarceration rates and an imbalance in the way black men and women are sentenced based on their crimes. Throughout the exploration, 13th dives into post-Emancipation migration, systemic racism that built in the early 20th century, and moments of modern political history that continue to spin a broken gear in our well-oiled national machine. You'll be blown away by what DuVernay uncovers in her interview-heavy research.

20th Century Women (2016)

If there's such thing as an epistolary movie, 20th Century Women is it. Touring 1970s Santa Barbara through a living flipbook, Mike Mills's semi-autobiographical film transcends documentation with a cast of wayward souls and Jamie (Lucas Jade Zumann), an impressionable young teenager. Annette Bening plays his mother, and the matriarch of a ragtag family, who gather together for safety, dance to music when the moment strikes, and teach Jamie the important lesson of What Women Want, which ranges from feminist theory to love-making techniques. The kid soaks it up like a sponge. Through Mills's caring direction, and characters we feel extending infinitely through past and present, so do we.

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[amberlylillian-blog]

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Best New Horror Movies on Netflix: Winter 2018

There’s an overwhelming amount of horror films and TV shows to sift through on Netflix, so I’ve decided to take out some of the legwork by compiling a list of the season’s best new genre titles available on Netflix’s instant streaming service.

Please feel free to leave a comment with any I may have missed and share your thoughts on the films you watch. You can also peruse past installments of Best New Horror Moves on Netflix for more suggestions.

1. The Haunting of Hill House

The Haunting of Hill House is, quite simply, some of the best long-form horror storytelling of all time. Based on - but not a strict adaptation of - Shirley Jackson's influential gothic horror novel of the same name, the series is created and directed by Mike Flanagan (Oculus, Ouija: Origin of Evil). Told through two timelines, with clever transitions between the past and present, the story concerns five siblings and how an alleged haunting they experienced as kids affects them as adults. The cast includes Henry Thomas (E.T. the Extra-Terrestrial), Carla Gugino (Watchmen), Michiel Huisman (Treme), Elizabeth Reaser (Ouija: Origin of Evil), Kate Siegel (Hush), Timothy Hutton (Ordinary People), and Lulu Wilson (Annabelle: Creation). It is admirably character-driven, which makes the horror elements hit even harder, and a spooky atmosphere is present throughout all 10 episodes.

2. Green Room

Writer-director Jeremy Saulnier achieves the impossible by matching - and perhaps even surpassing - the unbridled intensity of his previous film, Blue Ruin, with Green Room. The exercise in white-knuckle suspense finds a scrappy punk band trapped in a skinhead club after unwittingly walking in on a crime. The late Anton Yelchin (Star Trek) delivers one of the best performances of his tragically short career as the de facto leader of the band. In a bit of inspired casting, Patrick Stewart (Star Trek: The Next Generation) is chilling as the conniving, white supremacist venue owner. Alia Shawkat (Arrested Development), Joe Cole (Skins), and Callum Turner (Fantastic Beasts: The Crimes of Grindelwald) round out the band, while Imogen Poots (28 Weeks Later) is also wrapped up in the brutal fight for survival. Akin to Don't Breathe, the tension on screen is enough to induce anxiety, and Saulnier nails the punk rock DIY spirit to boot.

3. Cam

Cam stars Madeline Brewer (The Handmaid's Tale) as a cam girl - one who performs pornographic acts live on camera for paying viewers - who is desperate to gain popularity. Produced by Blumhouse, this is not your typical "seedy underbelly of the sex industry" movie, although there is some of that; instead, it goes in a refreshing, unpredictable direction. Reminiscent of a neon-soaked episode of Black Mirror, Cam is a suspenseful and compelling mystery-thriller with a sci-fi twist and horror undertones. Brewer is spectacular in her fearless performance, while director Daniel Goldhaber makes a powerful feature debut.

4. The Night Comes for Us

The Night Comes for Us is an unrelenting action thriller in the vein of The Raid, John Wick, and Dredd. In fact, the Indonesian film reunites The Raid's Joe Taslim and Iko Uwais. Taslim leads as a man who goes rogue from a dangerous crime syndicate. A variety of deadly individuals (Uwais among them) are out to get him, but he has some tough allies as well. It all culminates in an incredible final battle in which the viewer feels every blow. The blend of brutal, graphic violence and impressively choreographed fight scenes is written and directed by by Timo Tjahjanto (whose V/H/S/2 segment is a highlight of the franchise).

