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But the best movie for me was AVENGERS INFINITY WAR. Yeah it was the most Entertaining movie of the year.
The Best and Worst of 2018 (so far)
~Special Mention~
Sharp Objects
(Dir. Jean-Marc Vallee)
[★★★½]
Jean-Marc Vallee's second team up with HBO might be his best work yet. Last year's Big Little Lies was a huge success, as addictive to watch as it was powerful in its storytelling, populated with fascinating female characters and a superlative cast including Nicole Kidman, Reese Witherspoon, Laura Dern, and Shailene Woodley all turning in Emmy and Golden Globe nominated/winning performances. With Sharp Objects the director is two for two with his second limited series on HBO, which is every bit as compulsively watchable as Big Little Lies, but as dark as that show got, it never plummets to the abyss of human nature as this series. Once again we are given great actors inhabiting complex, despairing, sometimes terrifying, characters. At the center is Amy Adams delivering some her very best work in a career filled with consistently incredible performances as the literally and figuratively scarred Camille. A functioning, sort of, alcoholic returning to her small hometown to investigate a story involving the unsolved murders of a few of the young girls in the town. But this murder mystery takes a back seat to a disturbing and bleak character study. We are slowly shown through Velee's expert use of flashbacks, quick cuts, and subliminal imagery as to why Camille is such a broken woman, barely keeping her head above the water (and the booze). The threat of her self-destructive habits potentially consuming her completely. Raised by a monstrous narcissistic mother, played fantastically by the always welcome Patricia Clarkson, and slowly getting to know her half-sister Amma, who may also be harboring some sinister secrets and experiencing psychological trauma of her own. Where the story goes from here should not be disclosed, but it's as gorgeously crafted as it horrifying. A harrowing tale of trauma and its effects, abuse, murder, and surviving the demons of our past while facing those of our present. Oh, yeah, and it's also one hell of a satisfying mystery thriller, to boot. Tonally similar to HBO's other series True Detective (season 1), Sharp Objects is not an easy watch as it explores the pitch black despair of its characters and the shocking and sometimes sickening turns of its story's many threads. Based on Gyllian Flynn's novel of the same name, the same author of Gone Girl, it's no surprise why it is so damn twisted, but just like Gone Girl, deliciously so. But in Vallee's hands, he never exploits the shows serious themes for cheap shocks. Unfortunately, there's a lot in this series that this viewer particularly identified with, and even while it seemingly verges into horror film territory in its sinister second half, sadly these horrors are all too real. This is the type of story where the ghostly apparitions are the least terrifying thing about it. It's what humans, especially family members, are capable of doing to each other that is scarier than any ghost or monster. Finally, this is a masterful slow burner that you'll want to binge in one sitting even as your skin crawls. The cast is perfection all around, with Eliza Scanlen nearly stealing the show as Amma, and Elisabeth Perkins bringing a glimpse of levity to the proceedings. But Adams and Clarkson are nothing short of spectacular. As someone who has read the source material, one more episode, or at least a shifting around of a couple plot threads near the end, would perhaps have helped the show reach a level of absolute perfection. Even as it stands though, it comes awfully close, and the final twist of the screw will have viewers either screaming at their televisions or accepting the bitter inevitability. Sharp Objects is some of the most essential viewing of the year. It cuts deep.
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Sharp Objects
(Dir. Jean-Marc Vallee)
[★★★½]
Jean-Marc Vallee's second team up with HBO might be his best work yet. Last year's Big Little Lies was a huge success, as addictive to watch as it was powerful in its storytelling, populated with fascinating female characters and a superlative cast including Nicole Kidman, Reese Witherspoon, Laura Dern, and Shailene Woodley all turning in Emmy and Golden Globe nominated/winning performances. With Sharp Objects the director is two for two with his second limited series on HBO, which is every bit as compulsively watchable as Big Little Lies, but as dark as that show got, it never plummets to the abyss of human nature as this series. Once again we are given great actors inhabiting complex, despairing, sometimes terrifying, characters. At the center is Amy Adams delivering some her very best work in a career filled with consistently incredible performances as the literally and figuratively scarred Camille. A functioning, sort of, alcoholic returning to her small hometown to investigate a story involving the unsolved murders of a few of the young girls in the town. But this murder mystery takes a back seat to a disturbing and bleak character study. We are slowly shown through Velee's expert use of flashbacks, quick cuts, and subliminal imagery as to why Camille is such a broken woman, barely keeping her head above the water (and the booze). The threat of her self-destructive habits potentially consuming her completely. Raised by a monstrous narcissistic mother, played fantastically by the always welcome Patricia Clarkson, and slowly getting to know her half-sister Amma, who may also be harboring some sinister secrets and experiencing psychological trauma of her own. Where the story goes from here should not be disclosed, but it's as gorgeously crafted as it horrifying. A harrowing tale of trauma and its effects, abuse, murder, and surviving the demons of our past while facing those of our present. Oh, yeah, and it's also one hell of a satisfying mystery thriller, to boot. Tonally similar to HBO's other series True Detective (season 1), Sharp Objects is not an easy watch as it explores the pitch black despair of its characters and the shocking and sometimes sickening turns of its story's many threads. Based on Gyllian Flynn's novel of the same name, the same