#one of my favorite bits from the original Ghostbusters film

[themosleyreview]

The Mosley Review: Ghostbusters: Frozen Empire

Nostalgia is a fleet of tug boats in the front and rear of a massive ship or tanker. They will lovingly push and guide the ship forward into familiar waters, but they can't carry it the entire way home. They have a limited distance of travel and don’t sail past the point of no return. Unfortunately, many franchises have yet to learn that lesson and rely on those tug boats for life. Ghostbusters: Afterlife was guided perfectly and went full speed ahead into new and uncharted waters with curiosity and warmth in its heart. I walked into this film knowing that the waves of nostalgia would brush up against this new story, but I felt this time that it started pummel the otherwise overly crowded ship. At first, I was loving the day to day ghostbusting with the new team and where they all ended up. Shortly after, the film started to take a turn in relying on too many reused moments, lackluster comedy that stopped the tension dead in its tracks and a vast number of characters that were given too little to do or were contradictory to one another. There were 4 out of the 6 plotlines that should've been the main focus of the film and would've driven the plot home to a more powerful conclusion. The amount of character development would've been more interesting and not so watered down and unfocused.

Mckenna Grace returns as Phoebe Spengler and she exudes the same amount of charm she had from the previous film. She begins to showcase that teenage rebellious angst in this film and it was interesting to see her befriend someone unexpected. She has a lot of pent up rage and its on full display at times. Finn Wolfhard as Trevor Spengler this time around nails that "I'm an adult now so treat me like one" attitude and it was fine, but that's really the extent of his development and I was a little saddened by that. Carrie Coon returns as their mother Callie Spengler and I still liked her protective and sometimes chill nature. I do wish she was a bit more stern and not so easy going when it came to some of the sass she receives from Phoebe. Paul Rudd returns as her boyfriend Gary Grooberson and I loved his chemistry with the family. He truly shines when he is trying to be a bigger part of the Spengler family and I found that was truly the heart of the film in many ways. Logan Kim continues to steal scenes as the loveable and intense Podcast. I would totally watch an entire film about his adventures with Phoebe and Ray Stanz or the rest of the younger ghostbusters anyday. Celeste O'Connor returns as Lucky Domingo and I liked that she was given the ability to play with some of the new equipment and be proficient at it. Her chemistry with Trevor is still palpable and I want a teen love story between them because they are too much fun together. Ernie Hudson, Dan Aykroyd, Annie Potts and Bill Murray all return as Dr. Winston Zeddemore, Dr. Ray Stanz, Janine Melnitz and Dr. Peter Venkman and they all get to have fun and shine in the best way. The chemistry between Winston and Ray has never been stronger. Their "Judgement Day" scene from the original film was my favorite and their conversation in this one was just as fantastic and important. Ray and Podcast have also have an amazing bond that I want to see expanded upon in a mentorship capacity. William Atherton returns as now Mayor Walter Peck and he was still delightful to watch. It fits that he still has it out for the Ghostbusters after 40 years. He was that grumpy old man you see on a porch that never stopped hating everyone.

There are a alot of new characters that join the franchise and this is where I meant it got crowded. Kumail Nanjiani was wonderful and funny as Nadeem Razmaadi. I liked that he was a driving force behind the plot and did get to have his comedic time to shine, but a bit too much in my opinion. There is a difference between a one liner that perfectly buttons a scene and a one liner that just lingers for too long. He has at number of the latter and I hated seeing that happen to a great actor and comedian. James Acaster was fascinating as one of Winston's engineers, Lars Pinfield. Through him, you are introduced to the possible future of the paranormal investigative side of the Ghostbusters that I hope will be the focus in the future and with him leading. I would watch an entire series just with him and a science team doing studies on the different classes of ghosts they capture and examine. Patton Oswalt as Dr. Hubert Wartzki was as good as you'd expect. He had the expositionary lore position of the film that I felt was wrongfully given to him. If Ray has studied the paranormal legends, folklore and beyond for his entire life, then why not make him the source of all knowledge for Podcast and Phoebe? I just felt Hubert truly stole alot of the thunder from Ray and you honestly could've cut his character completely. Just imagine for a second that Phoebe, Podcast and Ray work together to investigate the new villain and it would present a moment for Ray to have another chance to study with Egon through his granddaughter and you see that glow of happiness in Ray’s eyes and heart. Sounds awesome right?! Emily Alyn Lind was good and melancholy as Melody. I'll try not to spoil too much, but I'll say that she presents a interesting perspective on ghostbusting and possibly the humane nature of it. Her chemistry with Pheobe was a highlight of the film and gets a decent payoff.

Composer Dario Marianelli takes the helm this time around and delivers a fun score that incorporates the classic Elmer Bernstein score motifs while delivering his own themes. I do miss Rob Simonsen's touch from the previous film though. The use of more practical effects is always been a staple of the franchise and it continues here. I liked seeing the new and creepy ghosts in the film and wanted to know more about them. So what are my final thoughts on this new chapter in the GB franchise you ask? Afterlife was a welcomed and heartfelt return to the franchise, but this film felt like it wasn't handled with the same amount of care. Yes, it was more an adventure and more like an episode of the original animated, but it lacked a fully focused narrative that could service each character purposefully. There should've been less nostalgia, trim off the one liners and the many different plots at hand. You have too many characters on a single case and it came together in the end, but you still feel that void of logic in its essence. What I wish this film had done was let the tension and fear build and actually let the audience feel as if any of them could die. Don't be afraid to have that level of terror, darkness and seriousness that comes with facing these dangerous spirits. Stop adding all these characters and focus on the ones you already have. If this film was the many building blocks sprawled across the table that it felt like, then the next film needs to focus on the blocks that fit and not add more blocks to the pile. In the end, I still liked the film and I had alot of fun with this messy and scattered entry, but I hope the next film truly lets the tug boats of nostalgia return to the docks and allow the franchise set sail into more mature and fresh waters. I’m curious to see a director’s cut of this film because it truly felt like it needed another five minutes to clean up some of the mess. There is one mid credits scene that was fun, but its not that important. Let me know what you thought of the film or my review in the comments below. Thanks for reading!

[lfthinker]

About the Blogger" Meme

Thanks @gothamsgaygirlgang for tagging me. Sorry it took me so long to respond.

Star Sign(s): Gemini Sun, Aries Moon, Capricorn Rising. It would explain a bit if it wasn't all bullshit. ;)

Favorite Holidays: Definitely Christmas. It's the one time of year I can spend time with all my family, and I love decorating the tree.

Last Meal: Steak and potatoes.

Current Favorite Musician: Same as it's been since high school: Pink Floyd.

Last Music Listened To: I've been listening to Prokofiev's Alexander Nevsky a lot this year, particularly the 1995 re-recording of the film soundtrack. I'm using it as background music for my fic output, which should scare the crap out of you if you read it, lol. Just finished up with Battle on the Ice.

Last Movie Watched: the original Ghostbusters as inflight entertainment on my way home. The last thirty minutes are the best part.

Last TV Show Watched: Neighborhood Wars. I'm a sucker for this kind of trashy reality tv that makes me glad I'm a hermit.

Last Book/Fic Finished: Jurassic Park re-read. A very different animal from the movie, but still a fun read.

Last Book/Fic Abandoned: Not really abandoned, but I do need to finish my LOTR re-read.

Currently Reading: See above.

Last Thing Researched for Art/Writing/Hyperfixation: I looked up some panels from the Batgirl 2000 run in preparation for some stuff with Cassandra I'm going to write. She's the Batfam member I'm the most nervous to write, but the fic's themes are kind of demanding her to take a greater role.

Favorite Online Fandom Memory: Watching the 5th of November 220 fiasco was some great fun.

Favorite Old Fandom You Wish Would Drag You Back In/Have A Resurgence: Honestly not sure. I'm kind of burned out on the whole thing to be honest. I'm happy just doing my own thing.

Favorite Thing You Enjoy That Never Had an Active or Big "Fandom" but You Wish It Did: I kind of wish that the Aubrey/Maturin fandom was bigger, but I also kind of don't.

Tempting Project You're Trying to Rein In/Don't Have Time For: I'm constantly kicking around ideas, but I'm having enough trouble with the monster, I don't need any more creative mouths to feed.

Tagging: free for all kiddos.

[angrybatart]

Just a little crossover thing I wanted to start, and finish, within the month of October.

Version with text, in case you couldn't figure out what it was. Just an idea I'll have to work on, off and on, as I go. I have ideas and plans. Just low attention span and motivation.

(Click/tap for better quality.)

[erin-gilberts]

Do you have any favorite scenes from the original Ghostbusters films?

I definitely need to rewatch Ghostbusters 2 to remember what all happens in it, but -

1) Undoubtedly the courtroom scene from the second film is one of the most entertaining scenes from all four films. It's just a fucking delight. The guys look so excited to be back, and the sound of them switching on their proton packs after a long absence while they do that oh-so-very-autistic "do re Egon" thing is like a crescendo without music. It builds and you hold your breath while it does. Makes the audience feel like kids again. SO good. And the judge just hollering like a jackass until the ghost attacks him is very funny to me.

2) I think time has made us misremember the team from the first film as these badass heroes, but really? In GB1, they were just some guys. Doing their best. Often failing stupendously at it. Very average guys even if they were very smart. When they roll up to the Shandor to a crowd of New Yorkers and reporters cheering them on and hoping they succeed, they're immediately swallowed up by a sinkhole like, oh sorry, these guys you were counting on to save the world were instantly, immediately killed. They don't die, of course - and then they have to take dozens and dozens of flights of stairs up to where the action is even happening. They're not heroes who know everything is going to work out for them because they're the main characters of the story, they're just Some Guys doing their best because it's the right thing to do. I find this super endearing about them.

3) "When someone asks if you're a god, you say YES!" - Winston Zeddemore

4) The whole scene where Gozer tells them to choose the form of the destroyer. The fact that Venkman technically chose J. Edgar Hoover. The way they all turn on Ray and he sputters that it just popped in there; he tried to think of something that could never hurt them - the Stay Puft Marshmallow Man.

5) "I lOvE tHiS pLaN! I'm excited to be a part of it!" - actual leadership behavior from Peter Venkman! Him encouraging his team about a plan he's not enthusiastic about one bit because it needs to be done.

6) Walter Peck is a goddamn delight in every scene. I love when Janine basically tells him to get a warrant, follows him down the stairs shouting "I tried to stop him!" and joins Egon in defending the power thing from Peck. I love when Stay Puft steps on the church and the person on the ground having a real bad day looking at this is Walter Peck. I love when the marshmallow fluff starts falling from the sky and he just lets out the most frustrated scream you've ever heard in your life. He's having a bad day by his own design.

7) The citizens celebrating them at the end of GB1. Answer the Call holds my favorite "we believe you" response from the citizens because it's so subtle and so powerful - the lights on the buildings demonstrating how the impact you have on the people who matter the most can far outweigh the official recognition or gratitude you deserve but may never receive, can far outweigh that they might call you crazy for doing the right thing. We know, those lights whisper, we always will, and our knowledge of what you did for us can't be censored away, as much as others may try. The crowd response in GB1 strikes a different tone; it's much more openly celebratory and relieved, but it's all-in-all pure and wholesome af. I love seeing the city come together to validate and celebrate them. I love how they cheer for the Ghostbusters and they seem crushed when they think the team has been sucked into the sinkhole.

[ghostbustershq]

Ghostbusters: Afterlife - Trailer 2 Full Breakdown

This is it, this is definitely it!

A meaty and goosebump-evoking trailer just dropped today for Ghostbusters: Afterlife.

Much like the first trailer, the main focus of this is the family - forced to move to Oklahoma after falling on tough times. Janine, Terror Dogs, Mini Pufts, and Ghostbusting in motion as Jason Reitman has referred to it are all here. There’s a whole lot here to unpack, plus a whole lot that I’m sure we still haven’t seen. In fact, I would argue that we now have a pretty complete picture of what’s in store come November and are being shown just enough to tide us over until the fall.

This was a solid trailer. It hit all of the right notes. It invoked goosebumps on several occasions. And oh boy, does it demonstrate that Jason Reitman wasn’t kidding when he told us hardcore nerds that if we loved easter eggs, we were in for a treat.

Let’s break it down, shall we?

A GREAT MOM

The trailer begins with a very quiet and intimate bit of dialogue between Paul Rudd’s Mr. Grooberson and Carrie Coon’s Callie.

The two sit at a table, and while the trailer frames it to appear to be Spinners, a quick glimpse at the wall next to the two in a later shot shows they’re actually in a Chinese restaurant. In fact, I love that Grooberson has what looks to be one of the deluxe Benihana cocktails in a ceramic glass in front of him. Grooberson tells Callie that she’s a great mom, but she’s not so sure. Callie feels like she’s been a great mother to her oldest, Trevor (Finn Wolfhard). But feels like her introverted daughter Phoebe (McKenna Grace) keeps her at a distance. There’s a sense that Callie and Phoebe can’t find much common ground, and for this her mother is struggling.

I really love how the trailer gently brings us into the world, helps set the stage, and gives us several glimpses of some of the incredible cinematography in store from Eric Steelberg.

AN AWKWARD, NERDY KID

Grooberson’s dialogue reassures Callie that what Phoebe is going through is normal. He calls her an “awkward, nerdy kid” to imagery of her at school being teased. Ghostbusters: The Video Game fans concerned about if the story and events from the game will somehow be referenced or acknowledged in some way will probably quickly notice the Doritos product placement. Hours of gameplay has trained them well.

Anyway, not only is Phoebe failing to connect with her mother on a deeper level, but it appears that she’s an outsider at school as well. It makes the friendship we know she’s to have with Podcast (Logan Kim) that much sweeter. And you feel for her right out of the gate here, hoping that she’ll find that friend as soon as possible.

Callie and Grooberson’s conversation comes to a conclusion with Phoebe’s mother just wishing, “she’d get into some trouble.” As her mother laments about her daughter needing to be bold and a little more adventurous, we see a continuation of the scene from the first trailer in which Phoebe solves a puzzle built into the floor of the farmhouse in order to find a hidden ghost trap. Perhaps Ghostbusting is exactly the trouble the young and brainy kid needs?

As we, the audience, see the familiar ghost trap, there’s quite literally a drum roll added to the music scoring of the trailer. Perhaps Ghostbusting is exactly the trouble we need too.

JANINE, YOU HAVEN’T CHANGED

The trailer continues with the Trevor dialogue we heard in the first trailer as he explains to Lucky (Celeste O’Connor) that they’re broke and the only thing they have is a “creepy old farmhouse” left to them by their grandfather. But that is the lead in to our first major surprise of the trailer: a glimpse of Annie Potts’ return as Janine Melnitz!

Janine jokes to Callie that her father wasn’t much of a homemaker. “He could hardly keep the power on,” Janine says with a chuckle. If there was any question of the family lineage, this trailer solidifies that Callie and her family are Spengler through-and-through.

It should be noted at this point that the quiet music that accompanied the beginning of the trailer suddenly has these eerie choral notes added to it. Adding a little bit of that paranormal/otherworldly feeling but keeping the trailer light and playful. I’m not sure if this is Rob Simonsen’s score, but if I had to guess given the way the music builds and shifts, this is an original music bed for the trailer only.

It’s also interesting to see how we’ll be able to revisit the past in the film by use of footage from the original (as seen in the YouTube videos playing on various computers) but also the use of one of my favorite set photography moments framed and displayed in the farmhouse presented as a personal photograph. I know, given how some people reacted to seeing a headshot of Sean Connery used in an Indiana Jones film, these types of touches can take people out of a film. But I think the trailer gives us a great idea of how these moments will be integrated and I love it.

The trailer takes a hard turn with a great back and forth between Callie and Janine. Callie tells Janine that it sounds like her father has left her nothing. Janine playfully retorts, “Well, I wouldn’t say nothing.” This line is masterfully juxtaposed with Trevor opening the barn doors to find the Ectomobile housed under a tarp. The music comes to a crescendo as Trevor lifts the tarp and reveals the Ghostbusters Mooglie logo.

Let’s call this goosebumps moment number one.

THE ONLY ONE WITH AN ENGINE

It’s this part of the trailer where it does something that’s a rarity these days, and that I appreciate so much: the music takes a breath and completely drops off to give us a small vignette of a scene from the film. Phoebe enters the barn to find Trevor working on the Ecto. She ribs him that, of all the broken down cars on the farm, he’s chosen “the station wagon.” Trevor responds that his vehicle of choice was the only one with an engine.

The music and percussion come back in full force to score Trevor on a joy ride through the wheat fields of the farm. He seems to be having a good time.

So am I… this was definitely goosebumps moment number two.

