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plutoswrath · 4 years ago

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A Letter to Saturn in the 8th house...

You can call this one of many attempts to shed light into the house of darkness and unravel the unspoken sentence of our judge of karma Saturn. As it is a placement putting a blockage in our own psychological complexity, creating the feeling of helplessness, maybe obliviousness to ones own psychological reasoning and causes of the placement owner, I want to unravel this placement as best as I can. This is merely a break down of what this placement initiates and creates in the placement holder, so I hope it can bring a better understanding for those who are interested in it, but I hope that it can bring a sense of recognition and realization to those who have this placement, as it can possibly add positively to their journey of self discovery and healing. People who have Capricorn on their cusp of the 8th house or those with their Saturn in Scorpio might be interested in this article as well, though I don't guarantee that it'll be as accurate as a description of these individual placement.

DISCLAIMER: this is not (!) a lighthearded topic as it includes the analysis of the reasoning for human behavior. By no means am I getting explicit in this post, but I'm very transparent and honest regrdless. So please be aware of any possible discomfort you might experience while reading this, as this could potentially be triggering.

‧͙⁺˚*･༓☾　　☽༓･*˚⁺‧͙ ‧͙⁺˚*･༓☾　　☽༓･*˚⁺‧͙ ‧͙⁺˚*･༓☾　

✦ Before we open the iron fist that Saturn in the 8th is, I want to give some thoughts, maybe even some musings about the 8th house; a house so effortlessly human that we can not seem to understand the complexity of the wiring of the human being it reflects.

✦ The 8th house is part of our psychological foundation, following the 7thhouse it is the deepening of the connections we have made, it is the intimacy we need and want to create with others and thus the realization of the vulnerability of the human being. Because to simply be, is to be vulnerable, constantly, and this vulnerability is only truly noticeable in the way we interact with the world, with the people around us. Which leads me to my next point regarding the 8th house: sharing. As the 8th house is about or shared resources, the 8thhouse tells us a lot of how far and deep we go about sharing our self with others. With self, I mean quiet literally all that we are, our financial resources, our emotions, our thoughts, or dreams, our fears, our soul and yes, also our body, as the 8thhouse is the foundation we base sexual intimacy on as well. The sharing of the 8th house is not the mere giving of your leftovers to a friend who is still hungry (though of course this can be an act of kindness and consideration as well), the sharing of the 8th house ties to the emotional depth we have build with the people in our life, as we deepen our connections, we come to the point of merging: we want to receive and experience emotional depth and want to be given that kind of intimacy that truly satisfies us, the cycle of giving, taking and receiving is created and it includes all there is to us. From the 2nd house – my resources – we look at the 8th house – our resources. It is important to notice that the 8th house is also talking about what we create with others, what comes together in close connections and what is created by this merging.

✦ Next, we come to the topic of intimacy. The 8th house is known to be an area where we can crave intimacy just in that way the 8thhouse desires. The steel doors of the 8th house didn't come from nowhere, they were purposefully build because behind it lies a pile of big sensitivity, one of our biggest weak spots if anyone would just find out about all the vulnerability that lies behind the human experience. As we know, the 8th house is our psychological depth. Referring to the iceberg analogy here, we reach the bottom of the iceberg. The 8th house is our psychological rebirth, the house of loss and gain. And as the depth's of the iceberg reveal all the hidden and suppressed emotions, all of what we call trauma and ugly truths of our self we don't want to see or admit, the rebirth begins as we finally see all that laid in the dark in the open light. Ah, finally – we can understand, heal and let go. We purge in the 8th house.

✦ Intimacy is vulnerability and vulnerability goes hand in hand with trust, boundaries and defense mechanisms.

✦ The 8th house are also the area where we discover and realize our boundaries, how far we want to be intimate, how much we want to share, what we deem as appropriate or inappropriate when forming intimate connections of any kind. Unnecessary to mention, the 8th house is the complexity of our psyche. It is not only the values we hold in intimate connections, but all that made us define them the way we ant and need them in the first place, because we face the subconscious here. And it is the area in which we

And now we have Saturn.

✦ Known to be the lord of karma, telling us about our 'karmic debt', the 'tough area' in our life we will not come around not to fix. Saturn is our blockage that takes form due to external circumstances, as well as the expectations of our environment, the society we grow up in and become part of as we get older. As we grow up and our life takes more form and get more complex with each passing day, we realize what area in our life seems to trouble us the most. Running away is no option as Saturn is the lord of time itself. Problems, just as beauty, can also age like fine wine until they have riped to chaotic perfection.