author of Gone Girl, it's no surprise why it is so damn twisted, but just like Gone Girl, deliciously so. But in Vallee's hands, he never exploits the shows serious themes for cheap shocks. Unfortunately, there's a lot in this series that this viewer particularly identified with, and even while it seemingly verges into horror film territory in its sinister second half, sadly these horrors are all too real. This is the type of story where the ghostly apparitions are the least terrifying thing about it. It's what humans, especially family members, are capable of doing to each other that is scarier than any ghost or monster. Finally, this is a masterful slow burner that you'll want to binge in one sitting even as your skin crawls. The cast is perfection all around, with Eliza Scanlen nearly stealing the show as Amma, and Elisabeth Perkins bringing a glimpse of levity to the proceedings. But Adams and Clarkson are nothing short of spectacular. As someone who has read the source material, one more episode, or at least a shifting around of a couple plot threads near the end, would perhaps have helped the show reach a level of absolute perfection. Even as it stands though, it comes awfully close, and the final twist of the screw will have viewers either screaming at their televisions or accepting the bitter inevitability. Sharp Objects is some of the most essential viewing of the year. It cuts deep.
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__________________
Recent Views (out of 4)
Eighth Grade- (3.5/4)
Sicario 2- (3/4)
Assassination Nation- (3/4)
Mandy- (3.5/4)
Recent Views (out of 4)
Eighth Grade- (3.5/4)
Sicario 2- (3/4)
Assassination Nation- (3/4)
Mandy- (3.5/4)
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Favorite Movies
Quick note: Apologies for the awful writing. These are all first drafts I've churned out within 5 minutes. So if I tend to use the same adjectives or my vocabulary is repetitive, that's why. I should probably brush up on my thesaurus. Or do some editing. But I'm just trying to get these out as fast I can so I remain consistent. Regardless, hope those who are following are enjoying the list. More to come.
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Favorite Movies
Searching
(Dir. Aneesh Chaganty)
(★★★)
At its core, a thematically good old-fashioned mystery thriller with a modern technical twist, and a surprising amount of emotional heft. Similar to Unfriended, Searching takes place entirely through desktop screens, video chats, and text messages, but goes beyond that by also including live news, internet broadcasts, live streams, hidden cameras, photographs, and so on. Unlike Unfriended: Dark Web, which was technically efficient but was also hollow and unpleasant with nothing to take away from it, Searching doesn't wallow in pointless nihilism or graphic violence to generate tension, suspense, and dread. Instead, we are given characters with a surprising amount of depth, and something of a digital mosaic that never once lags in pacing or audience investment. The meticulous amount of detail the filmmakers have put into every frame of the film, as well as the many clues that have you think you've got it figured out, before a new twist or digital trail of crumbs is discovered, is a testament to its clever screenplay. John Cho is exceptional in the role, and probably the best I've seen from him. Debra Messing, taking on more serious material, is also especially memorable. It's nice to see this underrated actress given a character as juicy as this one, and she pulls it off wonderfully. Even if you can't stand films in this style, so called 'desktop thrillers' like the aformentioned Unfriended series, as well as The Den, and even the original, long forgotten, The Collingswood Story, which was the first of its kind. Anyone who is a junkie for unsolved mysteries and finds themselves going down unresolved mystery rabbit holes throughout the night will eat this up, and the longer it goes on the better it becomes. It transcends it's stylistic gimmick by delivering on its set-up. Searching is one of the biggest surprises for me this year, one that lives up to the early acclaim and deserves to be the sleeper hit of the fall. It could almost be considered an extended Black Mirror episode, almost.
(Dir. Aneesh Chaganty)
(★★★)
At its core, a thematically good old-fashioned mystery thriller with a modern technical twist, and a surprising amount of emotional heft. Similar to Unfriended, Searching takes place entirely through desktop screens, video chats, and text messages, but goes beyond that by also including live news, internet broadcasts, live streams, hidden cameras, photographs, and so on. Unlike Unfriended: Dark Web, which was technically efficient but was also hollow and unpleasant with nothing to take away from it, Searching doesn't wallow in pointless nihilism or graphic violence to generate tension, suspense, and dread. Instead, we are given characters with a surprising amount of depth, and something of a digital mosaic that never once lags in pacing or audience investment. The meticulous amount of detail the filmmakers have put into every frame of the film, as well as the many clues that have you think you've got it figured out, before a new twist or digital trail of crumbs is discovered, is a testament to its clever screenplay. John Cho is exceptional in the role, and probably the best I've seen from him. Debra Messing, taking on more serious material, is also especially memorable. It's nice to see this underrated actress given a character as juicy as this one, and she pulls it off wonderfully. Even if you can't stand films in this style, so called 'desktop thrillers' like the aformentioned Unfriended series, as well as The Den, and even the original, long forgotten, The Collingswood Story, which was the first of its kind. Anyone who is a junkie for unsolved mysteries and finds themselves going down unresolved mystery rabbit holes throughout the night will eat this up, and the longer it goes on the better it becomes. It transcends it's stylistic gimmick by delivering on its set-up. Searching is one of the biggest surprises for me this year, one that lives up to the early acclaim and deserves to be the sleeper hit of the fall. It could almost be considered an extended Black Mirror episode, almost.
