#never mind that my favorite directors are all camp and horror icons

[renthony]

I think one of the weirdest things I encounter on a regular basis is the people who think that, because I am an avid animation nerd and most of my favorite media is animated, I must therefore literally never engage with adult media. Even when they recognize that animation isn't just for kids, they fixate on my enjoyment of whatever random kids' show they happen to have some problem with. (And tbh it's usually Steven Universe, because everybody still loves being a turd about that one for some goddamn reason.)

I don't even bother trying to correct these people anymore. There's no point in me trying to prove anything to people whose idea of an insult is "you care about the quality of media being presented to children."

It is really funny when people try to pull the "you only like kid shows!" argument on me when I've been watching a lot of horror lately, though. Like, ah, yes, you got me. I only watch kid shows, such as the fun and wholesome adventures of Chucky the Killer Doll.

[nitrateglow]

My god-tier Audrey Hepburn movies

I just realized I’ve technically seen all of Audrey Hepburn’s movies-- or rather, all the movies in which she was given star billing.

So, because I’m bored, here’s a list of my top ten personal favorites of her films. The criteria is simple: 1) she had to have starred in it, so nothing from her pre-Roman Holiday career counts nor does 1989′s Always, and 2) this is based on my level of enjoyment of the movie in question.

1. Wait Until Dark

Wait Until Dark possesses many merits, but Hepburn is one of its key strengths. For me, the most interesting performances are the ones able to balance seemingly opposing elements of the character in question. Here, Hepburn balances vulnerability with inner strength, insecurity and terror with courage, angry frustration with budding confidence. She makes her character seem like such a real, vital presence, like someone you would know. Also, having someone as sweet as Hepburn as the target for the cruel mind games and brutal violence of the villains makes the horror all the more terrifying.

Beyond her performance, this movie feels like it was tailor-designed to appeal to me: an intelligent and formidable villain, the everyday setting juxtaposed with a menacing atmosphere, scary scenes that don’t rely on gore, eccentric criminals, dark humor, a tight script without an ounce of fat on it. But you’ve heard me go on, so I’ll leave it there.

2. Charade

Charade is a prime example of how to mix suspense and comedy. The mystery at the heart of the movie is very clever, with twists and turns every other moment, constantly keeping the audience on their toes. Best of all, the film holds up after repeat viewings because of the delicious chemistry between Hepburn and Cary Grant, and the witty screenplay, which has such an elegant and tight structure that I seethe with envy as a writer every time I revisit this glorious thriller.

As in Wait Until Dark, Hepburn is concerned for her life as she’s terrorized by criminals, only here, they’re mostly more humorous in nature, sometimes even lovable (except Scobie, he can just jump off a cliff). She mainly gets to exercise her comedic chops, throwing off quips, sarcastic lines, and screwball banter with wonderful finesse. It makes me sad she never made more films with Cary Grant-- the two have a spark that belies the large age gap between them.

3. Roman Holiday

The character-building, naturalistic performances, and humor make Roman Holiday one of the best examples of romantic comedy. The film has both a gentle touch and a grounded maturity that make it more than just a remix of the earlier and quite similar screwball comedy It Happened One Night. To get a bit literary and pretentious, it reminds me a bit of Romeo and Juliet-- not because of the romance, but in how the movie starts as a standard screwball comedy and ends on a lyrical, wistful note you might not have expected.

Even though this was her first lead role in a feature film, I think Hepburn’s performance as Ann remains one of her strongest. Ann feels regal and dignified while also possessing the naivete and restlessness of a teenager on the brink of adulthood. It’s as fabulous a star-establishing movie as anyone could want.

4. How to Steal a Million

How to Steal a Million is pure fun. Not a moment of this caper comedy is to be taken seriously (which makes it the perfect quarantine movie if you need something to de-stress with). I always regard this movie as Charade’s even frothier spiritual successor: both films are playful, stylish, funny, and packed with romantic banter, plot twists, and colorful 1960s fashions. The main difference is that in this one, there’s no mortal threat involved and the humor gets a little more risque though not crass.

Also, how nice is it for Hepburn to be paired with a leading man closer to her age? Peter O’Toole was only three years younger than Hepburn when this was filmed. The two of them have glorious, cute chemistry.

