Category: Uncategorized

7th: The Beach Bum – Harmony Korine (2019)
Watched at the Music Box with Gioia, Chris, and Paige. The film is so enjoyable. It’s almost entirely comprised of fun-loving people having a good time. For some of the film, I was worried that this was all that it would be. However, there is a turn that creates a plot and places an underlying message in all of the hedonism. I don’t entirely know if it works, but I had a great time watching it.
Grade: B- / B

12th: Sightseers – Ben Wheatley (2012)
Watched at home with Gioia. It’s so dark and surprising. It’s amazing to me how Wheatley is able to have a compelling narrative when every character in the film is so despicable. I can’t think of many movies like it, especially in terms of genre. Both funny and gruesome.
Grade: B+
Sightseers – Ben Wheatley (2012)

13th: Guava Island – Hiro Murai (2019)
Watched at home with Gioia. It’s really delightful. A pretty perfect short film that’s extended with cool musical interludes.
Grade: B / B+
Guava Island – Hiro Murai (2019)

13th: Dune – David Lynch (1984)
Watched at home with Gioia. It’s so bad. What was surprising to me is that it’s incredibly faithful to the source material. The only major differences are things excluded in the plot, which is where the film falls apart. The movie uses about five minutes to cover the middle 200 pages of the book, which are to me are the heart of the story. It’s hard to have any sort of emotional payoff when the movie fast-forwards through its characters’ development. Instead, the movie is mostly a long set up, and then the conclusion. I’ll be interested to see how Denis Villeneuve’s version is structured.
Grade: D
Dune – David Lynch (1984)

13th: High Life – Claire Denis (2019)
Watched at the Music Box with Gioia. Probably the most disturbing film I’ve seen besides Antichrist or Pink Flamingos. Several people even left the theater during a highly disturbing part. I don’t have the background to say whether the instances of sexual violence were gratuitous, appropriate or not. What I can say is that I thought it was supported by the story, and meant to show the exploitation of these characters as prisoners. That all being said, I don’t think I’ll ever watch the film again. The narrative is pulled together for me by the prolepsis to Monte’s now adult daughter. Still, most of the ride is horrifying.
Grade: B-
High Life – Claire Denis (2019)

15th: Rashomon – Akira Kurosawa (1950)
Watched at home. A lot of times older movies, despite all of their value and richness, can still be kind of boring to watch. By the time you’ve watched it, you’ve seen countless other movies attempt to update or just imitate the film in a modern light. Rashomon doesn’t have this problem. Its theme and core idea, that truth is subjective and that men are all self-motivating, has preserved its legacy as a classic. Yet, it’s really a masterpiece in every sense. It’s beautifully shot. Each story, even as a flashback, is compelling. I was thrilled even just watching the medium relate the Samurai’s story. It was so creepy and visceral. What I loved most about the film was the final fight scene. Without any dialogue or exposition, Kurosawa is able to show that the men lied largely in part because the fight was shameful, cowardly, and so thoroughly unheroic.
Grade: A

19th: Bicycle Thieves – Vittoria De Sica (1948)
Watched at home. One of the most beautiful films I’ve ever seen. Some of the shots are just truly stunning. I was amazed by the film’s ability to manipulate emotion with some of the same frames. For instance when Antonio first rides out to work among the other workers it is absolutely thrilling. The speed and the purpose of the shot captures so much energy and spirit. Most films strive for a shot like that at the emotional peak of their story. Here it happens within the first act to set up an emotional fall. Later, after the bike has been stolen, each of these city frames feel overwhelming. The scope of the city feels crushing and limiting. It conveys a sense of loss and doom. So, what begins as a thrilling and communal exuberance in the first act, becomes suffocating in the second and third acts. It’s masterful filmmaking. On a more personal note, I had no idea the movie closes as such a tragedy. It is gut-wrenching.
Grade: A

20th: Everybody Wants Some!! – Richard Linklater (2016)
Watched at home with Gioia. What can I say, it’s a movie completely aligned with everything I want. If I had to say I picked up on anything new, it’s just how well-defined each of the characters are, even if they’re only briefly in the film. Each character has a specific role in the ensemble, and they don’t break from it.
Grade: A

Ninety years before the events of the series, Ser Duncan the Tall (Dunk) roamed Westeros with his trusty squire Aegon V Targaryen (Egg). Duncan is renowned for his loyalty and honor. Even Joffrey remarks in Season 4 how Duncan has 4 pages written about him in a history of the Knights of the Kingsguard. But as notable as his service to the King was, his dedication to the entire realm was even more laudable. He was a hedge knight, a protector of the common people.