5. Apostle

Forget that Nicolas Cage abomination; Apostle is the Wicker Man reboot we deserve. The Netflix original film is reminiscent of the 1973 occult horror classic not only in plot but also in tone, style, and pacing. Set in 1905 London, a feral Dan Stevens (The Guest) stars as a man whose sister is kidnapped by a religious cult on a secluded island, which he must infiltrate to save her. Michael Sheen (Frost/Nixon) serves as the cult's charismatic leader, while Lucy Boynton (Bohemian Rhapsody) plays his daughter. The slow-burn is quite a change of pace for writer-director Gareth Evans (The Raid franchise) and his regular cinematographer, Matt Flannery, but they handle it beautifully.

6. May the Devil Take You

May the Devil Take You feels like The Evil Dead's Sam Raimi directing an installment in The Conjuring universe. The Indonesian horror film is not a scrappy splatterfest; it's elegantly directed by Timo Tjahjanto (V/H/S/2). He culls from modern supernatural tropes to craft fine horror set pieces, spooky imagery, a good atmosphere, and strong production value. Chelsea Islan (Headshot) earns to be mentioned in the same breath as Bruce Campbell in her lead role as a daughter who investigates her estranged father's past to uncover the truth behind his coma and her haunting visions. It's a tad overlong at 110 minutes, which is particularly felt during the last act, but there's enough kinetic energy to keep it moving forward.

7. Hold the Dark

Hold the Dark is not quite as strong as Jeremy Saulnier's previous efforts (Green Room, Blue Ruin), but his mastery of tension remains unparalleled. Jeffrey Wright (Westworld) stars as a wolf expert who's convinced by an Alaskan woman (Riley Keough, Max Mad: Fury Road) to hunt a wolf that took her young son, only to get wrapped up in a murder plot. Meanwhile, the boy's soldier father (Alexander Skarsgård, True Blood) returns home from duty in the Middle East unhinged. The screenplay is written by Macon Blair (I Don't Feel at Home in This World Anymore), based on the book of the same name by William Giraldi. As viewers have come to expect from Saulnier, the violence is as unrelenting as the suspense.

8. Chilling Adventures of Sabrina

Created by Roberto Aguirre-Sacasa (Riverdale), Chilling Adventures of Sabrina is not your TGIF version of Sabrina the Teenage Witch. Its aesthetically similar to the Archie Comics title on which its based, embracing the rich Gothic horror atmosphere, but the story veers more into teen drama territory. The result is like a mash-up of Riverdale, The Witch, and Harry Potter. It may take a few episodes to become invested, plus to get used to the distracting shallow depth of field style (which is thankfully used less as the season progresses), but it's eventually rather addicting. The midsection becomes something of a monster-of-the-week series, but it never loses sight of the overall story arc. Kiernan Shipka (Mad Men) is charming as the titular witch, and the main cast also includes Ross Lynch (My Friend Dahmer), Lucy Davis (Shaun of the Dead), Miranda Otto (The Lord of the Rings), and Michelle Gomez (Doctor Who).

9. Into the Forest

Into the Forest is a post-apocalyptic tale of sorts, but it's a grounded take on the subject matter that largely functions as a drama. Ellen Page (Inception) and Evan Rachel Wood (Westworld) star as sisters who live with their father (Callum Keith Rennie, Battlestar Galactica) in a secluded, woodland home. Directed by Patricia Rozema (Mansfield Park), the movie follows the family in their fight for survival in the months after electricity is lost throughout the world. Although it drags in spots, Page, who produced the film after falling in love with Jean Hegland's novel on which it's based, is in top form.

10. In Darkness

In Darkness stars Natalie Dormer (Game of Thrones) as a blind pianist who hears her upstairs neighbor (Emily Ratajkowski, Gone Girl) get murdered, drawing her into London's seedy underworld, where she meets Ed Skrein (Deadpool) and Joely Richardson (Event Horizon). With shades of Wait Until Dark, the thriller offers some solid suspense and tension, plus superb sound design and cinematography. The setup is gripping, though the plot later becomes too convoluted for its own good. Dormer is fantastic in the lead, and she also produced and co-wrote the script with director Anthony Byrne (Peaky Blinders).

