Quick Synopsis: A musical about the lives of people living in Washington Heights, a neighbourhood in Manhattan.
I haven’t seen that many musicals. Usually when I do they’re either heavily gimmicked (Repo: A Genetic Opera, for example), or a jukebox musical (Rocketman). I think the last straight-out musical I watched at the cinema was La La Land back in 2016. It’s not that I actively avoid them, it’s just they’re not released that often. When they are they’re usually aimed specifically at a young teen audience, and I can’t really go to see those at a cinema without being put on a list.
It’s a shame as musicals can be really fun to watch. I like a film with a good soundtrack, it’s a good way for a film to stay in your memory once you leave the cinema. So a film with an original soundtrack that stays in your head for a long time is a film that’s likely to end up on my positive side. The quality of the music in this one ensured it will be in my good graces for a long time. The songs are insanely catchy, well-written, and wonderfully performed. Usually in a musical you end up with at least one weak link (Russell Crowe in Les Mis), one person who has a singing voice that isn’t up the standard required (Russell Crowe in Les Mis), who are so untalented that it makes you wonder how they got it. But everyone in this gives great performances, with fantastic harmonies and incredibly clear enunciation (which for a musical dependent on the songs to advance the plot, is something you kind of need).
The downsides of musicals is that it can be difficult to stay fully immersed, it can be hard to watch people singing about doing something, and NOT think “then shut up and just do it. You’re singing about your hidden plans, how are people not seeing that? You’re shining a spotlight on yourself for fucks sake, how are people not seeing that?”. It takes a good musical to make you forget that. This does that. It entraps you from the opening number (at least I’m assuming it’s the opening number, I stepped in the cinema about 20 seconds late). The universe the film creates is one where people randomly singing makes sense. It’s one where everything has a certain flow to it which suits this genre.
The performances? Really good. Almost all of the performers in here are new to me (with one notable exception). I mean, I KNOW I’ve seen some of them in things before, but this is the first time they’ve all stood out. It seems like most of the cast are from musicals, which is a much better way of doing it than going for people from a film background. The casting choices are all fantastic, to me anyway. There has been some criticism for the lack of Afro-Latino actors, cutting out a large demographic of the actual Washington Heights. I’m not sure whether that will effect it internationally, but it does look like it could effect it in the US.
I have no idea about the demographics of the area, so it didn’t really make a difference to my enjoyment of the film. And I did enjoy it. I saw this film just before seeing Supernova, a film about someone coming down with early-onset dementia, and one that really hit home hard. I should have had that on my mind for the walk home, but all I could think about was this. The way this film made me feel outlasted the sad aura of Supernova.
A lot of the trailers (Well, the one trailer I saw a lot) focused heavily on the Lin-Manuel Miranda, which makes sense as Hamilton was huge and he did the music for both. I must confess, I still haven’t seen Hamilton (this is the closest I’ve got), so I don’t know the similarities in musical style, but this has made me want to watch Hamilton even more. I feel the work of Jon M. Chu deserves praise too. His part in the publicity was “the director of Crazy Rich Asians”, which, to be honest, didn’t really mean anything to me. I’ve looked at his filmography, and it seems like this was the film his career has been building to. The colour of Crazy Rich Asians, obviously. But also the playfulness and creative set-pieces from Now You See Me 2, the large scale scenes which require multiple moving parts from G.I Joe, and the knowledge of how to shoot dancing scenes from Step Up and the Justin Bieber movie. His next project is the film adaptation of Wicked, which could be good, but it does make me worry that he will be known as “musical guy” when I’d be interested in see him try new and weird things. He was lined up to do a live action adaptation of Lilo And Stitch, but sadly he’s left those duties. That’s a shame as a live-action Disney film is something I feel he could do very well. Something else I think he’d do well: Goosebumps. Not even specifically that franchise, but that kind of film, a horror movie aimed at kids. He directs in a way that is visually striking, with all the pieces flowing together beautifully. It’s almost the cinematic equivalent of an ocean with the expansive nature and glistening look. Yup, that’s a weird way of describing it, but it’s the best way I can think of it. It’s been a while since I’ve seen a film that can best be described as “a holiday in Spain” with how it made me feel. It reminds me very much of those holidays when I was younger. The sense of wonder, the warmth, and the feeling of being invited into a world completely different from your own. It made me feel nostalgic for things that never happened to me.
