#i love morrissey but i think i might actually hate his character more than i hate laws.

[ofyorkshire]

nvm i am not normal again about the trilogy/quartet and i love what the director did for '83, thank you for giving us an actual happy ending, but jobson absolutely did not deserve that hero moment lol

he's not the devil incarnate like laws, but if bj is the symbol of invisible victims in an apathetic, greed-driven world, then jobson is the symbol of all that greed and apathy.

#putting on my clown shoes again folks. whoops. #i'm fine with bj not killing laws in the trilogy if only bc it prevents him from snapping and also getting himself killed by jobson (ig) #but also. jobson should not have killed laws. of all the people to take that kill from bj it should not have been *jobson* who is like. #one of the primary reasons laws and his ring was never found out until decades later in the first place. #bc he was too busy trying to look good to the public and lining his pockets with dirty money. #i love morrissey but i think i might actually hate his character more than i hate laws. #laws was evil but there's something especially heinous about being in a position meant to protect people #and abusing that position instead to let criminals go or even benefiting those criminals for the sake of your own luxury and success. #kind of like real life ig! #out of fairy tales [ooc];

[recurring-polynya]

just curious, what do you think Rukia’s opinions/thoughts are concerning each individual within renji’s friend group? Is she more partial to someone more than others? Also besides herself of course, who do you think she would pick as renji’s 2nd confidant? Thank you so much for answering!

Kira - Rukia likes Kira, but she does not get Kira. Rukia would never write a poem voluntarily. Rukia would never listen to Morrissey. Izuru’s very polite, and he’s kind, and he can be a real snarky bitch, and Rukia loves a snarky bitch. I think he is the one that she would pick as Renji’s 2nd confident. Kira has carried Renji through a Lot of Shit. One big difference between Rukia and Renji is that Renji will dwell on things, and be more introspective, and he can go off and do that with Kira and it’s good for him, in Rukia’s opinion.

Hinamori - Rukia has come around on Momo. I have a headcanon where they rubbed each other poorly in their school days-- Momo had poise and grace and booksmarts in exactly the ways Rukia couldn’t figure out how to achieve, and Rukia was tough and rude and didn’t (seem to) care what anyone thought of her, which Hinamori wished she could manage. Both of them were lower-class, female students, trying to establish their identities in a muscle-bound rich boys club, and neither of them was quite sure how to be, and then stupid Renji had the gall to be friends with both of them, which didn’t help anything. Flash forward a few dozen years. They have both had a bunch of shitty stuff happen to them and survived in spite of it. They are vice-captains now, and they are strong as hell. They are both way more chill about their place in the Gotei, but neither of them have any chill when it comes to defending their friends or proving how cool they are. I like to think the healthiest possible relationship for them is one of cheerful enmity-- considering their powers and skillsets, they make great sparring partners. If Ikkaku and Renji can shit-talk each other at the bar, why can’t they?

I think that Renji and Momo are still friendly, but Momo also has her Hitsugaya- Matsumoto friend group, so she’s maybe not quite as close to Renji as Izuru is.

Hisagi - Hisagi is a very weird character, and the more you know about him, the weirder he is. He seems cool, with his no sleeves and his punk hair, but then he writes for the school Gotei newspaper. He had a guitar for like 30 years before a teen taught him to play it. He rode a motorbike around the Seireitei and got yelled at. If he were actually cool, Rukia would actually be intimidated by him. One of her worst fears is that Renji is cooler than she is, and if he hung out with a dude as cool as Hisagi appears to be, Rukia would simply die. But no. Shuuhei is perfect, in that he is actually ridiculous, and he is forever dragging Izuru and Renji into his ridiculous schemes with him. Rukia approves of him completely, for making Renji less-cool-by-association. Also, Rukia once outdrank Shuuhei in a truly embarrassing fashion. No one ever talks about it, but also, everyone remembers.

Matsumoto -  Rukia is pro-Matsumoto. Matsumoto knows a lot of embarrassing stories about Renji. I may be alone in this, but I personally headcanon that Matsumoto is Not Renji’s Type, and most of their public friendship is bonding over being thotty. Behind the scenes, I think Matsumoto is a very thoughtful and supportive friend, as is Renji, and they will sometimes seek each other out to talk stuff through, and Rukia does not have a problem with this. Matsumoto is probably #3 confidant.

Ikkaku - Rukia finds Ikkaku to be ridiculous. She has no respect for him, none whatsoever. Renji has a small amount of residual respect for him, in a very pathetic “my old beloved sempai!” way, and Rukia loves to drag him about it. She loves to yell at Ikkaku at the bar and she will fight Ikkaku any chance she gets.

Yumichika - Everything Renji knows about Looking Good came from Yumichika (maybe there was some from Rangiku), and Rukia is very grateful for that. Yumichika has a tendency to take Rukia seriously, which she appreciates. I think Yumichika is a big Byakuya-stan, aesthetically speaking, and Rukia can appreciate that. They also have a certain comradery that comes from being partners with idiots, and they respect each other’s straightman game. I think Yumichika was the person who dragged Renji up out of his rock-bottom days, and so he knows a lot about Renji, but like Ikkaku, he treats this as a “I have taught you all I can” and no longer discusses personal problems with him. He will still give Renji hair tips, but, like, in a collegial way, rather than a mentor-student way. I think that if Yumichika had some sort of terrible relationship issue with Ikkaku, Renji might actually be the person he would talk to, if he could bring himself to talk about a personal problem.

Iba - Iba is who he is. You can take Iba or you can leave him, it’s up to you. Rukia appreciates his deal, but he is very much Renji’s friend and Renji gets to deal with him.

The Kenpachi -  Is Renji friends with the Kenpachi? Probably as much as anyone. Rukia doesn’t like to admit it, but she is legit intimidated by the Kenpachi, and finds Renji’s Kenpachi stories to be the most horrifying Renji stories. That being said, I think if Rukia were in a situation where she had to actually interact with him (like the AU I am never not thinking about where Renji gets adopted by Byakuya and Rukia joins Squad 11), she would realize that’s he’s honestly just a very non-complex guy whose special interest is fighting, and they would get along great.

Rikichi - Rukia cannot believe Renji has a tiny stan. She can actually. Jesus, Renji. Anyway, Rikichi exists, and he’s part of Squad 6, you just have to take him at face value. In one of the novels, it’s stated that Rikichi makes 3rd Seat, which is insane to me, and I like to believe that at some point, Rukia realized he was actually very good at kidou, but didn’t use it because Renji doesn’t use it, so she trains him up, after making him promise not to get any more brow tatts.

Akon - We don’t get to see much Akon friendship in canon, but at very least, they have daughters the same age, (I have to believe that Akon does most of the Nemuri-parenting because I hate Mayuri so much that I frequently forget he exists). Also, Akon just fits right in with the general vibe of Renji’s pals. I like to think, though, that Rukia and Renji got to be friends with him after they got back together, so he’s more like their friend than just Renji’s friend. Rukia very fond of Akon because she likes weirdos. Unlike Kurotsuchi and Urahara, I think Akon is a straight-shooter, and Rukia hates getting jerked around, so he is her preferred source of Science Info, which sort of evolves into a friendship. Rukia is pretty sure Akon is objectively cooler than Hisagi, but it doesn’t need to be said.

Sasakibe - Renji is not friends with Sasakibe, he just felt bad for him at the bar that one time.

#asks #rukia kuchiki #renji abarai #renji abarai friend to the greater seireitei #did i get everyone? #if i missed anyone lemme know #this was a fun question!

[aion-rsa]

Superman & Lois Episode 3 Review: The Perks of Not Being a Wallflower

https://ift.tt/3rzwEKz

This Superman & Lois review contains spoilers.

Superman and Lois Episode 3

“Morrissey’s a xenophobic has-been.”

This one line, delivered with deadpan perfection by Alex Garfin’s Jordan Kent pretty much sums up why Superman & Lois episode 3 is so good. Wait, really? Yes, stay with me for a minute…

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I loved the first two episodes of Superman & Lois. There’s no question about that. But there was a very slight nagging feeling in the back of my mind, that maybe this show was going to be a little too serious for its own good. That maybe in the process of making Jonathan and Jordan Kent as believable as possible, and as “relatable” (god, I hate that word) to young audiences as they needed to be, that the show would end up trying just a little too hard, get a little more wrapped up in its “family drama, but with Superman” high concept than it strictly needed to, and maybe forget to lighten up every now and then. I could excuse it in those first two episodes, which play like one feature length pilot when watched together, and which had a lot of work to do to get us to buy this very different take on the Man of Steel, but I wasn’t sure if the tone would sustain over a longer stretch of episodes.

And then along comes “The Perks of Not Being a Wallflower” to put those fears at ease. To be absolutely clear, this is absolutely not a drastic change in tone from what has come before. But now that we’ve gotten to know the Kents and their neighbors and classmates, and that the Smallville setting feels very much like the natural setting of the show, there’s a little more fun to be had. No, this isn’t suddenly The Flash and STAR Labs with a team of folks cracking wise at every opportunity, and it’s certainly not my beloved Legends of Tomorrow, but the humor is here, it’s subtle, and it works at every opportunity.