A STORM COMING

Act Two of the trailer starts with a dark and ominous storm coming into Sumerville. There’s trouble in small town Oklahoma. Grooberson reiterates his line about a town with no faultlines shaking on a daily basis to Trevor and Phoebe. Only this time, he receives a response: “Maybe it’s the apocalypse.” Phoebe delivers the line to Grooberson with such amazing deadpan earnestness that you can tell she and grandpa might have a whole lot in common. Including their sense of humor.

The line gives us a good chuckle to break the tension but also sets the stage for what’s to come in the trailer: exactly what Phoebe has predicted.

EVERYTHING HAPPENS FOR A REASON

As Phoebe tells us that “Egon came here for a reason,” an archival piece of footage and dialogue from the first film plays on her laptop: the commercial playing on Dana Barrett’s television at 55 CPW. As the original Ghostbusters give you their sales pitch, this is where the trailer really kicks into modern trailer overdrive.

Flashes of imagery including the PKE meter, Mini Puft mayhem at Wal-Mart, and more quickly breathe in and out. In fact, if this trailer is our Christmas present in July, this is where we’re unwrapping and unpacking what’s inside the box.

But we also get glimpses of a creepy underground temple with some pretty intense architecture and even creepier statue work. Terror dog/human hybrid statues flanking what looks to be a pharaoh with wings. And gaunt peasants all reaching out to it all. Did Sumerians have pharaohs? Or is this something else? Certainly seems like if there were Gozer worshippers out there, this might be a stone tribute to them.

The kids discover the terrifying temple and Trevor gives us an “oh my god” to punctuate as they see what we see.

NICE DOGGY, CUTE LITTLE POOCH

Right about this part of the trailer is where my brain explodes and I’m not sure where to start. Imagery is rapid fire as the shit hits the fan.

Phoebe looks into a cauldron in the temple (where there’s numbers behind her that we’ll have to analyze further at some point). And the cork pops on the bottle. As she does so, there’s a terrifying growl in the background foreshadowing some familiar imagery we’re about to see.

But before we get to that, two incredible things are seen as well: familiar purple PKE trails that look a whole lot like those that explode from the firehouse and converge at Spook Central. And, as Grooberson’s line about New York City looking like “The Walking Dead” is repurposed to sound like he’s talking about Sumerville, there’s an incredible physical creature design sitting at a lunch counter. A half-decomposed cabbie maybe? Wearing a 1970’s collar and neckerchief. To my eye, I’d be willing to bet that’s the work of Arjen Tuiten and his team of creature designers. And it’d make Steve Johnson proud.

Plus it’s such a funny image of this corpse sitting at a lunch counter, and the waiter is pour him coffee like it ain’t no thing. I love it.

Back to man’s worst friend: the terror dogs make several appearances in the trailer. First as a cool half-manifested entity above Groobersen and again chasing the poor guy out of a Wal-Mart. Is Groobersen haunted by these things like Louis Tully? Or is something else going on here?

IN A SPIRITUAL SENSE, OF COURSE

If there was a moment that I expected Ray Parker Jr.’s iconic theme song to kick into full gear, this would have been it. The icing on the cake of the trailer, after we see the dead rising from the grave and all hell breaking loose, is Trevor, Phoebe and Podcast all in the Ecto chasing after what we now know is Muncher. The editorial of this is insanely cool. And we get to see the Remote Trap Vehicle (RTV) deployed from the Ecto and how it’s used in the pursuit of Muncher. We’ve seen the gunner seat, but the beats that this moment in the trailer hit, well…

Goosebumps moment number three.

VENKMAN, WE’RE NOT HOME

After all the debate among friends if there would be a “Chewie, We’re Home” moment in this trailer - where we’d see one of the original Ghostbusters live and in the flesh, we got the perfect tease. As Grooberson, Phoebe and Podcast watch the conclusion of the original 1984 ad, the trailer closes with a phone ringing inside a very familiar looking Occult Book shop.

Tattooed arms (I’ve tried with everything I can to see what the tattoo says) pick up the phone and the familiar voice of Dr. Ray Stantz (Dan Aykroyd) curtly tells whomever is on the other end of that phone that, “We’re closed.” A perfect little tease if you ask me. Let’s save seeing Peter, Ray and Winston on-screen to the main event.

[crowdvscritic]

round up // JULY 21

‘Tis the season to beat the heat at the always-cold theatres and next to fans set at turbo speed. While my movie watching slowed a bit with the launch of the Summer Olympics on July 23rd, I’ve still got plenty of popcorn-ready and artsy recommendations for you. A few themes in the new-to-me pop culture I’m recommending this month:

Casts oozing with embarrassing levels of talent (sometimes overqualified for the movies they’re in)

Pop culture that is responding or reinterpreting past pop culture

Stories that get weEeEeird

Keep on-a-scrollin’ to see which is which!

July Crowd-Pleasers

1. Double Feature – ‘90s Rom-Coms feat. Lots of Lies: Mystery Date (1991) + The Pallbearer (1996)

In Mystery Date (Crowd: 7.5/10 // Critic: 6/10), Ethan Hawke and Teri Polo get set up on a blind date that gets so bizarre and crime-y I’m not sure how this didn’t come out in the ‘80s. In The Pallbearer (Crowd: 8/10 // Critic: 7/10), David Schwimmer and Gwyneth Paltrow try to combine The Graduate with Four Weddings and a Funeral in a story about lost twentysomethings. If you don’t like rom-coms in which circumstances depend on lots of lies and misunderstandings, these won’t be your jam, but if you’re like me and don’t mind these somewhat-cliché devices, you’ll be hooked by likeable casts and plenty of rom and com.

2. The Tomorrow War (2021)

I thought of no fewer movies than this list while watching: Alien, Aliens, Angel Has Fallen, Cloverfield, Interstellar, Kong: Skull Island, Prometheus, A Quiet Place: Part II, Star Wars: The Empire Strikes Back, Star Wars: The Revenge of the Sith, The Silence of the Lambs, The Terminator, Terminator 2: Judgment Day, and World War Z. And you know what? I like all those movies! (Okay, maybe I just have a healthy respect/fear of The Silence of the Lambs.) The Tomorrow War may not be original, but it borrows some of the best tropes and beats from the sci-fi and action genres, so much so I wish I could’ve seen Chris Pratt and Co. fight those gross monsters on a big screen. Crowd: 9/10 // Critic: 6/10

3. Dream a Little Dream (1989)

My July pick for the Dumb Rom-Com I Nevertheless Enjoyed! I CANNOT explain the mechanics of this body switch comedy to you—nor can the back of the DVD case above—but, boy, what an ‘80s MOOD. I did not know I needed to see a choreographed dance routine starring Jason Robards and Corey Feldman, but I DID. All I know is some movies are made for me and that I’m now a card-carrying member of the Two Coreys fan club. Crowd: 8/10 // Critic: 6.5/10

4. Black Widow (2021)

The braids! The Pugh! Black Widow worked for me both as an exciting action adventure and as a respite from the Marvel adventures dependent on a long memory of the franchise. (Well, mostly—keep reading for a second MCU rec much more dependent on the gobs of previous releases.) Crowd: 9/10 // Critic: 7.5/10

5. Liar Liar (1997)

Guys, Jim Carrey is hilarious. That’s it—that’s the review. Crowd: 9/10 // Critic: 7/10

6. Sob Rock by John Mayer (2021)

It’s very possible I’ve already listened to this record more than all other John Mayer records. It doesn’t surpass the capital-G Greatness of Continuum, but it’s a little bit of old school Mayer, a little bit ‘80s soft rock/pop, and I’ve had it on repeat most of the two weeks since it’s been out. Featuring the boppiest bop that ever bopped, at least one lyrical gem in every track, and an ad campaign focused on Walkmans, this record skirts the line between Crowd faves and Critic-worthy musicianship.

7. Double Feature – ‘00s Ben Affleck Political Thrillers: The Sum of All Fears (2002) + State of Play (2009)

In The Sum of All Fears (Crowd: 8.5/10 // Critic: 7.5/10), Ben Affleck is Jack Ryan caught up in yet another international incident. In State of Play (Crowd: 8/10 // Critic: 7/10), he’s a hotshot Congressman caught up in a scandal. Both are full of plot twists and unexpected turns, and in both, Affleck is accompanied by actors you’re always happy to see, like Jason Bateman, James Cromwell, Russell Crowe, Jeff Daniels, Viola Davis, Morgan Freeman, Philip Baker Hall, David Harbour, Rachel McAdams, Helen Mirren, Liev Schreiber, and Robin Wright—yes, I swear all of those people are in just those two movies.

8. Loki (2021-)

Unlike Black Widow, you can’t go into Loki with no MCU experience. The show finds clever ways to nudge us with reminders (and did better at it than Falcon and the Winter Soldier), but be forewarned that at some point, you’re just going to have to let go and accept wherever this timeline-hopper is taking you. An ever-charismatic cast keeps us grounded (Owen Wilson, Jonathan Majors, and an alligator almost steal the show from Tom Hiddleston in some eps), but while Falcon lasted an episode or two too long, Loki could’ve used a few more to flesh out its complicated plot and develop its characters. Thankfully, the jokes matter almost as much as the sci-fi, so you can still have fun even if you have no idea what’s going on.

9. Double Feature – Bruce Willis: Die Hard With a Vengeance (1995) + The Whole Nine Yards (2000)

Before Bruce Willis began starring in many random direct-to-DVD movies I only ever hear about in my Redbox emails, he was a Movie Star smirking his way up the box office charts. In the third Die Hard (Crowd: 10/10 // Critic: 7.5/10), he teams up with Samuel L. Jackson to decipher the riddles of a terrorist madman (Jeremy Irons), and it’s a thrill ride. In The Whole Nine Yards (Crowd: 9/10 // Critic: 8/10), he’s hitman that screws up dentist Matthew Perry’s boring life in Canada, and—aside from one frustrating scene of let’s-objectify-women-style nudity—it’s hilarious.

10. This Is the End (2013)

On paper, this is not a movie for me. An irreverent stoner comedy about a bunch of bros partying it up before the end of the world? None of things are for Taylors. But with a little help of a TV edit to pare down the raunchy and crude bits, I laughed my way through and spent the next several days thinking through its exploration of what makes a good person. While little of the plot is accurate to Christian Gospel and theology, some of its big ideas are consistent enough with the themes of the book of Revelation I found myself thinking about it again in church this morning. (Would love to know if Seth Rogen ever expected that.) Plus, I love a good self-aware celebrity spoof—can’t tell you how many times I’ve just laughed remembering the line, “It’s me, Jonah Hill, from Moneyball”—and an homage to horror classics. Crowd: 8/10 // Critic: 7/10

July Critic Picks

1. Summer of Soul (…or, When the Television Could Not Be Televised) (2021)

Even director Questlove didn’t know about the Harlem Cultural Festival, but now he’s compiled the footage so we can all enjoy one of the coolest music fest lineups ever, including The 5th Dimension, B.B. King, Gladys Knight and the Pips, Nina Simone, Sly and the Family Stone, and Stevie Wonder, who made my friend’s baby dance more than once in the womb. See it on the big screen for top-notch audio. Crowd: 8/10 // Critic: 9/10

2. Good Morning, Vietnam (1987)

Robin Williams takes on the bureaucracy, disillusionment, and malaise of the Vietnam War with comedy. Williams was a one-of-a-kind talent, and here it’s on display at a level on par with Aladdin. Crowd: 8/10 // Critic: 9/10

3. Against the Rules Season 2 (2020-21)

Michael Lewis (author of Moneyball, adapted into a film starring Jonah Hill), is interested in how we talk about fairness. This season he looks at how coaches impact fairness in areas like college admissions, credit cards, and youth sports. 

4. Bugsy Malone (1976)

A gangster musical starring only children? It’s a little like someone just picked ideas out of a hat, but somehow it works. You can hear why in the Bugsy Malone episode Kyla and I released this month on SO IT’S A SHOW?, plus how this weird artifact of a film connects with Gilmore Girls.

5. The Queen (2006)

Before The Crown, Peter Morgan wrote The Queen, focusing on Queen Elizabeth II (Helen Mirren) in the days following the death of Princess Diana. It’s a complex and compassionate drama, both for the Queen and for Prime Minister Tony Blair (Michael Sheen, who has snuck up on me to become a favorite character actor). Maybe I’ve got a problem, but I’ll never tire of the analysis of this famous family. Crowd: 8.5/10 // Critic: 9.5/10

6. The Life and Times of Judge Roy Bean (1972)

This month at ZekeFilm, we took a closer look at Revisionist Westerns we’ve missed. I fell hard for Roy Bean, and I think you will, too, if for no other reason than you might like a story starring Jacqueline Bisset, Ava Gardner, John Huston, Paul Newman, and Anthony Perkins. Oh, and a bear! Crowd: 8.5/10 // Critic: 10/10

7. New Trailer Round Up

Naked Singularity (Aug. 6) – John Boyega in a crime thriller!

Queenpins (Aug. 10) – A crime comedy about extreme coupon-ing!

Dune (Oct. 1) – I’ve been cooler on the anticipation for this film, but this new look has me cautiously intrigued thanks to the Bardem + Bautista + Brolin + Chalamet + Ferguson + Isaac + Momoa + Zendaya of it all.

The Last Duel (Oct. 15) – Affleck! Damon! Driver!

Ghostbusters: Afterlife (Nov. 11) - I’m not sure why we need this, but I’m down for the Paul Rudd + Finn Wolfhard combo

King Richard (Nov. 19) - Will Smith as Venus and Serena’s father!

Encanto (Nov. 24) – Disney and Lin-Manuel Miranda making more magic together!

House of Gucci (Nov. 24) - Gaga! Pacino! Driver! 

Also in July…

Kyla and I took a look at the classic supernatural soap Dark Shadows and why Sookie might be obsessed with it on Gilmore Girls.

I revisited a so-bad-it’s-good masterpiece that’s a surrealist dream even Fellini couldn’t have cooked up. Yes, for ZekeFilm I wrote about the Vanilla Ice movie, Cool as Ice, which is now a part of my Blu-ray collection.

Photo credits: Against the Rules. All others IMDb.com.

[shellku]

Film Challenge

Okay guys. Finally did it. As requested.

Have you ever left a theater before the movie was over?

Yes. Only once.

If you ever left a theater what was playing: Savages

Craziest (Random) movie you’ve ever seen:

The Hitchhikers Guide to the Galaxy.

“And thanks for all the fish” -Dolphins

Most disturbing film you’ve ever watched:

Crimson Peak

A film you only watched because (Tom Hiddleston ) was in it: Crimson Peak

A minor role (or movie) with a major actor you greatly enjoyed: Sebastian Stan as Jefferson/The Mad Hatter in Once Upon A Time.

A minor role (or movie) with a major actress you greatly enjoyed: Emma Watson as Pauline Fossil in Ballet Shoes

A movie everyone should see at least once: The Princess Bride

A movie you thought everyone has seen but apparently not: Who framed Roger Rabbit?

A movie you’ve tried multiple times to watch but never get through it: Silence if the Lambs

A movie that legitimately surprised you:

Star Wars: The Empire Strikes Back. While it came out in 1980 I didn’t see it until much later obviously. I wasn’t even ten when I watched it the first time, I and was genuinely shocked.

Movie that you enjoy, that surprises people you enjoy: Scream (1996)

A movie you associated with Religion and it turns out that tracks: The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe

A movie you watched a lot as a kid but your not sure why exactly you watched it so much:

Hook. (And) The Sandlot.

My first movie that made me question my sexualité: The Priâtes of the Caribbean.

Sections

Anime

First Anime: Fruits Basket. Vampire Knight.

Anime I watched with my (brother): Full Metal Alchemist

Anime I tried to get into and couldn’t: D Gray Man

Anime I was surprised I enjoyed: The Neverland Promise. (And) Soul Eater

Anime I always liked (even when it confused people): Black Butler

Anime that makes me cry: Your lie in April

Anime that I love but now makes me sad too: Sword Art Online

Anime I’m just not into: One Piece

One that was recommended that I enjoyed:

Blue Exorcist

One that was recommended that I was ehh on and did not finish: Attack on Titian

One I probably should watch: Pandora Hearts

One I watched Randomly : Castlevania

One that I did not watch until (college) that everyone seems to have watched: Sailor Moon

Cartoons

Cartoons Everyone should see:

- The Peanuts.

- Garfield.

- Scooby Doo.

- Tom and Jerry.

- Pink Panther.

Cartoon I never liked: Spongebob

Cartoon I hate now: Kiayu? Idk. The one with the bald kid that whines a lot. Ugh.

Cartoon I can make myself ‘watch’ with the (niece/nephews): Paw Patrol

Films you would Recommend:

80s: The Breakfast Club

Book Adaption 80s: The Outsiders

Murder Mystery:Murder on the Oriental Express

Jim Henson pick: Labyrinth

(Suicide) Satire:Heathers

Romance: Titanic

‘Horror’ Movie: The Lost boys

Horror Movie: The Nightmare on Elm Street

Spy Flick: Saint (1997)

Mind trips: The Sixth Sense.(1999) Donnie Darko.

