Like the brand to which these characters are inextricably tied, it’s all a bit much. It’s a buffoonish comedy of errors, a family drama, a sort of mystical journey, and even more movies rolled into one. The weirder it gets the better, but it never allows itself to veer too far into the bizarre so it’s often stuck in family drama mode. The performances are all top-notch and even charming, especially Lady Gaga’s as an individual with a dangerous combo of unfettered drive and pride.
My VHS cover pull-quote: “Jared Leto and Al Pacino put in amazing, sympathetic performances as Waluigi and Wario.”
An energetic and beautifully animated 60th entry into the Disney animated canon that’s about family, acceptance, and toxicity. It shares a bunch of themes with Moana, as well as the unrestrained touch of Lin Manuel Miranda’s songwriting skills. The wide ensemble of genuinely developed characters (as developed as 90 minutes allows) helps set it apart from other animated fare. More importantly, though, the main character has glasses and that makes me feel seen as someone with glasses.
My VHS cover pull-quote: “Releasing The Eternals: Part II so close to the first one was risky, but it definitely pays off.”
“Let me give you some advice: don’t go chasing ghosts.”
It’s an initially slow, nostalgic re-entry into the Ghostbusters world (universe?), but once it starts reaching for the original’s energy and marrying it to the coming of age/Egon family drama/Goonies vibe it’s going for, it becomes a pleasant mixture of the old and the new. Definitely not enough ghosts, but the much-hyped use of the Stay-Puft Marshmallows veering into Gremlins territory almost makes up for it (almost).
One of my my favorite aspects of Ghostbusters movies is the substantial and slightly sinister ghost lore they’ve set up for themselves, the human sacrifices and cultist happenings always a bit at odds with the comedy. Without a Venkman character to go “lol who gives a fuck?” for most of the runtime, Afterlife actually leans a bit harder into the Sumerian cult business of it all, which I actually dug.
My VHS cover pull-quote: “Is there enough of the OG Ghostbusters team? Yes. Is there enough Slimer and Rick Moranis? No. Will I ever recover from the amount of Ecto Cooler I drank as a child? Doctors are still deliberating.”
Nostalgia is a razor thin veneer over the seedy historical horror show of an era in Edgar Wright’s inventive and slick foray into the genre. The good often rises to the top of the collective memories of an era like the 60s, but it’s critical to remind ourselves that it was just as wonderful and terrible in equal measure as today. Last Night in Soho removes the rose-colored glasses from its central character with a savage, dreamy haunting from a bygone time and it’s groovy.
My VHS cover pull-quote: “You can always say ‘the music was good, though’ about any era, but, well, the music was good in the 60s so the music is also good in this movie.”
A real-time examination of grief and forgiveness between four award-worthy actors. It is capital-D Dramatic like the ending scene of a Twilight Zone episode or just, you know, a serious Off-Broadway play, but it works so well. Watching masterful performances, each of them flitting through a suite of emotions (with melancholic as the base) over the short runtime left me bummed, a little bit dead inside, and hopeful. These are good things.
My VHS cover pull-quote: “Yes, you can watch this drama that’s played completely straight with Mike Flanagan’s Midnight Mass and make all kinds of connections if you want. Literally no one can stop you. You are unstoppable.”
One of my favorite movies of the year because I visited Belfast in 2017 for a couple weeks or so and I could point out places I’d been while watching the movie… But it’s also an effective and semi-autobiographical love letter to the spirit and community of the city and its people (despite the well documented violence over those long years) with a bunch of great performances.
The cinematography is some of the most indulgent I’ve seen since, well, last week in Wes Anderson’s The French Dispatch, but every bit of the screen is filled with life and expertly crafted. It looks fantastic, sounds fantastic, correctly conveys a child’s perspective, and sometimes characters eat those wedge cut chips/fries which make me hungry.
My VHS cover pull-quote: “Did I mention I visited Belfast for a couple weeks or so in 2017? Aside from the opening and closing shots of modern Belfast (where I’ve been before (back in 2017)), the only color in the film is when the characters are watching movies on a screen or at a playhouse watching a production. It’s Branagh’s slightly heavy-handed way of showing the importance of these small escapes to him as a child, but — again — it’s wholly effective.”
A dense, beautiful film that feels like a new beginning for the MCU more so than any other entry after, well, Iron Man. It doesn’t break the MCU mold so much as it reshapes what a movie in this series can look like by pressing against the sides. What Black Panther and Shang Chi did for the modern superhero character, Eternals does for the allowed style and substance of these movies. There is absolutely room in these things for Zhao’s practical filmmaking, weighty conversations about immortality, Bollywood numbers, and slight Watchmen-adjacent interrogations of the superhero genre and the pedestals on which we place these characters.
It seems like the movie is divisive because it’s either too much of a Chloe Zhao movie and not enough of an MCU one or vice versa. For me, it’s kind of a perfect mix that takes some critical steps forward in it’s representation of humanity. Either way, change is good. Change is necessary.
My VHS cover pull-quote: “The Eternals are kind of the immortal, dysfunctional Power Rangers and I’m into it.”
A bit of a modern E.T.: The Extra Terrestrial, where E.T. is a little sleek robot voiced by Zach Galifianakis and society is hooked on social media and instant gratification instead of… Reaganomics? I don’t know, I wasn’t alive back in 1982. I don’t think anyone was. Regardless, this movie is a perfectly emotional exploration of what real friendship looks like and a satirical takedown of Apple (an obvious stand-in for Tim Cook doesn’t care if children die, which, yeah, I can see that), Facebook, and big tech in general. The latter was done earlier this year with the more manic and dysfunctional family-oriented The Mitchells vs the Machines, so these two movies exist as a bit of a prefect double feature. Dysfunctional families, dysfunctional robots, friendship, and the negatives (and positives!) of unchecked tech.
My VHS cover pull-quote: “There is a throwaway line about killer clowns living in the woods, which is why children don’t go in there to play anymore, which makes me think this movie takes place in an entirely new branch of the timeline after Harambe was shot in 2016 where those creepy clowns popping up everywhere in the north around then really kind of took hold of the world. Ron’s Gone Wrong would be very disappointed in this Reddit-addled VHS cover pull-quote.”
A sumptuous adaptation of half the influential novel that captures the weirdness, introspection, and pre-Star Wars design of 1960s sci-fi (and tries to address some of the dated elements). Plus, sandworms!
My VHS cover pull-quote: “It is weird that these sci-fi guys have names like Paul and Duncan. We should just replace the first letter of their names with X. Xaul. Xuncan. Lady Xessica. There we go.”
A Halloween movie that is exactly what its title suggests. Michael Myers kills and kills and kills like the mythic being this trilogy is pushing him to become. The whimsy of the 2018 movie is still there, but it’s slightly diminished by the growing brutality of The Shape’s predation and a secondary story about what a bummer mob justice usually turns out to be. It’s all set to a killer score by Mr. Johnny Carpenter himself, which is as much a draw for me as all that slasher business.
My VHS cover pull-quote: “It’s kind of the Infinity War of the Halloween franchise. Or the Kingdom Hearts III because there is a whole philosophical two-person theater piece going on throughout the movie, with two characters interrogating Michael’s nature. Light and dark. Eraqus and Xehanort.