Now onto the negative. The narrative is a bit weak. It tries to do so much but doesn’t have the length to do them all justice. Certain plot points don’t seem to have been followed, and certain things which should be important don’t seem to have the effect they do. There are a few songs which possibly could have been cut. There’s one near the end which I wouldn’t say needs cutting as it leads to an emotional moment where a character dies, so the song itself is needed. But that being said, it could stand to lose a verse or two. Some of the songs go on for what feels unnaturally long, and for those moments the film seems to stand still. It doesn’t happen often, and it’s not like every song is like that. It’s just one or two moments where songs could have been cut down a bit.
Overall, a fantastic film and one I know I need to see again .
The penultimate round-up blog. In here I’m putting, get this, films, which, are, good. I know, shocking, right? I bet you never guessed that from the title. My definition of good but not great for purposes of these is this: would I consider buying if they were on sale?
A Cure For Wellness
A very very good film. But not a very nice one. As you can read here I really liked it, but it made me want to self-harm. It’s basically this year’s Nocturnal Creatures, but not quite as great. I do wish Celia Imrie was in it more, she was in the trailer but her role in the film was really nothing more than an extended cameo. Mia Goth was superb however, as was Dane DeHaan (which reminds me, I really need to see Chronicle, I mean, I’ve had it on DVD for months but still haven’t got round to it.
+Doesn’t shy away from showing terrible things. There’s a scene where someone drills into a tooth and you see EVERYTHING. Just thinking about it sets my teeth on edge.
-A bit too slow in parts. Could do with being made slightly tighter.
A lot less Nicholas-Sparks than I thought it would be. Bit formulaic but it plays to the formula very well. Chris Evans is very good in it, but is overshadowed by Mckenna Grace, who is very very good, probably one of the best performances this year. Is it just me or are child actors getting better? Manages to do a performance which is funny, moving, and hits all the right spots in terms of body language and facial acting. Great performance. Jenny Slate was also REALLY good in it, but wasn’t in it as much as she should have been.
-A little saccharine in parts.
It was good, I wouldn’t call it “Oscar Worthy”. The main trouble with these sorts of stories is it’s impossible to have a good villain. The key to a good villain comes in two separate flavours:
The “nobody knows anything about him” (usually used in horror films)
The “I can see his point, but he’s very very wrong”.
Because these films are character pieces you can’t have the villains be the first one, so you need the second one. But they never work in these films for one simple reason; there’s no logical defence of racism. There’s no way of seeing their point. I had similar problems with Selma too, the villains are so clearly wrong that they don’t make compelling characters. Now I know this is what it was actually like at the time, and it is a truly fascinating story, but it does mean as a cinema experience it never really stays with you. So really my problem isn’t with the film, it’s with reality not conforming to my expectations, so maybe the problem is me.
+An important story that needs to be told and seen.
-One watch may be enough, you’re highly unlikely to need to see it again.
Holy hell this was a lot of fun. I think I actually might prefer it to the original. Got some of the loudest and most consistent laughs from other people in the audience out of any film I’ve seen.
+The performances. All the main characters are basically avatars of other characters. So they have to be played the same way the original characters are (think the scene in Harry Potter where Hermione pretends to be Bellatrix, like that, throughout the entire film). Not the easiest thing to do, but they all do it really well. Jack Black in particular makes a fantastic teenage girl, and Karen Gillians “no idea how to flirt” scene was hilarious.
-The entire film you can’t escape the feeling that you miss Robin Williams.
Pretty much the first one again, but I liked the first one. Funny, violent, and great music throughout.
+Mark Strong’s final scene is brilliant. The new characters slot into the mythos easily.
-Too long, too unfocused, and Colin Firth’s resurrection was not handled that well.
La La Land
I liked it, but I didn’t love it, and I feel it wanted me to love it. It looked fantastic, and the soundtrack was good, it just left me feeling nothing. Probably wasn’t helped by the fact that I felt Ryan Gosling’s character was a bit of a dick and the romance made zero sense. Its biggest flaw I feel is its dependence on music, if you took away the songs you’re left with a fairly average story. Whilst the songs were good, they all sounded a bit too familiar, every song sounded like another one, so when you listen to the soundtrack you just think “what song does this remind me of?”, “wait, this has same tune as the song from The Muppets sequel”, and “Seriously, what is this one? I think it’s Amanda Palmer but I’m not sure”. It was a bit like having sex with a singing nazi. It looked good, sounded good, but ultimately left you feeling rather hollow.