Stephen King: The Dark Tower

Stephen King Miniseries: Rose Red

Studio Ghibli: Howls Moving Castle. Or. Kiki’s Delivery Service.

Action Comedy: Miss Congeniality

Adventure Comedy: Jumanji

‘Dark’ Comedy: The Addams Family

Romantic Comedy: Legally Blonde

Tim Burton

Tim Burton Animated: The Nightmare Before Christmas

Tim Burton Live Action: Edward Scissorhand

Tim Burton Musical: Sweeney Todd

Dreamworks

Favorite Dreamwork’s Film:

Rise of the Guardians (and) How to Train your Dragon

Disney:

Unpopular Recommendations:

The Black Cauldron (and) The Great Mouse Detective

One that is still rather disturbing: Pinocchio

Best Soundtrack (Golden Age): Fantasia

Best Soundtrack (Modern): IDk?!

Classics (Golden) everyone should see at least once: Snow White (and) Bambi.

Wartime Era Pic: The Adventures of Ichabod and Mr.Toad

Silver Age or Bronze Age: Both!!!

Disney Renaissance or Post Renaissance: Both! If I absolutely had to choose though, Renaissance.

Moana or Lilo and Stitch: Lilo and Stitch

Frozen or Tangled: Both

Soul or Monsters Inc: Monsters Inc

Toy Story I and 2/ or/ 3 and 4? Toy Story I and 2.

Underrated: Candleshoe

Disney Holiday:

Live Action Halloween - Hocus Pocus

Live Action Halloween Series- Halloweentown

Animated Halloween- Frakenweenie

Live Action Christmas- Miracle on 34th Street (and) Eloise

Animated Christmas- Mickey’s Once Upon a Christmas, Mickey’s Twice Upon a Christmas, (and) Winnie the Pooh: A very merry Pooh year.

New: The Nutcracker and the Four Realms. (2018)

Disney Reimagined/Live Action:

First that made you rethink the story: Maleficent

Favorite ‘Princess’ Story: Beauty and the Beast

The Surprise: Cruella

The one you worried about but we’re happy with in the end: Lady and the Tramp

The one you worried about but ending up enjoying anyway: Aladdin

The one that was good but you could have done without: The Lion King (which really surprised me!!!I like it but I didn’t love it. Which for me was so strange since I’m a fan of the original and the play.)

The one you had high hopes for and had a mixed reaction too: Mulan. (Ended up really liking it, but I miss Mushu. )

‘Modern’ Shakespeare Adaption:

10 Thing I hate About You (The Taming of the Shrew)

Clueless (Emma)

and

The Lion King Series. (Kid appropriate)

The Lion King: Hamlet

The Lion King 1 1/2: Rosencrantz and Guildenstein

The Lion King 2: Romeo and Juliet

Vampire Pictures:

90s: Interview with a Vampire

2000+: Twilight Series

Tv Series: Buffy the Vampire Slayer

Vampire Action Series: Underworld

Classic: Bram Stoker’s Dracula

Dracula with a Twist: Dracula Untold (2014)

Fun Supernatural Flicks :

Witches: The Craft

Male Witches: The Covenant

Fairytale: Red Riding Hood (2011)

Ghost Hunters: Ghostbusters

Multiple Supernatural: Van Helsing (2014)

Werewolf Romance: Blood and Chocolate

Kid Friendly Live Action: Casper

Kid Friendly Animated: Hotel Transylvania

Supernatural Series:

Multi: Supernatural

Animated: Sabrina The Teenage Witch. (And) Scooby Doo.

Witches: Charmed

Fairytale: Once Upon a Time

Darker Fairytale: Grimm

‘Superhero’ Movies:

90s: Batman. (And) The Crow.

Series: Marvel’s Cinematic Universe

Classic Animated: Batman the animated series

Modern Animated: Harley Quinn

Girl Power: Wonder Woman. (and) Birds of Prey.

Something Different: Deadpool

Younger Audiences/Nostalgia: Teen Titans (animated)

Harry Potter

Favorite Film: Idk. Can’t choose honestly.

Least favorite character portrayal: .. Ginny Weasley?

Someone you loved: (so many..) McGonagall

Someone you loved hating: Bellatrix LeStrange

Someone you just hate: Dolores Umbridge

First time you cried: I cried for Sirius and Remus in Prisoner of Azkaban.

First time you jumped: Snakes or Basilisk. Chamber of Secrets. (I think I was 12?)

Someone who was so spot in acting on you can’t see them as anyone else now: Luna Lovegood

Someone who was so good even if the look wasn’t perfect: Emma Granger as Hermione OR Alan Rickman as Severus Snape.

Someone who’s injury hit you harder than the books: Colin Creevy.

Someone who’s death hit you harder than in the books: None. They hit but not as much as the books.

A scene you found just breathtakingly pretty: Christmas at Hogwarts

A scene you found creepy (even when you knew it was coming): Nagini uses a corpse as a mask.

For any Potter heads. Some things that bothered you about the Harry Potter films:

- Where is Charlie Weasley?

- Where is Peeves?

- Where are Neville’s parents?

- The green/blue/brown eye thing. (This is not against Radcliffe. Some special effects could have fixed this easily)

- HarrY DiD YOu PuT YoUR NaMe IN tHe GoBlET of FIRE?! 🔥

- In Sorcerers Stone, Why did you change the snake at the zoos breed??

- “Voldemort” versus “Voldemor”. The silent t.

- Hermione’s. Yule. Ball. Dress. Color. Blue. Not pink. She specifically changed the color.

- Fluffy. Hagrid’s adorable Cerberus was originally bought from a Greek man. Why change it to Irish? I like Ireland but it was a Greek man due to where Cerberus’s initially came from right???

- Harry’s first Weasley sweater color

- Why does Harry only see his parents in the Mirror of Eirsed? Where’s the rest of the family?

- The Underage magic rules aren’t well explained in the movies making the 3rd year summons even more bonkers sounding

- The Patil Twins Yule Ball Outfits. They could have been soooo beautiful. Like this is the Yule Ball! The Twins would have (in my opinion) much more elaborate traditional Indian styled dress robes?? Idk.

- Love Movie Hermione! But some moments take away from Ron. Like when Ron defended her in the Chamber of Secrets. Hermione didn’t know what the slur “Mudblood” meant in the books. Ron had to explain it.

- Dobby needed more screen time. Some stuff Dobby did went to Neville because so many Neville scenes were cut.

- Where’s all the secrecy from the books when communicating with Sirius- “Snuffles”? Something Harry’s godfather insisted on to keep him safe.

- Snape’s title of “The half-blood Prince” is not explained. Neither is it made clear that Severus was also abused horribly at home throughout his childhood. Also that like Harry Dumbledore did nothing to help Severus when he was a student. (Or maybe Tom Riddle when he grew up in an orphanage. I’m sensing a pattern)

- Dumbledore should have still spelled Harry during Dumbledore death scene. No way would Harry just stand there if given the choice.

- Ron was not quite as ‘dumb’ in the books and a lot of his funny moments were cut from the movie. Which makes his jealousy moments all the more unbecoming. He also comes off a bit more arrogant in the movies. (This is not against R Grint. Who is awesome) The movies gave Ron the short end of the stick.

- Weasley/Malfoy Fued. Who else wanted to see Arthur and Lucius have a fist fight in a bookstore? Exactly.

- Albus Dumbledore isn’t all Sunshine and Daisys. He does some really messed up stuff yet no one ever seems to question this.

- Remus was the last Marauder. Yet his and his wife, Tonk’s, deaths are barley acknowledged.

- Also Teddy. Harry’s Godson.

- Harry’s and Ginnys relationship is not built on. It’s just there. Ugh. Heck Movie Ginny isn’t that great. You don’t know much about her except: She’s the only girl in Ron’s family. She’s the youngest Weasley. She’s obsessed with Harry. She’s a good Quidditch player. She has a temper. She was possessed by Riddle’s Dairy when she was eleven. She’s obsessed with Harry.

- Draco is essentially Harry’s antithesis. Where is he in some critical scenes in the movies?

- Where’s the Luna love???? Harry’s pretty rude to her in some scenes.

- There is no S.P.E.W. And Hermione’s more ruthless side is gone.

- The guys hair in The Goblet of Fire. Get a hair cut. Please.

- Some of Molly’s less than Stellar Moments. (Ex. When she believed rumors about Hermione and so treated he coldly. How horrible she was to Fleur. Ect)

- Fleur. Fleur and Bill still get married but the objections to the wedding aren’t as presented in the movies. Not is Molly’s and Ginny’s extreme dislike of Fleur. Or when Arthur apologizes to Fleur. Or really any of Fleurs best moments. The whole courting process is skipped.

- House Elves. The House Elves of Hogwarts.

- Percy Weasley. The ‘betrayal’. The returned Weasley sweater. Him turning to protect his family and fight for Hogwarts at the last minute. All gone. Which involves being forgiven by the Weasley Twins not an hour before Fred dies.

- The connection of the Black sisters. Specifically Adromeda - mother of Tonks. Who is Sirius cousin. Who married Remus Lupin. Tonks and Remus the parents of Teddy.

- Dean Thomas is pretty much gone.

- Rita Skeeter. Illegal Animagus. Hermione kept her in a jar.

- The movies didn’t allow Radcliffe to be sassy and sarcastic enough. Harry Potter is one of the sassiest boys to ever walk through the halls of Hogwarts!

- Harry didn’t fix his wand in the last movie.

- The history of the Marauders.

- The history explaining why Snape could never be comfortable around and trust Remus Lupin.

[greensparty]

Stuff I’m Looking Forward to in November

Whoa - it’s now the tail end of 2021! In addition to Election Day (Nov. 2), Diwali (Nov. 4), Daylight Savings Ending (Nov. 7), Veteran’s Day (Nov. 11), Thanksgiving (Nov. 25), and Hanukkah (from Nov. 28 to Dec. 6), here is what’s on my radar this month:

Movies:

Ghostbusters: Afterlife

Jason Reitman picks up the mantle from his Dad Ivan (who directed the first 2 Ghostbusters in the 80s), with this new reboot. Early reviews have not been kind, but the fact that Ivan is a producer, Jason has done some excellent work and all of the original living Ghostbusters appear in this, makes me cautiously optimistic. Opening 11/19.

C'mon C'mon

I was a huge fan of Mike Mills’ films Beginners and 20th Century Women (both were tied for my #30 Movie of the 2010s) and his new one with Joaquin Phoenix is creating quite a buzz. I missed it at IFFBoston Fall Focus last week, but it opens on 11/19.

House of Gucci

Ridley Scott’s crime thriller about the Gucci family has been setting the internet on fire over the last year. Movie opens 11/24.

Licorice Pizza

Paul Thomas Anderson’s new coming-of-age in 1973 San Fernando Valley film might possibly be my most anticipated movie of 2021. Opening in limited release 11/26.

Music:

Radiohead Kid A Mnesia

I out and out love Radiohead, especially their 2000 album Kid A and 2001 follow-up Amnesia. To celebrate the 20th anniversary this year of both albums (its really one album, but anyways...), there is a reissue set that includes both albums as well as a third disc of unreleased tracks from the recording sessions as well as a cassette tape Kid A Mnesiette of B-sides. Album drops Nov. 5.

Snail Mail Valentine

I was a big fan of the debut album from Snail Mail, Lush. I included it on my Best Albums of 2018 and on my Best Albums of the 2010s list. The follow up drops Nov. 5.

Courtney Barnett Things Take Time, Take Time 

The third studio album from Courtney Barnett is something to celebrate! I have been a big fan of her 2017 Kurt Vile duet and her 2018 album Tell me How You Really Feel. Expectations are high for this album, which drops on 11/12.

Nirvana Nevermind 30th Deluxe Edition

September marked the 30th anniversary of Nirvana’s landmark album Nevermind. You could say I’ve written quite a bit about the album (read here). To celebrate the 30th anniversary there is a deluxe edition (different than the 2011 20th anniversary edition), which includes not just the remastered studio album, but several live concerts from that tour. Box set drops 11/12.

TV: The Beatles: Get Back 

Instead of doing a feature documentary about The Beatles recording of Get Back / Let It Be, director Peter Jackson has made a 3-part documentary series. After listening to the recent Let It Be reissue and reading the companion Get Back book, I am super excited about this doc which drops 11/25 to 11/27 on Disney+.

Books:

Paul McCartney The Lyrics: 1956 to the Present 

How does Sir Paul find the time to write a book of 154 of his songs lyrics with commentary? Between his documentary series McCartney 3, 2, 1, the recent reissue of The Beatles’ Let It Be and the aforementioned Peter Jackson documentary, he’s busier right now than most musicians are in multiple years combined! Book release Nov. 2.

Events:

Record Store Day: Black Friday edition 

Record Store Day is among my favorite fake holidays and in addition to the holidays they had earlier this year, they have a special Black Friday edition on 11/26!

[weirdmarioenemies]

Name: Kasa Obake

Debut: ???

Despite everything, I wasn’t really planning to do another yōkai post after the Gashadokuro, but you know what? I can’t help myself! I’ve got so much to say and this is my only outlet for that! I mean not be an expert, but dang if I’ve got passion! So even though I’ve touched on them once before, here they are with an encore performance: the Kasa Obake! Please give them a round of applause!

But first: What the heck does “Kasa Obake” even mean? Kasa is the Japanese name for an umbrella or a parasol, and obake means... well, ghoul, monster, ghost, goblin, take your pick! (It’s a vague term, like yōkai, but strictly speaking it means “changing thing”!) Of course, in this case we have a karakasa, or a traditional paper umbrella, which gives them the alternate names of Karakasa Obake or Karakasa Kōzo (kid)!

The Kasa Obake might just be one of the most quintessential yōkai, and it’s quite easy to understand why- a one-legged, one-eyed paper umbrella monster who hops around like a pogo stick? Instantly charming! Instantly spooky! Sign me up!

They’re also (sometimes) a lovely example of a tsukumogami, one of my favorite classifications of anything ever! In short: a cherished object that lives to around 100 years old gains a fresh new soul and becomes a yōkai of their very own! Yes, while Pokémon fans have been complaining about object monsters for a long time, the Japanese have been relishing in them for centuries! Take that!

But alas! Like the Gashadokuro, the Karakasa’s origins may be a bit misleading! Though not quite as recent, the Kasa Obake is more or less considered a “made-up” yōkai, appearing somewhere around the late 19th century, without any legends, stories, or, well... anything to its name!

But again, I just think that speaks for its charm! Those Japanese artists from 300 years ago may not have invented this paper umbrella ghost, but I’m sure they wish they did! They’re iconic, they’re easy to draw, and people can’t get enough of them! And damn right, I say! We should stop trying to make Halloween costumes sexy and just dress up as umbrellas every year. They can’t stop us all!

A big force in making the one-legged Karakasa as popular as it is today came from Obake Karuta, a variation of the popular Karuta game from the 19th and early 20th century- rather than using famous poems or common idioms, it had a deck full of Funny Monsters! It was basically one of the first examples of categorising and marketing as many Funny Monsters as possible, so it’s pretty much the great grandpappy of all Funny Monster Games! In a sense, we might owe this blog to Obake Karuta to some extent!

(Speaking of Obake Karuta it’s also one of the few appearances of the Shumoku Musume who really has nothing to do with this post but she's another favorite of mine)

Anyway! As Funny Monster related media continues to grow and expand, so has the Kasa Obake’s grasp on popular culture! Movies, cartoons, games, they really have it all! No media can resist their allure! So once again, under the cut, some fictional Kasa Obake! (as opposed to regular Kasa Obake, which are real)

Did you know? Yokai Monsters: 100 Monsters is one of the best films ever made. Of course, that’s judging purely by the number of monsters, I haven’t seen it myself, but how many movies do you know that have 100 monsters? Not many, I assume!

Look at this guy! Not only is he fantastic, but that’s some really cool puppetry, too!

2005′s The Great Yokai War, which was kind of a spiritual successor to Yokai Monsters, also features a Karakasa as the comic relief character, and I can’t think of anything better to be comic relief! Hollywood take note!

(from Obscure Video Games on Tumblr)

Naturally, we see plenty Kasa Obake in the many, many GeGeGe no Kitaro adaptations! 

They look quite different with every appearance, but my favorite would have to be Shigeru Mizuki’s original illustration- I mean, you can’t beat that cheeky little smirk!

Then there’s Pallysol, from Yo-Kai Watch! Of course, they had to make it clear that this guy is a pal, objectively, like Pal from Pac and Pal. I feel like as far as cutesy Karakasa designs go, this one’s nearly perfect!

