” I just want to have a good time until this shit’s over, man”
A character study of hedonism, this free-form comedy follows poet ‘Moondog’ chase pleasure wherever he can find it. Matthew McConaughey shines in the role he was born to play, and the soundtrack is the years best.
9. LITTLE WOMEN
Directed by: Greta Gerwig
I admittedly was disappointed when I heard Greta Gerwig decided to follow up Lady Bird with an adaptation, but here she infuses new life into the material and each character with her creativity and brilliant writing.
8. THE FAREWELL
Directed by: Lulu Wang
This movie that confirms my long-held theory that grandmas are the best people on earth. Lulu Wang tells a personal true story that offers interesting insights into Chinese culture and beautifully articulates universal truths about family.
7. A BEAUTIFUL DAY IN THE NEIGHBORHOOD
Directed by: Marielle Heller
A richly textured character study that explores emotional trauma and forgiveness. Heller avoids the usual traps of biopics by limiting scope, focusing on humanity, and elevating material with creative strokes (animation, music, and surreal dream + memory sequences).
6. MARRIAGE STORY
Directed by: Noah Baumbach
“Divorce is a funeral without a body”
A couple’s divorce takes humorously petty and heartbreakingly messy turns. The thing I appreciate most about this movie is that despite its tragic vein, it never ceases to be a love story. Noah Baumbach is a master of understanding nuances that make us human.
5. ONCE UPON A TIME IN HOLLYWOOD
Directed by: Quentin Tarantino
“Rick fucking Dalton” is the most iconic moment of the year.
Tarantino’s movies have always been more character than plot, but this is the most he’s abandoned story in favor of meandering. Like a dream, we float around and simply spend time with these people in their everyday lives. Fittingly named “Once Upon A Time”, it’s a fairy-tale imagining of a world where this 1960s era of Los Angeles never had to end.
4. UNCUT GEMS
Directed by: Benny Safdie, Josh Safdie
A career best Adam Sandler carries this hypnotic and dizzying look into the New York Diamond District and it’s fascinating economy/ecosystem. Its a movie about lies, bad decisions, and basketball. Between this and 2017’s Good Time, the Safdie brothers remind me of a young Martin Scorsese who launched with Means Streets and Taxi Driver.
3. PORTRAIT OF A LADY ON FIRE
Directed by: Céline Sciamma
This script doesn’t cut corners. A lesser filmmaker would have immediately presented a superficial infatuation and told us what to think about the strength of the central romance. The characters in this slow-burner *develop* a genuine connection, which allows the audience to simultaneously become invested in their motives, relationship, and art. When the payoff finally comes, the emotions feel uniquely powerful and totally earned.
2. PARASITE
Directed by: Bong Joon-ho
There is no genre you could neatly fit this into. The first hour is a heist movie of sorts, as entertaining as any Oceans 11 movie. It’s at times laugh-out-loud funny and other parts it’s an unnerving Hitchcockian thriller. In the quieter latter scenes, it becomes a moving family drama and a sad reflection of economic class disparity. I don’t think I have ever seen something that (effectively) hits such a wide range of notes.
1. KNIVES OUT
Directed by: Rian Johnson
A cleverly crafted, delicious whodunit that delivers all the entertainment goods, while also astutely depicting a microcosm of 2019 America with the underlying drama. It also seems to be a personal retribution vehicle for Rian Johnson, the guy who “ruined Star Wars”. He clearly read all the criticism from fanboys / trolls, and responded with a sublime middle finger that is this script.
I feel like I could make three separate Oscar Award arguments here for Rachel McAdams, Jesse Plemons, and the little Westie dog named Olivia (who is having a breakout year with her scene stealing role in Widows too). This is the best studio comedy in years.
14. MADELINE’S MADELINE
The line between art and life becomes blurred in this latest project from writer/director Josephine Decker, who explores creative process and narrative appropriation. While the experimental style won’t be for everyone, those with an open mind and a bit of patience will be rewarded with a climatic sequence that is as exhilarating as any this year. Watch one of the years best trailer HERE.
13.WILDLIFE
Forest fires in 1960 Montana provides an effective motif and metaphor for the internal turmoil of this particular family unit. There Will Be Blood comes to mind as a reference point not only because of writer/director Paul Dano’s hand in each, but more so due to both movies being richly textured stories that deconstruct the American dream.
12. MANDY
This batshit crazy ride is driven by a furious Nicholas Cage in a role he was born to play. The surreal ’80s metal aesthetic, psychedelic drug use, and laughably extreme action sequences elevate this revenge thriller to an instant cult classic.
11. EIGHTH GRADE
There are few things more uncomfortable than watching this movie. Not because of anything grotesque or over-the-top, but rather by the brilliant depiction of the most vulnerable stage of life and our inner insecurities and longings. I’m excited to see what Bo Burnham does next.
