Well, here we are! We’ve come to the end of another year, and the hosts of CinemAbysmal: The Podcast are here to round up their favorites. We’ve included some surprises, like some stuff showed on (gasp) television! Amazing writers and directors are choosing this medium over Hollywood lately, so get over it. Anyway, enjoy the picks and let us know if you agree with the selections or want to let us know about any of yours!
10. Logan Lucky
9. Thor: Ragnarok
8. Guardians of the Galaxy 2
5. Legion (FX)
3. Baby Driver
2. Blade Runner 2049
10. Baby Driver
While I will contend that this film is style packed on to very little substance, the style is enough to carry this fucking joy of a film. Ansel Inglberghumperdink kills it, though every shot looks like a different actor. Wright is the king of this kind of movie and a heist flick is always welcome in the Lemons Casa.
This is a brutal fucking film that takes the Alien film and turns it on its microscopic head. Boasting a boring title and a lackluster ad campaign, this film snuck under many noses as just more space peril, but the stellar cast and nihilistic viewpoint thrive in this earth-shattering, intense horror sci-fi flick.
Sure it is French and not as fucked as we could imagine a French horror being, but the thrill of this film comes from the humanity within it. Focusing on a vet student with a lust for human flesh, we see the making of a monster in her most vulnerable and interesting state: maturation.
7. Logan Lucky
Soderbergh is officially king of making films better than they have to be in this rural heist movie; a genre that produces at least one interesting film a year. The film is funny, inventive, and builds around a story of idiots making smart moves.
Pennywise is back in this 80s remake that feels fresh and new, despite rehashing the same King notes down the line.
5. Kong: Skull Island
A frolicking flick for fans of 70s creature horror and Vietnam action fare. A nice mix of old school fun and new school aesthetics bring out the best in a revival of the Kong series.
4. John Wick 2
Easily the most fun I had watching a film all year. Non-stop action pours out and rubs against your legs in a manner that would be creepy if it weren’t so beautiful.
3. The Bad Batch
KEY-AH-NEW! We get more Keanu as he plays a minor villain (?) in a story of a girl caught between warring factions in a dystopic wasteland. Cast, thrills, and story is a lovely morality tale in a land without morality.
2. Blade Runner 2049
Denis Villanueve fucks us all real hard and good in bringing to life the future of Ridley Scott’s world in a film that is brilliant on its own before blasting your mind brain apart with its connections to the 1985 classic.
1. A Ghost Story
Every couple years comes a film that blows your heart apart and depicts some epiphany about the world around us. It changes the way you speak to your loved ones and the way you see yourself. A Ghost Story is that film 100 times over. A triumph unlike anything else.
Just Missed the Cut:
- Kong: Skull Island
- Wonder Woman
- Thor: Ragnarok
10. The Bad Batch
As far as straight-up coolness goes, no film matched this one in 2017. Between the literal trippy scenes, the music, and the jaw-dropping cinematography, this almost alternate dimension, post-apocalyptic thrill ride is sure to quench any action fiend’s thirst. Plus, Jim Carrey being weird as fuck.
9. Marjorie Prime
Holy shit. This is one crazy good flick. Jon Hamm is a hologram. Tim Robbins is at his best since The Shawshank Redemption. Geena Davis’ performance will tear your heart out. If you’re easily upset by dementia and Alzheimer’s in film, this one will probably get to you. It’s a little too indie to catch any awards action, but if I had a vote, I’d be all over this little wonder.
8. A Ghost Story
Oof. Speaking of having your heart torn out. Yeah, yeah, Casey Affleck is an asshole. Don’t fear, though. He spends most of the film under an actual bed sheet. That is beside the point of this incredible movie, though. Casual movie watchers beware: this is not a horror film. There’s hardly any dialogue for long stretches of time. But what it says about us as humans and the mark we leave on those we love is just heart-wrenching. Absolutely beautiful movie.
7. The Big Sick
I finally got around to watching this movie today after hearing about it nonstop for the last year. Oh man. I really dig Woody Allen films, and though this movie reminded me of Allen’s golden age in the late 70’s, it’s something entirely different. With that signature Apatow feel, this true life story between Nanjiani and wife Emily Gordon is funny as hell at times, and gut-wrenching at others. Also, they could not have gotten a better cast together for this. Zoe Kazan is amazing, Ray Romano is hilarious, Holly Hunter kills it, and god damn. Who knew Kumail Nanjiani could carry a film in a lead role? Also, Michael Fucking Showalter directed this! Looking forward to his new career path. Upsetting to see this got snubbed at the Golden Globes, but I recommend this one for anyone that’s enjoyed any Judd Apatow or Woody Allen films.
6. Legion (FX)
I know. It’s TV. But fuck, watch these 8 ‘episodes’ (creator/god Noah Hawley calls them ‘Chapters’) all together and it’s one of the coolest movies you’ll ever see. Yes, it’s Marvel. But it’s nothing like you’ll ever see in that universe. The music is incredible and the cinematography is one of my favorites in anything that I’ve ever seen. I’m fairly sure I watched the seventh chapter four times, and it’s absolutely thrilling to watch. Speaking of snubs, where the hell is Aubrey Plaza’s nomination? Seriously though, check this out if you haven’t yet. It’s essential.
Wow, man. I waited too long to see this one. I love Westerns, and this – though it’s a Marvel film – is one of the best Westerns I’ve ever seen. There’s no cowboys, but there’s pretty much everything else. I really dig James Mangold’s 3:10 to Yuma and Cop Land, and the Rated R feel is perfect in this. It’s different than Deadpool, as much of this film is not funny at all, but the violence seems to never let up. I think Patrick Stewart delivers one of the best performances of his career, not to mention Hugh Jackman’s stellar and heartfelt spin as Wolverine. I know that Disney just power-grabbed Fox, but I’m really hoping we’ll get more R-rated superhero flicks. We deserve it.
4. Get Out
There’s not much to say about this flick that hasn’t already been said. So instead, I’ll just tell you how it made me feel. I have never been more uncomfortable sitting in a movie theater. At times, Jordan Peele’s funny side shows, but it’s more like nervous laughter than anything else. Peele designed the film this way, knowing white dudes all over the country were going to be watching it. I sunk lower and lower in my chair as the movie progressed, and though the movie isn’t particularly scary, the chills are incredibly effective in other ways. One of the better metaphorical film packages I’ve ever seen. Jordan Peele directing is going to be pretty damn awesome for years.
I really don’t like going to movie theaters, but I couldn’t pass this one up. So I went twice. Pennywise has been in my life since I was a kid, and I just read the book again last summer to refresh myself for the film. Though I like to fantasize what the first part of this two-headed monster could have been with Fukanaga at the helm, I think Muschietti did a damn fine job bringing history’s most horrifying clown to life. One of the most important things to remember with Pennywise is that It is not just a clown. It’s an interdimensional being out of time as we know it, and this film captures that perfectly. Not to mention, holy shit, some of the finest kid acting I’ve ever seen. I love this damn movie and can’t wait for Part Two.
2. Blade Runner 2049
I noticed that all three of us made this our second favorite film of the year. And if it weren’t for the next one, it would have been my favorite by far. I really dig the original movie, but everyone knows that it’s got its share of problems. Not 2049. This movie is perfect in every single way. