#the scene where edgar is trying to do all those things for miles to keep him at home like make dinner and a cocktail

[lovestruckficto]

me and P03 have adopted a son and his name is edgar electric dreams

[mycasandstarrs]

SPN 7x21: “Reading is Fundamental”

THEN: Hallucifer tormented Sam. Meg’s back and so is Cas. Meg teams up with the Winchesters. After taking Sam’s burden, Cas is left behind, with Nurse Meg to look after him. The Winchesters intercepted and acquired the thing Dick Roman’s been looking for months. Time to find out what it is.

And it’s also time to meet Kevin Tran.

A textbook depiction of A.P students.

“You know, no matter what, one day, college isn't going to matter anymore.”

You’re out of your mind.”

“That sound like somebody saying, ‘No, wait – stop,’ to you?”

Totally not suspicious.

Struck by lightning, granted powers. Our new prophet is born.

Cas is up.

Edgar and the Leviathans. Ha, I never realized they were planning a human slaughterhouse.

“Strange, isn't it, that someone would choose to be named ‘Dick’?” Technically, his name is Richard.

Missing an important test, an actual nightmare.

Back with the boys.

“When we broke this thing, every maternity ward within a hundred-mile radius got slammed. Looks like any woman in the last month of her pregnancy went into labor.” Good lord, hospitals were probably overwhelmed.

So Cas had been sleeping this entire time?

“I'm supposed to keep going. I'm not allowed to stop.” Foreshadowing of Kevin’s life to come?

“I can't say I'm fired up to see what's left of the guy.” “the guy”, Dean. Please.

Hello again, Cas 

“Pull my finger.” pfft.

Oh my god. How did Cas even know to do that?

Dean’s just...not okay with any of this.

“If someone was going to free the Word from the vault of the earth, it would end up being you two. Oh, I love you guys.”

How is this our only Team Free Will hug?? I demand more in a healthier and happier context.

Our first mention of Metatron.

“You’re saying a Transformer wrote that?”

“No. That’s Megatron.”

“What?”

“The Transformer – it's Megatron.”

“Let me see that thing.”

“Back off, Meg.”

“Come on, it’s my ass too.”

It’s especially her ass because that’s the demon tablet.

Huh, much like Jack in S13.

Cas broke the damn Word of God.

The one minute conversation Meg and Sam were having was enough for Kevin to take the tablet.

Oh Dean-o. That’s your “don’t cry” face.

The zig zag running is so smart.

“Not a demon nor a chomper. What the hell are you?”

“I'm a... K-Kevin Tran. I'm in advanced placement.”

UGH THE “SORRY!” SCENE.

“Dean, I know you want different answers.”

“No, I want you to button up your coat and help us take down Leviathans. Do you remember what you did?”

Dean wants his best friend back, not his powers.

“Do you want to go first?”

Kevin can piece the tablet back together.

Dean is white knuckling this conversation.

Dean asks a question, Cas sends him back to the start, aka “don’t ask me that”.

“I think Metatron could stop a lot of bad.” *muffled S9 screaming* He can’t.

“Forget the game, Cas.”

“I’m sorry, Dean.”

“No. You’re playing ‘Sorry!’.”

Fucking rip my heart out and stomp on it. The “Sorry!” scene is so heartbreaking. There are too many failed attempts at communication and meeting each other halfway.

Angels are here.

You’re not even gonna help pick it up??

That angel (Inias) looked happy to see Cas.

Hester on the other hand...

That time Dean was willing to banish Cas along with another angel.

Kevin having his well earned, understandable breakdown.

Again with the “angels are junkless” thing. Dean, what the fuck??

“Gentlemen, we've got to start running and hiding. Or do you want to tangle with those wing nuts twice?”

“I'm sorry. Did you say ‘we’?”

Just accept that Meg’s on the team, sheesh.

Sam notices the news about Kevin’s “kidnapping”, Meg notices the demons.

