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nordicsoul
As I entered into my early teens, music became the focal point of my creative and social life. From hip hop, to funk, to soul, to industrial, to techno; the music of Detroit seeped into my psyche through radio, mix tapes, vinyl/CD collecting, concerts, warehouse parties and the eclectic, predominantly older music aficionados I encountered working at an import record store in the early nineties. Film was always my second love. My parents took us to all the greats growing up (e.g. 'Star Wars', 'Raiders of the Lost', 'Close Encounters of the Third Kind', 'Ferris Bueller's Day Off', etc.). In particular, the films of Steven Spielberg, George Lucas and John Hughes left a lasting impression on me and many of my generation.
I began experimenting with psychedelics in the early 90's. As my perception of the world changed, so did my my taste in music, film and art. No film left a more profound impact on my life than the 1990 psychological thriller 'Jacob's Ladder'. To me, 'Jacob's Ladder' marked the beginning of my love of deeply psychological, often existential films and existential thought in general. I began reading the existentialist literature of Friedrich Nietzsche, Jean Paul Sartre, Albert Camus and Fyodor Dostoevsky. I became fixated on the idea that humans are born into the world as a blank canvas and that only experience in all its forms will allow us to evolve. This lead to me quitting my seemingly ideal job in high school to travel the U.S. with a band of nomads. I traveled west, seeking new people, places and experiences. I reconnected with nature and spirituality along the way. When the money ran out, I landed on fishing boated headed for Alaska and Russia.
From the money I received on the boat, I was able to put myself through college. I studied audio engineering, music composition and marketing at The Evergreen State College in Olympia Washington. It was an ideal environment for me to explore my greatest love, music. Throughout college I continued to devour films with a ferocious appetite. There was an independent theater in Olympia called the Capitol Theater where my love of indie film grew. I was there I first saw 'Trainspotting', 'A Thin Red Line', 'Wings of Desire', 'Boogie Nights', 'Memento', 'After Life' and many other films that left a deep impression on me. I began writing music and film reviews for the Olympia-based arts and culture publication Axis Magazine in the mid to late 90's. From there, I became more and more critical and analytical about film and music. I began to differentiate and critique each aspect independently in an effort to understand what I appreciated or disliked about each film (e.g. direction, writing, cinematography, score, acting, editing, creative direction, etc.). Overtime, I developed a unique voice and writing style that carried over to my next career, music supervision.
I was hired by the PlayNetwork a year after graduating from Evergreen. I moved to Seattle, which was known as one of the great film cities in the country, largely in part to the nine months of rain and the fact that it hosted the largest film festival in North American, the Seattle International Film Festival. I volunteered for SIFF and attended well over 100 films at the festival during the 15 years I spent there. Outside of the festival, there's close to a dozen independent theaters in Seattle, so there was a constant influx of quality movies. I averaged three movies a week, which is on par with my current film consumption.
In 2003, while working at PlayNetwork, I founded the Decibel International Festival of Electronic Music Performance, Visual Art and New Media. To this day Decibel remains my greatest accomplishment. Through Decibel, I began to explore the intersections between music performance, visual art and technology. One major distinction of Decibel is that every performance either incorporates live visual art or film as part of the experience. My thought process was that electronic music as an art-form was all-too-often sterile and enigmatic. By offering an interactive visual element, you were creating something entirely unique that had the potential to embrace a much wider audience, including those from the film and art community. Through Decibel I had created a platform to share my three greatest loves with the world (e.g. music, film and art). From 2004 to 2011, decibel grew from 2,500 attendees to 25,000. Over the years, Decibel has booked over 1,200 artists from over 40 countries, making it one of the largest and most culturally diverse festival of its kind in North America.