What’s that? A mobile game variant of Pallysol, based on a disposable umbrella with a little rain boot? Don’t mind if I do! This is probably like, the peak of monster design. This is what the Kasa Obake was born for. 

This here Touhou is a Karakasa... I guess? Hm... If I didn’t know any better, I’d say this is just a girl! 

Look, I respect Touhou! Some of my best friends are Touhous! I’m certainly partial to an anime girl every now and then! But, it’s more or less my creed that you shouldn’t make a boring human character when a funny monster would offer so much more!

See, now isn’t that way more pleasing to the eyes? Er... eye?

The Ghostbusters mobile game has a very cool Karakasa design that I wanted to mention. Did you know there’s a Ghostbusters mobile game? Neither did I!

Uh oh, Nioh! He’s quite scary, but look at him dance! He’s so happy! 

The Jackbox game Tee KO features a whole roster of funny yokai to pick, including (but not limited to) a Karakasa looking to win the prize money and open his very own sandal shop! Look how adorable! As objectively the best character, the real aim of the game is to be the first to pick him. This one is named Taco, I guess.

Oh, you won’t fool me this time Touhou! This is a girl and I know it!

Jumpershoot, a midboss from Kirby’s Dream Land 2 and 3, is about as Karakasa as a Karakasa can get! But with one of Kirby’s main abilities being a Parasol, it’s a wonder why they’ve barely appeared since! For shame, HAL!

Ah well, at least the Kirby Twitter artwork gives them some love, right? Though, what hasn’t the Kirby Twitter referenced at this point?

Well, that’s about it! That’s pretty much all the Kasa Obake I can think to talk about, though probably not all the ones that exist. If you’ve got a Karakasa of your own to share, hit us up! I swear I've gotten all my yōkai juices out of my system, and I’ll never subject you guys to a post like this again! Unless you want me to...?

Actually, I can’t shake the feeling I’m forgetting something. Wasn’t there another series I liked, which also had a Karakasa...? Hm...

[riotatthemovies]

Halloween sitcom specials.

When the Halloween season comes rolling in I like most people start to watch more horror movies (maybe even more than I usually do). But near Halloween the horror I watch needs to have a childish innocence to it. Memories of Halloween with candy and costumes and telling each other innocent ghosts stores around a fire to spook each other. That's what Halloween is for me, memories of how as a child monsters and ghosts were just too damn cool. So the horror films I choose are more monster based often with a folklore campfire tales twists. However I also love flashing back to the cheesiest childhood memories of tv at the time. Everyone loves the better episode of Simpsons Treehouse of horror. The VHS collecting geeks I talk to often post articles about the infamous Halloween make up tips tapes and safety PSA tapes of the 80s. 

For your retro entertainment I bring you a list of my 10 favorite sitcom and kids show Halloween episodes of my youth. I say my favorite not the best because I'm sure if I said the best I'll get a msg saying I'm wrong. Also I'm sure some kids gonna tell me of a that's so Raven episode and I'm an old so I never watched that. Also people always talk about the Rosanne Halloween episodes so I will let everyone else talk about those. Also note there was never a Golden girls Halloween special and if there was there is no doubt that would be the top of my list. So this is in no real order . . .

10: Facts of Life Season 5 episode The Halloween Show

Natalie is making a home movie and SPOILER tricks all the girls into believing their den mother is possessed by a ghost and is turning random people into sausages and feeding them to the group. Yeah seriously that's the point, I mean you don't know its Natalie tricking everyone so she can film a reality horror film until the end but you figure it out. Its completely unbelievable that the group of girls fall for this and legit believe it enough to try and fight their den mother that they have been best friends with for five seasons. The magic of a show being 25 minutes long that the characters have to jump to huge assumptions and get over it and a chuckle pretty quick too.

9: Webster Season 4 episode Witchbusters

Webster has some non Halloween oddly creepy episodes as it was pure 80s kids entertainment. Webster loved wearing Halloween masks and in season 2 he finds a creepy doll in the room of a missing girl that looks like a real person and comes off very Black Christmas/ Psycho. But I love the season 4 episode where Webster is peer pressured into sneaking into an old ladies house on Halloween because everyone thinks she is a witch. When Webster sneaks in his friend chickens out and leaves . Webster then finds one of the old ladies cats and thinks it is his friend who had been turned into the cat by the witch. Like many episodes the issue at had happens because Webster is really dumb. So of course he kidnaps the cat and takes it home because he thinks its his friend. Dumb Webster Dumb. Man I loved that stupid show.

8 .Family Matters season 8 episode STEVIL

Many people seem to remember the Halloween episode where infamous Steve Urkel brings a ventriloquist dummy to the Winslows Halloween party and as as ventriloquist dummies do , it comes to life and tries to kill everyone. Goosebumps meets Family Matters right there. I noticed its been the hip show to talk about this seaspn, probably cause this happened in the 90s.

7. Mr. Belvedere season 3 episode called Halloween

Mr Belvedere is depressed after eye surgery and the youngest kid in the family Wesley gets old Mr Belvedere in an eye patch and brings him out trick or treating which in turn sends him out on a bit of a bender. Also in the episode the daughter wants to wear a sexy maid costume to a party but her dad wont let her. So her older brother wears the maid costume to the party so they can secretly switch costumes there. Just one of many episodes where the older brother Kevin did a drag scene to show off his legs. ALSO in that episode the dad Bob Ueker is asked to join a sort of Shriners group but they end up being a crazy hooded cult. Which is extra funny cause in later episodes you find he did join the Shriner group after all and they never mention them being a cult. In fact the next time you see the cult members they are friends of the family and all go in drag with the oldest son they can go under cover to catch a purse snatcher.. but that's another episode.

6. Alf season 2 episode called Some enchanted evening.

Alf wants to go trick or treating cause well candy of course. The tanners think its too dangerous for Alf to go out even that he insists everyone will think he is just in a costume and not an actual Alien Life form. Eventually a Halloween party is held at the house and Alf meets an old cat lady. Alf loves cats... sorta. Also in the episode is an appearance of Lewis Arquette the dad of the all those wacky Arquette kids.

Seeing the costumes that appear in all these episodes makes one feel like in the 80s and 90s there was a rule that you couldn't have a Halloween party if there was not one devil, one pirate , one French maid, one little bo peep, one scarecrow and one Dracula. Like it was a rule or something.

5. KnightRider Season 3 episode called Halloween Knight

Michael Knight must investigate the visions of a confused woman. They believe she will be the next victim of a murdered in a gorilla suit. In the episode a man wears one of the silver shamrock pumpkin masks from Halloween 3. I did an whole article on this last year. Just another reason for you to go look through the riotatthemoveis archive.

4. Fall Guy season 4 episode called October 31st

Elvira guests stars as her self as she teams up with Lee Majors and the Fall guy team to break a curse and solve a possible murder in an old castle. Guest cameos of John, David and Keith Carradine. Also Lewis Arquette. Elvira would return the next season in an episode called.. wait for it.. October the 32nd... Yep.

3. Night Court season 3 episode called Halloween Too.

Every season of Night Court got a Halloween episode but this one is suiting for the humorous episode title and for Markie Post (who was in the episode of Fall Guy I just mentioned) wearing an amazingly and awkwardly hot witch costume. She shows up in this costume after Judge Stone has just broken up with his girlfriend who he discovers is an actual witch with magical powers as he believed her magic compromised his position on the bench. Guest cameo by Anne Ramsey as another witch. All the Halloween episodes are but I really like in this one when Quan Lee misunderstands the concept of Trick or Treating and thinks you need to threaten people for candy. Also I just needed an excuse to post this picture of Markie Post.

2 . Diff’rent Strokes Season 7 episode called A Haunting we will go. Arnold and his new step brother Sam (yeah that's a thing if you ever watched the last two season of Diff’rent Strokes) peer pressure them selves into sneaking in to an old haunted house. (similar to the Webster episode as poor little Gary Coleman and Emanuel Lewis would always be compared to each other). What makes this episode gold is when Arnold and Sam break into the haunted house they have detailed replica Ghostbusters costumes on, decades before Strangers Things season 2. We also get a door banging , chandelier shaking haunted house , dusty piano and everything if I remember right and then they show us how they did it. Very cool for an 80s kid like me. Also guest stars the amazing John Astin.

Last but not least...

Punky Brewster season 2 episodes Perils of Punky part one and 2. The cartoon series has an episode of the same name but no relation. This two parter is something if you know me you have heard about a lot. Punky and her pals go camping and meet a native shaman who tells them about a haunted cave, so in part 2 what do they do.. go in it of course. Then shit get surreal. Punkys friends get offed one by one by evil spirits then get turned into severed heads, one that flies and one that is stuck in the rock wall. It all ends with Punky having to battle a giant spider with shades of the original IT movie and has to hack it to death with an axe. Ending in the spirit of native girl waving goodbye in the cave that looks just like Punky as her friends magically come back to life as if it was all a dream... or was it. The episode is to be seen to be believed. My second favorite next to the episode where Punky thinks she killed a man at her restaurant but finds out he is just a narcoleptic with a broken hearing aid. COMEDY!!!!!

There are so many more, feel free to msg me and let me know old tv shows that had wild Halloween episodes that you hold dear.

I need some Count Chocula and a reason to watch some more... hmm maybe some boo berry,... oh man, anyone got an Haunted House pasta or Scarieos?

dang.

[letterboxd]

How I Letterboxd #7: Cinemonster.

Hooptober’s head honcho opens up to Jack Moulton about his love for Texas-born horror director Tobe Hooper, the joys of running Letterboxd’s most beloved Hallowe’en community challenge, and the “terrifying, magical” experience of seeing Frankenstein at the age of four.

“You can’t spell October without Tobe.” —Cinemonster

Cinemonster, known to his family and friends as David Hood, is a restaurateur in Pittsburgh by day, and the head honcho of Hooptober by night. Now in its seventh year, the horror film challenge sees participants set their own 31-day viewing agenda of 31 films, curated according to a list of criteria set by its creator.

‘The Texas Chain Saw Massacre’ (1974), directed by Tobe Hooper.

With over 5,000 films logged on Letterboxd and a growing collection of posters, DVDs, Blu-rays, laser discs and film memorabilia, Cinemonster is a literal monster of cinema. He has created more than 500 lists, including a ton of year, director, actor, actress, franchise and memoriam lists.

What brought you to Letterboxd? I found Letterboxd while I was doing a Google search for a horror film that I had forgotten the name of. I ran into a list that Hollie Horror had made and wound up starting a profile and it went from there. That would have been a little over seven years ago.

How freakin’ cool is last year’s Hallowe’en Easter egg with the dripping blood from our logo? [Pro members get this added to their pages by mentioning #horror in their bio.] I’m a fan.

Unfortunately I haven’t heard of a single one of your four profile favorites! What’s urging you to highlight these films? They are just lesser-seen and have something good or great about them. Eyeball is a great little underseen Umberto Lenzi film. Death Machines is an awkward, weird and wonderful film with kung fu and blood. Massacre at Central High is one of my favorite films and sadly lacking a disc release of any kind—anyone who has seen Heathers will recognize a couple of things if they watch it. Rituals is a criminally underseen stalked in the woods film from the ’70s.

In this this list description, you explain how the original Frankenstein (1931) hooked you into horror at four years old. Can you describe what you most remember about that life-changing experience? It was both magical and terrifying. The space, the creature, the little girl. I had trouble sleeping for weeks afterwards. No matter where I am in the world, if there is a screening of Frank, I’ll go. I watched most of the major universals by the time I was six or seven. I saw Alien and Jaws 2 with my folks and those stuck with me. Cable and a local UHF station showing Hammer films on Saturdays are what really allowed me to get sucked in.

‘Frankenstein’ (1931), directed by James Whale.

The horror films of 1980 and 1981 were the most impactful and are the ones that mean the most to me to this day; Fade to Black, Night School, Motel Hell, The Fog, Alligator, Altered States, Terror Train, Death Ship, Scanners, An American Werewolf in London, The Howling, The Funhouse, Dead & Buried, Hell Night, Wolfen, Ghost Story, The Pit and Evilspeak. I saw all of them five to ten-plus times on cable as a kid. They’re still all high on my list. I am glad that Fade to Black is on Shudder. People need to watch it. More relevant now than then.

What exactly provoked you to start Hooptober seven years ago? I moved into an old spooky house and had a backlog of Blu-rays to watch and the 4K of The Texas Chain Saw Massacre was about to come out. I’d done some interactive stuff on Letterboxd previously and had a decent amount of people involved. I was also at a point in my life where 31 films in 31 days is tough, as it is for a lot of us now. So I thought ‘Why don’t I do something that starts a little early, clears some of my list out, and has some parameters that don’t feel like I am handing out an assignment?’ I grew up in Texas, Tobe [Hooper] is close to my heart, and with all the Hooper I owned and the 4K coming out, I decided to christen it with his name. You can’t spell October without Tobe.

What’s the most members that have participated in a Hooptober? The number of people who participated was a little more than I expected, but that wasn’t what I was surprised by. I never thought of it as a recurring event until I started to hear from people the following summer about ‘the next one’. I just kinda chuckled after about a dozen people had asked and I said out loud to no one, “I guess I’m doing another one of these”. We are well over 700 this year, and still climbing.

‘Fade to Black’ (1980), directed by Vernon Zimmerman.

Where do you get the ideas for the rules for films to consider watching? At this point, I look back at past years so that I don’t repeat myself. I look to the current year for inspiration. Is there a film from a sub-genre that was prominent? Was it a strong year for output from women, Mexico, Asia, Black filmmakers, something cultural, and so on? I may focus on effects creators, an actor or writer on a whim. I try to keep an eye out for blind spots I haven’t covered. Shudder, archive.org, the big streamers are all resources. Sadly, rarefilmm no longer exists.

In last year’s interview with Merry-Go-Round magazine, you mentioned plans to turn Hooptober into a film festival. How’s that going? In a post-pandemic world, how can we keep independent niche film festivals thriving? The world has not been agreeable, obviously. I’m not even sure how viable something like that will be next year. I’ve been taking a look at streaming options. Post-pandemic will require more creativity and outside-the-box thinking, and will probably continue to feed some drive-ins. Been a while since more than a handful of people wanted to put money into a drive-in, which is nice to see.

I’m going to do a tweet along to The Witch Who Came From the Sea in October, and I’ll give you an exclusive here: The George Romero Foundation and I are doing online Horror Trivia on October 11. I had been doing it live with them here in Pittsburgh until the pandemic.

Based on this year’s rules and conditions, if there was one essential you-can’t-miss film you could force all your participants to add to their challenge, which film would it be? Demons, Eve’s Bayou or The Witch Who Came From the Sea.

‘The Witch Who Came from the Sea’ (1976), directed by Matt Cimber.

What have been your own greatest film discoveries through your Hooptober adventures? A Tale of Two Sisters, I Drink Your Blood, Blood Diner, and though it is a bit of a cheat to list this one, The Amusement Park. It’s cheating because it didn’t exist as something that I or anyone else could have watched, prior to when I saw it.

Do you have any acclaimed horror movies still lingering in your list of shame? Eyes Without a Face, Upgrade, Cure and Scream 4.

Have you ever completed one of your own Hooptober challenges yet? Errrrrrrrrr, one. I’m on track this year.

What about the participants over the years—any Letterboxd friends you’ve made who would you like to give a shout-out to? Aaron, Sarah Jane and Chris Duck are people that I talk to outside of Letterboxd. There have been a few others over the years. Slappy McGee has helped me with Hooptober the last two years. They are great. Javo and David Lawrence are pretty great, too.

Before Hooptober, many of your lists invited discussion with your followers. In what ways is Letterboxd the ideal forum to foster a community of film fans? Fans exercise their fandom in so many ways. The platform is so flexible that it allows you to utilize it in a small and personal way, in a promotional way, or to dive into the community pool and see who’s out there that shares something with you or can show you something. The more people that we are exposed to and listen to, we are all the better for.

Which of your review—from any genre—are you proudest of? The Invisible Man or The Hustler, probably. I have a capsule of Hud that I like.

So, you’re the horror guy. Nobody is denying that. You are Cinemonster, after all. But when I look at your top movies list and see that Singin’ in the Rain is your all-time number one, I’ll need you to explain yourself. I go back and forth between that and Butch Cassidy and the Sundance Kid. They are 1A and 1B in some order. Singin’ in the Rain is a perfect film and the studio system at its best. I will ignore your implied insult. ;)

‘Fear of a Black Hat’ (1993), directed by Rusty Cundieff.

It’s true, even a horror aficionado needs some levity in their life. What other comedies pick you up from a dark place? Fear of a Black Hat always does the trick. Same with The Awful Truth, Murder by Death, Hollywood Shuffle, Walk Hard: The Dewey Cox Story, Blazing Saddles, Monty Python and the Holy Grail and Black Dynamite.