11. Don't Watch This

Don't Watch This is listed on Netflix as a season, but it's simply five unrelated horror shorts, ranging between 2 and 9 minutes in length. There's body horror, killer kids, urban explorers, and Queer Eye's Antoni Porowski parodying American Psycho. In addition to a few clever setups and strong horror set pieces, they boast quality production value, cinematography, and special features (both practical and digital). Shorts usually struggle to find an audience on YouTube, so it's great to see them showcased on a platform as powerful as Netflix.

Bonus: De Palma

De Palma is a documentary on filmmaker Brian De Palma (Carrie, Scarface, Mission: Impossible, Blow Out, Phantom of the Paradise, et al.). The septuagenarian himself - with no other talking heads - discusses and reflects on his oeuvre, going movie by movie (plus a handful of unmade projects) in chronological order, accompanied by clips and stills. Co-directed by Noah Baumbach (The Squid and the Whale) and Jake Paltrow (Young Ones), the candid nature of the interviews prevent the film from feeling like a mere DVD special feature. It moves briskly, leaving you wanting more even at 110 minutes.

[itsworn]

10-Second 1963 Plymouth: The PERFECT Mix Of Street & Strip!

When Elwood Engle arrived at Chrysler in December 1961, it wasn’t a minute too soon. Dodge and Plymouth were hemorrhaging sales to Ford and GM as a result of the recently outdated “forward look” style by outgoing styling chief, Virgil Exner. Personally, we love Exner’s excessive, finned masterpieces, but the buying public is fickle and there was no denying that styling was having an adverse effect on sales. One of Engle’s first moves (along with penning the 1963 Turbine car) was to redesign the 1963 Plymouth, which you see here in the form of Baltimore native Ronald Nies Sr’s Sport Fury.

The iconic 1963 Plymouth marks a sea change in Chrysler styling. Its modern slab-sided body and simplified form was emblematic of the 1960’s modern design vocabulary, which cemented Detroit’s reputation as a world design center. In 1963, Chrysler’s superior engineering and manufacturing finally merged with a new, elegant style, setting dealerships afire with enthusiastic customers. All that’s wonderful, but the only thing Ronald Neis cared about is that his car was bitchin’. We agree.

Ronald grew up in a Mopar family. His father in fact had a ’63 Plymouth Fury wagon. Like a mind worm, it took over his psyche, and by adolescence there was but one future path for Ronald. By the age of 13, Ronald and his 18-year-old brother Gary would cruise the town looking for Mopars. “He liked the Road Runners and he was hoping to get one soon,” Ronald reminisces. “He was five years older than me, he liked Mopars, and it influenced me some. He just pointed them out. He knew where all of them were parked.”

It’s no surprise then that Ronald bought a 1966 Dart when he got out of high school. Within a couple of years he put a 340 in it, bolted on a set of headers, and went bracket racing with the original four-speed manual transmission.

Then came April 10, 1982. “I remember the day very well,” says Ronald solemnly. “I went to Capitol Raceway. I parked my car in the staging lanes, got out of the car to talk to other racers. You always do that. You get out and hang out. That’s the last thing I remember. I woke up twelve hours later in the shock trama unit in Baltimore. They said I was talking when I got out of the car, but I don’t remember any of it. When I woke up, my father was looking down at me. He said the rollbar saved my life.”

On that fateful run, a balljoint failed through the speed traps at 112 mph. The car turned violently and rolled six times. A helicopter air ambulance transported Ronald to the hospital, where he would spend the next two weeks recuperating. The car was a total loss, but it was the start of a new beginning. His girlfriend, Lydia, was by his side the whole time, and that impressed Ronald. Though now divorced, Ronald married the young woman the following year. “She treated me so good when I was recovering. She came over and took care of me every day. Helped my mom a lot.”