10. THUNDER ROAD
Jim Cummings (who also wrote, directed, edited, and composed) gives one of the best performances of the year by constantly teetering between melodramatic, slapstick, cringeworthy, heated, and heart-warming in a very compelling way. The movie examines a fragile male psyche with a sincere effort to empathize. Great article on this production (+ current state of indie film-making) can be read HERE.
9. ISLE OF DOGS
We’ve known from Fantastic Mr. Fox that stop motion is a glorious marriage with the detail oriented Wes Anderson, but here we get a next level (visual) masterpiece. Detractors might argue its “lesser” in the directors filmography from a narrative perspective, but that should say more about his strength as a director than a legitimate strike against this movie, and I happened to be moved by the message and heart.
8. HEREDITARY
The years best horror film also serves as a thoughtful family drama with it’s themes of trauma, grieving, and mental illness. The entire cast is phenomenal, but Toni Colette especially is masterful and deserves every acting award there is.
7. MID90s
I’d watch any movie with impressive skating shots and a deep hip-hop catalogue, but what makes the movie special is the chemistry and exuberance shared between the five boys. It’s refreshingly irreverent, yet also paints an insightful portrait of masculine youth in America.
6. SPIDER-MAN: INTO THE SPIDER-VERSE
I don’t hate superhero movies, but I am often turned off by the formulaic approach. Everything about this new Spider-Man feels fresh, including animation technique, the parallel universe storytelling, and some much needed diversity / representation via Miles Morales.
5. IF BEALE STREET COULD TALK
A timely plea with timeless musings along the way, this movie finds the perfect balance of social justice and romance story while truly showing that black lives do matter. Barry Jenkins (Moonlight) continues to write a new cinematic love language with his intimate visual style and expressionistic strokes. Listen to the year’s best score HERE.
4. FIRST REFORMED
Who can know the mind of God? What withstands despair – reason or courage? Does the desire for certainty lead to extremism? Can you help save the planet if you can’t save yourself? How do our obsessions reflect our shame and self-doubt?
The answers provided in this movie are elusive, but the questions posed throughout are astute and alluring.
3. PADDINGTON 2
“If we’re kind and polite, the world will be right” could be a mantra that boils down life’s problems in an overly naive manner OR it might a profound truth that speaks to an entirely lost art in a societal time of fear and divide. Maybe the world would be a little more “right” if everyone carved out 104 minutes to heed wisdom and inspiration from this transcendent bear.
2. ANNIHILATION
Humanity’s intrinsic need to self-destruct is the central thesis of this philosophical horror/thriller, but there are many other elements at play that are inarticulable. The visual style feels like you’re living in a post-expressionist painting and there are images that’ll burn into your mind. Like the best kind of art, Annihilationenables us to find ourselves and lose ourselves at the same time.
1. THE FAVOURITE
The tale of power struggles, over-indulgence, and political absurdity feels timely, but director Yorgos Lanthimos avoids didactic partisan punches by crafting rich female character studies with layers of grit, sorrow, passion and vulnerability, along with agency. The movie is such a smart, rowdy, and absurd ride throughout. Period-costume-political-biopic-dramas are NOT supposed to be this fun. Simply glorious.
The movie Holes reimagined as Call Me By Your Name – I had a lot of fun editing this together. It worked too perfectly not to. Sorry if it shatters your childhood.
The “Romantic Comedy” is a dying genre, with studios having shifted attention to “rauchy-roms” or other similar variations. This movie feels surprisingly fresh by channeling a spirit of the 90s / early ’00s rom-com. It’s My Big Fat Greek Wedding meets While You Were Sleeping, but is still very much of the current times and features progressive dynamics you may not have gotten last generation. It’s an extremely realistic script and will be remembered as well as any movie this year as an accurate snapshot of life in 2017. It’s truly funny and heartfelt without ever being cheesy, and while there are a handful of “feel good” movies on this list, none may have felt better than The Big Sick.
14. THE SHAPE OF WATER
Sorry Disney, Guillermo del Toro made the only necessary Beauty and the Beast adaptation of the year… well kinda. The parallels are obvious with the monster love story, but The Shape of Water is far more fascinating and broader reaching in scope. You might be able to guess the possible political and social statements here, and they are timely, but the story also lands in a place that transcends any mere heavy-handed metaphor for more timeless and poetic qualities. It’s a sexual awakening, an exploration of identity, reflection on love, and a love letter to cinema.
Del Toro finds originality and magic by handing the storytelling power to the female protagonist. This is not about a beast redeeming himself through a captive woman. This is about a woman discovering her voice through a fish-man who she deems irresistibly attractive in every way. Elisa (Sally Hawkins) is Belle, but hungrier, more tenacious. She masturbates. She makes decisions. She’s a necessary subversion in a time where we are continuing to rethink the heroine on the big screen.