In 2015, days after the celebrating the 12th Annual Decibel Festival-our most successful program to date-I made the impetuous decision to relocate to Los Angeles. After 20 years in the Pacific Northwest, I was once again looking for an abrupt kick to my existential mind. I had become too comfortable and complacent in Seattle, which I'd fallen out of love with a few years earlier due to the onslaught of tech companies and tech workers uprooting the once subversive and independently minded DIY people and culture that once dominated the city. It was one of the most difficult decisions of my life, but the magic was lost and along with my inspiration.
So why Los Angeles? At the time, I had only spent a total of two weeks in the City of Angles since birth. My perception of it was a polluted, superficial, sprawl where you had to drive 20 minutes to get a decent cup of coffee. What did attract me to Los Angeles was the culture. International hub of the film and music industries, Los Angeles was home to some of the most talented entertainers the world has ever known. With that comes an abundance of live music, club nights, film screenings and in general encounters with people I've admire all of my life. What I didn't know at the time of moving here was that LA is also home some some of the most prestigious art collections/museums in the world, which I learned to appreciate at a young age growing up in Detroit. You through in the diversity, weather and cuisine of Los Angeles and you have one of the most vibrant and unique cities in the world. I had no problem finding work, first at Red Bull as the International Curator for their emerging music program (Red Bull Sound Select) and then as Senior Talent Buyer for one of the most versatile and historic venues I've ever worked with, UNION formerly Jewel's Catch One. Throughout my time in Los Angeles, I've continue my extracurricular actives as a curator, deejay, musician, music producer and event producer. Though I can say I don't miss Detroit and Seattle at times, I can't imagine living anywhere else in the world.
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Dune: Part Two (2024)
Dune Part Two has no equal
Bold statement incoming: the combination of 'Dune Part One' and 'Dune Part Two' has officially become my favorite film adaptation of a book. The profound impact of Frank Herbert's epic 1965 science fiction masterpiece on both literature and religion is not to be overshadowed by Denis Villeneuve's visionary homage. This is the book come to life, and if you appreciate the book, the movie should resonate deeply with you.
I struggle to think of a better-executed sequel; though 'The Empire Strikes Back' and 'The Dark Knight' are certainly in the running, 'Dune Part Two' excels beyond both. Its strength lies in the combination of jaw-dropping world-building, extraordinary acting, and a script that allows the audio-visual experience to unfold effortlessly. 'Dune' is a spiritual journey deeply rooted in Muslim culture and Western Colonialism's quest for natural resources, which is even more relevant today as it was nearly 50 years ago when the book was written (i.e., "The Spice," which always equated to oil in my mind).
Aesthetically, the film has no equal, which is no surprise considering the director's extraordinary track record, including 'Blade Runner 2049', 'Arrival', and 'Sicario', all of which are in my Top 50 films of all time and deserving of a perfect 10/10, along with 'Dune Part One'. 'Dune Part Two' exceeds its predecessor in every way, elevating the story in such climactic fashion that my heart and mind were positively buzzing for a solid 90 minutes. It has no weak link, no tonal inconsistency, and no extended dip in energy or over-explanation in which to lose the viewer. It is a perfect film from my perspective and likely to crack my top 5 all-time (I will reserve final judgment until I can see it in 70mm IMAX next week).
The Creator (2023)
'The Creator' is Gareth Edwards most personal film and complete vision
Let me start by divulging that I have some personal history with writer/director Gareth Edwards whose first film 'Monsters', debuted at a Decibel Festival produced event in Seattle in 2010 with none other than Jon Hopkins who both scored the film and DJed the event. 'Monsters' was a brilliant debut from a visionary director who I was confident had a bright future in cinema. What I didn't realize was that Edwards would go on to direct the only decent Star Wars film ('Rogue One') going back to 'Empire Strikes Back', which would pave the way for the only decent Star Wars television show ('Andor'). Needless to say, I'm a fan of Gareth's unique take on science fiction, which never shies away from geopolitical stances, heart and mellow drama. 'The Creator' is his most personal and complete vision, which not only leans into all the the above; it perfects the fantastical, action version of science fiction that Star Wars largely pioneered.
