Movies

Weird Movie of the Week: Enraged Lycanthrope Edition

Last time on Weird Movie of the Week, we saw a woman with a strange growth on her shoulder that wound up being the fetus of a 400 year-old demonic Native American. This time, we return to an old WMotW theme: weird werewolves. So we’ve got a movie called Wolf Guy, which starts with a pretty standard WMotW description, but slowly grows more worthy:

The incredible Shinichi “Sonny” Chiba is WOLFGUY, the only survivor of a clan of werewolves who relies on his feral, full-moon-activated superpowers to solve mysterious crimes. One night, a bizarre and bloody death in the Tokyo streets plunges him into a far reaching conspiracy populated by crooked politicians, naked white women, bit players like Hideo Murota, a phantom tiger, and – best of all – a shadowy organization (called the J-CIA) out to steal the secret of Wolfguy’s powers and the blood right out of his veins.

Oh, and it has an alternate subtitle you see sometimes, “Wolfguy – Enraged Lycanthrope”.

Wolf Guy - Enraged Lycanthrope

Unlike most Weird Movies of the Week, I have actually watched this one before posting about it, so I can tell you that this is indeed worthy of the label. A few thoughts:

  • Chiba never actually transforms into a werewolf, but he does jump around like a wolf a few times.
  • At one point, Chiba has been disemboweled, but since it was the full moon, he was able suck his intestines back into his body using only the power of his mind.
  • Chiba sleeps with every woman he meets, often within only a couple of minutes. Ah, the 70s.
  • The soundtrack is an awesome, swanky 70s affair with some psychodelia thrown in for good measure.
  • Visually, it’s a pretty trippy affair. Lots of zooms and dutch angles which combine well with the funky soundtrack.
  • I watched this on Shudder, which has the recent Arrow restoration of the film, so it’s a really good transfer. Better looking than most exploitation of the era, though maybe that’s just because it’s been restored.

It’s one of those movies that isn’t particularly good, but still a blast to watch for some reason. Well worth checking out for fans of weird schlock.

Solo and Assorted Star Wars Thoughts

I’m late to the party I guess, but here are some assorted thoughts on Solo: A Star Wars Story and more general Star Wars musings.

  • Solo is fine. We’re fine. We’re all fine here, now, thank you. How are you? It’s a movie that doesn’t need to exist and maybe Star Wars should be more than just fine, but that’s where we’re at. Even the stuff I don’t like is mostly fine.
  • When Solo was announced, the general consensus was that it was a pretty dumb idea and that no one really cared about, but then they went and hired Phil Lord and Chris Miller, people who have literally made their career out of taking the dumbest ideas ever and making good to great movies out of them (I mean, 21 Jump Street wasn’t a movie anyone thought would work, and they made it good, then made 22 Jump Street and it was still good. Also: The Lego Movie.) For some reason, Disney let them get to like 3 weeks before filming was scheduled to end, then fired them and hired Ron Howard to reshoot 70% of the film and make it safe or something. As mentioned above, the result is cromulent I guess, but I’d still be really curious to see what Lord and Miller’s version looked like. A comedy heist Star Wars flick could have been a ton of fun. I feel like the version we got was toned down, with any edges shaved off. But who knows? It’s really easy for us to second guess the decision, but it’s actually quite possible that Lord and Miller had finally reached a breaking point and failed to convert a bad idea into a good film. Their reputation is good and they probably got out of this better than if their film was actually released because now everyone is questioning Disney’s decision.
  • Maybe I should talk about the actual movie, eh? Spoilers aho! So we start off on Corellia with Han as basically a street urchin doing the bidding of Fagin Lady Proxima, but he’s just stolen a valuable bit of merchandise and hopes to escape with Qi’ra. Of course, things don’t go as planned, Qi’ra is captured and Han only escapes by joining the Imperial Navy. After flunking out of pilot school, he becomes an infantryman and during some battle or another he runs into Beckett and immediately figures out that he’s a criminal of some kind, but gets thrown into jail and fed to some horrifying monster that turns out to be Chewbacca. Naturally, they hit it off and eventually catch up with Beckett and participate in their planned heist, which does not go well thanks to a rival crew lead by one Enfys Nest. Beckett goes to his boss, who tells him he needs to get some space fuel and fast, so another heist is planned. Oh, and it turns out that Qi’ra is working for Beckett’s boss, that’s convenient. They recruit Lando Calrissian and his droid L3-37 because they have a ship, the Millenium Falcon. Then they go to Kessel, resulting in the infamous Kessel Run. Once they return, they get another runin with Enfys Nest and things come to a head with Beckett’s boss. Betrayals and intrigue, etc… It’s all fine.
  • I know that there was an aesthetic choice to forgo the opening crawl in the non-numbered Star Wars Stories, but this movie literally starts with multiple screens of textual introduction and it’s like, why not use the already established Star Wars convention of a crawl to accomplish that? This is a quibble to be sure, but the crawl is one of those things that is so distinctly Star Wars that it seemed weird to avoid it in this case (the lack of a crawl didn’t bother me too much with Rogue One, so it’s not like every movie has to have a crawl, but it seemed appropriate here).
  • Alden Ehrenreich is fine as Han Solo. He doesn’t really remind you of Harrison Ford, but that actually kinda works in this movie’s favor. He’s perhaps not as charismatic as Ford was in the originals, but that’s an impossible comparison, so I’d say he’s charismatic enough. There are some interesting relationships here which kinda lead to the Han Solo we know, though the character arc in this movie feels incomplete and a little incongrous with the original film. When we first met Han Solo in Star Wars, he was kinda selfish and cynical, but his arc in that film is to be convinced to care again by Luke and Leia and to hop onboard with the Rebellion (an arc that continues throughout the original trilogy). When we meet Han in this film, he’s kinda naive and optimistic. He’s got a girl and things are looking up. Even once that falls through, he’s optimistic that he’ll be reunited with her. And he is! There’s some interesting stuff there too, as we’re not really sure what Qi’ra’s been doing since they’ve been separated, but Han seems excited to be around her again. Beckett keeps telling him he’s a fool for trusting anyone, which makes for another interesting relationship. The end of Solo works well enough, but it leaves too many loose threads with respect to Han’s arc. Beckett’s betray is probably the best portrayed, and that bit about Han shooting him first is one of the few pieces of fan service that actually works really well. You can see Han hardening a bit with Beckett. Qi’ra’s relationship is left a little unclear, and one of the problems with the movie is that it’s clearly setting up for a sequel where Qi’ra more thoroughly breaks Han’s heart. As it is, Han actually supports the Rebellion at the end of this film, which means that while he’s hardened a bit, he hasn’t quite reached the cynicism that we know he’ll reach by Star Wars. I would much rather this have been a self-contained film where we see all of this, because the result, while fine, is not quite as satisfying.
  • Lando is great and Donald Glover does a good job walking the line between doing his own thing and utilizing the affect of Billy Dee Williams (particularly the way he talks). Lando’s droid L3-37 is one of the more entertaining bits of the film, but also one of the more confounding characters. She’s got this whole droid rights thing going on which is actually a kinda interesting thing in the Star Wars universe because droids are legit treated like slaves, but it’s all sorta played as a joke? Then she’s killed and uploaded into the Millenium Falcon (against her will?) Still, I liked the interactions between Lando and L3 and thought many of this worked reasonably well. I’m not sure I’d actually want to see a Lando movie with Han Solo as a side character, but I suspect that might have been more original and interesting than the film we got.
  • The fan service bits were mostly terrible. I know that Han Solo’s dice was a neat little detail in the set dressing from the original film (supposedly a reference to American Graffiti, a film in which Lucas and Ford worked previously) and I guess it made a bit of sense in The Last Jedi because Han was gone and we needed something to remember him by, but man, we don’t need this much of the dice. Similarly, we absolutely do not need a scene where Han gets assigned the last name Solo… it’s a pretty cringe-worthy moment. I guess it was nice to see Sabacc being played, but it’s a difficult thing to film and it mostly only works because we see Lando cheating. I didn’t really need to see the Kessel run either. Fans had long since retconned the whole “made the Kessel Run in less than 12 parsecs” mistake (and it definitely was a mistake), so seeing it onscreen didn’t really add anything. Similarly, we’ve always known that Han won the Millenium Falcon from Lando in a game of chance, so actually seeing it play out isn’t that exciting. None of this is actively bad (well, the name thing is pretty terrible), but it’s all the sort of thing that’s probably better in our imaginations than it was on screen.
  • The film does have a couple of heists that are pretty entertaining. I mean, no, it’s not going to stand up as one of the best heist films or anything, but it adds a nice bit of flavor to the Star Wars universe. The first heist with the train is a bit confusing in conception (why is this stuff on a train? Why does Val have to die?) but it’s a well executed action sequence. Despite not needing to see the Kessel run, it was also well executed and I liked seeing unexpected stuff like a giant, tentacled, Lovecraftian space-monster being thrown at our heroes. The post-heist machinations had some good bits of business too, with Beckett’s betrayal and Han’s anticipation of such, and so on. Again, not going to be the first heist flick I reach for but… it’s fine.
  • Enfys Nest is kinda interesting, but again suffers from what I assume are some sequel setup issues. The character design and costumes are great. How she keeps getting the drop on Beckett and his crew is unexplained and a little weird. The reveal when she takes off her mask is well shot, but leads you to believe that something of major import is being revealed, but really we’re just supposed to be surprised that it’s a girl with freckles? At first I was curious if we were supposed to already know who this person is (and I know some have made some connection between Enfys Nest and Saw Gerrera, but that’s stretching it), but no, it’s just playing the reveal of a female as a surprise. Further, she explains that this criminal syndicate that Beckett and Solo are working for is supporting the Empire and she’s part of a sorta Proto-Rebellion. This makes no sense though, since Beckett and Solo were stealing from the Empire. I dunno, maybe they were doing the Heat thing where the Empire gets their stuff stolen, gets pain insurance, then buys back their stuff for half price or somesuch? Or maybe Enfys Nest is lying and we’ll find out in a sequel and that will be one of the things that leads to Han’s disillusioned cynicism? Either way, it doesn’t really work in this movie.
  • So there’s a cameo at the end that was completely unnecessary and I’m sure confusing for some folks. Yes, Darth Maul is the head of the crime syndicate and Qi’ra is working for him, but the scene was just so blatantly angling for a sequel that it really left a bad taste in my mouth. It’s also the first time Disney also implied that you needed to know more than the films to understand what’s going on… (Maul survived his bisection in Episode I and came back in the Clone Wars and Rebels TV series) This all feels like a mistake.
  • Solo has done incredibly bad at the box office. This is likely due to a multitude of factors, such as being so close to the last Star Wars film, having so much competition from similar blockbusters all around it, and perhaps even a follow-on effect of some whiny fans that didn’t like Last Jedi. The loss of Lord and Miller couldn’t have helped either. I mean, obviously I saw it, but my enthusiasm was lessened.
  • Speaking of Star Wars: The Last Jedi, I revisited that film in preparation for Solo, and I think it mostly still holds up. A few additional thoughts on that film: It strikes me as being the first modern Star Wars film that’s as conversant with cinema in the same way as the original Star Wars. Johnson is clearly making references to Kurosawa here, this time Rashomon (Luke and Ben’s version of the same stories) and Ran (the striking use of red in a battle sequence) rather than The Hidden Fortress (R2-D2 and C-3PO bumbling through the series) in the originals. Even the Canto Bight sequence has this dolly shot that is clearly inspired by Wings, and it’s a very nice shot. I do still think that Canto Bight sequence is poorly conceived and executed, but the nuts and bolts filmmaking still works (and there’s lots of other cinematic references too). Poe Dameron’s story and the whole fleet escape plot has waned a bit in my estimation, though it’s still functional and entertaining enough. I like Poe’s arc here, but it could have been better illustrated. The more I think about it, the more annoyed I am that they killed Admiral Ackbar the way they did. Laura Dern’s a great actress and I like her in this movie, but it would have been more resonant to use a character we knew in that situation, and the whole Holdo Maneuver thing would have been more effective coming from Ackbar. Instead we’re simply told that Ackbar was among those who perished in an offhand manner. Annoying. The Luke, Rey, and Ben/Kylo sections are still my favorite parts of the movie. Johnson actually does a really good job editing these three plotlines together, even if one of them is redundant and unnecessary (again, nuts and bolts filmmaking chops are present here, even when something isn’t working). Ultimately I still enjoy the movie quite a bit and I’m really thankful that Johnson has cleared the path to do something new with the series. Will Episode IX actually fulfill that potential?
  • I’m still waiting, Disney. Pristine HD/UHD 4K transfers of the originals please, and none of that special edition bullshit. You had Han learn to shoot first in Solo, please restore that (and dozens of other things) in the originals. Some people have mentioned that there are some legal things that need to be worked out with Fox, but I’ve also heard that they’ve held back from releasing the original movies because George Lucas doesn’t want them released. I guess that’s honorable in its own way, but come on. It’s clear there’s a desire for these things. Solo isn’t making much money, so if you want a little boost going into Episode IX, this is a surefire way to get it. Search your feelings, you know it to be true!