5. The Nun’s Story

I hate the question of “objective best” anything, but if you put a gun to my head, I would say The Nun’s Story is features Hepburn’s most impressive work as an actress. For those who accuse Hepburn of being too affected, of being a mere clothes’ horse, here she is bare-faced, dressed in a nun’s habit, and playing a very reserved character whose dilemmas are largely internal. She plays her character’s spiritual conflict with an understatement that could only be considered skillful.

The film itself will likely be seen as “too slow” by most and there are a few colonial elements towards the Congo section that date it, but the film’s strengths, both from Hepburn’s performance and the mature way it presents its individual versus the system story, give it classic status. Few movies regarding organized religion are this balanced and lacking in propaganda, either for or against it.

6. Breakfast at Tiffany’s

While still Hepburn’s most iconic role, Breakfast at Tiffany’s gets called “overrated” a lot these days and fans of the original Truman Capote novella routinely dog it for making heavy changes to the source material. There’s also the, you know, gross yellowface a la Mickey Rooney that deflates every scene in which he appears. However, is the move bad? NO. It juggles zany comedy, tender romance, and rather heavy drama too well for me to consign it to the “overrated” bin. Blake Edwards was a fine director and this movie is one of his best.

And Hepburn gives a damn good performance as Holly Golightly, even if she is not the character envisioned by Capote. This character could easily be unlikable if played the wrong way-- she’s a “phony,” rather pathetic, and self-loathing despite her wit and charm. But rather than coming off as an unbearable loser, Hepburn’s Holly is a realistic, relatable loser we all love in spite of her own delusions and lashing out. She might even hit too close to home (or maybe that’s just me).

7. Funny Face

Funny Face took a few viewings to grow on me. It was one of the first Hepburn movies I ever saw (that was back in high school) and I was initially excited because it was directed by Stanley Donen who co-directed Singin’ in the Rain with Gene Kelly, a long-time favorite of mine. I expected this movie to be just as sublime and was disappointed when it didn’t hit that high mark.

Rewatching it later, I now find it very charming. It’s incredibly upbeat and relaxing, the sort of old-school movie musical that doesn’t get made anymore. Hepburn’s singing is a bit rough in the bigger numbers, but she is very sweet, a damn good dancer, and quite attractive to the point where she just takes my breath away. Fred Astaire and Kay Thompson are also wonderful and get a lot of great moments that show off their talent.

8. My Fair Lady

When considering what would go on this list, I was honestly shocked to realize how much I like this movie. I’m in the camp that considers Hepburn miscast, I find George Cukor’s direction rather stiff, and I really don’t like how the ending is changed from the original play. In spite of all this, I still really enjoy this movie for the songs, costumes, and what remains of Shaw’s brilliant satire on class and gender relations. Those three hours go by and the movie never outstays its welcome.

While I think Hepburn wasn’t the number one best choice for the part (I don’t really buy her as a crass flower girl in the beginning), she isn’t a disaster by any means. She’s still charming and sympathetic, and once she makes her transformation, you have to wonder how Higgins held it together, she’s so gorgeous. And I love the relish with which she approaches the “Just you Wait” song or the way she delivers the “move your bloomin’ arse” line at the races.

9. Sabrina

I think producers figured because of the fairy tale appeal of Roman Holiday, Hepburn would be perfect for this modern take on Cinderella, set in 1950s New York. Just like in Roman Holiday, Hepburn gets to undergo dramatic character development and show her comedic skills. It’s a cute movie, with a very charming William Holden and gorgeous black-and-white cinematography. It’s also shockingly uncynical for a Billy Wilder project.

About the closest thing this movie has to a flaw is Humphrey Bogart as Linus, the guy who Sabrina chooses in the end. This is a role Cary Grant could have played in his sleep, but Bogart clearly is not enjoying himself in some scenes. However, he isn’t movie-breakingly bad by any means. His character is meant to be a hidden softie and far more dependable than his handsomer brother, so I can buy that Sabrina would warm to him in the end.

