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The 90th Academy Awards (2018) Predictions

Here are my predictions for the upcoming Academy Awards, which premier on March 4th, 2018. Jimmy Kimmel is hosting the event which begins at 6 p.m CT.  

I’m going to add a second post that will have the movies I want to win in particular categories; as opposed to this list, which features my best guesses at who will take home these awards. 

Lead Actor in a Supporting Role

Sam Rockwell (THREE BILLBOARDS OUTSIDE EBBING, MISSOURI)

Makeup and Hairstyling

DARKEST HOUR (Kazuhiro Tsuji, David Malinowski and Lucy Sibbick)

Costume Design

PHANTOM THREAD (Mark Bridges)

Documentary (Feature)

FACES PLACES (Agnés Varda, JR and Rosalie Varda)

Sound Editing

DUNKIRK (Richard King and Alex Gibson)

Sound Mixing

DUNKIRK (Gregg Landaker, Gary A. Rizzo and Mark Weingarten)

Lead Actress in a Supporting Role

Allison Janney (I, TONYA)

Foreign Language Film

A FANTASTIC WOMAN (Chile)

Short Film (Animated)

DEAR BASKETBALL (Glen Keane and Kobe Bryant)

Watch Kobe Bryant’s and Glen Keane’s DEAR BASKETBALL here.

Animated Feature Film

COCO (Lee Unkrich and Darla K. Anderson)

Production Design

THE SHAPE OF WATER (Production Design: Paul Denham Austerberry; Set Decoration: Shane Vieau and Jeffrey A. Melvin)

Visual Effects

WAR FOR THE PLANET OF THE APES (Joe Letteri, Daniel Barrett, Dan Lemmon and Joel Whist)

Film Editing

DUNKIRK (Lee Smith)

Documentary (Short Subject)

EDITH+EDDIE (Laura Checkoway and Thomas Lee Wright)

Short Film (Live Action)

DEKALB ELEMENTARY (Reed Van Dyk)

Watch the trailer for this powerful short film here and read Kate Erbland’s review on IndieWire. This film looks both timely and powerful. 

Cinematography

BLADE RUNNER 2049 (Roger A. Deakins)

Music (Original Score)

THE SHAPE OF WATER (Alexandre Desplat)

Music (Original Song)

“Remember Me” from COCO; Music and Lyric by Kristen Anderson-Lopez and Robert Lopez

Writing (Original Screenplay)

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (Martin McDonagh)

Writing (Adapted Screenplay)

CALL ME BY YOUR NAME (Screenplay by James Ivory)

Directing

Guillermo Del Toro (THE SHAPE OF WATER)

Actor in a Leading Role

Gary Oldman (DARKEST HOUR)

Actress in a Leading Role

Frances McDormand (THREE BILLBOARDS OUTSIDE EBBING, MISSOURI)

Best Picture

THE SHAPE OF WATER 

Guillermo del Toro and J. Miles Dale, Producers

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Favorite Films of 2017 (thus far)

Here’s a caveat before providing you with the best movies I’ve seen in 2017 up to this point: I still haven’t seen Baby Driver, The Big Sick, The Beguiled, Colossal, or Okja. I’m probably not even qualified to participate in making a list such as this. Anyways, here’s what I’ve been fortunate enough to see and enjoy so far!

 And for funsies:

Named in Rank & Order: 

1. Get Out

2. Logan

3. Wonder Woman

4. I Don’t Feel At Home in this World Anymore

5. Free Fire

6. It Comes at Night

7. Guardians of the Galaxy Vol. 2

8. John Wick Ch. 2

9. Kong: Skull Island

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The Most Important & Definitive MCU Ranking, Probably