+Music which seems like it’s instantly recognisable and you’ll hum for days.
-Kind of a bland story.
Pretty darn good sci-fi. You watch it and think “you know what would be awesome? If x happens”, and then it does happen, or something better happens. Was worried when I saw the trailer that it would be another cliche “parasitic alien takes over people”, but nope, this is an alien beating people using pure brute strength. And the ending? So harsh, absolutely perfect for the genre. Definitely need to see it again, if only to see whether the opening scene was one shot or whether it just had minimal cuts.
+Pretty brave decisions made in the script.
-Stands very much in the shadow of those that have gone before it.
Manchester By The Sea
A lot has been said about the performances of this film, I feel enough hasn’t been said about how good the script is. It’s so good that the dialogue doesn’t feel written, it was like they just filmed people talking naturally. It was also the lack of words that was masterful, there were moments where most films would have had characters deliver impassioned monologues, the kind of monologues which sum up their characters and the film, monologues which are so masterfully written people will quote them for years. This film doesn’t have monologues in that moment, it condenses those moments down to a single line. But you understand everything in that sentence, you feel the weight of that sentence, how crushing it is and how much is held within it. Someone this year said “if you’re depressed, La La Land will cheer you up, but Manchester By The Sea will make you feel better”. That pretty much sums it up.
+So bleak. So, so bleak.
-Revelations about some of the cast members make it hard to watch.
Disappointed I didn’t get a chance to see this at cinema. Ah well, have the DVD so all is good. Incredibly British and wonderful. Exactly what you’d expect from someone who was in The Mighty Boosh.
+Julian Barrett is having a hell of a lot of fun here. Some great cameos too.
-Doesn’t quite have enough substance to be truly great.
Murder On The Orient Express
I enjoyed this a lot more than I thought I would. The biggest surprise is that it’s not Ewan McGregor as the lead role, a fact I didn’t find out until about a week after I saw the film. When I say “enjoyed this more than I thought” I don’t mean I thought it would be a terrible film. I mean it’s a mystery film, so to enjoy it surely you have to compelled to try to figure it out? Yet all I know about the original novel is how it ends (I have no idea how I know this, and only this). So would I be able to enjoy it despite knowing the ending? Also, the trailers made it look like Johnny Depp was in full Mortdecai mode. Hands up who saw that film. Now, keep your hands up if you enjoyed it. Right *loads shotgun*
Yet despite that (and the negative reviews) I thoroughly enjoyed this. A hell of a fun watch.
+Great ensemble cast.
-Some of the exterior shots look a little ropey.
A lot better than I thought it would be. Has both a great and not great soundtrack. I mean, the songs are fantastic, but the music/story integration could be done better. You don’t really get the feeling that the film is influencing the music, or the other way round, they seem kind of independent from each other. Side note, I think this is the only film I’ve seen this year which has had absolutely nobody in it who I know from another film.
+The closing scene when she’s doing her final song.
-Some of which were in the trailer, giving it away.
Without a doubt the best film about a homicidal fetus you’re ever going to see. I do love Alice Lowe, she makes amazing stuff. First Sightseers now this, she’s becoming Britains go-to female film-maker for smart, original dark comedies. She really needs to do a Black Mirror episode, and more films, and more television. Basically she needs to forgo sleep and work forever, creating more content for me to watch.
+The fact that Alice Lowe made this in two weeks whilst pregnant.
-If someone doesn’t like this style of film, this isn’t going to be the one that changes their mind.
The Boss Baby
Better than the abysmal trailers would make you think it is. Some genuine laugh out loud moments. Putting it here is a little generous I know, but I’m not the audience for this, kids are, and kids love it.
+Genuinely funny in a lot of parts.
-Great for a kids movie, only ok for a movie.
Very Stephen Fry. In both a good and a bad way. Although it has to be said that “now will you all kindly fuck off?” is a great closing line
+Very funny, Roger Allam is terrific.
-Won’t stick with you.
A 2 hour film about the Armenian genocide, no, wait, come back, it’s actually REALLY good. Brutal without being exploitative, which is the risk you take when doing a film like this. If you don’t do it right it can come off like you’re exploiting the reality for the sake of drama, you have to stay grounded enough, and honest enough, for the film to work. It also REALLY annoyed a certain group of people, who flooded IMDB with negative reviews of it, calling it propaganda and lies without a hint of truth, saying that the genocide never happed. Most of these “reviews” were posted before the film was even released, so you know they’re definitely trustworthy. Oscar Isaac is REALLY good in this, by the way, believable throughout, but special mention has to go to Marwan Kenzari, who plays his character with such conviction, and does such wonderful facial work throughout that it’s one of the most genuine performances of the year. I would highly recommend seeing this, and not just because it annoys genocide deniers (which is always fun).
