#this was the last released film in the top 10 female directed horror films on letterbox i hadn't seen

[talesfromthecrypts]

The Other Side of the Underneath (1972) dir. Jane Arden

[introvertguide]

Influential Directors of the Silent Film Era

Upon hearing that I am a fan of silent era film, people will ask if I have a favorite actor or movie from the time period. However, when I am asked about my favorites from other fans of silent film, it tends to involve my favorite director. This is because silent film actors had to over gesticulate and performed in an unrealistic way and could not use their tone or words to convey emotion. The directors also did not have a way to review as they shot and would have to use editing skills and strategic cover shots to make sure that everything was done properly and come out the way they imagined it. It was up to the director to be creative and they were forced to be innovative and create ways to convey their vision. Luckily for many average or poor directors of the time, audiences were easily impressed. However, today's more demanding and sophisticated audiences can look back at some of the genius behind the films of silent era Hollywood.

Alice Guy-Blache: Matrimony's Speed Limit (1913) and The Fairy of the Cabbages (1896)

Art director of the film studio The Solax Company, the largest pre-Hollywood movie studio, and camera operator for the France based Gaumont Studio headed up by Louis Lemiere, this woman was a director before any kind of gender expectations were even established. She was a pioneer of the use of audio recordings in conjunction with images and the first filmmaker to systematically develop narrative filming. Guy-Blanche didn't just record an image but used editing and juxtaposition to reveal a story behind the moving pictures. In 1914, when Hollywood studios hired almost exclusively upper class white men as directors, she famously said that there was nothing involved in the staging of a movie that a woman could not do just as easily as a man.

Charlie Chaplin: The Kid (1921), The Gold Rush (1923), City Lights (1931), Modern Times (1936), and The Great Dictator (1940)

It is unfortunate that many people today think of Chaplin as silly or for screwball comedy when, in fact, he was a great satirist of the time. He created his comedy through the eyes of the lower economic class that suffered indignities over which they had no control. He traversed the world as his "Tramp" character who found his fortune by being amiable and lucky. The idea that a good attitude and a turn of luck could result in happiness was all that many Americans had during the World Wars and the Great Depression. He played the part of the sad clown and he was eventually kicked out of the country for poking fun at American society. Today he is beloved for his work, but he was more infamous than famous during a large part of his life.

Buster Keaton: Sherlock Jr. (1924), The General (1926), and The Cameraman (1928).

That man that performed the most dangerous of stunts with a deadpan expression, Buster Keaton was a great actor, athlete, stuntman, writer, producer, and director. It is amazing that you could get so much emotion out of a silent actor who does not emote, but Keaton managed to do it. He was also never afraid to go big, often putting his own well being at risk to capture a good shot. Not as well known for his cinematography or editing as many of the other directors of the time, he instead captured performances that were amazing no matter how they were filmed. Famous stunts include the side of a house falling down around him, standing on the front of a moving train, sitting on the side rail of a moving train, and grabbing on to a speeding car with one hand to hitch a ride. If you like films by Jackie Chan, know that he models his films after the work of Buster Keaton: high action and high comedy.

Cecil B. Demille: The Cheat (1915), Male and Female (1919), and The Ten Commandments (1923)

Known as the father of the Hollywood motion picture industry, Demille was the first director to make a real box office hit. He is likely best known for making The Ten Commandments in 1923 and then remaking it again in 1956. If not that, he was also known for his scandalous dramas that depicted women in the nude. This was pre-Code silent film so the rules about what could be shown had not been established. Demille made 30 large production successful films in the silent era and was the most famous director of the time which gave him a lot of freedom. His trademarks were Roman orgies, battles with large wild animals, and large bath scenes. His films are not what most modern film watchers think of when they are considering silent films. That famous quote from the movie Sunset Boulevard in 1950 in which the fading silent actress says "All right, Mr. Demille. I'm ready for my close-up," is referring to this director.

D.W. Griffith: Birth of a Nation (1915) and Intolerance (1916)

Griffith started making films in 1908 and put out just about everything that he recorded. He made 482 films between 1908 and 1914, although most of these were shorts. His most famous film today is absolutely Birth of a Nation and it is one of the most outlandishly racist films of the time. The depiction of black Americans as evil and the Klu Klux Klan as heroes who are protecting the nation didn't even really go over well at that time. Some believe that his follow up the next year called Intolerance was an apology, but the film actually addresses religious and class intolerance and avoids the topic of racism. At the time, Griffith films were known for the massive sets and casts of thousands of extras, but today he is known for his racist social commentary.

Sergei Eisenstein: Battleship Potemkin (1925)

This eccentric Russian director was a pioneer of film theory and the use of montage to show the passage of time. His reputation at the time would probably be similar to Tim Burton or maybe David Lynch. He had a very specific strange style that made his films different from any others. The film Battleship Potemkin is considered to be one of the best movies of all time as rated by Sight and Sound, and generally considered as a great experimental film that found fame in Hollywood as well as Russia.

F.W. Murnau: Nosferatu (1922), Faust (1926), and Sunrise: A Song of Two Humans (1927)

I think that most people would know the bald-headed long-nailed vampire Nosferatu that was a silent era phenomena. It was so iconic that the German film studio that produced the movie was sued by the estate of Bram Stoker and had to close. Faust was his last big budget German film and has an iconic shot of the demon Mephisto raining plague down on a town that was the inspiration for the Demon Mountain in Fantasia (1940). Also, Sunrise is considered one of the best movies of all time by the AFI and by Sight and Sound as well as my favorite silent film. Fun facts: 1) more of Murnau's films have been lost then are still watchable and 2) he died in a car wreck at only 40 when he hired a car to drive up the California coast and the driver was only 14.

Erich von Stroheim: Greed (1924)

Maker of very strange German Expressionist films, Stroheim films are often listed as Horror or Mystery even though he considered himself a dramatic film maker. His most famous movie Greed was supposed to be amazing with an 8 hour run time but it was cut drastically to the point that it makes no sense and was both critically and publicly panned when an extremely abridged version was released in the U.S. Over half the film was lost and a complete version no longer exists. Besides this film, Stroheim was even better known for being the butler in the film Sunset Boulevard as a former director who retired to be with an aging silent film star. He also made a movie called Between Two Women (1937) that told the story of a female burn victim that was inspired by the story of his wife being burned in an explosion in a shop on the actual Sunset Boulevard.

Victor Fleming: The Wizard of Oz (1939) and Gone With the Wind (1939)

Although not known for his silent films, Fleming did get his start during the silent era. He was a cinematographer for D.W. Griffith and then Fleming directed his first film in 1919. Most of his silent films were swashbuckling action movies with Douglas Fairbanks or formulaic westerns. He is the only director to have two films on the AFI top 10 and they happened to have come out the same year.

Hal Roach: Lonesome Luke films starring Harold Lloyd, Our Gang shorts, Laurel and Hardy shorts, and Of Mice and Men (1939)

It is not really fair to put Hal Roach in the silent era directors because he was influential at the time but he had a 75 year career. He was a producer and film studio head and even had a studio named after himself. His biggest contribution to the silent era was his production of Harold Lloyd short comedies and he continued to produce films in the early talkies including Laurel and Hardy shorts, Our Gang shorts, and Wil Rogers films. Roach was the inspiration for the film Sullivan's Travels, in which a famous director who only did frivolous comedies goes out into the world to find inspiration to find a serious drama. Roach did direct a single serious drama, Of Mice and Men, but it came out in 1939 and was buried underneath the works of Victor Fleming. The wealthy cigar smoking studio head that many people think of when they picture a film studio suit is based on this guy. The man would not quit and stayed in the business into his 90s and lived to the ripe old age of 100.

[brentwatchesmovies]

Brent’s Top 10 Movies of 2019

Scorsese is probably my favorite living filmmaker, but I’ll be honest, when I heard that Scorsese was making this movie, and *how* he was making it (heavily digital de-aged actors) I was a bit skeptical. De Niro and Pacino haven’t been turning in interesting performances in quite awhile, and Pesci came out of a decades-long retirement for the movie as well. On top of that, the first trailer released did little for me. All that to say I was an idiot to doubt the master.

Scorsese returns to the crime genre that he re-invented many times over the years, this time with the eyes of a man in his 70’s, looking back on his life and career. The movie is very long, but in my opinion, it needs the length. The viewer needs to *feel* the totality of a life, and as is his intent with The Irishman, the *consequences* of this specific life. The final hour or so of this movie feels like a culmination of Scorsese’s career in many ways. The energy and entertainment of a crime/mob epic, with the fatalism and philosophical leanings of a movie like ‘Silence’. It’s a 3.5 hour movie that I’ve already rewatched, and actively want to again, so that alone ought to speak volumes.

Harmony Korine made one of my favorite movies of the 2010’s, the neon-soaked and often misunderstood ‘Spring Breakers’, so I was already in the bag for whatever he did next. When I heard it was a freewheeling stoner comedy where Matthew Mcconaughey plays a guy named ‘Moondog’ costarring Snoop Dogg, I reserved its location on my top 10 list.

This movie doesn’t have the empty heart at its core that defines Spring Breakers, opting instead for a character study about a ‘Florida man’ poet after his life pretty much falls apart. It’s basically plotless, stumbling from one insane, borderline hallucinatory sequence to the next, but I just loved living in the world of this movie. Beach Bum almost feels like a deliriously fun VR simulation of hanging out with Matt McConaughey and his weirdo friends down in the Florida keys. This is one that probably won’t pop up on many top 10 lists but I really adore, and will surely rewatch it a dozen times in the years to come.

Let the record show, I’ve been a huge fan of Bong Joon-ho since I first saw his monster movie/family drama ‘The Host’. Some time later, he went on to make ‘Snowpiercer’, one of my favorite movies of the last decade. All that to say, I think Parasite is probably his best movie, and a true masterwork of thriller direction. It also has his usual brand of social commentary and a script filled with darkness and humor, following a South Korean tendency to juggle multiple tones throughout, sometimes all in one moment or scene.

Parasite also follows a big 2019 trend of commenting on class and social dynamics between the rich and the poor. I think that’s part of why it’s done incredibly well at the box office (especially for a Korean language film), the fact that people can relate in a huge way, regardless of which country your from. Parasite is one of the most entertaining movie viewing experiences I’ve had this year and I’d recommend everyone check it out.

If you were to ask me what the funnest movie-going experience I had in 2019 was, I’d have to pick Rian Johnson’s ‘Knives Out’. Hot off making one of the best Star Wars movies ever made (don’t @ me) Johnson decided to make a passion project in the vein of classic Agatha Christie style murder mysteries, and the results are a total blast. Filled with clever twists and turns, weaponizing the structure of murder-mysteries against the audiences expectations, it stays one step ahead of you the entire time.

Aside from the clever mystery of it all, it’s the actors performances and chemistry that really sell this thing. Jamie Lee Curtis and Toni Collette are expectedly great per usual, and Daniel Craig is having the time of his life as Mississippi private-eye Benoit Blanc, but the heart of the movie is relative newcomer Ana de Armas. She brings an emotional weight and anchor to the movie that always keeps you emotionally invested amidst the terrible, money hungry backstabbing by the other heightened characters. I hope everyone sees this movie and Johnson is able to give us another Benoit Blanc adventure somewhere down the line, I’ll be there opening day.

Nobody makes an upbeat, feel-good movie like Ari Aster does! After last years light and breezy ‘Hereditary’ (which I liked a lot but didn’t totally love) he’s back with a completely riveting and emotionally draining (not to mention horrific) masterpiece. What I connected to most in Midsommar is the journey of Dani, played incredibly by Florence Pugh. The way the film portrays the relationship between her and her dog shit boyfriend played by the (usually) charming Jack Reynor keeps you invested in every twist, perfectly paced out over the movies admittedly long runtime.

I won’t get into spoiler territory, but where this movie goes in the end is what makes this a fully 5-star movie for me. After putting you through hell, like Aster loves to do with bells on, Midsommar ends in a euphoric, psychedelic orgy of music and violence that I couldn’t help but laugh out loud. Midsommar rules so hard and I can’t wait for whatever twisted thing Aster cooks up next.

One of my increasingly favorite brands of movies is a finely crafted, primo slice of dad-movie cinema, and James Mangold has made one with Ford v Ferrari. The story chronicles the partnership of ex-racer and designer Carroll Shelby and racer Ken Miles as they work to make a Ford that can compete in the 24 hour race of Le Mans. Bale and Damon are a blast to watch bounce off each other and the race sequences are pretty damn thrilling, combining (what I expect is) a solid amount of great VFX with practical racing to great effect.

I also didn’t expect it to have as much to say about the struggle to create something special by passionate people and not committees while also inside the very machine that churns out products on an assembly line. Just a random note, this original movie was just put out by 20th Century Fox, now owned by Disney but that’s completely unrelated and I’m not sure why I’d even bring that up??? Anyway, I love this movie and dads, moms and everybody else should check it out.

If you saw my list last year, then it must appear like I’m some diehard Mr. Rogers fan. I don’t really have many memories watching his show as a child, but what the documentary ‘Won’t You be my Neighbor’ and this film by Marielle Heller have in common is a shared fascination of his immense empathy and character. It’s only right that America’s dad Tom Hanks should play him, and I was surprised at the end that I was able to get over his stardom and accept him as Rogers. He’s not doing a direct impersonation, and I think it’s all the better for it, instead opting for matching his soft tone and laid back movements.

On a pure emotional level, this movie was a freight train. It didn’t help that the movie covers a lot of father stuff, from losing your own to becoming one yourself (2 big boxes on the Brent bingo card). Heller’s direction is clever in its weaponizing of meta/post-modern techniques, such as one incredible fourth wall break in a diner scene. It literally breaks down the barrier between Mr. Rogers, we the audience, and the films intent to make us feel something.

I cry a lot at movies, that much is well known, but it’s rare that a movie makes me weep, and this one did. Even thinking about scenes right now, days later, my eyes are welling up with tears thinking about the messages of the movie. Mr. Rogers and his lessons of empathy and emotional understanding have rarely been as vital and important as they are right now in our world.

Robert Eggers first film ‘The Witch’ from 2015 is one of my favorite movies of this decade, possibly of all time, so my hype for his black and white, period piece two-hander ‘The Lighthouse’ was through the roof. Even with sky-high expectations, it still blew me away. With dialogue reminiscent of The Witch in its specific authenticity to its era, to the two lead actors giving all-time great performances, It was one of the most entertaining film viewing experiences I had this year.

There’s something about both of Egger’s movies that I really keyed into watching this one: his fascination with shame and the liberation from it. Where Witch was from the female perspective, Lighthouse literally has two farting, drunk men in a giant phallic symbol fighting for dominance. It’s less a horror film than his first, but still utterly engrossing, demented and specific to his singular vision. I can’t wait to see 20 more movies from this guy.

This is another big movie of 2019, like The Irishman, where you can see the director looking inward, at what his films mean and represent. It initially caught me so off guard that I really didn’t know how to feel about it, but after seeing it again, it’s one of my favorites of the year, and probably Tarantino’s filmography overall. More akin to something like Boogie Nights or Dazed and Confused, letting us live with and follow a small group of characters, it mostly doesn’t feel like a Tarantino movie (until the inevitable and shocking explosion of violence in the third act, of course).

‘Hollywood’ is the most sincere and loving movie Tarantino has made, interested in giving us a send off to an era of Hollywood and artists that have been lost or forgotten (Some more tragically than others). In the end, the movie functions similarly to ‘Inglorious Basterds’ in it’s rewriting of history to give us catharsis. “If only things could have worked out this way.” Luckily in movies, removed from the restrictions of reality, they can. And once upon a time in Hollywood, they did.

Uncut Gems probably tripled my blood pressure by the time the credits rolled. A slice-of-life story about a gambler/dealer in New York’s diamond district, the movie follows Howard Ratner, played by Adam Sandler in easily the best performance of his career. Ratner is basically addicted to living at the edge of a cliff, being chased by violent debt collectors, juggling a home life and a relationship with an employee, and fully relying on risky sports bets to stay afloat. It makes for a consistently tense and unique viewing experience, expertly directed by the Safdie brothers.

Something that might not work for everyone but that I personally loved, is the chaotic way in which the movie is shot. What feels like loosely directed scenes, with characters talking over each other and multiple conversations happening at once, adds an authenticity and reality lacking from most other movies. It’s more adjacent to Linklater (thanks to Adam for the comparison) or Scorsese’s earlier films (also fitting, that he’s a producer on this). Following Howard Ratner as his life descends into chaotic hell was one of the best times I’ve had watching a movie this year.

HONORABLE MENTIONS

AVENGERS ENDGAME

DOLEMITE IS MY NAME

BOOKSMART

JOHN WICK CHAPTER 3

THE FAREWELL

AD ASTRA

[sssshhhthefilmsabouttostart]

The best and worst films of 2020

Let’s be honest - 2020 was an extremely shitty year for moviegoers everywhere, as the Queen would say an annus horribilis.

Due to the Covid pandemic’s dramatic impact on nearly every facet of human life, cinemas closed, film festivals went virtual and film productions became an intricate mess of insurance and safety challenges.