So there you have it.

Update: Added a couple of thoughts. I knew I forgot something..

50 Under 50 – Part II

The second recap in my resolution to watch 50 movies made before 1950 in 2018 [see Part I]. I’m still a little behind if I want to hit 50, but I’ve got plenty of time to make up the shortfall. This time around, I continue to hit obscurities, but have also peppered in some genuine classics:

  • The Thin Man (1934) – Adapted from a Dashiell Hammett novel, the story revolves around Nick and Nora Charles. Nick is a former detective who married up to Nora, a wealthy socialite. They generally spend their time drinking in speakeasies and throwing parties in their hotel. Nick is drawn into a murder mystery and, with Nora’s encouragement, takes on the case as something of a lark. The mystery itself isn’t particularly special, but Nick and Nora sure are. It’s the banter and witty dialogue that sell everything. When Nora asks if Nick has “a type” of woman, he says: “Only you darling, lanky brunettes with wicked jaws.” There are some visual gags too, like the way Nick dangles a hat as a lure. And then there’s Asta, their adorable dog which actually manages to crack the case at one point. The mystery is functional and a good base for the banter and copious amounts of alcohol. A very enjoyable flick, well worth seeking out. There were lots of sequels, which I may need to check out at some point during this little project. ***
  • D.O.A. (1949) – A noir film with a pretty unique premise. A man enters a police station:

    “I’d like to report a murder.”

    “Who was murdered?”

    “I was.”

    It’s a nice hook, isn’t it? The rest plays out in standard noir fashion, with our hero simply attempting to figure out who murdered him (via slow-acting poison, it should be noted) and why. The steps along the way aren’t exactly groundbreaking or anything, but it’s nice to see a non-standard noir premise, even if it’s played out in typical ways. I think my favorite thing about this is that the premise reminds me of the Jason Statham Crank films (and any of a number of other “ticking clock” premised movies). As of right now, it’s on Amazon Prime, and worth a spin for noir fans. **1/2

  • Paradise Canyon (1935) – Early B-grade John Wayne western about a man who goes undercover in a medicine show to bust a counterfeiting ring. The medicine in question is Dr. Carter’s Famous Indian Remedy, a 90% ABV elixer that would cure lots of things, like having an esophagus. Pretty bog standard stuff, but short and sweet, and diverting enough for what it is. I kept getting struck by various details (such as the aforementioned elixer). They also do this thing where instead of shooting people, they just shoot their horses. Ultimately nothing special, and the transfer that’s floating around on streaming/cable isn’t anything special, but it’s not a complete waste of time. Damning with faint praise, I guess, but here we are. **
  • Foreign Correspondent (1940) – Hitchcock tale about a reporter seeking to expose enemy agents in London. Along the way, we get an assassination, a spy ring is uncovered, and naturally, our hero falls in love. I’d like to promise you that one of these 50 Under 50 posts won’t contain a Hitchcock flick, but I’m not sure if I’ll be able to keep that promise. As these things go, this is also pretty minor Hitchcock, but as per usual, minor Hitchcock is still pretty good. Hitch has a knack for elevating what would normally be a mundane 40s spy thriller. The romance is a bit flimsy and there’s some clumsy exposition and all-too-convenient plot happenings here or there, but it’s otherwise pretty good stuff. Some decent set pieces at the windmill and cathedral, but the real visual standout is the assassination sequence with a sea of black umbrellas. Still probably only of major interest to Hitchcock completists, it’s somewhere in the middle of his oeuvre. **1/2
  • Stagecoach (1939) – John Ford western about a group of travelers on the titular stagecoach. The travelers represent a microcosm of society, illustrating class struggles and various prejudices. The stagecoach is threatened by native Americans, but despite a solid set piece, the film ultimately boils down to the relationship between John Wayne’s Ringo Kid and Claire Trevor’s Dallas. Speaking of which, the zooming reveal of John Wayne is a ludicrous classic.
    John Wayne reveal from Stagecoach

    Apparently you can pinpoint the moment when John Wayne went from popular actor to utter superstar, and that’s the one. I could quibble about some pacing issues and the insta-romance between Wayne and Trevor’s characters, but there’s lots to chew on here. I’m not an expert in the genre and this isn’t my favorite, but it does seem like it’s an important one, for what it’s worth. ***

  • Babes in Toyland (1934) – A story that weaves various Mother Goose nursery rhymes into a Christmas-themed musical. Laurel and Hardy are solid, but they feel shoehorned into the story and there’s too many other characters and song and dance numbers (a personal bugaboo, not really something to fault the movie for, I guess, but these didn’t really grab me at all) and whatnot for them to overcome. The finale with the whole “march of the wooden soldiers” bit is neat, but again not quite enough to make up for the rest. **
  • Sullivan’s Travels (1941) – In search of inspiration, a filmmaker goes on the road with only a shabby outfit and a dime in his pocket, looking to connect with the common man or somesuch. Along the way, he meets Veronica Lake and of course, falls in love with her. At first, I was a little unsure about this guy’s plan. He keeps getting rescued at the faintest hint of difficulty, something that he was ostensibly trying to explore. But the film eventually gets to where it needs to with a cleverly plotted mishap (and solution). Lots of great bits here. There’s a prescient scene in a movie theater, indicating that thoughtless patrons were always a thing. One of Sullivan’s butlers gives a great speech on the nature of the poor. The skewering of Hollywood tropes is fun (“With a little sex in it.”) Makes me want to watch the Coens’ O Brother, Where Art Thou? to spot the references. Witty dialog abounds, including something I will use for the rest of my days: “I don’t like musicals, they hurt my ears.” Lake is wonderful in the movie and I’ve already got a couple more of her movies in the queue for future 50 Under 50 viewing. Definitely worth watching. ***

More to come!

Avengers: Infinity War

I’ve dabbled with reading comic books here and there, but my experience is mostly with trades and features massive gaps in knowledge. That being said, comic books have a certain reputation… a reputation that features both good and bad characteristics. The Marvel Cinematic Universe (MCU), being a large scale adaptation of their comics, inherits that reputation, for better or for worse. Many of the MCU movies manage to skirt the cheesier, gimmicky aspects of comic books, others are less successful.

There’s something to be said for comic book movies that defy such cheesy expectations or feel less comic-booky. The Dark Knight feels less like a superhero movie than a crime flick that just happens to feature a dude dressed like a bat (and it might be my favorite comic book movie of all time). But there’s also something a little sad when these movies deny their origins and pretend they’re something they’re not. The MCU movies manage a sort of balance around that line that works very well. Sometimes, though, they really lean into their comic book nature, and the “team-up” films are the biggest example of this. Avengers: Age of Ultron, in particular, really felt like it leaned into the comic bookiness of it all. The never-ending serialized nature of comic books had arrived on the screen, fraught with all the attendant baggage that entails.

Avengers: Infinity War

Avengers: Infinity War is the nineteenth film in the MCU, and it is one of the more ambitious efforts to date. Nearly all of the characters introduced in the past decade show up on screen to battle a villain that has been hinted at for at least eight years. Loosely based on the early 1990s crossover event The Infinity Gauntlet and its sequels, Infinity War and Infinity Crusade, this film attempts to tie together the last ten years of MCU films into one climactic story. Thanos is the big villain, hinted at in previous films, who wants to collect powerful macguffins known as Infinity Stones so that he can obliterate half of all life in the universe in order to stave off the threat of overpopulation. The various MCU heroes, who’ve been encountering the Infinity Stones all along (i.e. the Tesseract, Loki’s staff, etc…), attempt to block Thanos. Some major spoilers posted below, so read on at your peril. Basically, I liked it just fine.

As a coherent narrative, it fits, I guess, but is quite disjointed (and incomplete). This is a long movie, but even then, it’s not long enough to give satisfying character arcs to all of its participants. This is the supreme challenge of the team-up movies, and this one has so many characters that it can’t help but feel a little jumbled and rambling. I wouldn’t go as far as some critics, who think of this as barely a movie for that reason (which I find amusing given those same critics’ praise for artsy films where nothing happens, but I digress), but the general criticism that it lacks depth is valid.

On the other hand, who cares? We spend a lot of time with characters we like! We get fun interactions as characters meet for the first time. Thor meets the Guardians and enlists Rocket and Groot to help him build a new weapon. Iron Man, Spiderman, and Dr. Strange deal with some of Thanos’ henchmen in New York and later space. At one point Captain America meets Groot and the dialog is priceless (“I am Steve Rogers,” brilliant). It’s these little moments, disconnected as they are from any larger context, that make the MCU work as well as it does. Some of this is less successful. Vision and Wanda’s romance was something hinted at in Civil War, but they aren’t developed enough to care that much about (also, wasn’t Vision way, way more powerful in previous films? He’s stumbling around like a weakling in this film the entire time.) Gamora and Peter have similarly been circling each other for a couple of movies and fare a bit better, but something seemed to have progressed between GotG2 and Infinity War.

Which brings us to Thanos. He was kind of a nothingburger in previous films. Comic Book fans knew who he was, but he just kinda sat around and orchestrated things in the background instead of being an active participant (I mean, after ten years of trying to collect Infinity Stones via proxies, once he gets up to do it himself, it takes a couple of days). In this movie, he finally becomes an actual character. As mentioned above, he’s got this Malthusian mission to reduce the population of the universe in half, which is kinda dumb, but also understandable enough.

I suspect there’s a better movie lurking beneath the surface of this one that is far more focused on Thanos and Gamorra. Their dysfunctional relationship has been established since the first Guardians of the Galaxy, but it’s lopsided and lacks depth. There’s some flashbacks here that attempt to improve on that, but not nearly enough to justify the whole Soul Stone sacrifice bit. Instead, we spend fifteen minutes watching Thor go forge a weapon at some random neutron star facility. Don’t get me wrong, Thor interacting with Rocket and Groot was a ton of fun and worked well, but it does sorta distract from the overall narrative of the film. In fact, a lot of these little side stories, while containing the character beats that I appreciate so much, ultimately make the film feel sorta disjointed. This is the challenge of these films though. You have to devote some time to all the characters, which means that the narrative fractures a bit. But the fact that we like most of these characters so much keeps the fractured elements in orbit around one another, which is probably the most you can really hope for…

As I understand it, one of the things done in big comic book crossover events is that you have tie-in issues of individual heroes’ comics where you can delve deeper into one character’s perspective on the larger events. Alas, that’s not something that quite works in blockbuster film territory (though, for all I know, there are actual comic books that are providing this background for the films…) Alright, time to get to the real spoilers. This is your second warning, read on at your own peril.

So the ending is simultaneously shocking and boring. Shocking because Thanos basically wins, half the universe disappears with the snap of his finger (i.e. The Snapture), including a lot of our heroes. Boring because far too many of our heroes die for it to actually mean something. There’s no way this can stand in the next installment, which makes the stakes here a bit suspect. Again, in the moment, these characters dying is affecting, but with even a second’s introspection, you realize that it can’t actually be a lasting situation. This isn’t exactly a unique take on the ending. Most point to the fact that many of the dead characters have upcoming movies and the characters who lived are actually the ones you’d expect to be killed off (i.e. Chris Evans contract is nearly finished and has made it clear he won’t be coming back, and so on). My point is that even without knowing that, the ending doesn’t have quite the impact it should because we still wouldn’t believe this situation is permanent. This goes back to the whole comic-bookiness of it all, and I’m not entirely sure what to think of that. On the one hand, it feels kinda cheep and gimmicky, a way to sell more tickets to the next movie. On the other hand, no one has even done this sort of thing on this scale before. 19 movies leading up to this? It’s an interesting translation of comic book storytelling to the screen. I don’t know that it works any better for it, but I have to admire the attempt.

It feels like a bit of a cheat too, since the marketing for this has sorta promised that this would be its own movie, when it’s clearly part one of a bigger story that will be resolved next year. This, again, gets back to the comic-bookiness of it all. It’s not that serialized storytelling hasn’t been done on film before, but the scale of this is impressive, and I suspect that some of the complaints about this film would fade away or at least morph into something different once the next film comes out. This is the thing with the MCU. I think all of the films are enjoyable (mostly) and competent on their own. I don’t think any one film achieves true greatness, but many of them are able to underline each other with connective tissue that helps reinforce the overall narrative. That’s what makes the MCU special, and it’s hard to fault it for attempting to do something on this sort of scale. It’s hard to judge this movie on its own because there’s so much that leads up to it, and so much still to come. You can level a lot of harsh criticism at it for precisely that reason though, and there are a ton of fully justifiable complaints about this movie.

It’s ultimately the sum of its parts, nothing more, nothing less. It has a lot of great moments and interactions and is worth watching for that alone, but the overarching narrative is lacking focus. But it’s like a comic book. Nothing ever ends. No one really stays dead. You just have to wait for the next issue.