Removing the story for a minute, which I found compelling and original, you can't deny the stunning cinematography that at times channels Emmanuel Lubezki's hyper-intimacy. This is admittedly my favorite technique, particularly when it's used subtly as it is during various memory sequences that protagonist Joshua, played by John David Washington, experiences throughout the film. It is this complicated love story between both Joshua and Maya, brilliantly played by the always enigmatic Gemma Chan, that drives both the tone and plot of the entire film and that ultimately elevates it to a personal/human level where few science fiction films dare to travel ('Solaris', 'Annihilation' and 'Looper' come to mind). This is where 'The Creator' truly shines in my opinion; but I am admittedly a sucker for a heartbreaking love story, which 'The Creator' most certainly is at its core.
From a technical standpoint, 'The Creator' is in a very unique class of science fiction that feels imminent. The world Edwards and his team has created here is visceral, enthralling and frighteningly plausible in ways I have never really seen executed this well. Instead of leaning into the brutality of ecological devastation like 'Blade Runner 2049' the environment they have chosen to build around is a lush, rural, spiritual world where both robots and humans live in unity. It's a unique take on science fiction that I found to be esthetically pleasing. Musically, Hans Zimmer once again delivers a gorgeously emotive score that combined with the mind-blowing sound design and surprisingly diverse, Rock driven soundtrack delivers the best auditory experience I've had in a theater in years.
Taking a page out of James Cameron's playbook ('Aliens' and 'Avatar' in particular) The geopolitical tensions have placed the U. S. on the defensive and in true fashion of the U. S. Military Industrial Complex have created the ultimate super weapon N. O. M. A. D., whose mission is to seek out and annihilate any AI bases globally. Placing the core of the AI resistance in various rural Pan-Asian settlements was a tactful choice that for me conjured the devastating conflict in Vietnam. I interpreted this war between the pro and anti AI forces as an analogy of a more timeless conflict between Eastern and Western thought, culture and values. SPOILER:,When Maya's father, played to perfection by Ken Watanabe, tells Joshua "you know it was a coding error" in relation to the nuclear bomb that AI had supposedly detonated in LA killing over a million souls, you could begin to see the not so subtle knock on human hubris and the United States' unwillingness to admit its mistake as this would require taking actual responsibility for its actions. I personally found this to be the most intriguing and relevant aspect of the story, which also speaks to the relationship between Maya and Joshua. All that said, I'm not surprised to see sci fi nerds, pro U. S. Military stans and critics of AI lambasting this portrayal of U. S. Military aggression against an AI resistance truly seeking peace between the two warring sides; but as we all know, war equates to profit in relation to the U. S. Military Industrial Complex. This is not necessarily an original concept in relation to science fiction, but it is one that Edwards found a new home for and I applaud him for it.
'The Creator' is not without its flaws, most of which spawn from the lack of context between the evolution of AI to where the film takes place. They did add in some backstory in the form of historical news footage that could have been executed better. That said, the focus of the film was never on the origins of AI, it was on the incident that lead to the war we're currently watching unfold and more importantly the complicated love between two people on opposite ends of that conflict. As love often does, it spawns a third which is truly the central theme of this film...love is the answer.
Removing the story for a minute, which I found compelling and original, you can't deny the stunning cinematography that at times channels Emmanuel Lubezki's hyper-intimacy. This is admittedly my favorite technique, particularly when it's used subtly as it is during various memory sequences that protagonist Joshua, played by John David Washington, experiences throughout the film. It is this complicated love story between both Joshua and Maya, brilliantly played by the always enigmatic Gemma Chan, that drives both the tone and plot of the entire film and that ultimately elevates it to a personal/human level where few science fiction films dare to travel ('Solaris' and 'Looper' come to mind). This is where 'The Creator' truly shines in my opinion; but I am admittedly a sucker for a heartbreaking love story, which 'The Creator' most certainly is at its core.