If this reminds you of Brienne of Tarth, there’s more than just a thematic connection. According to George R.R. Martin himself, Brienne is a descendant of Ser Duncan. What’s more, the stories Martin wrote on Dunk and Egg were published in a collection called, “A Knight of the Seven Kingdoms,” the very title of this episode.

This is Game of Thrones at its best. When it is able to use its extensive and unprecedented world building to color uniquely human stories (even if they’re about dragons and White Walkers). Almost every scene and interaction in “A Knight of the Seven Kingdoms” functioned this way. The episode wasn’t just an exhibition of great character development, it was a masterclass in the conclusion of character arcs. The key to its brilliance was the very thing I couldn’t stop complaining about in the last episode.

Do I still have concerns from Episode 1? Sure. We did finally learn that the Night King wants Bran. And it does make some sense. The White Walkers were created to wipe out men and Bran’s (still largely undefined) role seems to be as a keeper of human history. Still, why then did Bryndyn Rivers (the previous Three-Eyed Raven) allow the Night King to mark Bran? What was Bran doing all of the previous episode? What is Bran doing in general? Did Sam really need to pontificate on the importance of human history for a full minute? Wait, why is Sam at this war council in the first place? Why is Theon speaking at this war council? Why is Jaime at this war council?

But all of these nitpicks pale in comparison with the majesty of the episode’s overall brilliance. In a lot of ways, this episode actually covered pretty similar terrain as “Winterfell.” It was centered on meetings, reunions, and callbacks to past seasons. Yet, here the episode worked because the characters stayed true to their nature. Instead of acting toward the fulfillment of some plot point, the characters acted like themselves. The payoffs didn’t come from artificially created stakes. They came from the arcs of these characters reaching a natural peak after years of development.

The height of this episode, and maybe of Game of Thrones as a whole, was the Brienne and Jaime scene. It is undoubtedly one of the best scenes in the entire show’s history. From the moment we meet Brienne, we know that above all she values chivalry and honor. Over the course of seven seasons, we learn how these values have haunted her. How people have tormented her for not being a traditional Lady. And along the way, we also learn (with her) about Jaime. How despite his Kingslayer (Or Tormund’s “King Killer”) moniker, how despite pushing Bran out of a tower in the first episode, he does have a moral compass. He is perhaps even honorable. Jaime’s redemption is one of the great character arcs in any work of fiction.

So in this scene, it is not simply fan-service that Jaime knights Brienne. It is the culmination of each character’s development over years. It is the result of two people following their personal codes for multiple seasons and logically ending at this point. And along with Pod, Davos, Tormund, and Tyrion, we got to witness it. Even better, the show let us savor it. I couldn’t believe each time they returned to that room. It felt like a blessing to sit with this group of unlikely allies and just let the moment play out. It is a moment that no other show could possibly conceive. No other show would even have the history to make something like this work. But here, Thrones drew on its greatest strength and it paid off perfectly.

I love every easter egg and insane historical fact that comes up surrounding Thrones. Hearing “Jenny’s Song” was a thrill. To learn that Brienne is a descendant of Ser Duncan is wonderful. To have the title of this episode tie Brienne and her ancestor even closer together is a really nice touch. But if these flourishes are just for theorizing and misdirection, it doesn’t mean much. For Thrones to instead use it as the thematic foundation of this episode was special. It may have made for the most heartfelt episode in the show’s history.

Here’s the heartbreaking part: if next week keeps in line with the consequences so brilliantly executed here, there are going to be so so many deaths. Since I don’t have any more thoughts to give on the episode, let’s look at some of the characters we will likely be saying goodbye to:

1. Theon Greyjoy: Theon has either committed himself to death or will yet again flee from his duties at the worst possible moment. I don’t think anybody in the Thrones’ writers room (or any writers room ever) would be stupid enough to bring Theon back through eight fucking torturous seasons just to have him jump ship again. (Odds of death: 100%)


2. Greyworm: In the history of television no character has every laid out their plans for after the war and lived to actually enjoy them. Really pulling for Greyworm to defy the odds and see Zihuatanejo with Missandei. (100%)