13. THE SQUARE
“The Square is a sanctuary of trust and caring. Within it we all share equal rights and obligations.”
A cringe comedy in a similar vein of The Office, this sharp satire explores the disconnect between ideology and actions. Christian is museum art curator with progressive political and social beliefs, but all bets are off when his wallet and phone are stolen. The layers of his facade are peeled back to reveal his attitudes towards women and the lower class, as well as his pretentious tastes and lack of integrity in avoiding sensationalism to go viral. The vignette based storytelling (which may have been better served as an HBO miniseries) humorously looks at various art exhibits that challenge human trust and desire for comfort above all.
12. THE FLORIDA PROJECT
Writer and director Sean Baker (Tangerine) thrives telling stories about marginalized places in society, and he always opts for empathy over judgement calls in exploring the lives of his broken characters. While Willem Dafoe is great in this movie, and his presence is needed as a grounded and warm figure, Baker’s employment of non-actors for most other roles is both impressive (they’re convincing) and adds an extremely powerful element of realism.
This honest look into severe poverty and homelessness may have been too hard to stomach if it wasn’t viewed through the curious, humorous, and life-affirming perspective of Moonee, who is as much a Disney Princess as Snow White, Cinderella, or Little Mermaid. The duality of Orlando is thought-provoking and the central thesis here could very well be that “the most magical place on earth” is inside a child’s mind, not a theme park.
11. CALL ME BY YOUR NAME
Call Me By Your Name is an incredible reflection on the fluidity of time, experiences, and human connections. The movie compels you to powerfully recall moments from the past: persons and occurrences that are seemingly random and irrelevant to our present selves and life tracks, yet still somehow subtly define us. It does so specifically by looking at summer love, a universally shared euphoric phenomenon. The idea of feeling everything, and taking nothing with you as you inevitably go separate ways. Did it happen for a reason? Why do I hurt? What do I do with the memory now? Call Me By Your Name doesn’t have the answers, but it puts an arm around you while you reflect on the absurdity of it all. You still feel confused as you look back at these moments in life, but a little less alone in it after watching this.
Armie Hammer’s character dancing to the The Psychedelic Furs is one of the most iconic moments of the year. The soundtrack in general is the year’s best, highlighted by underrated 80s gems and two original Sufjan Stevens songs (“Mystery of Love” is my favorite song of the year). Final thing worth mentioning: you will never eat a peach the same way. 🍑
10. I, TONYA
Tonya Harding is the year’s surprising feminist character study.
While it may have been easier to tell a black and white version of the controversial events that unfolded in January 1994, this movie opts to show “truth” as something far more complicated. Various perspectives are looked at with empathy and avoidance of dehumanizing, even after abuse, lies, and conspiring. The story also finds much humor at every turn, as Paul Walter Hauser and Allison Janney are fucking hilarious and two of the year’s top scene stealers.
Margot Robbie, in the best female performance of the year, inspires unwavering perseverance through her character. It’s an unlikely but rapturous feminist anthem, a story of not conforming to a snobbish, sexist sport and being true to yourself. I, Tonya also has much to say about American consumerism and clickbait media, and reminds that behind every news cycle and cultural phenomenon is an actual human life. In a movie filled with various harsh forms of abuse, none may be more of a gut punch than Tonya breaking the fourth wall to say that each of us are her abusers too.
9. BLADE RUNNER 2049
Visual and philosophical masterpiece.
A bioengineered android detective navigates a mysterious case while also trying to come to grips with his own existential crises. Blade Runner 2049 could be viewed as a re-imagining of Pinocchio in a cyberpunk future by Denis Villeneuve (Arrival and Prisoners), who continues his streak as a true visionary director. The movie is both visually flawless and mind-bendingly philosophical, with deep examinations of identity and what it means to be a person.
Fans of the predecessor might hate me for saying it, but I think this sequel is much better and can probably be viewed without seeing the first. With a longer runtime, the universe and characters were able to be explored in a more satisfying way, and a much stronger connection of empathy and emotion was established early on. There seem to be clearly inspired moments from the likes of Her and Eternal Sunshine of the Spotless Mind with beautifully intimate depictions of love, loneliness, longings, dreams, and memories – a few of which that stand out as some of the most iconic and impressive scenes I’ve ever seen.
8. COCO
Miguel the dreamer. One of Pixar’s strongest scenes ever.
Pixar is still the premier animation studio, but they have faltered this decade by placing a greater emphasis on sequels and contrived formulas for prolific output. For every Inside Out it feels like we are given two unnecessary Cars sequels. They are at their best when they let the quality storytelling drive everything else, which is exactly the case with Coco. While this effort may not be their best to date, it is certainly one of their most balanced.