Yet despite these dire challenges and an unpredictable future, cinema remained very much alive throughout the year, with a wide range of ambitious undertakings snaking their way into whatever form of release seemed viable. Blockbusters receded to the background, allowing a wide range of movies to trickle through an uncertain marketplace that would have been hostile to them even in pre-pandemic times.

So what cinematic gems and unmitigated disasters were dropped upon audiences during the year?

Ladies and gentlemen, may we please offer for your consideration...

HONOURABLE MENTIONS

THE CURRENT WAR - THE LIGHTHOUSE - IN FABRIC - BEING FRANK: THE CHRIS SIEVEY STORY (D) - BOMBSHELL - THE PEANUT BUTTER FALCON - THE SOCIAL DILEMMA (D) - LIGHT OF MY LIFE - THE ASSISTANT - THE LODGE - THE GENTLEMEN - THE WAY BACK - DARK WATERS - 1917 - THE BURNT ORANGE HERESY - THE HUNT

2020′S TOP TEN BEST FILMS

10. THE WOLF OF SNOW HOLLOW

Hot off the critical success of his debut feature ‘Thunder Road,’ writer-director Jim Cummings’ refreshing yet effective take on the werewolf genre amped up the dark comedy whilst delivering quite a few chills. Tinged with realistically flawed characters and clever scares, ‘The Wolf of Snow Hollow’ might not have been your typical werewolf flick but it successfully managed to bring that classic legend to life once again.

9. LET HIM GO

Previously last seen together as Clark Kent’s adoptive parents in ‘Man of Steel,’ Diane Lane and Kevin Costner were reunited onscreen as husband and wife again in writer-director Thomas Bezucha’s neo-Western drama ‘Let Him Go.’ Adapted from author Larry Watson’s 2013 novel, the film featured stunning landscapes, full-blooded moments of sudden violence and compelling performances from Diane Lane, Kevin Costner and, most memorably, Lesley Manville’s turn as a gritty and cunning matriarch.

8. COLOUR OUT OF SPACE

Based on the classic short story by HP Lovecraft and featuring another scene-stealing performance from Nicolas Cage, this clever adaptation was an effective horror film with an unrelentingly grim sci-fi bent. In addition to the truly disturbing and inspired images of queasy body horror, ‘Colour Out of Space’ also marked the eagerly-anticipated re-emergence of filmmaker Richard Stanley (his first time back in the director’s chair since being fired from his 1996 remake ‘The Island of Dr Moreau’).

7. THE INVISIBLE MAN

Who knew a remake could be so refreshing? With this updated take on the H.G. Wells tale, writer-director Leigh Whannell did just about everything right, delivering a tense, clever thriller with touches of both horror and sci-fi. As the fascinatingly flawed yet appealing tough protagonist, Elisabeth Moss gave a captivating performance in a film that was chilling in all the right ways, packed with plenty of twists and a deliciously nasty resolution.

6. THE TRIAL OF THE CHICAGO 7 (NETFLIX)

Whilst the subject matter of ‘The Trial of the Chicago 7′ shared an uncanny relevance to today’s politically charged times, as a gripping courtroom drama with a stellar cast, the film ticked all the boxes. ‘West Wing’ creator Aaron Sorkin put his trademark traits - razor-sharp wit, rhetorical flair and political insight - to very good use in this masterful retelling of the trial following the 1968 anti-war protests outside the Democratic National Convention.

5. HEARTS AND BONES

In his debut feature film, Australian director Ben Lawrence created a spiritually rich and immersive drama about the relationship between a grizzled, broken war photographer and a Sudanese refugee. Whilst Hugo Weaving was note-perfect in his portrayal as a crumbling man wrestling with his past, equally impressive was first time actor Andrew Luri who delivered a quiet yet memorable performance in what was an affecting piece of cinema.

4. TOTALLY UNDER CONTROL (DOCUMENTARY)

Watching a documentary about the COVID-19 crisis in the middle of a global pandemic might not sound appealing but prolific filmmaker Alex Gibney’s latest work was easily the most essential non-fiction film of 2020. Shot safely in secret for five months, ‘Totally Under Control’ played out like a tightly-wound thriller as it placed the Trump Administration’s inept response to the coronavirus pandemic under the microscope.

3. BAD EDUCATION (HBO)

As far as crime stories go, embezzlement isn’t always the most thrilling subject. However, ‘Bad Education’ turned a relatively simple white collar crime story about a New Jersey school administrator caught stealing money into a compelling drama, thanks to an incisive and nimble script and spot on performances from Allison Janney, Geraldine Viswanathan, Ray Romano and especially Hugh Jackman.

2. MANK (NETFLIX)

Director David Finch’s dazzling portrait of Herman J. ‘Mank’ Mankiewicz, the screenwriter who collaborated with wunderkind filmmaker Orson Welles to write the first draft of ‘Citizen Kane,’ was a cinematic jewel from start to finish. Similar to last year’s ‘Once Upon A Time in...Hollywood,’ ‘Mank’ delivered a layered depiction of the filmmaking process, whilst Gary Oldman continued to excel at immersing himself in playing real-life characters, this time as the hard-drinking, intellectual screenwriter.

1. NOMADLAND

Writer-director Chloe Zhao’s intimate drama about an unemployed widow living as a van-dwelling modern-day nomad was a thoughtful, contemplative and reflective piece of storytelling. It may have touched upon mature themes about loneliness, financial instability and restlessness, but ‘Nomadland’ remained an uplifting and hopeful piece of cinema that captured the various bittersweet reasons people choose to live a life on the road.

With an outstanding performance from Frances McDormand, brought to life through the charm of the ‘real life’ supporting cast, great direction and Joshua James Richard’s mesmerising cinematography, ‘Nomadland’ was the perfect film for 2020.

...AND NOW THE WORST!

DISHONOURABLE MENTIONS

VAMPIRES VS THE BRONX - BAD BOYS FOR LIFE - THE OLD GUARD - PROJECT POWER - ISN’T IT ROMANTIC - THE RHYTHM SECTION - WHERE’D YOU GO, BERNADETTE - I’M THINKING OF ENDING THINGS - MIDWAY - YOU SHOULD HAVE LEFT - BABY DONE - FORCE OF NATURE - CAPONE - THE NEW MUTANTS - DOOLITTLE

10. WONDER WOMAN 1984

To quote Red Letter Media’s resident film critic Mike Stoklasa, “this movie was the cinematic equivalent of the Bluesmobile.” Directed by Patty Jenkins, this 80′s-set sequel to the 2017 DC superhero hit was lethargically paced and featured a completely bonkers narrative that made absolutely no sense. Horribly scripted, disjointed and overstuffed (a runtime of 2.5 hours), ‘Wonder Woman 1984′ sadly jettisoned everything that made Jenkins’ original film so compelling. The result? An appalling misfire.

9. THE GRUDGE

A curiously talented and interesting cast were somehow lured into - and subsequently wasted in - this pointless, tired, reboot/revival of the long-running ‘Ju-On’ Japanese-based horror series. Despite director NIcholas Pesce’s attempt to disguise the rudimentary nature of the plot via back-and-forth timeline jumping, ‘The Grudge’ was just a formulaic paint-by-the-numbers meander through a poorly developed story that existed only to prop up a bunch of uninspired jump scares.

8. BIRDS OF PREY (AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN)

There are many movies that have no reason to exist - and this latest misfire from DC Comics was one of them. Directed by Cathy Yan, ‘Birds of Prey’ was a mire of uninspired ideas and recycled genre conventions that got old real quick. Penned by Christina Hodson (’Bumblebee’ being the ‘highlight’ on her resume), the script was as simplistic as it was thin, with needless subplots merely introduced to inflate the film to a decent running time. Even Margot Robbie’s manic performance as the ‘Mistress of Mayhem’ couldn’t save this mess.

7. JAY AND SILENT BOB REBOOT

What could’ve been a dream film for fans of these two classic stoner characters instead was nothing but a string of cameos and callbacks in a plot-less bore. Director Kevin Smith sucked all the life and fun out of this watered-down story, that suffered from a constant series of awkward and forced jokes that were painfully unfunny. An unfortunate stinker.

6. AVA

This latest foray into the ‘female assassin for hire’ genre was about as cliched as you could get. An emotionally troubled female killer whose male mentor assumes the role of the surrogate father? Check. Pounding dance music score? Check. Obligatory nightclub fight sequence? Check. Confused love interest? You betcha! Humourless, dry and uninspired, ‘Ava’ played out like a poor man’s ‘La Femme Nikita.’

5. FANTASY ISLAND

Hollywood’s obsession with repackaging Gen-X childhoods continued with this absurd attempt to reboot the classic 1970′s TV series as a low-budget horror joint under the Blumhouse label. At a dangerously close two hour runtime, there was simply nothing interesting about the film’s characters or its inane plot about a mystical island that grants wishes (a’la ‘The Monkey’s Paw’). Our advice? Turn ‘de plane’ around if you ever plan to visit this ‘Fantasy Island.’

4. ARTEMIS FOWL

For every ‘Harry Potter’ that explodes into the public consciousness, there always seems to be a dozen or more failed franchises. Sadly, Disney’s ‘Artemis Fowl’ found itself in the latter category. Director Kenneth Branagh’s dull and superficial attempt to transfer this popular children’s book series from page to screen suffered from a lack of character development, an over-reliance in CG effects and featured a lifeless performance from newcomer Ferdia Shaw as the titular character. 

3. HUBIE HALLOWEEN (NETFLIX)

A month before last year’s Oscar nominations were released, Adam Sandler joked on ‘The Howard Stern Show’ that if the Academy snubbed him for his role in the film ‘Uncut Gems,’ he would make a movie “that [was] so bad on purpose.” And that’s exactly what happened. Supposedly a comedy, ‘Hubie Halloween’ was unfunny, disposable and completely devoid of any originality. Sadly for audiences, Sandler signed a four-movie deal with Netflix last year, worth up to $275 million - so we can expect to see more of this shit soon!

2. ALIEN ADDICTION

Aliens visit New Zealand and get high smoking human faeces? Someone should have advised Kiwi director Shae Sterling that audiences have moved on from such puerile comedies as this abomination. Suffice to say, if anybody ever admitted to finding this film remotely funny, they’d probably be outcast from society. An embarrassment to all those involved. 

1. THE BEACH BUM

Director Harmony Korine’s generic stoner comedy about a prolific poet who drifts through life in a drug-induced haze had all the natural high of an unfiltered, soggy joint and was easily, hands down, 2020′s worst film.

‘The Beach Bum’ was a pretentious and uninteresting movie whose lead character, considered to be an ‘artistic genius,’ was nothing more than a relentless shithead to everyone around him. As Moondog, the semi-naked, bongo-playing, pot-fuelled beat poet, Matthew McConaughey was insufferable and grating in his portrayal of a character you would quite easily want to punch in the face - repeatedly. Blazed and confused, ‘The Beach Bum’ had no plot, no class and no entertainment value whatsoever. 

MOVIE POSTERS

From the classic to the abstract, here is just a sample of some of the best poster designs from a highly unusual year of movies.

...AND FINALLY, WHEN WHEN IT COMES TO DIRE-LOG, THEY SAID WHAT!?

“I've never wanted anything more. But he's gone, and that's the truth. And everything has a price. One I'm not willing to pay. Not any more. This world was a beautiful place, just as it was, and you cannot have it all. You can only have the truth. And the truth is enough. The truth is beautiful” (’Wonder Woman 1984′).

And who could forget this little chestnut of advice...

“That is the only truth and truth is all there is. You cannot be the winner because you are not ready to win. And there is no shame in that. Only in knowing the truth in your heart and not accepting it. No true hero is born from lies” (’Wonder Woman 1984′).

[jgroffdaily]

Jonathan Groff sticks close to Lancaster roots while branching out in film, stage and TV

Conestoga Valley grad will move from off-Broadway musical to new 'Matrix' sequel on film.

When he is on stage at the 270-seat Westside Theatre in New York, Jonathan Groff says he often thinks about the Ephrata Performing Arts Center.

He is playing Seymour in an off-Broadway production of “Little Shop of Horrors,” which is being directed by Michael Mayer, of “Spring Awakening” fame, with Broadway veterans Christian Borle and Tammy Blanchard at Westside.

“Everyone is doing this for the fun of it,” Groff says. “It reminds me of EPAC. Nobody is trying to gain anything from it. There are no ulterior motives.”

The show is largely sold out, and reviews have been strong. Ben Brantley, of the New York Times, wrote that Groff “is generating major nerd charisma.”

For Groff, 34, being onstage is his “ultimate existence.” “That’s when I’m happiest,” he says. “ ‘Honk’ and ‘Bat Boy’ (shows he performed in at EPAC), it doesn’t get much better than that. And that’s how I feel with ‘Little Shop.’ ”

Hometown plans

Home is never far from Groff’s mind. He returns to Lancaster frequently, though sometimes just for a day.

“He was here for less than 24 hours on Thanksgiving,” says his mother, Julie Groff.

And he recently purchased a house and property next to his father’s farm in Christiana. It’s a place to live when he’s home, but also, Groff has plans for it.

“I want to turn the barns into creative spaces — a recording studio, an editing suite, a place to write, or a place to have small workshops,” Groff says. “I want it to be inspiring, quiet and peaceful.”

It’s in the future — Groff says it is a 10-year plan — but he is excited about the possibilities. He got the idea while he was playing Melchior Gabor in the cast of “Spring Awakening,” which he did off and then on Broadway from 2006 to 2008.

“Gideon Glick (who played Ernst and will be replacing Groff next month in ‘Little Shop’) was the first to leave the show, and my mother got a school bus and brought everyone in the cast to Lancaster,” he recalls.

“We hung out in the barn and had a bonfire outside. Gideon said how rejuvenating and inspiring it felt, and that got me thinking. It’s close to New York. Someone could come and spend a couple days here. My dad (Jim Groff) loves the idea, and I love the farm,” Groff says. “So as the years go by, we’ll make it a creative place.”

“When I bought the horse farm in 1987, the Realtor bought the frontage (of the property) and built eight houses. Jonathan bought one of those houses,” says Jim Groff, who is a horse trainer and a jockey. “The view out back is, well, you can’t beat it.”

Both Groffs note that their son won’t be tearing any of the barns down and won’t be changing the house much. As a creative spot, it will not have concerts or performances, but will be a quiet place.

“He wants to keep it all natural,” Julie Groff says. “It’s going to look sharp.”

Big movies

Groff’s career is going at hyperspeed these days.

He had to take time away from the “Little Shop” run for an intense press junket for “Frozen II,” the animated musical film that was released last month and is turning into another massive hit for Disney.

And it was announced recently that Groff will be appearing in “Matrix 4,” a film sequel scheduled for theatrical release in May 2021.

“He’s working with a personal trainer. The ‘Matrix’ people are getting him in shape,” says Jim Groff. “He’s working out every day, and he’s on a really strict diet. What gets me is he had to take a picture of everything he ate for a while.”

“He basically barely has enough time to eat,” says Julie Groff. “He is loving this, but I am sure it will catch up with him.”

There is no rest for the weary. Groff is set to leave “Little Shop” on Jan. 19.

The next day, he starts working on “Matrix 4,” which is being filmed partially in Chicago.

“He’s always wanted to appear in a big action movie,” Julie Groff says. “But he’s really a Disney fan. He always wanted to be in a Disney movie, and that turned out well.”

Indeed. “Frozen,” in which Groff voices mountain man Kristoff, was a global phenomenon and the largest-grossing animated film in history. The sequel is breaking records, too.

“I find it so easy to talk about ‘Frozen II,’” Groff says. “It’s so good, and the relationships with the directors and the the cast have been so positive.

“A lot of my interviews have been with Josh Gad (who voices Olaf the snowman),” he says. “We had such good time. It’s almost like a vacation.”

Groff says that when the first “Frozen” film came out in 2013, nobody expected it to be as huge as it was.

“We had all scattered after the film and didn’t really have a chance to do a lot of publicity,” he says. “So this was like a celebration for us.”

Anybody with children of a certain age will tell you how powerful “Frozen” was for their kids, particularly their daughters. Groff thinks part of the success of the movie was how it empowered the female characters.

“Kristoff is an evolved mountain man,” he says. “I love that he is there to serve the women — a man letting women take the spotlight. That flips convention.”

For a few weeks, Groff was all over TV, appearing on just about every talk show out there, from Jimmy Fallon’s “Tonight Show” to Stephen Colbert’s “The Late Show.”

During his most recent appearance with Colbert, Julie Andrews was another guest.

“Can you believe I met Julie Andrews!” Groff says.

On the show, Groff showed footage of his 3-year-old self dressed as Mary Poppins for Halloween, and noted that his older brother, David, was dressed as The Entertainer, complete with top hat and cane. In the family video, David Groff says of his brother, “He has lipstick on — oooooh!”

“He was trying to upstage me,” Groff says, laughing.

“You’ve got a great mom (to let you do that),” Colbert said.

“I do have a great mom,” Groff replied.

“ ‘Mary Poppins’ was Jonathan’s first real movie. He watched it every single day,” says Julie Groff. “It was my two-and-a-half hours to get things done. He became obsessed with the movie and acted out all the parts.”