Last edited by lostonmulholland; 11-19-18 at 02:21 PM.
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Favorite Movies
Isle of Dogs
(Dir. Wes Anderson)
(★★★)
Having been an avid follower of Wes Anderson's work since I first saw The Royal Tenenbaums opening night at the age of eleven. It was, and remains, one of the films that really opened my eyes to what cinema was truly capable of. That there was actual artistry involved, and originality was possible. That film remains my favorite of all Anderson's films. His other films fall in two catagories, those I love immediately after viewing (Grand Budapest Hotel, Fantastic Mr. Fox, Rushmore, The Life Aquatic), and those that have left me in admiration but cold, only to quickly grow on me over time (Moonrise Kingdom, Bottle Rocket, and especially, The Darjeeling Limited). I'm always awe-struck by his visual invention and trademark eye for detail, as well as the performances he gets, and the dialogue he writes. His films consistently make me laugh out loud, even if it hurts to laugh. Isle Of Dogs (I love dogs!) lies somewhere in the middle of the two catagories. Once again I could do nothing but applaud the obviously painstaking animation, the editing, the choice music selections (Anderson's soundtracks never disappoint), the dry dialogue, and the appealing characters (even if the human characters take a bit of a back seat to their canine companions), without question every frame of this film is pure sex for the eyes. But does Isle of Dogs lack the instantly identifiable warmth of Fantastic Mr. Fox? At the moment yes. But it's already begun to grow on me more. I think because Anderson's films are such visual feasts, it's impossible to take everything in in one viewing. Not that the stories are overly complex, but because there is so much to take in just on a stylistic level, that it can almost be distracting. But this is a good thing, as it gives his films longevity, primed for rewatchability, as I'm always left looking forward to returning to his films and savoring every element. I already anticapte returning to the Isle of Dogs, as even for Anderson's standards, it's one of his strangest and most fascinating creations. I'm also very happy I snagged the poster from work, as well.
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(Dir. Wes Anderson)
(★★★)
Having been an avid follower of Wes Anderson's work since I first saw The Royal Tenenbaums opening night at the age of eleven. It was, and remains, one of the films that really opened my eyes to what cinema was truly capable of. That there was actual artistry involved, and originality was possible. That film remains my favorite of all Anderson's films. His other films fall in two catagories, those I love immediately after viewing (Grand Budapest Hotel, Fantastic Mr. Fox, Rushmore, The Life Aquatic), and those that have left me in admiration but cold, only to quickly grow on me over time (Moonrise Kingdom, Bottle Rocket, and especially, The Darjeeling Limited). I'm always awe-struck by his visual invention and trademark eye for detail, as well as the performances he gets, and the dialogue he writes. His films consistently make me laugh out loud, even if it hurts to laugh. Isle Of Dogs (I love dogs!) lies somewhere in the middle of the two catagories. Once again I could do nothing but applaud the obviously painstaking animation, the editing, the choice music selections (Anderson's soundtracks never disappoint), the dry dialogue, and the appealing characters (even if the human characters take a bit of a back seat to their canine companions), without question every frame of this film is pure sex for the eyes. But does Isle of Dogs lack the instantly identifiable warmth of Fantastic Mr. Fox? At the moment yes. But it's already begun to grow on me more. I think because Anderson's films are such visual feasts, it's impossible to take everything in in one viewing. Not that the stories are overly complex, but because there is so much to take in just on a stylistic level, that it can almost be distracting. But this is a good thing, as it gives his films longevity, primed for rewatchability, as I'm always left looking forward to returning to his films and savoring every element. I already anticapte returning to the Isle of Dogs, as even for Anderson's standards, it's one of his strangest and most fascinating creations. I'm also very happy I snagged the poster from work, as well.
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Last edited by lostonmulholland; 11-19-18 at 02:21 PM.