10. They All Laughed

People tend to argue what the last “worthwhile” Hepburn movie is. Most argue it’s 1976′s Robin and Marian, while I’ve seen some go as far back as How to Steal a Million in 1966. They All Laughed, a Peter Bogdonavich comedy from 1981, gets my vote. This is a love letter to screwball comedies much like Bogdonavich’s 1972 classic What’s Up Doc, only with a far more melancholy edge.

Hepburn does not become a major presence in the movie until nearly halfway through. However, she approaches her role with a mature dignity that makes me wish she’d done more work along this line towards the end of her career. Her character comes off as an older, sadder Princess Ann from Roman Holiday. This makes the movie sound morose, but it isn’t: it ends with life going on and the characters accepting that with grace.

[missysmadhouse]

Tarantula Ghoul's House of Horror

Suzanne Waldron as Tarantula Ghoul, host of House of Horror (1957-1959), KPTV, Portland, Oregon. Source: Stump Town Blogger

The now-iconic glamour ghoul Vampira disappeared from the airwaves in 1955. "The Vampira Show" was cancelled after only one year on the air. However, the campy vamp undeniably made her impression. All across the country TV stations were looking to produce shows based on "The Vampira Show." Some of Vampira's successors would also leave a lasting impression long after the cameras stopped rolling.

Tarantula Ghoul, played by actress and singer Suzanne Waldron, made such a lasting impression on young audiences in Portland, Oregon that there's a scholarship in her name at the Rock n' Roll Camp for Girls, funded by proceeds from the sale of an October to October calendar featuring Portland's favorite mistress of the macabre. Fans are even trying to have a day declared to honor her.

Producers at Fox affiliate KPTV found who they were looking for after seeing Waldron in a stage production of Shakespeare's "Macbeth," playing the part of a witch. Tarantula Ghoul entertained audiences as the hostess of KPTV's "House of Horror" from 1957 to 1959. The show aired Wednesdays at 10:30 p.m.

Unfortunately, footage of Waldron in character is not available. Pages dedicated to Tarantula Ghoul have preserved her image for her fans and for the current generation to discover on websites such as "Yesterday's KPTV" and "Monster Kid Classic Forum." Tarantula Ghoul also recorded two songs, "King Kong" and "Graveyard Rock," which can be found on YouTube.

Portland's reigning queen of horror had to step down from her throne after becoming pregnant with her first child.

Tarantula Ghoul fans Jack Maraglia and Jayne Hollenback, founders of Portland's Hallowe'en Bazaar have collected photos and various bits of info on the horror hostess. Both Maraglia and Hollenback were also behind the campiagn to convince the mayor of Portland to declare a Tarantula Ghoul Day. They also created the Tarantula Ghoul calendar and established the music scholarship in her name. Both fans are also in contact with Suzanne Waldron's sons, Michael and John Petty. Waldron's husband, John Petty, was an employee at KPTV.

A Portland native, Waldron took an interest in drama in high school and continued to pursue her interest in college. Waldron earned a degree in theater arts from Lewis and Clark College.

Mostly, what's known about Tarantula Ghoul's "House of Horror" is through recollections of fans and collections of articles compiled by Maraglia and Hollenback. Some skits included Tarantula digging potholes near cliffs, administering"second aid instead of first aid for injuries and removing stop signs and road hazard signs.

Some regulars on the show included Milton, gardner and former grave robber, a real boa constrictor named Baby and of course a tarantula named Sir Galahad.

After "House of Horror's" unfortunate demise, Waldron and her family moved to the west coast where they lived in several towns and eventually returned to Portland, Oregon. Waldron acted in Portland Civic Theater and did commercials and voiceover work.

The family ended up in Omaha, Nebraska during the late 70's. Susan Waldron died of colon cancer in June of 1982 at age 50.

Waldron's sons, John Petty, 51, Michael Petty, 49, recall thier mother as being friendly, a great conversationalist who always emphasized the importance of education. They also said that she really did love horror. Both Petty brothers are happy to interact with their mother's fans and like that the image of Tarantula Ghoul had been kept alive.

Tarantula Ghoul especially sticks out in the mind of fan Dean Osterman. At the time that "House of Horrors" aired, Osterman was a teenager. Him and his friends would head over to KPTV studios to watch Tarantula Ghoul live after work.at 10 p.m. Osterman was a junior in high school and worked as a bus boy. He said that during commercial breaks, Tarantula Ghoul would talk to the group. One night she asked Osterman want he wanted to do with his life. He told her that he was interested in doing what she did. Waldron encouraged Osterman to pursue his interests.