His father says that he has always studied movies and other actors onstage.

“When he did stuff at the Fulton or at EPAC, smaller stuff, he would sneak around the corner and watch them every night — watch the changes the actors made,” Jim Groff says.

“Even today he does that,” Julie Groff says. “He never stops learning.”

“I like to call him up and give him my notes after I see a show,” Jim Groff says. “We get a laugh out of that.”

Not easily recognized

You’d think Groff would get stopped by people all the time, especially because of appearances on Fox’s “Glee,” HBO’s “Looking” and the Netflix series “Mindhunter,” in which he plays FBI agent Holden Ford. (Groff says the show is on hiatus at the moment.) But he says he rarely gets recognized.

“I look like a generic white person,” he says. “And I’m mainly on my bike because that’s how I get around New York. I sign autographs if people ask.”

“He said he walked down the street in his King (George) outfit from ‘Hamilton’ once and nobody paid any attention to him,” says Jim Groff with a hearty laugh. “In New York, people don’t bother you much.”

“Things may change with ‘Matrix 4,’ though I hope not,” Julie Groff says.

But Groff hasn’t changed. He still visits with friends from home backstage during a show. He is still accessible and friendly to everyone he meets.

“With Jonathan, what you see is how he has always been,” Julie Groff says.

Right now, Groff says, life is very full. His career is going great, he’s in a relationship with New Zealand-born choreographer Corey Baker, who lives in London, and he’s closer than ever with his family.

“This is a sweet moment in time,” he says.

[aarontalksmusic-blog]

A Top 30 Horror Movies

This is Halloween! This is Halloween! There are a lot of awesome horror movies, but I picked just 30 that qualify as my favorites. 

#30 - The Conjuring

So this movie isn’t perfect. The last 20-30 minutes kinda turn into a mess as the demon gets more confrontational. But, the first 90 minutes are a near perfect slow build of tension and smart visual storytelling. All the actors do a good job, even the kids. This movie has insured I never play Hide and Clap.

#29 - Paranormal Activity 2

In my opinion superior to the (still pretty good) original, PA2 moves faster than its predecessor and uses the audience’s curiosity against them in interesting ways. You’re always looking to the edges of the screen for something or someone out of place, and as the movie progresses, that curiosity rattles the nerves more and more.

#28 - The Hills Have Eyes (2006)

One of the only modern horror remakes that improves and expands on the original. The Hills Have Eyes hit when I was a junior in high school. It is gleefully gorey and deranged. People die in awful ways, and the protagonist (seen above) spends most of the last half hour drenched in blood. It’s a lot of fun if you’re into that sort of thing.

#27 - Event Horizon

Space Horror is a hard genre to get right. Event Horizon knocks it out of the park by getting the slow build right. There are gruesome and bloody images from time to time, but the majority of the movie is built on tension and dread. Having Sam Neill and Laurence Fishburne leading the cast adds some dramatic weight to the proceedings.

#26 - The VVitch

The GOAT 17th Century rural horror movie. This movie gets real weird and leaves a lot up to the audience’s imagination. The less said about it the better if you haven’t seen it. But, even for the 2010s renaissance of horror, this one stands out.

#25 - Hereditary

This is a list of my favorite horror movies, not the scariest. If it were “scariest” this would be top 10, maybe top 5. The second half of this movie is some of the most uncomfortable and relentlessly horrifying storytelling I’ve ever seen. Across just two feature films, Director Ari Aster has proved himself a master of the horror genre. We’re all worse off for it.

#24 - Return of the Living Dead

The first movie on this list that is more funny than scary, Return of the Living Dead is laugh out loud hilarious at times. Somehow, it still manages to be a more effective zombie movie than most serious ones. Great punk rock soundtrack and highly quotable, this is great for people who scare a little too easily.

#23 - Friday the 13th Part 2

Basically improving on the original in every way, Friday the 13th Part 2 is iconic even without Jason’s hockey mask making an appearance. The killer instead keeps a lumpy bag over his head the whole time. The movie lets you know early on that its going to be ridiculous, when the Part 2 logo literally smashes through the Friday the 13th title card. Great representation of the slasher genre.

#22 - Suspiria (2018)

I’m a sucker for lore in movies, and Suspiria is full to the brim with details that expand on the world. Led by great performances from Tilda Swinton and Dakota Johnson, the movie is highly intelligent and occasionally brutally violent. The fact that the director’s prior movie was “Call Me By Your Name” shows that he’s a talented filmmaker no matter the genre.

#21 - Halloween (1978)

Michael Myers is iconic. The music is iconic. Jamie Lee Curtis is an all-time great horror leading lady. Halloween is a must watch for horror genre fans. 

#20 - Get Out

This movie is so well written it won an Oscar. Get Out is both hilarious and brutally tense. The acting is awesome across the board. Who knew Jordan Peele would use his comedy talent to make a career in scary movies? 

#19 - Shaun of the Dead

A classic comedy filled with so many jokes that it takes about 3 watches to catch them all. Not scary in the least, but uniquely playful in the genre. Also made Simon Pegg a star. Nothing but greatness here.

#18 - The Descent

I’ll always remember my first watch of this movie. It slaps you in the face with trauma in the first 5 minutes. Then spends three quarters of an hour building tension and claustrophobia before suddenly becoming a solid monster feature. Though it fizzles a little at the end with some wtf moments, the first 3/4ths are very effecting.

#17 - Nightmare on Elm Street

Nightmare on Elm Street is just a cool as hell idea for a horror movie. It takes the occasional predictability of Halloween or Friday the 13th and flips it. The kills are inventive and visually interesting, the effects are very cool, and you get to see Johnny Depp get brutally murdered. win-win-win.

#16 - Saw

Saw came out at a perfect age for me. Seeing this movie at 16 was a great experience. Even as the sequels got worse and worse, the whodunnit nature of the original held up. People were literally drowning in gore by Saw 3, but this is a solid movie that knows when to tone things down. Great watch.

#15 - Evil Dead 2

By turns hilarious and unsettling, watching Evil Dead 2 allows the viewer to marvel at the special effects done on a shoestring budget. Bruce Campbell is an absurd and talented physical actor, and singlehandedly carries this movie into the hall of fame.

#14 - IT Chapter 1

Chopping the 1,000 page Stephen King book in half allowed the first half of the IT saga to thrive. Bill Skarsgard is a fantastic Pennywise, and the child actors all do well. A slightly repetitive series of scares keeps this one from perfection (and would be the downfall of Part 2), but its still an amazing peak of the genre.

#13 - Dawn of the Dead (2004)

Fast zombies. Zack Snyder directing before his head got too big. Hilarious musical cues. Apocalyptic imagery. This movie is one of the best of the zombie genre.

#12 - Fright Night (1985)

One of the most simply fun movies on this list, Fright Night is straight out of the mid 80s. It never takes itself too seriously, but it still has some good scares sprinkled in. An essential vampire movie, and the remake with Colin Farrell wasn’t half bad either.

#11 - The Omen (1976)

One of my early favorites, The Omen is another lore filled film that gradually ramps up the twists until the dramatic finale. Probably one of the least scary films on my list, its built on Gregory Peck being a great actor and a few pretty messed up deaths.

#10 - An American Werewolf in London

Another favorite from childhood, this is the best the werewolf genre has to offer. Made by John Landis who also did Animal House and Blues Brothers, American Werewolf balances 80s level of gore with award winning special effects and clever music (every song featured has moon in the title).

#9 - It Follows

One of the newest (and most original) movies on the list, It Follows is one of a kind. It’s terrifying, has great cinematography and halfway through the movie you have absolutely no clue how it will end. Must see.

#8 - Midsommar

This is absolute newest film on the list, and one I’m anxious to rewatch. Midsommar sets itself apart by being 95% in broad daylight and providing a wealth of backstory to the “bad guys”. Also Florence Pugh shows that she is an amazingly skilled actress, particularly in the final 10 minutes.

#7 - The Exorcist

^That guy is scary. He’s also only in the movie for like 3 seconds. Obviously this is a classic. If you haven’t seen it and like horror at all, it will still amaze you, almost 50 years later. I would’ve loved to be a fly on the wall when it was in theaters watching people lose their minds. Still a masterpiece of the genre.

#6 - The Blair Witch Project

I watched The Blair Witch Project for the first time alone in my room at age...I believe 14. That was a mistake. While the mistakes of the hikers become a bit hilarious on multiple rewatches, the night scenes are still tense af. The last 15 minutes are uniquely terror-inducing. Everybody’s seen this one, but if you haven’t, maybe watch it with the lights on?

#5 - The Evil Dead (2013)

This movie is one of the most intense and relentless horror movies ever. Nail guns, rusty knives, a turkey carver, a chainsaw, a machete: people get literally ripped apart in this movie. But, here’s the thing, its really really fun to watch. You’ll be out of breath when its over, but still.

#4 - Cabin in the Woods

Cabin in the Woods isn’t THAT scary. It flirts with scary. It has some shocking and frightening moments But mostly its a shitload of fun that plays on every trope of the horror genre. It also has one of my favorite final moments of any film on this list.

#3 - The Thing

Underappreciated upon its release, The Thing has become the standard by which body horror is measured. Its delightfully paranoid and lets the audience sit and think as gruesome deaths pile up. 

#2 - Alien

One of the first movies to terrify me, Alien is one of the greatest horror movies ever made. The monster design is iconic. The kills and set pieces are one of a kind. It has a kick ass female heroine played by Sigourney Weaver. What more do you want?

and finally

#1 - The Shining

YEAHHHHHHH Here’s a brief list of iconic Shining scenes: - An elevator full of blood - The old woman in room 237 - All work and no play make Jack a dull boy - The snowy hedge maze - Here’s Johnny - Danny’s vision of the twins - The house of horrors finale featuring the man in bear costume featured above and of course - REDRUM This movie is a masterpiece, made by one of the greatest directors of all time, starring one of the greatest actors of all time and based on one of the scariest books by the defining horror author of our time. Its damn near perfect.

[brendanmoviedate]

Yer fond of me lobster ain’t ye?

Another year, another broken promise that I’d write more often. I’m not going to fool myself going forward and expect I’ll be able to keep up with reviewing every movie I see. However, I’ll continue to write my year-end movie review and perhaps a couple here and there when I feel inspired. 

Looking back to last year’s post, I wouldn’t make too many changes, though I would certainly move Into the Spider-verse slightly higher up. I would also consider adding Upgrade to the list for how brazen it is.

Most of the films I called out as ones to watch for 2019 ended up being either on my list or in the composite image, which goes to show that it’s worth getting excited for new films more often than not.

Vancouver being the way that it is, sometimes we don’t get timely releases of films when other cities do. As a result, I haven’t had a chance to see 1917 and Uncut Gems yet. The latter of which I’ve been dying to see for months and would probably feature on this list. 

Here’s the 10 best films I’ve seen from 2019:

10. John Wick: Chapter 3: Parabellum

Whereas John Wick: Chapter 2 was the perfect escalation of its pared down predecessor, Chapter 3 is merely an excellent continuation of the newly minted franchise. However, while not bringing anything entirely new to the world of John Wick, it is still an intensely entertaining film. The first 20 minutes is some of the best fight choreography in the series to date and enough to secure a spot on this list.

9. Long Day’s Journey into Night

From director Bi Gan, Long Day’s Journey into Night is a noirish drama about a man (Huang Jue) returning to his hometown following the death of his father to track down his lost love (Tang Wei). The film is a slow burn that jumps between past and present before descending into a surreal 60 minute single take shot filmed in 3D. Regretfully, the only screening I could attend was entirely 2D, but nonetheless, the sequence was still enthralling. This is the type of film that proves that spectacle doesn’t necessarily need to be tied to tentpole movies.

8.  Booksmart

Olivia Wilde’s directorial debut suggests she has an effortless understanding of comedy. Written by a quartet of female writers, Booksmart feels like Superbad for a new generation (I can’t believe that film came out 12 years ago). Interestingly, Jonah Hill’s sister, Beanie Feldstein stars, alongside Kaitlyn Dever (daughter of the guy that voiced Barney the Purple Dinosaur). While it would be easy to say it’s “the female Superbad,” Booksmart is in fact much more than that. Replacing the misfits trying to get laid story with one about a pair of overachievers realizing almost too late that there’s more to life than good grades lets the film be looser and allows the comedy to happen more naturally. 

7. Midsommar

Ari Aster’s follow-up to 2018′s Hereditary began filming almost immediately after wrapping post-production on his previous film. As a result, Midsommar has that extra layer of a director exhausting himself by putting everything on the screen. Midsommar is a much more mature work than Hereditary and one that took a while to grow on me. My initial reaction was less enthusiastic than it is now, but it’s one of the films from 2019 that has stuck with me the most. I imagine a second watch or the extended director’s cut might raise my appreciation of it even more. 

Florence Pugh gives a knockout performance that when combined with her roles in Little Women and last year’s Little Drummer Girl prove that she’ll be a star in no time.

6. Knives Out

Rian Johnson’s first post-Star Wars film sees him reinvigorated and working with a bigger name cast than he has in the past. Essentially a whodunnit along the lines of Agatha Christie, Knives Out follows Daniel Craig’s southern-fried detective Benoit Blanc as he investigates the murder of a wealthy publisher (Christopher Plummer). In addition to playing with a few plot twists, Johnson includes a couple of structure twists as well that turn the film on its head. 

In addition to Craig’s hammy performance, other standouts include Ana de Armas and Chris Evans as the publisher’s caregiver and grandson, respectively. 

Johnson has hinted at the possibility of more Benoit Blanc mysteries, and as long as Daniel Craig is onboard, I’ll gladly watch them.

5. The Lighthouse

In Robert Eggers’ followup to The Witch, Willem Dafoe and Robert Pattinson play a pair of lighthouse keepers in isolation. As would be expected, The Lighthouse is a paranoia-fuelled chamber piece, with Dafoe’s gruff experienced lighthouse keeper getting on the nerves of the younger Pattinson. And while this setup allows the two leads a chance to really dig into the 19th century dialects, the film takes the occasional departure into the eldritch for a very unsettling film. 

As with Black Philip in The Witch, there’s a standout animal character in The Lighthouse - fittingly, a seagull.

4. Once Upon a Time ...in Hollywood

Quentin Tarantino’s presumably penultimate film is perhaps his most mature work, ruminating on the idea of legacy and the film industry as a whole. Once Upon a Time ...in Hollywood is almost a Tarantino hangout movie reminiscent of parts of Jackie Brown and Pulp Fiction. A lot of time is spent on scenes that don’t necessarily lead to the film’s climax, but allow the characters room to breathe and feel real. Other than the historical event hinted at throughout the movie, the film doesn’t seem to have a particular direction, which allows you to live in the lives of these characters more than if it was purely plot driven.

The main cast of Leonardo DiCaprio, Brad Pitt, and Margo Robbie is great, but it’s Pitt who puts in a career best performance. There’s a quietness and a sadness to his character that brings some added depth to an otherwise bold cast.

3. Ad Astra

Brad Pitt’s other great performance this year is in James Gray’s Ad Astra. Having seen Gray’s The Lost City of Z and purposefully avoiding trailers and reviews, my expectation for this film was a reflective voyage centred around the ideas of obsession, loss, and family. All of these ideas were present in Ad Astra, but the real surprise was how seamlessly a space opera was added into the story. I never thought I’d see a lunar shuttle chase, but I’m glad I did.

The amount of casual sci-fi world building in the film is staggering, with entire premises treated as banal. We get to see Pitt’s Clifford McBride travel from Earth to the Moon mundanely on a commercial flight. Most films would take the opportunity to spoon feed to the audience why this is odd, but Ad Astra treats it as normal as the characters do, making it all the more fascinating.

2. The Farewell

Starring Awkwafina, who has quickly shot to stardom after featuring in Crazy Rich Asians, The Farewell gives the actress the chance to stretch her dramatic muscles playing Billi, who returns to China to visit with her grandmother who has cancer. Billi’s family insists on keeping the grandmother’s illness a secret from her so she can live out her life in happiness, while Billi struggles with the morals of lying to her grandmother. This premise allows for not only the comedy of misunderstanding, a staple in comedy, but also emotional tension and the devastation of preparing to send off a loved one. 

The comedy-drama balance is handled expertly by director Lulu Wang, making The Farewell the movie I both cried at and laughed at the most this year.

1. Parasite

Had you told me a couple of months ago that my picking Parasite as the best movie of the year could be considered a safe choice, I would have scoffed. Yet here we are, and Parasite has widely been hailed as the best film of the year. I suppose in hindsight it’s not hard to see why. It’s both a crowd-pleasing film and a film that’s deeply disturbing and thrilling.

After having seen Bong Joon-ho’s last five movies, one would be forgiven for expecting a linearity in Parasite. Most of his films tend to have a point A to point B element with an expected (though often subverted) outcome. Heck, Snowpiercer is about a group of people moving from the back of the train to the front, one car at a time. Yet Parasite is different. The film sets up a premise you only find out about as it happens and is quickly overturned once you’re comfortable with it.

I saw this movie the same day I saw Joker and the difference in how the subject matter of class is treated is stark. Whereas Joker wanted to go all dark and Taxi Driver with the theme, Parasite had fun with it and let the elements of drama, comedy, and horror slide along the theme of class.