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Favorite Movies
Before I begin the top ten, here are some honorable and dishonhorable mentions:
Honorable: A Quiet Place, What Keeps You Alive, Hot Summer Nights, Gemini, Upgrade, Game Night, The Ritual, Love, Simon, The Incredibles 2, Still Born, The Ritual
Disonhorable Mentions: Red Sparrow, Jurassic World: Fallen Kingdom, The Demon House, Paterno, Ready Player One, Our House, Mile 22, Death of a Nation, How To Talk To Girls At Parties, Rampage, Pyewacket, Ghostland, Winchester, The Open House, Deadpool 2, Truth or Dare, Bad Samaritan, The Devils Doorway, Terrifier, 13 Reasons Why: Season 2
Best Television/Limited Series:
American Crime Story: Versace, Pose, Channel Zero: Butcher's Block, Sharp Objects, The Handmaid's Tale: Season 2, The Staircase, Wild Wild Country
Honorable: A Quiet Place, What Keeps You Alive, Hot Summer Nights, Gemini, Upgrade, Game Night, The Ritual, Love, Simon, The Incredibles 2, Still Born, The Ritual
Disonhorable Mentions: Red Sparrow, Jurassic World: Fallen Kingdom, The Demon House, Paterno, Ready Player One, Our House, Mile 22, Death of a Nation, How To Talk To Girls At Parties, Rampage, Pyewacket, Ghostland, Winchester, The Open House, Deadpool 2, Truth or Dare, Bad Samaritan, The Devils Doorway, Terrifier, 13 Reasons Why: Season 2
Best Television/Limited Series:
American Crime Story: Versace, Pose, Channel Zero: Butcher's Block, Sharp Objects, The Handmaid's Tale: Season 2, The Staircase, Wild Wild Country
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Favorite Movies
American crime story Versace was so well done. The psychopath andrew Conanen was intricately explored.
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American crime story Versace was so well done. The psychopath andrew Conanen was intricately explored.
I can't say enough good things about this season. I should do a special mention of it, because more people really need to see it. Even those with no interest in Versace, because he's really the backdrop to Andrew Cunanan's murder spree, his poor victims, and how he became who he was. Plus, above all else, Darren Criss demands every award he hopefully gets for this. I was never a fan, but his performance here is some real next-level embodiment. Similar to Theron in Monster. By the end, despite his horrible, monstrous actions, there was still a small part of me that just felt bad for him as well. His whole arc was just so awful from the get-go before he even started killing, that I guess I understand why he became the person he did. Not excusing his crimes at all, but it's thought provoking to say the least. But beyond that it's really some of the strongest television I have ever scene. Though it might be one of the few shows/films I love that I could never sit through again. Like Boys Don't Cry. Though it's a universally sad story, as a gay man myself it just destroyed me, to the point I ugly sobbed in my bed after binging it. It takes a lot in the things I watch to get me to that point. It's just such an unspeakable tragic waste of life all around.
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Agree it was amazing. I though had little to no sympathy for him although I acknowledge his childhood abuse was awful and significant. They imply it with subtlety. Although a fascinating character and yes he is the show, it’s his portrait, he is a destroyer of lives. He takes, he destroys and wrecks havoc. Even in his pitiful last days I had no sympathy. The sadness I had was for his victims and the show did a good job of exploring their backgrounds not just Versace. Also Penelope Cruz is a powerful actor.
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Agree it was amazing. I though had little to no sympathy for him although I acknowledge his childhood abuse was awful and significant. They imply it with subtlety. Although a fascinating character and yes he is the show, it’s his portrait, he is a destroyer of lives. He takes, he destroys and wrecks havoc. Even in his pitiful last days I had no sympathy. The sadness I had was for his victims and the show did a good job of exploring their backgrounds not just Versace. Also Penelope Cruz is a powerful actor.
I really don't want to come across like I think Cunanan was a good person in any way, or that his actions were even forgivable. He was an unremorsful monstrosity who selfishly destroyed the lives of many. I'm not some bleeding heart who saw any amount of good in him by the end or throughout the story. Even as a teen he was a spoiled brat. But when you look at what kind of parents he had, especially his equally monstrous father (but for different reasons), who even betrayed his son when it counted most (he really could have at least intervened and brought his son to justice in the last moments). I just felt bad for the ENTIRE situation. I cried for the victims who all seemed like such bright young men with so, so, so, much ahead of them and had so much to offer in life. Who were already dealing with their own battles and facing discrimination only to be brutally snuffed out by one of their own. Do I blame Cunanan for what happened? Of course. Do I understand why Cunanan turned out the way he did (at least as far as the series is concerned) yes. But then I have to realize that I also had an awful relationship and still feel confusion and pain when it comes to my own father, and yet I've never wanted to resort to killing off those who didn't reciprocate my feelings for them. Maybe I just look in the gray areas too much in these sorts of situations, or maybe Criss was just so damn great in the role that any sympathy (which, isn't really the right word, not symphathetic to him, empathetic? that could be wrong too) I had for him, which again was more pity than sympathy, lied in his performance. Again, it's just a sad situation all around. I'm also not blaming all of Cunanan's actions on his father either, he is responsible entirely for his own actions, just like I don't blame my own for some of the poor decisions I've made. Even if mine never involved harming another person over it. I just don't want to be dragged across the rocks and misunderstood and have people think I have some soft spot for Andrew. I don't. Disgustingly, there are those who do. He was a terrible person and the world is better off without him, but he was handed quite the ****ty deck of cards being worshipped and used, possibly sexually abused, and given everything before losing everything because of his terrible father, that it's no wonder he eventually snapped when he could have found love from someone had it not been hammered into his head that he deservesd everything/everyone on a silver platter.. But my entire sympathy and heart goes out to the victims, their friends and families, and even Cunanan's own siblings. I did somehow talk to a relative of his (iirc, it was his nephew) and they said that Andrew is never brought up, ever, and that what happened essentially demolished the entire family, but that they do their best to move on, and that many go by different names now. I can't imagine what it'd be like to be share the same blood with him.