Osterman took Waldron's advice. He holds two master's degrees, one is in educational media. Osterman also earned a Ph.D in broadcast communications from the University of Oregon. In an odd little twist, the cameras he used at the school had been donated by KPTV studios. During his lengthy career, Osterman taught all grades. He also served as Oregon State University's director of instructional and faculty development.

When Osterman attended his 50th high school reunion, he brought his student body card with him, signed by Tarantula Ghoul and Milton.

"She gave me a spark that I needed," Osterman says. "If Tarantula Ghoul were here today I would want to give her the biggest hug. She inspired me, just by being herself."

"That's what my mother was all about, following your passions," Michael Petty says. "It's not how long you live, it's what you put into your life."

Tarantula Ghoul definitely carved out her own niche among horror hosts. She has lived on in the memory of Portland horror fans long after she stopped appearing on their TVs to thrill, chill and entertain.

- Missy Dawn

Sources:

"Tarantula Ghoul: The 1950's Vampira-esque Rock n' Roll Singing Horror Hostess," posted by Christopher Nickel, January 25, 2016, Dangerous Minds.net

"Pity the ghoul who's never seen Tarantula Ghoul," by Special to the Oregonian, The Oregonian, updated Jan 10, 2019; Posted Oct 23, 2010

Wikipedia

[wonderfulworldofmichaelford]

Thricebreaker: Friday the 13th

Friday the 13th is one of the most iconic horror movie franchises in existence. Pretty much everyone knows or has heard of Jason Voorhees, the hockey mask-wearing serial killer who wreaks havoc throughout most of the series, and who has been the subject of numerous parodies (many of which erroneously give him a chainsaw, despite him never using one in any of the films). With all the comics, songs, and almost a dozen movies to the franchise’s name, some people forget the original film. While it’s definitely not my most favorite of the series or even a personal favorite overall, it definitely has earned its place as a slasher classic, especially because of a twist that even despite being decades old can shock newcomers to the franchise.

Now, there were nine sequels and a crossover followed by a reboot (that takes place in the same universe as Transformers, no less); we’re going to look at them all over the following week, but for now we’ll look at the first three sequels! It’s honestly a lot easier this way; Friday the 13th Part 2 through The Final Chapter all take place over a single weekend. Jason works quick.

Here is your WARNING if you want to avoid spoilers. Everyone who wants to avoid them is gone? Good. Anyway…

Part 2 begins five years after the events of the first film, Camp Crystal Lake is about to be opened again; however, unbeknownst to anyone really, Jason is still alive and all grown up, living in a run down cabin containing the severed head of his mother and killing anyone who comes near the camp (as well as the Final Girl of the first movie in an act of vengeance). OF course, Jason ends up beaten and left for dead, and wakes up in time for III, where he wanders over to Higgins Haven, a nearby farm. Here he gets his iconic hockey mask and his machete, and lucky for him the place soon fills with new victims for him to butcher. Of course, yet again, he is stopped, and this time he’s brought to the morgue, assumed dead. Of course, considering there’s still about six movies to go at this point, The Final Chapter has Jason get back up and resume killing near the Jarvis family. Is Jason gonna be stopped for good this time? I mean that’s what the title implies, right? What do you MEAN there’s six more sequels, a crossover, and a reboot?!

Part 2 is a solid film and a good followup for quite a few reasons. The main one has to be Ginny, the resident Final Girl of the film. She may very well be the best Final Girl in the franchise, if not horror as a whole; she’s easily one of the smartest outside of Sidney Prescott. Her final ploy to beat Jason is nothing short of brilliant; she manipulates his distorted mind by pretending to be his mother, preying on his severe mama’s boy issues. You don’t see quick thinking like that often in horror. The other big plus going for it is that this film brings in Jason for the first time in the series. Here, he’s wearing a burlap sack over his head, but hey, it’s a start. It’s definitely a strong followup, a good sequel in its own right, and a very worthwhile watch.