Summer Movie Wager 2018

The /Filmcast does this thing every year where they pick what they each think will be the top 10 movies of the summer in terms of domestic box office performance. One enterprising listener created a website to coordinate the whole Summer Movie Wager and opened it up to everyone, so this year I figured I’d play along. I didn’t spend a ton of time on it, but I’ve been following the /Filmcast for a long time, so I had some idea of how its played. I made my picks before I listened to their picks this year, and now that I’ve listened to their episode, I had some mild regret for some of my choices, but ultimately, I think I did alright. Here’s my picks, along with some comments:

  1. Avengers: Infinity War – Duh. Pretty much everyone has this pegged as the winner this summer. I’m sure someone is making a calculated bet to pick something else, and if they wind up correct, they’ll have a big advantage over the whole field. But it still seems like a big longshot.
  2. Incredibles 2 – I have this much higher than most, but I think this is going to be the “Animated Kids Movie” of choice this summer, and those always do much better than expected. I worry that my love for the original film has skewed my thoughts here though, and if I were doing this again, I might bump it down a spot or two.
  3. Deadpool 2 – Seems like a big deal, but the /Filmcast did worry me a bit, as it does feel like the sort of thing that isn’t quite repeatable. The rated R superhero comedy was kinda new last time around, it’ll be difficult to recapture the novelty here. Then again, there’s always a rated R movie that does better than expected in the summer, the first movie was hugely popular, and I think most are genuinely looking forward to this one.
  4. Solo: A Star Wars Story – This is honestly a pretty big question mark. It’s Star Wars, so it will definitely make the top 10, but its performance could vary wildly. Are people getting Star Wars fatigue? Is anyone really looking forward to the concept of this one? Will Last Jedi haters drive down performance? Only time will tell. This slot doesn’t seem overly ambitious or pessimistic.
  5. Jurassic World: Fallen Kingdom – Everyone was blindsided by Jurassic World a few years ago, which did an obscene $650 million. No one expected that much love for the franchise, and the movie was frankly kinda crappy, so it was a big surprise. Most folks seem to be putting this latest iteration at number 2. I may be overly pessimistic about its chances, but I’m thinking that the trailers look bad and those who didn’t love the last movie will not turn up this time. I don’t know, maybe Jeff Goldblum fans will turn out in droves? There’s no way it gets close to its predecessor, but it’ll almost certainly be top 5. I have it a little low, but I don’t think this is completely unwarranted.
  6. Ant-Man and the Wasp – And here I’m being a bit optimistic. I’m betting that Avengers loev will spill over to this and drive this to perform a little better than the first film. I’m definitely taking a chance here, but this seems feasible. This is where the list starts to get a bit wonky and unpredictable. It’s reasonable to think my top 5 will be the top 5 (if not in the exact order I picked), but 6-10 are much more of a toss up.
  7. Ocean’s 8 – Here I’m betting that this will do better than the other Ocean’s sequels. Who knows if I’m right, but this somehow feels kinda like counter-programming during the summer blockbuster season, and the female-led cast will also appeal to audiences. It also comes out early in June and will have plenty of time to keep making money (this becomes a problem with below picks).
  8. Mission: Impossible – Fallout – If this does similar numbers to the last two installments, it probably deserves to be higher on this list… but it’s release at the very end of July means that some of its gross won’t count towards this contest. On the other hand, releases are still front-loaded and this will have plenty of time to build up sales. This should almost certainly be one or two spots up higher on this list. Dammit.
  9. Mamma Mia! Here We Go Again – I mean, who the hell knows once we get down to this area. The first movie was a surprise hit, and again, the counter-programming aspect of this might auger for some level of success. But I could be way off.
  10. The Meg – I might have been swayed by the internet response to the first trailer, which looks like a ton of dumb fun… The big problem with this is the release date, which only allows for 3-4 weeks to make money. Then again, August is usually a wasteland for movies, so there won’t be as much competition as there will be early in the season.

Outside the top 10, we get three “Dark Horse” picks:

  • Christopher Robin – I don’t know. It’s Disney, so it’ll do ok, but I picked this without really knowing much about it. Finding out more, I’m not sure it was a wise choice…
  • Skyscraper – The Rock is just so unpredictable in terms of both quality and performance that I’m not sure what to make of this movie. It could very well earn a spot in the top 10, but this marks the 3rd movie that The Rock has had in theaters this year. Just not sure about it. It could be big, it could bomb.
  • Hotel Transylvania 3: Summer Vacation – These movies do well, right? Again, kids movies tend to do better than expected. I probably should have put this one at #10 in place of The Meg, but again, who knows.

I think I did alright. If I were to do it again, I’d definitely make some changes… but it would still be a similar list.

50 Under 50 – Part I

Back in January, I linked to Matt Singer’s This Year, Make a Movie-Related New Year’s Resolution and noted that the suggested resolution to watch 50 films made before 1950 was a good idea. Looking at my viewing from last year, only five movies qualified (and even then, I’d already seen two of them). I’m still quite behind on this project and didn’t really resolve to do it until the last few weeks, but I’ve already beaten last year’s total, which is a win. For posterity, here are the first six entries in my 50 Under 50 challenge:

  • Fallen Angel (1945) – Otto Preminger’s noirish tale of a penniless con man who blows into a small town looking to make a buck, falls for a waitress named Stella. She wants nothing to do with him, unless he can find a way to make himself rich, so he hatches a scheme to marry a wealthy heiress for the money. Naturally, he gets more than he bargained for.

    fallenangel.jpg

    It takes a little while to get going, but it gets there, and I must admit that the final twists did work well for me. Of course, the story hinges on some relationships that develop mighty quick, but it’s easy enough to go with. The cast is reasonably good and the filmmaking is solid. The writing has some worthy noir zingers, my favorite being the phony medium played by John Carradine: “I hope to see you in my room later, I have a fine collection collection of friendly spirits there, Scotch ancestry.” Heh. Not exactly a classic film noir, but a worthy watch. (Watched on Amazon Prime, a solid transfer) **1/2

  • The Golem (1920) (AKA: The Golem: How He Came Into the World) – Writer/Director/Star Paul Wegener actually made three movies about the Golem, but the first two were lost (about 5 minutes were somewhat recently discovered), and this third entry is all that remains. Along with The Cabinet of Dr. Caligari and Nosferatu, The Golem is considered a classic example of German Expressionism. Of course, those two other movies set a rather high bar that is difficult to clear. The Golem has some great visuals, but nothing quite as stylized as Caligari, nor the deep shadows of Nosferatu. The story concerns Jews who are being persecuted, and a Rabbi who creates a giant golem out of clay to protect the people. It’s slow to start (the Golem is initially used to perform menial tasks around town, like chopping wood), but it has its moments later in the story. This is a clear precursor to Frankenstein and worth watching for students of the genre for that alone, but it’s also not quite the classic that, well, all the other films listed are. (The Amazon Prime copy is a slightly shortened version with “full sound”, meaning a modern soundtrack and terrible voiceovers.) **
  • Secret Agent (1936) – Alfred Hitchcock’s follow up to The 39 Steps (arguably his best British effort), Secret Agent is another tale of espionage that bears some of Hitch’s trademarks, though perhaps only in embryonic form. Three British agents are ordered to assassinate a mysterious German spy during World War I. While initially thrilled by the adventurous aspects of their mission, two of them grow a conscience, which obviously makes things difficult. A few twists and turns, this does wind up being “minor” Hitchcock, but even his lower tier offerings are worth watching. While not as visually striking as Hitchcock’s other efforts, he does seem to have enjoyed playing around with sound, whether it be the snappy reparte between characters, or the loud sounds of the casino, or the booming machinery of a chocolate factory. Hitch was clearly still adjusting to the talkies at this point, but it all works well enough. Some bits work great, and there’s some decent zingers here too (one of our spies had their death faked, at which point their superior asks: “Tell me, do you love your country?” and he responds “Well I just died for it!” Heh.) The only thing that really grates is Peter Lorre’s womanizing “Mexican General”, which is clearly a turn-off for modern audiences, but functional in the story, I guess. Probably only worth it for Hitchcock fanatics, and like I said, you see some of his favored tropes here in their embryonic state, but nowhere near Hitch’s best, even in this era. (Watched on Amazon Prime, a solid transfer) **
  • Saboteur (1942) – More minor Hitchcock, this time from his early American period. A man working in an aircraft factory is wrongly accused of sabotaging the plant, causing a fire that killed his best friend. Naturally, he goes on the run and tries to clear his name. Hitch sure did make a killing on wartime espionage stories, and this one is a decent enough example. Probably not the best, but it’s a good wrong man in the wrong place at the wrong time tale that Hitch is always great at pulling off. I don’t think it’s the first example of setting a climactic scene at a monument, but this one does go to the Statue of Liberty (which has a nifty symbolic note), a feat only really rivaled by Hitch’s later use of Mount Rushmore. Again, this one is probably more of interest to Hitchcock fanatics, but it’s definitely a step up from Secret Agent, if not exactly competing with the true classics. (Watched on Blu Ray, though I do think this one’s on Amazon Prime too) **1/2
  • The Vampire’s Ghost (1945) – Mysterious death’s plague a small, African port town. It turns out that the local bar owner is actually a vampire who’s grown weary of time’s inexorable march. Not the most culturally sensitive and pretty straightforward, it does have enough entertainment value to carry the day. I actually sought this one out because it was co-written by Leigh Brackett, and I wanted to check out some of her earlier work. Again, not a whole lot to it,

    but I enjoyed it well enough. (Watched a copy from Internet Archive) **

  • The Mystery of Mr. Wong (1939) – Mr. Wong is a fictional Chinese-American detective who appeared in a series of stories in Collier’s magazine, which was then adapted into a series of films starring Boris Karloff as the titular character. This is actually the second in that series of films (I stumbled onto it by accident, not realizing it was a series), but it appears to be standalone. It’s basically a murder mystery. Mr. Wong attends a dinner party where an antiques collector is murdered under mysterious circumstances. It turns out that he had come into possession of a famously cursed jewel named “The Eye of the Daugther of The Moon.” Hijinks ensue. Not exactly high cinema, but the mystery actually works and Karloff is always great. This series of films was put out by Mongram pictures, a low-budget studio who traded in cheap thrills at the theater. They churned out Mr. Wong movies at a 6 month clip, but if this one is any indication, they managed pretty well. I might actually check out more of these. (Watched on Amazon Prime, a solid transfer) **1/2

I should probably gravitate more towards classics here, but I’m actually kinda enjoying this midlist stuff, even if the ratings don’t quite bear that out. You’ll notice that most of this is available on Amazon Prime, which does have a pretty wide selection of older films (unlike, say, Netflix, which has, like, 10 movies made before 1950). Anway, I’m 5-6 movies behind on this whole project, but that should be simple enough to resolve throughout the rest of the year.