And yes, Criss is on another level, but the entire cast is brilliant throughout. I'm so glad so many of them got Emmy noms, especially Judith Light (love her), Finn Wittrock, and even Ricky Martin, who absolutely deserves it. Martin exuded such a deep pain and sadness that really surprised me as I've never seen him act before. Cruz was perfection as Donetella, if far too beautiful,but she nailed her voice and her later scenes confronting the situation was heartbreaking. The entire cast needs to be recognized. I wish Cody Fern had gotten some recognition, but I look forward to seeing him in AHS: Apocalypse. And Max Greenfield was another particular scene stealer, especially his last scene in the interrogation room.
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Favorite Movies
Ghost Stories
Dir. Jeremy Dyson, Andy Nyman
★★★½
Anthology horror films are usually a mixed bag. For every great short segment you get, like Safe Haven in V/H/S 2, or that little fetish voodoo doll terrorizing Karen Black in Trilogy of Terror, you also usually get about 3 or 4 mediocre ones. Consistency is hard to pull off in this particular subgenre, but Ghost Stories bucks the trend, and is one of the very best films of its kind since possibly the original Creepshow, or at least Trick'R'Treat. If the wraparound stories in these films usually end up being the weakest of the bunch, especially in the V/H/S franchise, Ghost Stories masterfully pulls it off in such a way that it even contributes to and improves the short stories being told. Each of which are fiendishly clever in their scares and inventive storytelling. There's a splash of dark british humor throughout as well that never gets in the way of the scares when they count, but keep the film feeling fresh and fun. Where the film ultimately goes is actually the biggest surprise of all, making one want to immediately do a rewatch as it puts everything that came before it in a different perspective. The search for clues adding another element to the entertainment. Simply put, Ghost Stories is a hugely successful british horror show, supremely well-made, and devilishly well-acted, which constantly surprises and delights while sending a shiver down the spine or bending the mind. Subverting expectations at every turn. As far as horror anthologies go, it's a new instant classic. Make sure to add this to your Halloween viewing list.
Dir. Jeremy Dyson, Andy Nyman
★★★½
Anthology horror films are usually a mixed bag. For every great short segment you get, like Safe Haven in V/H/S 2, or that little fetish voodoo doll terrorizing Karen Black in Trilogy of Terror, you also usually get about 3 or 4 mediocre ones. Consistency is hard to pull off in this particular subgenre, but Ghost Stories bucks the trend, and is one of the very best films of its kind since possibly the original Creepshow, or at least Trick'R'Treat. If the wraparound stories in these films usually end up being the weakest of the bunch, especially in the V/H/S franchise, Ghost Stories masterfully pulls it off in such a way that it even contributes to and improves the short stories being told. Each of which are fiendishly clever in their scares and inventive storytelling. There's a splash of dark british humor throughout as well that never gets in the way of the scares when they count, but keep the film feeling fresh and fun. Where the film ultimately goes is actually the biggest surprise of all, making one want to immediately do a rewatch as it puts everything that came before it in a different perspective. The search for clues adding another element to the entertainment. Simply put, Ghost Stories is a hugely successful british horror show, supremely well-made, and devilishly well-acted, which constantly surprises and delights while sending a shiver down the spine or bending the mind. Subverting expectations at every turn. As far as horror anthologies go, it's a new instant classic. Make sure to add this to your Halloween viewing list.
Last edited by lostonmulholland; 11-19-18 at 02:22 PM.
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Favorite Movies
Agree it was amazing. I though had little to no sympathy for him although I acknowledge his childhood abuse was awful and significant. They imply it with subtlety. Although a fascinating character and yes he is the show, it’s his portrait, he is a destroyer of lives. He takes, he destroys and wrecks havoc. Even in his pitiful last days I had no sympathy. The sadness I had was for his victims and the show did a good job of exploring their backgrounds not just Versace. Also Penelope Cruz is a powerful actor.