From a technical standpoint, 'The Creator' is in a very unique class of science fiction that feels imminent. The world Edwards and his team has created here is visceral, enthralling and frighteningly plausible in ways I have never really seen executed this well. Instead of leaning into the brutality of ecological devastation like 'Blade Runner 2049' the environment they have chosen to build around is a lush, rural, spiritual world where both robots and humans live in unity. It's a unique take on science fiction that I found to be esthetically pleasing. Musically, Hans Zimmer once again delivers a gorgeously emotive score that combined with the mind-blowing sound design and surprisingly diverse, Rock driven soundtrack delivers the best auditory experience I've had in a theater in years.
Taking a page out of James Cameron's playbook ('Aliens' and 'Avatar' in particular) The geopolitical tensions have placed the U. S. on the defensive and in true fashion of the U. S. Military Industrial Complex have created the ultimate super weapon N. O. M. A. D., whose mission is to seek out and annihilate any AI bases globally. Placing the core of the AI resistance in various rural Pan-Asian settlements was a tactful choice that for me conjured the devastating conflict in Vietnam. I interpreted this war between the pro and anti AI forces as an analogy of a more timeless conflict between Eastern and Western thought, culture and values. SPOILER:,When Maya's father, played to perfection by Ken Watanabe, tells Joshua "you know it was a coding error" in relation to the nuclear bomb that AI had supposedly detonated in LA killing over a million souls, you could begin to see the not so subtle knock on human hubris and the United States' unwillingness to admit its mistake as this would require taking actual responsibility for its actions. I personally found this to be the most intriguing and relevant aspect of the story, which also speaks to the relationship between Maya and Joshua. All that said, I'm not surprised to see sci fi nerds, pro U. S. Military stans and critics of AI lambasting this portrayal of U. S. Military aggression against an AI resistance truly seeking peace between the two warring sides; but as we all know, war equates to profit in relation to the U. S. Military Industrial Complex. This is not necessarily an original concept in relation to science fiction, but it is one that Edwards found a new home for and I applaud him for it.
'The Creator' is not without its flaws, most of which spawn from the lack of context between the evolution of AI to where the film takes place. They did add in some backstory in the form of historical news footage that could have been executed better. That said, the focus of the film was never on the origins of AI, it was on the incident that lead to the war we're currently watching unfold and more importantly the complicated love between two people on opposite ends of that conflict. As love often does, it spawns a third which is truly the central theme of this film...love is the answer.
The Idol (2023)
'The Idol' is an ill conceived regression from 'Euphoria'
As a massive fan of Euphoria from the jump, I had high hopes for 'The Idol'. My biggest issue -which I can not overcome with this show- is that neither lead can act, whereas the entire cast of 'Euphoria' excel at acting. Even if I could excuse the inexplicable decision to cast two completely unconvincing leads based on their meteoric fame; you are then left with a poorly conceived and written script that manically jumps in-and-out of tone (comedy...drama...thriller...love story...porn,...music video...repeat). All you are really left with is imagery and a soundtrack, neither of which are compelling enough to hold my attention.
The Resort (2022)
Tonally all over the place, but well worth the ride!
Tonally it's all over the place, but something about The Resort kept my attention long enough for this seemingly rom com based mini-series to take a dark existential turn.
The team Sam Esmail (executive producer and creator of the brilliant Mr. Robot and Homecoming) put together here is why I gave it a shot in the first place (Cristin Milioti, Nick Offerman, Ben Sinclair, Luis Guzman, William Jackson Harper, Skyler Gisondo, Michael Hitchcock).
If you're a fan of other complex, existential, sci fi, black comedies like Maniac, Palm Springs, Eternal Sunshine of the Spotless Mind, Made For Love, etc; this might scratch that itch.