The Oscars

The Oscars are tonight! Alright, fine, I shouldn’t have used an exclamation point there, but for reasons beyond understanding, I do actually enjoy these awards. I mean, of my top 10 movies of the year, only three are nominated for Best Picture… and this is a pretty good year for that metric. But any and all awards processes are subject to bias and flaws. Plus, it seems to me that everyone really loves to whine about this stuff, and the Oscars are prime whinging territory. Ultimately, I like movies, and tonight’s a night where I will drink alcohol, make fun of celebrities, and root for movies. I admit that this is a pretty boring stance, but so is yours. I don’t think I’ll ever top my intro to the Oscars from a few years ago:

The funny thing about the Academy Awards is that your opinion about them is pretty boring. You think the Oscars are just a cynical circle jerk of self-satisfied Hollywood elites? Boring! You’re outraged at [insert snub here]? Super fucking boring! You’re genuinely excited about seeing films receive the recognition they deserve? You are both naive and boring! But the one thing that unites us all is the abject hatred of the short films categories. I think we can all agree on that.

Oh, and I’ve heard a lot of people talking about short films this year. In an approving manner! Up is down, cats and dogs, living together, etc… Anyway, I thought last year’s ceremony would be mildly more interesting due to the age of Trump, but it mostly fell flat on that front. This year? Well, we’re still in the age of Trump, and now we’ve got #MeToo, TimesUp, and gun control agitation, which I feel like will have to crop up in some way.

Again, I will be tying one on and making fun of celebrities on Twitter @mciocco (or, more likely, since I’m pretty boring, I’ll be retweeting funnier people than myself). Back in the before time, the long long ago, I used to do this thing called “liveblogging”. For the uninitiated, back before Social Media was a thing, we used our stone knives and bearskins to update our blog every 2 minutes and we’d just sit there with a million browser tabs open, hitting F5 to see what people were saying. Twitter makes it much easier and more fun, so I started doing that a while back. I also like to make predictions, which are listed below. It’s all vaguely political (and by that I mean, internal Academy politics, not necessarily national politics, though again, there will be some bleed over this year), but it’s still fun. If, for some ungodly reason, you want to read a decade plus’ worth of previous predictions and commentary on the Oscars, check them out here: [2017] | [2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004]

  • Best Picture: The Shape of Water has been the odds on favorite for a while,

    but Three Billboards Outside Ebbing, Missouri has been charging ahead, despite being problematical with respect to race. But we all know that Hollywood isn’t racist, right? Get Out also seems like a likely challenger, but horror movies rarely do well and Shape is still the safest bet at this point. After that, I can’t see anything mounting a real challenge. Dunkirk and Darkest Hour will split their vote, Call Me by Your Name and Lady Bird should just be happy to be nominated, and The Post is just the default Spielberg, Streep, Hanks show that always gets nominated, but gets taken for granted and never wins. Phantom Thread is also a movie. I’ve only seen 6 of these, but it’s a decent enough crop, if not exactly the sort of thing that gets the normals going.

  • Best Director: Guillermo Del Toro, The Shape of Water. This one is much more likely than the Best Picture category. In recent years, the Picture/Director awards have been split, but I suspect that could reverse this year. Christopher Nolan probably should win,

    but he tends to leave the Academy cold. Paul Thomas Anderson will win this someday, but not today. Greta Gerwig should be happy for being nominated (though on a serious note, I do think she’s underrated as a director) and is only really there to inoculate the Oscars from the likes of Natalie Portman throwing shade (as she did in the Golden Globes). Similarly,

    Jordan Peele is another first time director, but horror movies don’t tend to be honored here.

  • Best Actress: Frances McDormand, Three Billboards Outside Ebbing, Missouri. Pretty much a lock. It’s actually a pretty strong category this year, and I’d honestly not be very disappointed if pretty much anyone won this category. But it’s still McDormand’s to lose at this point.
  • Best Actor: Gary Oldman, Darkest Hour. Also pretty much a lock. The rest of the candidates are weak sauce, and Oldman has the sorta lifetime achievement thing going on here, so he’s pretty much got it.
  • Best Supporting Actress: Allison Janney, I, Tonya. This award could go anywhere, and I don’t really have any strong feelings on the matter. The Academy might want to reward Lady Bird and Laurie Metcalf, maybe? After that, I don’t really know.
  • Best Supporting Actor: Willem Dafoe, The Florida Project. Lots of people thought this should have been nominated for a Best Picture award, so that snub might put Dafoe over the top. Or not, as Sam Rockwell might take it for Three Billboards Outside Ebbing, Missouri. But as I understand it, his character is very problematical!? And the Academy totes isn’t racist, you guys!
  • Best Original Screenplay: Get Out. The Academy totes isn’t racist, you guys! Or they are,

    and Three Billboards Outside Ebbing, Missouri will win. Or something. It’s more or less between those two.

  • Best Adapted Screenplay: Call Me by Your Name. This year’s gay romance will need some love, and I’m betting it goes here. Could very well go to Mudbound (because the Academy totes isn’t racist, you guys!) but I found that script to be meandering at best. Then again, that movie seems to get a lot of love from the Academy, and this is a good place to reward it…
  • Film Editing: Dunkirk. I mean, it’s definitely the most visibly “edited” movie of the year, and I do love that aspect of it, but I suppose there’s a chance that someone might think it confusing and give it to one of the other nominees. It might be nice to see Baby Driver take this, but I think it goes to Dunkirk.
  • Cinematography: Roger Deakins for Blade Runner 2049. After many losses, it’s finally Roger’s year. I hope. These awards often don’t go the way I think, but Deakins has the buzz due to the lifetime achievement factor.
  • Visual Effects: War for the Planet of the Apes
  • Makeup: Darkest Hour. Fat suit.
  • Costumes: Phantom Thread. It’s literally about a fashion designer. Seems valid.
  • Musical Score: The Shape of Water
  • Best Song: “Remember Me” from Coco
  • Best Animated Film: Coco. Never go in against Pixar when an Oscar is on the line.
  • Best Documentary: Faces Places
  • Best Foreign Language Film: The Square

Phew. There are some missing categories, but these are the ones I pick each year and I don’t feel like figuring out which categories I neglected (though I do know that two of them are short film categories, which we’ve already established are hot garb). Again, follow me on Twitter @mciocco for inane commentary throughout the ceremony.

Favorite Films of 2017

We continue our recap of the year in movies with a top 10 list, only a month and half late! But I snuck it in before the Oscars, so there is that. This marks the twelfth year I’ve posted a top ten, which is getting interesting. A dozen years! For reference, previous top 10s are here: [2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006]

Coming up with a cohesive thematic summary of an entire year’s worth of movies is something of a fool’s errand, but I’m pretty dumb, so let’s give it a shot. The big standout for me this year is the rise of streaming exclusives, especially on Netflix. Now, only one of these will actually show up on my top 10, but one reason for my larger-than-normal list of movies watched this year is the large increase in accessibility represented by streaming services. This isn’t an unalloyed good, of course, and it would have been great to have seen some of these films on a big screen with an enthusiastic crowd, but on the other hand, there’s no way that something like Okja, The Meyerowitz Stories (New and Selected), or Mudbound would have hit a wide release. Much more likely is that they would hit the arthouses in a few select markets and then make their way to video/streaming. There’s a fair chance I wouldn’t have seen any of them at all, had they gone through the traditional distribution process. In any case, the quality of these offerings is decidedly mixed, ranging from artsy to commercial and everywhere inbetween. But it does feel like some progress in reducing the stigma of “direct to streaming” has been made, if only baby steps.

The other theme that stands out is a continuation of last year’s decline of the blockbuster, which franchise fatigue settling in on several usually reliable series (i.e. Transformers, Pirates of the Caribbean, etc..) Of course, the major exception to this is Marvel, which continues to enjoy near-universal success. Oddly, it seems all attempts to copy Marvel’s model are falling flat (The Mummy and Dark Universe), indicating that perhaps Marvel’s special sauce is not quite so easily replicated. In a heartening trend, those of us who value new and interesting films scored a modest string of success throughout the year, including the likes of Get Out, Baby Driver, and Dunkirk, all of which seemed to exceed expectations, even if they weren’t billion-dollar franchise makers. Hope springs eternal, though it’s difficult to get to excited, as there were plenty of films that should have garnered an audience but somehow didn’t manage to find one (i.e. Logan Lucky).

I suppose I should add a third theme that I have noticed whilst compiling the below list. Many of these films make moral claims that could be interpreted in multiple ways. As they made my list, I think you can guess that I’m using more generous interpretations (or valuing the thought provoking nature of certain moral dilemmas). One of ways that I feel like I diverge from some (particularly persnickety) critics is that I’m often willing to give movies some latitude, even when I would normally disagree with something it’s saying. The world would be a boring place if we all valued and agreed on the same things, not the least of which because I wouldn’t like most movies because I could probably find something to disagree with, if I were so inclined to look for it.