“Great, so now we're kidnappers?”

“Not if we shut up about it. Why? Who'd we kidnap?”

lmao.

“Yeah. Yeah, Castiel, it’s me.”

“Cas? Where? Where is he?”

“Shut up.”

Cas: “I’ll stop speaking.”

“No. No, Cas. You talk.”

I love Cas’ conversation about the “unhappy dogs”.

Cas boops Kevin’s nose. :3

“Cas, don't make me pull this car over! Why are angels after us?”

“Are you angry? Why are you angry?”

Watch your tone, Dean.

“You’re in our corner, right, Cas?”

“No, I don’t fight anymore. I watch the bees”

Small yikes on that one.

Sam has more patience than Dean to talk with Cas. It’s a nicer conversation to watch.

“The weight of all my mistakes, all those lives and souls lost, I... I couldn't take it, either. I was… I was lost until I took on your pain.”

I think Cas considers taking on Sam’s burden as “penance” for what he did. It was a “small” price to pay for what he did on Earth, on Heaven, and to Sam.

“I know you never did anything but try to help. I realize that, Cas, and I'm grateful. We're all grateful.” Sam speaking on Dean’s behalf with that “we”.

“We're gonna help you get better, okay? No matter what it takes.”

“What do you mean ‘better’?”

Bigger yikes for that one. The way Sam’s face falls says it all.

“This is all too much. What's happened to my life? I'm just a kid from Michigan. I didn't want to be a Word-keeper!”

Dean casually dealing with Kevin’s panic attack.

“Looks like we're brown-baggin' it.”

Dean knows all about being “chosen” and why it sucks major ass.

Dean vague-talking about Cas.

“The angels – they don't care. I think maybe they just don't have the equipment to care. Seems like when they try, it just... breaks them apart.”

Aww no hon, Cas “broke apart” because he cared too much.

RIP demons. Killed by Meg.

They had a demon’s trap ready for Meg. What were they going to do with her?

“You find a cause, and you serve it. Give yourself over, and it orders your life. Lucifer and Yellow Eyes – their mission was it for me.”

“I know what I'm supposed to do. And it isn't screw with Sam and Dean or lose the only angel who'd go to bat for me.”

Meg was definitely one of the more human demons, along with Crowley and maybe Ruby. 

Bad news: Hester’s found them.

“You have fallen in every way imaginable.” 

“Look, just give us some time, okay? We will take care of your Prophet.”

“The very touch of you corrupts. When Castiel first laid a hand on you in Hell, he was lost! For that, you're going to pay.”

 OOOHHHHHH. Hester was about to beat (maybe even kill) Dean for what he did to Cas.

Cas took that beating/almost-death for Dean. Cas nearly died for Dean...again.

“You wanted free will. Now I'm making the choices.” Hester’s last words.

RIP Hester. Killed by Meg.

Someone had to do it, and I thank Meg very much for saving Cas.

Kevin does his part.

“Leviathan cannot be slain but by a bone of a righteous mortal washed in the three bloods of the fallen.”

Starting with blood of a fallen angel. 

“Well, you know me... I'm always happy to bleed for the Winchesters.”

One ingredient down.

OG Mrs. Tran.

RIP angels. Killed by Edgar.

[gokinjeespot]

off the rack #1304

Monday, March 9, 2020

 I want to thank my partner Chris for another successful Capital Comic Book Con at the Delta Hotel in downtown Ottawa yesterday. All of his hard work pricing and preparing our stock and setting up our booth paid off. I am glad that I get a day to recover as the old muscles are aching today. I saw many old friends and customers which made for a fun social event as well. There's a full moon out tonight so get out there and give a howl. Then come back inside and wash your hands.

 Daredevil #19 - Chip Zdarsky (writer) Marco Checchetto (art) Mattia Iacono (colours) VC's Clayton Cowles (letters). A gang of super villains paid by the Stromwyns is destroying Hell's Kitchen. Can Daredevil save his home? There's a lot of destruction and the citizens try to defend themselves but it doesn't look good. I like the wild card showing up. I wonder if they will help or hurt?