✦ This is where the whole difficulty starts to take form. By an external cause, we find ourself troubled in the area of Saturn. Something happens that causes Saturn to (re)manifest in our life. Over and over again until we internalize and reproduce the problem. And as Saturn puts a big 'no, that seems to just not be for you' over the doors of the house the planet sits in, we can see that an opportunity to experience said house freely, without any fear, crisis, responsibility, expectation; without any kind of limitationattached to it, was taken from us. The opportunity to experience this house freely, even a bit carefree, was taken from us, so now Saturn becomes our problem area.

✦ And now, let us come back to the 8th house, the house of our (hidden) vulnerability, the house of intimacy, of close connections, of shared resources, the house of our psychological complexity and of course the house of transformation, the house of purging, hidden strengths, healing and regeneration. Imagine standing in front of the door of this house, ether not knowing how to open it because you lost the keys, not knowing how to get out of it or simply how to make sense out of the building. Quiet literally, the understanding of this house is blocked. No mater where Saturn is placed, it's never easy. And of course, Saturn sitting in a water house is never a cup of tea, as it directly affects our psychological foundation. But here, Saturn blocks our ability to truly become intimate with others and the roots for this cause go straight to the bottom of the 'iceberg' that our mind is. With Saturn in the 8th, one has to go back to the roots of intimacy which starts with the relationship we have to our parents and thus, the connection we have to our parental figures and the kind of connection they have had with each other are from strong importance.

✦ Not to become Freudian in any kind of way, but mommy and daddy issues are a real thing living in any of us and influencing everyone and how we experience vulnerability and intimacy in our child-parent connection, how this intimacy is formed and our emotional needs are taken care of as well as how our parents have formed and defined their intimacy and vulnerability with each other will have a strong effect on the way we design and approach our intimate connections and vulnerability. As I said: we have to go back to the very beginning when unraveling the 8th house. But now, we find our karmic depth in this house and thus, we undergo more or less painful experiences that shape our intimacy issues – you might not want to hear it but this is the problem all comes back to with Saturn in the 8th house. The actual cause of this particular problem lies somewhere else, but if Saturn in the 8thwere to be an individual planet, the intimacy issues where the orbit that sucks all in if an object (or person) gets too close.

✦ It might start with our parents or one of our parental figures: emotional needs weren't met the way the child might have needed it. Tough love between the parent(s) and child and between the two partners might have dominated. These connections might have felt obligatory, money, as well as other material resources might have played a big role – especially depth or fear for the loss of money. If anything, the close connections the individual saw as a child were marked with sacrifice. The sacrifice one makes when merging with another. Losing a sense of individuality and self, losing resources, losing true emotional depth and warmth, losing the ability to set boundaries and be self empowered.

✦ Then we have vulnerability. The stern, cold approach to intimacy makes vulnerability an automatic weak spot here. Saturn here, can take our decision to hide away and to set boundaries, as intimacy became some sort of strange obligatory or a riddle one can not solve.

✦ Being vulnerable with each other creates intimacy. This is a huge factor that creates intimacy issues. If the way of becoming vulnerable with another and especially if the autonomy to open up or refusing to open up is taken one becomes unable to share these emotional depths with others and hides away our of fear.

✦ These wounds here can trace back to intimacy between two people being forced or denied. And this can take on different forms (traumas) for everyone of course, but it usually includes the themes of: stolen/unattainable emotional/physical intimacy, the abuse of power dynamics in close connections (which usually contains manipulation/lies), shame of ones own sexuality, emotional understanding, trust as well as finances as sharing large amounts of money requires an emotional connection and trust as well. It seems, as if the way to truly connect to people isn't granted for the 8th house individual, even if they try to give people their idea of what intimacy might look like and consist of, they find themselves empty, possibly betrayed, unable to become carefree and trust and thus controlling and paranoid of their emotional depths and/or money.