Who has been keeping you company during this tough year? I have watched thirteen Spike Lee films so far this year. I’ve taken a break the last few months, but I’ll probably knock out five or six more. With the exception of 25th Hour, everything is a revisit. It’s been a joy to go back through everything. Crooklyn is much stronger than I remembered, and Bamboozled just gets better and more impactful as time passes. I have loved Spike since the day I saw School Daze. His films have always connected with things that are important to me and to those that have been around me. Lee is still grossly under-appreciated as a narrative film director and a documentarian.

We’re bowing down to your epic Blu-ray and DVD collection. Which ones are your most prized possessions? Make us jealous. I have an Anchor Bay DVD of Dawn of the Dead signed by the cast and George A. Romero, a steelbook of Battle Royale, the first Slumber Party Massacre set before they had to reprint the box, the original Star Wars trilogy on Blu. I’m sure there are things I’m not thinking of. I have a lot of out-of-print and laser-only stuff. I’ll never get rid of my Holy Grail, Ghostbusters and Akira Criterion laser discs.

A selection of Cinemonster’s signed memorabilia.

I have a copy of Painting with Light signed by John Alton, John Waters and Steven Soderbergh I’ll send you a picture of. I used to collect movie posters, and I have the original Revenge of the Jedi one-sheet and the Drew Struzan Squirm poster. I do love those.

From your top directors list, let’s put one horror director on a pedestal. Who does the genre better than anyone else and why? George. They’re always topical, intelligent, thoughtful, personal and sometimes prescient. At their best they hold up both a mirror and a crystal ball. He was writing found-footage scripts in the early 70s, for god’s sake. Tobe is grossly under-appreciated. James Whale and Mario Bava could scare you in so many ways.

So, thinking beyond Ari Aster, Robert Eggers and Jordan Peele, which up-and-coming horror directors are you most excited about? Issa López, Gigi Saúl Guerrero, Benson and Moorhead, Shinichiro Ueda, Na Hong-jin, Julia Ducournau, Nia DaCosta, Jeremy Gardner and Leigh Whannell.

The 2010s were a great decade for horror. We have more money on-screen, moving away from the low-budget films of the 2000s. Which favorite horror film of the last decade inspired you the most? Get Out. What Jordan did for generations to come is unmatched in this century.

Chucky from ‘Child’s Play’ (1988).

Which probably-too-long horror franchise gets too much flak and is top-to-bottom a great time? Child’s Play. Chucky has always been treated generally as second tier. [That franchise] has tried a lot of interesting and out-there things during its lifespan that had no business working, but did.

I know it’s been a slow year but you haven’t logged many 2020 movies yet! Which is your most anticipated horror movie of 2020 or 2021? Peninsula, for sure; I love Train to Busan. Then Candyman, The Dark and the Wicked, Grizzly II: Revenge, Bad Hair, #Alive, After Midnight, The Platform, Bulbbul, Underwater, Shirley and Swallow.

Interview by Jack Moulton. Follow Jack on Letterboxd.

[gronjon44]

Ok, so I'd like to update my take on the Ghostbusters 2016 vs Ghostbusters: Afterlife situation.

Last time I spoke with @veronica-rich , I'd like to point out that I hadn't fully realized the details of the 2016 film. I went and rewatched it, and I'd like to add more to my thoughts.

First, the film isnt as bad as some people would suggest. There were good moments I like the comedy that comes from Holtzman and Chris Hemsworths character (his name escapes me rn), there were some strong ideas present and it wss actually an ok film.

BUT

I would also like to point out the flaws of the film. And to clarify. None of these have anything to do with the fact that's it's a female version of the original, but I'll get to that in a moment.

The films as a whole is fine I don't hate it. But I have gripes. The first being the writing which, in all honesty, could have used some work. The pacing was slow compared to the original, despite having an almost parallel story format, with certain details shoved at random spots where they weren't needed or were necessary but not provided.

But there were small details I liked, like the bust of Egon in the background or Patty's uncle being one of the original Ghostbusters cast members. Bill Murray as a "antagonist" to rile iPhone of the main characters was, in my opinion, unneeded as a reference to the original film. The bust of Egon, Dan Akkroyd as the cabbie, and Ernie Hudson as the uncle were nice details. But Bill Murray and even Signorney Weaver were both just kinda unneeded. Personally, I think it wouldve been better to have say Rick Moranis somewhere in the film might've been funnier, whereas Ms. Weaver and Bill Murray I felt like were there for the popularity aspect.

And let's not forget Annie Potts as the receptionist in both films which, honestly was probably my favorite special guest from the original.

But now the plot.

Ima say it, it was predictable. The original film had an engaging plot that I always found fun to watch. And in the beginning the new film wss in fact, fun to watch. But when the villain killed himself on his device I think it just got predictable. Using himself as a sort of undead conduit to further his plan, him turning into the evil version of the logo, even Slimer driving the Ecto-1 into the vortex that wss predictable. It all just felt kinda simple and, yeah it's movie not a Shakespearean Play, but it can have a few more twists and turns to make it interesting.

Also I very much enjoyed the big goofy dance scene with the soldiers it reminded me of the big Cuban Pete scene from The Mask.

Now the ending however...

That was bad.

The final action scene was genuinly boring to watch I couldnt get into it, best part might've been when the green gargoyle thing got shredded. The squishing of everyone by the StayPuff Marshmellow man wss kinda funny but eh.

The confrontation with the antagonist was... ok. Now, I LOVE this idea of the final ghost being an evil riff of the Mascot, that was awesome and funny and I enjoyed that part. Everything else, not so much. The way they fought him was boring it just felt like a slow Kaiju fight to me. And the way they beat him is just... uncalled for. I can enjoy grossout humor or an occasional gross joke I live off crass humor the joke in the beginning with the fart coming from the front wss one of my favorites. But shooting him in the dick that just... I get it'll make most men weakened I get it but gah...

No other gripes with the plot honestly, other than too many gaps.

Now some smaller details I'd like to point out, I'm just gonna list em quick fire.

Too many references it felt lo like they're were just trying to shove as much Ghostbusters shit in the viewers face it was just kinda annoying after awhile.

Some grossout humor is fine but certain bits like the over the top puke scene actually made me feel uncomfortable and not in a funny way.

The way they used Slimer wss fine but trying to introduce a random Female Version wss just kinda weird.

Ima say it, the black chick wasnt as funny to me she had a few good jokes but she was eh.

The Zuul reference at the end just annoyed me for some reason. The entire plot was one big riff of the original with the person breaking the barrier, ghosts running rampant, the spooky ghost chick in the beginning, even something as simple as the scene in the train tunnel it was all frame for frame practically. If yoire gonna copy the whole plot just use Zuul and replace Stay Puff with the ghost Mascot.

Now, to adress the elephant in the room. Gender debate. This film is without hesitation, meant for the female and feminist audience. But to say it does not care about the other side of the demographic and is 100 percent against men isnt fully true. Like I said the ending it a litteral and figurative jab at men, and it shows throughout the film. Men are treated like a joke, the Major is am idiot with his female secretary doing most his job. Hell No Men Beyond this Point was nicer to men than this film was, and that showed Men as a LITTERAL MINORITY essentially.

And I won't be the first to admit that Chris Hemsworth is really funny as a dumb blonde I'll say it yeah, but making every other men an absolute tool was kinda unneeded. Even the cops and the people who ran the universities were basically made out to be self righteous alpha males, which can be excused as to further the plot, but it wouldve been better off just making the mayor and cops women, making the mayors secretary a man who believed in them, and even make the college professors women or at the very least make them semi understanding in their actions I get we're meant to hate them and you don't need to make them likeable, but at least make them a bit less alpha male.

I'm gonna say it one more time. I think this film is actually ok and it doesn't deserve as much hate as it gets, gender debate aside it litterally is just a female retelling of the original film.

Do I think it could've used some work? Yeah.

Do I think people should be a bit more understanding about it? Yeah.

Do I think it deserves a sequel? No not in the slightest.

This is ok yeah, but it by no means deserves a continuation. Take away the fact it's a reboot and take away the gender debate, and look at it as just some movie that exists and accept it normal flaws as a normal film.

And I personally think that it genuinely does not deserve a second film. It was ok but it was by no means sequel worthy. And honestly I am excited because the original two films earned a third film. And I'm happy to see a new film come from the son of the original director.

And that's all this film is, isnt it? A letter from a son to his father, saying "Hey I really enjoyed the story you told, and I'm sad you didnt get to finish it. Why don't I finish it for you? I'll treat it well dont worry."

I also will say this to those who plan on hating the new film just because they didnt make a sequel for the 2016 version, then by all means, grow up.

In the end it's all just a film so just learn to enjoy it. And stop hating films before they've even hit theaters. And that goes on both sides of the argument.

[mrnerdteacher]

The Toy Story Franchise is my “Moonlight” (only with less gay romance and exactly as much crying)

After viewing the emotional and heart-warming epilogue that is Toy Story 4, it occurred to me just how much the four films can be used to define different phases of my life. As I believe many movie-goers my age will relate, allow me to tell you “the story of a lifetime” (through analogies about neurotic cowboys and delusion astronauts).

SPOILERS FOR ALL THE TOY STORIES TO FOLLOW

Toy Story - 1995- My Age: 10

Life-changing. After the original Toy Story, traditional 2D animation just seemed boring and unimpressive. I remember laughing a lot at Woody’s frustration that Buzz thought he was real, and I really loved the premise that toys were real living things. At the time I played a lot with the TY Beanie Babies my brothers and I collected, giving them backstories, special voices, and complex relationships with one another, so this movie seemed to speak directly to me, as a child who already thought of his toys as characters. I remember thinking that I would much rather be Sid’s friend than Andy’s, because at least Sid had some imagination. I also remember when the Playstation 2 was being advertised, someone had said that it would be capable of Toy-Story-level graphics, and I scoffed at the idea this would ever be achieved in my lifetime (though I still found the graphics of the Sega Genesis version to be mind-blowing). If only I knew what lay ahead…

Toy Story 2- 1999- My Age: 14

I remember thinking this movie was a bit of a shoulder-shrug, but that might be because I was of the age where I was shrugging my shoulders at everything. I remember everyone talking about how much they cried during Jessie’s song, but I just couldn’t relate. To quote Demetri Martin, “Toy Story 2 was ok,” and to me, the best thing to come out of it was the vastly underrated Disney Channel cartoon series “Buzz Lightyear of Star Command” with Patrick Warburton voicing the “real life” version of the space ranger. That Disney didn’t bother to incorporate the EXCELLENT supporting cast into their dark ride continues to bum me out to this day. Also, my friends/family ALWAYS scored higher than me. Just hoping someone else shares my pain.

Toy Story 3- 2010- My Age: 25

I loved watching this movie with my father, having joined him on a business trip to Hawaii, ostensibly as a way to easily visit my friend Chris, who was stationed at Pearl Harbor. So many of this movie’s themes resonated with me at the time: innocence lost, the fear of change, coming of age, and even the inevitability of death (my grandparents had begun to gradually pass away). It was also nice to reconnect with loved ones in both the animated and real world. However, I do remember wishing that Lotso had been given a slightly happier ending, as I started to no longer see the world in such a simplistic “bad guys deserve to be punished” kinda way. In so far as this movie is celebrated as a perfect ending for the trilogy, I do also remember finding it a little upsetting that all of Andy’s toys would so easily move on to “the next kid.” I guess Woody wasn’t the only one afraid of being replaced.

Toy Story 4- 2019- My Age: 34

Taken as a sequel, this movie might be a little unimaginative. However, as an epilogue, it resonated with me in ways I never expected. In the nine years since the previous installment, I went from being a douchebag on Facebook whining that the world didn’t need a girl Mega Man to someone who will practically come to blows defending the Ghostbusters reboot. I loved that this movie featured so many dynamic female characters, especially when you compare it to where this series started (ie, the only female characters were mothers, sex objects, and tormented siblings). I also cried HARD at Bo Peep’s farewell, and even HARDER when the villain redeems herself (finally). The computer graphics Pixar is able to achieve is beyond astounding, but more than anything, I appreciated the central message: that choosing a life of freedom, romance, and adventure is just as valid a lifestyle as that of having children. It really felt like a moral aimed squarely at millenials, and as such I think that while I must concede that Toy Story 4 isn’t the BEST movie in the series, it’s probably my favorite.

Thanks for listening.

[ultralifehackerguru-blog]

New Post has been published on http://lifehacker.guru/the-55-best-romantic-comedies-of-all-time/

The 55 Best Romantic Comedies of All Time

There is no “best” romantic comedy. Something is funny when someone laughs, or romantic when their heart swells, for better or for worse, and we have no right to say why one of these should top another. Your uncle, or cube-mate might say, “That’s stupid. Breakfast at Tiffany’s is obviously the best rom-com of all time.” And they may not be wrong. But maybe you have some reservations about the horrifyingly racist overtones in some of that movie’s scenes, even though you can’t help loving Audrey Hepburn. Maybe it’s the best for a certain time period. It’s tough. Comedy is subjective. So is romance.

It’s for this reason that we had such a good time making this list, at least initially. And lots of help. People keep a special place in their heart for romantic comedies. They talk about them differently than other movies, and they like to talk about them a lot. When the call went out, we heard from writers, editors, friends, moms, therapists, bartenders, people we hadn’t talked to since high school; the list goes on. The initial gathering of candidates was great fun; the subsequent reaping less so.

First, we had to limit the category. We love Dazed and Confused and it contains plenty of romance, and comedy, but we can’t be sure it’s a romantic comedy per se. Same with Secretary, McCabe & Mrs. Miller, My Girl, Hedwig and the Angry Inch, and about 500 other films. We don’t have enough space here to get into exactly what makes a romantic comedy, but let’s agree that the fact it is not a tragedy or a history is not enough. Somewhere we have to draw the line between the actual rom-coms and the coming of age movies, or mysteries, or adventures.

It’s for this reason we need to apologize in advance: A number of your favorite romantic comedies will not be on this list. Some of them didn’t fit the mold. Others—and this part got a little heated—we just couldn’t get on board with. Decisions had to be made. Hopefully, as a benefit to any disappointment of missing favorites, you’ll find some new ones you didn’t yet know you liked. After all, that’s the message from Pretty Woman, right? It’s important to keep an open mind. Otherwise, you could be making a big mistake, big, huge.

These are the best 55 rom-coms for every situation. We hope you love them.

The Best Rom-Com . . .

. . . to put your one-night stand in perspective:

Obvious Child (2014)

Photo: Everett Collection

The hardest you’ll ever laugh about abortion. That’s right, abortion. Talk about playing with fire, but this tender, deeply human comedy from director Gillian Robespierre finds entirely new ways into the story of losing Mr. Wrong, then Finding Mr. Right (by having our hero, a struggling comedian—played by the irrepressibly honest and infinitely endearing Jenny Slate—get drunk with Mr. Right, sleep with Mr. Right, get pregnant by Mr. Right, and then deal with the consequences). While riotously funny, Obvious Child set a new standard for intimacy, and Robespierre’s ribbed, tone-perfect writing and Slate’s raw but intelligent performance managed to shape a millennial mirror more reflective than anything Girls could put forward in six seasons. And give us the abortion comedy we didn’t know we needed.

. . . to deal with your workplace crush(es):

Broadcast News (1987)

Photo: Everett Collection

In the mid to late ’80s, there was nothing bigger than TV news and James L. Brooks, and Broadcast News was their meeting ground. After the slaphappy, very silly, and very male comedies of the late ’70s and early ’80s (think Animal House, Porky’s, and Revenge of the Nerds), and alongside the epic big-budget projects like Ghostbusters and the original Indiana Jones, James L. Brooks continued to redefine what rom-coms could be with this sprawling, occasionally dramatic but never self-serious, workplace comedy. We root for Albert Brooks’s Aaron Altman, the brainy, nervous, serious journalist who competes for the affections of neurotic producer Jane Craig (Holly Hunter) against the impossibly polished (and intellectually inferior) Tom Grunick (William Hurt). Brooks is the producer behind films like Bottle Rocket, Say Anything . . ., and Big, and TV series like Mary Tyler Moore, Taxi, and The Simpsons. No one knows how to get at our hearts—thoughtfully, gracefully, and with humor—like James L. Brooks. And this is him at his peak.

. . . to see past a gruff exterior:

Beauty and the Beast (1991)

©Buena Vista Pictures/Courtesy Everett Collection

“Tale as old as time . . .” It really is. Lonely, powerful dudes have been making off with damsels and then hiding them away since at least Greek mythology and probably before. Where Disney scored with its animated musical was in—pardon the pun—reanimating that classic story line in a way that was appealing to our eyes and ears, and that of our kids’, while maintaining some real danger in the narrative. It’s a triumph they repeated with Aladdin and The Lion King, but is especially notable with a romance—making the stakes high enough—and real, even when accompanied by singing teapot—that we root for these characters to end up together.