+A story that needs to be told, and luckily is told very well.
-Occasionally shys away from the brutality that is needed.
This film did something I will forever love it for; it put most the bits from the trailer in the opening half. I liked this as it meant you weren’t thinking “ok, what from the trailer haven’t I seen yet?”. Chilling, well told and well performed. Book is now on my “to-read” list.
+Very scary in parts. Great story too, you’re never fully sure where it’s going.
-Comes so close to being great, but stops just short.
The Young Offenders
Kind of charming, rather funny. Has a scene where a disabled drug dealer shoots someone with a nail gun. Seems like a tv show, which as of next year it will be, and I can’t wait.
+Incredibly funny. And having someone lose a shitload of drugs because they have a hole in their bag was very funny.
-Never really seems like a movie, more like a television show.
Have you seen Suicide Squad? You know that bit near the end where the fire guy goes “we’re family”, and the audience is like “how? You’ve only known each other for like a day”? Basically that happens here, certain things between characters don’t feel earned enough and feel kind of forced. Which is a shame as it’s actually a really good story, with great performances and impressive dialogue.
+Compelling story that will reach you emotionally.
-Unearned character interactions.
Wait, what’s this? I didn’t hate this film? I know, I’m shocked too. This is what the first two films should have been, just an all out funfest which relishes its own absurdity.
+”the hammer pulled you off?”
-Some character actions are supposed to be shocking, yet at this point it would be more shocking if they didn’t happen.
I remember the first time I saw Mark Thomas on television. It was on a channel 4 show that I recorded for reasons I can’t quite remember. I watched it with this kid I knew from up the road and he said it’s really good as “most comedians just talk about stuff, he’s actually doing stuff”, which he was. He was not just telling jokes, he was going actively protesting and doing things to change the country for the better (the episode in particular was about corporate manslaughter laws). Remarkable story that deserves to be told. At first you think “oh, he has permission finally for satire to works, this is great”. Then the president orders an arrest warrant for him. It’s actually kind of terrifying to see a lot of this, but in a way it’s kind of heartwarming to see some people continue to support them. People still want to work on the show even when the channel it’s on disowns them. Kind of a sad ending but one that’s full of potential for the future. Would actually make a really compelling fiction film.
+A fascinating look into what it’s like under those sort of regimes.
-Might be too difficult for people not into political humour to get into, not really a way in for them.
So that’s the end of this blog. Final one will be soon. Exactly how many films did I see this year? Did I actually get round to seeing The Disaster Artist and Tragedy Girls? Find out the answer to these questions, and more (but not a hell of a lot more) next time. Until then, comment with where we went wrong.
After the craptastic double bill of Valerian and The Emoji Movie last week, finally I see something amazing (although I think it’s fair to say I didn’t exactly expect Emoji Movie to be anything other than bad): The Big Sick This film was as great as the combined awfulness of those two films. Incredibly funny, and with the right amount of heart. You’d need to be made of stone not to feel touched by this film. The characters are so well-written as well, every character seems fully fleshed out. They seem like they exist outside of the film.
I’ve seen a lot of films at the cinema this year (45 to be precise), and this has had the best instantaneous audience feedback I’ve seen. I’ve seen horrors where a few people have sat there not flinching or jumping in fright, I’ve seen spectacle films where people are bored, and I’ve seen comedies where nobody is laughing. Everybody in the screen I was at reacted to this. They laughed at every joke (to the point where the laughter in the room was louder than the laughter on screen, in a scene set at a comedy club), people “awww’ed” at the right parts, it couldn’t have been more perfect if the film studio paid them to react like that.
It’s not a perfect film though. As much as he nails the performance 95% of the time, there are a few heavily emotional moments where Kumail Nanjiani looks like he’s desperately hiding a smirk, robbing the scene of some of the emotion. It’s not helped by how great the rest of the cast are; Holly Hunter is superb, Ray Romano is perfect in this, and I really want to see Zoe Kazan in more stuff now.