✦ People tend to say the 8th house is the house where our tendencies of becoming possessive and jealous lie, here, it seems as the Saturn in the 8th house individual can become quiet possessive with their intimacy and vulnerability. They seclude themselves emotionally from the rest, in fact, they isolate pretty easily. The structures of the unspoken rule 'never open up, never share yourself with others' lies eerily silent in the air of the environment these people grow up. The intimacy, the shared vulnerability that brings comfort, that brings ease, that brings growth and that keeps people together most likely has revealed itself as some sort of false promise, riddle or even trap, Chances are, if the individual opens up and becomes intimate, it fails, comes back and bites them back ten times harder than before. Thus, even though they crave nothing more then authenticity in others – this sweet sweet vulnerability in being honest with the self – is something they can partly deny and here we have the double edged sword of becoming emotionally closed of. The placement owner can become unreadable and quiet strategic in the way they build up intimacy and lead close connections. Because having found themself exploited by those who were supposed to value and handle their soul with respect, now the Saturn in the 8thindividual, plagued by the danger of not knowing who will treat them well and who won't, can become inauthentic, distant and controlling, creating the blockage in being truly intimate with someone else as well.

‧͙⁺˚*･༓☾　　☽༓･*˚⁺‧͙ ‧͙⁺˚*･༓☾　　☽༓･*˚⁺‧͙ ‧͙⁺˚*･༓☾　

The answer from within:

✦ Saturn wants us to become self aware, responsible and take care of the blockages in our life.

✦ I've mentioned that the 8thhouse is the area of our transformation – our purging, our rebirth, being born into a stronger and more honest version of ourselves as we discover the truth that lies in the depth from within. This is also were Saturn's limitations lies and thus this becomes the most important realization for the Saturn in the 8th house individual: you have to consciously choose to heal and take responsibility for all what lies in the depths of you: the wounds, the traumas that block you from true intimacy and stepping closer to your higher, truly powerful and autonomous self. Choose to go the roots of your problems and heal, no matter how hard it is or how long it might take.

✦ We have to embrace the darkness within us and acknowledge that within us is the breeding ground for any negativity as well as possibility. These two opposites can only exist when they walk hand in hand and thus, the individual will most likely need to realize that only when we dive deep enough to the bottom of the iceberg, we will be able to bring our core problems to the surface. In the light, we will be able to look at them in a different way. Finally, we will be able to understand, heal and transform. Not only can any blockages regarding intimacy be resolved through this thorough purging, but one can finally become trusting and stop misunderstanding fear and paranoia as intuition.

✦ Your boundaries are not created out of fear – or possibly even nonexistent – anymore, they are created by the utmost best understanding of the self one can has and the values that one follows. Our close connections will finally feel authentic, real and be satisfying. And that all can happen, without becoming too dependent on others or expectation of others in close connections and what they have to look like, or to become too isolated and closed off. Finally – intimacy can be seen as the beautiful flower that grows out of our vulnerability.

✦ Because to be vulnerable is to live and to become.

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radvee92 · 4 years ago

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Cat Pee Electrical Outlet Sublime Diy Ideas

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Cat Urine Upholstery Cleaner

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Cat Peeing Picture

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#Cat Pee Electrical Outlet Sublime Diy Ideas #What Do Female Cats Do When They Spray

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uniquequotesonlife · 5 years ago

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10 Best Movies of 2019 (So Far)

With the summer movie season winding down, we look back at the top 10 films cinema has had to offer this far into 2019.

The summer movie season of 2019 is over. While the heat continues to swelter, and school by and large remains out, the final weekend of new Hollywood blockbuster extravaganzas has sped off the scene like a getaway car. And given the box office receipts for most of the studio tentpoles this year, we imagine the whole industry is ready to put the summer behind them. Be that as it may, cinema remains strong, hence why we think is the perfect time to look back on the year so far. While many others like to take stock of the movie calendar at the literal halfway mark that occurs at the end of June, we prefer letting the biggest moviegoing season to wrap up and only start reflecting during the deep breath before film festivals like TIFF and Telluride kick off the awards season. Indeed, you’ll see below that this July and August have been unusually fruitful. Looking back at the first seven-plus months of 2019 reveals that, for whatever box office hand-wringing, it’s already been a promising time for new voices making an impact and legendary auteurs communicating with the changing filmmaking landscape. So without further ado, please join us in celebrating the top 10 movies of 2019. So far.