..for when you’re in the mood for first love, Wes Anderson-style.

Moonrise Kingdom (2012)

“I will meet you in the meadow,” writes bespectacled Sam (Jared Gilman) to serious Suzy (Kara Heyward) as they prepare to run away together. Wes Anderson’s Moonrise Kingdom, a whimsical tale of a romance betwixt a pair of wise-beyond-their-years 12-year-olds (beautifully art-directed and accessorized as always), is a tonic to the jaded palate. The children, with their barely sexual, pure-hearted affection for each other, could teach the misbehaving adults around them a thing or two about love. Who wouldn’t want to dance on the beach in their underwear to Françoise Hardy?

. . . to get you over getting over your ex:

The Philadelphia Story (1940)

Courtesy Everett Collection

The credits of The Philadelphia Story read like something out of a dream: Cary Grant and Jimmy Stewart vying for the love of Katharine Hepburn. It’s produced by Joseph L. Mankiewicz (writer of All About Eve and Cleopatra), and directed by George Cukor (who made 1954’s A Star Is Born, Justine, and My Fair Lady, and once told Marilyn Monroe, “That will be just fine, darling” when, about to film a skinny-dipping scene for Something’s Got To Give, she expressed her concern that she only knew how to dog-paddle). The Philadelphia Story relies on some dependable tropes—lovers who’ve fallen out; will-they-or-won’t-they-get-back-together—that have provided romantic tension from A Midsummer Night’s Dream to Crazy, Stupid, Love. But it’s Hepburn, aiming for a comeback following some serious bombs, and her witty repartee with her two love interests, Grant (her yacht-designing reformed bad boy of an ex-husband) and Stewart (a tabloid reporter), that is the movie’s bread and butter. The Main Line has never been so well represented.

. . . to take on a trip:

Lost in Translation (2003)

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There was never any doubt that Scarlett Johansson was going to be a mega star, but Sofia Coppola’s movie—about the lonely wife of a photographer who befriends an over-the-hill movie star (Bill Murray) while visiting Tokyo—is what made the world stand up and realize we were dealing with a serious actor. Like many of the films on this list, Lost in Translation takes place in a bourgeois universe, where the greatest thing at risk is someone’s heart, or future emotional happiness, but few films have so effectively crystalized the alienation of both travel and marriage, as well as the difficulties of postcollegiate, and then midlife, malaise. The older man and the younger woman don’t so much meet-cute as crash into each other, picking up each other’s pieces, redeeming each other’s lives as they navigate their surreal setting. It’s a match made in heaven—and without spoiling anything, their goodbye scene is among the best in Hollywood history.

. . . to reevaluate your checklist:

Clueless (1995)

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The motherless daughter, caring for her father and looking for her prince, is a trope that goes back to the fairy tales, but how Alicia Silverstone (who plays our hero, Cher) and writer-director Amy Heckerling contemporized that narrative is what made what could have been a silly teen flick into an instant classic. They imported a Jane Austen story line of a meddling would-be matchmaker (Emma) into a bright pink, plastic, kids-are-adults world of Beverly Hills privilege populated by overly dramatic in-talk (“Whatever!”; “As if!”), lunatic high fashion, and decidedly un-relatable problems. At the same time, they maintained a storybook sensibility, and somehow kept our sympathies with the lovelorn Cher, whose insipidness is overshadowed by her charity, loyalty, and genuine goodwill. We believe she deserves love, and if she gets smart enough to stop looking for it in the “right” places, we want her to find it.

. . . to help you sort out what to do with the rest of your life:

The Graduate (1967)

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This is the film on this list that is least certainly a rom-com; it caused a bit of a row, in fact. Some of us believe that this movie is ultimately too sad to give the viewer the warm fuzzies they depend on this genre for. Others argue that this line of thinking may confuse what’s depressing with what’s complicated. The story of the listless Benjamin Braddock, recent graduate of Williams College, who begins an affair with his father’s partner’s wife, and ends up falling for her daughter, did more to advance the critical value of comedy than perhaps any other film. (Not to mention the sexual viability of Williams grads.) There may be no more iconic line than Dustin Hoffman’s “Mrs. Robinson, you’re trying to seduce” but this movie is so much more than dialogue. (Note: Hoffman might have been playing 21 when he said this line, but the actor was 29; Anne Bancroft, the supposedly senior Mrs. Robinson, was all of 35.) Oft-quoted, ripped off, referenced, and discussed, Mike Nichols’s 1967 romp through Braddock’s postcollegiate uncertainties was released a few months after the Summer of Love, as the counterculture had peaked and what Hunter S. Thompson called the “high and beautiful wave” was getting ready to roll back. Young America was, and to some extent still is, Benjamin Braddock, which reveals the power of this film.

. . . to ask for assistance in the ol’ love department:

Sleepless in Seattle (1993)

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Tom Hanks had been responsible for some ’80s hits—Splash and Big—but with Nora Ephron’s 1993 film about a widower whose son calls in to a radio show in an attempt to find him a new wife, he cemented himself as America’s favorite, well, person. Meg Ryan, his competition for that title (at least in the ’90s), plays an unhappily engaged Baltimore Sun reporter who writes Hanks’s character on a whim, asking him to meet her at the top of the Empire State Building (cue: An Affair to Remember) on Valentine’s Day. Utterly contrived, but utterly charming, this quick, silly, funny film is pabulum superfood for anyone who believes in second chances and true love.

. . . to leave the past behind you:

Breakfast at Tiffany’s (1961)

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No one has stolen more hearts than Holly Golightly (Audrey Hepburn). Based on Truman Capote’s 1958 (harsher) novella of the same name, Breakfast at Tiffany’s—the story of a friendship struck between a rarely employed writer, Paul Varjak, and his neighbor, the naïvely beautiful Golightly, a freewheeling party girl whose lifestyle is paid for by the rich suitors who surround her—is a building block of our Hollywood romantic fantasies. It has the unclassifiable, magnetic object of affection, the reliable underdog who pursues her, expectations dashed, new friendships formed, true selves discovered, and an undeniably racist portrayal of an Asian landlord (by Mickey Rooney). Yes, it was a different era, but this detail can be difficult to ignore. That said, there are generations of viewers who consider this the greatest rom-com of all time.

. . . to get past that one little (or gigantic) flaw:

Moonstruck (1987)

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Cher plays a widowed bookkeeper in Brooklyn Heights confronting her parents’ infidelity (and fallibility) who—whoops!—falls for her fiancé’s younger brother (Nicolas Cage), who sports a prosthetic wooden hand after an accident with a bread slicer. Their first night together produces one of the great moments in the annals of rom-coms: When Cage tells Cher he loves her, she slaps him, saying “Snap out of it!” The film portrays a New York that doesn’t really exist anymore—for one thing, Brooklyn Heights is full of bankers now. It’s a window to another time, when marriage meant something different in male-dominated second-generation immigrant families and the challenges Cher’s character places against the social order are both important and revelatory (she won an Oscar for her efforts). You end up cheering not just for her romance, but also for an entire insurgency.

. . . to put the fuckboys behind you:

Bridget Jones’s Diary (2001)

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Hollywood does this silly, shitty thing when they want to make it clear that a woman is “funny”: They make her clumsy. “Did you see that? She fell down in front of the boss she has a crush on while carrying many things! What a wit!” Thankfully, this film is actually funny, and so is Renée Zellweger, the titular Bridget Jones, who is 32 and a bit clumsy, and believes herself to be both a tad overweight and running short of romantic options. She confesses to her diary her feelings about the men in her life: her caddish colleague, Daniel (Hugh Grant), and her pill of a childhood friend, Mark Darcy (if that surname sounds familiar from one of your favorite literary comedies, that’s not by coincidence), who begin vying for her hesitant affections in their respectively charmless ways. Who will win—the nice guy or the jerk? The clumsy, funny, openhearted girl, of course! The story has a classic but important lesson to share: First impressions aren’t everything (and a fashion-related takeaway—never judge a man by his Christmas sweater).

. . . to make you even more neurotic about your love life:

Annie Hall (1977)

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Like Breakfast at Tiffany’s, this is one of those movies that any list of top rom-coms would be remiss without. Yes, Alvy Singer’s (Woody Allen) story about how he met, and then lost, and then maybe regained, the love of his life, Annie Hall (Diane Keaton), is a wonderfully funny underdog-meets-girl story. But Allen’s uniquely observational humor also introduced some pioneering tropes and storytelling devices to the annals of rom-coms. The moment his grade school classmates stand up and give short peaks into their future (“I used to be a heroin addict; now I’m a methadone addict”). Or when Alvy interrupts a pedantic professor in a movie line—lecturing his date on Marshall McLuhan—by bringing the actual Marshall McLuhan out from behind a sign to set the man straight. These established entirely new directions for comedy. Moreover, Allen’s confessional style and the monologue with which he begins telling his warts-and-all fictional tale established a new paradigm for romantic storytelling, one that continues to influence rom-coms today (same for Diane Keaton’s outfits, but that’s a topic for another list).

. . . to get you pumped up:

Bring It On (2000)

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This is the pregame of romantic comedies. It’s a love story—between millennial hotties Kirsten Dunst and Jesse Bradford—packed into 98 minutes of jokes, rivalries, teen romance, and ridiculous cheers. (“Hate us ’cause we’re beautiful—well, we don’t like you either. We’re cheerleaders. We. Are. Cheerleaders!”) Some of us have defended this movie since it bowed (and then cartwheeled into an aerial walkover) in 2000 as a sharp appreciation of teen culture and teen cinema, both devoid of cynicism and long on wordplay. If you agree, welcome to the squad. If not, please keep in mind, “This is not a democracy; it’s a cheer-ocracy.”

. . . to take an break from yourself:

Roman Holiday (1953)

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There’s a wonderful moment in��Roman Holiday—the story of a European princess, played by Audrey Hepburn, who tires of her duties and runs away from her handlers while visiting Rome—when Joe (Gregory Peck), a reporter showing her the city, puts his arm in the Mouth of Truth (a statue that supposedly bites off the hand of liars) and removes it with his hand missing. The princess screams—Hepburn was apparently not acting here—and then recovers. It’s a metaphoric yawp for all that a romantic comedy should be. It’s being taken by surprise, taken by a stranger, the discovery a new side of oneself while falling for someone else. And that’s just one moment!

. . . to get him into rom-coms:

The Princess Bride (1987)

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“Is this a kissing book?” Fred Savage’s little boy asks his grandfather, at his bedside to read him The Princess Bride when he’s home sick from school. Sure is, but it’s also a tale of swashbuckling, cruel kings, giants, swordsmen, poison, monsters, rebels, and knights—without a dull or unfunny moment. The kid, and the viewer, is quickly on board. More than anything, it’s a tale of true love, and fantastic as it might be, the adventure that leads the stable boy, Westley, back to his mistress, Buttercup (played by an impossibly beautiful Robin Wright), has left few hearts unmoved, and few faces without with smiles.

. . . to consider what you could have done differently:

Groundhog Day (1993)

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One of the few rom-coms that comes with both a stamp of approval from your philosophy professor and the Tony reaches of Broadway. A cynical Pittsburgh weatherman (Bill Murray) is sent to Punxsutawney, Pennsylvania, with his producer, Rita (Andie MacDowell) on a dead-end assignment: to cover Groundhog Day. And boy, is it a dead end. Murray gets stuck there, not just in a snowstorm, mind you, but in a continuous loop where no matter what he does—including suicide—he wakes up in the same hotel, on the same day. At first, the weatherman is predictably bummed, but eventually he uses all the information he’s picked up living the same day over and over to better himself and the lives of those around him, eventually impressing Rita with his change of personality. Watching Bill Murray is fun, watching Bill Murray struggle is really fun, and watching Bill Murray caught in a space-time logjam, wrestling with moral philosophy while pursuing Andie MacDowell is the most fun.

. . . to find “our song”:

Nick and Norah’s Infinite Playlist (2008)

Entertainment Pictures / Alamy Stock Photo

There’s something almost quaint about Norah’s search for her orgasm. The high schooler, played by Kat Dennings, is demeaned by her fellow classmates for having yet to experience the big O. It may sound tawdry, yet this plot point harkens back to a sweeter, John Hughes–era teen comedy (with a few switches flipped) wherein the search for a simple sex act was enough motivation for a number of scenes, if not an entire film. Norah’s lack of fulfillment isn’t what moves the action here; instead we’re on a search for her best friend and an oh-so-cool band’s secret show, with Nick’s (Michael Cera) hapless band, in his hapless car (a Yugo), through downtown New York City’s music scene. It’s a good-time flick, with cheerful performances and the kind of supporting cast (Ari Graynor as the beyond-drunk best friend) that make 90 minutes seem like a brisk 30. One of these is Alexis Dziena, who plays Nick’s very recent ex-girlfriend: She toyed with him and never appreciated the music mixes he made for her (spoiler: Norah loves them). Her “sexy” dance, in the glaring light of Nick’s high beams, to Hot Chocolate’s “You Sexy Thing” is one of the great falls from grace, and worth the price of admission.

. . . to inspire some big changes:

Pretty Woman (1990)

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Is there a rom-com list that doesn’t include this movie? What’s left to say about the 1990 tale of the beautiful, charming prostitute and the Wall Street corporate raider who meet and fall in love? Here’s director Garry Marshall’s (and Julia Roberts and Richard Gere’s) genius with this film: They make us forget about the various horrors of sex work and instead convince us the whole thing is kind of a lark. This film takes place in the late 1980s; a high-water mark in terms of the HIV crisis. Those things aren’t on our minds when we watch this movie (barring an early scene discussing methods of birth control); we think about stomping divots and Richard Gere conquering his fear of heights. So what? The Great Escape doesn’t exactly feature the horrors of World War II. That’s not the story they’re telling. Exactly our point. That’s how delightful this movie is.

. . . to make your arguments a little sweeter:

Bringing Up Baby (1938)

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Here’s how cute rom-coms were in the 1930s: The entire plot rests on a dog burying a bone of a brontosaurus. Katharine Hepburn, whom the movie was written for, plays a whimsical, adorable socialite who has become besotted with an otherwise engaged (literally and figuratively) paleontologist, played by Cary Grant, and is trying to keep him around so he won’t go marry some pill. Her strategy for doing this is to invite him to her house so that he can help her bring a baby leopard to the city. (Later, the dog and the leopard wrestle.) This is what we call a screwball comedy. It’s also priceless, with Hepburn peppering Grant in her sweet, Gatling gun style, and Grant, playing stiff, as if any man, never mind a mild-mannered paleontologist, could ever resist such wiles.

. . . to make it a girls night:

10 Things I Hate About You (1999)

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Why is there no actual Shakespeare on this list? Because often a three-hour production: (1) is rarely funny, and (2) doesn’t really fit into a modern romantic comedy structure. Instead, we have movies that are actually fun to watch, like Shakespeare in Love, and this one, a teen-ready take on The Taming of the Shrew. There are some cute turns from youngsters Joseph Gordon-Levitt, Julia Stiles, and Larisa Oleynik, but ask most women and the performance that sticks out is Heath Ledger’s, whose thuggish Patrick Verona made many of us weak in the knees. Like Bring It On, and unlike most films, especially teen films, this one is female focused. They’re the moral centers. The heroes we cheer for. And they are active in as much as the narrative as they are subject to it (rare!).

. . . to better understand your parents:

Beginners (2011)

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“The History of Sadness” is a sketchbook drawn by Ewan McGregor’s Oliver, a graphic designer who is dealing with the recent coming out of his septuagenarian father, Hal (Christopher Plummer—who won an Oscar for his performance). Hal’s new openness about his own life inspires Oliver to reevaluate his own sadness and pursue a lovely French actress, Anna. It’s an incredibly touching, difficult story, told mostly in flashback, that involves Oliver coming to grips with his father’s past, his parents’ relationship, his own choices, and his art. But it’s ultimately a love story. A story about how our parents love us, and each other—despite the difficulties imposed society, time, and work—and how in turn, we learn to love, or not. We’re all beginners, in all our loves, and to think otherwise is foolhardy.

. . . to freeze some already cold feet:

The Wedding Singer (1998)

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Millennials might not realize from Adam Sandler’s recent descent into perennial schlock (some of it racist and sexist)—like The Ridiculous 6, Blended, Jack and Jill, and Grown Ups—that his movies were, at one point, very funny. Billy Madisonand Happy Gilmore are ’90s classics, and The Wedding Singer, his only rom-com from that era (there’s some debate over whether P. T. Anderson’s Punch-Drunk Love, released in 2002, qualifies as such), is a hilarious, touching ode to traditional values. Set in the ’80s, Sandler’s Robbie Hart is a wedding singer (and hopeless romantic) recently left at the altar who helps Drew Barrymore’s Julia plan her wedding to the wrong man. Sandler and Barrymore’s chemistry is off the charts, and this film—not Mad Love, sorry—established the actress as rom-com gold (see Never Been Kissed, 50 First Dates, and Fever Pitch). The romance is great, the jokes are great, the costumes are great, and not to ruin anything, but Billy Idol is pretty great too.