Men (2022)
Difficult watch, with an important message
Like Aronofsky's 'mother!', 'Men' is a heavy handed psychological horror film rooted in religious and mythological allegory. Like 'mother!', it's visionary director didn't intend to provide answers or solutions to the patriarchal world we've been existing in for thousands of years. I guess the question I have to ask about both films is "what's the point?". If the point is to remind viewers we're doomed, so be it. If the point is to try and empathically illustrate what it feels like to be a female living in a patriarchal culture, I'd say that's a hard pill to swallow considering we're still living in a highly oppressive patriarchal society with zero end in sight. Definitely not a fun premise for a film that is at the root of their polarity. Aesthetically speaking, they're both absolutely brilliant.
Everything Everywhere All at Once (2022)
My favorite film of 2022 is one for the ages
I was skeptical due to the multi-verse storyline, which I've honestly had little interest in exploring historically speaking. That said, the combination of the cast and A24 intrigued me enough to put my multi-verse prejudice aside and go in with an open mind.
Though it took until the second act to really come together for me, the set up was essential for letting the elaborate story unfold. There were a few times I thought it was trying to do too much, but that idea would subside with each action sequence or poignant moment between the truly lovable characters.
In terms of comparisons; it has shades of 'Matrix' (R. I. P.) but with far more heart, humor and creativity. There was a Charlie Kaufmann-esc depth to the script that ultimately drew me into this world of infinite imagination. Unlike Kaufmann, Daniels ('Swiss Army Man') have a dramatically more optimistic view of human nature that I found both refreshing and necessary considering the world we find ourselves in post COVID.
The third act is transcendent in every sense of the word. Without giving away too much, I can say for certain that they stick the landing with such poise here that I found myself misty eyed and laughing for a solid 30 minutes. It's rare that a film -let alone a science fiction film with an unlikely combination of characters- elicits such a profound emotional response from me. From what I've been seeing and hearing I'm not alone there. A+
On a related note, I would place 'Everything Everywhere All At Once' right behind 'Moonlight' and 'Ex Machina' as my top A24 film to date. Kudos once again to the greatest independent entertainment company in existence.
Top Gun: Maverick (2022)
Best action film I've experienced and I thought the OG was corny AF
Just got out of seeing 'Top Gun: Maverick'. Granted, I'm of a certain age that 'Top Gun' (1986) had a dramatic impact on my 10 year old psyche. Yes, I know it's rooted in U. S. military propaganda, but so were 90% of American action films of the 80's (Cold War anyone?). As for the sequel, it puts its predecessor and all other American action films to shame.
Exhilarating, perfectly cast, and executed to perfection; 'Top Gun: Maverick' is the greatest action film in existence from my perspective and has almost single-handedly won over this Tom Cruise skeptic. Definitely see it in a theater as it deserves to be experienced in one. 10/10.
Don't Look Up (2021)
A scathing but entertaining assessment of America in 2021
This is by far McKay most polarizing work, which says a lot considering he did a bio-pic on Dick Cheney and an ensemble comedy about the greatest economic crash since the Great Depression.
Though it didn't live up my expectations personally, I did find it an entertaining albeit scathing commentary on the current state of social media, corporate greed, partisan politics and science-bashing. I can also understand why a large portion of the country found it offensive as over a third of the U. S. population twice voted for a failed real-estate mogul, turned reality show host, turned social media troll, turned science denying bigot. Though McKay placates here a bit too excessively for my tastes, I can't help but share his general pessimism. B-
Dune: Part One (2021)
Top 5 science fiction films all-time. Stunning
Denis Villeneuve's 'Dune' is an absolutely stunning cinematic achievement. As a massive fan of the book it moved me to tears seeing it brought to life so exquisitely. Perfect execution across the board.
Villeneuve has officially surpassed all living directors in my opinion with 'Dune' (directed three of my top 10 sci fi films of all time between 'Dune', 'Blade Runner 2049' and 'Arrival').
I'll have to give it a few more viewings, but after the first (in IMAX, which I'd recommend) I'm happy to report it's by far my favorite film of 2021 and top five sci fi films of all time. A+
The Trial of the Chicago 7 (2020)
Courtroom drama done right!