10. The Peanut Butter Falcon

Tall tales and the myths they build can be stronger than any river current in the American South. Many of the best works of fiction from that part of the country embrace such grandiosity, and The Peanut Butter Falcon is no exception. An infinitely sweet film populated with outsized personalities, directors Tyler Nilson and Mike Schwartz’s transcendentalist adventure was one of the biggest surprises out of SXSW earlier this year, and months later it still radiates an authentic breezy charm. Very much a modern day Huckleberry Finn for those labeled as disabled or special needs, the film crafts its own legend around Zak (Zack Gottsagen), a young man with Down Syndrome that society wishes to forget. Save for Eleanor (Dakota Johnson), his concerned doctor at the retirement home the state abandoned him in, no one really cares when Zak escapes to chase his dream of becoming a professional wrestler. Yet a dispiriting prologue gives way to the loveliest journey as Zak befriends Tyler (Shia LaBeouf) and hitches a ride with the good ol’ boy on a raft floating down the North Carolina Outer Banks. It’s a movie happily supplied with homespun love and wonderfully textured characters, including all three leads, among whom LaBeouf proves nigh unrecognizable as the reluctant Good Samaritan by way of Mark Twain’s St. Petersburg.

9. Luce

The best movies provoke discussion, and few this year will be as challenging as the conversations borne by director Julius Onah and screenwriter J.C. Lee’s Luce. A film based on Lee’s own play, the movie interrogates the idea of the American Dream and wonders if even when it comes true, how much of that is a manipulation by those who espouse skepticism of it. The film is about a star athlete and valedictorian named Luce (Kelvin Harrison Jr.). Actually, Luce was just what his parents (Naomi Watts and Tim Roth) made up after they adopted him from a war-torn African nation, unable to pronounce his birth name. Even so, he very much is their son and not only the apple of their eye, but that of his whole school. Perhaps this is why his teacher, Ms. Harriet Wilson (Octavia Spencer), holds him to a different standard than his other African American peers. It’s a story about a school-sized tinderbox of good intentions that threatens to ignite after Harriet finds illegal fireworks in Luce’s locker, all of which bubbles with the tension of a thriller even as it plays like a truth-searching drama. Luce is a Rorschach Test for both the characters and audiences to examine their own racial biases, and the hypocrisy of expectations. Nevertheless, the film exceeds ours.

8. Avengers: Endgame

It would be easy in more cynical circles to shrug off Avengers: Endgame as the ultimate fan service movie, and in fact it is. But after 11 years of world-building, and the even more impressive franchise-building occurring outside of its continuity, Marvel Studios’ 22nd installment is the grandest of commercial and long-form narrative achievements. By making a series finale to all the movies that came before it, including the cliffhanger in Avengers: Infinity War, Marvel Studios President Kevin Feige and his legion of collaborators, most notably directors Joe and Anthony Russo, and Iron Man star Robert Downey Jr., find the rare quality that most eludes traditional television storytellers: a fully satisfying ending. At three hours, Avengers: Endgame rises above almost anything else Marvel has ever produced and acts as a pseudo-manifesto for the studio. While many of the parts are lesser than the whole, the tight storytelling and tonal consistency over nearly two dozen films pays off with the kind of multi-tiered catharsis and spectacle that drives global moviegoers into theaters by the tens of millions. Not since the days of Cecil B. DeMille has there been an epic so brimming with familiar faces, but unlike the overstuffed Infinity War, this showmanship is wrapped in a bow of gracefulness. This is the ultimate Marvel Studios movie. With a renewal of the charisma and humanity Downey first brought to this enterprise, there is a creative spark shining bright here… and that leaves open the question of how Marvel can possibly repeat this high-note, both in terms of heart and gross, ever again.

7. Toy Story 4

Toy Story 4 didn't need to be made. The ending of 2010’s Toy Story 3 was the perfect conclusion to a saga that began the day a child named Andy first played with a cowboy doll called Woody. Yet we’re so glad that Toy Story 4 exists, as Pixar discovered a soulful epilogue to the characters who first made the studio the preeminent animation house of the 21st century. Essentially a coda to an already finished yarn, Pixar’s elegant solution to being required to return to the childhood daydream of Woody and Buzz Lightyear is to permanently wrap-up their shared journey in the most adult of ways. On the surface, this is another story about Woody (Tom Hanks) trying to teach a wayward toy its purpose, in this case a do-it-yourself Frankenstein’s Monster named Forky (Tony Hale). But Toy Story 4 raises a much more interesting question about what would make Woody want to move on with his life as a lost toy? Experiencing something akin to a midlife crisis when he crosses paths with old flame Bo Peep (Annie Potts), Woody is asked to change his perspective of what life is meant to be after reaching a certain age, just as a post-John Lasseter Pixar discovers a new and hopefully more inclusive identity. This movie does, after all, finally give Bo Peep depth and a humanity as heart-rending as anything to do with the cowboy that has a snake in his boot. Not bad for characters made of cloth and porcelain.

