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cinemavariety · 5 years ago

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Cinema Variety’s Top 25 Favorite Films of the Decade

This past decade has been a monumental ten years for the state of cinema. To think that there were actually still video rental stores all around the country, to almost becoming nonexistent, is statement enough to show how vastly audiences have changed the way they consume media. Through much thought and careful deliberation, the following 25 films are my personal favorites of the decade and are what I think best represent all that indie, international and arthouse cinema had to offer over the past ten years. Honorable Mentions: Shame Green Room A Ghost Story The Lost City of Z Knight of Cups 20th Century Women Jackie Blade Runner 2049 The Lighthouse Ingrid Goes West A Hidden Life

#25 - Suspiria (2018) Dir. Luca Guadagnino

“It’s only hours afterward that Guadagnino’s film will cohere for you and yield its buried treasures: the bonds of secret sorority, the strength of a line of dancers moving like a single organism, the present rippling with the muscle memory of the past. It’s so good, it’s scary.”

#24 - Call Me By Your Name (2017) Dir. Luca Guadagnino

“The final beats of Guadagnino’s adaptation galvanize two hours of simmering uncertainty into a gut-wrenchingly wistful portrait of two people trying to find themselves before it’s too late.”

#23 - American Honey (2016) Dir. Andrea Arnold

“Part dreamy millennial picaresque, part distorted tapestry of Americana and part exquisitely illustrated iTunes musical, “Honey” daringly commits only to the loosest of narratives across its luxurious 162-minute running time. Yet it’s constantly, engrossingly active, spinning and sparking and exploding in cycles like a Fourth of July Catherine wheel.”

#22 - Post Tenebras Lux (2013) Dir. Carlos Reygadas

“Some metaphors score and some miss, but this is leap-of-faith cinema: the rewards entail some risks.”

#21 - The Revenant (2015) Dir. Alejandro G. Iñárritu

“Pushing both brutal realism and extravagant visual poetry to the edges of what one customarily finds in mainstream American filmmaking, director/co-writer Alejandro G. Inarritu, cinematographer Emmanuel Lubezki and a vast team of visual effects wizards have created a sensationally vivid and visceral portrait of human endurance under very nearly intolerable conditions.”

#20 - Her (2013) Dir. Spike Jonze

“What begins like an arrested adolescent dream soon blossoms into Jonze’s richest and most emotionally mature work to date, burrowing deep into the give and take of relationships, the dawning of middle-aged ennui, and that eternal dilemma shared by both man and machine: the struggle to know one’s own true self.”

#19 - Annihilation (2018) Dir. Alex Garland

“A shimmering example of what Hollywood sci-fi can achieve when the aim is high, Annihilation is a gripping, mystifying adventure and proof that a transportive experience is more rewarding than a story with clean-cut resolutions.”

#18 - The Neon Demon (2016) Dir. Nicolas Winding Refn

“Spectacular, gross and delicious (so unsavory it’s almost sweet), the film is more proof of Refn’s mastery of his trash aesthetic and more fun than anything this indulgent and empty-headed has any right to be.”

#17 - Waves (2019) DIr. Trey Edward Shults

“Propelled by color, energy, electronic music and a quartet of career-making performances, here is that rare sort of cinematic achievement that innovates at every turn, while teaching audiences how to make intuitive sense of the way it pushes the medium.”

#16 - Mother! (2017) Dir. Darren Aronofsky

“Mother! is something truly magnificent, the kind of visceral trash-arthouse experience that comes along very rarely, means as much or as little as you decide it does, and spits you out into the daylight dazzled, queasy, delirious, and knock-kneed as a newborn calf.”

#15 - Melancholia (2011) Dir. Lars Von Trier

“The vision is as hateful as it is hate-filled, but the fusion of form and content is so perfect that it borders on the sublime. Melancholia is a remarkable mood piece with visuals to die for (excuse the pun), and a performance from Dunst that runs the color spectrum of emotions.”

#14 - Song to Song (2017) Dir. Terrence Malick

“Any number of sequences find feelings both externalized and hidden intermingling within the same shot, continuing in a subsequent image that carries the impression, the feeling, without replicating the exact tenor of what has just been seen. They exist simultaneously as certain backstories and what motivations they may inspire delicately unfold. Malick has found a way to translate how a familiar song has the ability to transport you back to a particular time and conjure a specific set of emotions. Whatever he’s been exploring over the past few years pays off here.”

#13 - If Beale Street Could Talk (2018) Dir. Barry Jenkins

“What Jenkins gets most right—what astonishes me the most about this film—is Baldwin’s vast affection for the broad varieties of black life. It’s one of the signature lessons of Baldwin’s work that blackness contains multitudes. In some ways Beale feels less like a movie than a well-staged, meticulously shot play; a period piece that floats beyond its specific time and place and into the realm of allegory.”

#12 - Samsara (2012) Dir. Ron Fricke

“Simply put, Samsara tells the story of our world, but onscreen, it is so much more than that. A darker and more ambitious meditation on impermanence, Samsara relies on blunt force and unforgettable imagery, overcoming the hazy logic of Fricke's editing to earn your awe.”

#11 - It’s Such a Beautiful Day (2012) Dir. Don Hertzfeldt

“A highly original and utterly enthralling film that touches on staggeringly expansive themes - more typically expected in the work of master auteur and persistent award-winner Terrence Malick, than from animations. An existential flipbook and a heartbreaking black joke: stickmen have never looked so alive.”

#10 - Upstream Color (2013) Dir. Shane Carruth

“You may not be able to figure it out, but that's part of the point of this sensually-directed, sensory-laden experiential (and experimental) piece of art that washes over you like a sonorous bath of beguiling visuals, ambient sounds and corporeal textures.”

#9 - Hereditary (2018) Dir. Ari Aster

“It’s a supremely effective gauntlet of supernatural horror that’s also, at blackened heart, a grueling domestic drama about how trauma, resentment, and guilt can seep into the roots of a family tree, rotting it from the inside out.”

#8 - Spring Breakers (2013) Dir. Harmony Korine

“Spring Breakers seems to be holding a funhouse mirror up to the face of youth-driven pop culture, leaving us uncertain whether to laugh, recoil in horror, or marvel at its strange beauty. Full credit to Korine, who sustains this act of creative vandalism right through to the finish. Spring Breakers unfolds as a fever dream of teenage kicks, a high-concept heist movie with mescal in the fuel tank.”