The opening scene with the family trying to paint the old Kent home is a charmer, a moment broken by Clark hearing a bridge collapsing in China which he speeds off to save. It’s another near-cinematic action sequence for this show, but the special effects aren’t really what sell this scene, it’s the moment of terror to relief to pure joy of a single fisherman as he realizes he’s witnessing Superman hold up a bridge…and Superman’s wordless interaction with him is equally joyful. This is something that simply hasn’t been done in live action interpretations of Superman since the Christopher Reeve years, and I honestly rank those few seconds with Supes and the fisherman as one of the best screen moments in the character’s history.

This episode is full of moments like that, even though Tyler Hoechlin once again spends most of his screentime as Clark rather than Superman. But even there, this is certainly Hoechlin’s finest performance as the character so far, bouncing effortlessly between Man of Steel to “Clark the superpowered dad dealing with problems new even to him” to “Clark who has to act like there’s nothing special about him.”

I worry slightly that Elizabeth Tulloch’s Lois Lane still doesn’t quite have enough to do as they build her Morgan Edge investigation through the Smallville Gazette. In every other aspect, moving the family to Smallville has worked, particular in regards to exploring completely new facets of the Clark/Superman dynamic, but Lois so far feels a little out of place. On the other hand, I should probably be thankful that they aren’t trying to “do a journalism” the way it’s so often been portrayed on Supergirl or The Flash, and maybe the slow burn is the more prudent move here. Anyway, it doesn’t change the fact that Tulloch is a delight in every scene, and she is quickly becoming the definitive screen Lois for me.

But the real highlights for this episode come in the form of Jonathan and Jordan, the two characters I was most skeptical about going into this show. I’ll confess, despite some terrific comics by the likes of Peter Tomasi, Patrick Gleason, Dan Jurgens, Brian Michael Bendis, Ivan Reis, and others in recent years, I’ve never been the biggest fan of the “Superman as dad” concept. I tend to like my Superman stories a little more unencumbered (or some might say traditional, but whatever). But Jordan Elsass’ Jonathan and Alex Garfin’s Jordan are just so darn likeable, and the story being written for them so compelling, that I can’t really complain.

The idea that Jordan would try out for the football team despite his burgeoning powers seems a ridiculous one, and I honestly thought that sequence was going to be revealed as a daydream (similar to Clark’s in the first episode of Smallville). But it’s real, and it doesn’t go quite where I thought it would. Jordan excels at football…as it turns out, he’s a bit more powered up than Jor-El suspected last episode. You’d naturally expect this to lead to friction with Jonathan, who has yet to get the hang of his new team, and for a brief period it does, but then the show does something unexpected.

This isn’t about football going to Jordan’s head or even about him “getting even” with the guys who have been bullying him. Instead, it’s the first time he’s felt part of something. After absolutely leveling Sarah Cushing’s boyfriend (well…ex-boyfriend now) on the field, he offers his hand and apologizes for that awkward kiss at the Shuster Mines. Jonathan, meanwhile, sees the good the team is doing for his brother and advocates for him with a Clark who is understandably annoyed that his son is using his powers to gain an advantage on the football field.

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I know, I know, this all sounds far weightier than the Morrissey joke I quoted at the start of this, but it all unfolds with a little charm, and some surprisingly light touches here and there. Jonathan and Jordan reacting to an incredibly awkward moment with Sarah and Lana, Clark overdoing his “dorky, eager dad” routine, and other little touches just make this feel like the show is settling into a rhythm with these characters and getting more comfortable being playful.

It’s perhaps a little worrisome that Wolé  Parks’ mysterious Captain Luthor is nowhere to be seen this episode, with the only superhuman punch-up coming in the form of guest star Daniel Cudmore’s mysterious, nameless goon who makes the mistake of trying to take out Lois during her investigation. That leads to a really sharp (but quick) punch-up between him and Superman, with a terrific sequence where Superman freezes him with super-breath before delivering a perfect uppercut that would look right at home in a comic panel. If this show continues to work out creative ways to use Superman’s powers the way they have with Barry on The Flash, I think we’re gonna have some real fun in the coming episodes.

But then there’s that ending. As Lois asks, why DOES Morgan Edge have someone with super powers working for him? More than one, apparently, as Cudmore’s mysterious baddie is vaporized by a woman with heat vision named…Larr. So far, the formula for Superman & Lois seems to be to give us a family drama heavy episode, punctuated by moments of cinematic action, and then to close with a mind-bendingly cool reveal. Well, if they insist, who am I to argue?

Metropolis Mailbag

There’s not a ton of DC or Superman Easter eggs this episode, so I don’t think it’s necessarily worth its own post. But, here’s what I’ve got…

The bridge collapse scene does faintly call to mind Superman saving the Golden Gate Bridge during the earthquake in Superman: The Movie.

Jonathan telling Clark that “if you’re not actually allowed to be special” etc feels like a subtle nod to teenage Clark telling Jonathan Kent in Superman: The Movie that he could excel on the football field if he wanted to, which Jonathan forbids, saying that Clark isn’t here to “show off.” But that Clark’s answer was a philosophical “is a bird showing off when he flies?”

Cudmore’s nameless character is apparently “Subjekt-11” a designation which calls to mind “Subjekt-17” an alien raised by the Soviets to make Superman’s life miserable in Kurt Busiek and Carlos Pacheco’s incredibly underrated run on the Superman comics.

Sharon Powell may not be a character from the comics, but the folks at Kryptonsite used their X-Ray vision to point out that the actress who plays her, Jill Teed, was known for portraying Maggie Sawyer on Smallville!

Tyler Hoechlin finally gets to talk a little baseball on this show. Before going into acting, he was a baseball prodigy.

It seems that’s Morgan Edge’s right hand woman, “Leslie Larr” vaporizing our mysterious baddie. The closest I can find to her is a “Lesla Larr” who was an obscure Supergirl villain. THAT version of Larr hailed from Kandor (post shrinking) and she made Supergirl’s life miserable from time to time. I don’t expect this version of the character to have too much in common with her comics counterpart, but it seems like “evil Kryptonians” are definitely gonna be a thing on this show going forward.

The post Superman & Lois Episode 3 Review: The Perks of Not Being a Wallflower appeared first on Den of Geek.

from Den of Geek https://ift.tt/3buqKEW

#aion-rsa #Den of Geek

[thewellzine]

Some books I’ve acquired or read (or both) during quarantine.

By William Page 

Hoodoo by Ronald L. Smith

I recently added a bunch of middle grade speculative fiction by Black authors to my list because 1. I’ll never outgrow good middle grade fiction and 2. I want to be able to give better recs to young Black readers. The blurb told me that the main character’s name is actually Hoodoo (Hatcher). Wasn’t expecting that. It also alludes to a central conflict between Hoodoo and a sinister stranger with “black magic,” a characterization that Courtney Reid-Eaton long ago brought to my attention as problematic (equating blackness or darkness with evil). Still, I haven’t come across many middle grade books dealing with Black folk magic, and I’m interested in seeing what the author does with it.

The Bloody Chamber by Angela Carter

Has been on my radar for a while. I’ve heard it described as a collection of feminist retellings of “traditional” fairytales and myths, which I can definitely get down with. It does make me think about conversations we’ve had during the course of the DDP re: subverting the “canon” vs. forgetting it/making a new one.

Zone One by Colson Whitehead

I can’t overstate my love for this person. The Underground Railroad blew my mind. The Nickel Boys was great in a completely different, often more subtle way. His oeuvre makes a case for him as the most versatile writer writing. I also had a chance to hear him give a talk once, and can personally attest to his wit and humor. I’d never read this one, and reached for it as a relevant quarantine/pandemic read (i.e. it takes place in the aftermath of a pandemic that has turned most people into zombies). Unfortunately, though, the beginning didn’t grab me, and I eventually put it down. This has happened with books that I’ve later come back to and loved (most notably One Hundred Years of Solitude), so I’m hopeful that this just wasn’t the right time.

Forest of a Thousand Daemons: A Hunter’s Saga by D. O. Fagunwa

Marlon James put me on during an episode of his podcast with his editor, Jake Morrissey (“Marlon and Jake Read Dead People”). He sighted it as one of the works that influenced his Black, queer, epic, epic, epic fantasy masterpiece, Black Leopard, Red Wolf. Fagunwa’s novel is considered the first ever written in Yoruba, and it predated fantasy “classics” like Lord of the Rings. It’s strictly episodic in form, and I most enjoyed the rich depictions of the mythological beings inhabiting the forest.