6. Midsommar

If you ever wanted a movie to burn down your toxic relationship, Midsommar is gasoline that comes with already lit flames. As Ari Aster’s heartfelt explanation of why some people do not belong together, this Swedish set film turns cult-based horror on its head and reverses everything you might expect from the director of Hereditary. Bringing horror out into the sunshine, Midsommar presents a world that is as shadowless as it is pitiless. Taking place almost entirely during the July rituals of an obscure (and fictional) Pagan commune, the film provides a set of antagonists who might kill you with kindness while displaying an egalitarian empathy as foreign to modern (and selfish) American traditions as their deadlier customs. This creates a striking backdrop to a potent allegory about why Florence Pugh’s Dani and Jack Reynor’s Christian really should have broken up long ago. Pugh is especially haunting as a young woman who’s in a state of perpetual trauma after hanging on to a worn-out band aid in need of tearing for six months. Her harrowing epiphany adds an insidious persuasiveness to cruel machinations that turn cooing Millennial intellectuals into horror’s new dumb American red meat. And the fumes produced by their roasting are quite beautiful, indeed.

5. The Farewell

Another film about the shock incurred by contrasting cultures, The Farewell is also a gorgeously realized portrait of a woman who feels drawn yet alienated by both sides of her identity. But whatever confusion she might experience is supplanted by an absolute love for her grandmother and the connection that elder represents to an ever-fading past. Writer-director Lulu Wang’s incredibly personal drama is equal parts hilarious and heartbreaking, all while never once making a single false step in its unusual path through grief—one that must be made in total silence. The Farewell centers on Awkwafina’s Billi, a 30-year-old New Yorker who was born in China and was only six when her parents moved to the States, leaving a vague impression of an idyllic childhood with her grandmother Nai Nai (Shuzhen Zhou). However, what exactly this feeling of severed identity means to Billi comes to the surface when Nai Nai is diagnosed with lung cancer… something that her family will not tell her of because in China, it is the family’s emotional burden to carry the knowledge of a seeming death sentence. Believing she only is suffering from a cold, Nai Nai is thrilled that her adult children from America and Japan are returning home for a wedding that is in reality a pretense for everyone to say goodbye—although not Billi. Her parents think she’ll crack and admit this pantomime. Thus she must crash her grandmother’s own living wake. Billi’s saddened homecoming is constantly juxtaposed by her grandmother’s glowing delight to have a full house again. Occupying the space between tragedy and joy, Billi’s Western apprehension to Chinese custom and her longing to reconnect with it, Wang finds a canvas to paint every shade of anguish and exhilaration offered by nostalgia and an unfamiliar heritage. Awkwafina also confirms she is a star on the rise by carrying this intimate tragi-comedy with a role that requires her to speak in English, in Chinese, and most impressively not at all, while still saying everything.

4. Us

Jordan Peele follows up his directorial debut with another horror movie that will be dissected and debated for a long time to come. More ambitious than Get Out, and arguably the most vividly photographed chiller in ages, Us is bigger but still razor-focused on its subject. A massive allegory about class warfare turning storybook supernatural, Peele imagines a conflict between the haves and have-nots in American society while noting that, at the heart of the matter, they’re the same exact type of people. With a deft touch and sense of humor that is as refreshing as it was in Get Out, Peele introduces audiences to the Wilson family, who have seemingly everything but are still envious of keeping up with the proverbial (white) Joneses. For patriarch Gabe (Winston Duke), this can be accepted as a point of obliviousness, but Lupita Nyong’o’s Adelaide cannot feign such innocence as she has seen the face of want and hunger—it was her own—and she left it to rot. Yet it rises for her again when “Red,” her doppelganger she once spied in a funhouse mirror, comes home with equally twisted doubles of her family. It is a tour de force showcase for Nyong’o, who gives an Oscar-worthy turn as both Adelaide and Red. Us provides a juicy parable as rich as the best Twilight Zone storytelling by Rod Serling that inspired it. The end might overreach, but the breadth of its vision and arm remains an inspiration.