The premium placed on aesthetics places it up near the top with Ratatouille and WALL-E in that regard. The tear jerking climax puts it in the same conversation as strongest emotional connection along with the opening love scene from Up, the incinerator scene from Toy Story 3, and the cathartic culmination of Inside Out. The aspiring guitar player story and incorporation of great original songs makes it one of their most memorable in regards to musicality. Finally, the messages of mortality, valuing family, pursuing dreams, and celebration of Mexican culture feels like it’s one of their most necessary and timely stories in the context of our current political climate.
7. THE KILLING OF A SACRED DEER
Best male supporting effort of the year by breakout star Barry Keoghan.
This satirical and tragic fable is extremely relevant and scathing in a year in which Hollywood has been harrowed by the surfacing of buried transgressions, and further, in an age where we as a society evade responsibility and guilt at all costs. Greek director Yorgos Lanthimos (The Lobster) has an uncanny ability for exposing human insanity and takes aim at justice through his omniscient surrogate Martin, one of the most sinister and riveting movie antagonists of recent memory.
The story is clearly inspired by the Greek myth Iphigenia in Aulis, but could also be viewed as an absurdist retelling of God’s testing of Abraham with Isaac. Lanthimos once again incorporates his trademark dialogue (flat, affected, overly expository, humorous), but here he seems to also be channeling his adoration for Stanley Kubrick: horror elements, extensive use of classical music, long tracking shots, one point perspective, deeply unsettling imagery, and studying of the dark depths of human nature. The psychosexual underpinnings call Eyes Wide Shut to mind, while the careful attention to detail and chaos evokes feelings of watching The Shining. Only time will tell if it achieves similar cult status.
6. THE DISASTER ARTIST
Taking on the “worst movie ever” as source material was quite an ambitious risk for James Franco. He stayed in character the entire shoot, including while he directed, and opines it to be “the first time ever that a director was directing himself in a movie, playing a character that was a director directing himself in a movie.” His efforts here could be perceived as either gimmicky or brilliant. I personally think it’s the latter, and probably his best work to date, both as actor and director.
I found myself surprised by the crowd’s roars of laughter through the entire runtime of an opening night showing. It certainly is a hilarious movie, but it is equally as much a drama. The Disaster Artist is about dreaming, creating, and failing. It’s about the unlikely connectivity of outsiders and a lesson in true friendship. It’s a story of overcoming rejection by learning to accept yourself. Enjoy it anyway you please, but pay close attention to the nuances and you may notice a subtle vein of profound sadness flowing throughout.
5. MOTHER!
Intrusive, heinous, extreme, sacrilegious, hopeless, brutal, unapologetic, and absolutely fascinating. What more do you want from a horror movie? The “F” grade on CinemaScore suggests maybe audiences were expecting something else, maybe more jump scares and traditional storytelling. The “horror” here stems more from claustrophobia, stress, disturbing imagery, and fever dream progression. It’s a home invasion plot, but the absurd elements and allegory foils any attempt at face literal interpretation. Buyer beware.
It heavily borrows from the biblical narrative with creation, fall, flood, logos, eucharist, church, and apocalypse, but perhaps just as much a framework than strictly just message or meaning. It seems also to do with the creative process, frustration of writers block, the relationship of art and artist, distraction of fame, destruction of our planet, and the suppression and exploitation of women. Jennifer Lawrence’s character could easily be a stand-in for The Giving Tree, but she could also quite possibly be meta-portraying herself by the climactic finish. The movie is a beautiful and disastrous telling of the world’s history from a feminist, environmentalist, and gnostic perspective. It’s an urgent plea in urgent times.
4. THE MEYEROWITZ STORIES
“Happy families are all alike; every unhappy family is unhappy in its own way.” – Leo Tolstoy
Noah Baumbach is the master of exploring family dysfunction. In this latest work he examines the plights of the Meyerowitz family, a dysfunctional group of people who live in the shadow of their dysfunctional patriarch. Art is their religion and it dictates their pressures, passions, and self-worth. This movie feels like a realist version of The Royal Tenenbaums, and it should be an easy sell for any fan of Wes Anderson movies.
Baumbach’s carefully crafted script is able to look at heavy and relatable relationship dynamics with an unwavering air of comedy, sincerity, and optimism. The original songs, Randy Newman score, creative structure, humorous editing, and rhythmic dialogue creates an exciting pace throughout. Baumbach harnesses some career best performances (or pretty damn close) in the year’s best cast (Ben Stiller, Adam Sandler, Elizabeth Marvel, Dustin Hoffman, and Grace Van Patten).