As of this moment, I have seen 87 movies that could be considered a 2017 release. While this represents an increase over the past few years and is certainly significantly higher than your average moviegoer, it’s still a much smaller number than your typical critic, so keep that in mind. Standard disclaimers apply, but rather than enumerating those boring caveats, let’s just get to the party, pal:

Top 10 Movies of 2017

* In roughly reverse order

  • Molly’s Game – I have to admit that I’m not entirely sure I buy this movie’s moral claims, but it does so in a way that provokes thought, which is admirable enough. However, this Aaron Sorkin written and directed film is just so damn entertaining that it’s hard to beat. It’s got some of Sorkin’s not-so-great ticks (i.e. daddy issues, psychologists, etc…), which is why it ultimately tumbles to the bottom of the top 10 (and on another day, might have been swapped out with one of the honorable mentions below), but again the fun value is high enough that it still deserves recognition.

    More Info: [IMDB] [Amazon]

  • Lady Bird – Greta Gerwig’s directorial debut (she also provided the script) is a very well-observed slice of life. This is pretty emphatically the sort of thing I don’t gravitate towards, so I was surprised by how much I was taken with this film. Funny, moving, and while I have never been a teenage girl, it does feel authentic. The pacing is brisk and the film is short and sweet, which helps tremendously. Great performances from Saoirse Ronan and Laurie Metcalf, but don’t sleep on pretty much all of the supporting cast, like Tracy Letts and Beanie Feldstein. Not the sort of thing I’d expect on my list and it could easily have fallen into the honorable mentions, but then, here we are!

    More Info: [IMDB] [Amazon]

  • I Don’t Feel at Home in This World Anymore – Quirky with a dry wit and some helpings of explosive violence, Macon Blair’s directorial debut (he also wrote the script) feels a bit like a Coen brothers pastiche. It also shares a kinship with Blair’s collaborations with Jeremy Saulnier, but it’s great to see that he can do it on his own. Or, well, along with an excellent cast and crew. I mean, lead performances by Melanie Lynskey and Elijah Wood are certainly helping for sure. This is the sole direct-to-Netflix film to make the list, and it’s a well-deserved win.

    More Info: [IMDB] [Netflix]

  • Colossal – Nacho Vigalondo’s “Godzilla meets Lost in Translation” story is another film whose socially relevant moral claims provoke thought (to put it kindly, but that shouldn’t be a surprise since I’m a fan of this movie), but again, this is a lot of fun, and it explores its fantastical premise in thoughtful and clever ways.

    Colossal

    Anne Hathaway and Jason Sudeikis lead a pretty great ensemble, and Vigalondo’s nervous energy permeates.

    More Info: [IMDB] [Amazon]

  • Bad Genius – A straight-A high school student starts an exam-cheating business… and this is somehow the best heist film of 2017 (and there was plenty of competition). Visually energetic and confident in a way that recalls Edgar Wright, this movie is tense, clever, and tight, well-paced with multiple bare-knuckled sequences of suspense. The ending mixes its morals up a bit, but again, it does so in a thought provoking and entertaining way. Still, it’s a movie about cheating on tests, and it’s the best caper of the year.

    More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner]

  • Wind River – Writer/Director Taylor Sheridan is quickly becoming a master of a sort of Midwestern Noir. A clear-eye murder mystery tinged with grief and drama, this is a film that recalls Sheridan’s Hell or High Water without feeling like he’s in a rut. This carves out its own territory, and what a frigid, gripping territory it has found. Sheridan surrounds and encapsulates his relevant social themes without feeling didactic, and while you could drown in the isolation and tension, it’s not a slog at all. Recommended!

    More Info: [IMDB] [Amazon]

  • Your Name – This anime feature starts as a sorta rote body swapping drama… and then it turns into something special. I won’t describe further than that, but it’s a clever script that feints in one direction, lulls you into a sense of security as it executes that part very well, and then pulls the rug out from under you. Entertaining and heartfelt.

    More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner]

  • The Big Sick – Emily V. Gordon and Kumail Nanjiani wrote the semi-autobiographical script for this delightful romantic comedy, and the result is genuinely touching. Another movie that manages to be socially relevant without feeling preachy or didactic, it hits many challenging notes perfectly. It’s a movie with a 9/11 joke that actually works, for crying out loud.

    The Big Sick

    Funny, romantic, and quite unlike your typical romantic comedy.

    More Info: [IMDB] [Amazon] [Capsule Review]

  • Get Out – A supremely entertaining horror flick on its own, but infused with social relevance in a way that not only doesn’t feel preachy, but which actually leverages our expectations to superb effect. Well balanced and calibrated, it’s an impressive debut from Jordan Peele, who I think we can expect great things from going forward.

    More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner]

  • Dunkirk – Christopher Nolan’s stirring WWII epic is propulsively paced, harrowing, and gorgeously photographed. It’s not a conventional crowd-pleaser, what with its distinct lack of dialog and plot, not to mention it’s puzzle-like temporal structure, but it’s so well executed that it still manages to come across as rousing and interesting.

    Dunkirk

    It’s a film that has only grown in my estimation over time, and any initial qualms have faded away. Just an exceptional film.

    More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner] [Capsule Review]

Honorable Mention

* In alphabetical order

  • Atomic Blonde – The strongest action flick of the year, with several notable set pieces that are absolutely spectacular. A little heavy on the needle drops and maybe too convoluted, but still very entertaining and thrilling, and Charlize Theron can kick a lot of ass.

    More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner]

  • Baby Driver – Perhaps the most striking opening sequence of a film all year, an incredibly well orchestrated blend of music and action, the rest of the film unfortunately can’t quite live up to that promise. It still ends up being one of the most energetic and entertaining films of the year, even if there are a few plot points that don’t feel entirely earned.

    More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner] [Capsule Review]

  • Better Watch Out – It starts out as a rote home invasion horror flick, but then morphs into something more. It’s a movie that has only grown in my estimation over time, and it really is a lot of fun, with a great villain, a neat premise, and intense thrills that build throughout. Well worth checking out for horror fanatics.

    More Info: [IMDB] [Amazon]

  • Brawl in Cell Block 99 – Punishingly brutal flick from S. Craig Zahler and starring a surprisingly badass Vince Vaughn (who actually pulls it off), this is perhaps a bit overlong and padded, but makes up for it by punctuating the plot with gruesome action throughout. This is not finely calibrated martial arts execution here; the eponymous “brawl” is much more apt for the fighting that goes on here. Well worth a watch, if you can stomach it.

    More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner] [Capsule Review]

  • The Girl With All The Gifts – I’m not much of a zombie fan, but I must admit that I found myself taken with this particular example. Sure, it hits a lot of the standard beats, but it puts enough of a spin on the tropes to feel worthwhile. Quite entertaining, will good child performances and a solid ending (something a lot of zombie movies lack).

    More Info: [IMDB] [Amazon] [Capsule Review]

  • I, Tonya – This bitter black comedy will make you feel sympathy for one of the 90s great real-life villains, Tonya Harding. A riveting lead performance from Margot Robbie anchors the film, and there’s a lot here that I wasn’t really aware of back in the 90s when this was happening. It’s a pretty crazy story in real life, which obviously makes for a good movie.

    More Info: [IMDB] [Amazon]

  • It: Chapter One – This partial adaptation of Stephen King’s classic novel gets a lot of things right. Amazing child performances certainly help, not to mention Bill SkarsgĂ„rd’s frightening take on Pennywise the clown. It perhaps leans a bit too heavily on the CGI jump scares, it nevertheless manages to get under your skin, evoking some primal fears from time to time.

    More Info: [IMDB] [Amazon] [Review]

  • Logan – A fitting finale for Hugh Jackman’s long run as Wolverine, this is one of the more distinctive takes on the superhero film that you’re likely to see. No power boxes with beams to the sky here, though it hits plenty of the tropes at the same time. I wasn’t as taken with this as a lot of folks, but I can see why it’s garnered so much praise.

    More Info: [IMDB] [Amazon]

  • Logan Lucky – Steven Soderberg returns to the big screen with an intricate hillbilly heist film that deserved to be seen by more people, this very nearly made it onto the top ten. Clever, intricate, and a little byzantine, this was among the most entertaining flicks of the year and a great time at the theater. It’s on Amazon prime right now, so do yourself a favor and go watch it.

    More Info: [IMDB] [Amazon]

  • The Post – Unlike my refrain in several of the top ten entries above, this is a movie that is socially relevant while being quite preachy and didactic. That being said, we take Steven Spielberg, Meryl Streep, and Tom Hanks for granted these days, and they turn in a mainstream media propaganda film about the publication of classified Pentagon Papers into high drama. Sure, we’ll throw them some perfunctory awards nominations, but no one expects them to win. Then again, while this is an entertaining and dramatic film, it is a bit too much of a puff piece to really win. Still, I was quite taken with the film, and it’s well worth a watch.