. . . to get you singing and dancing (and maybe moving to L.A.):

La La Land (2016)

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The highway scene. Ryan Gosling hunkered over the piano. Emma Stone embodying “irrepressible.” His dance on the boardwalk. Her spins. The way she pulls at her dress. The way he grins while he smolders. Their love. It’s a panacea for the reasons we go to the movies. At no point do we believe they won’t end up together, but we stay transfixed, in fact we tap along. For younger viewers—those of us who might not have drank down the moving magic of Singin’ in the Rain, West Side Story, or Gigi—Damien Chazelle’s La La Land forgives those lapses. It embraces their greatness as it embraces us in its giant, vibrant arms. We lean closer to the screen, not to learn but to feel for the whole experience of youth and performance: all that hope, drive, sweat, and love. Can’t forget love.

. . . to kick-start your career goals:

Singin’ in the Rain (1952)

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Here’s the thing: You’re not really allowed to like La La Land if you don’t like Singin’ in the Rain. Or, you at least have to watch it; it’s the original musical about making it in Hollywood. The story of a sellout leading man (Gene Kelly) who falls for the chorus girl (Debbie Reynolds) who might just change his life (and he hers), this 1950s romp through 1920s Hollywood really has it all: singing, dancing, and bedrock songs like “Make ’Em Laugh,” “Good Morning,” and of course, “Singin’ in the Rain.” It’s cute as hell and tap-happy to the extreme.

. . . to unplug from the office (and get your due):

How Stella Got Her Groove Back (1998)

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The movie that inspired 90 percent of vacation hookup jokes since 1998 (but seriously, we need to talk about Taye Diggs in a puka shell necklace; the man can make anything look good). Workaholic executive and single mom Stella (Angela Bassett) finds more than she bargains for when her best friend, played by Whoopi Goldberg, convinces her to take a much-deserved Caribbean vacation. Cheeky, subversive, and sexy as hell, this movie turned the tables on so many male-dominated rom-coms (courtesy of one very hot and heavy matchup between Bassett and Diggs, playing some 20 years her junior)—and passes the Bechdel test with flying colors. One of the very few rom-coms to do so.

. . . to get dressed up for:

Tootsie (1982)

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Michael Dorsey (Dustin Hoffman) is a New York actor who is such a perfectionist, no one wants to work with him. So he does what any rational man would do: He dresses as an entirely different person—an older woman who goes by then name of Tootsie—and lands a role on a soap opera where he becomes a sensation. Problems arise when he falls in love with his costar (Jessica Lange) and a fellow castmate, an older man, falls in love with him. It’s madcap and zany but also profoundly funny, with insights aplenty—it sends up television, sexism, and New York society—and performances that were Oscar-worthy (Lange’s in particular—of Tootsie’s 10 Oscar nominations, she’s the only one who walked away with a statue).

. . . to reevaluate the nice guy (and the bad boy):

Something Wild (1986)

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Before Johnathan Demme decided to win an Oscar and scare the pants off an entire generation with The Silence of the Lambs, he was an ’80s funnyman. And this is his best work. It’s the story of a mild-mannered exec (played by Jeff Daniels), whose sedentary life is turned upside down by the wildly adventurous, somewhat grifting Lulu (Melanie Griffith)—whose checkered past includes a roustabout, criminal ex-boyfriend played by Ray Liotta. The idea of a “crazy” girl coming in and turning a straight man’s existence topsy-turvy is repeated countless times in this genre, from Bringing Up Baby to The Girl Next Door. Demme’s alchemy here is to infuse the trope with unpredictability. The comedy keeps us on the edge of our seats by compounding the will-they-won’t-they question with sudden breaks into violence, threats, or chase. Rom-coms don’t get more exciting than this.

. . . to escape it all:

Midnight in Paris (2011)

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The love story here is as much between writer-flaneur Gil Pender and Paris as it is between Gil and any of the women in this film. While visiting the French capital with his uptight fiancée, Inez (a sublime Rachel McAdams), and her parents, each night Gil goes walking and finds himself in the City of Light of the 1920s, complete with Hemingway, Gertrude Stein, the Fitzgeralds, Man Ray, Josephine Baker, Cole Porter . . . and a beautiful woman named Adriana (Marion Cotillard). It’s a writer’s fantasy made real (Stein volunteers to read his novel), but it’s also Woody Allen at his most effective: taking the vicissitudes of relationships and turning them into a mirthful, if neurotic, journey. This one just happens to also navigate through another time and place as well. And a beautiful one, at that. There’s a reason this is Allen’s highest-grossing film of all time.

. . . to escape the friend zone:

When Harry Met Sally. . . (1989)

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If this list were a top 20 instead, this film would still be on it. Same with top 10—and five. It’s in the running for the best rom-com of all time because it is sassy, sultry, snappy, cinematic perfection, thanks to words from Nora Ephron and direction from Rob Reiner. It’s something of an epic of the genre, spanning over 10 years of the kind of friendship (between Meg Ryan and Billy Crystal’s characters) where no one can help but ask, “Why aren’t those two together?” Should friends ever sleep together? If they do, what happens next? This movie should be watched by every college student on the planet. Bonus: Watch this movie with a boyfriend, and pay attention to what happens to his face during Meg Ryan’s most famous scene, in which she illustrates just how easy it is for a woman to fake an orgasm.

. . . to unite with your crew:

Bridesmaids (2011)

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Who ever thought getting food poisoning in a wedding dress could be so funny? Bridesmaids is as much a buddy comedy (think Old School or Twins) as it is a rom-com, proving that female actors can be just as bawdy and into gross-out humor as their male counterparts in The Hangover. This is about the love between friends, yes, and the agony that comes with maturing at different paces, but what ultimately drives the film is the desire of Annie (Kristen Wiig, who also wrote the script, with Annie Mumolo) to catch up. This movie isn’t as much about what we have as about what we’re missing, and how a wedding can bring that to the fore. Along with nonstop laughs, we get a powerhouse performance from Wiig—even as Melissa McCarthy steals the show.

. . . to remind you that guys will try anything:

There’s Something About Mary (1998)

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Before we had a president who bragged openly about grabbing women “by the pussy”, this is what qualified as a gross-out film. Amid scenes of semen being used as hair gel and testicles jammed in zippers, the Farrelly Brothers managed to concoct an amiable story about a nerdy Ted (Ben Stiller) hiring a private detective to find Mary (Cameron Diaz), the object of his unrequited love in high school. Despite the over-the-top locker-room gags, the movie has virtually no sex, and manages to emerge as hilarious, sweet, and satisfying.

. . . to make up your mind, dammit:

Manhattan (1979)

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Elephant in the room: Yes, this is Woody Allen pursuing a high school student (a luminous Mariel Hemingway). It was also made in 1979, and that didn’t carry quite the same connotations as it does now. The year is important, because as the film’s title suggests, this movie is as much about New York as it is about the lovers who collide inside of it (Allen’s character, Isaac, begins the film dating the high schooler, but leaves her for his friend’s mistress, played by Diane Keaton). In the mid-to-late 1970s, New York was a bit of a cesspool: Crime was out of control, repeated requests for federal aid were denied, and the city was on the edge of bankruptcy. It’s in the wake of this tumult that Allen pens his black-and-white love note to his fair city. The film opens with a montage of New York’s skyline and street scenes, revealed to “Rhapsody in Blue,” and Allen’s voice-over as Isaac, writing about his romantic love for the city. That’s where he gets us with this film; Allen crystalizes the outsize feelings that can swell with romance, despite any and all evidence that should temper them. It’s a movie about indecision, bad choices, and falling for the wrong people, but it celebrates the impetus for all of these. We love the things we shouldn’t. That’s life. That’s Manhattan.

. . . to know if he’s worth the trouble:

Say Anything. . . (1989)

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If for no other reason, you need to see this movie so you’ll understand what it means when someone holds a ghetto blaster over his head outside the window of the woman he loves. Like most of the teen romance flicks on this list, Say Anything. . . doesn’t end at the Big Dance. This movie, from director Cameron Crowe (and produced by James L. Brooks) is far too sophisticated for such a middling finale. It’s too busy diving into the angsty, all-consuming, awkward challenge that is young love, as embodied by consummate underdog Lloyd Dobler and his attempts to woo the beautiful valedictorian Diane Court.

. . . to get him back:

Crazy, Stupid, Love. (2011)

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If The 40-Year-Old Virgin was evidence that Steve Carell could be a romantic lead, this was the proof. Alongside Julianne Moore, as the cheating wife he wants to win back, and with Ryan Gosling, who plays his cad coach, as well with a terrific performance from a teenage son who loves his babysitter, who in turn loves his nice-guy dad, Carell is well matched. Throw in Kevin Bacon as a romantic rival and Emma Stone as a law student just out of Gosling’s reach, and we’re ready to go. It’s a comedy that’s as much about accepting the facts of life—be they middle age, the people we can’t have, or the people we don’t want others involved with—as much as it is about a pursuit, or any one relationship. It’s about how love really is, sometimes, which can be romantic in its own right.

. . . to fall in love with literature:

Shakespeare in Love (1998)

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People forget about the competition Shakespeare faced, and we don’t mean the other plays. In the late 1500s, one could go to the theater, or one could go watch some people be executed or a bear be torn apart by dogs. That’s how entertaining Shakespeare’s work had to be! In 1998, this film competed with Saving Private Ryan, Elizabeth, and Life Is Beautiful for Best Picture and managed to come out with the Oscar. What drew the academy to the fast-paced mash-up of Romeo and Juliet with a very loosely interpreted history of William Shakespeare’s life was the film’s ability to capture exactly what Shakespeare did back in his day: the urgency of love and the power of its expression—its ability to consume us and change lives.

. . . to tell your real friends from the sham ones:

Muriel’s Wedding (1994)

Everett Collection (13649)

Muriel (Toni Collette), a daydreamer and the target of the bitchy girls she considers her friends, wants nothing more than to get out of her small town and away from her awful father, move to Sydney, and get married. When she makes off with her parents’ savings, reunites with a fellow outcast from her town, and is offered the chance to marry a gorgeous South African swimmer who needs a visa, she can make her dreams come true. As much of a coming-of-age story as a rom-com (Muriel may be in her 20s, but she has much growing up to do), this film does a brilliant job of cutting the legs out from underneath our expectations by giving us exactly what we’ve always wanted, and tying us up in the strings attached.

. . . to relive high school (or what you wish high school was like):

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

Netflix’s most popular entry into the rom-com genre (based on the novel by Jenny Han) was for many an instant classic—not least for blessing the world with Peter Kavinsky (Noah Centineo), the Jake Ryan of the Internet era. Lana Condor stars as Lara Jean, a quiet high school kid who relieves her romantic pressures by writing never-to-be-mailed love letters to the objects of her affection—including her older sister’s ex-boyfriend. Until, of course, one night they get sent out. Hijinks—and a fake turned not-so-fake relationship—ensue.

. . . to remind you how much better it gets after high school:

American Pie (1999)

©Universal/Courtesy Everett Collection

A teen sex comedy with a heart of gold, this story of four high school friends determined to have sex before they graduate was the surprise hit of 1999. But underneath all the masturbating with pastry and accidentally ingested semen cocktails, there’s real sentiment to the adolescent boys trying to find their way with women, and vice versa. The reason we can safely call this a rom-com is that, while it doesn’t exactly pass the Bechdel test with flying colors, the objects of the guys’ affections are far from just objects. They have goals of their own we’re brought on board with. The girls aren’t just out for the boys, they’re out for themselves—as disappointingly rare in a rom-com as it is in a teen comedy, and the reason we love this one.

. . . to learn how far to take it:

Rushmore (1927)

©Buena Vista Pictures/Courtesy Everett Collection

This is Wes Anderson’s most completely stylish movie, and perhaps his best, made before stylized fuckery got in the way of things like writing (like all his best work, this was cowritten with Owen Wilson). Max Fischer (Jason Schwartzman) is a scholarship student at a private school. His academics are dismal, but he’s game for any and all extracurriculars, especially the over-the-top plays he produces and directs. He gets into a contest for the affections of a widowed first grade teacher with local industrialist, and his newfound mentor, Herman Blume (Bill Murray). Several phenomenal executions come together in this film, including the ensemble cast, the just-on-this-side of believable production design, and an absolutely killer classic rock soundtrack. But what pushes it above the rest is the utter drive of both Max and Herman, as love and competition gains primacy over every aspect of their lives. They’re both willing to burn the village to save it, which is simultaneously hilarious to watch and cathartic to anyone who’s ever had a crush.

. . . to locate your other half:

Jerry Maguire (1996)

©TriStar Pictures/Courtesy Everett Collection

Cameron Crowe has a couple of films on this list (Almost Famous was close, but ultimately more coming-of-age than comedy) with good reason: He understands people and how they tick. Despite its memorably demonstrative, over-the-top lines, like “You complete me,” and “Show me the money,” this is ultimately a movie about how people really fall in love. Sure, Renée Zellweger loves Tom Cruise from the beginning—it’s a movie after all, and he is Tom Cruise—but what Jerry Maguire gets to is what happens after that first kiss, after the honeymoon period, when we have to learn about the other person as a person, and not just see them and their adorable puppy (or in this case, an adorable son, played by Jonathan Lipnicki) as an escape or alternative from our own lives.

. . . for a dose of realism (and Paris!)

Two Days in Paris (2007)

For sheer hilarious, messy, complicated realism, Two Days in Paris takes the prize. The brilliant and surprising Julie Delpy writes, directs, and stars as Marion, a young Frenchwoman who has brought her American boyfriend Jack (Adam Goldberg) to her hometown en route from a trip to Venice. They struggle through misunderstandings, language barriers, cultural clashes, encounters with Marion’s many ex-boyfriends, and her unruly parents (played by Delpy’s real-life mother and father, actors Marie Pillet and Albert Delpy,) and barely come out the other side. The moral, as Marion paraphrases Jack: “It’s not easy being in a relationship, much less to truly know the other one and accept them as they are with all their flaws and baggage.” It may not be easy, but it’s highly entertaining to watch them try.

. . . to get you through the holidays:

Love Actually (2003)

©Universal/Courtesy Everett Collection

Is this? Not really. But that’s not why we go to the movies. Love Actually is, actually, a rather clichéd Christmas rom-com, but jeez, we love it anyway. How can we not, with this ensemble cast of British romance all-stars (Hugh Grant, Emma Thompson, Liam Neeson, Colin Firth, and Keira Knightley, among others)? The prime minister (Grant) falling for a junior staff member? A quiet suitor in love with the new bride (Knightley) of his best bud (Chiwetel Ejiofor), who is apparently one of three people of color in London? A cuckolded boyfriend (Firth) rebuilding his shattered life with the help of his shy housekeeper? Balderdash. All of it. But it’s irresistible. Come on, what are you, made of stone?

. . . to fall for his funny bone:

Top Five (2014)

©Paramount/Courtesy Everett Collection

Think of it as Before Sunset meets Funny People, with New York taking the place of Paris. If that notion produces a little eye roll, get those peepers back down, and then on to the screen before you miss some laughs. Rosario Dawson plays a New York Times journalist tasked with interviewing a hugely famous comedian, played by Chris Rock, who is attempting to take his career in a new direction (courtesy of an ill-advised serious film about a Haitian revolutionary). Like Roman Holidaybefore it, this is a film rooted in our society’s placement of, and expectations for, certain figures (a celebrity and a princess, respectively). In both cases, the journalist finds the human being inside of their famous subject, falling for them while trying not to fall for their shtick, or what they represent. As the pair make their way through Manhattan—with visits from Jerry Seinfeld, radio hosts Opie and Anthony, Whoopi Goldberg, and a fantastic supporting job from the ageless Gabrielle Union, playing a reality TV starlet—we can’t help but get on board with their journey.

. . . to look past his neurotic, potentially mentally ill exterior:

As Good as It Gets (1997)

©Sony Pictures/Courtesy Everett Collection

There are few actors who can go toe-to-toe with Jack Nicholson. Director James L. Brooks found a suitable sparring partner with Shirley MacLaine in Terms of Endearment and struck gold again nearly 15 years later with Helen Hunt. Hunt plays a waitress with a sick child for whom Nicholson—a mean, racist, homophobic, obsessive-compulsive writer and her regular customer in the restaurant where she waits tables—has some affection. Bring in Nicholson’s neighbor, a gay artist (played by Greg Kinnear) who has to lean on the Nicholson’s character for help (beginning with care for his adorable dog), add a road trip, and you’ve got yourself one of the most delightful, well-thought-out comedies of the ’90s. The movie takes it time, but it’s to our benefit—Brooks allows us to get to know each of these people, and them each other, intimately, which means when the jokes, and the romance, land, they land hard, and then stay around. (Plus, who among us could resist Nicholson growling, “You make me wanna be a better man”?)