3. PHANTOM THREAD
Daniel Day-Lewis recently said, “there is nothing more beautiful in all the arts than something that appears simple.” When you have the greatest living filmmaker and greatest living actor working together, still at the top of their crafts, the product can certainly almost appear simple. Day-Lewis, who may be appearing for the final time on-screen, shows a more nuanced side to his acting abilities (especially compared to a boisterous role like Abraham Lincoln) but is still as strong as ever. Newcomer Vicky Krieps, who holds her own opposite the best ever, is an instant star and one of the year’s breakout talents.
The movie is a love story with a dark twist. The best reference point that comes to mind is Gone Girl – not in plot, but in escalating power plays and destructive behavior despite mutual dependence. Like mother!, it shows the dangers of obsessive artistry and toxic masculinity, but never damns anyone. Phantom Thread bluntly shows the egotistical side to human nature and the paradox that is coexistence, yet it never fully succumbs to cynicism. It embraces it’s sentimentaility and captures the feeling of truly needing the love of another. Radiohead’s Jonny Greenwood sets the tone throughout with his perfect score, and “House of Woodcock” especially entices you to fall in love too.
2. LADY BIRD
Greta Gerwig’s profound understanding of human subtleties and relationships results in a masterfully crafted script filled with people and experiences that we feel we know intimately, but none of which that feel cliché. Her direction with tone and pacing creates a unique constant teetering between snarky and sincere, laughs and tears, which amounts to a truly satisfying cinematic experience that hits all the right notes.
Lady Bird is about a girl growing up, but it is just as much about a mom letting go, and that dual perspective tug-of-war tension is what hoists it above traditional coming-of-age genre stories. It takes place in a specific time, but there is a timeless quality to the dialogue that relies on situational and observational humor above cheap pop culture references or one-liners that you definitely see in other millennial comedies. All signs point to this movie aging as well as any from 2017, and very well could be remembered as one of this generation’s defining classics in 50+ years.
1. GOOD TIME
The emphatic entrance of Robert Pattinson’s character minutes into the movie signaled two things:
The former Twilight actor is not messing around in an attempt to reinvent himself from the pretty boy typecast. Pattinson delivers the best performance of 2017 as the gritty anti-hero Connie, and you get the feeling this entrance will one day be remembered as the pivotal moment of his career.
The title of this heist thriller is no misnomer. From this moment on, we are flung into an unrelenting adrenaline ride that hasn’t felt so exhilarating since 2015’s Fury Road.
It’s hard not to recall the late film critic Manny Farber’s coined term “Termite Art“ when describing the dramatic depth here. Farber argued that true glory of American cinema is not found in high-minded message pictures like To Kill a Mockingbird or Schindler’s List, but rather in B-movies and genre pictures where the artistry is hidden within the entertainment. Good Time provides thorough entertainment throughout, but it also stays in your mind long past viewing, with little termites eating at you with questions regarding the American handling of penal system, poverty, privilege, and mental health. The overarching theme of the movie is destructive love, and above all begs the question, can you truly love someone despite not having the right kind of love to give them?
Every day I came to The Building. It is the tallest and most iconic building in the city.
Every day I went up the elevator to the office’s floor with my coworkers. We’d feel pride as we shuffled into the elevator together. We worked for a reputable employer.
It often felt like my life was centered around The Building. When I’d go out at night, I’d see The Building in the distance, hovering over the city. It was always watching me. It felt safe knowing that I could always find myself in relation to The Building.
Sometimes people would ask what I did. I would point in the general direction of The Building.
“I work there.”
“Up there in that building.”
Almost everyone had a talking point in regards to The Building. They knew someone who worked there. Or they once had to go to The Building to deal with a matter that was important. Or at the very least they heard that The Building was very nice.
“Yeah. That’s where I work. Pretty good view. Haha.”
They didn’t know what I did. It didn’t matter. They just knew that I was in The Building.
One day, I met an unusual man on the public bus. He seemed very poor. Normally I avoided settings like this but the popular ride-sharing transportation service was unreasonably surcharged at that particular moment.
There were still a few empty rows on the bus, but he chose to sit right next to me. I tried to dodge eye contact and avoid giving any inclining that I wanted to chat.
He eventually tapped my leg and started to ask basic questions. We small talked for a bit. I told the man that I worked in the The Building. He didn’t seem to care.
I quickly learned that this man was not from this city. He did not know the popular industries of our region. But it was worse. He did not connect with any topics I tried: the upcoming big game, the critically acclaimed television series, the trending news story, etc… It was almost as if he wasn’t from this planet.
Instead he started asking me about my passions, my upbringing, my biggest regrets and insecurities. He seemed especially interested in the influence of my parents and cultural relativity on my perception of the world.
“I work in The Building” I replied.
He looked as if he could see deep into my heart. He put his hand on my shoulder and he said, “The Building will fall. The Man will fall.”