It would not be until 1995—well after the births of his sons Ronald Jr. and Timmy—that Ronald would finally get behind the wheel of another Mopar muscle machine. Ronald says: “I waited a while to get another Mopar. I wanted a car so bad, I got a ’72 Dart. By then, my kids were getting old enough that I could go work on it.” By 1997, it was running as a driver, and by the year 2000, it was going 12.30s with a mild 383. In 2003, he sold it to his son, Ronald Jr, who now has a mild pump-gas 400 in it. The Dart runs 11.40s with Ron Jr. behind the wheel, and he can often be found at the track with dad and his ’63 Sport Fury.

Ah, the ’63 Sport Fury. Over the years, Ronald had been a service technician at several dealerships including Towson Dodge in Maryland. As both an affable and talented mechanic, this presented the opportunity to meet and become friends with kindred Mopar spirits, including car nut Ken Wiley. Over time, Ken would press Ronald into service occasionally to help him with his modest collection of muscle cars, which included this 1963 Plymouth Sport Fury.

In 2003, Ken had asked Ronald to swap out the original ’63 rearend for an 8 ¾ unit out of a ’65. Ron recollects: “He wanted me to change it because the ’63s had a hub on the drum with a huge nut on it. You had to use a puller on it just to check the brakes. The ’65 rear has what you call floating drums. You can pull the drums off without all the hassle.” After doing the job, Ken mentioned that he needed to thin his collection from three cars down to two. “He had just bought a Mustang Pro Street car and didn’t have the room, so he sold it to me. He didn’t have the garage space for all three of ‘em.”

Other than the newer rearend, the Sport Fury was an absolute peach of a survivor. “I didn’t do anything to the body. It’s nice. It’s a 10-footer. You can find little defects if you look close, but it didn’t need any body work,” says Ronald. For $1,500 and some bartered work on Ken’s Mustang, the bright red Sport Fury found its way into Ronald’s garage. “I was just lucky actually,” says Ronald. “I was lucky he was a good friend of mine. I wouldn’t have got it if he hadn’t given me such a good deal.”

Ronald knew exactly what he wanted from the Fury: to make it a period-correct Max Wedge clone in a street/strip vein which could run 11s through the exhaust on pump gas and be driven to the track. After replacing the front floor pans—the only bodywork needed—Ronald pulled the tired 383 and built a mild 906-headed 440 with 10:1 compression. Behind that he added a 1970-vintage TorqueFlite, which has the pump in the front instead of at the rear like the original unit. This allowed Ronald to rebuild it with a reverse-pattern Turbo Action valve body and add a B&M Pro Stick shifter. (Ronald kept the “typewriter” instrument panel with push-button shifter, but it’s there for looks only.) To the beefed-up ’Flite, Ronald bolted up one of Frank Lupo’s awesome 4,200-stall Dynamic torque converters.

Between 2003 and 2006, Ronald worked hard to build the Sport Fury into his vision of the perfect street/strip machine. Upgrades to the fuel system, ignition, exhaust, and cooling all needed to be streetable, and not disturb the period-correct stock vibe. One area Ronald was not going to compromise on was the roll bar. Before hitting the track, he built a mild-steel roll bar—similar to the one that saved his life in 1982—using a kit from S&W. Fortunately, the stock interior with original upholstery was in great condition, and Ronald was able to preserve it mostly as-is, with the exception of a few instruments (tach, oil pressure, water temp) and a newer JVC radio unit. One concession to the stock exterior profile was the addition of a Max Wedge-style hood scoop, which puts the Sport Fury right smack dab in the middle of street/strip territory.

Likewise, the OE chassis, suspension, and brakes were largely maintained in a period-correct fashion, with Ronald only making concessions for better drag-strip launches. To that end, he installed Competition Engineering 90/10 drag shocks in front and Mopar Performance extended-travel shocks and Super Stock leaf springs in the rear. The front sway bar has been deleted and a 1968-vintage dual-pot master cylinder replaces the stock item. That 440-based 906-headed combo served Ronald well, running mid 11s (11.49 best) on 92-octane fuel while being licensed, registered, and driven on the street. He was enjoying the Sport Fury on the street, driving to shows, morning coffee get-togethers, and weekend cruises, but he was still paying close attention to improvements in the performance industry.