Come one, come all, and witness my subjective attempt at objectivity! The Marvel Cinematic Universe, whether appreciated or disavowed by fan or critic, is an ever present entry into the canon of film history and the cultural zeitgeist. With multiple MCU films releasing every single year between now and the end of time, there is no denying the sway these films hold over the Western cultural conscience and the conversations about the film industry, art, and fandom that they encourage. I have found in creating my ranking of the Marvel Cinematic Universe that list-making is an ephemeral practice in the subjective. Better yet, my making of this list has been a Sisyphean practice in futility, as I constantly revise these rankings based on the Marvel movie I’ve most recently viewed, or upon hearing a rousing argument from a friend, or some such constraint on my ability to establish objectivity in my arbitrary designations. Thus, I invite you to be my editors through this endless struggle. Here is my proposed draft of the MCU films, ranked from worst to best. Obviously, revision will be necessary as time moves ever onward, but if I am blatantly incorrect please let me know and we will collaborate together on some sort of truth in this cynical world. 

15) Thor: The Dark World

14) Iron Man 2

13) The Incredible Hulk

12) Iron Man 3

11) Avengers: Age of Ultron

10) Thor

9) Captain America: The First Avenger

8) Ant-Man

7) Doctor Strange

6) Captain America: Civil War

5) Guardians of the Galaxy Vol. 2

Guardians of the Galaxy Vol. 2 is an endearingly warm film that returns to the cast of misfits that shattered the Marvel movie-making model. I’ve written about the film at length here, so I’ll keep the details brief. GotG Vol. 2 offers delightful moments of character and light-heartedness that is purely joyful. This movie is among the best that the MCU has to offer, and James Gunn, the director, continues to bring instinctive innovation to the superhero genre through wit, charm, and bad-assery. The Guardians of the Galaxy films nestle seamlessly between episodic space opera, a groovy soundtrack, and the most out-of-leftfield, off-beat superheroes that any studio has dreamed of. I left the screening of GotG Vol. 2 full of adrenaline and the largest, cheesiest grin beheld upon an apathetic college student’s face.

4) Captain America: The Winter Soldier

Captain America is the MCU’s most iconic superhero among its current roster. In 2008, Robert Downey Jr’s Iron Man was the catalyst of this growing film universe and a symbol of all that is excellent of that which followed. Unfortunately, the Iron Man sequels set precedent for the lack of imagination and/or execution that has defined MCU sequels (most will argue in favor of Iron Man 3, but I was largely unimpressed and haven’t revisited it since the first time). Robert Downey Jr. remains grounded as the inimitable Tony Stark, but unfortunately his charm is unable to sustain the unsavory sequels. This is not the case for Captain America, whose films continue to supersede the original one. Captain America: The Winter Soldier is bold and exciting, giving the audience an engaging plot, magnificent characters, and some of the most stylized and provocative action sequences within the MCU. While Captain America is often one-dimensional as an individual, his inclusion in the Avengers helps anchor the entire series. Everything that the character represents is reflected upon his fellow heroes and pushes them beyond what they are ordinarily capable of. It is Cap’s lack of cynicism, apathy, or arrogance that also inspires the audience to be better versions of themselves. Robert Downey Jr. laid the foundation of success upon which the MCU was built, but it is Captain America’s shadowing presence that bolsters it.