3. Jorah Mormont: Jorah had the best episode of his character’s history. He gave selfless advice to Dany, he reunited with his good cousin Lyanna, and he received Heartsbane from Sam. All Jorah wanted was to be forgiven for the shame he had brought upon himself and his family. He has been. (99%)


4. Brienne of Tarth: Brienne had maybe the best episode for any character in Thrones history. This episode seems like the fondest farewell the show could have given her. Plus, Jaime needs a reason to go back and strangle Cersei. Is it because Brienne’s hit with an errant crossbow bolt from Bronn? Is it more simply because Brienne dies in a fight where Cersei refused to send troops? I hope we don’t find out. Still… (95%)


5. Beric Dondarian: I can’t imagine any other reason for Beric to show up this episode except to remind us he’s still here (see Ghost). And if you want to bet on anybody based on past performance, let me remind you that Beric has already died 6 times. I’m pretty confident we get number 7 here. One caveat would be if Beric has been kept around to give his life to another. In the books, it’s to Catelyn Stark. Could it be Tyrion here? (95%)


6. Tormund Giantsbane: Tormund really pulled out all the stops this episode. What a fucking delight. Alas, like Greyworm, not many characters lay out their entire history and hang around for much longer. Here’s to hoping Tormund fucks tradition and sticks around. (95%)


7. Lyanna Mormont: No offense to the Lady of Bear Island, but I didn’t like her chance of survival in a battle anyways. Having argued with good cousin Jorah…it looks tough. Would the show be cruel enough to do it? I think so. (90%)


8. Ser Davos Seaworth: Jesus Christ Davos, stop fucking telling everybody you’re not a fighter! We get it. Jeeze Louise. My eyes are welling up from these onions just thinking about it. (90%)


9. Podrick Payne: Pod looked good in the training yard. Did he look good enough? The song he chooses to sing isn’t exactly a happy one. (90%)


10. Dolorous Edd: Oh Edd. He can’t even get respect as Commander of the Night’s Watch. I think he’s going to die before he gets fucked. RIP Edd. (85%)


11. Ghost: Where have you been, Ghost! Please Thrones, if you don’t have the budget to keep Ghost on the show, okay. But if you use that budget for a Ghost wight that would be unforgivable. Please save our furry friend! (50%)


12. Tyrion Lannister: Something’s gotta give for Tyrion. He has been flat out terrible as Dany’s Hand. Meanwhile, this whole episode he’s oscillating between talking about his imminent death and then proclaiming that he thinks they’re going to make it. My prediction, he dies but is resurrected by Beric. A happy medium for his thought process. It could maybe redeem him or at least snap him out of this losing streak. Plus, if he is a Targaryen, he could join Dany and Jon as having been reborn. Seems pretty interesting to me! (30%)

 

At the end of Season 4 of The Americans, I proclaimed it to be the best show on tv. A bit hyperbolic. It’s much easier to say that the show nobody is watching is better than the last popular tv show. But The Americans had a lot on its side: impeccable writing, a ruthlessly methodical plot, brilliant performances, and the best mic drops in the game (sorry Ed Sheeran). What truly elevated The Americans over other shows was its commitment to its principles and consequences, even at the expense of what its few viewers may have wanted.

In many ways this was what made the show unique. It’s willingness to delay story, to reward patience, and to not give in to cheap thrills.  Any fan of the show wanted Philip and Elizabeth’s marriage to work, for them both to be happy, and for their secret identities to remain a secret. But the show was staked on its characters’ identities. Elizabeth as a strong-willed, uncompromising Soviet agent. Philip as more of a free spirit, EST-loving family man. He sees that America offers a lot of advantages over the Soviet Union. Yet, these differences weren’t pushed aside for the sake of the plot. They were woven into the very fabric of it.

After Season Four, my proclamation of The Americans being the best show on television was derailed (a bit). It was announced that The Americans would have two seasons to tie together its ending. An apparent blessing (and truly a blessing considering its viewership numbers). But this extension tripped up the show in Season 5. What was once deliberate and methodical became boring and about digging a hole (seriously). But when the sixth and final season returned, so did the show’s brilliance. In this case it was a miscalculation of story. Too much was saved for the last season. Season 5 was sub par at the cost of Season 6 being fantastic.