 Lois Lane #9 - Greg Rucka (writer) Mike Perkins (art) Andy Troy (colours) Simon Bowland (letters). Lois and Renee need to find the assassin Kiss of Death and they get some help from a friend. Batman's appearance was a hoot. This story has been great so far. You should also be watching Greg's TV show Stumptown. Cobie Smulders is killing it as Dex.

 Doctor Strange #6 - Mark Waid (writer) Kev Walker (art) Java Tartaglia & Antonio Fabela (colours) VC's Clayton Cowles (letters). Someone has stolen Stephen's magical artefacts and could be mass producing them for evil purposes. He has to team up with Doctor Druid to stop that from happening. This new story is spellbinding.

 Superman: Villains #1 - Brian Michael Bendis, Matt Fraction & Jody Houser (writers) Art, colours and letters done by a bullpen full of others. This $5.99 US one-shot is a muddled mess. It confused me right out of the gate when Superman visits his parents on the farm. Ma and Pa Kent are there. I thought Pa died. Then Superman tells Pa that some Batman tech is going to keep them safe like it does for the Batcave. That was four pages of WTF for me. So that segues into a scene with Lois, Clark, Perry and the new owner of the Daily Planet, Marisol Leone. We find out later that Ms. Leone is the head of some sort of Mafia. Then there's two pages of Lex Luthor and a laughing answering machine message that made me think it was the Joker calling to mock the bald baddie. I can go on and on, like why Bizarro? I hate Bizarro. Also, what is up with Supergirl? Is she still infected from Year of the Villain? All the different art styles didn't help either. This did not make me want to read more DC comics.

 Black Cat #10 - Jed MacKay (writer) Kris Anka (art) Brian Reber (colours) Ferran Delgado (letters). It's a fun-filled, action-packed team-up with Wolverine in Madripoor. How do you like them hyphens?

 Savage Avengers #11 - Gerry Duggan (writer) Butch Guice (art) Alex Guimaraes (colours) VC's Travis Lanham (letters). Doctor Strange's astral form observes the origin of the evil wizard Kulan Gath. It's this story that reveals the way to finally kill the sorcerer. But first, he and Elektra must find Conan. This was my favourite issue of the run so far.

 Conan: Battle for the Serpent Crown #2 - Saladin Ahmed (writer) Luke Ross (art) Nolan Woodard (colours) VC's Travis Lanham (letters). I love these outrageously improbable adventures. Conan chases the Black Cat to get a ring back. This issue takes place in Las Vegas so it's a good chance for the Scarlet Spider to make a guest appearance. Conan does retrieve the ring but how he does made me go "huh?". I really got a chuckle when I saw where Conan and Nyla are zapped to. I'm sure this will cross over with Savage Avengers at some point.

 Strange Academy #1 - Skottie Young (writer) Humberto Ramos (art) Edgar Delgado (colours) VC's Clayton Cowles (letters). I expected a fun debut from Skottie Young and he delivers. We meet a lot of kids and a lot of teachers in this new magical school of magic. This reminded me of Avengers Academy and I think I'll like this new crop of young magicians.

 Batman #90 - James Tynion IV (writer) Jorge Jimenez (art) Tomeu Morey (colours) Clayton Cowles (letters). Catwoman has a secret that will destroy Batman's love for her and this flashback story tells us what it is. It was disappointing that I guessed what it was before the big reveal on the last page. This new villain, the Designer is kind of interesting and I want to see if Mr. D succeeds in his goal.