I really don't want to come across like I think Cunanan was a good person in any way, or that his actions were even forgivable. He was an unremorsful monstrosity who selfishly destroyed the lives of many. I'm not some bleeding heart who saw any amount of good in him by the end or throughout the story. Even as a teen he was a spoiled brat. But when you look at what kind of parents he had, especially his equally monstrous father (but for different reasons), who even betrayed his son when it counted most (he really could have at least intervened and brought his son to justice in the last moments). I just felt bad for the ENTIRE situation. I cried for the victims who all seemed like such bright young men with so, so, so, much ahead of them and had so much to offer in life. Who were already dealing with their own battles and facing discrimination only to be brutally snuffed out by one of their own. Do I blame Cunanan for what happened? Of course. Do I understand why Cunanan turned out the way he did (at least as far as the series is concerned) yes. But then I have to realize that I also had an awful relationship and still feel confusion and pain when it comes to my own father, and yet I've never wanted to resort to killing off those who didn't reciprocate my feelings for them. Maybe I just look in the gray areas too much in these sorts of situations, or maybe Criss was just so damn great in the role that any sympathy (which, isn't really the right word, not symphathetic to him, empathetic? that could be wrong too) I had for him, which again was more pity than sympathy, lied in his performance. Again, it's just a sad situation all around. I'm also not blaming all of Cunanan's actions on his father either, he is responsible entirely for his own actions, just like I don't blame my own for some of the poor decisions I've made. Even if mine never involved harming another person over it. I just don't want to be dragged across the rocks and misunderstood and have people think I have some soft spot for Andrew. I don't. Disgustingly, there are those who do. He was a terrible person and the world is better off without him, but he was handed quite the ****ty deck of cards being worshipped and used, possibly sexually abused, and given everything before losing everything because of his terrible father, that it's no wonder he eventually snapped when he could have found love from someone had it not been hammered into his head that he deservesd everything/everyone on a silver platter.. But my entire sympathy and heart goes out to the victims, their friends and families, and even Cunanan's own siblings. I did somehow talk to a relative of his (iirc, it was his nephew) and they said that Andrew is never brought up, ever, and that what happened essentially demolished the entire family, but that they do their best to move on, and that many go by different names now. I can't imagine what it'd be like to be share the same blood with him.
And yes, Criss is on another level, but the entire cast is brilliant throughout. I'm so glad so many of them got Emmy noms, especially Judith Light (love her), Finn Wittrock, and even Ricky Martin, who absolutely deserves it. Martin exuded such a deep pain and sadness that really surprised me as I've never seen him act before. Cruz was perfection as Donetella, if far too beautiful,but she nailed her voice and her later scenes confronting the situation was heartbreaking. The entire cast needs to be recognized. I wish Cody Fern had gotten some recognition, but I look forward to seeing him in AHS: Apocalypse. And Max Greenfield was another particular scene stealer, especially his last scene in the interrogation room.
The show really was great. That these characters felt real. That is evokes this emotion. It’s also sad and disturbing that these types of people exist and humans can do this to each other.
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American Animals
(Dir. Bart Layton)
★★★½
“Reservoir Dogs is probably my least favorite Tarantino film.”
Bart Layton's previous film The Imposter, was a gripping documentary that remains one of my very favorites and among the most fascinating and baffling stories I've ever come across. His follow up American Animals is just as interesting. A fusion of documentary filmmaking and dramatic narrative that is a success on both accounts . The way in which he plays around with documentary framing within a straight forward dramatic/thriller/comedy hybrid is smart and fresh. Occasionally the real-life counterparts will pop up, and sometimes even interact, with the actors portraying them in a scene. This also allows Layton to play around with multiple points of view, as the story is being told to us by the various actual participants, they will sometimes contradict one another. With this , the film will back up and repeat a scene only from a different point of view, or shift storylines based on whichever perspective is being presented to us. I make it sound more confusing than it is, but Layton executes this rather brilliantly and in inventive, thought provoking ways. The handle on the tone of the film is also spot on. The film begins as sort of comical and light, almost farcical. Layton seems to be taking the material lightly, but keeps the viewer engaged and wondering when the other foot will drop. Once they carry out their plan, reality of course comes crashing in, the characters realize they aren't in a movie and what they are doing is incredibly risky, illegal, and could potentially wreck their lives (or others). They may educate themselves on how to pull off the perfect heist by watching every heist film they can rent from Blockbuster. But they forget that usually in those films, it never turns out well. With this, the film takes a turn into darker territory, becoming a much more serious affair of a failed attempt at the american dream, and the amount of suspense wrung from this situation is at times quite intense and stressful. As a huge fan of Evan Peters (I'm an AHS junkie) it's great to see him given a leading role in a film, rather than supporting. His charisma works wonders here, riding the tonal shifts perfectly, and bringing a certain complexity to what could have been a standard 'wild card' portrayal. He stands as a hugely underrated actor, always on the verge of hitting it big. Keoghan is very much the 'straight man' of the friends, and his mounting paranoia and overwhelming panic is deeply felt. After this, The Killing of a Sacred Deer, and Dunkirk, he's quickly becoming one of the more interesting young actors working today. Anne Dowd also lends wonderful support in a minor, but very important, role, that lends to the film's most uncomfortable sequence. It's unfortunate this didn't get a bigger release, as it had the potential to be a greater hit that deserves to be seen by a wider audience. There are elements in the story that nearly everyone can relate to and identify with, especially those in their twenties, and above all else it works both as a hugely entertaining, funny, and tense heist thriller, and an original, meditative, and at times moving documentary. American Animals is one-of-a-kind.