The Jumbies by Tracey Baptiste

Same as with Hoodoo, I want to read this partially because I want to be able to recommend more Black, speculative works to young Black readers! The blurb told me that it’s a retelling of a classic Haitian folktale, “The Magic Orange Tree,” which I’m not familiar with. Rather, I was drawn by the title, which reminded me of the mako jumbie that makes a brief but memorable appearance in Nalo Hopkinson’s Midnight Robber. Haillee Mason also recently introduced me to moko jumbies. So, I guess I’ve been thinking a fair amount about jumbies.

Meji: Book One by Milon Davis

Milton Davis writes what Charles Saunders coined “sword-and-soul,” or sword-and-sorcery (a fantasy subgenre) centering African histories, cultures, traditions, mythologies, etc. (Davis wrote a short sword-and-soul primer that can be found at https://www.miltonjdavis.com/post/a-sword-and-soul-primer.) Sword-and-sorcery/soul isn’t typically my go-to speculative subgenre, but I’m excited to give it a try.

Let’s Play White by Chesya Burke

I just started reading this collection of stories. The first, “Walter and the Three-Legged King” (which surprised me with the collection’s titular phrase[?]), was just okay to me. The second, “Purse,” was really short and disturbing (not a bad thing). The third, “I Make People Do Bad Things,” was a well-rendered, somewhat morbid period piece (definitely Harlem, seemingly sometime in the early part of the 20th century, though I don’t think it’s stated explicitly) with several big characters. The fourth, “The Unremembered,” was very tender and fed my interest in explorations of legacy and inheritance. All were undoubtedly unique in concept. I’m looking forward to the rest.

Upright Women Wanted by Sarah Gailey

I don’t read a ton of brand-new releases by author’s I’m not already somewhat familiar with, but this one drew me for whatever reason. I saw it described as a story about a group of travelling, queer librarians in an unambiguously fascist, dystopian, near-future American West. The story moves pretty quickly (with lots of action), and I found myself wishing it was longer. Still, the author develops the two main characters well and I was at times audibly rooting for them. The depiction of the various forms that resistance can take and the ways in which community underpins it all felt very relevant.

Lakewood by Megan Giddings

Land, who owns the bookshop where I work, brought me this advance copy from the American Booksellers Association’s 2020 Winter Institute. I didn’t get around to it for a few months, and therefore didn’t realize that he got her to sign it to me :) It (the book) was chilling primarily because of how plausible it felt thanks to our country’s long history of race-based medical experimentation and violence.

The New Moon’s Arms by Nalo Hopkinson

Nalo Hopkinson is one of the O.G.s of Black Caribbean speculative fiction. I have a bunch of her novels (including the aforementioned Midnight Robber), but had never heard of this. The blurb doesn’t give much away regarding the mechanism of the main character’s power, and that makes me really curious about it. The power to find lost things sounds ideal, but it’ll clearly be much more complicated than that.

The City We Became by N. K. Jemisin

I don’t post much on IG, but The City We Became brought me out of the woodwork. Since I already wrote that, I’ve copied it below.

It's like she wrote a love letter to NYC and let us read it. And by "love letter," I don't mean trite, or even always that warm, or rooted in romanticization. The city I met as a reader felt genuine, with a definite edge. Also taut, maybe? Somehow still very tender. Gritty (this one might be trite, but, if so, charge it to me, not her). Frustrating in ways that rang true and which were often tooooooo familiar. I don't think it's a spoiler to say that soul-sucking gentrification, general anti-Blackness, the ways that capital and power operate in art spaces, and a host of other ills not unique to any one place figure prominently in the story. And in this case, they become magnified in an interdimensional way, become harbingers and footholds for something incomprehensible and deeply unsettling (her imagery for this element, in particular, is striking). The story was also, at times, kind of hilarious. And thrilling. And everything but simple or straightforward, which makes sense given that it's a meditation on cities (which are neither of those things). What are they, then, really? What gives them their soul? In what ways are they strong, and from where does this strength flow? And what might one do or sacrifice for their own? It's not difficult to get some sense of how she feels about hers (in her acknowledgements she says she's both hated and loved the city, and I immediately thought about Jimmie Fails iconic quote from The Last Black Man in San Francisco: "you don't get to hate it unless you love it.") It definitely caused me to reflect more on mine. At this point, I have her to thank for way more than a few trippy and magnificent reading experiences. How lucky I feel to be living in the time of N.K. Jemisin.

#quarantine #books #reading #black speculative fiction #william page

[surveysonfleek]

746.

5000 Question Survey Pt. 47

4501. Who do you feel on shaky grounds with? anyone who’s acting suspicious or uneasy. 4502. How would you rate Stephen King as a writer? i’ve never read any of his books tbh. 4503. What movie are you looking forward to? ocean’s eight! 4504. Hulk Hogan with or without the bandana? i can’t even imagine him without one. 4505. Do you more often tell people what you feel or what you think? both, i think they work hand in hand.

4506. Have you been to see an opera? no, i wouldn’t mind seeing it though. 4507. What do you wish that you knew with more certainty? what the future will bring. or at least what direction it’ll take. 4508. Does your heart break and break and live by breaking? no. 4509. Can you tell the difference between what you think and what you feel or do you often get them confused? nope. 4510. Do you feel like there are a lot of referances in this survey that you are not getting? yeah, it’s lame. a lot of grammatical errors too. 4511. You are shopping in the Mad Mall for things to add to your room. Of the following list, what 5 things will you buy? lollipops, lace up boots, bondage gear, bubblegum machine, a miniature orange grove, house plants, Bob Geldof, duct tape, Buzzcocks, poet shirts, Marc Almond, Al Gore, acrylic paints, Snoopy's dog house, an original andy warhol painting, zippers, orange and pink matching curtains and bed spread, flash, oj simpson, a slurpee maker, some flutes, electric chairs, feather pillows, post it notes, the terminator wax statue, fight club the movie, fight club the book an original andy warhol painting, snoopy’s dog house, feather pillows, slurpee machine and house plants. 4512. Of the following things, which would you most like to have more of? drink, dreams, bed, drugs, lust, lies, hate, love, fear, fun, pain, flesh, stars, smiles, fame, sex bed, love, love, smiles, sex. 4513. Your preference. David Bowie or Marc Bolan? bowie. 4514. Who'd win in a fight, Morrissey or Robert Smith? idk either of them enough to choose. 4515. Earth girls are: what are earth girls? 4516. One of your friends tells you they are going to train to become a cop. your reaction? i’d be supportive and congratulate them. 4517. Would you ever consider working for the government? i would, they get really good benefits here. 4518. What are the best and wort television channels? i hardly watch tv. 4519. If you had a magicle pencil and everything you drew became real what would you draw? money!! 4520. Your boots were made for: walking. 4521. What movie would you like to see a mystery science theater episode about (even if it isn't a sci fi movie, just one that needs making fun of)? idk... 4522. What's the buzz? nothing. 4523. The last person you would want to be stranded on a desert island with is: someone i hate. 4524. Your partner takes an aeroplane trip. the plane disappears and is never found. How long do you wait for them to return before you begin looking for a new partner? i couldn’t put a time limit on it. i might not even move on, who knows. 4525. Soma animals that mate for life can literally die of grief if their mate is captured or dies. How many humans would do that do you think? it’s definitely possible for other humans to do this. 4526. What would you like to touch? the biggest diamond in the world. 4527. Does anything you own glow in the dark? nail polish. 4528. Would you rather ride a dragon or a unicorn? dragon. 4529. Do things just always go right for you? hell no. 4530. What's the best nick toon? hey arnold. 4531. Can you make a balloon animal? nope :( 4532. Would you undress at a nude beach? no. 4533. Wherever there's a secret recipe, there is someone who wants to steal it. True or false? i guess that’s the allure of calling it a secret recipe. 4534. What is today but yesterday's tommorrow? the present. 4535. Are you more like spongebob who does nothing right but still everything good happens to or like squidworth who tries to do things right and ends up having nothing good happen to him? squidworth. 4536. How many glasses of water do you drink each day? aiming for the usual 8. 4537. What is the difference between intelectualism and pretentiosness? being pretentious obviously just means you think you’re better/smarter than the people you’re with. 4538. What do you like in a poem, accessability, crypticness or somethin in between? i hate poems. 4539. What do you think of William Blake? Is his writing difficult to understand? never read his stuff. 4540. Has learning to spell become obsolete? not at all. but in this survey, yes omg... 4541. Who do you find yourself in constant conflict with? Why the conflict? me. 4542. What is the difference between literature and hallmark cards? everything lol. 4543. How many contemporary poets can you name? none. 4544. What subjects do you refuse to talk about? Why are you hiding from them? i’m open to talking about anything as long as it’s with the right people. 4545. Are you every parent's wet dream? ew, no. 4546. Everyone starts in the garden of Eden but no one can stay there. Why not? idk. 4547. Would you want to join a club that would have you as a member? sure. 4548. Greatest black and white film: i haven’t watched many in my time tbh. 4549: Greatest film three hours or longer: titanic, duhhhh. 4550. No means.. no. 4551. When you are exposed to the artwork (poetry, painting etc) of a friend, family member or aquantance how likly are you to criticize it? if i know them well i’d give them constructive criticism. i don’t think i’d bash the work of someone i didn’t know. 4552. Do you mentally reject people? Before speaking to them? some days i just check out i guess. 4553. Are we already living out 1984? no. 4554. Sing, now!  What did you sing? Can you sing? Are you the next american idol? no, no, i’m not american. 4555. Do you like the feeling of a ball point pen being used to draw pictures on your palm? no lol. 4556. Have you ever been airbrushed? no. 4557. Are you an alitist? What are you elitist about? lol let’s not go there. 4558. Are you arrogant? About what? i’m arrogant towards arrogant people, does that count?  4558. Use the two following words in a sentance: ghandi, ford no. 4559. Are you trecherous? no. 4560. Nam the ten bands you are the biggest fan of: Name the ten bands who are your biggest fans: no. 4561. Are you jolly? not really. 4562. What does the world stop for? nothing. anything could happen and in some places it’ll just be business as usual. 4563. Would you like to reapolster your furniture in camoflauge? no thanks. 4564. Would you rather have your own personal live in massuse or a new car? personal live in masseuse that also cooks haha. 4565. What were you born holding? nothing. 4566. Big nose, is it ugly or does it give the face character? depends if it works with the other features of the face. 4567. Name three things you would NOT do, even for one million dollars (tax free): 1 kill a human, 2 eat a human. 3 kill someone’s pet 4568. Who has rejected you? Who have you rejected? certain jobs. 4569. Natural body odor or perfumes and colognes? perfumes and colognes! 4570. Who lives in a pineapple under the sea? ss. 4571. Who frolics in the autumn mist in a land called honalee? lol. 4572. Is anything nastier as a snack than fruit roll ups? shit i guess. 4573. When you hear someone make a joke about something will you later make the same joke to someone else as if you had just thought it up? my boyfriend always does this lol. i hardly ever do it, i’m pretty forgetful. What if someone just says something intelligent, would you use what they said later as if you had made it up? no, if i repeat this i’ll always the credit the person that told me. 4574. What's on your pajamas? plain colours. 4575. Are people nicer in new york or california? i’m guessing california. 4576. Ever think about moving to Alaska to live as a hermit? i’d love to do it temporarily. 4577. You are interested in a potential mate who is already attatched. Do you encourage him or her to leave their current catch or try to find someone all alone? no way. i’d never try and break up a couple. 4578. Do you play in the snow? haven’t done so in about ten years. 4579. Do you save a snowball in your freezer to hit someone with in the summer time? no lol. ouch. 4580. What bible storiy would you like to see acted out by animated veggetables? What vegetable would play jesus? idk. 4581. Will you be ready for the next alien attack? the next? has there already been one? 4582. You can't make this easy can you? nope. 4583. What is a small thing that people let slide but that actually has dire consequenses? cheating. 4584. Are you the open window maniac? no? 4585. Have you ever been a hall monitor?  What exactly do hall monitors do anyway? nope, never had one in my school either. 4586. Would you rather wear an army uniform or a cow costume for halloween? cow lol. 4587. When was the last timeyou played tag, musical chairs, hide and seek etc? as a kid. 4588. Can you leap frog? i haven’t tried in years. maybe! 4589. What was the lost strong and clear emotion yo felt? idk... 4590. Are you more of a disco ball, a candle or a robot? candle. 4591. Could any good come out of a nuclear holocaust? i’m not the right person to ask. 4592. Are you an angel in disguise? no, i wish. 4593. Could you have fun with ajelly fish? for 12 hours? no thanks. 4594. Who throws the wildest parties? it used to be this one guy i know. and then we all grew up. 4595. Do you own an I <3 NY shirt? yes. 4596. If you could make a channel that played only one show all day what show would it be? the office. or the simpsons. anything with a ton of episodes and is funny. 4597. Are you a rockstar only no one knows it yet? no. 4598. have you ever been stung by anything? What? nope. 4599. Who's autograph have you gotten in the last year? no one. i feel like selfies with celebrities are more popular now than autographs. 4600. Are you enjoying this? no.