 Miles Morales: Spider-Man #16 - Saladin Ahmed (writer) Cory Smith (pencils) Victor Olazaba (inks) David Curiel (colours) VC's Cory Petit (letters). There are two stories this issue. The first has Miles babysitting his little sister and you just know that things are going to get hairy. Then Uncle Aaron walks into a trap laid by his new boss Ultimatum. What happens next doesn't bode well for Miles. This is another book that I'm thinking of benching. My fondness for the character is waning but I do still like the art.

 Marauders #9 - Gerry Duggan (writer) Matteo Lolli (art) Edgar Delgado (colours) VC's Joe Caramagna (letters). This issue has Emma and Bishop dealing with the bad guys. It's really cool how Emma can mess with minds.

 Dryad #1 - Kurtis J. Wiebe (writer) Justin Osterling (art) Jim Campbell (letters). This new fantasy story is about Morgan and Yale and their two teenage offspring Griffon and Rana. There are big swords and monsters and a mysterious ancient race. The mixed race marriage reminded me of Saga. Morgan is an elf and Yale is human. The kids go exploring and open a door leading to a peck of trouble. The characters didn't grab me and this issue didn't spark enough interest in me to want to read the next issue. You might like this if you enjoy books like Rat Queens.

 Strange Adventures #1 - Tom King (writer) Mitch Gerads & Evan "Doc" Shaner (art) Clayton Cowles (letters). Adam Strange is back on the racks in this 12 issue maxi that has him being framed for murder. When Batman passes up the case he's got to go with another hero to clear his name. I really liked how Alanna was handled and that's why I will read the next issue.

 2020 Rescue #1 - Dana Schwartz (writer) Jacen Burrows (art) Scott Hanna (inks pages 17, 19, 20) Peter Pantazis (colours) VC's Joe Caramagna (letters). I know from reading Avengers that Tony is alive and well trapped in the past but Pepper Potts thinks he's dead. This story has Pepper trying to find a way to clone Tony using his biological parents' DNA. I picked this off the rack because of Jacen Burrows's art but the writing wasn't even half as good as the old Ironheart used to be so I won't be reading any more.

 Spider-Man Noir #1 - Margaret Stohl (writer) Juan Ferreyra (art) VC's Travis Lanham (letters). This is Peter Parker as Sam Spade, the Shadow and Spider-Man all rolled into one circa 1939. The web-shooters and 45s are jarring to me. Anyways, the art is suitably dark and gorgeous and the murder mystery will have Peter globe trotting to find the killer. If you like hard boiled crime this is the 5-issue mini for you.

 Doctor Doom #6 - Christopher Cantwell (writer) Salvador Larroca (art) Guru-eFX (colours) VC's Cory Petit (letters). This is like a Bing Crosby and Bob Hope "Road to Terlingua, Texas" movie starring Doctor Doom and Kang. Doom is trying to find a way to keep a black hole from destroying the earth and Kang is just tagging along for giggles. Doom does get what he's after, rids himself of the annoying Kang and figures out how to save the earth. Now he's heading back home with the device and I want to see how he uses it.

 Marvel #1 - this $4.99 US 6-issue mini is for all those Marvel Maniacs pining for stories from the days of yore. Alex Ross curates this anthology of new stories that read like reprints from the sixties. The two stories this issue are:

 "Spider-Man: Make My Day" by Sajan Saini (writer) Frank Espinosa (art) & VC's Clayton Cowles (letters) features a fight with Rhino and an argument with Mary Jane.

 "The Boy…and the Brute" by Kurt Busiek (writer) Steve Rude (art) Steven Legge (colours) & Steve Rude (letters) features Rick Jones, the Hulk and the Avengers.

 These are nice little vignettes and are interesting for the creators involved. They're fun to read and that's what comic books are all about.

 The Flash #750 - It's been a while since I've read a Flash comic so I thought I'd catch up by snagging this $7.99 US anniversary issue off the racks. There are 6 stories inside featuring a bunch of Flashes but mostly concentrating on Barry Allen. Jay the Golden Age Flash and Wally West are here too. There is also a lot of hopping around in time, dimensions and universes that left my head reeling. It looks like future issues of the Flash are going to speed through many divergent plots and I don't want to work that hard to keep track of everything. This issue did not make me want to return to the Flash fold.