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(Dir. Bart Layton)
★★★½
“Reservoir Dogs is probably my least favorite Tarantino film.”
Bart Layton's previous film The Imposter, was a gripping documentary that remains one of my very favorites and among the most fascinating and baffling stories I've ever come across. His follow up American Animals is just as interesting. A fusion of documentary filmmaking and dramatic narrative that is a success on both accounts . The way in which he plays around with documentary framing within a straight forward dramatic/thriller/comedy hybrid is smart and fresh. Occasionally the real-life counterparts will pop up, and sometimes even interact, with the actors portraying them in a scene. This also allows Layton to play around with multiple points of view, as the story is being told to us by the various actual participants, they will sometimes contradict one another. With this , the film will back up and repeat a scene only from a different point of view, or shift storylines based on whichever perspective is being presented to us. I make it sound more confusing than it is, but Layton executes this rather brilliantly and in inventive, thought provoking ways. The handle on the tone of the film is also spot on. The film begins as sort of comical and light, almost farcical. Layton seems to be taking the material lightly, but keeps the viewer engaged and wondering when the other foot will drop. Once they carry out their plan, reality of course comes crashing in, the characters realize they aren't in a movie and what they are doing is incredibly risky, illegal, and could potentially wreck their lives (or others). They may educate themselves on how to pull off the perfect heist by watching every heist film they can rent from Blockbuster. But they forget that usually in those films, it never turns out well. With this, the film takes a turn into darker territory, becoming a much more serious affair of a failed attempt at the american dream, and the amount of suspense wrung from this situation is at times quite intense and stressful. As a huge fan of Evan Peters (I'm an AHS junkie) it's great to see him given a leading role in a film, rather than supporting. His charisma works wonders here, riding the tonal shifts perfectly, and bringing a certain complexity to what could have been a standard 'wild card' portrayal. He stands as a hugely underrated actor, always on the verge of hitting it big. Keoghan is very much the 'straight man' of the friends, and his mounting paranoia and overwhelming panic is deeply felt. After this, The Killing of a Sacred Deer, and Dunkirk, he's quickly becoming one of the more interesting young actors working today. Anne Dowd also lends wonderful support in a minor, but very important, role, that lends to the film's most uncomfortable sequence. It's unfortunate this didn't get a bigger release, as it had the potential to be a greater hit that deserves to be seen by a wider audience. There are elements in the story that nearly everyone can relate to and identify with, especially those in their twenties, and above all else it works both as a hugely entertaining, funny, and tense heist thriller, and an original, meditative, and at times moving documentary. American Animals is one-of-a-kind.
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Last edited by lostonmulholland; 11-19-18 at 02:22 PM.
X
Favorite Movies
The Endless
(Dirs. Aaron Moorehead, Justin Benson)
★★★½
(Dirs. Aaron Moorehead, Justin Benson)
★★★½
Sometimes the restrictions of low budget filmmaking can really show which directors are truly creative storytellers, and those who are complete hacks. Duo Aaron Moorehead and Justin Benson stand firmly in the former category. Even when referencing and tying in their own previous work, they actually manage to pull it off without a hint of self-indulgence. On top of that they are even solid as actors. Their third film The Endless might be their best film yet, if not then my personal favorite. An unpredictable trek through wrinkles in time, a possibly dangerous cult, alternate dimensions, and a sometimes affecting portrayal of the bond shared between siblings. I'm keeping this write-up vague, as this is a film to go in as blindly as possible. But if you are a fan of such films like Coherence, Donnie Darko, and Primer, then this one will be right up your alley. A thoroughly satisfying brain scratch of a film, consistently surprising and engaging, sometimes deliciously tense, and even somewhat poignant. This one lingers in the mind.
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Last edited by lostonmulholland; 11-19-18 at 02:23 PM.