#survey #surveys #quiz #bored #questions

[noisylibrary]

This year we decided to list our favourite albums in a new format. Pictured above is the collection of our top 100 albums placed near similar sounding albums. 

Below is our top 10 favourite albums of 2018, in no particular order!

You Won’t Get What You Want - Daughters 

Uncompromisingly noisy and abrasive, Daughters have proved that, as amazing as their last album was (2010s self-titled release), they were only scratching the surface when it came to the aggression, horror, and abrasiveness. You Won’t Get What You Want has the energy of a thrash or black metal album, but the rhythm and repetition of a Swans record. It’s noise rock pushed to it’s furthest extremities. What separates Daughters here though from other loud rock bands is easily their versatility. When this album gets loud, it gets ear shattering: songs like “The Flammable Man”, standing at just two minutes, is one of the busiest and most overwhelming rock songs of the year. “The Reason They Hate Me” is similar in that regard, but offers a more direct and straight forward song structure.

Even in their quiet moments, Daughters still manages to be as terrifying. “City Song” is atmospheric and chalk-full of tension, with frontman Alexis Marshall speaking his esoteric lyrics at a near whisper quiet volume, back by harsh shots of noise and a thick wall of sound. “Less Sex” and “Daughter” are similar in their hazy approach, but still manage to remain on par in terms of substance, whether it be in the mental health references in the former, or the intense, scoring harmonies at the tail end of the latter.

While the previously mentioned tracks are all fantastic and make for a powerful and diverse listen on their own, Daughters without a doubt saves the heaviest and most mind-melting moments for the last two songs on the record. The first of which, titled “Ocean Song”, takes lyrical cues from an album like Spiderland, telling the story of a man who, upon returning to his home, is struck with an overwhelming sense of terror (“He explodes through the backyard like a shot from a gun, clearing the fence in one leap”). It’s one of the most intense moments on the record, and it is only escalated by the unrelenting piles of guitars and crashing drums. However, it’s on “Guest House”, the albums final moments, that the true horror of this album comes to its ultimate climax. Over and over, walls of sour guitars and drums crash down on top of one another. Marshall’s vocals are more tortured and broken down than they have ever been, as his cries of “Let me in” go completely unanswered. The song is only four and a half minutes, but not a second is wasted, as it is packed with dread and fear that will shake the strongest of souls to their core.

For sure, there are albums in 2018 that might reflect on the current times better than that of “You Won’t Get What You Want”. Will this album still be as relevant as an album like “Wide Awake” or be as well remembered as “Kids See Ghosts” ten or twenty years down the road? It’s hard to say. Regardless of what you think of the album, though, it wreaks of universal dread; its lyrics may be tough to pin down and won’t be as relatable as most albums from the past year, but its sound is unmatched in terms of its experimentation and its emotional trauma. It’s not for the faint-hearted, but if you can see through the many, MANY, noisy guitars and instruments, then you may just find yourself enjoying the existential sadness of this record.

Die Lit - Playboi Carti

Playboi Carti is no lyrical miracle. One listen to his viral hit (and banger) Magnolia from 2017 and his general subject matter and sound are apparent. Unfortunately, his debut mixtape didn’t exactly live up to the expectations of that song. Thankfully though, Die Lit was released earlier this year and allowed Carti to prove himself as a more than worthy name in hip-hop. Die Lit is loaded with dusty trap bangers, minimal and simple but hypnotic instrumentation. The beats are woozy and drugged out, but are filled with psychedelic sounds and samples. Playboi doesn’t venture too far out of his comfort zone, but does demonstrate that his style is more versatile than it was on his debut mixtape and on Magnolia. “R.I.P” is probably trap’s banger of the year, with its aggressive lyrics and Carti's cutting energy. “Shoota” with Lil Uzi Vert is actually sort of epic in the way its pianos and strings escalate with Carti and Vert singing over top of it. This album even has a few topical tracks, like “Mileage”, which is as close to a love song as you’re going to get on this record. If you haven’t been pleased with Carti up until this point, I implore you to give Die Lit a shot. Again, Carti is not this generations Tupac, and his lyrics are easy to criticize for being simple and just plain dumb, but his rapping combined with the whacked out, zany beats on this album create an album that is utterly intoxicating.

Snares like a Haircut - No Age

With the amount of influences on this record, this record should sound like a sad attempt at reinventing the sounds of 80s and 90s indie and post-punk. But it’s just the opposite - No Age combines these influences to make a rock album that tributes its roots while also crafting something strange and idiosyncratic. The vocals are passionate, the riffs are tight, especially on the opening track, and the production is solid from front to back. The band combines Sonic Youth-like indie and psychedelic passages to create something an album that is both accessible but also experimental. The title track, for example, is a spacey, electronic instrumental centre-piece that really shouldn’t work as well as it does. No Age effectively encompasses so many different styles and ultimately succeeded in making one of the best rock albums of the year, hands down.