Like Bong’s Memories of Murder, Parasite will be one of those films I endlessly revisit.

Honourable Mentions

Films that almost cracked the Top 10 that I wanted to shout out here are Us and Doctor Sleep for being really solid, exciting, horror-thrillers. As well as The Irishman for being a classic Scorcese film that gives De Niro and Pacino ample time to with each other. Finally, I wanted to applaud Avengers: Endgame for not only managing to pull off such an ambitious finale, but to make it so goddamned fun.

2020

This year I’m looking forward to new blockbusters from two of my favourite directors, Christoper Nolan and Denis Villeneuve - Tenet and Dune, respectively. 

Despite the stumble with Spectre, I’m extremely excited for Daniel Craig’s last outing as Bond with No Time to Die, by auteur Cary Fukunaga. I can’t wait to see how his style meshes with the Bond template. 

Also of great interest are the new films from David Fincher and Edgar Wright - Mank and Last Night in Soho.

[doomonfilm]

Ranking : Top Films of 2018

Here we are... that moment that every critic simultaneously loves and dreads : the Year-End Top 10 List.  At worst, we are forced to scrape the creative dredges and cobble together something that resembles a best of list that will bring glory and honor to the year.  At best (like this year), we are forced to leave personal favorites in the dust and judge the larger quantity of offerings on a much tougher scale in order to truly represent the top quality work of the year.

As I’ve said in many pieces this year, 2018 was a joy in terms of being a film-lover.  This list was not an easy undertaking, and it more so resembles a snapshot of how I’ve felt over a judging period than it does a concrete group of selections in a fixed order.  Take this list as more of a jumping off point for discovery than you do the gospel of DOOMonFILM. 

Note : I am not sure when I will get a chance to see Vice or The Favourite, which I am sure will skew my results once I do see them... I will address those films in their respective reviews, however.  Forgive me in advance.

Honorable Mentions

Damsel Even if the Zellner Brothers weren’t representing Austin beautifully with this gem of a film, it’d still be on my radar simply for the fact that it is a unique twist on a genre that most figured had seen every presentation imaginable.  Add to that a strong female lead character, and you’ve got a winner on your hands.

The Endless A science-fiction modern day classic, and apparently part of a possibly bigger line of stories (with some of the best integration of aspects from another film I’ve ever seen).  This film is chilling in its approach to the concept of cults, as well as its use of the concept of ‘the danger that lurks just off-screen’.

Isle of Dogs Had this year not been full of stellar animated films, this one probably would have made the main list.  More groundbreaking animated films, combined with personal feelings about the films of Wes Anderson, however, regulated this one to Honorable Mention status.

Mid90s I was all set for Eighth Grade to be my bit of nostalgia, or my reflection on what it’s like to be a kid again, and for what it’s worth, it was a great film.  The thing is, Mid90s directly spoke to me in a way that Eighth Grade unfortunately could not, simply because Mid90s was like looking in a time-traveling mirror. 

Thoroughbreds I really wanted this to be on my top 10, but ultimately, it was too ‘quiet’ of a film to make it in a year full of big noise.  Thoroughbreds will certainly be a future favorite for public screenings and friend viewings, but a couple of films this year hit the same notes on a higher frequency.

Black Panther The cultural impact of this film is one that cannot be ignored.  It took February, a month that is generally a box office bust, and it put up unparalleled numbers that not only lasted throughout the year, but were topped from within rather than by another Hollywood studio.  The respect given to the characters and their African heritage did not go unnoticed, either, as several think-pieces and a number of curriculum were spawned from those researching elements of the production design.  The narrative is strong, and it righted the Marvel villain boat prior to the big MCU bombshell that was lying in wait. 

The Favourite I really wanted this to make the top 10 of the year... I thought long and hard about what film I should remove or replace.  What I came to realize, however, is that despite The Favourite being a world-class comedy and production, it simply falls short in the realm of the spectacular : it does not contain visual innovations, it is not a reflection of the times, and it didn’t completely break my brain.  That being said, on any given day, I’d happily name this one of the top 10 films of 2018... it’s essentially like having 11 cakes on the table and having to pick the 10 best.

Avengers : Infinity War This movie was the true film event of the year.  Marvel has been building up to this singular event for nearly two decades, and in my opinion, the payoff more than succeeded.  Thanos tiptoed the line between anti-hero and villain with purpose perfectly, and the rapport between characters worked both in terms of advancing narratives and being mined for humor.  I am definitely looking forward to Avengers : Endgame this April, and I know the masses are right there with me.

10. BlacKkKlansman

Not that I ever doubted Spike Lee had it, but after a few abstract offerings and documentaries, one wonders if their style can translate into an ever-expanding world of film language.  Luckily for Lee, it seems the world has grown into his cinematic vision, with an older true story serving as the perfect backbone for many of Lee’s trademark tricks to be implemented for maximum effect.  The ending will put you in tears if you have anything closely resembling a soul.

9. Blindspotting

This film really deserved a bigger run than it got, as it hit race relations of today on the nose without coming off as preachy or heavy-handed.  Daveed Diggs proved that his charisma translated on both stage and screen, and his integration of hip-hop into both realms will hopefully have positive long-lasting effects.  The chemistry between all members of this cast is kinetic, the story is told with perfect pacing, and the movie rides visual highs that match the narrative ones.  I would love to see this movie receive some high-degree nominations.

8. Annihilation

I came into 2018 with high expectations for this film, as I’d spent the previous 16 months or so completing the Southern Reach trilogy in its book form.  Then I started hearing things about the production and the release that gave me a bad feeling : a Netflix distribution deal that seemed to all but kill a true theatrical run, trepidation from the studio in regards to the director’s vision, and other whispers that attempt to sink a film.  Then I saw this movie, and was taken away to a completely different world.  We may not be getting a faithful, trilogy-length adaptation of the series anymore based on what happens in Annihilation, but if these are the moments I’m left with, I’d consider myself happy in the long run. 

7. First Reformed

It took me longer than I intended to get around to this one, but knowing that Paul Schrader wrote and directed it made it a must-see.  The film was drawing comparisons to Taxi Driver (not a surprise, based on the aforementioned Schrader involvement), and surprisingly, it more than lived up to that hype.  The tension is equal, but updated to reflect the times in a way that could impact any of us.

6. Suspiria   

This movie will make it extremely hard for me to blanket-debate against remakes simply because it does all of the right things in regards to updating a classic.  The film does not rely on existence as a new millenium version of an old film... rather, it boldly takes concepts only touched upon in the original and fully embraces them, presenting a true psychological horror gem in a year full of them.  The film also looks amazing on top of everything, which was a high bar to meet considering the original movie is basically driven by its visual style.  A 2018 must-see, film buff or not.

5. Spiderman : Into the Spider-Verse

Easily the most fun I’ve had in a theater all year.  I was blown away by the animation, and can’t wait to see further installments of the Spider-verse specifically to see how that enhances over the years.  There was such a high volume of homage and Easter Egg placement in this film that it warrants repeat viewings, and it was one of a handful of films that I wanted to instantly own as I was walking out of the theater.

4. Mandy

Like Spider-Man : Into the Spider-verse, I wanted to own this movie the second I walked out of the theater as well.  The trailers intrigued me, a recommendation of Beyond the Black Rainbow fully sold me, and the final product did not disappoint.  This film certainly is not for everyone, and funny enough, the two biggest aspects that would place it on that ‘not for everyone’ list sit in opposition of one another : the film is a bit indulgent on the style at the sake of what would be considered normal pacing, and it has some extremely violent moments.  That being said, Mandy is easily one of, if not THE, most beautiful films of the year.

3. Roma

This seems like the closest thing to a Fellini film that us modern day film lovers will ever get.  The story itself is intriguing, as it juxtaposes class issues, political issues and the barrier of trying to raise a family in a crazy world all in an intriguing tapestry.  The cinematography is calculated, observational, and the choice to film the movie in black and white adds an instant timeless quality to it.  Director Alfonso Cuaron even manages to get in a little cinematic and visual humor, albeit mostly subtly, but it definitely pays off if you’re in tune to what he’s doing.  Easily one of the best pictures of the year, worldwide, and a party that I was certainly late to.

2. You Were Never Really Here

If Mandy is a bit too over the top for your tastes, then You Were Never Really Here may be the jarring experience you need in 2018.  This film is almost as visually stunning, but the narrative is far more calculating, deceptive and intriguing, both on the surface and as you dig deeper.  The hectic camera setups, editing and score put you in such a disjointed state of mind that Joaquin Phoenix becomes the only thing you can hang on to, and your involvement in his journey is completely immersive.  In a year of performances that focus on the anti-hero, this film found a way to scrape to the top of the pile.

1. Hereditary

Something strange is happening here... who would have thought that a horror film would be my favorite film of the year?  Hereditary is no run of the mill horror film, however... it treats its audience as intelligent, and there is so much texture in the film that it’s impossible to see it all without multiple viewings.  The close of the first third of the film is horribly unsettling, but it propels the narrative forward so abruptly and intensely that you’re locked in from there out.  A genius film, and an instant classic.

(Editor’s notes)

- Original post date : 12/27/18 - Revision date : 1/8/19 (Roma added to position 3, Black Panther moved to Honorable Mentions) - Revision date : 1/10/19 (The Favourite added to Honorable Mentions) - Revision date : 1/22/19 (Suspiria added to position 6,Avengers : Infinity War moved to Honorable Mentions)

[aion-rsa]

HBO Max New Releases: September 2021

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The summer movie season may be winding down, but HBO Max is keeping the movie ball rolling in September 2021. HBO Max’s list of new releases this month is heavy on the film side of things – both in library and original offerings.

Two Warner Bros. films of note arrive this month. The James Wan-directed horror tale Malignant premieres on Sept. 10 and is followed by Clint Eastwood’s Cry Macho on Sept. 17. The next installment in Adventure Time: Distant Lands (which is kind of like a film series!) is titled Wizard City and opens the month on Sept. 2

Of course, it wouldn’t be a new month of HBO Max releases without some interesting evergreen Warner movie titles. Sept. 1 finds all eight Harry Potter movies returning to WarnerMedia’s streaming service. They will be accompanied by The Goonies, The Evil Dead, Cloverfield, and more. Later on in the month, Mortal Kombat (Sept. 9), Mad Max: Fury Road (Sept. 9), and Promising Young Woman (Sept. 25) all come back to the streaming world.

On the TV side of things, HBO Max is bringing back DC’s strangest heroes for season 3 of Doom Patrol on Sept. 23. And for those who need their true crime fix, The Way Down should fit the bill. This docuseries about a weight loss cult is timely for reasons you’ll definitely want to Google.

HBO Max New Releases – September 2021

September 1 A Hijacking, 2013 (HBO) The Animal, 2001 (HBO) Army Of Darkness, 1993 (HBO) The Benchwarmers, 2006 (HBO) Bodas de Oro (aka The Anniversary), 2019 (HBO) The Cell 2, 2009 (HBO) Cloverfield, 2008 (HBO) Dead Again, 1991 (HBO) Deck the Halls, 2006 (HBO) Detour, 2017 (HBO) Drinking Buddies, 2013 (HBO) Epic Movie, 2007 (Extended Version) (HBO) Event Horizon, 1997 (HBO) The Evil Dead, 1983 (HBO) Evil Dead 2, 1987 (HBO) Flawless, 2008 (HBO) The Forgotten, 2004 (HBO) Fun Size, 2012 (HBO) The Gallows, 2015 (HBO) The Good German, 2006 (HBO) The Good Heart, 2010 (HBO) The Goonies, 1985 Green Lantern 2011 Harry Potter and the Chamber of Secrets, 2002 Harry Potter and the Deathly Hallows: Part 1, 2010 Harry Potter and the Deathly Hallows: Part 2, 2011 Harry Potter and the Goblet of Fire, 2005 Harry Potter and the Half-Blood Prince, 2009 Harry Potter and the Order of the Phoenix, 2007 Harry Potter and the Prisoner of Azkaban, 2004 Harry Potter and the Sorcerer’s Stone, 2001 Impostor, 2002 (Director’s Cut) (HBO) Inheritance, 2020 (HBO) In the Heart of the Sea, 2015 (HBO) Kany Garcia: Soy Yo En Vivo, 2019 (HBO) King Kong, 2005 (Extended Version) HBO) Lady in the Water, 2006 (HBO) Meet Me in St. Louis, 1944 Mr. Nobody, 2013 (Extended Version) (HBO) My Golden Days, 2016 (HBO) Nanny McPhee, 2006 (HBO) Oblivion, 2013 (HBO) On the Town, 1949 Ouija: Origin of Evil, 2016 (HBO) Paulie, 1998 (HBO) The Poet Of Havana, 2015 (HBO) Prime, 2005 (HBO) Prince Avalanche, 2013 (HBO) Reik En Vivo Desde El Auditorio Nacional, 2015 (HBO) Rent, 2005 (HBO) Romeo Santos The King Stays King: Live At Madison Square Garden, 2012 (HBO) Santana – Corazon: Live From Mexico, Live It To Believe It, 2014 (HBO) Seeking a Friend for the End of the World, 2012 (HBO) Severance, 2007 (HBO) Showdown In Little Tokyo, 1991 (HBO) The Song Remains the Same, 1976 Taken 2, 2012 (Extended Version) (HBO) Thalia Viva Tour En Vivo, 2014 (HBO) That’s Entertainment!, 1974 That’s Entertainment! II, 1976 That’s Entertainment! III, 1994 Transformers, 2007 (HBO) Undisputed, 2002 (HBO) Vanilla Sky, 2001 (HBO) View from the Top, 2003 (HBO) What They Had, 2018 (HBO) What Women Want, 2000 (HBO) Yandel: Legacy – De Lider A Leyenda Tour, 2015 (HBO)

September 2 Adventure Time: Distant Lands – Wizard City, Max Original Special Premiere Sweet Life: Los Angeles, Max Original Season Finale

September 3 Amaraica, 2020 (HBO) At Last, 2020 Bittu, 2020 Coffee Shop Names, 2020 Liberty Kid, 2007

September 4 News of the World, 2020 (HBO)

September 7 Hard Knocks ’21: The Dallas Cowboys, Season Finale (HBO)

September 8 Nasciturus, 2021

September 9 Mad Max: Fury Road, 2015 Sweet Life: Los Angeles, Max Original Reunion Special Mortal Kombat, 2021 (HBO)

September 10 Elliott from Earth, Season 1 Malignant, Warner Bros. Film Premiere, 2021 (Available in 4K UHD, HDR10, Dolby Vision)

September 11 Ben 10, Season 4C NYC Epicenters 9/11→2021½, Documentary Series Finale (HBO) Walker, Season 1

September 12 Scenes from a Marriage, Limited Series Premiere (HBO)

September 13 Care Bears: Unlock the Magic I’m Sorry Little Ellen, Max Original Series Premiere

September 15 A La Calle, 2020 The Good, The Bad, and the Ugly, 1966

September 16 Tig n’ Seek, Max Original Season 3 Premiere

September 17 Apple & Onion, Season 2B Cry Macho, Warner Bros. Film Premiere (Available in 4K UHD, HDR10, Dolby Vision) El Cuartito, 2021 (HBO) Superman & Lois, Season 1

September 18 The People v. The Klan

September 20 Hard, Season 3 Finale (HBO) Total Dramarama

September 21 Real Sports with Bryant Gumbel (HBO)

September 23 Ahir Shah: Dots, Max Original Special Premiere Doom Patrol, Max Original Season 3 Premiere The Other Two, Max Original Season 2 Finale

September 25 Promising Young Woman, 2020 (HBO)

September 26 Nuclear Family, Documentary Series Premiere (HBO)

September 27 Huesped Americano (aka The American Guest), Series Premiere (HBO) Little Sky, 2021 Asian Pacific American Visionaries Short (HBO) Neh, 2021 Asian Pacific American Visionaries Short (HBO) Unmothered, 2021 Asian Pacific American Visionaries Short (HBO)

September 29 Entre Hombres (aka Amongst Men), Series Premiere (HBO)

September 30 The Not-Too-Late Show with Elmo, Max Original Season 2 Premiere Ten-Year-Old Tom, Max Original Series Premiere Those Who Wish Me Dead, 2021 (HBO) (Available in 4K UHD, HDR10, Dolby Vision) The Way Down, Max Original Series Premiere Yabba-Dabba Dinosaurs, Max Original Series Premiere

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Leaving HBO Max – September 2021  

September 5 Lost Resort, 2020 The Suicide Squad, 2021

September 12 CHIPS, 2017 (HBO)

September 19 Ford V. Ferrari, 2019 (HBO) Norm Of The North: King Sized Adventure, 2019 Reminiscence, 2021

September 20 Doctor Sleep, 2020 (Director’s Cut) (HBO)

September 24 King Arthur: Legend Of The Sword, 2017 (HBO)