One of the most entertaining movies of the year, Hell or High Water is an action packed heist thriller. The movie pays homage to the classic western, but doesn’t try to add much in message or style (in contrast with a No Country for Old Men, for example). Though safe, the execution is nearly flawless with a well crafted plot, sharp acting (Jeff Bridges!), and strong visuals/music.
9. SAUSAGE PARTY
I really hated Zootopia. It tried too hard to be original, edgy, clever, subtle, artistic, progressive, and above all, deep in its message. Unfortunately, it is none of those things. Sausage Party isn’t either, but it never pretends to be, unlike Zootopia.
Everything about this movie is heavy handed and superfluous – the nihilistic message, political jabs, the racial stereotypes, and all the food orgies in-between. It is secure and transparent in it’s unpretentious, lowbrow nature. Definitely the raunchiest movie 2016 had to offer, but probably the funniest too.
8. SILENCE
It’s rare that Hollywood offers such a sympathetic perspective on the Christian faith. It’s even rarer when done tastefully. Scorsese, one of the all-time greats, delivers a brutal look into persecution of faith. The intense subject matter and the 160 minute run-time makes for a tough sell (especially when at least 20 of those minutes could have been shaved in the editing room), but the aesthetics, theological candor, and spirited performances help drive a very moving experience.
7. ARRIVAL
More than aliens, time-travel, or any other sci-fi concept, Arrival is a movie about language and the delicate power of human communication. It is a movie that absolutely demands repeat viewings, further readings, and discussions with others that you watch it with.
6. O.J.: MADE IN AMERICA
This magnum opus of a documentary looks at the story from numerous perspectives and all the major players. It provides extensive context of Los Angeles, including political climate, economic systems, celebrity culture, and police brutality. It had me thinking critically of themes that still exist today. Thorough, balanced, unbiased, and unflinching in its search for truth, Made In America is utterly compelling for entirety of the 7 hours and 47 minutes. It puts other O.J. documentaries to shame. Absolute must watch.
5. WIENER-DOG
Wiener-Dog follows a dachshund’s journey through multiple owners. While (otherwise) seemingly four fragmented stories, these lives share more than just a dog. Disillusionment, disappointment, and mortality are all overarching themes here. Sounds dark? It’s a comedy.
This could be viewed as a cynics version of A Dog’s Purpose. The film is poignant in its punches, but the ironic tone is never eclipsed. While the black humor and dry style dialogue may not be for everyone, but I truly find Wiener-Dog to be a (subtle) masterpiece.
4. MANCHESTER BY THE SEA
A heavy-hearted drama with an intense character study, Manchester By The Sea punched me in the face and kicked me while I was down. Casey Affleck’s affecting performance is made possible by compassion and attention to the little nuances, quirks, and subtleties that make us human. With integrity in its grittiness, Manchester By The Sea offers no fairy-tales, false hopes, or satisfying narrative arcs. Such is life. This movie is devastating and beautiful.
3. MOONLIGHT
“Movies are like a machine that generates empathy. It lets you understand a little bit more about different hopes, aspirations, dreams and fears. It helps us to identify with the people who are sharing this journey with us.”
-Roger Ebert
A coming-of-age story that looks thoroughly at a life of a boy growing up in America. We’ve seen similar concepts in recent years in Tree of Life and Boyhood. While all three are high in ambition and unique in perspective, this film is more accessible than the former, and much more powerful than the latter. You may not sympathize or resonate with this story, but you sure as hell will empathize. And empathy is the only true starting point for change in this country.
2. THE LOBSTER
The surreal nature of this movie is quite polarizing. The Kafkaesque concept was an easy sell for me due to a long-time admiration for the genre in films and literature, though I definitely still had a few “what the fuck am I watching?” moments. The movie really is just a conglomeration of The Hunger Games, The Bachelor, a bit of quirky indie flair, and maybe a psychedelic drug trip. In hindsight, this near-future dystopia (and its culture commentary) is everything the movie Her should have been.
1. LA LA LAND
The Whiplash director does not disappoint in this ridiculously ambitious follow-up effort. The movie is not perfect – primarily due to a flawed 2nd act which features poor pacing, John Legend’s acting skills, and those Sebastian-joins-a-touring-band scenes which almost lost me. However, a few key strengths are able to fully compensate: the sheer energy of the first act, the gut wrenching Mia audition (“Fools Who Dream”), and one the most beautiful movie endings in cinematic history. Following the likes of La La Land and Whiplash (also a tremendous final scene), the smart money says that Damien Chazelles next films ending will end with a nod. And I hope it does.
I have never felt safe in this country as a white male until today.
Alas, I can say my favorite two words loud and proud: “Merry Christmas!”
The war is over, the battle is won!
The tyranny of the libtards is over.