2012-2017 - Against All Logic

House Music doesn’t really have a lot of sway in terms of influence and popularity in 2018. Sure, the mainstream is crowded with bass-heavy EDM music, and it has been for much of the 2010s, but much like hip-hop, it’s all been saturated to a point in which the current trends and sounds bleed between songs seamlessly to the point where nothing new is being brought to the genre. There comes a time in every genre’s existence that the sounds that were popular decades prior start to creep their way back into the music. In the underground Dance Music scene, this reinvention has undoubtedly been led by producer Nicolas Jaar. His 2011 album Space is Only Noise was hazy and ambient, but featured driving base drums that kept the music groovy. Similarly, in 2013, his collaboration with Dave Harrington under the name Darkside improved on these sounds in a major way, adding some rock elements to the otherwise dark and patient dance beats.

Now, in 2018, under a new alias “Against All Logic”, Jaar out of nowhere drops what is easily one of the grooviest and most infectious dance albums of the past decade. It wreaks of the late 90s and early 2000s house music from the likes of Daft Punk, but the samples and textures that Jaar plays with all add up to an eerily atmospheric and dense listen. But even on the surface, these songs are catchy and funky and will get you moving from the first song to the last. “This Old House is All I Have” is the perfect opener, especially in its title reference the roots of the album's music. From there on, it’s a wild concoction of sample-heavy house; Jaar’s attention to detail in the sounds of this album is evident in each and every one of these songs. It may not be first on our list, but it’s about as close to perfect as a dance music album can sound in the current landscape of music.

Some Rap Songs - Earl Sweatshirt

At 25 minutes and only 15 tracks, Earl Sweatshirt makes a statement before you even hit play on the first track, that this is not going to be a typical release from the former Odd Future member. Then once you do hit play, it becomes even more apparent that Some Rap Songs is not even close to your average rap album in 2018, especially from a name as recognizable as Earl’s. His generally monotone voice and nonchalant style are still here, but it’s the instrumentals and lyrical subject matter that separates this album from not only Earl’s own discography but from every other rap album in 2018. The experimental beats are hard to grasp, cluttered and grimy as if the spirit of Madlib lives within every single one of them. Listen to the piano samples on “Loosie” and “The Mint”, both of which are choppy and grainy, the former being one of the most lumbering on the entire project.

As amazing and unique as the beats are, though, it’s still Earl who steals the show. His sense of humour is still present, but for the most part, these songs deal with Earl’s struggling mental health and personal issues. One of the most compelling and personal moments on this record doesn’t even feature Earl’s rapping, but instead features his mother and late father, intertwined in speech and poetry on the song “Playing Possum”. For such a short album, Earl packs so much emotion into these songs, and admirably so, as this album manages to be so heart-wrenchingly sad but also bittersweet at the same time. It’s not exactly going to brighten your day, but it’s an album whose introspectiveness allows a window into Earl’s current psyche, making for an incredibly compelling character portrait, all in less than half an hour.

- Braeden

Veteran - JPEGMAFIA

The fifth full-length project from Baltimore’s JPEGMAFIA - a single rapper/producer, yes, not a mafia - is strikingly gritty, witty and definitely not shitty. Veteran sounds like a collection of angered thoughts and an ultimate release of energy in an America that JPEGMAFIA isn’t all that impressed with. Targeting white supremacists, the alt-right and Morrissey of The Smiths, “Peggy” uses an array of grinding electric beats, niche O.D.B. samples and a self-produced collection of noises that beautifully compliment the abrasive narrative that is conveyed violently and melodically on this 48-minute rollercoaster. JPEGMAFIA has always been unapologetically targeting specific individuals with his music, songs like Libtard Anthem, Whole Foods and Curb-Stomp may shock younger viewers, caution! The humour in “Peggy’s” delivery and content is felt in songs like Macauley Culkin, My Thoughts on Neogaf Dying and Panic Emoji, reminding us that he is never taking himself seriously enough to appeal to the pseudo-woke rap population, while thoroughly embracing the old and the new’s of hip-hop in a fantastic compilation of songs.

Wide Awake - Parquet Courts

Parquet Courts are a New York-based, art-punk band with a consistently energetic take on everyday subjects and notions of feeling unsure about oneself. On their sixth studio album, Wide Awake!, the sound is an evolved yet familiar one from the group, while the narrative content has both grown and narrowed its scope on a collection of pressing topics for the modern American. Describing the new social divide that the western world is building for itself and comparing it to Total Football, Normalization and Tenderness, Andrew Savage takes the lead on the album’s vocals, in lieu of the past records’ alternating co-lead vocals with Andrew Brown. Where this facet of Parquet Courts’ exchange in dialogue has become a memorable trait in the rest of their discography, Wide Awake acts as one extended plea for change and a sense of revelation in songs like Before the Water Gets Too High, Death Will Bring Change and Extinction. Despite the pessimism in the lyrical content and song titles themselves, Wide Awake maintains an aura of hope, prosperity, and fuel for a fire that invites acts of revolution from the people.  

Kids See Ghosts - KIDS SEE GHOSTS

The long-awaited collaboration between Kid Cudi and Kanye West was well worth the wait, making use of the best of the duo’s musical styles in a modern and unprecedented way. With Kanye’s regular production team behind the scenes, this piece of Kanye’s six-album puzzle of 2018 was intricately built to flow from a range of different emotions that were either felt exclusively or shared by the two established hip-hop powerhouses. Following a string of experimental and sonically challenging albums in the preceding half-decade, both Kanye and Cudi managed to compile an uninterrupted stream of triumphant motifs and dance-inducing ballads that resonate with the ever-changing landscape of hip-hop music and its newly divided culture. The exchange between some of West’s strongest and most vulnerable lyrics are chilling in synchronous harmony with Cudi’s swaying hums on songs like Reborn and the eponymous Kids See Ghosts. Memorable to say the least, KIDS SEE GHOSTS shows no pause in the strides of some of the past decade’s most thorough musicians.

Year of The Snitch - Death Grips

If you didn’t like Death Grips in the past, your opinion may not change at all. If you like Death Grips, you’ll love their sixth studio album, Year Of The Snitch. Packed with a full-size punch of industrial hip-hop breaks and hard-rock-influenced live instrument progressions, this album is nothing short of a masterpiece in its personality, raw-ness and dedication to a new and refreshing sound. Following a spree of idiosyncratically absurd promotions through their Facebook, Instagram and Twitter accounts, the opening track “Death Grips is Online” breaks the fourth wall between their mysterious roll-outs and the cult-ish fanbase that marvels at every breath they take on the internet. The Sacramento trio announced that they would be working with Andrew Adamson (Director of Shrek), Justin Chancellor (Bassist for TOOL) and Lucas Abela (an artist that cuts his lips with glass) on the album with little bits of promo scattered on their social media accounts including a spoof of “It’s Always Sunny in Philadelphia's” opening credits to announce the album name. Chancellor’s bass lines complement and enhance the driving rhythms created by producer Andy Morin and Drummer Zach Hill while Adamson’s spoken vocal recording creates an added mystery to his creative input on the album. Whenever the album builds itself on a riff or motif, it grows to a climax and abruptly tosses listeners back and forth with confusing and abrasive transitions, further developing this overall sense of disgust and crude emotions. This theme is sprinkled most predominantly on songs like The Fear, Shitshow and Black Paint, where a feeling of discomfort is a lasting impression for the unprepared listener. Even where an opportunity existed to have two songs flow seamlessly together, Dilemma is followed by Little Richard instead of The Fear, which sums up the album to a t. In sequence, this album tells a story that is both captivating and mysterious in a challenging and jarring manner.

Your Dog - Rose Droll

Rose Droll’s debut full length made its way into my musical scope out of nowhere, and I could not be happier to have stumbled upon it. Multi-instrumentalist and singer-songwriter Ellen Bert ventures deep within what feels like one drained state of mind following a period of trauma in mentally abusive relationship in an earnest, gripping and thoughtful way. Comparing herself to the dog of her former partner, a Fat Duck and -not- a Happy Kitten, the San Francisco native paints a powerful image of the emotional discomfort that can be felt from an imbalance in energy from one partner to the other with mournfully catchy riffs and melodies, bouncing between a driving DIY indie sound to a singer-songwriter ballad matching the sentiment of each song and resulting in a harmonious and meticulously structured thought. The spoken lyrics in songs like Hush and Boy Bruise beg listeners to follow along and decipher, and within them is a rewarding, exciting and captivating message every stanza of the album.

-Calum

[roseisread]

Top 25 Movies of 2016

I saw 51 of the many more films released in 2016, so naturally this list suffers from the usual incompleteness. But of those 51, the movies listed below are the ones that really stuck with me, entertained me, moved me, or made me see the world through a different lens after the credits rolled. Some of them are deeply personal and hold great meaning; others are just a great excuse to laugh or shudder or sob about something that doesn’t matter so you don’t have to think about the things in real life that might evoke that reaction for a couple hours. 