This is definitely the best rom-com I’ve seen at the cinema all year. Not too difficult though, as it’s the only rom-com I’ve seen this year. There’s actually not been that much romance in cinema this year, the only films where the main focus of the film has been romance have been:
La La Land (musical drama)
The Space Between Us (science fiction)
That’s a shame though as despite being deeply cynical and incapable of love or any positive emotion towards others, I do have a soft spot for the genre. Definitely Maybe is the film that fully cemented my Ryan Reynolds obsession, and Chasing Amy did the same for Ben Affleck. I think it’s because they’re usually very people-based. Action films are about the set-pieces, horror films are about the effects, but for a rom-com to work you need two things:
They’re basically my kryptonite, especially dialogue. I’m a sucker for great dialogue, it’s probably why I seem to be the only person who liked Table 19 (actually I didn’t like it, I LOVED it, genuinely one of my favourite films of the year). It’s also a genre that doesn’t really get affected too badly by the quality of the way you’re viewing it. Some genres are really badly affected by what you watch them on. Horror, for example, is not exactly something you can appreciate watching on a small television screen on an airplane. So many films are “you have to see this in the cinema!”. Think of Avatar, that film is the biggest grossing film of all time. When was the last time you watched it? Do you know anybody who has watched it at home? As Scott Mendelson wrote in Forbes almost 4 years ago
“Kids don’t play ‘Avatar’ on the playground nor with action figures in their homes. There is little-if-any ‘Avatar’-themed merchandise in any given store. Most general moviegoers couldn’t tell you the name of a single character from the film, nor could they name any of the actors who appeared in it … ‘Avatar’ didn’t inspire a legion of would-be ‘Avatar’ rip-offs, save perhaps for Walt Disney’s disastrous ‘John Carter.’ It didn’t set the mold for anything that followed save its use of 3D which turned the post-conversion tool into a valuable way to boost box office overseas”
With advances in technology happening at an astronomical rate, spectacle fades, good writing doesn’t. The best rom-com’s; When Harry Met Sally, Annie Hall etc, all have one thing in common; fantastic writing. You can watch them again and again and still love them. They also have a wide audience. As much as I do love odd films like Buried (Ryan Reynolds in a box), Bogowie (a Polish film about heart transplant) and Four Lions (a comedy about suicide bombers), I’m not stupid enough to think they have mass appeal. They’re too weird. Rom-coms are for everyone though. They have universal themes that almost everybody can identify with.
So where does this film stand compared to the greats of the genre? It’s a little difficult to tell at the moment, but I have a feeling that if I was to sit down in a years time and watch this, I’ll still love it. It also has the best 9/11 joke you’ll likely to hear all year.
Actually really disappointed I missed this last year now. A lot less cliche than I thought it would be. I wasn’t completely sold on it until one moment; there’s a scene where shits going down and a doctor is standing in front of a window, in background you see someone running towards the window, you assume it’s a soldier but it’s one of these evil dastardly zombie people, who bursts through the window. This achieves one of those rare things in film; a surprise which hides nothing prior to it. You are shown everything you need to be shown before it happens, yet it still somehow shocks you. Probably the best non-comedic zombie film of the last few years.
Nothing inherently wrong with this movie, I just never brought the central concept. It’s like if I was watching a film where Ryan Gosling plays a character who is too ugly to get a date, they’d need to be a moment in the film which means you can buy the central concept as otherwise you’ll just be sitting there thinking “yeah this is BS”. This film never has that moment, as such it kind of fails. The acting in it was superb though, Anya Taylor-Joy continues to impress after last years The Witch, whilst James McAvoy does fantastic facial work, it gets to the point where you can tell which personality is in control of him from a still shot of his face.
Lego Batman Movie
Will probably not be the best film I see this year, but will definitely be the most fun. The quickest I’ve been sold on a film so far, usually it’s taken me about ten minutes into a film to think “okay I’m into this”, this film sold me in the first sentence. Plus, there’s a Christian group in America protesting it and calling it “gay propaganda”, so you have to see it, even if only to annoy them.
Still one of the greatest animated films of 2016. Big downside is it doesn’t seem to have led to more work for Ginnifer Goodwin, which is a shame as she was fantastic in this and deserves more roles.
Has some fantastic monologues in it, which Michael Parks knocks out of the….erm, area. Him and John Goodman stand head and shoulders above everyone else in the film. I think it’s more interesting than good, I don’t think it really works as a horror film, horror is a REALLY difficult genre to direct well as everything needs to work, you need the right music, the right lighting etc, if just one of those things doesn’t work then you won’t scare people. Also the film has serious pacing issues, especially in the opening third which half-asses its way into building the universe, but doesn’t do it well enough. Despite that there is something inherently watchable about it, I think it’s because the story is interesting, it just should have been better told.