3) Iron Man

I continually return to the word iconic because it represents how the MCU has infiltrated the American consciousness through their ability to embed themselves within the cultural zeitgeist. This relevance is created in moments of gravity and inspiration so profound they cannot be ignored. Marvel Studio’s creation of Iron Man and their decision to cast Robert Downey Jr. brought about the emergence of a new brand of filmmaking and iconicized superhero movies forever. Marvel Studios, under the guiding vision of Kevin Feige, set upon tempered waters by taking one of their lesser known characters (one of the few they still retained movie rights for) and turning him into the foundation of their franchise. Feige set out to emulate comic books by creating serialized movies for audiences to track with and enjoy, as they attempted to streamline these heroes’ stories into an overarching narrative. At the time, there was no precedent for this type of universe building. The producers, working for the nominally independent Marvel Studios, were staking their claim in the tepid milieu of superhero filmmaking. The fact that Robert Downey Jr., a recovering addict humbly working his way back into the goodwill of Hollywood, acted as the impetus propelling the property into what it is today was an outlandish gamble. This bold vision paid off though, and Iron Man was both a financial and critical success. Nowadays, Iron Man and Robert Downey Jr. are synonymous with the MCU. This is most evident in Iron Man’s inclusion in both Captain America: Civil War and Spider-Man: Homecoming, and while I argue that Cap now carries the torch for the franchise, he does so piggybacking on the success of Tony Stark and his super-suit. Iron Man loses steam towards the end, specifically as they rush the story towards its inevitable and calamitous conclusion, but the overall design, effects, and plot are well realized and the perfect entry into this mammoth franchise. Audiences would not have been introduced to this vast universe of characters nor been taught the idea that “we are Groot”, had Marvel Studios, and subsequently Tony Stark, not had the audacity to proclaim, “I am Iron Man.” 

2) The Avengers

This movie feels like a laborious day’s work coming to a close; as the hours wind down and the body’s strength weens, there is a sense of relief and accomplishment at the sight of a job well done. By the time Marvel’s The Avengers released in 2012, four movies and four years had passed since Nick Fury, and subsequently Marvel Studios, hinted at the Avengers Initiative. Marvel had delivered a bombastic entry into their cinematic universe through Iron Man, but proceeded to produce two flops (The Incredible Hulk & Iron Man 2) and two mediocre entries (Thor & Captain America: The First Avenger), leaving fans to wonder what they were buying into . Franchise fatigue began to set in for the first time and fans started to wonder if this elaborate film industry experiment was beginning to be derailed. That’s not to say that these films weren’t successful and the general population wasn’t willing to see them at the box office, but the question remained as to whether this franchise would break the glass ceiling and become something greater. Fortunately, the anticipation of seeing the Avengers team up in a single movie liberated viewers from their cultural malaise. The Avengers succeeded in bringing these separate superheroes together on screen and followed through on Kevin Feige’s original vision for the coherent, overarching narratives of many films to assemble into a single story within the confines of a single film, much like the team ups featured in Marvel’s comic books. The film is able to converge these characters without losing their individuality and allows each hero the time needed to be effective. The Avengers also offers the greatest MCU villain to date in the unruly and sinister Loki, as a continuation of his previous entry in Thor. Villainy was, and always has been, a problem in the MCU, but Tom Hiddleston's Loki is constructed so well and transcends the typical contrivances, that he is able to deliver a menacing performance that places him in the same iconic lineup as Iron Man and Captain America. Since its reception, The Avengers has served as the mold from which all MCU films are now made. Regardless of rumblings of superhero ennui settling in once again among fans, the franchise filmmaking model established by The Avengers is not an indictment on the film itself, but an accolade and example of being the type of film that so firmly supplants itself into the cultural conversation. In an era almost compromised by tedium in superhero filmmaking, The Avengers proved that it was the most evocative superhero film of its time, and that despite cultural listlessness, the MCU was still able to excite and shatter viewers’ expectations. 

1) Guardians of the Galaxy

While considering Marvel’s The Avengers and its induction as the mold through which Marvel films are fitted, it is worthy to note that there are a few exceptions. Chief among them is Guardians of the Galaxy. Sure, it’s a superhero team-up movie that is both funny and action packed, but James Gunn took the Avenger model and notched it up to eleven. The film is daringly subversive and the heroes it displays are characters with whom audiences were widely unfamiliar with and unprepared for. Guardians strikes a delightful balance between irreverent and contemplative, and does so without paying attention to the conventions of other Marvel films. Expanding the cinematic universe into the galaxy and unveiling uncharted spatial and character territories quintessentially invigorated the franchise unlike any previous film. There was an unfettered joy in the creation of this film that translates perfectly into the experience of viewing it. It may be argued that Guardians of the Galaxy and The Avengers are tied for first or are out of order, but Guardians is just more delightful than any superhero movie that I have ever seen.