'The Trial of the Chicago 7' contains all of the elements that make for a good courtroom drama. What elevated it for me was the writing of Aaron Sorkin and that it actually happened. The film also deftly captures both the zeitgeist and Owellian tactics of the Nixon administration to exploit and suppress the anti-war movement of the late 60's.
Ya no estoy aquí (2019)
'I'm Not Longer Here' is a remarkable achievement
In terms of foreign language films and directors, Mexico has been leading the charge for the past decade. Director Fernando Frias' beautifully honest portrait of a Mexico City based teen subculture that is obsessed with cumbia music was the best original film Netflix released in 2020. As a fan of music based subcultures, 'I'm Not Longer Here' hits on all cylinders.
Possessor (2020)
'Possessor' is the best film of 2020
In terms of contemporary horror, Brandon Cronenberg's 'Possessor' is head and shoulders above the rest of 2020. Like his father David, Brandon transports you into a violent, psychological realm where reality and fiction are blurred into abstraction. It's an unsettling journey to say the least, but unlike 95% of horror films, 'Possessor' refuses to placate the viewer with all to obvious tropes. By far my favorite horror film of 2020 and one of the best of the last decade from my perspective. If you have an aversion to graphic violence, I would avoid this film which admittedly was a difficult to watch at times.
Sound of Metal (2019)
'Sound of Metal' is an Oscar-caliber film with a perfect third act
Similarly to other films in my top five here, 'Sound of Metal' deals with a musician struggling with an existential crisis, which triggers his substance abuse addition. I connected immediately with the film's lead, brilliantly portrayed by Riz Ahmed who should be nominated for a best actor in a leading role. Not to give to much away here, but the third act one that might go down as one of the best endings I've seen in a film period. What I enjoyed most about 'Sound of Metal' was it's unpredictability. I credit this to writer/director Darius Marder and co-writer Derek Cianfrance ('The Place Beyond the Pines', 'Blue Valentine', 'I Know This Much is True').
Waves (2019)
Waves is a transcendent masterpiece
Powerful, poetic, cathartic, beautifully executed; Waves is a near perfect film. Director Trey Edwards Shults deftly channels the work Harmony Korine, Terrance Malick and Barry Levinson into a melodramatic melange of sound and color. Stylistically and thematically the most obvious comparison is HBO's criminally underrated teen drama series Euphoria. The emotive, minimal score by Atticus Finch and Trent Reznor ebbs and flows creating tension and release, while the stellar soundtrack mirrors themes of love, anger, loss and redemption. Though it's not an easy subject matter to digest, Waves' sense of purpose and grace make it a transcendent work of art.
Jojo Rabbit (2019)
Jojo Rabbit is a miraculous achievement; an anti-war satire for the ages
Jojo Rabbit is a miraculous film that does the near impossible. It's far and away my favorite film of 2019, and in my top 25 all-time. I don't want to spoil it, but if you're open to a poignant, beautifully crafted, anti-war, WWII period satire...look no further. For those questioning how all of these elements work together, please research the work of Mel Brooks, Charlie Chaplin, Stanley Kubrick and Roberto Benigni. Taika Waititi is following in a long tradition of making anti-war films that offer a range of emotion and depth. A+
Euphoria (2019)
Euphoria is a frightening and necessary analysis of human behavior through the eye of Gen Z High School students on the edge
Four episodes in, I believe "Euphoria" might be the bravest television show ever produced. That's not to say it lacks flaws, notably the relentless cringeworthy depiction of teen sex and drug addiction, which upon first glance I felt glorified it in ways I simply couldn't support as art. What did stand out from the first frame was the hyper-stylized art direction, cinematography, sound design, score and soundtrack, all of which seamlessly navigate the viewer through dayglow psychedelic worlds that consistently blur the line between fantasy and reality. As for the acting, lead actress Zendaya continues to impress with one of the most memorable performances of the year thus far. However, it's newcomer and co-star Hunter Schafer who delivers what I feel is an Emmy caliber performance as Jules.