If you saw something amazing that didn’t make the list, be sure to let me know so I can add it to my watchlist (or defend my choice to leave it off the list of faves). 

25. Zootopia (Netflix) At a time when the world was finding reasons to divide itself into fractious subgroups, along came a winsome little animated film about tolerance and eschewing stereotypes. The animation is top notch, the story is funny and action-packed, and any scene featuring the sloth from the DMV threatened my ability to breathe because I was laughing so hard. If you missed it in theaters, be sure to catch up with it on Netflix. It’s a real gem. 

24. The Conjuring 2 (Amazon/iTunes rental) The first Conjuring got a ton of acclaim but I wasn’t that enamored with it. This one, on the other hand, totally delivers. Once again, Vera Farmiga and Patrick Wilson star as paranormal investigators who are plagued by dark forces. This time, the action centers on a family in England (inspired by the somewhat infamous Enfield Poltergeist) with an unwanted apparition who interacts with them in all kinds of upsetting ways. Rather than relying solely on jump scares, there’s a lot of great suspenseful sequences and practical effects that use the atmosphere and physical space to masterful effect. Plus, the characters are likable and we are rooting for them which goes a long way toward making this a better than average horror movie. 

23. The Edge of Seventeen (Theaters) Hailee Steinfeld plus Woody Harrelson equals brilliance. Add to the mix the savvy direction of first timer Kelly Fremon Craig and the charming supporting cast (particularly Hayden Szeto) and you have a winning combo that leaves other teen dramedies in the dust. The story is relatable for anyone who experienced high school: Nadine feels alienated at school and at home, partly because high school sucks and parents just don’t understand but also partly because she sees herself as just a little bit superior to her peers and family members. She’s a classic Holden Caulfield type, really. When her best friend starts dating Nadine’s brother and mortal enemy, she takes it as a personal betrayal. Between this, her crush on a bad boy type, and her tentative steps toward romance with a nerdy but sweet classmate, she’s got a lot on her plate. Naturally, she takes solace by venting to her favorite teacher, the bemused Harrelson who takes all of her abuse and whining with stoic aplomb. 

22. Jackie (Theaters) I was born in 1981, which means I don’t have any personal connection to Jackie O. the way people of my parents generation did. I don’t have recollections of seeing her on TV or experiencing the Kennedy assassination, but I’ve been hearing about it all my life and thus feel like I know the story. This movie took me by surprise by showing me something new, something I’d never considered: The personal grief of a tremendously public loss. Natalie Portman embodies the carefully manicured public persona as well as the private devastation of Jackie Kennedy in the days surrounding JFK’s death. It’s not a traditional biopic, and not a traditional historical drama. That makes sense coming from Chilean director Pablo Larrain, who also gave us the excellent political thriller/comedy No a few years ago. He captures pivotal moments and edits them together into a kind of fractured consciousness befitting the recently bereft Jackie. 

21. 10 Cloverfield Lane (Amazon/GooglePlay rental) I’ve still never seen the original Cloverfield (I know, I know), but I do love me some John Goodman being a possible creeper so I had to see this movie. The title really was an afterthought; the story was written independent of the horror franchise and marketing decided a built-in audience and some name recognition would boost ticket sales. All of this to say, you don’t need to know or love Cloverfield to know and love 10 Cloverfield Lane. Essentially it’s a chamber piece, modeled on some of Hitchcock’s techniques (Lifeboat/Rope/Dial M for Murder).  Oh and also the original script got a once-over by a certain Damien Chazelle, who was once slated to direct it as well until Whiplash got greenlit and then he got a little busy making a movie called La La Land which may or may not be definitely coming up later in this list so... yeah. But anyways. It’s got that breathlessness and intensity Chazelle brought to life in his other movies, but this time in an actual horror/suspense setting. Mary Elizabeth Winstead and John Gallagher, Jr. play Goodman’s reluctant houseguests in his underground bunker. Goodman claims to be protecting them from something horrible outside; they’re not sure whether to believe him or to trust their instinct that the something horrible is Goodman himself. All three performances are excellent, and your nerves will be frayed little bundles by the time 103 minutes is up. 

20. Certain Women (Theaters) Just watching this movie made me feel physically cold. It takes place in Montana, and is essentially a triptych that follows three different women in the same small town. The first, played by Laura Dern, is an attorney with a particularly high maintenance client (Jared Harris). The second is a woman (Michelle Williams) who feels alienated from her husband and their teenage daughter, even as the family is working on building a house together. The final story, and by far my favorite, focuses on a farmhand (the glorious Lily Gladstone in a breakout role) who chances upon a night class taught by Kristen Stewart and becomes transfixed. This is a quiet film, about women who yearn for more than their lives so far have given them. Each one deals with the small injustices and tiny victories that ordinary events bestow, but one senses beneath the surface a lingering question of “Is this all there is?” In that way, it’s totally relatable. There aren’t a lot of major plot arcs here, but that’s exactly the point of the film. In watching this movie, you realize that Henry David Thoreau’s quote about the masses leading lives of quiet desperation might well be answered by Simone de Beauvoir: “I think that where you go wrong is that you imagine that your reasons for living ought to fall on you, ready-made from heaven, whereas we have to find them for ourselves.” 

19. Don’t Think Twice (YouTube/GooglePlay rental) If you listen to podcasts at all (especially This American Life, WTF, or You Made It Weird), you should know the name Mike Birbiglia by now. He’s a comic turned actor/writer/director and this is his latest original work. This time, he enlisted fellow talented comics to join him onscreen: Chris Gethard, Gillian Jacobs, Keegan Michael Key, Kate Micucci, and Tami Sagher play his friends and fellow members of an improv troupe. They’re all people you know or have been--starving artist types who are holding onto a dream that comedy will one day pay the bills and take them to the next level. When that actually happens to one of them, the group dynamic shifts considerably. As Morrissey so accurately sings, “We hate it when our friends become successful.” But really, the truth is we hate ourselves when our friends become successful. It makes us question whether it’s a matter of deserving it or working hard or random chance.  The great thing about this movie is the blend of truly hilarious comedic moments and stirring emotional honesty. It’s about friendship, it’s about surviving your thirties, it’s about figuring out if the dreams you’ve had your whole life are the dreams you still actually want to come true. If you can get through Gillian Jacobs’ incredible solo improv performance toward the end of this movie without tears, you get to be the new Clear Eyes spokesperson instead of Ben Stein. 

18. Love and Friendship (Amazon Prime) This movie features one of the funniest characters of the year, an immensely clueless rich dolt named Sir James Martin (Tom Bennett), who marvels at the existence of peas and struggles to arrive at the correct number of commandments. Who could be responsible for such a creation? Well, who else but the writer whose best work pokes fun at social climbers and wealthy nitwits: Jane Austen. Whit Stillman adapted her little known work Lady Susan into this charming and hilarious period piece starring Kate Beckinsale, Chloe Sevigny, Stephen Fry, and Xavier Samuel. Beckinsale does her absolute greatest work in this movie--I had no idea she was capable of this kind of performance, and she absolutely slays. As far as Austen adaptations go, this one is my favorite since Clueless--and that’s about the highest praise I could offer. 

17. Don’t Breathe (YouTube/Amazon/Vudu Rental) The premise of Fede Alvarez’s sophomore thriller is simple: A trio of young Detroit opportunists break into the home of a blind veteran (Stephen Lang) after hearing he’s got a lot of cash in the house, figuring it’ll be an easy score. But they underestimate this particular blind man and his ability to protect his home and property. The result is a fast-paced cat and mouse game that will definitely have you holding your breath for long chunks of time. I had a blast watching this movie, even if it should have ended a few scenes earlier than it did. 

16. Hell or High Water (Amazon/iTunes/GooglePlay Rental) One of my favorite pieces of music, classical or otherwise, is Aaron Copeland’s Fanfare for the Common Man. This composition was directly inspired by a speech delivered by Henry Wallace in 1942, which outlined the cause of freedom and the stakes of World War II while also setting a tone for the whole century as one in which ordinary people--the common man--would share the same standard of living, of educational and economic opportunity, of scientific discovery.  An excerpt of this speech reads thusly: “When the freedom-loving people march; when the farmers have an opportunity to buy land at reasonable prices and to sell the produce of their land through their own organizations, when workers have the opportunity to form unions and bargain through them collectively, and when the children of all the people have an opportunity to attend schools which teach them truths of the real world in which they live — when these opportunities are open to everyone, then the world moves straight ahead.” Well, the world has continued moving since those words were spoken, but those opportunities are certainly not yet open to everyone despite promises all around that anyone in America should be able to succeed on grit and good will alone. When grit and good will fail to deliver, some people give up and some people become outlaws. That’s where we find our protagonists in this movie, Toby and Tanner Howard (Chris Pine and Ben Foster, respectively), as it opens. They’re robbing banks out of perceived necessity, and also out of a sense of Karma not acting quite fast enough for their liking. Meanwhile, a pair of Texas Rangers (Jeff Bridges and Gil Birmingham) get assigned to the case and aim to catch up with whoever’s responsible and give ‘em hell.  The film is beautifully shot by cinematographer Giles Nuttgens, and the screenplay contains scintillating dialogue and the kind of characters you might find in a classic Western, plus a final showdown for the ages. On the performance side, there’s not a weak one in the bunch. Chris Pine proves he’s more than just a pretty face and Jeff Bridges sheds his Dude persona to give an even better performance here than in his Oscar-winning turn in Crazy Heart. If you need a movie to watch with your Dad that you can both enjoy, this is that movie. 