Please comment below and tell me how I’m wrong, or share it with your friends, solidifying my attempt at creating something pure and true. 

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WONDER WOMAN (2017) | Dir. Patty Jenkins

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My Wife, the Superhero

My wife (Tricia) and I, celebrated our three year anniversary this week by having a much needed getaway. We rented a cabin on a lake, ate exceptional home cooked food, drank a little too much alcohol, and swam more than we will for the rest of the summer. This vacation was an opportunity for us to detox from the pressures of school, work, and domestic life. Tricia has had a particularly rough go at it the past few months, as she is striving to adjust to an impossible work situation. Her job has had her labor many hours a week (without the benefits of overtime because she is on salary), battle for wages that she deserves, stand up to impropriety and misconduct among colleagues, and endure a level of disrespect that she hasn’t encountered before. She is an everyday wonder woman at work and at home; a woman characterized by her integrity, tenacity, and moxie. When friends and family precipitate hard times in a young married couples’ future it is oft brushed aside as a societal axiom, one that can be risen above; youthful exuberance and love will overcome and not let darkness seep in. Unfortunately, reality sets in and three years later life isn’t as easy as you thought it would be. Trish and I are not destitute (in fact we’re very blessed), but there are days when things don’t come together and my faith wavers. Through it all, she exudes a relentlessly resilient spirit; she is a provider, a warrior, and a beacon of hope for me and all whom she encounters.

Given all that Tricia has put up with while I slog through my undergraduate degree, it was my joy to see Wonder Woman with her while on vacation. Finally a big, summer superhero blockbuster that showcases and exemplifies women. Tricia felt empowered as we watched it through tear stained eyes; I was awestruck. The film does brilliant work, not only in establishing itself as a bastion of progress, but as being one of the greatest superhero films of all time. It’s important to me to celebrate my wife in this moment rather than try to wax academic about the merits of the film. Tricia is an inspiration to me, much like Wonder Woman is an inspiration to the multitude of people who saw the movie. In the years that I’ve known her, Tricia continually proves that she is a badass with a heart, a person who doesn’t take shit lying down and yet she still manages to see the best in others. Even in moments of strife, she is comprised of a profound beauty and grace. She is a fortress that does not succumb to adversity.  I once found myself in a compromising altercation (it’s the one and only fight I have ever been in) where a few guys jumped me while I was leaving a bar. I was with a few friends and was fully expecting one of them to come to the rescue, little did I know that when I felt the two men stop punching me, it was my wife wrestling them to the ground. Tricia stands up for those who cannot stand up for themselves and has proven her courage a countless number of times and ways. It is her grit, her mettle, and her unwavering confidence that makes her a superhero and someone worthy of much admiration.

Dear Trish,

Thank you for being who you are and exemplifying all that is good and strong and right in the world. Your fortitude and virtue are an example to me and all who know you; you are awe-inspiring. It is the greatest honor of my life to be married to you and I know that all is well when you are near. I love you and am grateful to be the one by your side.

Love, Dimps

❤️

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WIN IT ALL (2017) | Dir. Joe Swanberg

Rating: 🍿🍿🍿

In March, during a particularly boring college Chemistry lecture, I compiled a list of must watch films coming out of SXSW. As I was perusing the festival catalogue I came across Win It All, a film written/directed by Joe Swanberg (Drinking Buddies, Digging for Fire) and co-written by Jake Johnson of New Girl. The film is a gambling movie that involves seedy, alleyway casinos and soul-crushing debt. Gambling/poker films with these tropes bear the weight of nostalgia for me and often cross into guilty pleasure territory. At an early age, my brother was fascinated by the game Texas Hold'em; his obsession kept him (and me, considering we shared a room) up all night, reading books and watching random 2 AM poker tournaments. To this day he still loves the game and cleans up nicely among friends willing to lose their money. As is the case with siblings, I mirror my brother’s interests, specifically in regards to poker, albeit with less intensity and skill. I don’t gamble, but I like the strategy involved with playing cards and the verve with which people like my brother play. He and I bonded over Rounders growing up and watched it so many times that I think we broke the DVD copy we owned. Suffice it all to say, I blame my brother and Matt Damon for my gambling film addiction.