I have a huge problem with this film, every time I sit down to watch it my allergies start playing up so it always looks like I’m crying. The allergies get particularly bad during the scene where Bing Bong dies.
La La Land
I liked it, but I didn’t love it, and I feel it wanted me to love it. It looked fantastic, and the soundtrack was good, it just left me feeling nothing. Probably wasn’t helped by the fact that I felt Ryan Gosling’s character was a bit of a dick and the romance made zero sense. It’s biggest flaw I feel is its dependence on music, if you took away the songs you’re left with a fairly average story. Whilst the songs were good, they all sounded a bit too familiar, every song sounded like another one, so when you listen to the soundtrack you just think “what song does this remind me of?”, “wait, this has same tune as the song from The Muppets sequel”, and “Seriously, what is this one? I think it’s Amanda Palmer but I’m not sure”.
Unpopular opinion time; this film should not have been a horror, it should have a psychological drama with scary moments. I feel under the service of this story is a really solid detective/ghost story, but it’s restricted by being a horror so puts in scares which don’t do much to enhance the film. Also, I’m getting very annoyed with films being ruined by their trailers. I’d seen two trailers for this; one of which I saw back in November and was mainly focused on one of the characters in the shower and freaky shit starts happening. A well made scene, but it’s also the final scene of the film, it takes place after the “monster” is supposed to have died, so after the “death” you just sit there thinking “I know it’s not the end as we haven’t seen the scene which the entire advertising campaign was based around”. Especially since I think the revelation at the end was supposed to be a twist. It would be like if The Usual Suspects had the tagline “Kevin Spacey is….Keyser Soze”. On the plus side the way the film opened was fantastic and was one of my favourite 10 seconds of cinema of the year so far. They put the Paramount logo into the film itself, by showing it on tv screens on an airplane. They also distorted the logo as it was playing. I love when films do things like that, it grabs your attention immediately.
Manchester By The Sea
A lot has been said about the performances of this film, I feel enough hasn’t been said about how good the script is. It’s so good that the dialogue doesn’t feel written, it was like they just filmed people talking naturally. It was also the lack of words that was masterful, there were moments where most films would have had characters deliver impassioned monologues, the kind of monologues which sum up their characters and the film, monologues which are so masterfully written people will quote them for years. This film doesn’t have monologues in that moment, it condenses those moments down to a single line. But you understand everything in that sentence, you feel the weight of that sentence, how crushing it is and how much is held within it.
Not Going Out
I don’t know what it is but it seems to have lost something. I think it’s because of how the concept of the show has changed. It used to be about two friends, one of whom was living with the other ones ex in a flat in London. Then it became two friends, one living with the other’s sister. Then one of the cast members left and it just became a standard flat sitcom. Now they’ve moved out of the flat and got a family. It’s good that the story has progressed and it’s interesting to chart the change throughout the seasons, but the new series seems more like a spin-off than a continuation. Also the show has still refused to answer one question; why are these two characters in a relationship. Before they were a couple it was clear there was an attraction from one character to the other, but there was never any indication that there was any attraction the other way. The most likely solution is probably Stockholm Syndrome, but they don’t outright say that due to the terrorist connotations, bloody political correctness.
The Saga Of Darren Shan – Darren Shan
My favourite vampire story. A 12 book series detailing someone growing up, and handles it very well. When you read the earlier books the sentence structure is very childlike, which makes sense considering he is a child, yet as the series develops the author changes the style to a more mature style as the character ages. It’s subtle enough that you might not consciously notice, but on a subconscious level it does register with you and is a genius bit of storytelling. If you haven’t read it I should warn you; it gets VERY weird towards the last few books.
I Will Follow you into the dark – Death Cab For Cutie
How did I not hear this song before? This is a song I should have heard for the first time when I was a bitter cynical 15 year old, I would have clinged to this song like a barnacle clings to a ship, like chewing gum clings to school tables, like I cling to the idea that there’s an adequate way to complete this simile. As it is I heard this when I was a bitter cynical 30 year old.