If this seems like a ploy just to reassert my love for The Americans, you’re half-right. The other half of it is to point out that I believed Game of Thrones was suffering from the same problem. Before Season 7 it was announced that there would be two final seasons to wrap up the show. What do you know, Season 7 suffered in many of the same ways as Season 5 of The Americans. Sure, there wasn’t hole digging and wheat growing (again, seriously). Instead, Thrones decided to stuff a season full of nonsense plot lines and excursions which had no real bearing on the stakes that had already been established. In other words they punted on the story until Season 8.

Or so I thought. But after the premiere of Season 8 I’m not so sure. With only six episodes left, “Winterfell” promised to be jammed pack. And on paper, a lot of important and long- anticipated things did come to pass. Almost every major character either met or had a reunion, Jon rode a dragon and finally learned the truth of his identity. So why did this episode feel fraught?

First of all, it introduced us to even more story lines. A move that feels like George R.R. Martin’s worst habit: expanding the story at the cost of closing it. We met The Golden Company and Harry Strickland, a company and character who have a lot of history and potential bearing on the story. Briefly, they are delineated from an offshoot Targaryen House, potentially have the lost Valyrian sword Blackfyre, and maybe have been waiting for an invitation to Westeros to claim back kingdoms and castles they believe to be theirs by right. But at this stage what is there left for them to do besides turn on Cersei? I don’t think the show really has the time to give their full story or history justice. Nor should it. But then why introduce them at this point of the series, and not last season?

The biggest failing of the show last year was a nonsensical plot that centered on a rift between Sansa and Arya that shouldn’t have existed (and maybe didn’t). In other words, a conflict for the sake of it, not for the larger story. If “Winterfell” is any indication, it seems the show is doubling down on this theme. The premiere featured rifts running through many of the central characters. Some, like the iciness between Sansa and Daenerys, Sansa and Jon, the whole north and Jon and Daenerys, feel real and earned. Others, like the one between Sam and Daenerys, feel manufactured to insert drama into the story.

Throughout the show’s first seasons, Jorah existed as a bystander in awe and in love of Daenerys. More functionally, he existed to provide exposition and information to Daenerys and the audience. There’s simply no way he would introduce Daenerys to Sam without mentioning his background or family. It is a moment created only so Sam can have a reason to despise Daenerys when he gives Jon the truth of his parentage. An attempt to create a rift between Jon and Daenerys.

This again is a symptom of the show’s problem at this stage. It should be tying things up and answering questions, not posing them. All of last season Jon reminded us time and time again that there was no time left. Do these conflicts really elevate the story in any way? Do they even make sense given the context of the story? Or are they designed just to heighten the stakes in the moment? I tend to lean toward the latter.

Which brings me to another question. If there’s no time, then what is Jon and Daenerys’s dragon ride meant to do? As a storytelling device it’s designed to re-emphasize their attraction and love one last time before Jon learns the truth of his lineage. But within the story it makes even less sense. Daenerys grew up on stories and lore about her family. It’s all she and her brother had. She then surely, surely knows the history of dragon riding. Specifically, that only those with Valyrian descent can do it. Something she does not know Jon possesses! Moreover, she would also know that riding a dragon successfully bonds the rider with the dragon for life. In other words, she took a chance that Jon wouldn’t be killed riding Rhaegal with the only other outcome being that she just gave up one of her dragons, literally half of her most powerful claim to the throne.

One counterpoint to all of this is that we don’t fully know what’s happening yet. Perhaps Daenerys’s reaction to Jon’s lineage will inform some of the decisions made in this episode. Perhaps she didn’t even accidentally give up one of her dragons. It’s hard to believe but crazier things have certainly happened.

At the center of many of these questions is Bran’s role as the Three-Eyed Raven. The characters certainly don’t even know who or what he is. As Sam says when explaining Jon’s parentage, “And Bran had whatever Bran had.” Much of the success of this season will be in the show’s ability to explain Bran’s role. Throughout this episode, Bran shows up at the least opportune time for resolution between characters. Case in point being that he pushes Sam to tell Jon the truth directly after Sam has learned that Daenerys executed his family. A curious move for someone who has seemingly unlimited sight. Then again, the show has never addressed what is happening with Bran. More disconcertingly, they have never seemed to be comfortable with Bran’s role in the story as the Three Eyed Raven. Most notably, removing him for a whole season when they had run out of source material on him.