Okay, Win It All is not Rounders but the tropes and the themes of the latter abide throughout Swanberg’s film which stars Jake Johnson, Keegan-Michael Key, and Joe Lo Truglio. The film follows Eddie (Johnson), a man labeled a loser by his Gamblers Anonymous sponsor (Key) who is equal parts caring, enabling, and kind of a dick. Eddie works as a parking attendant for the petty cash that he loses to gambling. There are highs that he experiences while winning at cards and it is his pride, or lack thereof, that prevents him  from walking away while he’s ahead. The McGuffin arrives in the form of a black duffel bag offered to him by a friend who asks him to hold on to it for safe-keeping while he does a short amount of time in prison. The duffel is (of course) filled with $100,000 in cash and Eddie is promised that if he can hold onto it for six months that he will be rewarded $10,000. It must be common of the criminal type to not think through their decisions, the fact that this friend holds a known gambling-addicted, loser accountable for a copious amount of cash is a poor life choice. As predicted, Eddie gambles most of the money away and garners the inevitable debt. Johnson offers a strong performance here and the film focuses more on his reactions to his bad luck and decision-making rather than the technical aspects of the game.

Act 2 is an exercise in turning his life around as Eddie finds stable work under his brother’s tutelage, is guided by his GA sponsor, and forms a budding romance with a woman he meets at a bar. This part of the narrative is genuine, heartfelt, and a complete tonal shift from the classic gambling movie. This is life building 101 and Eddie seems to be on a path towards success and freedom from his addiction. Truglio, Key, and Johnson respectively provide enough wit and charm to carry the audience through this otherwise (and I’m sorry to say it) boring part of the film. The sense of a relapse looms over this segment and everyone, especially the audience, anticipates an imminent decline. Enter our McGuffin. Early one morning, Eddie receives a call from his duffel-bag wielding, convict of a friend stating that he’s being released early. Being nowhere near paying the balance of his debts, Eddie despairs. The film once again resumes its gambling tropes, and as all such films end, Eddie must gamble his way to victory in one last high-stakes game. The question lingers, will he succumb to his vice and further his problems, or will he win it all?

The film is enjoyable and I’ve already admitted to taking pleasure in the poker players’ comeback story arch, but beyond the humor and the quasi- feel good tone, the film has a difficult time transcending genre. The intention is for the protagonist to build upon and establish new relationships in an attempt to reform, but reform in Eddie’s case seems to be a matter of happenstance via excruciating deus ex machina, rather than by the support offered by those close to him. The narrative is also regurgitated from better films (you thought we wouldn’t talk about Rounders again didn’t you? Think again) and does little to enhance the standard ethos of these types of movies. It wants so desperately to be a high stakes film that gambles with adult responsibilities, but does little to encourage realistic change within our titular character. Again, I enjoyed the character building among the cast and watching Jake Johnson confidently bumble through dire circumstances, but the movie only manages to be charming and not groundbreaking. Spoiler alert: Eddie wins it all, but the film doesn’t earn the payoff. Before watching the film I was going to call my brother and recommend it based on our mutual love for Rounders; I’m glad I didn’t because it is nothing like it.

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I DON’T FEEL AT HOME IN THIS WORLD ANYMORE (2017) | Dir. Macon Blair

Blue Ruin meets the Coen Brothers. I really dig everything Blair and Saulnier. 