#7 - The Master (2012) Dir. Paul Thomas Anderson

“Two things stand out: the extraordinary command of cinematic technique, which alone is nearly enough to keep a connoisseur on the edge of his seat the entire time, and the tremendous portrayals by Joaquin Phoenix and Philip Seymour Hoffman of two entirely antithetical men. Written, directed, acted, shot, edited and scored with a bracing vibrancy that restores your faith in film as an art form, The Master is nirvana for movie lovers. Anderson mixes sounds and images into a dark, dazzling music that is all his own.”

#6 - Interstellar (2014) Dir. Christopher Nolan

“It’s a bold, beautiful cosmic adventure story with a touch of the surreal and the dreamlike, and yet it always feels grounded in its own deadly serious reality. An exhilarating slalom through the wormholes of Christopher Nolan’s vast imagination that is at once a science-geek fever dream and a formidable consideration of what makes us human.”

#5 - The Place Beyond the Pines (2013) Dir. Derek Cianfrance

“A brilliant, towering picture, The Place Beyond The Pines is a cinematic accomplishment of extraordinary grace and insight. The movie succeeds both as a high-stakes crime thriller as well as a far quieter and empathetic study of angry, solitary men proves that Cianfrance has a penchant for bold storytelling and an eye for performances to carry it through.”

#4 - Black Swan (2010) Dir. Darren Aronofsky

“A full-bore melodrama, told with passionate intensity, gloriously and darkly absurd. It centers on a performance by Natalie Portman that is nothing short of heroic. This is, no doubt about it, a tour de force, a work that fully lives up to its director's ambitions.”

#3 - Drive (2011) Dir. Nicolas Winding Refn

“From the beginning, it's clear this is not a standard-order action film. It takes its characters as seriously as its chases, shootouts, and fights. Drive dynamically merges a terrific film noir plot with a cool retro look. It's an unapologetically commercial picture that defies all the current trends in mainstream action filmmaking.”

#2 - Blue Valentine (2010) Dir. Derek Cianfrance

“Cianfrance and his actors, Michelle Williams and Ryan Gosling, have not made a cold or schematic film. They aim instead for raw emotional experience, one that's full of insight into the ways a relationship can go astray, but mostly feels like a slow-motion punch to the gut.”

#1 - The Tree of Life (2011) Dir. Terrence Malick

"The Tree of Life is a film of vast ambition and deep humility, attempting no less than to encompass all of existence and view it through the prism of a few infinitesimal lives. I wrote earlier about the many ways this film evoked my own memories of such time and place. About wide lawns. About a town that somehow, in memory, is always seen with a wide-angle lens. About houses that are never locked. About mothers looking out windows to check on their children. About the summer heat and ennui of church services, and the unpredictable theater of the dinner table, and the troubling sounds of an argument between parents, half-heard through an open window.”

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oneweekoneband · 6 years ago

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Today’s first guest post is by my friend and fellow The Singles Jukebox contributor Vikram Joseph.

Counting to 15, 20, 30… - Delayed Queer Adolescence and the Songs of Troye Sivan

- Vikram Joseph

On a humid early August evening a few weeks ago, in one of those converted warehouse bars endemic to inner north-east London, I was chatting over drinks with a guy I’d once dated and had last seen in 2014. There was a lot to catch up on, and the conversation ran unexpectedly, rewardingly deep. It became clear that, though we’re both well into our adult lives by any conventional measurement, we’d each changed and grown significantly in the intervening years in a way that films, books and the media seem to suggest happens in your late teens. The idea of delayed adolescence being a common trope for queer people came up, and I’ve been thinking about it a lot since then. Why do those formative years of growth and the exploration of self-identity seem to happen later for us? Is it a delayed phase of development, a prolonged phase, or both? And how is this reflected in the way we interact, the spaces we choose to spend time in, and the art we consume?

***

A recent viral tweet:

“Gay culture is your life being delayed by 10 years because you didn’t start being yourself until your mid-20s.”

At the time of writing, this tweet has 117,000 likes. Clearly, this is a phenomenon which touches nerves across the spectrum.

To the extent that we can “know” a pop singer through their songs, it seems like Troye Sivan – still just 23, and releasing his second album – has done his growing fairly early on. In just a few years, we’ve heard him go from singing about tentative gay crushes to the fully-realised queer euphoria of his newer songs. And yet, the concept of protracted, stuttering adolescence is crisply, poignantly refracted through his music, and I feel that a lot of his immense appeal to queer people far older than himself can be attributed to this.

***

HEAVEN “The truth runs wild, like kids on concrete.”

“Heaven” deals with the internal struggle for self-acceptance – by no means unique to LGBTQ+ people, but one that everyone who’s grown up on that spectrum will understand intimately, in the form of coming out to yourself. “Without losing a piece of me, how do I get to heaven?” Religion is a useful allegory here, but ultimately a distractor – the duality Sivan is really concerned with here is about happiness. For a lot of us, coming out for the first time feels like a crossroads, where we have to make a choice between one kind of happiness and another, and “Heaven” captures this (false, but very powerful) dichotomy beautifully.

Sivan’s first album, Blue Neighbourhood, hangs heavy with the imagery of suburbia. It’s rich, relatable visual and psychological territory, exemplified in decades’ worth of teen TV dramas and coming-of-age films. Many of us will recognise it as the backdrop to the fraught intensity of that long, tangled conversation with ourselves; the feeling of being on the brink of everything and the precipice of nothing, the intoxicating, paralysing combination of anticipation and dread. Sivan deals with this at 15; for me, I was 20, during university Christmas holidays, back in the dull hum of suburbia. Maybe there’s something about it that gives us the emotional space to plumb the depths of those brave new ideas. “Heaven” conjures this musically as well as lyrically, with a tense two-chord shuffle, close, muffled production, and Betty Who’s guest turn evoking a better angel from the future, reassuring us, beckoning us towards the light. If I’d heard it at 20, or earlier, it would have destroyed me; it might even have accelerated my own journey.