The obvious comparisons that come to mind are "Requiem for a Dream" and "Kids" which creator, writer, director and producer Sam Levinson is clearly paying homage to throughout this series. Much like these two films, Levinson offers and unflinching depiction of American hedonism gone incredibly wrong. For many -myself included- it's taken too far, particularly in the over abundance of male genitalia that seemed almost absurdly overused in episode 2.
Then, something shifted for me. A formula began to develop that caught my attention about mid-way through episode 3. Each episode kicks off with a psychological profile of one of the characters (i.e., Rue in episode 1, Nate in episode 2, Kat in episode 3 and Jules in episode 4). Each character is suffering some form of deep psychological disorder stemming from death, loss or trauma associated with sexual identity. It's an effective tool that offers something few shows ever dare to do, which is a complete analyzation of human behavior through the lens of childhood trauma.
As a child of therapists myself, I've inadvertently held an analytic view of human behavior that looking back was both a detriment and blessing growing up. High school in particular nearly killed me largely in part to my own empathy. For any shy, empathetic, analytic person, high school can be a waking nightmare that is only exacerbated by the introduction of drugs, alcohol, sex and hormones that alone cause a rollercoaster of emotions. "Euphoria" dares to delve into what teen life looks and feels like in the digital age and spoiler alert; it's horrifying. I honestly can't fathom how Gen Z teens cope with the endless onslaught of information, while navigating the all seeing eye of social media. "Euphoria" has simultaneously opened the wounds of adolescent life, while offering a snapshot of what it looks like today. If anything, "Euphoria" has made me a more empathic adult when it comes to understanding the complexity of a generation I'm 20+ years removed from.
Regardless of whether or not that was the shows intent, I applaud HBO for green lighting what will likely be viewed by critics as "shock, for shock value" entertainment with no substance. I myself was skeptical, but after four episodes I can say for certain that "Euphoria" is a landmark achievement with a depth seldomly experienced in either film or television. I can't in good conscious recommend it for fear of alienating friends and family, but I can say that if you're willing to look past the sex and drugs, there are rewards and redemption in "Euphoria" that might just realign viewers perception teen life in America in 2019.
Green Book (2018)
Mortensen and Ali are transcendent
Occasionally a film comes along where the acting is so extraordinary that I can overlook its flaws. Much like Malek's brilliant portrayal of Freddy Mercury in Bohemian Rhapsody -which I'd say is an average film overall- Mortensen and Ali are transcendent as Tony Lip and Dr. Don Shirley. I'm admittedly a fan of both actors' work, but Green Book is in my opinion their crowning achievement and they both deserve Oscars.
Black Mirror: Bandersnatch (2018)
Can you get any more meta than this?
As a child of the 80's, I thoroughly appreciated the "choose your own adventure" aspect of 'Bandersnatch', which I thought was both clever and meta considering the entire episode is an existential journey that pays homage to 80's gaming and culture in general. I'd honestly never experienced anything like it and I do believe we'll be seeing more interactive television moving forward. Was it perfect? No, but it was the first of its kind and in terms of the execution, I felt it was on point. To start, I felt the casting and acting was spot on (i.e. Fionn Whitehead, Craig Parkinson and Will Poulter are all incredibly gifted UK actors). As for the soundtrack, I'm a massive fan of 80's New Wave and Electronic music and was pleasantly surprised at how substantial a role the music played in the narrative, particularly the use of Tangerine Dream's "Phaedra", which is my favorite of their compositions. I also greatly appreciated the use of psychedelics and the vividly accurate hallucination sequences. Though the script was far from perfect, I can only imagine that writing something with 15 unique turning points/narratives is a difficult task. Overall, I felt the acting, music, direction, special effects, nostalgia and novelty of 'Bandersnatch' are all worthy of praise and I'm pleasantly surprised that the vast majority of both critics and fans agree. As someone who often disagrees with the majority consensus, it's refreshing to see peoples' taste in television and film in general getting more exploratory year-over-year. The success of Black Mirror is a testament to audiences' willingness to digest something new, regardless of how unsettling it might be. 'Bandersnatch' is worthy of the Black Mirror name both in form and function. Is it a gamechanger? History will be the judge of that.