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Guardians of the Galaxy Vol. 2 (2017) | Dir. James Gunn

Rating: 🍿🍿🍿🍿🍿

In the world of consuming and digesting pop culture, reviewing a film twelve days after its initial release is kind of ridiculous. At this point the film has already sunk its teeth into the cultural psyche, published reviewers have already pressed send on their final drafts, and Film Twitter has already run amuck spoiling plots and stacking arguments against the backdrop of films by Zack Snyder. The flood has come, the ark has boarded, and Noah has sealed the door. The cultural flood certainly passed, but I am not deterred. I was able to see Guardians of the Galaxy Vol. 2 last night and don’t give a damn about my insufferable tardiness. This movie is so good and I want to talk about it anyway. If spoilers are not your thing and if like me you haven’t seen GotG Vol. 2 yet, don’t read anymore (it’s better that way). Otherwise, in the words of the great Peter Quill, aka Star-Lord, “It’s showtime assholes.”

Guardians of the Galaxy Vol. 2 is directed by James Gunn and stars: Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, and Bradley Cooper (to name a few). The story follows closely behind the exploits of the first “Guardians” film, as we find our heroes hired to protect a valuable commodity for an alien race known as the Sovereign. Following a brief fight with an intergalactic monstrosity, the team bids farewell to the Sovereign after collecting their prize and pilots across the galaxy onto their next adventure. After their departure it is discovered that one of their members has stolen from the alien race they have just fought to protect and they are pursued across the galaxy before crash landing on a remote planet. The film then separates our heroes, as Star-Lord, Gamora, and Drax go off to discover the secret origins of Peter Quill and the others (Rocket Raccoon and the “so cute you could die” Baby Groot) are left to deal with the deadly Ravagers who are tasked with bringing them back to the Sovereign. The film is over two hours long, but is deliberately paced and exceedingly riveting.

 Guardians 2 is a riot from the opening dance number to the epic boss-battle finale (with video game references to boot). It is understood that one will walk out of a Gunn directed Guardians’ film with a smile on their face because both films are warm, hearty, and irreverent. There are few moments in this movie that are not designed to make the audience laugh out loud, or respond in a tangible way. I found myself clutching my arm like Dr. Strangelove because I was punching along with Star-Lord during the final fight scene. While I may be an isolated case of idiocy, it is evident in my theater’s reactions to the on screen antics that Guardians provokes something within its audience. Humor and audience responses have pressed the gas on this blockbuster hit (which is already #2 among domestic box offices), while the character development and thematic elements direct the narrative laudably. The individual moments of characters growth create a sense of solidarity that the viewers are invited into. The film is overwhelming and the themes, reinforced by its narration and characters, resonate deeply.

Let’s hearken back to the days of Guardians of the Galaxy Vol. 1, released in the year of our Lord 2014 (a much simpler time with no threat of Russian domination or pee tapes undermining the White House’s integrity). Alas, Vol. 1 was a middle entry into Phase Two of the Marvel Cinematic Universe (MCU), a franchise built on the laurels of the Avengers and all of their exploits. Gunn managed to take an underrated comic book property and breathe life into the MCU by offering something more than a team up amongst A-list superheroes. The entire premise of the Guardians of the Galaxy rests on a bunch of assholes (for lack of a better word) with no ulterior connections, teaming up to save a galaxy far, far but not so long away. Vol. 2 resumes this saga of misfits and shows them working together as a cohesive and complementary group. What makes the Guardians more believable than the Avengers is the nature and adherence of the group. They are not drafted by a secret government agency and asked to play nice, but rather thrown together by the random, chaotic nature of the universe, much like the friendships we experience within our own lives. We don’t choose our friends, rather they are propelled towards us at such a time, and through chance we cleave to one another.   