Part III is… less so. That’s not to say it’s irredeemably bad or anything, it has a lot of good qualities, but overall it’s the most forgettable of the first four films. But hey, let’s look at the positives! This film is definitely the point you can see the franchise morphing into what it would become. Jason gets his hockey mask and machete, Jason is much more muscular and intimidating, we spend as much time with the kids as with Jason, and things like that. There’s also some decent kills in this movie, but that’s where the positives end. The film was made for the cheesy 80s version of 3D, which is apparent from all the corny shots of stuff flying at the screen. This looks absolutely ridiculous when you watch it in 2D, which you have to do if you don’t have the old red and blue style 3D glasses. That aside, the characters and story aren’t particularly interesting compared to the previous or the next film, which really holds this film back from truly standing out. Credit to it for helping refine the formula into what made the series famous, but out of all the films it doesn’t really do too much to make the formula interesting. It’s decent, but sadly forgettable.

The Final Chapter is where things get REALLY interesting. The plot this time is a lot more interesting, though still kind of just an excuse to have Jason killing teens. This time though, the teens are all pretty fun and likable, particularly Crispin Glover’s Jim, who performs the most epicly hilarious dance you will ever see in any movie ever, and is easily up there with moments like Jason kicking the boombox in   Jason Takes Manhattan as one of the absolute funniest moments in the franchise. The movie does a pretty good job of setting things up for Jason’s killing spree; the film starts with following the kids, leading to things taking on a corny 80s teen comedy feel… and then as Jason begins doing what he does best, it morphs into a gruesome slasher film. The kills and gore effects are pretty impressive, particularly Jason’s death at the hands of Corey Feldman’s Tommy. Which is the single most impressive thing: Jason is not only killed, he’s killed by a little boy who tricked him, and then he gets what may be his most impressive demise in the franchise. As if all this isn’t good enough, Ted White, Jason’s actor for this movie was apparently a really cool gu on set. He thought the director was abusing the actors playing Jason’s victims, and threatened to walk off when one of the girls began to get hypothermia from being in the water too long. White may have only did the part for money and hates the role, the character, the slasher genre, and the experience filming (which is ironic since he’s often considered one of the best Jasons), but he seems to be a genuinely nice man, and he has also said he likes talking to the fans. All of this adds up to make this film a must-see experience for any slasher fan.

So, do any of these films manage to top the original? The second one definitely is at least on par, while the third is not even close (while still not being terrible). The Final Chapter, on the other hand, is not only the best of the original four films, but it’s easily one of the best films in the franchise on its own. It’s got enjoyable characters, a solid plot, great kills… it’s everything a Friday the 13th film should be, even if it has one of the most misleading titles a film has ever had.

Friday the 13th managed to slowly climb up to become a real horror powerhouse as it went on in its early years, with three serving only as a slight hiccup, and even then it was a game-changer with all it added to the series. The series hit an impressive peak at The Final Chapter, one that would be pretty hard to overcome. With Jason currently dead, could there even be a future film? Well, a year after the supposed final chapter came A New Beginning, the fifth film in the franchise. How did that film fare? Stay tuned for tomorrow's Michael After Midnight to find out if the fifth Friday film is fresh or a flop and a failure.

[lthasablog]

The Pop Culture Essence of 2019 -- Part I: Movies

The mere existence of the year 2019 is a mystery to me. One need not do more than glance at Twitter, or just have a conversation with a friend, to notice that this year was unique in its ability to torture anyone who had the nerve to exist.  Perhaps it was the horrors of the Trump presidency or the snuffing out of black lives like so many candles in the wind.  Maybe it was the government-sanctioned camps cruelly detaining the most vulnerable or the existential threat of climate change bearing down on us all with intense inevitability.  No matter the reason, I think we can all agree that 2019 has been the absolute worst and can die in a fire. 

Now, It is no surprise that the artists who supply our pop culture took full advantage of the one thing 2019 supplied in spades: chaos.  It has been one hell of a year and, most often, I chose to handle my feelings by escaping into movies, television, music and podcasts. To prove to myself that I didn’t waste an entire year of my life, I thought I would take this opportunity to distill the essence of 2019 into a list of the pop culture moments that most personify what 2019 meant to me.  If you’re reading this, I hope that you learn a little something about me and how I see the world.  And maybe, just maybe, you’ll have a little fun.  After all, the real joys of 2019 are the distractions we found along the way.