15. De Palma (Amazon Prime) Sisters. Carrie. Dressed to Kill. Blow Out. Mission Impossible. Body Double. Scarface. The Untouchables. Casualties of War. About 20 other films--all directed by Brian De Palma, the subject of this documentary. For some, he’s alienating. For me, this guy is legendary. His films pick up where Hitchcock left off and go running off in their own bonkers directions, oozing style and excess and delivering tawdry and thrilling twists along the way. I’m convinced that one day he’ll be revered by film students and not just genre lovers, and at that point this doc will serve as a Hitchcock/Truffaut type text.  The doc is really just De Palma going through his filmography chronologically, shots of him talking edited together with clips from every one of his movies and archival behind the scenes footage. That might sound boring but I promise you it is not. He tells lots of stories, does not shy away from pointing out the flaws and issues in his movies, and reflects on the reception his movies have received from critics and cultural scholars over the years. He also tells some fascinating stories from his youth that shed light on the types of movies he grew up to make. He also talks a lot about his techniques and the way his shooting style developed. If you are interested in filmmaking or De Palma or both, this movie will have you riveted from start to finish.

14. Manchester by the Sea (Theaters) For a meditation on grief and loss, this movie made me laugh a lot. That might sound inappropriate, but if you’ve ever experienced loss yourself, you know it’s not linear and doesn’t follow rules or codes of conduct. Sometimes you laugh at inopportune times. Sometimes you want to cry and can’t. Sometimes you melt down at the sight of frozen food (see what I did there? Melt/frozen! Ahh I kill me sometimes).  Casey Affleck and Lucas Hedges make a great onscreen team, with Affleck playing Lee Chandler and Hedges playing Patrick, Lee’s teenage nephew. They’ve both lost someone important to them, but neither is great at opening up on the subject. Lee does his best to take care of his nephew, but he feels ill-equipped to be the stable parental figure Patrick needs. For his part, Patrick would prefer to keep things the way they are. “I have two girlfriends and I’m in a band!” he points out, and who is Lee to argue with that kind of logic? 

Of course I can’t finish discussing this movie without highlighting the luminous presence of Michelle Williams, who owns every second she’s onscreen (which isn’t very long). Her final scene with Affleck broke me right in two. 

13. Born to be Blue (Digital Purchase) Every year springs new musical biopics upon us, to varying degrees of creativity and critical acclaim or derision. My favorite one from 2016 was Robert Budreau’s nonlinear narrative inspired by incidents from the life of Chet Baker as portrayed by Ethan Hawke, who gives his best performance outside a movie with “Before” in the title. For the unfamiliar, Chet Baker is best known as the singer of “My Funny Valentine” today, but he was also a prominent jazz trumpet player and part of the West Coast jazz scene in the 1950s and 60s. As so many artist types, his genius was often threatened by his dalliances with substances and people whose momentary glamor gave way to decay and destruction. 

Hawke captures Baker’s charming qualities as well as his tendencies toward self-sabotage, and the movie does not feel like a typical biopic as it incorporates a more meditative approach than a chronological one. There’s also a movie-within-the-movie which adds to the novel feel and keeps this from just hitting all the major events in Baker’s life in order. Carmen Ejogo is excellent as Baker’s primary love interest, a complex and well-drawn foil for the troubled musician. Her character is an amalgam of real life people, but she stands out as more than just your typical long-suffering wife/lover trope. 

12. Fences (Theaters) August Wilson’s intimate play gets the cinematic treatment at the hands of Denzel Washington, who both directed and stars here. Troy (Washington) is a garbage man who drinks a lot and talks a lot more to his wife Rose (Viola Davis), his friend Bono (Stephen Henderson), his son Cory (Jovan Adeppo), and others who show up at his doorstep.  The story is simple, but the characters are anything but. This may be my favorite ever Denzel performance, and certainly my pick for Best Actor in a Leading Role of 2016. Davis is phenomenal too, in a quiet but steady way. And not as many people are talking about Stephen Henderson, who played Bono in the play as well as the movie, but he’s excellent.  If you want to hear beautifully written dialogue (and monologues), see some of the year’s best performances, and be moved by a family drama that feels relevant even though it was written and set in a bygone era, go see Fences. 

11. Midnight Special (On Demand) In the first of two Jeff Nichols-directed movies that came out in 2016, Michael Shannon (a frequent Nichols collaborator) is a father trying to protect his son. The boy has some unique abilities, to say the least, and everyone from cult leaders to government agencies wants to exploit those abilities. It’s part superhero origin story, part Close Encounters of the Third Kind, and all about the joy, terror, and unbridled love that come with being a parent.  The movie features memorable visuals as well as supporting performances from Joel Edgerton, Kirsten Dunst, and Adam Driver. The ending may leave you with more questions than answers, but the emotions it evokes are unmistakable.

10. Tower (iTunes) In 1966, a lone gunman stood atop a tower on the University of Texas campus and opened fire on the unsuspecting people below. For the next 96 minutes, chaos and carnage took over the scene as law enforcement and campus officials tried to devise a way to stop the shooter without endangering more lives. This documentary tells the story of that day from the perspective of people who were there, using interviews and re-staging events using rotoscoping animation.  The result is one of the most powerful documentaries in recent memory (outside of Joshua Oppenheimer’s The Act of Killing and The Look of Silence). Hearing from victims, bystanders, police officers, journalists, and students who experienced this firsthand reveals so much about the nature of trauma, the way we react in extreme circumstances, and the contrast between what was then a first-of-its kind incident and what is now an all too frequent occurrence: The campus shooting spree. It’s never preachy, just lets each person tell their own story. Always, the focus is on the people on the ground rather than the person behind the violence. It’s a must-see film.

9. Arrival (Theaters) Denis Villeneuve has become one of my favorite directors of recent years, and it’s great to see a film of his get embraced so widely by audiences as well as critics. In case you haven’t yet seen it, this movie features Amy Adams as a linguist and Jeremy Renner as a scientist. Both of them have been recruited to help the government communicate with the aliens who have recently parked giant pods all over the world.  The movie opens with a much more human story, and if you cried at the beginning of Up you will certainly shed tears here too. I won’t give more away than that, but what happens informs the emotions and decisions made throughout the film in interesting ways.  I love the visuals of this film, and the emotional arc of the story. I also adored all the technical linguistic things that were going on, and I don’t know enough about science or language to know whether they were plausible so I’m just going to assume ignorance is bliss and aids in suspension of disbelief. There is one scene that seems to create a divide in audiences between loving and hating this movie. I won’t explain beyond saying it involves a phone call, so if you’ve seen it you know what I’m talking about. I can understand the criticism, but for me it was not enough to derail all that came before and after.  If you haven’t seen this yet and you like your science fiction with a few tugs on the heartstrings, this is definitely worth your time. 

8. The Lobster (Amazon/iTunes/GooglePlay Rental) I adore this movie, but that does not mean you will. I have to put that caveat right up front. In fact, at least one person I recommended this movie to absolutely hated it. So, take my opinion with a grain of salt but I will try to convey truth in advertising.  Yorgos Lanthimos, whose previous films were Dogtooth and Alps, makes his English language debut with this dystopian romantic comedy. Colin Farrell, John C. Reilly, Rachel Weisz, Ben Wishaw, Lea Seydoux, and Olivia Colman are the human subjects who populate the story. In their world, if you find yourself without a partner, you go to a hotel where you have 45 days to pair up with someone. If you do not find a suitable match, then at the end of 45 days you get turned into the animal of your choice. You can extend the time of your matchmaking opportunities by going out to the forest and hunting “loners,” people who have escaped from the hotel in the past and choose to live lives of solitude.  It’s a wacky premise, but leads to numerous laugh out loud scenarios in addition to the more plaintive moments. I should warn you that there is a scene or two of violence involving an animal, which may be tough to watch for some. That may be one of the reasons people hate it. But as a critique of human behavior and society’s obsessions, it’s quite an effective parable. 

The latter half of the film takes a different turn, and while I don’t want to give away what happens, that’s why I called this a “romantic” comedy. You may not want to watch it with your date on Valentine’s Day, but if you do it should certainly give you much to discuss afterward.