September 30 Abandon, 2002 (HBO) Abuela’s Luck, 2019 (HBO) Addicted to Love, 1997 American History X, 1998 The Autobiography of Miss Jane Pittman, 1974 (HBO) Being Julia, 2004 The Butcher’s Wife, 1991 (HBO) Cabaret , 1972 Camelot, 1967 City of Angels, 1998 The Craft, 1996 Dark Shadows, 2012 (HBO) Deerskin, 2020 (HBO) Demolition Man, 1993 The Devil’s Advocate, 1997 Divine Secrets of the Ya-Ya Sisterhood, 2002 Drumline, 2002 (Extended Version) (HBO) Dumb & Dumber, 1994 The Electric Horseman, 1979 (HBO) Endings, Beginnings, 2019 (HBO) Escape from New York, 1981 Eye for an Eye, 1996 (HBO) Fierce People, 2007 (HBO) Final Analysis, 1992 (HBO) The Flintstones in Viva Rock Vegas, 2000 (HBO) The Flintstones, 1994 (HBO) Fracture, 2007 From Dusk Till Dawn, 1996 Full Beat, 2018 (HBO) Ghosts of Mississippi, 1996 Gold Diggers of 1933, 1933 Gold Diggers of 1935, 1955 The Graduate, 1967 Hachi: A Dog’s Tale, 2009 Happy-Go-Lucky, 2008 (HBO) Hardball, 2001 (HBO) Haywire, 2012 (HBO) Honeymoon in Vegas, 1992 House Arrest, 2012 (HBO) House on Haunted Hill, 1999 In & Out, 1997 (HBO) Jason Goes to Hell: The Final Friday, 1993 (HBO) Jason X, 2002 Jerry Maguire, 1996 JFK, 1991 Joe Versus the Volcano, 1990 Kicking & Screaming, 2005 (HBO) Klute, 1971 Labyrinth, 1986 Las Herederas (aka The Heiresses), 2019 (HBO) Last Action Hero, 1993 Leatherface Texas Chainsaw Massacre III, 1990 (HBO) The Longest Yard, 1974 (HBO) The Man With The Iron Fists, 2012 (Unrated Version) (HBO) Marie Antoinette, 2006 Midnight in the Garden of Good and Evil, 1997 Midway, 2019 (HBO) Million Dollar Mermaid , 1952 Miss Firecracker, 1989 (HBO) Miss Sharon Jones!, 2015 Murder at 1600, 1997 Murder by Numbers, 2002 Must Love Dogs, 2005 My Bloody Valentine 3-D, 2009 (HBO) My Super Ex-Girlfriend, 2006 (HBO) Nights in Rodanthe, 2008 No Reservations, 2007 Not Another Teen Movie, 2001 Observe and Report, 2009 Ola de Crimenes (aka Crime Wave), 2018 (HBO) Once Upon a Time in Mexico, 2003 One Day, 2001 (HBO) Outbreak, 1995 Pleasantville, 1998 Point Break, 1991 (HBO) The Polar Express, 2004 Practical Magic, 1998 Primal Fear, 1996 (HBO) The Prince of Tides, 1991 Raw Deal, 1986 (HBO) The Return, 2006 (HBO) The Right Stuff, 1983 Rumor Has It…, 2005 Scary Movie, 2000 Scary Movie 2, 2001 Scary Movie 3, 2003 Scream, 1996 Scream 2, 1997 Scream 3, 2000 The Search for Santa Paws, 2010 (HBO) Short Circuit, 1986 Single White Female, 1992 Slackers, 2002 Snakes on a Plane, 2006 Soldier, 1998 The Sweetest Thing, 2002 Tango & Cash, 1989 Ted, 2012 (Unrated Version) (HBO) Tequila Sunrise, 1998 The Texas Chainsaw Massacre: The Beginning, 2006 (Extended Version) (HBO) The Texas Chainsaw Massacre, 2003 The Time Machine, 1960 Tin Cup, 1996 Torch Song Trilogy, 1988 Tyler Perry’s Madea’s Witness Protection, 2012 The Upside of Anger, 2005 Victor/Victoria, 1982 The Warriors, 1979 (Director’s Cut) (HBO) The Watch, 2012 (HBO) Willard, 1971 (HBO) Wings, 2012

The post HBO Max New Releases: September 2021 appeared first on Den of Geek.

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[weekendwarriorblog]

The Weekend Warrior 7/9/21 - BLACK WIDOW, SUMMERTIME, THE LONELIEST WHALE and More

Well, well... It certainly looks like I’ve been given a bit of a “bye week” to recuperate and recover from all the insanity of June, huh? The 4th of July weekend saw a nice boon for Universal Pictures with the top 3, although The Boss Baby: Family Business ended up doing better than The Forever Purge despite the former also being on Peacock. But neither of them really got great reviews, so I’m not sure either of them will have much impact on this week’s big release…

BLACK WIDOW (Marvel Studios/Disney)!

Yes, after nearly two years, Marvel Studios is back in theaters with the long-awaited solo movie for Scarlett Johansson’s Natasha Romanoff, who has appeared in the movies going back to Iron Man 2, also played a key role in Captain America: The Winter Soldier, as well as three of the Avengers movies. The Black Widow movie goes back in time to after the events of Captain America: Civil War and before (SPOILER!) Romanoff was killed in Avengers: Infinity War. This one reunites her with her family including Florence Pugh as her sister Yelena, as the two of them want to take down the Red Room where they were trained to be killers. It also stars David Harbour as the Red Guardian and Rachel Weisz as their maternal figure, and honestly, you probably don’t even need that much to know that you probably already want to see it, because IT’S MARVEL!

It’s actually hard to believe that Black Widow is Marvel’s first theatrical release since 2019’s Spider-Man: Far From Home, and obviously, that wasn’t supposed to be how things went. Marvel’s original release date for the movie was kicking off the summer of 2020, but when COVID hit and theaters were closed, it was delayed, first until the end of the year and then until the summer of 2021. It must have been difficult because Marvel had already planned a series of television series that led into the movies, including Wandavision, The Falcon and the Winter Soldier, and the currently-airing Loki.

Marvel’s first theatrical release in two years currently has a relatively decent 82% on Rotten Tomatoes, which for comparison’s sake is a better rating than Captain Marvel and Avengers: Age of Ultron, but that’s about it. I mean, at least it’s not stinking up Marvel’s track record like Iron Fist and The Inhumans did, so there’s that. I’ve already reviewed the movie, so you can read what I thought about it here.

More important than any other factor, there’s the Disney+ in the room, because Disney decided to offer Black Widow for a Premium on its streaming service this Friday, basically for $30, which I’m not sure if that’s for a certain amount of time or to own (which would make more sense). That’s a pretty sweet deal if you have a family and a nice home theater, because taking them all to the movies might cost $100 or more with concessions, etc. But for a lot of people, it’s long past time to get back to theaters, and despite the success of the Disney+ shows, many will want to see this on the big screen. At least that’s my theory, and I’m gonna stick with it until I’m proven wrong when numbers come in on Friday or Saturday.

It’s very hard to determine how many of the millions of people who went to see Avengers: Endgame over two years ago are ready to get back into theaters, but one benefit that Black Widow has over other upcoming Marvel movies (okay, well, Shang-Chi) is that Johansson’s character is a known commodity from previous movies, which certainly could have helped Tom Holland’s solo Spider-Man movies, although you would think that Spider-Man: Far from Home would have opened bigger following Endgame. To be fair, the Spider-Man movies were opening with over $100 million WELL before the MCU, showing the popularity of the character, although we also could see a bump with the second Captain America and Thor movies after their appearance in 2012’s The Avengers. Oddly, 2018’s Ant-Man and the Wasp didn’t see nearly as big an opening bump following Avengers: Infinity War from the first movie, but Ant-Man hadn’t been as big a player as Natasha/Black Widow. Oddly, the Spider-Man and Ant-Man movies have something in common -- they both opened in July vs. May.

The other factor, of course, is COVID and whether a movie can open even bigger than the $70 million opening weekend of F9, currently the biggest post-pandemic opener. If anything is going to do it, then it’s going to be a Marvel movie, especially one that should be as big a draw for women as for men. No, we don’t subscribe to the myth that female-led action movies don’t do as well as males ones. The MCU is all about the characters and the universe, and those factors should help Black Widow should be good for somewhere around $80 to 85 million over the weekend, which will make it the new barometer for the post-pandemic. (Incidentally, this is only about $11 million less than my original prediction from last March, and that didn’t have the COVID or streaming factor in play.)

Hey, you know what I haven’t done in a long time but probably should resume?

MY TOP 10 BOX OFFICE PREDICTIONS!

1. Black Widow (Marvel/Disney) - $84.3 million N/A

2. F9 (Universal) - $9.6 million -58%

3. The Boss Baby: Family Business (Universal/DreamWorks Animation) - $9 million -45%

4. The Forever Purge (Universal) - $5.7 million -54%

5. A Quiet Place Part II (Paramount) - $2.2 million -45%

6. The Hitman’s Wife’s Bodyguard (Lionsgate) - $1.4 million -55%

7. Cruella (Disney) - $1.3 million -47%

8. Peter Rabbit 2: The Runaway (Sony) - $1.2 million -42%

9. The Conjuring: The Devil Made Me Do It (New Line/WB) - $600k -57%

10. In the Heights (New Line/WB) - $550k -43%

Although one can expect big drops all around, this should be another weekend where the top 10 domestic grosses $100 million, but that’s kind of a given with Black Widow likely to make much of that itself.

I guess this week’s “Chosen One” is SUMMERTIME (Good Deed Entertainment), directed by Carlos Lopez Estrada (Blindspotting, Raya and the Last Dragon), which is a pseudo-doc, pseudo-narrative that follows 27 Angelino poets in a typical day in Los Angeles. I’m not really a poetry or spoken word fan so much, but the way that these talented poets are showcased, each in their own compelling segment. While having some kind of interconnecting story might not have been necessary, it’s actually what keeps you invested as you go from one situation and style of poetry onto the next. You can tell that there are some real stars of the future in this that will likely appear elsewhere. There are just so many great numbers from Tyris Winter complaining abut the price of food at a restaurant, Mila Cuda expressing her sexuality on the bus to an obvious homophobe, a couple at a marriage counselor relaying their issues through song and rap, an amazing dance number, and so much more. My favorite running storyline was the one involving street rappers Anewbys (Bryce Banks) and Rah (Austin Antoine), who are trying to make it. The incidental music is great, and the performances are embellished with cinema verité style shots of L.A. that really helps enhance the mood and set the environment for the story being told. It’s hard to call Summertime a musical, but there’s so much great rhymes and music that it just has a great youthful energy that seems so perfect for this time of the year.

You can read my interview with Estrada over at Below the Line later today.

Streaming now on Disney+ is the first episode of the new Pixar series Monsters at Work, based on the characters from one of my favorite Pixar movies, Monsters Inc., with new episodes airing every Wednesday.

Joshua (Cropsy) Zeman’s doc THE LONELIEST WHALE: THE SEARCH FOR 52 (Bleecker Street), exec. produced by Leonardo DiCaprio hits theaters on Friday and then will be on digital July 16. Oddly, it’s the second movie in the last month about whales. This one is about the search for the 52 Hertz Whale that was discovered in 1989 and has become a global sensation as it lives in solitude, emitting a different frequency from other whales and therefore unable to communicate.

I have to admit that I was quite cynical about this movie, mainly because it looked like it could potentially be boring, as we watch and listen to a bunch of oceanographers talking about whales, and I was mostly right. Zeman himself is not the most interesting subject or narrator for his own doc, so that doesn’t help much either. Essentially, the entire movie is this group of rag-tag oceanographers (as well as a musician who plays clarinet with the whales -- yeah, he should be thrown overboard first, I’m thinking) looking for this elusive whale that no one has seen since 1989. As you can imagine, it’s a fairly fruitless expedition that makes you miss the excitement of Ron Howard’s whale movie, but if you’re just watching this to see beautiful whales in their natural habitat, the movie does deliver. I’m sure the less cynical than myself will find more interesting aspects of the film to enjoy, and yes, this is a far superior film to the recent Fathom, but it also shares lots of potentially interesting facts about whales and their history, which doesn’t make it a complete loss.

I have to imagine that The Loneliest Whale should be appreciated as a fine nature doc if you’re into this sort of thing, but if you’re looking for something particularly groundbreaking or moving, you’ll have to search elsewhere.

Judd Ehrlich’s doc THE PRICE OF FREEDOM (Tribeca Studios) takes on the gun debate and how the National Rifle Association has divided the nation and cost countless lives along the way. The movie features the likes of President Bill Clinton, activist (and Parkland survivor) X Gonzalez, Senator Chris Murphy, Representatives Jason Crow and Lucy McBath, and many more on both sides of the gun debate.

Also opening on Friday in theaters and virtual cinema is the Tunisian horror film DACHRA (Dekanalog), written and directed by Abdelhamid Bouchnak, which follows three journalism students as they investigate a cold case which takes them deep into the woods.

Netflix launched its “Fear Street” franchise last week based on the book series by R.L. Stine, and this week, the second movie, FEAR STREET PART 2: 1978 (Netflix), debuts on the streamer. I’ve actually seen Fear Street Part 1: 1994, and it’s a fun little slasher set in the town of Shadyside, the “Killer Capitol of the USA.” I honestly had no idea these were Rated R, since I thought it was more of a young adult type thing, but it’s really straight-up Wes Craven Scream. I might have to check out some of these books, but the first movie was quite enjoyable even if they generally seem derivative of other slashers.

Also, Eytan Fox’s Sublet, which has been playing in select theaters will now be available to Watch At Home via Apple TV, Prime Video, Vudu, FandangoNOW, Google Play, YouTube and DIRECTV. Also, Ivan Kavanagh’s horror film, Son, will be on Shudder this Thursday so if you missed it in theaters and VOD, now’s your chance to see it, and you can read my interview with Mr. Kavanagh over at Below the Line.

Oh, and TONIGHT at the Metrograph, as part of their Live Screening Series, they’ll be showing Rashaad Ernesto Green’s Gun Hill Road (2011) as part of their FIrst Film Series with the Green Brothers, which will be followed next week by the first film from his brother, Reinaldo Marcus Green.

And that, my friends, is it for this week! Next week, we have SPACE JAM: A NEW LEGACY from Warner Bros., and that’s about it! (Well, there will be a lot more limited releases, as well a Emmy nominations, so back to the grind!)

[v4viola]

15 LEADING LADIES WORTHY OF PLAYING BATGIRL IN THE UPCOMING WARNER BROS. MOVIE

It’s coming! DC’s Batgirl is at long last suiting up and starring in her very own live-action feature film! Previously played by Alicia Silverstone (Batman & Robin, 1997) and the “pioneer of female superheroes,” Yvonne Craig (1960′s tv series, Batman), the time has finally come for Commissioner James “Jim” Gordon’s niece, Barbara Gordon, to shine a spotlight with her very own Bat-signal.

Warner Bros. Studios is working with director/screenwriter Joss Whedon (The Avengers, Buffy The Vampire Slayer, Justice League, Agents of S.H.I.E.L.D, The Avengers and Avengers: Age of Ultron), who's going to write and direct the exciting new superhero film for the DCU (DC Universe). The plot and the release date, however, are still up in the air, and the quest for the perfect actress is on-going!

With a clear call from audiences for more empowering female leads in major motion pictures, who is the most suitable to suit up as the caped-crusading vixen of Gotham?!

Here are my top 15 kick-ass choices (in no particular order):

1. MADELAINE PETSCH Known for her breakout role as the sharp-tongued Cheryl Blossom on the hit TV show Riverdale, Madelaine Petsch fits Batgirl’s comic description perfectly. The young, sultry, fiery red-head has made her mark in the hallways of Riverdale High; could she leave an even bigger mark on Gotham?

2. BELLA THORNE

With five movies currently in post-production and a young-adult fanbase who will remember her from Family Channel’s Shake It Up and movies like The Duff and Amityville: The Awakening, Bella Thorne is a red-headed “it girl” with a bad-ass demeanour. She would fit into Batgirl’s boots perfectly. 

3. YARA SHAHIDI 

Recently accepted to Harvard University, this breakout teen actress (ABC’s Black-ish and Grown-ish) has impressed on and off camera since she debuted in HBO’s Entourage in 2007. Should she have the time to kick it in Gotham, Yara Shahidi would sparkle as Barbara Gordan in Batgirl! Smart, beautiful, talented, popular...she’d be doing us the favour!

4. ALICIA VIKANDER

Set to star as Lara Croft in March 2018′s Tomb Raider, it’s safe to say Alicia Vikander has some experience being an action hero. Not to mention, she won an Oscar for her supporting role in 2016′s The Danish Girl. She’d also be the second “Alicia” to play Batgirl since Alicia Silverstone in ‘97. Quick, Batsuit her up!

5. MAISIE WILLIAMS 

“A girl is Arya Stark Barbara Gordon of Winterfell Gotham and she’s coming home!” Maise Williams is best known for her gripping role in HBO’s Game of Thrones, and if this young actress brings the same flair and determination she delivers in GOT to Batgirl, we’d have the perfect recipe for a coming-of-age origin story starring an already established action/adventure actress.