Sivan sings about “counting to 15”, the age at which he came out to his family. There’s something that invariably surprises straight people, when I’ve tried to explain it to them, but will come as no surprise at all to anyone else, and it is this: coming out never stops. Every new environment presents a decision to make and a challenge to face; and while it gets easier (and can often be an incredibly liberating experience), it’s never a formality. The subtler aspect to this is that there is no end-point to coming out to yourself, either. Accepting yourself as a gay person is just the beginning; there follows years and years of figuring out what that means. And I think this lies at the heart of delayed queer adolescence. These are questions of identity that are near-impossible to figure out alone, and many of us aren’t surrounded by other people with the same questions until much later – either due to geography, or opportunity, or not realising how badly we need to be, or maybe all of the above. And so “counting to 15” (or however old we are when we get there) is a countdown to the real start of our lives, rather than to any sort of conclusion.

***

TALK ME DOWN

“You know that I can’t trust myself with my 3 a.m. shadow.”

Queer mental health remains poorly understood and inadequately talked about, both in the mainstream press and in medical circles. Working as a doctor, I’ve witnessed the stigma towards LGBTQ+ patients from other medical professionals – rarely overtly hostile, but often casual, unthinking and pernicious. The mental health charity Mind believe that 42% of gay men, 70% of lesbians and 80% of transgender people experience mental illness; the statistics for gay men are almost certainly an underrepresentation, as men in general are less likely to report symptoms.

Early on in his powerful book “Straight Jacket: Overcoming Society’s Legacy of Gay Shame”, the journalist Matthew Todd runs through an harrowing litany of case studies of young gay people who have lost their lives to suicide, violence and addiction. He then explores the factors behind this, both intrinsic and extrinsic to the gay community, and hones in particularly on the near-universal gay experience of shame (in its many forms) during our formative childhood and adolescent years as a key determinant of depression, anxiety, poor body image, low self-worth, and harmful patterns of behaviour.

On the gorgeous, shimmering ballad “Talk Me Down”, Blue Neighbourhood’s emotional centre of gravity, Sivan sings (possibly from a friend or partner’s perspective) about dark thoughts, struggling for self-acceptance, and, implicitly, ideas of suicide. The accompanying video is high melodrama, but then, so is coming to terms with your sexuality. “I know I like to draw the line when it starts to get too real / but the less time that I spend with you, the less you need to heal” cuts to the heart of the conundrum most young gay people face – desire, and a need to be open and liberated, versus deeply-ingrained feelings of guilt, fear and shame. In his book, Todd argues that these are socially determined but can be overcome, but it’s hardly surprising that it takes a long time to get there – and hence, “normal” emotional development is a protracted experience.

***

YOUTH

“What if we’re speeding through red lights into paradise?”

It’s easy to forget that there are very few conventional pop songs on Blue Neighbourhood. “Youth” (and “Wild”) are probably the closest, but while it might be tempting to read “Youth” purely as a love song, I think its real core lies in escapism, another trope prevalent among (although, clearly, not unique to) young gay people. The imagery is wild and fantastical – “trippin’ on skies, sippin’ waterfalls” – and I distinctly remember writing similar (albeit much worse) songs at 15 or 16, cosmic love songs to no one in particular about things I knew nothing about.

Todd’s “Straight Jacket” has an interesting chapter on how he believes escapism informs archetypal LGBTQ+ tastes in pop, musicals, science fiction, horror and drag. I don’t always agree with the specifics, as I think we’re a broader church than he implies. But it’s hard to argue with the queer impulse for escape, particularly in our years of self-discovery, into spheres where our possibilities are limitless, our own selves freer and more confident, and our fears diminished. It’s maybe a symptom of that delayed development, of more years spent in limbo. When I listen to “Youth”, it gives me a clean hit of that feeling, particularly in the bridge, with “the lights start flashing like a photobooth” simulated by pulsing, strobe-light synths.

***

MY, MY, MY!

“Let’s stop running from love.”

Bloom, Sivan’s second album, finds him confident, assured and in love. It’s a big step, though not a quantum leap, from much of Blue Neighbourhood, and I’m interested in the in-between. “Running from love” perhaps gives a little away. It’s hard for us to know how to approach dating, love and sex. Certainly, queer people might feel unconfined by traditional heteronormative conventions or ideals, but equally many of us crave what our straight friends and families have. (It’s important to note that, of course, it’s not one or the other.) I think “running from love” speaks to a queer (and perhaps more universal) anxiety – after what feels like forever waiting for opportunities that feel tantalisingly out of reach, embracing a singular, tangible thing at the expense of all other potential things is terrifying.

Still, this is a dizzy, ecstatic, seductive love song. The expression “my, my, my” can seem trite in a pop song, but Sivan sells it as breathless disbelief. Some things are hard-earned.

***

ANIMAL

“No angels could beckon me back.”

And so we come full circle. The religious imagery is no coincidence; on Bloom’s stunning closer, the gorgeous, hazy reverie of “Animal”, we understand the heaven the Troye Sivan managed to reach.

It takes some of us a long time to get there, and the destination is different for all of us. I’m currently reading Michael Cunningham’s classic queer novel “A Home at the End of the World”, in which the character of Jonathan, at 27, tries to navigate the differences between the sort of settled, faintly bleak domesticity of the kind his parents have lived (“the fluorescent aisles of a supermarket at two in the afternoon”) and the often lonely, unfulfilling search for a different kind of home and family in the city (gay literature is fascinatingly fixated on homes and families, albeit often unconventional ones). It resonates with me. As queer people, the usual rules don’t have to apply – the expectations of one milestone and then the next, the pragmatic retreat back into suburbia at 30 – and that presents a different set of challenges.

I believe it’s a double-edged sword. Queer adolescence might be delayed because of our differences in the world, but equally, we are different because of that delayed development. It informs the way we experience life. Beautiful art is created because of those differences; hell, we might even be lucky enough to create some ourselves. And so, way beyond 15, most of us are still counting, still trying to understand, still discovering ourselves and each other, searching for logical families and people to grow with. No angels could beckon us back.