[moviesbarelyreviewed]

The Best of 2017

So it’s been two years since my last post on this here blog. There are may and varied reasons for this, but I won’t bore you by getting into them. What’s important is that I’ve still been seeing movies, still been thinking about them, and still been telling everyone I know to see the ones I love. And so I hope that this post will get this blog back in business, though I hesitate to make any promises, given that I am now a first-year law student, meaning that a) There’s a very good chance I won’t have the time to keep up with this blog and b) I’ve learned that making promises can sometimes inadvertently bind you in an irrevocable contract, which could prove very costly for me down the road (don’t ask me how, I still don’t understand contracts). 

Nevertheless, it’s the end of the year, so I’ve made my list of the year’s best films, and I want to share it with you all. As always, I couldn’t see every movie that came out this year. I used to say that I was only an amateur film critic of dubious reputation and professionalism, but I’m not sure I can claim even that title at this point (see: it’s been two years since my last post). So before you all start banging down my doors, complaining that I left your favorite film off my list (this has never happened, but I like to imagine that I’m important enough to where it would), I’ll note up front that I have not seen The Last Jedi, I, Tonya, The Shape of Water, Call Me By Your Name, and whatever film you’re thinking of right now, probably. But with that being said, I’ve seen many of the year’s big contenders (shoutout to a/perture Cinema in Winston-Salem, NC, for allowing me the opportunity to see some smaller films that I couldn’t catch in any other theater) and I feel comfortable in saying that this is a fairly comprehensive list. Like in the past, I start the list with number 11, because there was just one film I couldn’t leave out.

11. Raw (Julia Ducournau). I really think that we’re living in a golden age for horror films, and if you don’t believe me, well, note that the first three films on my list are all horror movies. The first is Raw, an ice-cool, coming-of-age shocker from French director Julia DuCournau. I feel confident in recommending most of the other films on my list to just about any moviegoer out there, but I can’t say the same for Raw. This is, quite simply, not a film for everyone, which is completely fine. The story follows teenage vegan Justine (Garance Marillier), who goes away to veterinary school and is forced to eat meat as part of a hazing ritual during her first week. The new taste opens Justine up to some other... new tastes, though I hesitate to say more for fear of spoilers. Suffice it to say, this movie has at least three of the most memorable scenes of the year. You can probably guess from this description alone that squeamish viewers need not apply. But those who can stomach the story’s taboo twists will find an intelligent, sensitive, and provocative tale, solidified by a killer soundtrack and a fearless central performance from Marillier.

10. Happy Death Day (Christopher Landon). There’s something to be said for a movie that is impeccably crafted, brilliantly acted, and profoundly impactful. But there’s also something to be said for a movie that isn’t any of those things, but is still fun as heck. Happy Death Day, the horror-thriller from director Christopher Landon, certainly falls into the latter category, but I think it more than deserves a spot on this list. Making a great genre film is often harder than making a great original film, because most everyone who sees genre films is familiar with their tropes and not looking for something they’ve already seen before. Happy Death Day manages to rise above those genre pitfalls, however, primarily due to its central gimmick which, albeit, it apes from films like Groundhog Day, Edge of Tomorrow, and even this year’s Before I Fall. Newcomer Jessica Rothe stars as Tree, who begins the movie as an obnoxious, stuck-up mean girl. We know, of course, that she is about to learn some important lessons. Unfortunately for Tree, though, she has to learn those lessons by, well, being murdered.... a lot, until she is able to uncover the identity of her masked killer. Like the aforementioned Edge of Tomorrow, Happy Death Day wisely doesn’t take itself too seriously and has a lot of fun with its circular time structure. Indeed, I found myself laughing throughout this movie, because it’s just such a blast to watch. Even though some of its third-act twists are utterly ridiculous, it doesn’t matter because the movie has already strapped you into its roller coaster ride long before. And as far as roller coasters go, this movie is as breathless as they come.