    More Info: [IMDB] [Amazon]

  • Spider Man: Homecoming – Notable for being the third big-screen incarnation of the character in only the past decade, this one sets itself apart by not actually being an origin story, while still introducing us to a distinct take on the character. Smaller scale than your typical Marvel flick and featuring perhaps the best villain in the MCU so far (*ahem* at least, until last weekend), the stakes are no less involving. Once again, very entertaining and fun.

    More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner]

  • Split – M. Night Shyamalan’s resurgence continues unabated, this is perhaps lacking in some social graces, but is nonetheless a pretty interesting and almost lurid tale about a man with split personality. It ends well too, and features an unexpected twist ending that works well in the film proper, but implies a sequel that I can’t help but feel some apprehension about. Will Shyamalan’s current resurgence end here? Time will tell.

    More Info: [IMDB] [Amazon]

  • Star Wars: The Last Jedi – This apparently divisive entry into Star Wars canon has cleared the decks and allowed future filmmakers some breathing room to do new and interesting things. The strongest parts of the film are Rey, Kylo, and Luke’s story, which pretty much carries the day. Poe and Leia maintain course, while Finn and Rose’s story falls flat. I’m still a fan, and for the first time in a long time, I’ve no idea what to expect next, which I count as a good thing.

    More Info: [IMDB] [Amazon] [Review]

  • Thor: Ragnarok – I’ve always been fonder of the Thor movies than most everyone else, but this one is certainly an improvement over the previous two entries in the series. It does feel a bit disjointed, with the bulk of the film feeling like a bit of a diversion from the main plot, but then, that trip to a weird trash planet with gladiator battles is clearly the most fun and entertaining part of the film, while the overarching plot feels a bit standard, despite Cate Blanchett’s best efforts (alas, she simply wasn’t given enough to work with… yet.)

    More Info: [IMDB] [Amazon] [Capsule Review]

  • The Villainess – Another film whose spectacular opening action sequence sets the bar so high that the rest of the film can’t quite measure up. Not for a lack of trying (there’s another motorcycle chase later in the film that comes close), but then, the film does fall back onto a weird melodrama plot that doesn’t quite fit. And yet, it’s still kinda fascinating, and so different from what I’m used to that I very nearly put this on the top ten…

    More Info: [IMDB] [Amazon]

The Quantum Jury Prize

Awarded to films that exist only in a quantum superposition of two or more states (like good and bad or like and dislike, and everything inbetween). I’m not sure what that means, but that’s kinda the point. Basically, every time I observe my feelings on these movies, I experience something like a wave function collapse and get different results each time. Still confused? Good.

  • Phantom Thread – Severe toast buttering noises. Paul Thomas Anderson is a master filmmaker, but I go back and forth on this one. On the one hand, it is immaculately well composed and has a bleakly dark humor that I found interesting. On the other hand, it feels overlong and bloated, and while I found some of the turns of the story interesting, they also didn’t feel entirely baked. Or maybe they were. I don’t really know how I feel about this one, hence it’s inclusion in this new section.

    More Info: [IMDB] [Amazon]

  • A Ghost Story – Look, this is a ten minute long story that is padded out to an hour and a half. And it’s worth noting that 5 of those ten minutes is just Rooney Mara housing a pie. Definitely bloated and a little static, but on the other hand, that 10 minute story is worth telling.

    More Info: [IMDB] [Amazon]

  • Mother! – Some of the most impressive filmmaking skills in the industry used to bring a simple Biblical allegory to life. Bewildering and confounding while at the same time simplistic and didactic, this is a movie I go back and forth on. Definitely worth a watch for film buffs, but I can’t see it appealing to general audiences.

    More Info: [IMDB] [Amazon] [Not a Review]

Just Missed the Cut:

But still worthwhile, in their own way. Presented without comment and in no particular order:

Should Have Seen:

Despite having seen around 90 of this year’s releases (and listing out 30+ of my favorites in this post), there are a few that got away. Or never made themselves available here. Or that I probably need to watch, but don’t wanna because reasons. Regardless, there are several movies here that I probably should have caught up with:

It’s been quite a year! Stay tuned for the Oscars next weekend, which should be interesting. After that, we will probably return to to some SF book blogging…

2017 Kaedrin Movie Awards: The Arbitrary Awards

I announced the official 2017 Kaedrin Movie Award winners last week. The basic purpose of these awards is to recognize aspects of films that aren’t reflected in more traditional, quality focused awards like a Top 10 list or something. However, sometimes even those awards can’t capture everything, so we come to the Arbitrary Awards, an opportunity to recognize movies that are weird or flawed in ways that don’t conform to normal standards. A few of these “awards” have become an annual tradition, but most are just, well, arbitrary.

  • The “You know what happens when a toad gets struck by lightning? The same thing that happens to everything else” Award for Worst Dialogue: Valerian and the City of a Thousand Planets. A good portion of this award is perhaps due to dreadful miscasting, but the dialog, particularly the “banter” between Valerian and Laureline, just doesn’t work. Thanks to the visuals and some of the action, the dialogue doesn’t sink the film, but still. As a notable runner up: Bright features the line:

    “Faerie lives matter” which is pretty bad.

  • The Proximity to Jason Vorhees Award for Heroic Stupidity: Alien: Covenant. It follows in the footsteps of its predecessor, which is probably more stupid, but this one doesn’t even pretend to be smart.
  • Best Monster with a Sense of Humor: Korg, voiced by Taika Waititi in Thor: Ragnarok. So great.
  • This Monster Fucks Award: The Shape of Water. I love that this is a movie whose genesis was probably Guillermo del Toro watching Creature from the Black Lagoon and thinking “This guy fucks.”
  • Most Unfortunate Facial Hair: Kenneth Branagh in Murder on the Orient Express. I mean, it’s glorious. But also stupid.
  • Achievement in the Field of Gratuitous Violence: Brawl in Cell Block 99. This one requires no real explanation, does it?
  • Most Extreme Toast-Buttering Sound Design: Phantom Thread. The extent to which I like this movie is the extent to which I like these handful of scenes, which are utterly brilliant.
  • John Carpenter Memorial Award: The Void. Yeah, yeah, Carpenter isn’t actually dead yet,

    but he’s not making movies like this anymore either, so here we are. Great practical effects, solid compositions, weird, horrific stuff.

  • The Breaking News Award for Most Action Packed Long Take: Three. God bless Johnnie To. There’s not a lot to this movie, but it builds to a ridiculous single take that utilizes that Matrix-style bullet cam thing that justifies the entire exercise.
  • Fictional Business Chain of the Year: The Continental, John Wick: Chapter 2.

    So great.

  • Most Needlessly Lurid Method of Surveillance: Kingsman: The Golden Circle. It’s like they heard the complaints about certain juvenile elements of the first movie and were like, let’s lean into that.
  • The Scarlett Johansson in Her Award for Best Virtual Girlfriend: Ana de Armas as Joi in Blade Runner 2049. I mean, she actually appears on screen, so it’s not as tough as Scarlett’s role, but still.
  • Most Excessive Needledrops of the Year: Atomic Blonde. I mean, they’re great, and all, but there’s like, I dunno, 20 too many of them.
  • Best FPS Sequence of the Year: The Villainess. Various films have attempted to ape the First Person Shooter aesthetic over the years, but none as successfully as the opening scene in The Villainess, which is utterly amazing.
  • Most Needlessly Mean Spirited Hazing Rituals: Raw. Man, veterinary school in France is intense.
  • Best Movie With 10 Minutes of Plot Stretched Out To Feature Length: A Ghost Story. The award title says most of it, but it’s worth noting that 5 minutes of the 10-minute plot is just Roony Mara eating a pie. I kinda like this movie, but I kinda hate it too.
  • Worst Publicist in the World Award: Herald, played by Kristen Wiig in Mother!. I mean,

    sure, I guess she’s good at her job, kinda, but not really.

Coming down the homestretch, with only the Top 10 and Oscars commentary remaining. Stay tuned…

2017 Kaedrin Movie Award Winners!

The nominations for the 2017 Kaedrin Movie Awards were announced last week. I’m sure your anticipation knows no bounds, so today I’ll be announcing the winners. Next week, I’ll announce the winners of some more goofy, freeform categories that we call the Arbitrary Awards, and not long after that, I’ll post my top 10 of 2017. Finally, we’ll have some Oscars talk (predictions and probably live-tweeting or retweeting funnier people than me) and then it’s on to 2018. Without further ado:

  • Best Villain/Badass: Adrian Toomes / Vulture, played by Michael Keaton in Spider-Man: Homecoming. While I’d judge the overall quality of villainy in 2017 to be relatively low, the relative strength of the nominees was actually pretty high. Keaton’s Vulture might be the best MCU villain (with the only real competition being Loki), in large part because his motivations are so relatable and almost even justified. Runner up would be Adam Driver as Kylo Ren in Star Wars: The Last Jedi, who continues to carve out a unique form of villainy in the largely black and white Star Wars universe. Pennywise the Clown, played by Bill SkarsgĂ„rd in It, is also well worth a mention, but fell behind a bit due to excessive use of CGI in the film. Michael Fassbender’s David is a fascinating character, it’s just a shame that Alien: Covenant is such a bad movie. Kurt Russell also made for a more engaging than usual Marvel Villain in Guardians of the Galaxy Vol. 2, and the extent to which the character Hela works at all in Thor: Ragnarok is due entirely to Cate Blanchett’s sheer force of charisma. The remaining nominees all have their pros and cons, of course, but in the end, it’s Keaton’s year.
  • Best Hero/Badass: Lorraine Broughton, played by Charlize Theron in Atomic Blonde and Bradley Thomas, played by Vince Vaughn in Brawl in Cell Block 99 (tie). Oy, I couldn’t decide, so I just chose both. A cheat, but these are two great badasses. An utterly brutal, punishing performance from an unexpected source in Vince Vaughn.