#troye sivan

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eddycurrents · 6 years ago

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For the week of 21 January 2019

Quick Bits:

Aquaman #44 continues “Unspoken Water” from Kelly Sue DeConnick, Robson Rocha, Daniel Henriques, Sunny Gho, and Clayton Cowles. This story feels a lot like some of the ‘80s DC reimaginings that came on the heels of Crisis on Infinite Earths, playing with the mythology in a new way while approaching the narrative from oblique angles. Definitely an interesting revelation about the people on the island. Rocha, Henriques, and Gho are probably doing some of the best art of their careers.

| Published by DC Comics

Avengers #13 gives us the origin of the 1 million BC Iron Fist from Jason Aaron, Andrea Sorrentino, Justin Ponsor, Erick Arciniega, and Cory Petit. The artwork from Sorrentino, Ponsor, and Arciniega is gorgeous, capturing some of the feel that David Aja brought to K’un-Lun in The Immortal Iron Fist.

| Published by Marvel

Batman #63 continues to attempt to break your brain as “Knightmares” continues with Mikel Janín and Jordie Bellaire joining Tom King and Clayton Cowles for the fun. This one gives another possible explanation for what’s going on as John Constantine warns Bruce and Selina of what’s going to happen in their domestic bliss.

| Published by DC Comics

Blossoms 666 #1 is kind of a slow-burn opener, intent on easing the reader into the surprises of this type of horror, which somewhat works against the back cover blurb and solicitation copy, but eh. Still, some great character work from Cullen Bunn building Cheryl and Jason. And the artwork from Lauren Braga and Matt Herms is perfect.

| Published by Archie Comics / Archie Horror

Cover #5 kind of sets us up for a conclusion next issue. Kind of. It’s more character building, anecdotes from comics conventions, and exploration of the art form through various means that has elevated the series from the beginning from Brian Michael Bendis, David Mack, Michael Avon Oeming, Zu Orzu, and Carlos Mangual. The Ninja Sword comic sequences this issue are particularly great.

| Published by DC Comics / Jinxworld

The Curse of Brimstone Annual #1 offers three stories, one focusing on Brimstone and two fleshing out adversaries Detritus and Wandering Jack. Great art throughout from Mike Perkins, Neil Edwards, John Stanisci, Denys Cowan, Donald Hudson, and Rain Beredo.

| Published by DC Comics

Crypt of Shadows #1 is one of the one-shot revivals of old titles for Marvel’s 80th anniversary from Al Ewing, Garry Brown, Stephen Green, Djibril Morissette-Pham, Chris O’Halloran, and Travis Lanham. It’s pretty great, presenting two short stories embedded in a framing narrative, reminiscent of the old horror anthologies.

| Published by Marvel

Die!Die!Die! #7 is more balls to the wall action and insanity from Robert Kirkman, Scott Gimple, Chris Burnham, Nathan Fairbairn, and Rus Wooton. It’s the battle between Lipshitz and Barnaby that has been building for a while now and, well, it’s violent, bloody, and brutal as you’d expect. Also, cats.

| Published by Image / Skybound

Freedom Fighters #2 is mostly some vague teasers of things to come and one giant, flashy fight sequence, but it’s an entertaining fight sequence. The art from Eddy Barrows, Eber Ferreira, and Adriano Lucas really get to do the heavy lifting in this story and it shines.

| Published by DC Comics

Friendly Neighborhood Spider-Man #2 proves that the first issue wasn’t a fluke, with Tom Taylor, Juann Cabal, Nolan Woodard, and Travis Lanham providing another highly entertaining, very funny, beautifully illustrated story. Taylor captures Peter’s voice incredibly well.

| Published by Marvel

Go-Bots #3 jumps a bit in the narrative, with a team of astronauts aboard Spay-C discovering Gobotron, where a decidedly authoritarian Leader-1 is taking some draconian measures to keep the Guardians in line, while still fending off Cy-Kill and his minions. Tom Scioli keeps us off-balance a bit for what’s going on and it adds a nice tension to the story. Also, the locking mechanism for the prison cell is a nice touch of nostalgia.

| Published by IDW

Guardians of the Galaxy #1 is a great debut from Donny Cates, Geoff Shaw, Marte Gracia, and Cory Petit, setting up a new post-Infinity Wars Marvel cosmic standard. There’s a good deal of action and humour through this as Thanos’ wake leads to many of the cosmic “heroes” pledging a path to an odd bloodbath--with a large amount of Earth-based heroes as possible targets--and a heist of his body by the Black Order (who’ve also stolen Knowhere) before anything can get underway. This is probably one of the stranger “gathering of the team” stories, but it gets it out of the way in a fascinating manner to hit the ground running next issue. The art from Shaw and Gracia is suitably epic.

| Published by Marvel

Hardcore #2 has some very nice art from Alessandro Vitti and Adriano Lucas, as Drake finds he has his hands full with both Markus trying to fully take over the Hardcore program and the criminal organization he was trying to take down being on to him. Both trying to kill him. Lots of entertaining action in this one.

| Published by Image / Skybound

Hellboy and the BPRD: 1956 #3 brings up some interesting history questions for the Bureau and certain locations we already know about, as Mike Mignola and Chris Roberson’s script continues to dovetail some already existing knowledge of history.

| Published by Dark Horse

High Heaven #5 conclude season one of this series as well, leaving David exactly where he wished to be, but finding out it’s not necessarily what it’s cracked up to be. Tom Peyer, Greg Scott, Andy Troy, and Rob Steen have really been delivering a bitingly funny take on the afterlife here. Also another fun Hashtag: Danger short from Peyer and Chris Giarrusso. I’m glad that this one is going to be graduating to its own feature for Ahoy’s second wave of books. And the issue is rounded out by the usual prose stories and text pieces.

| Published by Ahoy

Immortal Hulk #12 is a tough one. Even as Hulk travels deeper into the heart of Hell and Al Ewing continues to wax philosophical in the narration about the nature of evil and the concept of the devil or an opposite to god in comparative religions, we get a hard look at Bruce’s upbringing and the abuse that he suffered at the hands of his father. It’s a difficult read as his father tries to justify his abusive actions, but it’s one hell of a character study. Great guest art on the flashbacks from Eric Nguyen to complement the main story’s art from regulars Joe Bennett and Ruy José, with colours from Paul Mounts. It’s astonishing the heights that this run is hitting, one of the best Marvel is publishing.

| Published by Marvel

Justice League #16 concludes “Escape from Hawkworld” from Scott Snyder, James Tynion IV, Jim Cheung, Stephen Segovia, Mark Morales, Tomeu Morey, Wil Quintana, and Tom Napolitano. It’s very much a lore dump, with the Martian Keep telling J’onn about the multiverse before and of Perpetua, along with some interesting and complicated other revelations, but it’s rather interesting.

| Published by DC Comics

Livewire #2 sees Amanda captured, beaten, and mutilated by mercenary bigots at the behest of the US government to figure out a new way to control and neuter psiots. It’s always interesting that these people think they’re doing the “right thing” to justify their genocide. Very impressive artwork from Raúl Allén and Patricia Martín as always. Allén and Martín‘s choices for layouts, colours, even panel-styles lead to some very interesting visual storytelling.