Actual Results May Vary – Babypuncher
One of the best songs from a simply amazing EP released last year (available for free download here). The lyrics in this song are simply sublime. My favourite line being:
“I can’t fix you and you can’t fix me, but we can both be broken together”
That line resonated so much with me when I first heard it, and sums up the feelings of characters in a script I’m working on at the moment (a longer version of this). This is a perfect song to listen to whilst sitting on a train in the rain and looking out of the window.
Please Come Home – Dustin Kensrue
Unpopular opinion here, I prefer his solo stuff than his stuff with Thrice. Although it can be hard to get past the feeling he sounds like that guy on your college course who carries an acoustic guitar everywhere and plays Wonderwall shirtless under a tree like a dickhead (that’s actually pretty much the genre it’s listed as on my ipod).
If the rest of the album was as good as this song, it would be one of my favourite albums.
I’m With Stupid – Aimee Mann
Aimee Mann makes me feel things, and I’m not ashamed to say that. Has the perfect mix of snarky and heartfelt, like a clinically depressed comedian. Also has a line which I absolutely love for some reason:
“Row, row, row your boat
gently down the stream
hope you drown and never come back”
And you have to love an album which is melodic and beautiful yet starts with the line
Because despite the last trailer giving WAY too much away, who isn’t going to see this film? It’s Batman fighting Superman…for at least a third of the film anyway. And despite that trailer there’s still hope. The idea that Batman is turned against Superman because of the chaos he caused in Man of Steel is good screenwriting; it makes sense from a character point and helps bring the films together. The casting is also very solid, with Batfleck actually looking to be one of the best iterations of the Dark Knight yet. But we all still need to take a step back to wait and see whether Jesse Eisenberg’s Lex Luthor is the trainwreck everyone is HOPING it will be, or whether like Keaton and Ledger before him he will turn in a great performance despite the naysayers. I have no idea, but I at least love how much fun he seems to be having.
Deadpool: February 10
I limited this list to only two superhero films because I didn’t want it to be inundated with them, and I wanted this to be a cut away from a lot of most anticipated lists by not just focusing on the big blockbusters coming our way (but saying that I am looking forward to Civil War and Dr Strange).
Now Deadpool; the reason I chose this over the many superhero flicks of 2016 is because this is by far the riskiest. R rated, fourth wall breaking, X-Men Movie universe expanding, and Ryan Reynolds’ starring; it’s had the best advertising campaign of any superhero film that manages to introduce the character while staying true to his roots, and is being made by people who clearly care deeply about making it an authentic adaptation. So let’s hope all those good intentions don’t pave the way to hell this time.
Hail, Caesar!: February 26
Because it’s the Coen brothers (who I’m not the biggest fan of so not just dick sucking), doing a satire of the golden age of Hollywood with an all-star cast of old (Clooney and Brolin) and new talent (Hill and Tatum), with a the truly Coeny plot about a Charlton Heston type movie star being kidnapped, and the hapless Hollywood fixer who has to find him. It should be a very gaudy picture, with its only hurdle to clear is the early February release date, which could be a) a sign that the Coen’s just don’t give a shit, or b) the studio wants to drop it where no one will see it. We will see.
Everybody Wants Some: May 13
His first film since his cinematic milestone and masterpiece Boyhood, Linklater returns to his stoner roots, with the spiritual sequel to possibly the best hangout film ever, Dazed and Confused; the 70s set stoner comedy that always found the chuckles, but never lost the poignancy of leaving your teenhood behind. This latest outing is set in the 80s and picks up exactly where Boyhood left off (if a few decades earlier) with a group of teens (played by refreshingly unknown actors) integration into their first year of college life and their college baseball team. Now this doesn’t sound that different from your typical stoner/gross out comedy of today, but with Linklater’s sensitive directing and thoughtful mind for youth and character, what sounds like a typical set up will (hopefully) be another timelessly funny and heartfelt film that captures that moment between teenhood, everything else, and who knows what.
Fantastic Beasts and Where to Find Them: November 18
I like the Harry Potter films about as much as the next guy, I grew up with them. But honestly I might be looking forward to this more than any of those films, because I always found the most fascinating part of them to be the world itself. And now we have a film set in that world, Seventy years before the original films (so in the 20s), set in New York, led by one of the best young British actors working today Eddie Redmayne, and was penned by J.K Rowling herself…I’m shocking myself how game I am for this film, and you all should be too! It’s Harry Potter without Harry Potter!