6. LIU YIFEI

This experienced actress, model, singer, and martial arts expert has been acting in China since she moved from the United States at the age of ten. Since then, she’s appeared in endless movies including 2008′s The Forbidden Kingdom, where she acted alongside Jet Li and Jackie Chan (the Batman and Robin of martial arts movies). She’s also signed on to play Mulan in the 2019 live-action Disney remake of the same name. Wait, is she already Batgirl?!

7. MAGGIE GEHA

Already a part of the Batman Universe (Poison Ivy in FOX’s Gotham), Maggie Greha and her rouge mane could easily step off the small screen and onto the big screen as Barbara Gordon in Batgirl. With Ivy being a supporting (and dwindling) character in the TV series, DC could propel in-house Maggie to superstardom overnight (and she’ll look amazing doing it).

8. EVAN RACHEL WOOD

A movie and television star with the beauty and talent to take on any role she’s given, Evan Rachel Wood has intrigued fans over the years with her edgy private life (dating Marilyn Manson) and talented on-screen life (starring in critically acclaimed movies like Thirteen, Across the Universe and The Wrestler). Nominated for three Golden Globes and two Emmy’s, Evan is currently starring in the final season of Westworld but has yet to land a role playing a live-action superhero; Batgirl could be the leading role she’s been waiting for.

9. ZOË KRAVITZ

Another Batman Universe alumni (Catwoman in 2017′s The LEGO Batman Movie), Zoë Kravitz is the gorgeous daughter of rock star Lenny Kravitz and actress Lisa Bonet. and she’s no stranger to action/adventure movies having starred in Mad Max, X-Men: First Class and the Divergent Trilogy. Landing the role of Barabara Gordon in Batgirl would not only garner intrigue, it would further her success in the genre like never before. Maybe shorten her name to Babs Gordan, too. It’s bad-ass like Zoë!

10. JANE LEVY

Rising to fame as Tessa Altman on ABC’s sitcom-style TV series, Suburgatory, Jane Levy has moved onto to star in two back to back horror films with director Fede Álvarez (2013′s Evil Dead remake and 2014′s Don't Breathe). With three films in post-production and a recurring role as Elizabeth on SHOWTIME’s Twin Peaks, Jane has the look, experience, and tenacity to knock this role out of Gotham Park. 

11. NATALIA DYER

Landing the coveted role of Nancy Wheeler in the Netflix original series, Stranger Things, Natalia Dyer is riding a tidal wave of popularity. Her show is a global phenomenon and she has two feature films in post-production. If she’s lucky, Nancy Wheeler’s search for Barb in the Upside Down will metaphorically come full circle if she plays Barbara Gordon in Batgirl. 

12. HAILEE STEINFELD

Releasing a new album and teasing several new movie projects this year (including Transformers: Bumble Bee), Hailee Steinfeld is at the top of her game. The fresh-faced 2010 Oscar nominee (True Grit) would bring a surge of interest to the Batgirl project and could even spawn sequels based on the success of her previous movies like the Pitch Perfect Trilogy. If director Joss Whedon is planning a teenaged coming-of-age story à la Marvel’s Spider-Man: Homecoming, Hailee is a perfect choice. 

13. WILLOW SMITH

Singer Willow Smith is another beautiful celebrity child. Her parents, Will and Jada Pinkett Smith, have both played villains in the Batman Universe (her father played Deadshot in Suicide Squad and the upcoming Suicide Squad 2, and her mother played Fish Mooney in FOX’s Gotham). Willow has been a  successful recording artist from a very young age - ”I whip my hair back and forth” - but if she ever wants to branch out into acting, she has the lineage, wits, style and beauty to play a fierce Batgirl. Bonus Bat-points if her dad makes a cameo as Deadshot!

14. SAOIRSE RONAN

Nominated for three Best Actress Oscars from 2008-2018 (Atonement, Brooklyn, and Ladybird) this young but layered actress would bring a much deeper level of emotion to Barbara Gordon’s character. A Saoirse Ronan Batgirl script would have to delve into the dark side of the heroes and villains of Gotham, like the Christopher Nolan trilogy. Maybe she’ll even get a fourth Oscar nod!

15. LINDSAY LOHAN

Lindsay, Lindsay, Lindsay... Last but not least, what can anyone say about Lindsay Lohan that hasn’t already been said? The infamous actress recently took to Twitter posting a picture of herself next to a comic of Batgirl, then asked fans to Retweet it and/or reach out to director Joss Whedon and help get her the gig. The hustle is real! Lindsay is spicy and controversial, and although she hasn’t worked in years, she’s apparently ready to dive back into the world of acting in a very big way - the role of Barbara Gordon in Batgirl! She does have the look down!

[viewagain]

Midsommar

Written & Directed by Ari Aster

So you want to be a writer-director. In film school you develop your passion project idea. You work on it, meticulously rewriting every line, every word until it is perfect. You run through it countless times, trying to get the pacing just right. And if you’re lucky, after 10 years of working on it, constantly improving it, your script actually gets picked up and you get to make your film. And it’s a smash hit! So now the studio throws a shitton of cash and tells you to make another one. And you only have two years to get it done. Previous victims of the sophomore slump include Neil Blomkamp following up “District 9” with “Elysium” and Dennis Hopper going from “Easy Rider” to “The Last Movie”. I felt fearful for Ari Aster’s second feature length film was to be released a year after his first, despite “Hereditary” being one of the favorite films of 2018. Seeing “Midsommar”, I felt a different kind of fear.

Mental disorders, anxiety, grief, cults, and rituals are all notable aspects of both of Aster’s films. The similarities between the two are especially prominent in the first act, before the Americans venture to Sweden, but this is not a rehash. Though “Midsommar” does not have any scenes that are as profoundly impactful and gut-wrenching than the accident sequence in “Hereditary”, this film is overall a more complete film. Most noteworthy, is that unlike Aster’s previous film which goes off the rails in a laughable manner in the final act, “Midsommar” manages to drive up the tension and stakes whilst remaining believable. All the laughs – there are a plethora of dark humor moments – are intentional. Toni Collette, as the female lead of “Hereditry”, had a memorable, manic performance, though, understandably, some found it to be over the top and ridiculous. Florence Pugh’s character is much more subdued, but she gives an equally powerful performance. A director is responsible for pulling out the best performances from the actors and Aster has a perfect record thus far.

The setting of the film is a folksy village in Hälsingland, Sweden full of flower children in folk clothing, folk dancing and folk singing and folk everything else-ing. One of the American visitors is quite unnerved by the fact that even at 9 pm, the sun in shining brightly in a bright blue sky. One the surface, it may seem like an animist utopia, but seeing one villager playing a flute as another two are locked in an overly long and intimate embrace, you get the sense that it is all too good to be true. As you spend more time with in the commune, you learn about all their bizarre and disturbing traditions.

Horror, like sci-fi, works best when used as metaphor or allegory and about more than just killing people and scaring the audience. “Hereditary” went a step further and for most of the film is a family drama lacking overt horror elements. There are more traditional horror elements - body horror and gore – throughout “Midsommar”, but it still retains a strong emotional core. A seemingly utopian love-empathy cult is the perfect setting for a break-up movie. Dani is an anxious person who needs a lot emotional support, but her boyfriend, Christian – and with a name like that, should you really be going to pagan villages? – is not as invested in the relationship. Their relationship deteriorates as does the situation in Hälsingland.

Once again, Aster shows how he is a master of unease and tension. The feeling of dread and danger builds slowly over two and half hours. Though at times there might not be a lot going on in the foreground, the cinematography is so wonderful, that the film never drags. Every shot either has something weird going on in the background, or is beautifully composed, or is it simply cool. Characters take psychedelics and the special effects of them experiencing the visual hallucinations – faces being distorted or the breathing trees – is top notch and hypnotizing without going over the top. His depiction of anxiety via Dani is also spot on.  The opening shot is of bright summer Swedish nature with folk singing which suddenly cuts to silent winter scene. Aster often uses this technique of edits with sharp visual & aural contrast which stops the audience for getting a proper emotional footing. And of course, there is a perfect creepy horror score that incorporates the local folk songs. There are no jump scares, but meticulously crafted mood.

Ari Aster is a filmmaker to look out for. For a second time he has mastered cult horror and I hope he will branch out and make just as great films in other genres. Hopefully, he teams up once again with cinematographer Pawel Pogorzelski, because that duo is something special. A lot of movies are created to be entertainment, which is especially true for the horror genre. “Midsommar” is not just entertaining, it is art.

10/10

IMDB: 7.7 RT: 82% / 61%

[aion-rsa]

Why I Am Legend Has One of the Most Frustrating Endings in Science Fiction

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Last March, confronted with a pandemic none of us had expected or understood, many people found themselves rewatching Stephen Soderberg’s Contagion. Whether out of morbid fascination or as a guideline to what we might see in the future it quickly topped charts on streaming services. A year on and another pandemic movie has made it into Netflix’s top 10 – 2007’s I Am Legend, a horror sci-fi starring Will Smith as Dr. Robert Neville, who thinks he’s the last man on Earth after a virus has wiped out most of the population. Directed by Francis Lawrence, who would go on to make the Hunger Games sequels, a new adaptation of Richard Matheson’s 1954 novel had been in the works at Warner Bros. since the mid ‘90s, with various talent attached, including Ridley Scott and Michael Bay as directors and Tom Cruise and Arnold Schwarzenegger to star. 

At its release the movie was praised for Smith’s performance but criticised for an overuse of CGI and a weak third act, but rewatching against the backdrop of 2021 what really sticks is how much of a wasted opportunity I Am Legend was. This is an hour of an excellent film, then 30-odd minutes of rubbish.

What you might remember of I Am Legend is this: cool empty New York stuff, Batman V Superman logo on a building, Will Smith talks to mannequins, the dog dies, CGI zombies, the end. But it’s so much better than that (until it’s not).

The first hour of I Am Legend is incredibly sparse. Virtually silent except for flashbacks, Dr. Neville is alone and talks only to his dog, Sam, and to mannequins he’s placed around shops and the street to try to emulate real life. New York is deserted. Each day when the sun is at its highest point, he waits at a meeting place he’s broadcast on the radio for other survivors to find him. Each day he is disappointed. His routines are down pat. He and the dog eat well from food scavenged during the day. At night they lock down and stay silent, hidden from the initially unseen threat outside. Neville is immune to infection but not to being killed by the creatures that keep him locked away at night, and on whom he experiments during the day. Neville is trying to find a cure using his antibodies, testing first on zombie rats and then on the infected human subjects he keeps chained up in his underground lab. He keeps failing. Is he really trying to save humanity? Or does he just want someone to talk to? Perhaps the two things are the same.

Forget zombies, I Am Legend is an exploration of the pure horror of being alone – it’s resonant as all hell in the current climate where we know that hordes of other people exist but that they pose an actual threat of death. That loneliness is so acute that talking to a dog or a shop dummy – or indeed a plant, your computer, the TV – seems completely legit. Neville’s struggles with socialization once Alice Braga’s Anna is in the picture feel entirely authentic and familiar – has he gone slightly mad from the loneliness and isolation, the film posits? In 2021, have we? 

Keeping the CGI baddies in the shadows is a wise move, and even though they really haven’t aged well, in the first hour there’s still scope for a few decent scares. The best comes when Neville is caught in a trap set for him by one of the creatures – a trap which mirrors one he himself had set earlier to capture the latest of the infected he’s experimenting on. Hung up by a foot with the sun rapidly fading, when Neville wakes from his concussion he is in a serious rush to save himself with his faithful friend Sam barking in panic below him.

When it’s him and the dog, Smith is brilliant. Sam (played by two dogs – Abbey and Kona) is also excellent. And at the end of this sequence when the dog dies, bitten by zombie hounds and euthanized by Neville, it is genuinely devastating. Forget Marley and Me, this isn’t canine grief porn – instead the moment a grief stricken Neville goes to the record shop and talks to a mannequin, begging her to “please say hello to me,” is deeply upsetting. Smith does some very heavy lifting and it really holds up. Neville has hit rock bottom. Without Sam there’s nothing left to live for. Neville heads out into the night on a kamikaze mission to take as many creatures with him as he dies. The end. Except it’s not.

Instead, the film is completely ruined by the deus ex machina arrival of another survivor, Anna (Alice Braga) and her son Ethan (Charlie Tahan) who rescue Neville. Anna says she believes God sent her to find Neville and take him to a survivor colony she thinks exists in Vermont. 

Anna’s arrival is no doubt supposed to provide hope and redemption in the final act after the incredibly moving end of the previous act but ultimately it does the opposite. Her random appearance undermines the three years Neville has endured. Neville has lived with the frankly torturous concept that he was the last man alive, but instead he’s faced with the possibility of a survivor community that somehow she has managed to track down while he has not, and the thought that for three years (or however long he’s been sending his own broadcast) survivors, in all likelihood, did hear his missive but never responded. His strength and resilience, his battle to stay sane, these were nothing, there were other people who could have found him, or he them, all along. Bad luck Neville, you spent three years trying to find a cure when you could have just had a chat with God (or worked harder on your telecoms). Bleak for him but in this version he becomes a martyr of sorts.

Anna and her son arrive and trigger a mega zombie showdown in the house. In a stroke of luck, Anna’s arrival has coincided with the latest strain of antidote actually working, so when Neville, Anna, and her son barricade themselves in the lab, Neville is able to extract a vial of the cure to give to Anna and then sacrifices himself so she can escape the creatures. Neville is killed but the cure is safe and arrives at the encampment with Anna, his life’s work wasn’t futile, and Anna gives a speech essentially saying how much of a legend Robert Neville was.

Yep, the title of the film has been completely reinterpreted from the original text here to mean “I am a total legend!” rather than the much much darker meaning found in Richard Matheson’s wonderful novel.

In the novel Robert Neville’s foes are vampires and other than the traditional vampire weaknesses – garlic, sunlight, stake through the heart, etc – they are intelligent, articulate, and human-like. In Matheson’s book Neville meets and becomes involved with a woman whom he discovers is a vampire sent to spy on him; the race of infected have managed to treat and control their symptoms and are forming a new society, while he’s been hunting them down. And the woman’s husband is one of the vampires Neville has killed. 

The book ends with a dying Neville realizing that, to the vampires, he is the bogeyman, the stuff of nightmares, as vampires themselves were once to humans. He will become a legend, not because he’s a great man, but because in his extinction he will be a cautionary tale and a mythical figure to a newly formed society. 

The director’s cut alternate ending of I Am Legend gives more of a nod to Matheson’s book – it’s better but it’s still not great. In this version the alpha male zombie who set the trap for Neville is bashing his head repeatedly on the locked door of Neville’s lab where Neville, Anna, her son, and his latest test subject, a female, are barricaded. Through the glass, the alpha male makes the sign of a butterfly (a call back to a gesture Neville’s daughter makes earlier in the film) to indicate the butterfly tattoo the female has. Neville understands finally that the “darkseekers” have their own relationships and community. The woman is the alpha’s partner. To the darkseekers, Neville is the monster, who has been capturing and torturing members of their group. Behind him is a photo wall of each creature he has experimented on and eventually killed. Willing to sacrifice himself so that Anna and her son can escape, he is now at the mercy of the alpha. In fact, when he apologizes and returns the captured female, the darkseekers show Neville mercy and don’t kill him. In this version Neville, Anna, and her son travel to the survivors’ community together and Neville lives.

This ending works better and gives more resonance to certain earlier scenes – the alpha male exposing himself to sunlight after the female is captured, the trap alpha uses on Neville matching the one Neville used on the female, the scenes of Neville experimenting on the female causing her excruciating pain – the final beats still don’t land. The outdated CGI renders the creatures so far away from humanity that the emotional resonance is lost. “Sorry about torturing your missus,” doesn’t have quite the impact it should and the existence of the community in Vermont, far from feeling hopeful, gives a sense that Neville has just wasted the last three years.

Neither ending properly gets across the significance of Matheson’s title, and the inclusion of reference to Bob Marley’s album Legend only muddies things further.

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Lawrence’s I Am Legend is so nearly a brilliant, thrilling, troubling exploration of loneliness and isolation and it could have had a gut punch ending which remained faithful to the book had they gone for something other than the CGI zombies. Instead it’s a movie which builds to an electric crisis point and then throws it all in the bin with unnecessary new characters, a religious message, and a faux happy ending that no one needed.

I Am Legend is available to stream on Netflix (US) and Sky and Now TV (UK).

The post Why I Am Legend Has One of the Most Frustrating Endings in Science Fiction appeared first on Den of Geek.

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[weekendwarriorblog]

WHAT TO WATCH THIS WEEKEND April 19, 2019  - THE CURSE OF LA LLORONA, BREAKTHROUGH, PENGUINS

Yay! Another week where I haven’t seen any of the new releases! This is what happens when studios offer a single press screening rather than a few options, I guess.

After a rather dismal weekend, this weekend sees the release of a mixed bag of movies that will wrap-up the winter/spring movie season before Avengers: Endgame comes along and just destroys everything else in theaters. This is also Easter weekend and with no schools and many being off work for Good Friday, we’ll see a large bump with most movies being frontloaded for the weekend. (Easter Sunday is usually reserved for family meals, Easter egg hunts, etc, so not as much movie business.)