By 2011, Ronald decided to take the next step and push the Plymouth deep into the 10s. Ron says, “The technology was there to build a pump-gas 10-second street car without going nuts with it.” Historically, going 10s means higher compression, open exhaust, and race fuel, but one company—Indy Cylinder Head—caught his eye with their aluminum 440 EZ cylinder heads and dual-plane intake. If combined with a modest stroker kit from 440Source, Ronald reckoned he could build his own 493-cube Max Wedge big-block with enough stones to go 10s, yet be mild enough for the street.

Using a spare 440 block as a starting point, Ronald had J.B. Machine in Baltimore do the block machine work. Ronald assembled the engine himself using a set of Indy EZ cylinder heads (270cc ports) and a 440-2D dual-plane intake. These were port-matched to Max Wedge dimensions by Dwayne Porter, then combined by Ronald with a 440Source stroker kit, which included 440Source’s quench-efficient 10.6:1 D-dish forged pistons. A mild solid flat-tappet cam by Dwayne Porter (.585/.592-inch lift) works with a Hughes valve train that includes 1.6:1 rockers.

Though Ronald built the engine himself, he’s quick to praise Dwayne Porter: “I bought the heads from Dwayne Porter because he was an Indy dealer. He’s one of the best head porters around. Being a mechanic, I learned how to do a valve job years ago, but with my bad back, I just had him do it. He did a great job. I knew he was going to do a better job than me anyway. He does it every day for a living.”

With the Max-Wedge—inspired 493 hoisted between the fenders, Ronald reattached the 727 he had built earlier for the 440. You’ll also note that Ronald made his own heat riser shield out of sheet aluminum, which provides the 850cfm Holley double-pumper some protection against heat soak. Fortunately, much of that heat is already mitigated by a set of ceramic-coated 2-inch long-tube TTi headers, an Afco aluminum radiator with a mechanical fan, and a back-up pusher electric fan in front. All Ronald’s careful attention to thermal management has resulted in a classic Mopar that can hit the turnpike or sit in traffic without seeing the high side of 190 degrees. “Most weekends I’ll drive it. Once in a while I’ll miss a weekend if I’m having a bad day because of pain from my bad knees,” says Ronald. The farthest Ron has driven it is Chryslers At Carlisle: “It’s about 90 miles one way. There’s no problems with it. It just eats a lot of gas.”

Street driving, however, is only half the game plan. Ronald was able to capitalize on his engine upgrade program, proving out the Indy, Hughes, and 440Source components with a stack of timeslips in the 10s. In fact, Ronald’s best run to date is a 10.76/124.99—on motor alone, with a full exhaust, driving it to the track, and on 92-octane pump gas. “I’m happy with the way it is,” muses Ronald. “The future might be to make it a little faster, but because I’m on disability with a limited budget, I can’t afford to.” But just as we thought Ronald was done, the gears in his head started turning again. “I might want to upgrade to a Dana 60 because the 8 ¾ might break eventually. I might do a full port job on the heads to get it in the lower 10s, but that would be it. I don’t want to run in the 9s. There’s too much stuff you have to do.” Yeah, sure Ronald. We’ve heard it all before…

By Ron Neis’s own estimates, the home-built 10.6:1 compression 493ci big-block Chrysler Wedge puts out around 600 hp on 92-octane pump gas, but considering the trap speed for the 3,725-lb car is almost 125 mph, it’s probably closer to 680. Indy’s 440 EZ heads and dual-plane intake are largely responsible.

The Holley 850cfm double-pumper is well isolated from heat soak by an aluminum shield.

The original 1963 single-circuit master cylinder has been replaced with a safer dual-pot unit from a 1968 Road Runner. Ronald reports that the original ’63 dual-diaphragm booster provides ample stopping force in spite of idle vacuum between 8 – 11 inches.

Making big power with a Max Wedge is rarely an issue—it’s keeping things cool on the street that can be a problem. A mechanical flex fan inside a salvaged Dodge Dakota shroud handles the bulk of air movement through an Afco aluminum radiator. An auxiliary electric pusher fan can be called on for additional air movement.

The interior of Ronald’s 1963 Sport Fury is largely unchanged, including the original black vinyl seats and “typewriter” pushbutton dash. A B&M Pro Stick, Motorola tach, Auto Meter oil pressure gauge, and Stewart Warner water temp gauge have been added. The most important thing, however, is the S&W mild-steel rollbar.