When I was ten years old, I became friends with someone because our parents started dating (his mother was dating my dad, and yeah, it’s weird to think about now). At the time I hated this guy because I didn’t want a friendship formed by an encroachment upon my parents’ divorce, and even though that divorce was necessary and an integral part of who I am, the limited scope of my pre-adolescent self refused to get along with him. I befriended another guy because we were both enrolled in a baseball program we didn’t want to be in. In an act of teenage rebellion and a case for the unifying collaboration of delinquents, we broke into the press office of the baseball stadium to hijack the coach’s iPod in order to play The Mars Volta over the PA during practice, thus forming a friendship that has lasted many years. These friendships were absolutely random and completely unwarranted, but developed into something meaningful and impactful over time. This is what Vol. 2 establishes, an unlikely team of talented degenerates become buddies, and this camaraderie is solidified into a familial bond through trial. Each character gets under the other’s skin, but they are resolute in defending one another unto death. The film creates wonderful moments for individual members to reconcile their hangups and to realize their place within the relationship that they have constructed. The understanding of the human inclination towards community is what humanizes this film; the fact that it is able to do so through the lens of sarcastic humor and delightful science fiction is marvelous.

Reaching into the far corners of the Marvel universe to showcase the Guardians of the Galaxy, James Gunn and crew have managed to unearth hidden gems within the MCU formula: character and heart.  The movie generates warmth, mends the soul with laughter, and considers the dynamics of human relationships. There are those in life we will easily call friend, but there are only a reserved few deserving of the names, brother and sister. Guardians of the Galaxy Vol. 2 is a captivating film made by competent hands. The story it tells is sure to fascinate and relate to audiences worldwide.

What did you think of GotG Vol. 2? Let me know by commenting, reblogging, or liking this post. Or follow me on Twitter @ andrewwaring. 

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Twin Weeks | May 15-21, 2017 🦉

Twin Peaks, the cult-classic television show from the minds of David Lynch and Mark Frost, returns to broadcast on May 21, 2017 after a 26 year hiatus. Last year while vacationing with my wife we discovered Twin Peaks and took to it immediately. The show is beautiful, surreal, unsettling, soapy, morose, and so many other adjectives; in fact, trying to accurately describe Twin Peaks is a delicate task because it is so unprecedented. In large part this is due to Lynch’s contribution, who’s filmography is comprised of absurd and entrancing stories that maximize the medium of film. The influence of this show has largely changed the vision of two decades worth of TV filmmakers. 

In honor of this legendary drama, I’m thoroughly and most-enjoyably engaging in a week of nothing but Twin Peaks content. The goal for the days proceeding the 21st is to re-watch the original first two seasons, the movie Twin Peaks: Fire Walk With Me, and the miniature documentary The Missing Pieces for a grand total of 28 hours of viewing bliss. As a companion to my introverted paradise, I will be reading Mark Frost’s novel, The Secret History of Twin Peaks. It’s going to be a damn fine week! 

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Summer Movies 2k17

Summer movie season is once again upon us and the good folks over at SlashFilm are compiling their wagers on the biggest summer movie box office successes. In the spirit of the fun I have decided to participate. Here is my list!

Follow the Summer Movie Wager here or on Twitter @ SumMovieW. Happy Summer  viewing to you all!  

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🆓🔥😎

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Scheduling announcements include: DEADPOOL 2, every foreseeable AVATAR sequel, and Spielberg's THE POST w/ Tom Hanks and Meryl Streep.

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STAR WARS: THE LAST JEDI (2018) | Dir. Rian Johnson

This is my favorite shot from the new trailer. Can it be Christmas already?

Godspeed.

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(via https://www.youtube.com/watch?v=zB4I68XVPzQ)

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BLUE RUIN (2013) | Dir. Jeremy Saulnier

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One: Mathematics is the language of nature. Two: Everything around us can be represented and understood through numbers. Three: If you graph the numbers of any system, patterns emerge. Therefore, there are patterns everywhere in nature.

PI (1998) | Dir. Darren Aronofsky