| Published by Valiant

Low Road West #5 concludes the series, but leaves enough doors open for more somewhere down the line. This has been a very strange series, starting as a kind of post-America future and then tossing in some alternate reality weird western body horror stuff out there. All throughout with some inventive and unique artwork from Flaviano and Miquel Muerto.

| Published by BOOM! Studios

Man Without Fear #4 presents us with the bedside manner of Kingpin from Jed MacKay, Paolo Villanelli, Andres Mossa, and Clayton Cowles. I really like Villanelli’s art here, which seems to be channelling the spirit of Chris Samnee.

| Published by Marvel

Naomi #1 is an incredibly beautiful comic. Jamal Campbell has really gone out of his way to craft a gorgeous first issue, perfectly balancing the ordinary, everyday people of Port Oswego, Oregon and the disruption caused by the superheroics of Superman bouncing through in a battle with Mongul. Brian Michael Bendis, David F. Walker, Campbell, and Josh Reed have something interesting here, working at the fringes of the DC Universe from the perspective of ordinary people, and ordinary people not living in a Metropolis or Gotham at that.

| Published by DC Comics / Wonder Comics

Oliver #1 is an amazing debut from Gary Whitta, Darick Robertson, Diego Rodriguez, and Simon Bowland. It’s worth it alone just for Robertson and Rodriguez’s extremely beautiful, detailed artwork, bringing to life a bombed out, desolate London in stunning detail, but then the story hooks you. There’s a mystery to Oliver’s identity and lineage that pulls you in and the development of a society of an unwanted class of disposable clone soldiers is very compelling.

| Published by Image

Pearl #6 is a very interesting conclusion to the first arc from Brian Michael Bendis, Michael Gaydos, and Joshua Reed. Great bits of comedy throughout what is otherwise a fairly heavy issue. Stunning artwork from Michael Gaydos.

| Published by DC Comics / Jinxworld

Quincredible #3 continues to build the world around Quin, as well as showing him learning through action, and finding out the complications of living in a fairly tight knit community where everyone knows everyone. The predicament that Rodney Barnes, Selina Espiritu, Kelly Fitzpatrick, and Tom Napolitano leave us in is compelling and really develops well through the narrative.

| Published by Lion Forge / Roar / Catalyst Prime

The Spider King: Frostbite continues Hrolf’s adventures, now trying to cleanse the world of any remaining alien presence, in this one shot. The main story is a fun tale taking on another brand of infected creatures from the mini-series team of Josh Vann, Simon D’Armini, Adrian Bloch, and Chas! Pangburn. There’s also a back-up starring Sigrid taking no bullshit from Vann, Pangburn, and art by Daniel Irizarri.

| Published by IDW

Superior Spider-Man #2 is essentially an issue-long fight between Terrax and Octavius, but it’s rather entertaining, from Christos Gage, Mike Hawthorne, Wade von Grawbadger, Victor Olazaba, Jordie Bellaire, and Clayton Cowles. The artwork is incredible throughout and there are some humorous cameos.

| Published by Marvel

Teen Titans #26 is the first of this series I’ve picked up, largely since in a few months it will be crossing over with Deathstroke, and it’s not bad. It seems intertwined with Red Hood (another title I’m not reading), but all of the necessary information seems to be being provided in the story, giving no problems with narrative flow. Adam Glass adds some very nice humour in the dialogue that keeps things snappy. The art from Bernard Chang and Marcelo Maiolo also nicely captures a youthful vibe.

| Published by DC Comics

Teenage Mutant Ninja Turtles #90 begins to pick up the pieces from the EPF’s assault on Burnow Island, as well as weaving in the bits and pieces from the recent macro-series, as the Turtles and the Mutanimals hold a wake for Slash. Great art from Michael Dialynas and Ronda Pattison.

| Published by IDW

X-O Manowar #23 begins “Hero” from Matt Kindt, Tomás Giorello, Diego Rodriguez, and Dave Sharpe. It’s largely set-up,--bringing back the bounty hunters who assaulted Aric previously, showing off Kate’s new ship in action against said bounty hunters, and then Aric wondering how he pees in the suit--, but it’s damn entertaining. Also, Giorello and Rodriguez practically put on a clinic for visual storytelling.

| Published by Valiant

Other Highlights: American Carnage #3, The Avant-Guards #1, The Beauty #26, Buffy the Vampire Slayer #1, Cloak & Dagger: Negative Exposure #2, DuckTales #17, Exorsisters #4, GI Joe: A Real American Hero - Silent Option #3, Grumble #3, Jim Henson’s Beneath the Dark Crystal #6, Kaijumax: Season 4 #4, Lightstep #3, Lucifer #4, Mars Attacks #4, Monstress #19, Outcast #38, Regression #15, Rise of the TMNT #4, Road of the Dead: Highway to Hell #3, Shuri #4, StarCraft: Soldiers #1, Star Trek: The Next Generation - Terra Incognita #6, Star Wars #60, Sukeban Turbo #3, War is Hell #1, The Witcher: Of Flesh & Flame #2

Recommended Collections: Battlepug Compugdium, Black Panther - Book 6: The Intergalactic Empire of Wakanda Pt. 1, Cosmic Ghost Rider: Baby Thanos Must Die, Coyotes - Volume 2, Daredevil - Volume 8: The Death of Daredevil, Jughead: The Hunger - Volume 2, Marvel Two-in-One - Volume 2: Next of Kin, Polar - Volume 1: Came from the Cold, The Problem of Susan & Other Stories, Proxima Centauri, X-O Manowar - Volume 6: Agent

d. emerson eddy did not eat the last piece of cherry pie. It was the cats, they’re trying to frame him.

#This Week in Comics

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weekendwarriorblog · 3 years ago

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The Weekend Warrior 10/8/21 - NO TIME TO DIE, THE RESCUE, MASS, LAMB, NIGHTSTREAM, and More

It's a very special week here at the Weekend Warrior because October 10 will be my 20th (!!) anniversary as a film critic and the 20th anniversary of me doing a weekly movie preview column, mostly about box office but also with reviews and other stuff. Pretty cool, huh? (I’m celebrating this occasion by writing this column to the music of Public Enemy’s Apocalypse 91 which is 30 years old this month.)