Before we begin, a small preface — I really enjoy writing but I have never thought that I might have an audience for my work until just now.  I’ve seen some of my peers publish their work online to great readership and personal success.  I’m looking at you, Lincoln.  Don’t worry, I’m not even going to attempt to write down my thoughts about debate, so your domain is safe.  That said, if you all like this, then I’ll post more.  If not, I will probably post more anyway.

Oh and also, I will only be writing about things I have seen and/or heard for myself.  While I steep myself in all things pop culture like it’s my job, I do not feel it intellectually honest to analyze or critique a work with which I have no personal experience.  Also, 2019 is, sadly, not over yet.  There are many things that would likely be on this list that I just have not had the opportunity to see yet!  Queen and Slim, Little Women, Cats (because, like, why and how?), Just Mercy, The Farewell, Uncut Gems and so many others come to mind.  So if I leave out some of your favorites, or you just flat out disagree with what I have written here, great!  I welcome the opportunity to discover new things and to have an open, civil discourse on mainstream culture.

Part I:  The Movies That Defined 2019

Let’s begin with movies.  As for every part of this essay, this list in no particular order.  So, here are the movies I think most reflect the ouvre of 2019.  Oh, and there are some mild spoilers ahead for many items in pop culture, so continue at your own risk.

Hustlers

Immediately after leaving the movie theater, I began telling everyone who would listen, and some who really did not want to, that we were now living in a post-Hustlers world.  Perhaps it was the soundtrack.  I mean, it is just full of songs which effortlessly evoke the energy of a post-2007/2008 financial crisis New York which reverberated throughout the rest of America in myriad ways.  Casting Jennifer Lopez as a dancer in a popular New York strip club, and making her a supporting character in your movie is a major flex. Introducing Lopez’s character, Ramona, by showing her bring down the house to Fiona Apple’s iconic 1996 song, “Criminal” is a stroke of movie-making genius unparalleled by any I have seen in recent memory.  Once you get over the majesty of that scene, Hustlers takes the viewer on a thrill ride that can only truly be understood by those who have spent their lives being underestimated by society and yearning to steal back just a fraction of what they are rightly owed.  Watch out for your wallets in 2020; we’re living in a post-Hustlers world.  Oh also, this movie could NEVER have worked if it were directed by a man.  Hollywood, take note.

Us

Jordan Peele’s follow-up to his brilliant debut film Get Out is a weird, winding and wonderful story from beginning to end.  While the movie may not have fully fleshed out its mythology as did its predecessor, Get Out, I definitely left the theater with more questions than when I entered.  One may find it impossible not to get lost in the metatext of Peele’s take on class divides in the United States and the nation’s many broken promises to black America.  Also, Lupita Nyong’o’s dual performances as Adelaide and Red are worth the price of admission!  She is truly one of the best actresses of our generation and you know that we are truly living in a bleak timeline when an Academy Award winning performer of her caliber can still be considered underrated by the media meritocracy.

Avengers: Endgame

And now for something completely different…Okay yeah, I know, it’s a comic book movie.  However, I will not apologize for the fact that Avengers: Endgame was, by far, the best movie-going experience I had all year.  The movie is a marvel, no pun intended, in storytelling, quality of performances and the never ending capitalist machine that is the Marvel and Disney partnership.  When you think about it, it is truly awe-inspiring that the folks at Marvel sketched out a decade-long plan that actually worked.  Endgame delivered near non-stop thrills and emotion, save perhaps the scene between Black Widow and Hawkeye on Vormir.  I don’t think I need to say too much more about this one, especially given that the people have spoken with their dollars, as the movie has set a box office record, with grossed $2.797 billion worldwide, according to Box Office Mojo.  Also, isn’t it just beautiful when a plan comes together?  Honorable mention goes to Captain Marvel, Marvel’s first lady-led feature.  I do hope that the promise of Endgame’s seeming pivot to passing the torch to black, women and queer characters actually bears some fruit.  A changing of the guard is definitely in order and I am eagerly awaiting Marvel’s next phase.