Whether or not Thrones is the best show on television is a bit beside the point. Frankly, there’s nothing else even like it. There is certainly nothing else that has the viewership, book expectations, online theorizing, or scope of the show. And yes, it does remain to be seen whether or not it will have enough time to satisfactorily answer all of its questions with five episodes left. Given this episode, I’m really starting to think not. Yet even in what I felt to be a shaky episode, “Winterfell” still provided more thrills than any other show on television, perhaps answering the most important question it faces.

 

 

1st: Solo: A Star Wars Story – Ron Howard (2018)
Watched at home. A really disappointing movie. It’s pretty lifeless and often boring. The most interesting characters are the ones we don’t know. Both Han and Lando feel like unsteady caricatures. The most annoying part of the movie were all the fan service elements. It felt like this film was compelled to explain every single aspect we know of Han Solo’s life.
Grade: C-
Solo A Star Wars Story – Ron Howard (2018)

3rd: Heat – Michael Mann (1995)
Watched at home. Holy shit. What an insane, incredible movie. I truly think that this is what so much of The Departed and The Dark Knight are trying to do. De Niro and Pacino are so good. The whole movie holds up because you’re simultaneously rooting for both of them even though they’re set up against each other. On top of that, the action scenes are phenomenal. The opening brinks heist and the bank robbery especially. I can’t wait to watch this movie again.
Grade: A
Heat – Michael Mann (1995)

5th: High Flying Bird – Steven Soderbergh (2019)
Watched at Gioia’s. It’s a bit of a slow burn at the beginning but really unfolds in a cool way. The themes running throughout the film become super relevant at the twist and resolution of the film. There are parts where I wish the film had been tightened up a bit, but I also think some of its DIY components really work.
Grade: B / B+
High Flying Bird – Steven Soderbergh (2019)

7th: Chinatown – Roman Polanski (1974)
Watched at home. I had wanted to watch it for a while. I had always heard it’s a perfect script. Until it started, I didn’t connect that it’s a Polanski film. I watched anyway. Not sure how I feel about that. I probably could have skipped it. It is a great mystery/detective story. I love the idea of a big corporate conspiracy. The plants and payoffs are done perfectly. It also has plenty of aspects that have aged super poorly.
Chinatown – Roman Polanski (1974)

8th: The Graduate – Mike Nichols (1967)
Watched at Gioia’s. It’s so much stranger than I could have imagined. I think it’s hard to really assess any of it until the ending when everything becomes surreal and out of control. Otherwise, you’d get hung up on how unrealistic so much of the movie is. I also think “Scarborough Fair” is a pretty weak Simon & Garfunkel tune. I would have leaned into their other hits more.
Grade: B+ / A-
The Graduate – Mike Nichols (1967)

9th: Reality Bites – Ben Stiller (1994)
Watched at home. A fascinating movie to watch now. I think it captures a lot of “Gen X” issues pretty well. The set up between personal and artistic integrity vs. selling out is done nicely. I think the movie struggles in trying to set up Ethan Hawke as the guy Winona Ryder is supposed to choose. He feels like a an outdated version of the difficult genius type. He’s just way too mean to feel good about.
Grade: B-
Reality Bites – Ben Stiller (1994)

10th: Don’t Worry He Won’t Get Far on Foot – Gus Van Sant (2018)
Watched at home with Gioia. I found it to be charming and ultimately pretty moving. All the performances are fantastic, especially Jonah Hill’s. I was wary of the multiple timeline structures at first but found that it really settled into a nice narrative. Plus, all of the callbacks and flash forwards at the end really paid off. One of the things that I thought elevated the movie is that many of the side plots and scenes were really funny. Jack Black’s character, for instance, is incredibly funny, even though his story arc eventually leads to the emotional low point of the movie.
Grade: A-
Don’t Worry, He Won’t Get Far on Foot – Gus Van Sant (2018)

13th Clueless – Amy Heckerling (1995)
Watched at Gioia’s. I really liked it! At first, it seemed like it could be a parody in the vein of Heathers. But what I liked, was that it kept subverting my expectations. Cher is such a good character. She’s ditzy and aloof, but also smart and selfless. I was also amazed at how every bit of 90s pop culture held up when watching in 2019. It’s a really smart movie.
Grade: B+
Clueless – Amy Heckerling (1995)