Of course, this column wasn't called The Weekend Warrior in the early days, as I was instead doing "Half-Assed Analysis” at a long-gone Hollywood Stock Exchange fan site called HSJ.org. But then, it was a conversation with Mirko P. from ComingSoon.net (R.I.P.) that got me on the track of changing the name to "The Weekend Warrior" even though it would be a year before I would actually bring it to ComingSoon for 12 ½ wonderful years. The column has gone through a number of transformations and evolutions and iterations over the years, sometimes it being called something different just 'cause I didn't want to go through the ordeal of explaining to one of my bosses at a website that "The Weekend Warrior” is my own, and if I leave, it goes with me.

Anyway, I have taken a few weeks off over the years, particularly earlier this year when it just didn't seem a good time to be trying to predict box office, and I was starting to get burnt out on reviews. Now, the column is kind of back to being mostly about box office but with a few reviews, which is how I've always intended it.

Who knows if I'm going to continue this on that much longer, because honestly, there's no money and very little reward, and it does take a lot of time to write this up each week, especially with all the work I have to do for Below the Line. Anyway, for now, I'm going to keep it going, and we'll see how it goes. But Happy 20th Anniversary to me, and I can promise you… there won't be 20 more. NO FUCKING WAY.

Before we get to this week’s theatrical releases, I feel the need to mention the first of a bunch of October horror film festivals, as NIGHTSTREAM will begin on Thursday and run through Oct. 13. This is an amazing streaming horror/genre film festival that was instituted last year by four festivals, the Boston Underground Film Festival, the Brooklyn Horror Film Festival, the North Bend Film Festival, and the Overlook Film Festival when all four were cancelled due to COVID. Some of these are still happening this year as physical in-person festivals but Nighstream continues on. Some of the guests at this year’s Nightstream are The Green Knight director David Lowery; Akela Cooper, who wrote the recent James Wan horror film, Malignant; horror and special make-up FX legend Greg Nicotero, who is also the showrunner on the Creepshow anthology series, and more.

There are so many movies and events going on in the week of Nightstream but some of the highlights include the World Premiere of Jefferson Moneo’s Cosmic Dawn, Scott Friend’s feature debut, To the Moon, and the Virtual Premiere of Scott Barber’s doc, This is Gwar, as well as much more.

You can see the full list of movies here and learn how to get a pass at the official site.

Let’s get to some other movies hitting theaters...

Obviously, the big release of the weekend and maybe the month is the 25th James Bond movie, NO TIME TO DIE (MGM), once again starring Daniel Craig in his final outing as 007, his fifth movie in a run that started with Casino Royale in 2006 and 15 years later, it’s coming to an end.

Obviously, this being Craig’s last stint as Bond is a big draw for the movie, but there are other interesting things to note First, it’s directed by True Detective’s Emmy-winning director Cary Joji Fukunaga, who is making his biggest budget movie to date, having started with smaller films like Sin Nombre and Jane Eyre, and then getting more attention for his festival favorite, Beast of No Nations, starring Idris Elba, who for a while, people seemed to want to play the NEXT Bond.

Much of Bond’s colleagues and friends from past movies are back including Naomi Harris as Moneypenny, Ralph Fiennes as M, Ben Whishaw as Q, but it also brings back Jeffrey Wright, who was introduced as Felix Leitner in Craig’s first film, Casino Royale, and also a few people from the last Bond movie, Spectre, which wasn’t received as well as the previous one, Skyfall. (More on those things in a bit.) Christoph Waltz played Blofeld in Spectre (for better or worse), and he’s back, as is Léa Seydoux, who played Bond's love interest, and actually she continues said role but brings more to the plot.

The new cast is pretty significant, starting with Oscar winner Rami Malek (Bohemian Rhapsody) as the new arch-villain, Safin, and actually, there’s also a new 007 in Lashana Lynch, who replaced Bond after he retired from MI6. There’s another “Bond Girl” (if you don’t mind the outdated trope) in Ana de Armas, who previously starred with Craig in Rian Johnson’s Knives Out, which feels like it was made 500 years ago but actually has a sequel shooting as we speak. In fact, Armas seems to be getting the best notices from everyone who writes about the movie, even though her section probably isn’t more than 15 minutes long.

I’m not going to say more about the plot. You either don’t need to know it in advance cause you’re seeing it anyway or you don’t WANT to know anything, and good for MGM for being able to keep the plot and lots of stuff secret despite the movie being delayed for 18 months due to COVID.

That’s right. No Time to Die was probably one of the first movies delayed due to COVID, and it definitely wasn’t the last, but MGM (and EON Productions) really stuck to their guns, and didn’t allow a streamer to come forward with millions and millions of dollars to put James Bond on streaming. (Granted, Amazon did come forward and ended up buying MGM outright earlier this year, and we’ve yet to see how and when that will come to fruition. As far as I know, Amazon has nothing to do with MGM’s 2021 releases, of which there are a few still to come.)

Actually, the fact that MGM is releasing this one on its own is an interesting point in itself, because it’s been almost 20 years since the studio has done that with Pierce Brosnan’s last Bond film, Die Another Day. In the time since then, MGM has been co-distributing its films with other studios until fairly recently -- the last four Bond movies were released by Sony Pictures. I’m not gonna throw shade at MGM, because they’ve been doing a fantastic job with No Time To Die, essentially marketing the movie once back in early 2020 and then again for its final release spot this Friday. In between, the movie has moved a number of times as COVID just kept ambushing its planned release date. Any weaker studio (like, say Sony) would have just sold the movie off (as Sony has done many times over the past 18 months until finally having a theatrical hit with Venom). Interesting how that works out, huh? MGM took over Bond, and now it’s releasing the new Bond a week after Sony’s biggest 2021 hit, essentially killing its chances at having a decent second weekend.

Others are seeing how well Venom did and are assuming that the box office is back, and that Bond can do even BIGGER numbers, but you need to take a few things into account, including something called REALITY. And it comes from the wonderful box office archive site, The-Numbers.com, which I have been using for those 20 years mentioned above.

Up until Daniel Craig took over the role, the biggest opening for a Bond movie (not accounting for inflation) was Brosnan’s Die Another Day with $47 million. Casino Royale opened with just $40 million in 2006, but it proved to have significant holiday legs as more people discovered it and decided that the new direction of tougher and grittier and more violent action was for them. It made $167 million domestically and $594 million globally. A few years later, Quantum of Solace had a much bigger opening of $67.5 million but made almost the exact same amount domestically -- the reason? People didn’t like it as much as Casino Royale, so it was more frontloaded.