Seen here with its Hoosier strip rubber out back, Ronald Neis Sr’s 1963 Plymouth Sport Fury is a nearly perfect specimen of the street/strip breed that combines streetability, 10-second strip performance, and period-correct looks. It was built over an eight-year period between 2003 and 2011.

Fast Facts

1963 Plymouth Sport Fury Ronald Nies Sr.; Baltimore, MD

ENGINE Type: 493ci RB-Series Chrysler big-block Max Wedge Bore x stroke: 4.350 (bore) x 4.150 (stroke) Block: 1970-vintage 440 Chrysler Rotating assembly: 440Source stroker crank, connecting rods, and D-dish forged pistons Compression: 10.6:1 Cylinder heads: Indy Cylinder Head 270cc 440 SEZ, port-matched to Max Wedge size by Dwayne Porter, 2.19-/1.81-inch valves Camshaft: Dwayne Porter custom-grind mechanical flat-tappet; 264-/270-degrees at .050-inch valve lift, .585-/.592-inch lift Valvetrain: Hughes 1.6 rocker arms, Manton pushrods, dual Comp springs, EDM lifters Induction: Indy Cylinder Head dual-plane 440-2D intake with Holley 850cfm double-pumper Oiling system: high-volume pump with Moroso pan Fuel system: stock tank, 3/8-inch sending unit, 3/8-inch line, Holley black pump Exhaust: TTi 2-inch long-tube headers and 3-inch custom dual-exhaust, Dynomax Ultraflow mufflers Ignition: Mallory distributor with Mopar Performance ignition box, 36 degrees total timing Cooling: Afco aluminum radiator with Dakota truck shroud, mechanical fan, and auxiliary electric pusher fan Fuel: 92-octane pump gas Output: approximately 600 hp (not dyno tested) Engine built by: Ronald Nies Sr. (block machine work by J.B. Machine; Baltimore, MD) Best e.t.: 10.76 at 124.99 mph Curb weight w/driver: 3,725 lbs.

DRIVETRAIN Transmission: 1970-vintage TorqueFlite 3-speed automatic with Turbo Action reverse-pattern valve body and bolt-in sprag; stock Mopar clutches, steels, and seals; built by Ronald Nies Sr. Converter: Frank Lupo Dynamic, 4,200-rpm stall Shifter: B&M Pro Stick Driveshaft: Victory Performance Driveline Parts, steel, custom Rearend: 1965-vintage Chrysler 8 ¾-inch with Detroit Locker, 4.30 gears

CHASSIS Front suspension: stock torsion-bar IFS with Competition Engineering 90/10 drag shocks, sway bar deleted Rear suspension: stock leaf-spring solid axle with Mopar Performance extended-travel drag shocks, Super Stock leaf springs Steering: factory manual Front brakes: factory drum brakes with 1968 Road Runner power-assist master cylinder Rear brakes: factory drums Rollbar/chassis: mild steel built by owner from S&W kit, custom frame connectors

WHEELS & TIRES Wheels: Torq Thurst 15 x 6 (front), 17 x 7 steelies (rear) Tires: Pep Boys 215/70R15 (front); Hoosier Drag Radial 30 x 9 x 15 (front)

INTERIOR Seats: stock black vinyl Instruments: factory “typewriter” instrument panel with Motorola tach, Auto Meter oil pressure gauge, Stewart Warner coolant temp gauge Stereo: JVC stereo with stock dash speaker

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[sowingseedsandshootinghoops]

The Power Inside: Ray Bradbury

Note on the text: I used Something Wicked This Way Comes by Ray Bradbury as published by Harper in 2014.

Ray Bradbury is a poet in prose, and in this book he touches on so many themes so beautifully. One of these themes has to do with how everyone, even the anonymous ones, has within them the power to influence others and how that power can manifest over time, even over centuries, even if no one knows your name.

This theme of influence, of leaving on the world, starts on the very first page where we are introduced to the characters of Jim Nightingale and William Halloway: “Two boys up the gentle slope [are] lying on the grass. Of a like size and general shape, the boys sat carving twig whistles, talking of olden or future times, content with having left their fingerprints on every movable object in Green Town during the summer past and their footsteps on every open path between there and the lake since school began” (5). One can already get sense of the fact that these boys, even though they are only twelve years old, have already left a mark on the world. That their footsteps have already mixed with the footsteps of those who came before, and that they will still be there when a new set of footprints comes to join them.