Midsommar

Warning:  Do not break up with Ari Aster.  If you do, he might write a film wherein the avatar for his ex will face some nightmarish comeuppance.  All kidding aside, Midsommar is definitely not for everyone.  The film is a portrait of grief, mental illness and isolation, all set against an idyllic Sweedish backdrop.  It is a horror film, but it almost defies genre.  While most horror films deal in hiding the monsters in dark corners and opt for jump scares, Astor chooses instead to bathe all of the wretchedness of his characters in sunlight, and many monsters lurk in plain sight.  In Midsommar, you can see everything with a cold clarity, and that alone is disorienting.  The most terrifying part of Midsommar is that you will walk away questioning the motives and sincerity of every person in your life, while also reevaluating your previous notions of community and what it means to be a part of something larger than yourself.  If that is not the perfect allegory for 2019, I don’t know what is.

High Flying Bird

Tarell Alvin McCraney’s screenplay for High Flying Bird is deep, funny and thought-provoking.  That said, it was greatly elevated by performances from the tragically underappreciated André Holland, and rising star Zazie Beetz.  Set during an NBA lockout, Holland’s sports agent, Ray Burke, begins the film by discovering that all of his company credit cards have been frozen, and that his job hangs perilously in the balance due to a situation over which he seemingly has no control.  Watching Holland navigate the NBA brass, his player clients and the media with a demure and suaveness typically only reserved for the DiCaprios or Pitts of the world is not only refreshing, but necessary.  Beetz lends heart and charasma to the film, playing Burke’s assistant, Sam.  Beetz’s character motivations are clear yet ever-evolving.  She gets to be complex, smart and just cool.  It is also really interesting to see a movie lend voice to the idea that if professional athletes ever just decided to unite and refuse to play by the rules of the NBA or the NFL, those in power who profit from their labor would become nearly powerless.  It’s a pretty cool premise and frankly, you love to see it.

Parasite

I only recently saw Parasite, but I now understand what all the hype is about.  It is difficult to know for sure what director Bong Joon-ho, and his writing partner Han Jin-won who helped Bong pen the screenplay, meant for the audience to take away from this film.  Now, I do not want to spoil it for those who may not have seen it.  In many ways, Parasite is the long lost sibling of Us.  Both movies are tales of the upstairs/downstairs nature of class division.  While Peele examines America, Bong gives American audiences a glimpse into the haves and have-nots of a Korean city, and its literal highs and lows.  While the Parks are an affluent family who live in their own city which is at the top of an actual hill, the poverty-stricken Kims, meanwhile, live in a literal subterranean basement.  This makes the Kims’ quest to improve their lot in life a true social climb.  Also present in Parasite is the inescapable reality of climate change, along with the stark contrast on how its effects on the rich are inherently disparate to those on the poor.

Now for the movie grab bag…

These are films that I think capture something of the spirit of 2019, but in a manner explicable in a few sentences or less.  They are:

-Glass:  So much promise…so little pay off.  I mean, apparently one of the heroes’ kryptonite is puddles…

-Ready or Not:  Who among us would not hunt down wealthy, would-be murders in a wedding gown that is sleek, yet allows for a shocking amount of mobility?  

-Once Upon a Time…in Hollywood and The Irishmen:  I was surprised by how “whelmed” I was by these films.  Perhaps they warrant a rewatch, because I truly love Tarantino’s work and I grew up idolizing Scorsese.  To me, these are quintessential dad films.  That’s not a knock on dads or dad films, it’s just not where I am right now…

-Marriage Story:  Loved it.  I’ll simply say this – For your consideration:  Adam Driver and Laura Dern.

-Joker:  This movie was a pastiche of 70s and 80s era Scorsese films, which took itself far too seriously for me to give it any serious consideration.  Was this movie unflinchingly a product of 2019?  Yes.  It thrived on the buzz, provided by the dual weapons of entertainment writers and social media.  The whole origin story of a white terrorist thing was cute.  Was Joaquin Phoenix’s performance good?  Sure, it really was.  However, I liked the character better when he played it in The Master, or Her…I think you get what I’m going for here.

Next up, television!  I think this might be my favorite category.  Be on the lookout for part two.  Check out LT Has a Blog.  Yeah, I know, but I wanted the name to be a statement of fact.  ‘Til next time!

LT