7. April and the Extraordinary World (YouTube/Vudu/GooglePlay/Amazon Rental) This animated steampunk French film features a talking cat and a whipsmart girl and an underground lair and a bunch of other wondrous things that I don’t dare attempt to describe. It’s an alternative history film, it features the voice of the marvelous Marion Cotillard, and it should’ve been nominated for Best Animated Feature at the Oscars. Alas, it was not. But if you want to watch a gorgeous, funny, charming film that might inspire a generation of girls to go into STEM careers, watch this. 

6. The Neon Demon (Amazon Prime) I feel intoxicated every time I even recall this sumptuous film. If you missed my review of it earlier this year, go check it out and then go watch this film... if you dare.

5. Sing Street (Netflix) This is, hands down, the feel good movie of the year. Written and directed by John Carney, who gave us Once and Begin Again, this film is set in Ireland in the early 1980s. The premise is simple, really: A boy starts a band to impress a girl that’s out of reach. Not only does he hope to impress her with the music, but he convinces her to star in their music videos since she’s seeking a career as a model. Then he has to actually form the band, and learn how to play instruments and write songs. Along the way, his older and cooler brother educates him on the cool musicians of the day: The Smiths, Duran Duran, The Clash, The Jam, Hall & Oates, The Cure, Spandau Ballet.  The original songs in this film are super catchy and fun, and serve as homages to the great bands referenced above. If you’re a sucker for the films of John Hughes, the music of the 80s, and stories about brothers and coming of age and following your dreams, this is the movie for you. 

4. The Handmaiden (Theaters) Take a novel  set in Victorian England about pickpockets, conmen, and insane asylums that’s been referred to as “lesbian Dickens” (Sarah Waters’ Fingersmith), and set it in colonial South Korea, and make sure it’s directed by the guy who made Oldboy. This is a recipe for the most gorgeously photographed, erotically charged, bonkers in the best way movie of the year.  I don’t want to get too far into the story which has so many delicious surprises, but the quick version is that an orphan pickpocket goes to live with a rich but possibly mentally ill young woman to serve as her handmaiden. This is all in an attempt to con said rich young woman into a marriage plot with a smooth talking ne’er do well man. And there’s also the added wrinkle of the rich girl’s creepy uncle, who collects banned erotic books and holds readings in his library for men who pass through. It’s a very unsettling atmosphere for two young ladies, and they form a bond with one another in spite of themselves.  There are moments of horror, laughter, and blush-inducing romance in this unrated film (don’t watch it with Grandma unless she has a very open mind and you have a very comfortable relationship). Its runtime is 145 minutes but I wanted to stay in this world forever. 

3. Green Room (Amazon/iTunes/GooglePlay Rental) We lost too many good people last year, and Anton Yelchin was one of the losses that hurt the most. In this movie, he gives arguably his best performance as a member of a punk band that gets in way over its head when they take a gig for gas money that takes place in a remote area where most of the audience is neo-Nazi skinheads. They get through the performance, uncomfortable as it is, but the real trouble happens later when one of them witnesses something their hosts really don’t want them to see. From there, it’s a tense stalemate as the band members have to improvise and evaluate who can be trusted. The movie is directed by Jeremy Saulnier, who gave us the excellent and underrated Blue Ruin a few years ago. This one has a similar blend of regular people in irregular situations, with plenty of blood and gore but also a fair bit of humor and a whole lot of real raw punk rock, both on the soundtrack and in the aesthetic. It helps that Saulnier was in a band himself back in the day, so he brings a real authenticity to the characters in the movie.  This stayed atop my “best of the year” list all the way into December, when I finally saw the last two films on my list. I’ve watched it multiple times and would watch it many more. If you took delight in a video of a Nazi getting punched a few weeks back, you should definitely watch this movie. And if you didn’t, well, you should still watch this movie. 

2. Moonlight (Theaters/Digital Purchase) Barry Jenkins (director/co-writer) and Tarell Alvin McCraney (co-writer) have created a moving, timeless piece of visual poetry in this film that captures three significant chapters in the life of a young man named Chiron. When we first meet him, he’s maybe six or seven years old and people call him “Little.” He hides out in an abandoned house to escape from neighborhood bullies, and is discovered by Juan (Mahershala Ali), a local drug dealer with a complicated moral compass. Juan and his wife Teresa (Janelle Monae) become de facto surrogate parents to Little, whose mom (Naomie Harris) works late and brings random men home and sells their belongings off piece by piece to afford the drugs she craves.  In the second chapter, Little is now “Chiron,” in high school and life hasn’t gotten easier. He’s still quiet, still has a troubled relationship with his mom, and feels pretty alone in his peer group with the exception of his friend Kevin. He and Kevin share an unexpected but life-changing evening on the beach that is intimate and believable and raw. The next day at school, however, another life-changing exchange takes place between the two young men and this one is even more visceral in its immediate and long lasting impact on Chiron’s future. Finally, we see him as “Black,” a little older and transformed from the skinny vulnerable teen into a muscular, physically intimidating presence. He’s clearly fighting against his past by embracing everything he can to seem larger than life and untouchable, in both his physical appearance and his lifestyle. He gets a phone call one night that reconnects him with a part of his past he could never quite shake. I won’t spoil what happens next, but the final twenty minutes of this movie are a perfect encapsulation of long-suppressed feelings finally forcing their way out into the open. It’s such a personal story, but the specifics make it so relatable that it feels universal in its specificity.  The performances in this movie are wonderful, the cinematography is gorgeous, the score is amazing--I could go on for years. To me, this movie showed a story I’ve never seen on screen before, from a perspective that’s completely underrepresented in pop culture. It never feels manipulative or stereotypical or preachy--just real and achingly human. Some moments in this movie have replayed themselves over and over in my mind hundreds of times, and even having seen it twice in the theater I can’t wait to study every frame of it on multiple viewings once it’s available on Blu-Ray. I want it to seep into my bones the way it seeped into my heart. 1. La La Land (Theaters) “This is the kind of movie that just fills your heart up,” I texted a friend the second I exited the theater after seeing La La Land the first of three times (and counting). And every time I watch it, my heart overflows a little more. Here’s a film that will resonate differently depending on your frame of mind when you watch it, the same way Eternal Sunshine of the Spotless Mind can feel funny or sweet or tragic or dark or romantic depending on your current relationship status.  At first glance, Damien Chazelle may seem to be showing off in his follow up to Whiplash, tapping into an easy sentimentality that short circuits our center of reason by throwing in references to Singin’ in the Rain, Casablanca, West Side Story, and an LA that probably only ever existed in the imaginations of the people who never actually visited the City of Stars but fell in love with its many portrayals on the silver screen. And yes, Hollywood does love stories about itself and yes, the novelty of an original movie musical does scream “anachronistic film school prodigy.” So I get the skepticism, I truly do. I can’t promise this movie will live up to the hype of a record-tying number of Oscar nominations for you, but I can tell you that it means so much more than that to me. It’s not just another charming but forgettable throwback (I’m looking at you, The Artist).  In case you haven’t yet experienced this movie, a quick breakdown: Sebastian and Mia, portrayed by Ryan Gosling and Emma Stone, are both in LA chasing their dreams of artistic success. He’s a jazz pianist; she’s an actress. Neither has quite made it, and “making it” to them means doing something authentic on their own terms which makes success even more elusive. Compromise may be part of real life but neither of them is quite ready to give up the fantasy yet. Their relationship starts off adversarial, then tentative, then before you know it they’re literally floating into space so carried away are they with love and visions of a future together. The stages of their lives and the story are divided up by seasons, and sure as summer follows spring, you can’t get through the year without the fall. Fall in this movie has a double meaning, and the cute flirty interludes give way to frustrated sighs and changing priorities. Other seasons follow, which I will not spoil, but I will say that the final five or ten minutes of this movie could stand on their own and still be my favorite film of 2016. People compared Whiplash to The Red Shoes, and I would make the same comparison to this film although for different reasons. The ballet sequence of The Red Shoes and the final sequence of La La Land share an artistic splendor the can induce wonder and catharsis in equal measure. I’m prone to quoting Charles Bukowski, so I’m going to close by quoting him again. I think the following poems explain the core of this film, and why it resonates so much with me: “the area dividing the brain and the soul is affected in many ways by experience – some lose all mind and become soul: insane. some lose all soul and become mind: intellectual. some lose both and become: accepted.” --You Get So Alone at Times That it Just Makes Sense “if it doesn't come bursting out of you in spite of everything, don't do it. unless it comes unasked out of your heart and your mind and your mouth and your gut, don't do it. if you're doing it for money or fame, don't do it. if you're doing it because you want women in your bed, don't do it. unless it comes out of your soul like a rocket, unless being still would drive you to madness or suicide or murder, don't do it. unless the sun inside you is burning your gut, don't do it. when it is truly time, and if you have been chosen, it will do it by itself and it will keep on doing it until you die or it dies in you. there is no other way. and there never was.” --So You Want To Be a Writer?

#best films of 2016 #lists #movie reviews #la la land #moonlight #arrival #sing street #green room #the handmaiden