White people are finally free!
Thanks to President (Elect) Trump, we no longer need to live in fear.
Those dumb Jews in Hollywood and media can cry all they want. Sorry Anderson Cooper. Sorry Al Sharpton. Sorry Lena Dunham. No longer do I have to fake that “PC” bullshit. None of this “Happy Holidays” new age propaganda.
Globalization has been defeated!!
Freedom of speech is alive!
Now I can finally say:
Fuck “X-mas.”
Fuck Kwanzaa.
Fuck Hanukkah.
Fuck whatever the gays celebrate.
And FUCK Starbucks.
Starting today, the ‘Red’ cups have been replaced:
White Jesus died for my sins. Now nobody can tell me otherwise.
We are His chosen people to preserve consumerism and capitalism!!
Christmas lives! America lives!
THANK YOU Trump for your continued BRAVERY.
You are a true PATRIOT bb.
Because of Trump, I can enjoy these things on Christmas without being oppressed:
Hockey. Auntie Anns. Call Of Duty. my Maroon5 cd. TOMS. Eggnog. Pokémon GO. Horseback riding. Talk Radio. Shopping at the Gap. my 401k. Pinterest. Scrabble. Literal 7 day creation story. And being able to say stuff like, “black people can be racist too” without being shunned by society.
Trim up the tree with Christmas stuff Like bingle balls, and whofoo fluff Trim up the town with goowho gums And bizilbix and wums… Grab all the girls by the pussy!!
This weekend, let us celebrate the whitest Christmas our nation has ever seen.
“We stopped looking for monsters under our bed when we realized that they were inside us.”
– Charles Darwin
I have a few friends with insomnia. They talk about the overwhelming fear of being awake at night – how the thought of everyone else in the world sleeping is the most lonely feeling you could ever feel. I started there. I wanted to explore that.
This was also a chance to explore some of the depths of my own anxiety and personify the conflicts within my own headspace. Not to say this is strictly self-expression, but more an embracing of that struggle, generally speaking.
Film has always been a huge passion of mine, and this particular project was a culmination of months of little thoughts, ideas, and sentiments.
I don’t want to insult the intelligence of anyone or devalue the artistic integrity of this by sharing what this project “means” (at least, what it means to me), so I won’t do that. Since many have asked, however, I’ll share some of the broad concepts/inspirations that I was drawn to throughout this process:
– Classical music
– Anxiety / Insomnia / real human fears
– Consumerism – is it a religion?
– Self-actualization
– Embracing paradox / the absurd
– Masks
– Clickbait culture / sensationalism / media / content overload
– Unity / Inclusion / Equality / “Danse Macabre”
This blog was started as an outlet for experimental creative expression – and I’ve wanted to try as many mediums as I can. Creating is an incredibly fulfilling hobby for me and I encourage others who have ideas/dreams to pursue them. We shot this on October 1st and it was some of the most fun that I’ve ever had.
I want to thank all my friends that made this possible – especially Isaac Boyd, who was brave enough to trust my vision for this. They all sacrificed their time and energy to make this a reality for me.
Anthony Diaz is an incredibly talented videographer from UW Milwaukee, introduced to me through my very good friend Donald – check out Anthony’s other work on his Vimeo page: https://vimeo.com/antrobdiaz
Going forward, I definitely want to take my film interest further. I have extremely talented friends – and I am interested in collaborating with any of you in any capacity. If anyone is interested in acting / shooting / writing / etc…, shoot me a message and I’ll keep you in mind for future projects.
PALATINE, IL — “Finstagram”, often referred to as simply “Finsta”, is a booming phenomenon in the realm of social media. “Finstas are private accounts that you only let your closest friends follow,” said Jake Schmeling, 16, a sandwich artist at the neighborhood Subway. “You post things you wouldn’t want people other than your friends to see, including unattractive selfies, random stories about your day, and what you really believe about the world,” he explained further.
Schmeling has agreed to reveal his elusive “Finsta.” To date, “real” Schmeling (@jakeschmeling) has over 400 Instagram followers, yet only has 23 followers on the concealed Finstagram account (@fakeschmeling). Here is a side-by-side comparison:
Public account: notice the careful editing, the hashtags, the impressionable caption, etc..
Private account: the rawness and the shock value are classic traits of a Finsta post.
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According to Schmeling, there are strict guidelines for posting on public accounts, “you must play by the established rules on Instagram. The platform has been boiled down to an exact formula for a successful account.”
For example, posting multiple pictures per day is generally considered faux pas. Users are also careful in only posting images that invoke jealousy, inspiration, and visual stimulation. This is not the case on a Finsta. Anything goes. Mundane images, screen shots of text conversations, and unflattering selfies are totally acceptable. “There is no pressure whatsoever. I can post that picture of me hanging out with my unattractive friend, I can post heartfelt thoughts, and I can fully be the shitty person that I am…no hold backs.”