9. Get Out (Jordan Peele). Get Out is unquestionably one of the defining movies of 2017. Even though it came out in the first quarter of the year, it has stayed in the minds of moviegoers and critics alike, which alone is a tremendous accomplishment for director Jordan Peele. If you still haven’t seen Peele’s twisted tale of a black man (Daniel Kaluuya) who finds himself enduring figurative (and possibly literal) hell while spending a weekend with the parents (Bradley Whitford and Catherine Keener) of his white girlfriend (Allison Williams), you’re in for a truly original, unforgettable experience. Sure, the shocks and twists are effective, but what takes this movie beyond the level of a traditional genre film is its button-pushing topicality. Chances are it’ll make you squirm long before its supernatural scares come. It’s no wonder that it’s the movie everyone has been talking about for months on end.

8. Wind River (Taylor Sheridan). Director Taylor Sheridan made a huge splash just last year with his screenplay for the unlikely Best Picture nominee, Hell or High Water, and with Wind River, his directorial debut, he deserves to make an even bigger one. Like Hell or High Water, Wind River is a neo-western, though not a conventional one. It’s set on an Indian reservation in Wyoming, where wildlife tracker Corey Lambert (Jeremy Renner) is the only white man for miles, a fact which plays both a provocative and potentially problematic role in the movie’s plot. When a young Indian girl from the area is brutally murdered, Corey is called upon by FBI agent Jane Banner (the excellent Elizabeth Olsen), a city-slicker who is out of place on the reservation, to say the least, to help her navigate the community and investigate the crime, a task which eventually forces Corey to exercise some painful demons from his past. Although there is a hint of white saviorism in how the plot unravels, the movie’s lasting message is a poignant and pressing one about the current state of Native Americans in our country. Sheridan deserves a lot of credit for telling a little-told story with grit and honesty, and the actors certainly do their part as well, particularly the great Native American actor Gil Birmingham (who was brilliant as Jeff Bridges’ partner in Hell or High Water) as the father of the murdered girl.

7. The Lego Batman Movie (Chris McKay). I honestly didn’t think I could love 2015′s The Lego Movie any more... and then I saw the Lego Batman Movie. Despite a new director and the element of surprise having worn off, Chris McKay’s follow-up to The Lego Movie somehow reaches the impossibly high bar set by its predecessor. It does so mainly by not deviating from what made the first movie so successful: quirky characters, fast-paced humor, and beautifully detailed Lego environments. Will Arnett reprises his role from the original as a particularly narcissistic Batman, trying to protect Gotham from the likes of the Joker (Zach Galifianakis), Harley Quinn (Jenny Slate), Bane (Doug Benson), and many more, all while trying to deal with Dick Grayson (Michael Cera), the teenage orphan that he has accidentally adopted. As in the first film, there are as many jokes for adults as there for kids, and as in the first film, the movie has a heartfelt message at the core of its kicky and occasionally silly goings-on. There may come a point when these Lego movies wear out there welcome... but we’re not there yet. 

6. Dunkirk (Christopher Nolan). So apparently some people thought Dunkirk was boring? I must confess, I am in the exact opposite camp. I was completely riveted by Christopher Nolan’s often unbearably intense war epic. Like most of Nolan’s movies, Dunkirk doesn’t spoon-feed its audience by dumbing things down. Instead, we’re expected to sift through the movie’s huge cast of characters and occasionally confusing time structure with little help from the filmmakers, which I, for one appreciated. But even if you can’t get your mind around everything going on in the film, it’s hard not to surrender to its incredibly immersive effect. I’ve rarely felt so embroiled in the goings-on of a movie as I did when watching Dunkirk. It proves that there are still many great war stories to be told, and many great directors willing to breathe new life into history.