16th: Before Sunset – Richard Linklater (2004)
Watched at home with Gioia. It’s just the best. I am in awe of the writing. The whole movie hangs on this unspoken tension and yet, the entire film is just talking. You see Jesse’s wedding ring and realize that Céline must see it too. Every time that subject could be approached, he steers the conversation away. Likewise, it’s not until he makes an overt pursuit of her, that she brings it up. The way the two keep extending their visit feels so true to life. Especially, when they’re silent going up the stairs to her apartment. Finally, when the movie ends, you realize the big twist has been happening all along. He was never going to leave her apartment. It’s perfect.
Grade: A

16th: Stop Making Sense – Jonathan Demme (1984)
Watched at home. I couldn’t tell you why this is the perfect concert film, but it really is. I love how the members all come out one by one for each song. The stage movement is so compelling to watch. I even like the shots where you can see people in the audience grooving along. It’s remarkable.

17th: Transit – Christian Petzold (2018)
Watched at the Music Box with Gioia. I loved the rigid structure of the film. There’s a setup, and then these situations keep looping back in on themselves. Every detail of the movie feels so meticulous. Georg starts out not in any urgency to leave, and he ends stuck in Marseille. Likewise, he starts out as an imposter for Heinz and ends as an imposter for the writer. He keeps seeing Marie everywhere, almost as a ghost. Then, when the film ends and you’re left to wonder if she’s dead or not, you realize that the other characters he kept seeing (the conductor and the dog lady) are both dead.
Grade: B+ / A-
Transit – Christian Petzold (2018)

18th: Support the Girls – Andrew Bujalski (2018)
Watched at home. It’s a really tight movie. It truly just focuses on a (not-super-extraordinary) day in the life of Lisa, a manager at a Hooter’s style restaurant. It took a while to pick up speed for me. But I loved that the film turns its focus away from Lisa in the third act as a method to show how important she really is. It feels like vindication for her even though she’s not on screen for it. The movie is well paced out and true to life. I think ultimately, any shortcomings are just with its super small, mundane focus.
Grade: B-
Support the Girls – Andrew Bujalski (2018)

19th: Captain Marvel – Anna Boden & Ryan Fleck (2019)
Watched at the Logan with Ben, Alice, and Maureen. I think they could have made a better movie that accomplished all the same things.
Grade: C
Captain Marvel – Anna Boden Ryan Fleck (2019)

21st: The Fabulous Baker Boys – Steve Kloves (1989)
Watched at home. It’s a slow burn. The main reason to watch is the acting. I thought all three main cast members were excellent. It’s a fine movie, that I think technically, is pretty great. I just don’t know if the story is really that exceptional or moving to me.
Grade: C+ / B-
The Fabulous Baker Boys – Steve Kloves (1989)

26th: Good Time – The Safdie Brothers (2017)
Watched at Gioia’s for my birthday. It’s still amazing. Even minor details help set up the whole film. For instance, Robert Pattinson says at the beginning of the film that he used to be a dog in a past life, and then for the rest of the movie dogs respond positively to him, crucially at the guard’s apartment. It’s really a movie where every decision that’s made has a consequence and it drives the movie forward. I think it’s one of the best movies of the past few years.
Grade: A

29th: Us – Jordan Peele (2019)
Watched at the Logan. It was a really fun movie to see. The theater was packed and the reactions were loud. I’ve seen a lot of criticism that aspects of the film don’t completely work. While I understand that, I really disagree with the critique. If you accept that there’s a shadow world, I think most things in the film are well established. For instance, the twist at the end that Red and Adelaide switch is the explanation for how this uprising was finally able to take place. It’s not perfect, but I loved watching this movie, and I’ve really enjoyed reading and thinking about it since.
Grade: A-
Us – Jordan Peele (2019)

2nd: Mascots – Christopher Guest (2016)
Watched at home with Gioia. There are some really funny parts but overall it’s too slow building to rival any of his other movies. The actual event with the mascots is fantastic.
Grade: C+

7th: Black Panther – Ryan Coogler (2018)
Watched at home with Gioia. I think everything about Wakanda and the central question, of whether to preserve this world or to help other black communities, is super interesting. I kind of wish that were the entire movie. I really struggled with most of the “comic book stuff.” However, I have to say that in the way I admired Beale Street for placing important messages in the context of a romance, this does a similar thing, just within a superhero movie. And what’s more popular than super hero movies? So I don’t know. I didn’t love it. Still, it’s undoubtedly good and important.
Grade: B