Jim and Will have been inseparable since birth. They were born two minutes apart and have maintained a very deep friendship despite having two very different personalities. Jim is more streetwise, darker, and more aware of the world around them than the more introspective and upbeat Will is. Yet, it’s the way these two different personalities mix together that leads the reader to agree with the narrator when he says: “God how we get our fingers in each other’s clay. That’s friendship, each playing the potter to see what shapes [they] can make [out] of the other” (18). 

The conversation about a person’a influence and how deep that influence can go gets further developed when Charles Halloway, Will's dad, talks to the boys about love. Love, as Mr. Halloway sees it, is “above all, [a] common cause, [a] shared experience” (197). Love is rooted in, and to some extent actually is, what we share with other people. What pushes us to love another person? It’s when we see something in that person that we recognize, something that is inside of us too. Love is the thing that connects us; it is the most precious human experience: 

Why love the boy in a March field with his kite braving the sky? Because our fingers burn with the hot string singeing our hands. Why love some girl viewed from a train, bent over a country well? The tongue remembers iron water cool on some long forgotten noon. Why weep at strangers dead by the road? They resemble friends unseen in forty years. Why laugh when clowns are hit by pies? We taste the custard, we taste life. Why love the woman who is your wife?. . . . Because her flesh knows heat, cold, affliction [and] I know [what] fire, snow, and pain [are]. Shared and once again shared experience. . . . We love what we know, we love what we are (198). 

What does all this have to do with the topic at hand? Who we love and connect to is heavily influenced by the people and forces in our environment: what movies we see, what languages we hear in our streets and in our homes, what color is the skin of all our friends and neighbors etc. People are more disposed to love that which they can relate to, that which they recognize. You may not know the name of the Muslim baker across the street, or any of the people who run the Jewish temple up the road, or even the actor on your favorite tv show but all these people are having a tremendous impact on your life, more than you may ever really know. Eric Stonestreet, the actor who plays Cam on Modern Family, told a story in an interview a few years ago about a man who came up to him on the street and thanked him profusely for his work on the show. When Eric asked why the boy was thanking him, the boy said that it was because his conservative parents loved the characters of Mitch and Cam on the show that they were able to accept him when he came out of the closet. Again people are more disposed to loving that which they can recognize, and largely the people that affect this level of influence in our lives are fairly anonymous. Which means that we can have the same effect in other people’s lives even if we are anonymous to those other people. 

Finally there is the way in which the people in books continue to affect people long after the book has been written or the events described in the book have taken place. Every unknown soldier who fought in battle, every nameless cook who contributed a recipe, every Native American who helped Lewis and Clark, all of these people in all of these books still influence people to this very day. How many Native Americans were told to follow the example of those Natives who helped Lewis and Clark for example? How many soldiers now are inspired to seek the glory of battle because they were enamored by the size and power of the army of Alexander? These people are not gone, nor are they really forgotten although their names may be. They’re still hear with us, whispering in our ears. A library in some sense is like a small universe containing many worlds: “Listen! and you heard ten thousand people screaming that only dogs feathered their ears. A million folk ran touting cannons, sharpening guillotines; Chinese [people], four breast, marched on forever. . . . [Here] was a factory of spices from other countries. . . [and] down off a way were Tibet and Antarctica [and] the Congo” (13). All the people involved with all these books, whether they are fiction or non fiction, continue to have an impact on nascent travelers, budding cooks, and impressionable soldiers among so many others. The people associated with all these books are, for the most part dead, if they ever lived at all, yet Jim and Will, much like the rest of us rely on the knowledge that they have in order to obtain the answers that they desperately need. 

Looking at all this should make people more aware of the level of influence in their life. Who do they allow to influence most strongly and what is the kind of influence that they have on other people? They say that you should be wary of the company you keep and that is true, but you should also be aware of the fact that you might be a Muslim girl’s sole idea of what a Christian person actually is, and how you treat her might influence whether or not she trusts Christians from here on out. It is important, to some extent, to take responsibility both for the kind of influence that you are in the world, and for the kind of influences that you allow into your own life.