Oscar-winning filmmaker Sam Mendes took over the 50th anniversary Bond movie, Skyfall, four years later, and that was generally as well received as Casino Royale, so that it set a new opening record for the franchise with $88.3 million and OVER A BILLION worldwide. Woo! Three years later, Spectre was going to introduce two classic Bond villains, Blofeld and Jaws (played by David Bautista) but it once again wasn't received that well, and it opened lower with $70 million and “only” made $200 million domestically vs. the $300 million of Skyfall. It still made over $879 million globally, but a final movie for Craig was always going to happen.

Now I’m going to talk about why I don’t think No Time to Die is going to break the opening record set by Skyfall, and believe it or not, it's not because of COVID. This is the thing. Bond clearly peaked with Skyfall and then it dropped down with Spectre, and that movie wasn't that well-received either by critics or fans with 63% from the former on Rotten Tomatoes and 61% from audiences. That is basically Quantum of Solace numbers and down from Skyfall's 92% and 86%. You take that disappointment and then you add six years, which is how long it's been between Bond movies, and you have a lot fewer people interested in shelling out money to see another Daniel Craig movie. There's no way around the fact that people are just burnt out on Craig and maybe Bond himself, and it really would take a huge wave of positive reviews to get them back.

Also, and unlike Venom, Bond is about as white as you can get in terms of a fanbase. I'm sure there's some African-Americans and LatinX movie fans who enjoy the action and stuff, but do you think you would see the entire James Bond collection in their Bluray libraries? I'm sure there are some, but they may be outliers, because Bond is the kind of Baby Boomer anti-woke un-PC franchise that the Millennials have been warning you about for years. It also doesn't have as big a female fanbase as other franchises (like Marvel) so that's another audience that might not rush out to see the movie. Sure, some changes have been made, including additions like Lashana Lynch or as she's better known, "WHO?!?!?", and de Armas, as well, but it's still the same old James Bond. Fukunaga just didn't try hard enough to make the necessary changes, or maybe he wasn't allowed to, because EON's Barbara Broccoli and Michael G. WIlson still hold very tight reins on the Bond films. Whatever has been done may not just be enough and who knows how many will want to see No Time to Die just to give Craig a glorious send-off? There's also the matter of No Time to Die being almost an hour longer than Venom -- longer run time, less screenings, less money per screen. It's simple math.

I already reviewed the movie for Below the Line -- I liked it but had some issues -- and it’s sitting pretty at 83% Fresh on Rotten Tomatoes, which is a good sign for getting the interest of fans to return to theaters for a movie that won’t be available on streaming on VOD for quite some time, I’d imagine.

I’m feeling generally bullish (or is it bearish?) on No Time To Die, especially with how much better Venom: Let There Be Carnage did last weekend compared to my prediction (OUCH!) but I’m also keeping track of that REALITY I mentioned before. Not just COVID on this one, but also opening the movie earlier overseas where the movie can be easily bootlegged and put on piracy sites for people who just don’t want to chance it at movie theaters yet. (I’m going to be writing more about this soon, but I have seen probably 100 movies or more in theaters since they reopened in NYC, and I get tested regularly. I have not tested positive for COVID once.)

The movie has done very well overseas, scoring $121.3 million in its first weekend, but I still don’t think it will open over $80 million in North America. But I do think it will be close, and I wouldn’t be surprised if it opens somewhere between $75 and 80 million.

Without knowing if any of the movies below might be going wider (but highly doubting it), here’s what the weekend Top 10 might look like. Actually, let’s make that the top 8 cause last week’s #9 and 10 were so odd and I have no idea if anything is expanding wider, as I write this:

1. No Time to Die (MGM) - $76.5 million N/A

2. Venom: Let There Be Carnage (Sony) - $31.5 million -65%

3. The Addams Family II (MGM/UA Releasing) - $9.3 million -45%

4. Shang-Chi and the Legend of the Ten Rings (Marvel/Disney) - $ 3.5 million -43%

5. The Many Saints of Newark (New Line/WB) - $2.1 million -55%

6. Free Guy (20th Century/Disney) - $1.3 million -45%

7. Dear Evan Hansen (Universal) - $1.1 million -57%

8. Candyman (Universal) - $700,000 -47%

I think there are just way too many great movies to pick just one "Chosen One,” but since I probably should decide, I'm going with Jimmy Chin and Elizabeth Chai Vasarhelyi's new documentary THE RESCUE (National Geographic). You may remember Jimmy and Chai from when they won the Oscar for Free Solo, and their latest is just as good. The rescue in the title refers to the 2018 rescue of an 11-kid Thai soccer team called the Wild Boars and their coach when they became trapped in the Tham Luang caves in Northern Thailand, as the annual monsoon season hits early, flooding the caves in which they’re exploring.

To fully understand how they got trapped, you have to have some idea of the structure of this underground cave system, and this film does a great job explaining how the monsoons create flooding in the caves and how much harder it is to get someone out of them when the rain just won’t stop. Two British cave divers, John Volanthen and Richard Standton, are called in to survey the situation and figure out if there’s a way to get the dozen trapped out alive, as time keeps passing until it seems like those kids are trapped without food longer than any human can survive. Seemingly, thousands of locals and foreigners come to the caves in hopes of helping, whether it’s trying to pump out water or dig new tunnels to try to find where the kids are trapped (which is a difficult task in itself).

There’s a good chance you were watching the news and you know the results of this elaborate and daring cave diving rescue, but you definitely don’t know how the plan was developed and pulled off until you actually watch it as it’s taking place. The underwater and cavern footage of the kids and their saviors is absolutely second to none, and it’s hard not to get emotional in the way Chin and Vasarhleyi assemble the footage with the music.

The Rescue is an amazing movie, maybe as good as the duo’s previous one, Free Solo, and it may be the best recapturing/documentation of an important news event that I’ve seen in recent memory.

I was seriously close to having multiple "Chosen Ones” this week, because there are a few other very good movies, including Fran Kranz’s directorial debut MASS (Bleecker Street), which premiered at the Sundance Film Festival, and deservedly received mass praise and stellar reviews. I don't want to say too much about the movie, because its emotional power may lay in not knowing too much about it in advance. The simplest plot is that it involves two couples meeting in the room of a church to have an important face-to-face about a difficult subject, one that needs resolution and absolution from both parties. If you like great writing and amazing performances, than the work of Reed Birney and Anne Dowd (as one couple) and Jason Isaacs and Martha Plympton (as the other) will make this movie a can't miss.