8th: Roma – Alfonso Cuarón (2018)
Watched at home with Gioia. It’s such a beautiful movie. I was transfixed the entire time. There are moments that are truly devastating. I think it got an unfair reputation for just being a feat of visual filmmaking. I thought there was incredible storytelling too. The focus is so deeply layered. Each character’s lives intersect and comment on other ones in the film. It should have won best picture.
Grade: A-

10th: Bohemian Rhapsody – Brian Singer (2018)
A pretty poorly made movie, but undeniably fun. It helps that Queen is just a fantastic band.
Grade: D+

12th: Green Book – Peter Farrelly (2018)
Offensive and terrible. It is so obvious that this could be a better movie if they literally just shifted the direction of their focus.
Grade: F

23rd: A Star is Born – Bradley Cooper (2018)
The first act of the movie is perfect. It’s exciting and charming. The build-up to Ali performing “Shallow” is big movie making at it’s best. The next two hours are slower. They feel like reiterations of the same things over and over again. I did think it was well made and enjoyable, but also a bit one-dimensional.
Grade: B-
A Star is Born – Bradley Cooper (2018)

25th: The Ballad of Buster Scruggs – The Coen Brothers (2018)
What a fantastic movie! I don’t know why I expected any differently. The Coens are just the best. My two favorite vignettes were Tom Waits’ and Zoe Kazan’s. Every vignette had something to offer. It’s just a film comprised of perfect, simple storytelling.
Grade: B+ / A-

5th: Magic Mike – Steven Soderbergh (2012)
Watched at Gioia’s. It was so fun. Soderbergh is great at establishing a world and having a character try to disrupt it. Channing Tatum’s amazing in his role.
Grade: B+

11th: I Heart Huckabees – David O. Russell (2004)
Watched at home with Gioia. It was really funny in parts. I thought Jude Law and Jason Schwartzman were both great. I think the movie was a little too meta and convoluted for it to fully work for me.
Grade: C+ / B-

12th: The Kindergarten Teacher – Sara Colangelo (2018)
Watched at home. The movie is perfectly set up. It’s well written. Maggie Gyllenhaal is fantastic. It’s so dark and a bit nihilistic. That is obviously intentional, but it’s a hard movie to come away from feeling good. Even if it’s pretty well made.
Grade: C+ / B-

13th: Bernie – Richard Linklater (2011)
Watched at home with Gioia. I believe this was only my second time seeing it. It’s great. I think in terms of Linklater movies, it actually suffers a bit. I don’t think it’s asking a super interesting question or is as delightful as his hangout movies. But everyone in it is great, and the story itself is so dark and funny.
Grade: B+

20th: A Serious Man – The Coen Brothers (2009)
Watched at home with Gioia. It’s so good. Maybe the best Coen Brothers movie.
Grade: A

21st: Fyre – Chris Smith (2019)
Watched at home with Gioia. Truly insane. I hate everybody in it (besides the people who actually live and work on the island).

23rd: If Beale Street Could Talk – Barry Jenkins (2018)
Watched at Logan with Wills. A heartbreaking, beautiful movie. It may be better than Moonlight in my opinion. It would be a great, great movie if it were just a romance. Yet, it’s able to use that theme and storyline to make larger points about injustice and racism that are really moving and impactful.
Grade: A

2nd: Burning – Lee Chang-dong (2018)
Watched at the Music Box with Gioia and Max. It’s so intricately written and paced out. Each line of dialogue is engaging and revealing, but not fully understood until the ending of the film. I can’t even imagine how good the writing must be if that translates.
Grade: A

8th: All the President’s Men – Alan Pakula (1976)
Watched at home. It’s wonderful. I’m honestly shocked at how much work it leaves the viewer to do. They don’t lay out any of what’s happening, just enough to keep the story rolling. It’s so smart, rewarding, and engaging.
Grade: A

11th: The Favourite – Yorgos Lanthimos (2018)
Watched at Landmark with Gioia. I think it’s my favorite of his movies. It’s really light in tone, which keeps the heavier aspects of his filmmaking in check. The best part of the movie is the performances. All three leads are incredible. I’m honestly shocked by how much I liked Emma Stone in the role. Her ability to convey one thing to the characters and another to the audience is amazing.
Grade: A-