“I can post as many politically incorrect memes as I want without worrying about offending the blacks, the gays, or the libtards” said Schmeling.
Schmeling stressed the fact that the Finsta does not supplant his original account, “don’t get me wrong, I use both accounts daily. I have a public image to maintain. I still want all the likes I can possibly get from my regular Instagram. At the same time, I also need an outlet to connect with friends in a more safe way.”
A Fake Account To Be A Truer Self?
Asked if he had ever considered using his main account the same way he uses the Finsta, Schmeling shuddered, “I could never actually be myself on there. I need the world to think I’m cultured. That I’m interesting. That I have value as a person… I have a friend Melissa from school who tried a ‘30 Days Of Authentic Posting’ challenge on her normal account. She lost 50 followers within the first 3 days.”
Finsta, known for its “anything goes” mantra, has begun to develop its own rules and expectations. Schmeling claimed that the Finsta is “absolutely not” about the number of likes on a given photo, unlike the real Instagram. Yet ironically after he posted something to his Finsta at the beginning of the interview, he was observed vigorously refreshing his notifications several times throughout. At one such point, while looking at his Finsta, he whispered, “Bridgette you whore. How dare you post a photo after mine without liking the one I posted.”
The questions naturally arise from all this: does Instagram culture put too much pressure on young people? Is conformity the only means of validation? Are Finstagram accounts direct products of fear and insecurity? Are Finstagram accounts soon becoming just as contrived as regular accounts?
“I just want to be loved. I want to be accepted,” Schmeling conceded towards the close of the interview. These sentiments appear to be pervasive for most youth on social media. Perhaps it’s time for parents to have the tough conversations with their children about social media. Perhaps it’s time to let them know that their worth should not come from some algorithm-based application. Perhaps it’s time to help them develop a diverse set of hobbies like bike riding, reading classic literature, and creative self-expression. Schmeling laughed at these suggestions, “Yeah right. The only time I’m not on my phone is when I’m looking for new shit to post and new experiences to exploit. That will never change.”
every1 knows im in
ovr my head
ovr my head
w/ 8 secs left in ovrtime
shes on ur mind
Do you ever have random songs stuck in your head? The Fray has been playing in my head all week and I cannot place my damn finger on why. They are the least relevant band I could ever think of. I did not just hear them on the radio. I did not recently read about them in a nostalgic, list-based Buzzy article. They are just…there… in my head.
There are a couple plausible explanations. Maybe there is a subconscious reason for this that I should ask my shrink about – that maybe I am psychologically ‘stuck’ in 2005 (my insecure jr. high days). OR maybe they are objectively just timeless/classic songs.
And regardless of the specific reason, I am very conflicted about The Fray in general.
Do I love them? Do I hate them?
I want to play a little point/counterpoint to further explore my internal strife.
As you read, begin to think about your own feelings and thoughts about this band. We need to start talking about this.
POINT:
The Fray offered a ‘fresh take’ to alt-rock with their debut album in 2005.
COUNTERPOINT:
The album is complete horseshit and merely exploited the post-Nickelback-“im refined now”-bro listeners niche [via faux sincerity/depth]. There was nothing innovative or inherently ‘special’ in regards to their sound. They will soon be completely forgotten about (if they haven’t already been). Furthermore, The Fray directly paved the way for future insufferable acts, such as Mumford&Sons and Imagine Dragons, and for that they can never be forgiven.
POINT:
The Fray was an authentic band that really ‘got’ me.
COUNTERPOINT:
The songs are all petty in nature and served as de facto white privilege anthems in 2005-06. Listening to the lyrics/’themes’ of these songs is like reading #FirstWorldProblems tweets. The songs are by white males for (ultimately) the pleasure of white males.
POINT:
How To Save A Life made me feel closer to the Lord.
COUNTERPOINT:
How To Save A Life is not a song about Jesus, depression, hardship, etc.. It is nothing more than a basic breakup song between two rich, white, straight, cisgender tweens. The pseudo religious themes made evangelicals feel warm and giddy, and played a vital part in the song going triple platinum in sales. Between this song and Coldplay’s Fix You, slideshows for church missions trips will never bring a shortage of self-serving, emotionally manipulative tears.
POINT:
Over My Head (Cable Car) is a ‘pretty chill’ song.
COUNTERPOINT:
At best it is ‘dad rock’ (musical equivalent to the ‘dad joke’), and at worst, it is quite possibly an all-time bad song (right up there with ‘Drops Of Jupiter’, ‘She Bangs’, and ‘Friday’). The music video is even worse – which lacks any semblance of artistic merit and throws in every music video cliche in the world.
JUST STATIC 