3. The Last Black Man in San Francisco

You cannot hate a place unless you love it. This is a paradox that Joe Talbot and Jimmie Fails’ The Last Black Man in San Francisco posits with illuminating insight. An epic poem for the modern age of gentrification, this is a movie that focuses on a Bay City whose skyrocketing real estate has pushed the faces and hands that built its skyline to the fringes. It’s a fact of life encapsulated by an opening image of a young black girl going to school by the edge of saltwater so poisonous that city employees will only venture there in hazmat suits. Pushed literally to the edge of society, Jimmie Fails—a character played by the man who has lived this life and wrote the story down—dreams of reclaiming what was once his family’s birthright: a Victorian home in the Golden Gate area that his grandfather claims to have built with his own hands. It is now owned by a privileged middle aged white couple, yet when they enter into an inheritance dispute with relatives, an opportunity opens up for Jimmie and his best friend Montgomery (Jonathan Majors) to move in as squatters. This is a lyrical love letter to cities that no longer exist, and landscapes that once allowed dignity for those who toiled in them. Obviously it is Jimmie’s personal life story, but it is the insights of Montgomery, Emile Mosseri’s mournful score, and Adam Newport-Berra’s surreal camera setups that elevate Last Man’s song and verse into a celestial elegy. One which provides as much hope as it does despair.

2. Once Upon a Time in Hollywood

The arrival of a new Quentin Tarantino movie always comes with debate and some degree of controversy. But when the smoke clears, Once Upon a Time… in Hollywood will be remembered as one of his very best. A film that demands multiple viewings, Once Upon a Time is the rare major studio movie that requires you to meet it on its own terms, a sad fact Tarantino is aware of and deconstructs with a surprising degree of wistful melancholy. An obvious love letter to the long-gone Hollywood of the 1960s, which by ’69 saw the studio system in its death throes, the movie is also a commentary of our own cultural moment where auteurs pursuing massive original ideas, like Tarantino, and movie stars not defined by what cape they’ve worn on screen, like Leonardo DiCaprio and Brad Pitt, are almost a thing of the past. Tarantino’s elegiac meditation is as much about his and movie stars’ own setting sun as it is the Hollywood movies he grew up on, but it is also an unimaginably ambitious and celebratory film that dismisses plot and audience expectations that have been flattened by a decade of formula. Here is a film that revels in just chilling out with morally ambiguous characters while also offering a vessel that connects the past and present via giddy historical revisionist madness. Starring DiCaprio and Pitt as fading TV star Rick Dalton and his stuntman Cliff Booth, the film champions the intangible alchemy between charisma and cinema, providing both with their best material in years. Pitt may, in fact, have never been better than as the smiling cowboy whose high noon is with a counterculture that is burying his and Rick’s livelihoods. Their journeys, meanwhile, are paralleled by the rise of a new star named Sharon Tate (Margot Robbie) and the youthful change she represents. The importance of Sharon, and her subtly interconnected world, is determined by how much you know of her going in. For those who do, she is more than just the idol of her age; she is the soul of Tarantino’s sweetest movie, both in terms of its ‘60s setting and its desire to divorce a lifetime of light from the specter of Charles Manson’s half-century of darkness. Unlike Tarantino’s last three pictures, this isn’t about revenge; it’s a bedtime yarn dreaming of salvation for Hollywood, for culture, and for a legacy that can live on past 26 years.

1. Booksmart

Despite her celebrity, Olivia Wilde has always seemed a little underrated as an actor. That should change going forward as Wilde also announces herself as a major directorial talent with Booksmart. A pitch-perfect comedy that writes a teen anthem for the next generation, Booksmart proves that the cinematic R-rated comedy is not dead, and further it can only get better as it invites new diverse voices to reconfigure the form. Among those voices accompanying Wilde are screenwriters like Susanna Fogel and Katie Silberman, and a fresh-faced cast that is more than game to refocus the coming-of-age narrative on the type of nerdy young women who previously might’ve been lucky to be in the fuzzy background, if included at all. Kaitlyn Dever and Beanie Feldstein make a banquet out of protagonists Amy and Molly, two Type A’s who are Ivy League-bound and think the perfect night before graduation is watching Ken Burns documentaries. But upon realizing that all the supposed flakes they wrote off in their senior class are also headed toward bright futures after four years of partying, Molly will make up for missing out by dragging Amy on an odyssey toward the perfect Gen-Z high school party. So there you have it, the 10 best movies of the year so far. Agree? Disagree? Did we leave something off? Let us know in the comment section below! Sourcehttps://www.denofgeek.com/us/movies/282640/best-movies-2019 Read the full article

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10 Best Movies of 2019 (So Far)

With the summer movie season winding down, we look back at the top 10 films cinema has had to offer this far into 2019.