5. Baby Driver (Edgar Wright). Like the Simon and Garfunkel song from which it takes its title, Baby Driver is as slick, cool, and effortless as movies come. Director Edgar Wright has yet to make a bad movie and, in Baby Driver, he borrows much of the visual panache and witty dialogue displayed in his great 2010 film Scott Pilgrim vs. The World, but this time targets it at... those of you who probably thought you were too cool to see a movie like Scott Pilgrim. Cool is something this movie certainly doesn’t lack. For those who haven’t seen it, Baby Driver is the story of a teenager named Baby (Ansel Elgort), who supports himself and the old man (CJ Jones) he shares an apartment with by working as a getaway driver for a band of bank robbers (Jon Hamm, Jamie Foxx, and Eiza Gonzalez are the robbers, Kevin Spacey is their leader). But when Baby falls for a good-hearted waitress (Lily James), he’s forced to choose between her or his wayward lifestyle.... which of course isn’t as simple as it sounds. As you might expect, Baby Driver has some truly epic action sequences, but what really gives it added style points is its brilliant use of music. Baby syncs all of his getaway drives up to classic rock songs and, as a result, the movie is a sort of musical-action hybrid rarely seen on the big screen. It needs no saying that the songs, from Queen’s “Brighton Rock” to Focus’s “Hocus Pocus”, are all perfectly chosen for their particular moments. No one else today is making movies like Edgar Wright. But they should be.

4. Three Billboards Outside Ebbing, Missouri (Martin McDonagh). If you’ve ever seen one of Martin McDonagh’s films (or plays for that matter), you’ll know that the man likes his humor as black as coal. Three Billboards, his latest, certainly doesn’t deviate from this trend, but it also has an emotional heft and modern-day relevance that perhaps In Bruges and Seven Psychopaths lacked. The rather clumsily titled film is set in a small Missouri town where Mildred (Frances McDormand) has recently lost her daughter to a brutal rape and murder that has left the community shaken. Frustrated by the perceived lack of effort in investigating the crime on the part of the local police, Mildred buys three large billboards on the edge of town and arranges for three different, but all damning messages to be painted on each (the most pointed of all reads “How come, Chief Willoughby”). But Mildred’s bold act doesn’t win the favor from the townsfolk that one might expect. That’s because the chief of police (Woody Harrelson) is a universally-admired family man, who is seen as the misplaced object of Mildred’s ire. Complicating matters even further is racist, firebrand cop Jason Dixon (the always incredible Sam Rockwell), who threatens to send Mildred over the edge with his untamed aggression. For my money, this is the best acted movie of the year. No one in the rich ensemble, which also includes John Hawkes, Lucas Hedges, Caleb Landry Jones, and Peter Dinklage, gives anything but their best. Even more impressive is McDonagh’s screenplay which is both brutally funny and brutally sad. His characters are some of the most believably complex I’ve seen in a long time. The moral ambiguity that all of their actions are subject to is not unlike real life itself. As much as I’ve enjoyed McDonagh’s films in the best, Three Billboards is an exciting step forward for a director already near the top of his game.