Beginning on Wednesday, we have two relatively family-friendly films in Fox 2000’s faith-based BREAKTHROUGH  (20thCentury Fox) and DisneyNature’s PENGUINS  (Walt Disney Pictures), again, neither which I’ve seen. The first is a higher-profile faith-based drama that’s being released in perfect timing with Easter, but unlike the movies of PureFlix, I feel that the marketing campaign could bring in a wider audience, especially with popular actors like Chrissy Metz, Topher Grace, Mike Colter and Dennis Haysbert.  Penguinsis another Disney nature doc, this one a cute story about a penguin named Steve, voiced by Ed Helms, and its G-rating will help make it a choice for family with young kids over the holiday weekend.

Then on Friday (or rather, Thursday night) comes the latest horror film from producer James Wan, THE CURSE OF LA LLORONA (New Line/WB), which looks like another solid scare-fest even if the reviews out of SXSW weren’t as strong as the ones for Pet Sematary (which I still haven’t seen!) and Us (which I’ve seen twice). I’m definitely interested in checking it out, especially the work of director Michael Chaves, who has already been attached to direct the next Conjuring movie (although this one is not related).

Opening in 300 theaters Wednesday is the Bollywood release KALANK (FIP), directed by Abhishek Varman, a romantic drama about six characters looking for love in the town of Husnabad, North India.

Also opening fairly wide this weekend is Michael Berry’s adaptation of Riley Thomas’ stage musical Stuck (Eammon Films), starring Giancarlo Esposito, Amy Madigan, Omar Chaparroand Ashanti as four of six New York commuters stuck on a subway car, as they sing their stories to each other. Sounds more fun than what normally happens in New York when the subway car stops between stations.

Apparently, Bleecker Street plans on expanding Max Minghella’s Teen Spirit, starring Elle Fanning, wider, although I don’t have a theater count at this point in time, so I’m not sure if it’s expanding enough to get into the top 10 or how many areas it will be in.

LIMITED RELEASES

My favorite movie of the weekend is Pamela Green’s doc BE NATURAL: THE UNTOLD STORY OF ALICE GUY-BLACHÉ (Zeitgeist), which will open in L.A.  at the Laemmle Monica Film Center then move to NYC on April 26. If you don’t know who Alice Guy-Blaché is then you really need to see this movie, since she was such an important part of cinema history. She was there from the very gestation of cinema in France as the first female director who was making so many inroads into various filmmaking techniques while being mostly ignored by the men in the industry, including those who documented the history of cinema. This is an amazing film to see all of Ms. Guy’s accomplishments, while also being demeaned by a philandering husband who took credit for much of her accomplishments. I was also amazed to learn while watching this film that Fort Lee, New Jersey used to be the hub of cinema in the early 20thCentury before Guy’s husband and others moved to California and set up Hollywood, mainly to get away from paying fees to Tom Edison. This is an amazing doc that I recommend highly if you consider yourself a film buff on any level.

Another great doc opening this week – New York on Weds and in L.A. Friday – is Penny Lane’s new one HAIL SATAN? (Magnolia), which explores the Satanic Temple and its leader Lucien Greaves, who have created a political movement around the ideas that church and state should be kept separate. They do this by raising funds to set-up statues of Baphomet on the same capital grounds where governments have set-up statues of the Ten Commandments. They also do this with a sense of humor that reminds me of The Yes Men, whose own pranks have been documented well in film. Either way, this movie is not what you might think i.e. it’s not a commercial for Satanism as in the type that sacrifices babies. It’s just a group that uses the name of Satan to fight for religious freedom.

Gugu Mbatha-Raw plays a woman who goes on the run after her superpowers are discovered in Julia Hart’s FAST COLOR (Codeblack Films). This opens in select cities this week, and I’ve reviewed it over at The Beat.

It Follows director David Robert Mitchell’s new noir thriller UNDER THE SILVER LAKE (A24) seems to be getting dumped with a quick release in New York and L.A. on Friday before debuting for streaming on Amazon Monday.  I guess the mixed reviews it got at its premiere at Cannes last year didn’t help matters.  It stars Andrew Garfield as 33-year-old Sam who discovers the mysterious Sarah (Riley Kough) in his apartment swimming pool, but when she vanishes, he goes looking through L.A. to find what happened to her. I haven’t seen the movie yet, but it’s looking unlikely I’ll see it in theaters now.

Dame Judi Dench stars in Trevor Nunn’s RED JOAN (IFC Films), playing Joan Stanley, a widow living in retirement when the British Secret Service arrests her for giving classified information to the Soviets for decades. Based on a true story, it will open at the Landmark 57 and IFC Center in New York as well as other theaters and On Demand.

Tessa Thompson and Lilly James star in Nia DaCosta’s feature film directorial debut LITTLE WOODS (NEON), which premiered at the Tribeca Film Festival last year, at which DaCosta won the Nora Ephron award. Thompson plays Ollie, a North Dakota woman who was once arrested for smuggling prescription drugs across the border, something she gives up until her pregnant sister Deb (James) shows up needing $3,000 to save their family home. I’m hoping to catch it again sometime this week, since I want to give it another chance.

Currently playing on DirecTV and opening in select theaters and On Demand Friday is Fred Wolf’s DRUNK PARENTS (Vertical Entertainment), starring Alec Baldwin and Salma Hayek. Semi-wealthy Frank and Nancy Teagarten are dropping their daughter off at college just before the repo man shows up at their door, so they do some drinking and hold a yard sale as to hide their deteriorating wealth.

Orange is the New Black star Taylor Schilling stars in Laura Steinel’s Family  (The Film Arcade) as career-focused Kate Stone, who is asked by her estranged brother to babysit her ‘tween niece Maddie, as one night turns into a week.

Prolific Korean auteur Hong Sang-soo’s new movie Grass  (Cinema Guild), will open at the Metrograph in New York. It’s a rather talkie piece that involves a bunch of people talking to each other in a café where a young woman (Kim Min-hee) eavesdrops and adds their characters to her story.  I’m generally mixed on Hong Sang-soo, and this one seems a bit more artsy with less of a narrative, but I assume diehard fans will enjoy it.

Wanuri Kahui’s Kenyan coming-of-age drama Rafiki (Film Movement), the first Kenyan film to show at Cannes, will open at BAM on Friday. It follows the journey of Kena and Ziki, two young woman whose fathers are rival political candidates but who have formed a bond of friendship.

Just in time for 4/20 comes Robert Ryan’s doc Breaking Habits (Good Deed Entertainment) about Christine Meeusen’s decision to leave her cheating husband of 17 years with her three kids, reinventing herself as Sister Kate and setting up a cannabis farming business that would become the Sisters of the Valley medicinal marijuana empire.

Also, a reminder that Terry Gilliam’s The Man Who Killed Don Quixote, starring Adam Driver and Jonathan Pryce, is supposed to get a limited release this weekend after its Fathom Events “one night only,” although I have no idea of number of theaters or locations or anything.

LOCAL FESTIVALS

As with every weekend, there’s a lot going on, and in New York, up at the Film Society of Lincoln Center, they’re kicking off this year’s ART OF THE REAL on Thursday and running through April 28. The Opening Night film is Frank Beauvais’ Just Don’t Think I’ll Scream, compiling the thoughts and revelations of the filmmaker. I haven’t been able to get to any of the press screenings, but it usually has an interesting and diverse line-up which you can read more about at the link.

REPERTORY

METROGRAPH (NYC):

Fans of Brazilian cinema will want to check out some of the Metrograph’s new series about Brazilian filmmaker Nelson Pereira dos Santos, which runs from Friday through April 28. The movies range from his groundbreaking 1955 doc Rio, 40º to 2011’s The Music According to Tom Jobim with nine films, few of which have received distribution in North America. This week’s Late Nites at Metrographinclude Sion Sono’s Anti-Porno and Bertrando Bonello’s 2011 film L’Appollonide (House of Tolerance), neither which I’ve seen, but the weekend’s  Playtime: Family Matineesis Disney’s The Love Bug, one of my absolute favorite films from childhood.

THE NEW BEVERLY  (L.A.):

Besides showing Henri-Georges Clouzet’s murder-mystery Quai Des Orfevres on Wednesday afternoon, Tarantino’s rep theater is showing double features of Hitchcock’s Family Plot  (1976) and the thriller Black Sunday  (1977) on Weds. and Thurs, the classic Jack Lemmon-Walter Matthau The Odd Couple (1968) and Robert Redford/Jane Fonda’s Barefoot in the Park (1967) on Friday, then Cheech and Chong’s Next Movie (1980) and Ice Cube’s Friday (1995) on Saturday. This weekend’s KIDDEE MATINEE is a surprisingly recent movie in Universal’s Hop – cause it’s Easter weekend, get it? – and the midnight movies are The Hateful Eight on Friday night and the 1981 John Belushi-Dan Aykroyd movie Neighbors on Saturday. Sunday and Monday are double features of Only When I Laugh (1981) and I Oughtta Be in Pictures (1982). Monday afternoon is a screening of Martin Scorsese’s 1999 film Bringing Out the Dead, starring Nicolas Cage and Patricia Arquette.

FILM FORUM (NYC):

One of the repertory series I’m most excited about since first hearing about it is the Film Forum’s latest series “Trilogies,” which this weekend will show all three of Francis Ford Coppola’s The Godfather trilogy, and Sergio Leone’s Western trilogy with Clint Eastwood: A Fistful of Dollars (1964), For a Few Dollars More (1966) and The Good, The Bad and the Ugly (1966). This weekend is also the start of Masaki Kobayashi’s The Human Condition, while Monday is a trilogy of films by Jacques Beckere called his “Paris Youth Trilogy,” including Antoine and Antoinette.  Sadly, they don’t seem to be showing Edgar Wright’s Three Cornetto Trilogy as part of the series. :( This weekend’s Film Forum Jr. is the 1985 crime-comedy Clue, based on the board game.

EGYPTIAN THEATRE (LA):

Word came out last week that Netflix is looking to buy the Egyptian, so hope they retain the repertory programming. Thursday is the new restoration of Bjork’s 1990 movie The Juniper Tree, Friday night there is a Brian Yuzna double feature of Society and Bride of Re-Animator, both from 1989 with Yuzna in attendance. Saturday sees a TRIPLE feature of Sam Raimi’s Army of Darkness (1992), Waxwork  (1988) and Fulci’s The Beyond (1985), all in 35mm!

AERO  (LA):

The Aero’s “Classic Movie Clowns” series begins Thursday with a Harold Lloyd-Buster Keaton double feature of Safety Last! (1923) and The Navigator (1924), Charlie Chaplin’s The Great Dictator (1940) plays on Friday, as well as a series of Silent Comedy Shorts (with live music!) on Saturday, as well as Laurel and Hardy’s Sons of the Desert (1933) along with their shorts Brats and Helpmates. Easter Sunday sees a collection of Bugs Bunny and Friends animated shorts and a double feature of Richard Kelly’s Donnie Darko (2001) and Sam Raimi’s The Evil Dead  (1981).

IFC CENTER (NYC)

The IFC Center started its spring series last weekend, but I received the info too late to include. This weekend’s Waverly Midnights: ParentalGuidance is Hitchcock’s Psycho, while the Weekend Classics: LoveMom and Dad is Terms of Endearment and Late Night Favorites: Springis David Fincher’s Fight Club.

MOMA (NYC):

Modern Matinees: B is for Bacall this week shows the 1947 film Dark Passage on Weds, Howard Hawk’s To Have and Have Not  (1944) Thurs, and The Big Sleep  (1946) on Friday. Also the What Price Hollywood series continues with Clarence Brown’s 1931 film A Free Soul and Josef von Sternberg’s 1934 film The Scarlet Empress on Weds, the 1939 film Midnight and 1935’s Sylvia Scarlett on Thursday and more. They’re also showing Franco Rosso’s Babylonover the weekend.

MUSEUM OF THE MOVING IMAGE (NYC):

This week’s series is See it Big! Action with screenings of Raiders of the Lost Ark, Seven Samurai, Anne of the Indiesand The Adventures of Robin Hood. On Good Friday, the family program is the animated Wallace & Gromit: The Curse of the Were-Rabbit.

QUAD CINEMA (NYC):

The Quad continues its Wild Things: The Ferocious Films of Nelly Kaplan this weekend with Charles and Lucie, Néa, The Pleasure of Love and more.

BAM CINEMATEK (NYC):

Thursday ends the The Anarchic Cinema of Věra Chytilováseries of the Czech film star.

LANDMARK THEATRES NUART  (LA):

This Friday’s midnight offering is Panos Costamos’ too recent to be repertory Mandy, starring Nicolas Cage.

STREAMING AND CABLE

Streaming on Netflix this week is Jennifer Kaytin Robinson’s SOMEONE GREAT, starring Jane the Virgin’s Gina Rodriguez as an aspiring music journalst trying to get her dream job at a magazine, even though that would mean moving to San Francisco. Her boyfriend of nine years (Lakeith Stanfield) decides to break up so she and her two best friends (DeWanda Wise, Brittany Snow) decide to go out for one last adventure in New York City.

[second-tolast-blog]

My Favorite Movies of 2016 in Nine Digestible Categories

Every year it is the same story. As the year happens, people bemoan the state of movies. Then by the end of the year, and people compile their end of the year lists, we realize that movies are not a dying medium, slowly being replaced by television. Studios just succumb to the antiquated model of old release patterns. Movies vying for Oscars has to come out late in the year for momentum and blockbusters must be released in the dead heat of the summer. Both “20th Century Women” and “Why Him?” were close to sell outs last weekend as I attended my local multiplex. “Lion,” although only playing in two theaters in New York, sold out a 560-seat theater and its highest billed actor was Dev Patel.

Sure, those films were helped by the holiday bump and limited releases, causing the demand to look greater due to the lack of supply, but people are still going to the movies. And if not, the means of production has allowed for filmmakers to make $20 million indies with sources of output like Amazon Prime and Netflix along with the traditional studios to distribute to a wider net of audiences. With emerging voices like Barry Jenkins and Damien Chazelle and returning veterans and legends like Jarmusch and Scorsese releasing films this year, it is hard to begin eulogizing cinema.

So, it is my job to highlight 20 of my favorite films of the year. And to not succumb to the usual listicle, this list will be broken down to ten categories because all these films deserve to be watched.

Best Movies of the Year where Mahershala Ali Plays an Untraditional Father Figure for about 10 minutes of the movie

Moonlight, Kicks

Thank god for “Moonlight,” a film that has been written about so much that I do not know what I can bring to the conversation at this point. Without it, people may be left to try to salvage Nate Parker’s ill-begotten “Birth of a Nation,” as the obligatory black film of the year that it was positioned as at Sundance back in January of last year. But, “Moonlight” should not be considered a token of a film. Its rise to the top through think pieces and word-of-mouth speaks to how it was able to naturally build its base of spectators. “Birth of a Nation,” on the other hand, struggled to connect partially due to its controversy but also to its haphazard “Braveheart” style hero narrative and questionable use of victimhood especially that of rape. “Moonlight” is cinema at its best. It is a passport to a world, a mindset, an experience that is not readily available. It is empathy.

While “Moonlight” has dominated the conversation, Justin Tipping’s “Kicks” has been barely touched upon. It has been spoken so little of that since I saw it I have questioned my love of this small film. Tipping riffs on “Bicycle Thieves,” in which an African American teen, Brandon, gets his brand-new sneakers stolen in a city right on the outskirts of Oakland. This allows for Tipping to breeze through the neighborhood as Brandon and his two buddies searches for the men who stole his shoes. It’s a small film that screams that this is a first feature, but the style is so assured. Tipping is not afraid to take risks, allowing for flourishes of style and metaphors (there is a motif of an astronaut that aggressively highlights Brandon’s alienation for the things around him) that many more conservative filmmakers would not bother to entertain. Like “Bicycle Thieves” the plot is simply an excuse to explore a post-world II Italy, the plot here is an excuse for Tipping to explore the neighborhoods that has been forgotten about in film since the early 90’s. These characters are so richly drawn beyond what could easily be caricatures. If “Boyz in the Hood” gave a glimpse to life in “the hood,” “Kicks” is a portraiture. Also, best Mahershala Ali performance this year.

Best Movies of the Year where the Central Theme is that Grief is a Motherfucker

Manchester by the Sea, Jackie

There are horror movies which relies on jump scares. Like a roller coaster these momentary jumps are fun but ultimately has no lingering effects except for a scratchy throat. That is exactly the same way I feel about tearjerkers. Movies like “Lion” or “Beaches” live on sentimentality and tears. Like a superficial thrill ride, these films have a purpose and place. But, then there is a film like “Manchester by the Sea.” The film is filled with little moments that prove that Kenneth Lonergan is one of the great humane dramatist working today. Sadness and grief seeps into you like water slowly draining into the ground. But, what is so illuminating about the film is how the film portrays people dealing with grief; with anger, ambivalence. These characters are simply living. I have a friend, unfamiliar with Lonergan’s works and what struck as well was how funny the film was. That’s because even when our closest love ones are gone that does not mean that life stops going.