Mandy (2018)
Nostalgic psychedelia at its finest, 'Mandy' is destined for cult status
With the exception of a few David Lynch moments in 'Mulholland Drive', 'Wild at Heart', 'Lost Highway' and 'Twin Peaks: Fire Walk with Me', I can't recall a film surfing the line between beauty and carnage so adeptly. Between 'Mandy' and 'Beyond the Black Rainbow', Panos Cosmatos has carved out an impressive niche of nostalgic psychedelia worthy of cult status and praise for decades to come.
This is of course bittersweet with the passing of one of the greatest film composers of all time, Jóhann Jóhannsson. Due to the nature of the film, this won't go down as his most accomplished work. Regardless, the marriage between the score and imagery in 'Mandy' is extraordinary. RIP Jóhann and thank you for your remarkable contribution to some of the best films of the past decade (i.e. 'Sicario', 'Arrival', 'Prisoners', 'The Theory of Everything' and of course 'Mandy').
Ozark (2017)
Ozark is the best television drama Netflix has ever produced and one of the best in history
Much like The Wire (my #1 show of all time) and Breaking Bad (my #2 show of all time) what I find most fascinating about Ozark is that it offers an incredibly deep and unflinching perspective on drug trafficking from production, to distribution, to business, to legal, to politics, to law enforcement.
What I find most entertaining about Ozark is it's candid personal/human perspective from extreme poverty, to middle class, to ultra wealthy. Seeing all of the facets of both the industry and people effected is vital to understanding something as polarizing and complex as drug trafficking.
There is something so quintessentially existential about the chain reaction of events and the snowball effect of decisions made that allows me to feel a certain level of empathy or distain for characters that are all too often misunderstood. You combine all of that with one of the best produced, best written and best television drama in history and you have a complete picture of Ozark.
Eternal Sunshine of the Spotless Mind (2004)
This is my favorite film
It's a romantic comedy...it's science fiction...it's an existential drama...it's funny...it's sad...it's thought provoking...it's infantile...it stars a comedian playing a boring, depressed, lovesick underachiever...it's my favorite film and it's not even close. Here's to films that break all of the rules of convention and work beautifully.
The Babadook (2014)
Refreshing perspective on the horror genre
Major kudos to Aussie director Jennifer Kent, who managed to distill down all the pain and loneliness of being a working-class single mother, into one of the most frightening ghost stories I've seen. The Babadook represents everything good horror can and should be, with plenty of heart, humor and social commentary for good measure. Here's to female directors willing to explore issues all too often ignored in film.
Blindspotting (2018)
Blindspotting's vision is 20/20
Though Blindspotting has its cliche moments, overall it's an important film tackling race relations and gentrification in America. The chemistry and genuine camaraderie between writers/stars Diggs and Casal is at the heart of this film.
Who Is America? (2018)
'Who Is America?' is as revelatory as it is hilarious
I know he has a tendency to ruffle some politically correct feathers, but Sacha Baron Cohen's latest 'Who Is America?' is one of those rare examples of political commentary that is entertaining, poignant and effective in creating actual change. Bravo to Showtime for taking a gamble on this. The first two episodes were jaw dropping. A+
Eighth Grade (2018)
'Eight Grade' graduates coming of age films into the digital age
I'm always a sucker for a good coming of age film. Bo Burnham's 'Eighth Grade' brought the genre into the age of social media unlike any I've seen. Incredibly touching film with some stellar performances by Elsie Fisher and Josh Hamilton. A+