30th: Shoplifters -Hirokazu Kore-eda (2018)
Watched at the Syndicated in Brooklyn with Gioia. It’s a beautiful story. I found myself equally emotional at even the happier moments. You’re on edge the whole time for this set up to fall apart. And it doesn’t answer whether or not it’s better for it to happen.
Grade: A

2nd: Mid90s – Jonah Hill (2018)
Watched at Logan by myself. I liked it for the most part. It seemed like it was trying to be two different movies. At first, a hangout film and then a drama/tragedy at the end. Not really sure if it all comes together. But it was mostly good and it was super short.
Grade: B-
Mid90s – Jonah Hill (2018)

2nd: Ocean’s Eleven – Steven Soderbergh (2001)
Watched at Wills’s with Wills, Anna, and Tommy. Really crazy to see this movie again. It’s completely built on the billing. I wonder how Soderbergh comes up with fake plots to rob casinos.

4th: First Reformed – Paul Schrader (2018)
Watched at Doc Films Chicago with Gioia. My favorite movie of 2018. I can’t think of a more relevant, pressing movie. Ethan Hawke is absolutely incredible. Schraeder sets up the conflict beautifully. It forces you to consider eco-terrorism as a viable option. Along with Hawke, you’re pushed toward accepting it. Absolutely incredible
Grade: A

7th: Wildlife – Paul Dano (2018)
Watched at Regal Western 14 with Gioia. A miserable story, but well done. Just a steady emotional downhill slide. I thought the climax was fantastic.
Grade: B

9th: Tampopo – Juzo Itami (1987)
Watched at home with Gioia and Bryce. Incredible. Truly one of the most delightful surprises of a movie I’ve ever seen. It’s so fun. Maybe one of my favorite movies full stop.
Grade: A

9th: Heathers – Michael Lehmann (1989)
Watched at Music Box with Gioia. It’s brilliant. So dark and funny.

10th: Raging Bull – Martin Scorsese (1980)
Watched at home with Gioia. I loved it. It’s beautifully shot from start to finish. The scene where DeNiro approaches from the sliding door is magnificent.
Grade: A

10th: The Handmaiden – Park Chan-wook (2016)
Watched at home with Gioia. Feels like the most Tarantino movie imaginable. Almost operatic in how big it is with twists upon twists. Normally, I think this movie would have been too big or maximalist for me. But the story was tight enough that it works.
Grade: B

24th: Paris, Texas – Wim Wenders (1984)
Watched at home. One of the most beautiful movies I’ve ever seen. I could watch a five hour cut of it. It’s so endearingly human. I was in pieces during Harry Dean Stanton’s confrontation with his wife.
Grade: A

24th: Wings of Desire – Wim Wenders (1987)
Watched at home. Just a beautiful, haunting film. I know I didn’t even get 70% that I could from it. I’ll definitely re-watch.

30th: Fantastic Beasts and Where to Find Them – David Yates (2016)
Watched at home with Gioia. I liked it much more than the first time around. This time, I could focus past the world and just its ties to Harry Potter and more fully on the story. And I think it’s a pretty good story. Newt is an interesting protagonist. He’s so awkward.
Grade: B

30th: Fantastic Beasts: The Crimes of Grindewald (2018)
Watched at the theater with Gioia. I don’t think the film is comprehensible without Wikipedia.  I found it to be pretty disappointing.
Grade: D

20th: Young Frankenstein – Mel Brooks (1974)
Watched at the Logan with Gioia. So funny. Peter Boyle is fantastic.
Grade: A

31st: Suspiria – Luca Guadagnino (2018)
Watched at the Music Box with Gioia and Ryan. I loved it. It’s so visceral. The movie bubbles under the surface for so long. I think there’s more horror in the dancer’s clean jumps. It seems like a gruesome injury is lurking right below the surface. Then the movie explodes at the end into this gory phantasmagoria.
Grade: A-
Suspiria – Luca Guadagnino (2018)

 

1st: Grosse Point Blank – George Armitage (1997)
Watched at home with Gioia. Very ridiculous. Very fun.

2nd: Seven Psychopaths – Martin McDonagh (2012)
Watched at home with Gioia. I enjoyed it for the most part. There’s definitely a quality where it’s more shock value over substance. Seems to be a disconnect between me and his films.

3rd: The Big Sleep – Howard Hawks (1946)
Watched at home with Bryce and Chris. An insane movie. Bogarts is amazing.