What happens, though, if someone’s life is defined by a person who dies? Pablo Larrain is one of the most exciting filmmakers working today. In “Jackie,” he takes what could have been a maudlin drama and with an incredible score by Mica Levi, creates a horror film. The monster for Jackie Kennedy is the weight of legacy, purpose and the American ideal. Is this what the real Jackie Kennedy went through in the immediate aftermath of JFK’s assassination? Probably not. But, what historical fiction does is to draw a parallel with these pristine historical figures with everyday living. What struck me most with “Jackie” was the amount of decisions that had to be made immediately after the tragedy. The same with “Manchester.” Jackie Kennedy mourns while also keeping up appearances in a role that has been bestowed upon her. She is the first lady of America, after all. She can’t be seen too sad, angry, or drunk. The real-life piece that is written about her weeks after JFK’s funeral which is fictionalized here as a framing device, was instrumental in sculpting that image. It sculpted a Camelot.

The Best Movies of the Year Where Coming-of-age is Manifested as a Monster

Closet Monster, The Fits

Not enough movies talk about how scary it is to become an adult. I’m in my early twenties, on the precipice of doing adult things like getting a full-time career and job and I still go to sleep at night in the fetal position. So, it is no wonder that puberty, adulthood and burgeoning sexuality has been portrayed in films as some sort of monstrosity. “Closet Monster,” a small Canadian film that I do not know anyone who saw, creates a monster in a teenager who is discovering his sexuality for the first time as he goes off to college. But, the complexity of this film from first time director, Stephen Dunn, comes from the fact that he is not defined by his burgeoning sexuality. Rather, this stress is compounded by the facts of adolescence. Pressure come from his single-parent father, whose self-destruction comes from the loosening of his grasp of his child, his artistic ambitions while confined in a small Canadian suburb, and the trauma from the abandonment of his mother. The monster in the on-the-nose title is not just one of repressed sexuality, but rather repression in all fronts. It’s no wonder that the violent act that occurs in this film is not because of sexuality at all.

The monster in “The Fits,” another small film by a first-time filmmaker, Anna Rose Holmer, also rides the line of imagined or real. Her characters are on the precipice of teen-hood. This is the time when divisional lines are truly cemented, especially gender norms. Her protagonist starts off in a boxing gym, filled with males but is drawn across the hall to an all-female dance troupe. Insecurities are never immediately present especially from those who are feeling it. It usually comes with a look. Especially for a teenager, there is no greater currency than a sense of belonging. “The Fits’s” ability to hone in on that central need in a way that is not pedantic really creates a powerful image. The final shot of bliss as Royalty Hightower finally embraces the monster that would make her belong is one of the great cinematic images of 2016.

The Best Horror Movies Where the Little Girl is the Most Terrifying Things about It

The Wailing, The Eyes of My Mother

To be fair, little girls are terrifying. It probably has something to do with the corrupting of something innocent that gets into the crawl of everyone’s skin. “The Wailing” is a Korean epic of a possession movie. And like the best Korean films, there is fluidity with genre in this film. The film readily goes from horror to police procedural mystery to comedy. Horror films are best when it comes from an assured hand and Na Hong-Jin is certainly assured in his skill and style. He slowly paces out the film with mood, atmosphere and uncertainty. At 2 ½ hours, each layer is lovingly paced. Not all the best movies have something to say in the undercurrent of the film. Some can just be plain scary and fun.

From the epic nature of “The Wailing,” comes the efficiency of “The Eyes of My Mother.” Nicolas Pesce’s first feature runs at a little under an hour and 20 minutes, and will undoubtedly become a cult film in which high schoolers show their friends to revel in how fucked up it is. Once again, this film thrives on the assured hand of Pesce’s direction. The black and white photography, the loving reconstruction of a minimalist household and the combination of aspects of image, costuming and setting creates a total cinematic experience. This film is informed by many in the past. The black and white images is reminiscent of early David Lynch and the economy of violence reminds me of the European art-house horror from Bunuel to Franju. Eyes plays a big role in horror films. It is scary to not be able to see and sight is connected to something so fragile and disposable. The camera is our eyes to this particular world. And the film works with the whole image. In one scene, we saw our hero/monster washing dishes and it is what we see through the window that is grotesque and haunting. These are images, that will not escape anybody who will eventually discover this film.

The Best Movies Where the Traditional Notions of How We Fall in Love is Questioned

The Lobster, The Love Witch

Love is overrated. Well, the way most people think about love is overrated. “The Lobster,” from Greek satirist Yorgos Lathimos, skewers our societal pressure on people to find a partner. The film’s dystopic setting strips away all that feels human so that all that is left is a kaleidoscope view of human interactions. Here, people decide that they are perfect for each other because of the most artificial of reason; short-sightedness, nose bleeds and beautiful hair. Everything is played pitched perfectly to dry deliveries anchored by Colin Ferrell at his best. Oh, and if I was had to be turned into an animal I would be a turtle. They have a portable shelter and could be proficient on both land and water.

I took a B-movie class at SUNY (Inset NY state city here) and the films we saw was a mish mash of exploitation with some rising to the top with subtle feminist’s ideology. But, for most of them, they are pure sexploitation of the woman’s body. Anne Biller lovingly recreates this subgenre of 60’s sexploitation film to create the defining feminist statement of the year. Everything is so acutely detailed that you might get distracted by the immersion into the world. The colors are in technicolor splendor, the clothes are beautifully retro and the acting is purposefully stilted that requires levels of acting that Brad Pitt will never reach. Yet, underlying all this is a story of a woman, a witch, who because of societal pressures keeps changing to what a man wants. She is the fantasy of every man but no man ever becomes the subject of her fantasy. In a genre that is often defined by superficial satisfactions of the id, Biller is able to create a nuanced film while not only embracing all the idiosyncrasies of a form from a bygone age, but by upending them.

Movies that follows the day in the life of its protagonists that eventually leads to drunken screaming and crying

Blue Jay, Krisha

The way people get excited about Marvel Movies is the way I get excited by the latest Mark Duplass joint. His latest film is a micro-budget film with Sarah Paulson that follows the familiar trope of two people walking and talking for a day that had been perfected by Linklater in the “Before Trilogy.” But, what it does with that trope is create an intimate film about lost love that becomes unpredictable. You question why are two central characters are doing what they are doing until the end makes it crystal clear. “Blue Jay” deserves to be watched twice just for the nuances that Paulson is able to portray that will not be clear the first time through. As if anyone needs any reminder that Sarah Paulson was a great actress.

In another micro-budget indie, Trey Edward Shults’ first feature does not even have any actors of note in it. In fact, everyone in the film is played by members of his own family about a story that is based on events from his life.  “Krisha” is truly a family affair. Everyone knows the anxiety of coming back home for a big family dinner. Here, Shults films it as if it was a sweeping epic film. The way Terrence Malick films the fields in “Days of Heaven,” is how Shults moves his camera through the big open house as Krisha comes back home after stints in rehab. To call Krisha self-destructive will be an understatement. Here Stults captures moments of family that feels too close to home. With specificity comes relatability; Krisha prepares herself before she goes into the house, children running around with no care for the adult conversations, courtesy small talks with family members who no one cares for. In the end, it is the conflict of hope and shame family has for Krisha that makes the film unforgettable.

Movies in which Adam Driver plays a character who is unsure of himself

Silence, Paterson

Quentin Tarantino has always said that he was afraid about the complacency old age might bring him with his directing. Well, Martin Scorsese has not grown complacent. With “Silence,” Scorsese proves to be as vibrant, self-reflexive and edgy as he was in the 70’s. This film will be the definitive mark of his greatness. “Silence,” is the nearly three-hour epic about Jesuit priests facing persecution for their faith in Japan. The film becomes a meditation of faith in all kinds of obstacles. And as an early-twenties American living in the 21st century with no religion to call my own, I identified with the plight of the people longing for Catholicism and the priests that bring them. Scorsese creates a total cinema that is more sensory than any artificial 4D can create. The theater melts away and you become immersed in 17th century Japan. The first two hours are physically brutal but the genius is with the emotionally brutal last hour when the form of storytelling changes, ending in a beautiful final shot.

Best dog of the year goes to the now departed Marvin, whose presence in “Paterson” puts him in the pantheon of great dogs in cinema alongside Toto and Uggie from “The Artist.” I don’t know how to explain this film to people except to say that it is the exactly what you expect from Jim Jarmusch. He has not made a film like this in a while; a poetic meditation of a bus driver in Paterson, New Jersey. Much of this film was influenced by the poetry of William Carlos Williams and the film moves like a poem. There is a structure but not a traditional story structure. The film ambles along like a NJ Transit bus and characters move in and out. Adam Driver as Paterson warns at one point, before he reads his poems, that it does not rhyme. I feel like I have to preface this film the same way. But, I like my films like that. Jarmusch instead populates the film with colorful characters, including a couple that cyclically fights and breaks up and a gang in a convertible warning about dog-jackers.

Documentaries that subvert the form

Kate Plays Christine, Cameraperson

I love meta explorations into the form of films and why we watch them. So, to see Robert Greene continue to question why people watch film while also making his audiences question what is real brings me pure bliss. Here, Greene follows actress Kate Lyn Sheil as she prepares to play Christine Chubbuck, a real-life reporter who committed suicide on live television in the 70’s. There is no role for Sheil, just the process. But, through the process in which we see her try to get into the head of a person who suffered through manic depression, Greene and Sheil begin to question our obsession with these figures. Chubbuck fought against the increasing exploitation of violence on the news and her senseless violence has since made her into a cult figure that has seen people desperately searching for the video of her death like it is the holy grail. It’s unclear what parts of “Kate Plays Christine” is real but the questions certainly are.

What we learn from that film and “Cameraperson” is the camera is inherently subjective. We see what the camera person wants us to see. And we know based on what images are put together and what sequence they come in. Kristen Johnson has been a longtime cinematographer for some of the greatest documentarians from Michael Moore to Laura Poitras. Through those films, she has saved plenty of footage and compiled a film that is a diary of sorts. Through the montage of out of context footage, we get a story of who Johnson is, despite the fact that we barely see Johnson. The only times we do is when she shows footage of her mom and she documents her struggles through Alzheimer’s. It is an amazing way of presenting self and highlighting the power of the form. Also, it is strangely satisfying to see the philosopher, Derrida, casually crossing a street in Manhattan.

Movies in which little trinkets given to the main character serves as important character development

Kubo and the Two Strings, American Honey

Laika takes a Studio Ghibli approach to filmmaking. Their films take time and persistence to make, not just because of their intricate animation style but because so much attention is put to little humane moments. Animation has the distinct advantage of being able to do the impossible, but the best of animation comes when the human moments are recreated amongst the impossible. “Kubo” is Laika’s crowning achievement in their young history and it is a shame that more people did not see it. It’s an exploration of grief and how people deal with it but it never stops being a children’s film. It achieves the sublime beauty of storytelling and art. This the type of movie that kids will be drawn to because of its beauty and action and watch again to realize the complexity of emotions it is tackling with. Here as an unnecessary dig, “Kubo and the Two Strings” does more for the genre of animation than all of Illumination films combine.

Rhianna is the soundtrack of youth. Last year the French film, “Girlhood” had the best use of “Diamonds” is a film when four young French girls lip-sync to it bathed in neon lights. Now, a bunch of runaways in Andrea Arnold’s “American Honey” does the same to “We Found Love” in a Midwestern grocery store. Rhianna is freedom. And “American Honey” is the truth. A somewhat divisive film, the film follows a magazine crew, a mish mash of reckless youths selling overpriced magazine subscriptions. Our protagonist is Star, played by a future star in Sasha Lane, as she decides to leave her constrained life to freedom with this band of merry people led by Riley Keough and Shia LaBeouf.  The film wanders along with this crew who has no destination. Rather, the destination is a journey for Star as she achieves self-actualization through wandering across the American landscape. This is a life unknown to me, a pleasure to be in, and an aftertaste sweet as Tennessee honey.  

[highframereview]

High Frame Review: Best of 2016 (10-1)

10. The Neon Demon Nicholas Winding Refn may have something wrong with him. To create such a depraved single focused work of real life horror is brilliant and concerning. The Neon Demon is a ride into the beauty industry dripping with colour and noise. Elle Fanning burns the screen from start to finish. And if you can predict the end of this film at the start, maybe you are as disturbed as Winding Refn. Best viewed late at night with the lights off.

  9. The Nice Guys

The Nice Guys is fun. Shane Black has created a film that doesn’t bother with subtext or social issues. All we get is two incompetent private detectives in over their heads bumbling around 1970’s Los Angeles. As much as Ryan Gosling and Russell Crowe are great in the film, Angourie Rice steals every scene she is in. The setting is real, the jokes land and the plot keeps you invested without ever trying to overreach.

  8. Hail, Caesar!

A common theme amongst some of the better films of the year was nostalgia and especially for classic hollywood. As we continue to lose those involved with classic movies, some like the Coen Brothers, look to remember and celebrate that time. Hail, Caesar! won't be everyone’s cup of tea, but criticism of the lacking plot couldn’t dampen my enjoyment of the film. So many individual scenes stand out and will be quoted forever. We have also discovered a new star in Alden Ehrenreich, he lassoed us in with charm and innocence and i can’t wait to see him as Han Solo.

  7. Arrival

Denis Villeneuve can do no wrong. He is the only reason i have supreme confidence in a new Blade Runner film. Arrival is not as advertised, it may revolve around alien craft landing, but this is purely window dressing as we are taken on a journey to discuss love, communication, secrecy and destiny. A visual masterpiece, Arrival represents a blockbuster that refuses to play by the rules. With a female lead, no major action scenes and a willingness to take his time, Villeneuve continues to make films the way he wants. Each one is distinctly different but have a similar feel and style, making Villeneuve one of the most exciting directors working today.

  6. Tickled

How could a film by a New Zealand pop journalist be this high on my list? Because it shook me to my very core and took me on a story that made me want to personally fight against injustice. An injustice that i had never heard of before and still am unsure is actually real. David Farrier goes on a mission to discover the sinister roots of an underground tickling video ring that lashes out at anyone in their path. Never could you anticipate the sheer evil in this film upon its description, but with each new revelation i became more and more engrossed in discovering the world with Farrier. Could Farrier be the next Louis Theroux? I think this film is already better.

  5. Hell Or Highwater

Sometimes one film is all you need to put yourself on the map. Damien Chazelle did it with Whiplash, Alex Garland had Ex Machina and next off the rank will be Taylor Sheridan, writer of Hell Or High Water. After writing Sicario in 2015 (as well as follow up Soldado for 2017) his directorial debut Wind River is highly anticipated. Hell Or Highwater is more than the sum of its parts, beautifully shot, well acted and a subtle and moving script but the whole is so much more and a real surprise. No doubt the modern crime western will be a new craze as Sheridan continues to write such golden material.

  4. Hunt For The Wilderpeople

Sometimes you just want a film to delight you. Hunt For The Wilderpeople is just delightful. A beautiful blend of heart and humour, Taika Waititi knows how to balance his films to never be too bogged down in melodrama or too humourous to be one dimensional. Sam Neill is a perfect foil for newcomer Julian Dennison as an odd couple forced together. Alongside them are Waititi’s colourful cast including Rachel House, Rhys Darby and the director himself. Waititi is a special director and will hopefully not lost to the hollywood system, his signature blend of dry humour and heart makes people’s lives better.

  3. Green Room

Hardcover punk, neo-nazis and a bit of a misunderstanding. For most of its runtime, Green Room takes place in a single location, a dank club that starts to feel like a claustrophobic tomb for the protagonists as the film tells their horrible story of a night trapped in a neo-nazi hell. Jeremy Saulnier has put together a masterpiece in suspense and terror while Anton Yelchin, Imogen Poots,  Alia Shawkat and Patrick Stewart own the screen. A surprisingly great film.  

2. La La Land

It’s hard not to have La La Land as my top film of 2016. It filled me with joy and a repeat viewing did nothing to dampen it, in fact it may have been better the second time around. It's a clique and a generalisation but I hate musicals, which makes my top two even more surprising to me. Damien Chazelle has a perfect record with Whiplash being my favourite film of the last ten years and La La Land being all but perfect. The music is perfect, the visuals are beautiful and the acting is exactly what it needs to be. Some criticism can be made for the ending of the film, but i prefer to look at the film as a celebration of filmmaking and classic hollywood and each scene stands by itself, the ending subverting tradition with a nod towards convention. As far as soundtracks and joy goes, there is only one film that did it better in 2016.

  1. Sing Street

When you look ahead at the year in film you see the big tent pole superhero films and the releases by critically acclaimed directors and actors you like. Sing Street by John Carney wasn’t on my radar until I sat down in the State Theatre for the Australian Premiere. Having seen Begin Again, I knew Carney could direct a feel good musical film, but Sing Street is something else entirely. An unknown cast, a classic soundtrack mixed with new music, Sing Street is a delight that rewards repeat viewings and had me playing the soundtrack for weeks afterwards. If you don’t have Drive it Like You Stole It stuck in your head after you see Sing Street you may need to check for a pulse. Heart and comedy are delivered in equal measures by a cast that doesn’t miss a beat despite many of them stepping in front of the camera for the first time. Seek out this film, then once you have watched it, give it two days then watch it again.