Again, without getting too deep into what the couples discuss, Mass is written and directed similar to one might do a 90-minue one-act play, but it begins with us seeing the people who work at the church trying to set up the room where this eventful tete a tete will take place. It’s surprisingly witty and even elicits a few laughs from Breeda Wool, who is so nervous and awkward about the meeting that’s about to happen.

When the two couples arrives, that’s where we really get into it, but it still starts out slow, a re-aquaintance phase between the two couples, who clearly have a difficult past, try to get through the niceties before getting into the serious conversation at hand. And here is where I’m gonna put a HUGE SPOILER IN HERE FOR THE NEXT PARAGRAPH.

As with so many movies, Mass deals with gun violence and the survivors of the types of school shootings we’ve seen far too many times in the last two decades. Isaacs and Plympton’s son was killed by the other couple’s son, who turned the gun on himself. It creates this dynamic where both couples have lost a son they loved, but Dowd and Birney are put in a spot where they have to try to explain their son’s behavior and if they saw that he was capable of such violence before the shooting took place.

The actors are all terrific, and while you might think a dialogue-heavy movie with four actors sitting at a table might not do much for you… well, first of all, you can go see No Time to Die if that’s more your speed … but Kranz’s direction is more than just getting these emotional performances out of his actors but also capturing it on film and editing it to best effect. There’s even an imperfection to the camera work, sometimes focusing on one actor while another is talking, that makes this long conversation feel even more authentic, as if you’re a fly on the wall in that room.

Again, the writing and performances and direction of Mass makes it one of the most powerful dramatic works this year. I’d love to see any of the four main actors get awards attention, but especially Dowd and Isaacs, who have been so deserving of awards love for a very, very long time.

Icelandic filmmaker Valdimar Jóhansson's LAMB (A24) is a very different movie, this one starring Noomi Rapace and Hilmir Snær Guðnason as Maria and Ingvar, a couple living on a sheep farm (or rather, a lamb farm -- I honestly don't know the difference) who make an incredible discovery when a lamb gives birth to a child they decide to raise as their own. Invar's brother Pétur is not only not impressed but he thinks they’ve gone crazy, but there’s a lot of far more nefarious things going on in and around their remote and isolated farm.

This is a really fascinating film, one that’s fairly subdued but Johansson and his cinematographer (Eli Arenson) beautifully capture the vast landscapes of Iceland and gives us a real idea of how remote and isolated the farm where it mostly takes place is. He also does a great job building on the mystery of this child and the tension that surrounds where it came from, and yet, I’m not sure I’d consider Lamb to be horror, even if A24 is maybe marketing it in that direction. Really, it’s more magical fantasy mixed with character drama, and Rapace is just great as always, really impressing me with her skills delivering baby animals and driving a tractor.

If you dig a bit deeper, you’ll discover that Jóhansson wrote the screenplay with one “Sjón,” an author who has contributed to Lars von Trier's Dancer in the Dark (one of my favorite musical movies) and also wrote The Northman, Robert Eggers next movie.

This is a terrific debut by Jóhansson -- I have an interview with the director over at Below the Line, too -- and it will be highly interesting to see where he goes from here.

I was hoping to watch and review SOUTH OF HEAVEN (RLJEfilms), the new movie from Aharon Keshales, the co-director of the fantastic Israeli thriller, Big Bad Wolves, which stars Jason Sudeikis, Evangeline Lilly, Mike Colter, and Shea Whigham, but I fell foul of a lousy screener and just didn't have tie to watch it before writing this week's column. Sudeikis plays Jimmy, a convict who has served 12 years for armed robbery who gets early parole, and he swears to give his childhood love Annie (Lilly), who is dying from cancer, the best final year of her life.

I also didn't get a chance to watch Russian filmmaker Evgeny Ruman's comedy GOLDEN VOICES (Music Box Films), which opens in New York and L.A. this weekend. It stars Maria Belkin and Vladimir Friedman as Raya and Victor, the Soviet Union’s popular film dubbers who have been translating film classics into Russian for decades. When the country collapses in 1990, the Jewish couple decides to move to Israel in hopes of finding employment. When she answers a help wanted ad looking for “pleasant voices,” she ends up working as a phone sex operator catering to the Russian community in Israel while he falls in with black market film pirates.

I also just haven't gotten around to JUSTIN BIEBER: OUR WORLD (Amazon), directed by Michael D. Ratner, which seems like the fourth or fifth documentary about the global superstar, this one that goes into the making of his 2020 New Year's Eve concert after a three-year hiatus atop the Beverly Hills Hilton for 240 invited guests and millions via livestream. It will stream on Amazon Prime Video this Friday.

A couple horror movies streaming this week are THERE’S SOMEONE INSIDE YOUR HOUSE (Netflix), the new movie from Patrick Brice (Creep), which hits Netflix and involves a masked assailant targetting a high school graduating class to expose the darkest secret of each victim, forcing a group of misfits to band together to stop the killings.

Shudder gets V/H/S 94 (Shudder), the latest anthology horror movie made up of five installments, directed by Simon Barrett, Chloe Okuno, Ryan Prows, Jennifer Reeder, and Timo Tjahjanto. I haven't watched it yet but that's quite a rogue's gallery of horror/genre filmmakers there.

Streaming on Amazon Prime Video are the next two installments of this year's batch of Welcome to the Blumhouse movies, Axelle Carolyn's The Manor, an eerie tale set in a retirement home and starring the legendary Barbara Hershey, and Ryan Zarazoga’s Madres about a young Mexican-American couple having their first child in ‘70s California where he’s sent to work on a farm where the wife finds a talisman and a box with belongings of the former resident. Both of them debut on Amazon Prime Video this Friday, too. Also, you can read my interview with Ms. Carolyn over at Below the Line.

Other movies that just didn't fit into my schedule this week include:

ASCENSION (MTV Documentary Films) VENGEANCE IS MINE (Vertical) PHARMA BRO (1091) KNOCKING (Yellow Veil Pictures)

Next week’s wide release is David Gordon Green’s horror sequel, HALLOWEEN KILLS!

#Reviews #Movies #No Time to DIe #Mass #Lamb #The Rescue #Box Office #Streaming

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