. . . to confirm that, yeah, he’s probably cheating:

Shampoo (1975)

Courtesy Everett Collection

There’s a lot going on in Shampoo—the story of an L.A. hairdresser (Warren Beatty) who is sleeping with, well, everyone (including Julie Christie, who plays a prime target of his affections)—which, at first glance, could just be another ’70s sex comedy. Keep in mind, it’s directed by Hal Ashby, the king of thoughtful, offbeat romances, and was both written by and featured, Warren Beatty, a major voice of the Hollywood Left in the 1970s. The film, released a year after Nixon’s downfall, takes place during on the eve of Nixon’s election in 1968, so there’s a good deal of interplay between the politics and the sexual politics that were in the air as the counterculture died, the pill became mainstream, and the country saw itself in a whole new, darker light. That said, Beatty’s portrayal of the harried, discursive, libidinous George is irresistible even without context, as is the performance given by a young Goldie Hawn, who illuminates every frame—and perfectly counteracts Beatty—with blonde California light, and a heart-melting, downy innocence.

. . . to get you on board with AI:

WALL-E (2008)

©Walt Disney Co./Courtesy Everett Collection

There are more epic Disney romances (one of them is on this list), but none more thoughtful. What we love about this futuristic tale of a little trash compactor, WALL-E, who falls in love with his technological better, EVE, is the considered environmental, anti-consumerist message that suffuses the dystopian love story. With barely a word, only whirrs, between them, EVE and WALL-E convincingly fall in love. His efforts to save her, once the megacorporation Buy-n-Large (their maker) comes for her, is as authentic as Hawkeye’s return for Cora, or Jack’s sacrifice for Rose. Forget Finding Nemo, this is writer-director Andrew Stanton’s Pixar masterpiece.

. . . to justify your May-December romance:

Harold and Maude (1971)

Courtesy Everett Collection

There’s a question that lingers throughout most of Harold and Maude—the story of a death-obsessed young man (he enjoys driving a hearse, attending funerals, and faking his suicide) who falls for a much, much older woman—are these two going to get it on? It sounds sophomoric, but it’s actually essential. Harold and Maude are separated by approximately 60 years; for the movie to hit home, for us to believe that love is truly about what we share, not what we look like or other aesthetic values, we have to believe a genuine attraction has formed. No one prodded existentialism (especially in films deemed “romantic”) like director Hal Ashby, and Harold and Maude is no exception. The darkly funny tale will leave you questioning just what is important to you in your own conception of love—and, moreover, in your life.

. . . to give comic books their due:

Chasing Amy (1997)

©Miramax/Courtesy Everett Collection

A comic book artist (Ben Affleck) with an inseparable best friend (Jason Lee) falls for a beautiful gay girl (Joey Lauren Adams)—who then falls for him—only to discover he can’t handle it. Comic books? Lesbian conversion? Best buds? Sounds like a romantic comedy made by men, for men. And it is! But Kevin Smith also managed a somewhat nuanced exploration of friendship and art, as well as of contemporary romantic standards in his rejiggering of the love triangle. Simultaneously, at a time when every other joke on Friends involved gay panic, he was portraying three-dimensional concepts of lesbian identity. What could be identified as a typical male-driven fantasy could also be seen as a ’90s Torrents of Spring.

. . . to make you fall in love with your friends:

Reality Bites (1994)

©Universal/Courtesy Everett Collection

In what was then a cult hit and is now a piece of ’90s nostalgia catnip, a post–Edward Scissorhands (and post–Johnny Depp) Winona Ryder plays Lelaina, an aspiring documentarian assisting an obnoxious TV host in Houston. She and grungy, Generation X friends—played by Steve Zahn, Janeane Garofolo, and a simmering Ethan Hawke (who may be more than just a friend)—are just trying to figure out who they are, and what they want in life. In Ben Stiller’s feature directorial debut, he also plays a TV executive whose budding romance with Lelaina and interest in her work brings the real world crashing into their postcollegiate hipster existence. Aside from a nonstop ’90s fashion buffet that is Winona’s wardrobe (mom jeans, crop tops, baby doll dresses, cardigans, men’s shirts, blazers), there’s also love and heartbreak, sex, betrayal, Lisa Loeb, Dickies, pizza, and lines like “He’s so cheesy, I can’t watch him without crackers.” What else do we want, really?

. . . to dance your troubles away:

Grease (1978)

©Paramount/Courtesy Everett Collection

The ’50s nostalgia of the 1970s culminated with this unreal musical about the return to high school for summer lovers Danny Zuko (John Travolta) and Sandy Olsson (Olivia Newton-John). It’s hard for current viewers to understand just how big John Travolta was at the time; the year this film bowed, 1978, the two top-selling albums were the soundtracks to Saturday Night Fever (another Travolta film) and this one. And that was in a year when the Rolling Stones released Some Girls and Bruce Springsteen dropped Darkness on the Edge of Town. In this irresistibly playful film, Travolta embodies the bursting sexuality of the newly emerged teen culture, but at the same time, he’s a tampered-down throwback—we buy him drag racing cars and singing with his gang, the T-Birds, whose rivals are the Scorpions, and making clumsy moves at the drive-in. Similarly, the Pink Ladies, a popular clique headed by Rizzo (Stockard Channing), deliver their wiseacre lines with a fair dose of irony. These skirts know what’s up, and that’s what makes us interested, and invested, in their outcomes. We’re locked in from the first frame: There may be better musicals, but none more fun.

. . . to get you through wedding season:

Four Weddings and a Funeral (1994)

©GramercyPictures/Courtesy Everett Collection

For anyone who’s ever been encumbered by the beautiful, annoying, expensive ordeal that is a wedding, how can we not love a wedding movie whose first pages of dialogue are just the word Fuck? As much as we commiserate, this is ultimately Hugh Grant’s movie. And a little Andie MacDowell’s movie. But mostly Hugh Grant’s. It’s the film that introduced us to his stumbling, bumbling, yet confident Etonian charms and wit, which we’d witness again and again in Nine Months, Notting Hill, Music and Lyrics, About a Boy, and more). The story of Grant and his friends attending their friends’ weddings—and one funeral—perfectly captured the romance of nuptials as well as all the stress, commitment, and emotional . . . what do the British call it? . . . oh yes, bother that comes with that period in your life where your friends are tying the knot. The question this rom-com dares ask is this: In all this wedding madness, can you be the odd man out and still be happy?

. . . to find your prince:

Coming to America (1988)

©Paramount/Courtesy Everett Collection

It’s unfair that Eddie Murphy only has one entry on this list. The guy ruled the ’80s and made some of the era’s great comedies—Trading Places, Beverly Hills Cop, 48 Hrs.—but this is really the only one where the romance narrative rules supreme. In short: Murphy plays the prince of a fictional African nation who is unsure about his arranged marriage, and so heads to what he suspects will be greener pastures in search of his queen. So where better to start that Queens, New York? Essentially slumming it with his best friend (a terrific Arsenio Hall), Murphy’s character finds work at a McDonald’s-type restaurant where he falls in love with the owner’s daughter, a woman who just might fit the bill. It’s a super simple story that elicits big laughs in every scene, but it’s also a clever send-up of class and race that simultaneously owns itself as perhaps the ultimate Reaganite comedy: If you are rich and follow your heart, you can be even richer!

…remind you that life doesn’t always go as planned, but sometimes that’s okay.

Juno (2007)

Life’s not perfect, but it can be most endearing— that’s the takeaway, anyway, from Jason Reitman’s nuanced teen comedy, Juno. Ellen Page gives her breakout performance as the titular pregnant-by-accident teen who soldiers on through high school while preparing to give her baby up for adoption to a painfully needy rich couple (or “baby-starved wingnuts,” as her father calls them.) Juno’s honesty and her backward love story with the adorably nerdy Paulie (Micheal Cera) reminds us of the true meaning of being cool, and that heartache can resolve itself into a tender, resilient future.

. . . to get your boss’s job:

Working Girl (1988)

©20thCentFox/Courtesy Everett Collection

First, consider the cast: Melanie Griffith, Harrison Ford—who owned the ’80s in Hollywood and made this his only rom-com—Sigourney Weaver, Joan Cusack, Oliver Platt, Alec Baldwin (at his douchiest), and Kevin Spacey. Next, look at the director: Mike Nichols—if there is a pantheon for romantic films, he probably has Zeus’s seat. Finally, the shoulder pads; my god, the shoulder pads. Were doorways made wider in the 1980s? Adventures in Babysitting aside, this movie is really as feminist as mainstream movies got in the ’80s. Melanie Griffith plays Tess McGill, a wily business school graduate working as a secretary at an investment bank with such memorable one-liners as “I have a head for business and a bod for sin.” When her boss (Weaver) steals her idea for a merger and then ends up out of commission (temporarily bedridden after a ski accident), Tess rises to the occasion: scheming with the support of her friends and maybe-lover (Ford), conniving, flirting, and using some good old-fashioned elbow grease to outwit her superiors, beat the boys, and claim the position she’s rightfully earned. Griffith is miraculous (one critic compared her to Marilyn Monroe; younger viewers might see a mold for Alicia Silverstone’s Cher), taking a role that could have just been “cute” and elevating it to nuanced and beguiling. That’s what this film is—so much so, we’ll forgive you if, after watching it, you suddenly have a soft spot for shoulder pads.

(C)

[thenightling]

They really don’t have to smoke... (in defense of the new Netflix policy)

So Netflix has vowed to cut back on depictions of smoking because of a backlash at all the smoking in Stranger Things.  Okay.

 I grew up in the 80s.  I was born in late 1981 and let me just say... There really was a lot of smoking in the 80s.  it’s unfortunately accurate.

My own mother couldn’t walk into a mall without taking a few drags outside the doors first.  The Mall we went to was already “no smoking” by the mid-80s.  

I loved the original 1984 Ghostbusters movie and I acknowledge that some of the guys were depicted as smokers until the cartoon The Real Ghostbusters in 1986 and the film sequel in 1989.   But that first movie had them smoking.

Yes, there were people who were anti-smoking back then.  Jim Henson was strongly anti-smoking and when a cigarette company asked him to depict smoking in The Muppet movie he deliberately had it that Kermit spit out the cigarette once it was offered to him.  Everyone knew it was a health risk but it was far too common place anyway.  

I don’t blame Stranger Things for having this accurate portrayal of the time.  Hell, there was a tiny pizza parlor near where I grew up.  It only had maybe four to six booths and they were very close together.   It had a smoking section.  How the Hell does that work? The “non-smoking section” was just a few tables without an ashtray, not even an arm’s reach away from the “Smoking section.”  I (as a child) could reach both sections by stretching my legs (and I was short!).  I was so grateful when smoking got banned from restaurants.

My mother was a smoker since teenagehood and as a result died before she was forty-two.  She died of throat cancer.  I am now less than five years younger than the age my mother was when she died. 

I’m telling you of all this because I want you to know my perspective on the matter. I hate smoking.  I hated it before my mother even died.  I hate the stink of it. I hate how it yellows and dries out book paper.  I hate how it clings to you.  I have no love for the habit.  I don’t think it makes characters look cool.  Frankly, it disgusts me.

So that’s why...  even though I know it was an accurate portrayal of the era, I don’t mind Netflix cutting back on depictions of Smoking.   There were plenty of shows and movies even in the 80s that made a conscious effort to not show smoking or if they did it was not in a positive light.  No one actually lights a cigarette in the 1985 Fright Night even though it’s a prop cigarette case mirror that allows Peter Vincent to see Jerry Dandridge is a vampire.   (Oddly the sequel does have smoking though). 

And though I am often a bit of a purist when it comes to adaptations of literature...  I honestly don’t mind if Netflix decides to remove the smoking from Neil Gaiman’s The Sandman. I don’t think it would impact the story very much.

Though many characters in Sandman smoked i.e. Alexander Burgess’ lover, Paul, Desire of The Endless, Mervyn Pumpkinhead, Robert “Hob” Gadling, Hazel and Foxglove / Donna, John Constantine, Pharamond, Lucifer (in his own spin-off comics), ect...

I don’t think it matters to the plot.   

Honestly, I never really liked that people think of smoking as such an “important” character trait for John Constantine.  It’s as of his Dangerous Habits storyline had no impact at all, despite being a fan favorite. 

Anyway, I’m starting to ramble, which means I’m tired.   My point is, my opinion, as a fan, is if Sandman has no smoking at all in it...I don’t mind.  I might even prefer it that way.  

Just follow the plot, and give Morpheus his black eyes and wild black hair and I’ll be happy.  (I still would prefer if his captivity still begins in 1916 though...)

And Stranger Things can still feel like the 80s without the cigarettes.  There were plenty of non-smokers and anti-smoking sentiment even then.  

  https://screenrant.com/netflix-reduce-smoking-stranger-things/

[ghostbustershq]

Ghostbusters II Score Album Notes and Analysis

I love film scores. Nothing can evoke imagery and memories from your favorite films like sitting and listening to a well-crafted film score. Which is why it’s been such a treat to now have in my hands the score to the 1989 film Ghostbusters II and to hear all the nuances and decisions that were made that aren’t necessarily audible in the film (nor the unofficial bootleg releases we’ve all listened to repeatedly over the course of a few decades).

Randy Edelman’s Ghostbusters II score is often overlooked. Elmer Bernstein’s original film score usually taking the majority of the spotlight. But upon first listenings of this incredible remastered score, the themes that present themselves are very apparent. Peter has a recurring theme that gives him swagger and confidence. Dana has a lovely theme to counter that, which is thoughtful and measured (and quite a bit different than that which Bernstein presented in the first film that was far more romantic). There’s a Ghostbusters “hero theme” that’s present for when all four of them gather together. More on the themes and motifs here as they become clearer.

So, as I listen to the score (and hopefully get more insight via liner and production notes to come), I’ll be adding to this dossier of each of the tracks. Since so much of listening to film scores is hearing them over and over and becoming more familiar with them, it’s absolutely impossible to create a complete write up in just a few sittings.

So keep visiting for additional updates and thoughts as they come!

A Few Friends Save Manhattan

This definitely is a one-to-one lift of the end credits melody that closes out the final moments of the credits in the film.

A Baby Carriage Meets Heavy Traffic

Being that the score is so heavily featured in the opening moments of the film, it’s great to hear the urgency and the tension as it was composed here, and how the sound design and effects also helped punctuate some of the musical choices made. I’d love to line this one up with the film to see if any music edits were made in the film that aren’t present here.

Venkman's 6th Ave. Strut

To my ear, this is one of the newly recorded tracks mentioned in the press release. It feels like a composed and orchestrated concert version of the Venkman theme that’s heard throughout the film (and highlights Randy Edelman’s incredible piano talents).

Order in the Court

A short quote of the Ray Parker Jr. theme around 2:30 as the courtroom gets eerie and the Ghostbusters search for the Scoleri Brothers that isn’t heard in the final film’s mix. As well as a few instances of Oscar and Dana’s themes at the end of the track that sound to me like the “You’re short, your belly button sticks out, and you’re a terrible burden on your poor mother.”

He's Got Carpathian Eyes

Notes and thoughts to come.

The Sensitive Side of Dana

Another cue that sounds like it might have been intended as a concert version, particularly with a lovely string introduction that leads into the Dana theme heard throughout the film starting around the one minute mark. Particularly since this main theme is played on the piano, guessing that this was one of the newly recorded tracks as well.

In Liberty's Shadow

Notes and thoughts to come. Starts with the heroic and wonderful moment as the Ghostbusters approach the “giant Jell-O mold” of the museum and find that their proton beams are ineffective. This cue is such a rollercoaster of emotion from heroic, to failure, to inspiration, to a quote of almost patriotism as the heroes land on Liberty Island. I’m also excited to figure out just how many different themes we can now sense a repeated pattern of with this presentation.

Rooftop Broom Kidnap

Notes and thoughts to come. I know that the title of this one trips many people up, is it possible that Janosz was going to appear on a broom stick rather than as a ghostly nanny at one point in the production?

The Scoleri Brothers

Notes and thoughts to come.

Oscar is Quietly Surrounded

Notes and thoughts to come.

A Slime Darkened Doorway

Notes and thoughts to come.

One Leaky Sewer Faucet

Notes and thoughts to come. This one is a fun enigma that I look forward to learning more about. Is this the cue that was recorded for the film and unused? Or can we hear bits and pieces of it somewhere and we’ve never realized?

Vigo's Last Stand

Notes and thoughts to come.

Good With Kids

Notes and thoughts to come.

Enlightenment

Notes and thoughts to come.

Family Portrait-Finale

Notes and thoughts to come.