3. Lady Bird (Greta Gerwig). Come on, you guys new this would be on here. I mean, seriously, it’s a coming-of-age dramedy directed by Greta Gerwig and starring Saoirse Ronan. I don’t think I could write a better sentence than that if I tried. Now sure, I’m a sucker for these types of movies, but I think the overwhelming critical acclaim for Lady Bird (peep that Rotten Tomatoes score) proves that, at least this time, my hype for this movie is justified. To be fair, I think Lady Bird does lack the intense emotional impact of a film like The Perks of Being a Wallflower or The Spectacular Now, which keeps it from being a complete home run for me, but that’s probably by design. Yes, the movie is profound and often moving, but it’s also funny and whimsical in ways that those movies aren’t. Indeed, it has a lot of the quirky, shaggydog charm we’ve seen in recent films starring Gerwig, like Frances Ha or Mistress America. This time, though, it’s Ronan who stands in for Gerwig and, if there was any doubt beforehand, she proves that she’s the finest actress of this generation. And yeah, she’s only 23. Her performance here as Lady Bird, a strong-willed teen clashing with her parents (beautifully played by Laurie Metcalf and Tracy Letts), while experiencing her first relationships (Lucas Hedges and, later, Timothee Chalamet play her suitors), is yet another peerless turn in a career already chock full of them. Although I think Frances McDormand, in the above mentioned Three Billboards, gives arguably a better performance than Ronan, I’m rooting for Ronan to get the Oscar, because it’s long overdue. And that’s really all there is to say about Lady Bird. This wise, funny film hits basically no wrong notes and, though it’s hard to imagine how Gerwig will top this one, I can’t wait to see her try in the future. 

2. The Disaster Artist (James Franco). The Disaster Artist is my favorite film of the year, but, for reasons I will explain shortly, I went with a different film at the top of this list. As for James Franco’s hilarious and inspiring film, however, I simply couldn’t have enjoyed it more. The Disaster Artist, based on the book by Greg Sestero, is the scarcely believable, but undeniably true story of Tommy Wiseau (James Franco), a bizarre man from some unknown Eastern European country (though he swears he was born in New Orleans), who sounds like Dracula and looks like the lead singer of a death metal band, and his 2003 film “The Room” which has become a cult classic of Rocky Horror proportions, primarily because it may well be the single worst film ever made (though don’t tell Wiseau). The Disaster Artist also tells us the story of Greg Sestero (Dave Franco), Tommy’s friend and roommate who starred alongside Wiseau in The Room. Like Tommy, Greg is an aspiring actor, but unlike Wiseau, he’s a clean-cut, all-American guy that seems to have at least a little bit of acting talent. The Franco brothers strike a great dynamic in their scenes together, but the real highlight of this movie is its depiction of the filming of “The Room.” If you’ve seen “The Room,” which I had, I think you can appreciate these scenes even more, but even if you haven’t, there’s much to laugh, gasp, and marvel at. The real achievement of The Disaster Artist, though, is the way it rewrites this narrative. Though there are a lot of laughs at his expense, Wiseau is an oddly inspiring figure, a man who, despite what everyone told him, had a dream and achieved that dream with nothing but a lot of passion (and, ok, a lot of cash that we still aren’t really sure of the source of). That’s a story we can all relate to.

1. The Florida Project (Sean Baker). The Disaster Artist, like I said, is my favorite film of 2017. The Florida Project, at least at this point, falls just short of that title because I’m still on the fence about the ending of Sean Baker’s film. I’ve gone back and forth on how I feel about it, but I think I need to see it again to truly decide. Nevertheless, I think the fact that I’m still thinking about this film, which I saw months ago, speaks to its power, and that’s why I’m choosing it as the best movie of 2017. The tale of Moonee (the delightful Brooklynne Prince), a mischievous 6 year old, and her mother Hailee (newcomer Bria Vinaite, in a stunningly brilliant performance) is an uncompromising look at poverty in America that still brims with vitality in every shot. Much is owed as well to the work of director Sean Baker, who brings the kitschy motel where Hailee and Moonee live, to life, in eye-popping color. And let’s not forget Willem Defoe’s lovely, warm-hearted performance as Bobby, who runs the motel and gives Moonee and Hailee break after break, despite his best instincts. The Florida Project will put you through the emotional ringer, especially in its climax, but the thing which struck me the most is how true this film is. It’s as essential as it is gripping, giving a voice to a group of people who are rarely heard from in today’s political landscape. And despite its unflinching realism, the movie is ultimately hopeful, and fully invested in the very premise that explains why movies endure into 2017: a little imagination can make anything seem possible. In 2017, I think that’s a lesson we all can all take heart in.

-PSH