The Disaster Artist: TBA
The adaption from the unsurprisingly hilarious but surprisingly poignant novel about the making of The Room, the infamously best worst movie ever made, but is really about the friendship between its crazy maker Tommy Wiseau and his co-star Greg Sestero. Produced by Seth Rogan and directed by James Franco (who with his directing record doesn’t scream hope), but with a screenplay adapted by Scott Neustadter and Michael H. Weber, the screenwriters behind The Fault in Our Stars, The Spectacular Now, and 500 Days of Summer, I became far less worried. And that was before the all-star cast started flocking to it like moths to an eccentric flame. James Franco of course is taking the role of Mr Wiseau himself, and his little brother Dave is Greg, but as well as them; Seth Rogan, Zac Efron, Alison Brie, Sharon Stone, Josh Hutcherson, and Bryan fucking Cranston, are also co-starring. With such a shockingly A-list cast, we can only hope they’ve all gathered because of the strength of the script and talent involved, and nothing less. If Franco can make this even half as good as the novel, this could be one of the best films of 2016.
The Nice Guys: May 20
If my look at Shane Black’s Kiss Kiss Bang Bangdidn’t give it away, I love Shane Black when he does buddy movies. So it’s great to see him return with what looks like a spiritual sequel (or prequel) to that, with this 70s set dark comedy crime thriller that brings us the inspired pairing of Russell Crowe and Ryan Gosling; an enforcer and hapless private eye who team up to find a missing girl and solve the murder of a porn star…how can you not be stoked for that! So let the guilty violence and laughs commence!
Moana: November 23
Disney’s next animated film after the disappointing Big Hero 6 (and fuck you it wasn’t that good) brought to us by the directing duo behind some of Disney’s greatest films (Aladdin, The Little Mermaid, Treasure Planet) and will follow an ancient Oceania tribal girl as she searches the South Pacific for a fabled island, helped by a demi-god voiced by Dwayne Johnson. Don’t know much beyond that, but with the talent involved we can but hope for another Disney classic, or at least something up there with Tangled and Frozen.
Kubo and the two strings: August 19
But this is the animated film I’m looking forward to most in 2016! Brought to us by the same team and studio behind the stop-motion masterpieces Coraline and ParaNorman, comes this action fantasy set in ancient Japan about a teenager fighting demons and searching for the magic armor his legendary samurai father once wore….it’s a STOP MOTION ANIME! I MEAN…how can you not be wetting yourself at the awesomeness of that! And with an all-star cast, the talent behind the scenes, and the recent trailer for it, all we can do now is wait and hope.
La La Land: July 15
A musical dramedy about the romance between a jazz pianist played by Ryan Gosling, and an actress played by Emma Stone, and J.K. Simmons is in it too. Really the only reason this has made the list is that its writer and director Damien Chazelle’s follow up to his jaw-breakingly great Whiplash. Whether he’ll be able to live up to that will have to be seen, but I find it a good sign he appears to be going for a very different vibe for this film.
High-Rise: March 18
The new and probably highest profile film from the bizarre director of Sightseers, A Field in England, and Kill List (the only of his films I have seen), Ben Wheatley; and stars Tom Hiddleston as the newest resident in a self-contained block of highrise apartments with a vicious classiest system, in this dark comedy Sci-fi thriller…or something like that. Co-starring Jeremy Irons and Elisabeth Moss, there is still a bit of mystery about this film, for all those who haven’t read the books it’s adapted from, as the advertisement has done a good job in being vague on plot but specific on tone and style. And with early release reviews beginning to come in I’m seeing almost equal people calling it a failed attempt at something grand, or hailing it as a masterpiece. So I’m glad its release date isn’t too far into this year, before we get a chance to judge for ourselves whether Mr Hiddleston has been using his Marvel down time on worthy projects.
Live by Night: October 7
Ben Affleck finally took a break from acting to get back to his much more interesting career as a director, with this follow up to Argo. Adapted from another Dennis Lehane novel like his first and best film Gone Baby Gone, it’s a period crime thriller that follows the prodigal son of a police captain as he becomes a bootlegger and later a gangster legend. Again here because of the director and writer’s track record, he’s currently three for three on great thrillers, and I doubt Affleck’s in a hurry to break the streak; especially with his next directorial project being the first solo Batman film in the new DCCU. And that’s before mentioning that Mr Leonardo Dicaprio has taken on a producer hat for it.
Of course these are only vague predictions on what will be some of the best films in the coming year, as we all know that best films tent to come out of nowhere with a sharp left hook, not let us see it coming from months away.