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Favorite Movies
The Tale
(Dir. Jennifer Fox)
★★★½
Disturbing, heartbreaking, and sickening, The Tale is also powerfully cathartic, uncompromisingly honest, and even healing. A deeply personal debut for writer/director Jennifer Fox, based on her own tale of childhood sexual abuse (the film is based on a letter she wrote when she was a child). Obviously, this makes for painful viewing, but as a fellow victim of childhood grooming and sexual abuse, somehow therapeutic and empowering. Fox never reaches for false melodrama in portraying her account of the the trauma and subsequent awakening and acceptance of what she endured. Laura Dern, one of my all-time favorite actresses, gives possibly a career best performance. But in her long career it's difficult to choose just one of her roles as 'the best', but her work here is definitely in her top five. The way she slowly confronts and accepts her past, at first steadfastly believing she was never a victim and that it was a positive experience, refusing to believe anything else, is so truthfully and piercingly portrayed. So great is she, in fact, that it's sort-of a shame this was picked up by HBO and not a theatrical distributor, as had this been released near awards season, Dern would be a lock for a Best Actress nomination, and probably even win it. I hope there is some way that she can still be eligible, but expect her to sweep up an Emmy, SAG, and Golden Globe for her performance. She's extraordinary. Kudos to the rest of the cast, as well. Especially the younger actresses portraying Jenny in flashbacks, Jason Ritter, Elisabeth Debecki, Francis Conroy, and the late John Heard, who appears in one of the films best moments. The Tale never shies away from its content, but it remains tasteful, if no less shocking. As a portrait of the effects of trauma, how shattered our memories can become, and the lies we choose to believe in order to cope, The Tale is brave and shattering. In short, it's essential viewing, even for those who have never been a victim of this particularly monstrous act. I having nothing but praise and gratitude for Jennifer Fox.
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(Dir. Jennifer Fox)
★★★½
Disturbing, heartbreaking, and sickening, The Tale is also powerfully cathartic, uncompromisingly honest, and even healing. A deeply personal debut for writer/director Jennifer Fox, based on her own tale of childhood sexual abuse (the film is based on a letter she wrote when she was a child). Obviously, this makes for painful viewing, but as a fellow victim of childhood grooming and sexual abuse, somehow therapeutic and empowering. Fox never reaches for false melodrama in portraying her account of the the trauma and subsequent awakening and acceptance of what she endured. Laura Dern, one of my all-time favorite actresses, gives possibly a career best performance. But in her long career it's difficult to choose just one of her roles as 'the best', but her work here is definitely in her top five. The way she slowly confronts and accepts her past, at first steadfastly believing she was never a victim and that it was a positive experience, refusing to believe anything else, is so truthfully and piercingly portrayed. So great is she, in fact, that it's sort-of a shame this was picked up by HBO and not a theatrical distributor, as had this been released near awards season, Dern would be a lock for a Best Actress nomination, and probably even win it. I hope there is some way that she can still be eligible, but expect her to sweep up an Emmy, SAG, and Golden Globe for her performance. She's extraordinary. Kudos to the rest of the cast, as well. Especially the younger actresses portraying Jenny in flashbacks, Jason Ritter, Elisabeth Debecki, Francis Conroy, and the late John Heard, who appears in one of the films best moments. The Tale never shies away from its content, but it remains tasteful, if no less shocking. As a portrait of the effects of trauma, how shattered our memories can become, and the lies we choose to believe in order to cope, The Tale is brave and shattering. In short, it's essential viewing, even for those who have never been a victim of this particularly monstrous act. I having nothing but praise and gratitude for Jennifer Fox.
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Last edited by lostonmulholland; 11-19-18 at 02:23 PM.
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Favorite Movies
Who We Are Now
(Dir. Matthew Newton)
★★★½
(Dir. Matthew Newton)
★★★½
With Who We Are Now, actress Julianna Nicholson is given a character that puts her talents front and center and gives her the chance to prove that she can carry a picture. She doesn't disappoint, not in the least. Like many performances on this list, she is bound to go unnoticed, but her work here is among the finest acting you'll see all year. This is a masterfully woven human drama populated with vividly drawn characters that we grow to care for and understand. They are all flawed individuals, like all of us are, each one doing the best they can in spite of their circumstances. With observant camerawork and a silent soundtrack, the drama unfolds with uncommon authenticity. The dynamics of the various relationships are touched with nuance and complexity. The story plays out in such graceful and organic ways, rarely crossing over into melodrama or contrivances, and is absorbing throughout. As an actors showcase, the film is spectacular. The cast surrounding Nicholson including Emma Roberts, Zachary Quinto, Jimmy Smits, a particularly slimy Jason Biggs, among others, all bring a perfect naturalism to their roles. The standouts, though, are Emma Roberts, finally showing signs of warmth and sympathy-- and above all, range. And finally Nicholson, who is the real showstopper. She is riveting and owns her every moment on screen. Even if the rest of the film was worthless, it'd still be worth watching just for her. Thankfully, it's one of the best dramas of the year.
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Last edited by lostonmulholland; 11-19-18 at 02:24 PM.
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Favorite Movies
American crime story Versace was so well done. The psychopath andrew Conanen was intricately explored.
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American crime story Versace was so well done. The psychopath andrew Conanen was intricately explored.
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