    I mean, he beats up a car with his bare hands, and that’s the least badass thing he does. Charlize Theron kicks a lot of ass and pulls off some of the more intense action sequences of the year (more on this in a bit)…

    Atomic Blonde

    She’s more polished and stylized than Vaughn, making this an almost apples to oranges comparison, hence the tie. On the superhero front, Wonder Woman was certainly a contender. The Villainess suffered a bit from melodrama, but has some wonderful sequences for its titular hero. Tom Hardy’s role in Dunkirk was probably too small to really take the award, but it’s a pivotal (and yes, badass) role. Similarly, there were a bunch of nominees, like Armie Hammer’s character in Free Fire, that were great,

    but only really functioned as part of a larger ensemble.

  • Best Comedic Performance: James Franco in The Disaster Artist. There’s something kinda bittersweet about the performance, but I feel like there’s a genuine love for the character in the performance, and so it did make me laugh quite a bit. Runner up would be Saoirse Ronan in Lady Bird (believe it or not, she’s a former Best Hero/Badass winner, and might be the first person nominated for both). Kumail Nanjiani in The Big Sick was also a front-runner. The other nominees were all great, of course, but tended to be smaller performances or part of a larger ensemble, which is always a difficulty with this particular award.
  • Breakthrough Performance: Robert Pattinson in The Lost City of Z and Good Time. Alright,

    so this is an example of what makes this award a little strange. I obviously knew who Robert Pattinson was, but I must admit that his rise to sparkly vampire stardom did set a point of reference that was perhaps not ideal for him. I also knew that he had done some smaller, more independent fare over the years (perhaps to escape his sparkly vampire reputation), but this year saw two pretty fantastic performances (both in movies I don’t love, per say). I didn’t even recognize him in The Lost City of Z, but the real performance of the year was in Good Time. The movie is a bit too much of a downer for me overall, but he’s amazing in it. As for the other nominees, well, just getting the nomination is an award right? Also of note, I probably should have included Vicky Krieps from Phantom Thread as a nominee, but didn’t because I’m the worst.

    Take a bow Vicky, you were wonderful.

  • Most Visually Stunning: Dunkirk. The thing with this category is that the nominees can usually be split into two camps: Gorgeous spectacle and well photographed with impeccable cinematography. Winners tend to favor the former rather than the latter, but this year it went the other way.
    Dunkirk is pretty

    Perhaps it was the theatrical experience of IMAX 70mm, and to be sure, there’s a little spectacle in the movie… but nothing quite as ostentatiously spectacular as Valerian and the City of a Thousand Planets, which was actually one of a handful of others that was a solid choice. Star Wars: The Last Jedi also merits a mention in the gorgeous spectacle realm (and it’s also conversant in film history in a way that no Star Wars film has been since the originals, which is worth recognizing), and Blade Runner 2049 straddles the line well. Columbus might actually be the film with the best cinematography and composition, but it all felt a little static for my taste. The other nominees are nothing to sneeze at either, so maybe quit it with all the sneezing, ok?

  • Best Sci-Fi or Horror Film: Get Out. I know this is not a common mix of genres, but rare is the year that science fiction films could warrant a category of their own, so I always pad out the category with some horror. The past several years have seen strong SF presence, and this year there’s a nice mix, but the ultimate winner goes to horror. Get Out is a wonder. Supremely entertaining on its own, filled with social relevance without feeling preachy or didactic (and indeed, playing on such expectations to superb effect).
    Get Out

    Lots of other good choices. No clear second place, though I will make special mention of Better Watch Out, The Girl with All the Gifts, and Your Name, as they don’t show up much in these sorts of discussions, and I love them all…

  • Best Sequel/Reboot: Spider-Man: Homecoming. I feel like this movie had the deck stacked against it. It’s the second reboot in less than ten years, and the previous few films (going back to even Raimi’s disappointing third entry) did little to inspire confidence. True, the new Marvel take showed up in Civil War (and was great there), but that could have easily been a fluke. Ultimately, though, this movie succeeded where many Marvel movies fail. It had a great villain, and while the stakes were smaller in an objective sense, I felt just as involved as one of the more planet-threatening box-shooting-a-beam-of-light-into-the-sky scenarios (if not moreso). I was also quite close on Star Wars: The Last Jedi, but the whole Casino planet subplot held me back a bit. Honestly, this was a pretty strong year for this category. Several of these films compare favorably to previous winners. I have a general aversion to sequels though, so it’s often difficult for me to populate this category. But not this year, for some reason.
  • Biggest Disappointment: The Mummy. I had high hopes. I really did. I love the old Universal monster-verse, which you could argue as being the original cinematic universe, so it just made sense to properly revive those old properties. It’s been done numerous times before (most successfully with the Hammer Horror films in the 60s), but for whatever reason, Universal just keep stumbling, and this latest attempt, an explicit effort to set up a cinematic universe,

    flamed out rather spectacularly. Many elements were there. I actually like Tom Cruise. Sofia Boutella was an inspired choice for the Mummy. Unfortunately, with the exception of the plane crash sequence, most of the film fell flat and the blatant hooks for future films did no favors. While perhaps not objectively the worst nominee, it was the most disappointing because my expectations and hopes conspired to let me down on this one. Of the other nominees, I rather liked the idea of Killing Gunther and Schwarzenegger was great in it… but it’s just a shame that he only shows up at the end, and that the rest of the movie is subpar at best. Most disappointing. Magellan is one probably no one else watched, and I guess with good reason, but it’s disappointing because there are some interesting ideas that just sort of go nowhere in the end…

  • Best Action Sequences: Atomic Blonde. Several great setpieces in the film, notably the stairwell long take, but also lots of others. John Wick: Chapter 2 is the runner up, I guess, and the two films share the same aesthetic, but Atomic Blonde‘s felt fresher and more distinct. Baby Driver and Three are both noteworthy in that they have one exceptional action setpiece (the opening car chase of Baby Drive, and the shootout finale in Three) that drove its nomination, but could not pull ahead for the win. Valerian and the City of a Thousand Planets suffered a similar fate, even if it had a little more consistent action throughout the film. The Villainess also had a spectacular first person opening that guaranteed a nomination, but could not bring it hope with the remainder of the film…
  • Best Plot Twist/Surprise: Your Name. Whether or not you can see a plot twist coming is a measure that is not as meaningful as you might think, but I have to be honest in that I really didn’t see the twist in this one coming. I almost feel bad even indicating that there is a twist in this movie at all, as I certainly don’t want to spoil anything, but who am I kidding: this is an anime movie that few of you will probably watch. I considered Split for a while, because it’s another one I didn’t see coming and loved when it happened, but the implications of that twist held it back a little. I loved the sort of downer twist of Blade Runner 2049, but then, it’s also a bit of a downer. Better Watch Out

    is the rare “early” twist that actually works well. But now we’re edging ever closer to spoiler territory, so I’ll refrain from ruining the other nominees (even though, again, just saying that there is a twist can be something of a spoiler; I guess that’s just a risk we have to take, eh?)

  • Best High Concept Film: Bad Genius. Another obscure one that you probably haven’t seen, this is a Thai teen movie… and it’s the best caper of the year (albeit unconventionally so). I won’t say much more about it, but it’s definitely worth checking out. Shout out to Happy Death Day for being an actual good take on the whole “What if Groundhog Day was a horror movie?” concept that has been done poorly oh so often. Of course, it’s still a blatant ripoff of Groundhog Day, so it can’t get the win, but it’s got a nice twist or two on the formula. Also Wheelman, a sorta action packed version of Locke that doesn’t get much play.
  • 2017’s 2016 Movie of the Year: Silicon Cowboys. I guess? I mean, it’s a pretty straightforward documentary on the rise and fall of Compaq computers. A topic in my wheelhouse, so there is that. And it’s totally worth checking out if you like this sort of thing, but it’s not really something that would have cracked my Top 10 (or even honorable mentions) last year. The other nominees are fine for what they are, but it turns out that I didn’t follow up on a lot of 2016 movies this year, to the point where I probably should have just removed this category altogether. And this isn’t the first year this happened either, so this might be destined to become a quasi-annual Arbitrary Award someday. But for now, I’m fine with giving it to the nerdy computer documentary.

Phew! Some of those category were really difficult, and after my first draft right now, I’m waffling hard on a couple of my choices (update: yep, I put a tie for best hero/badass because I’m the worst).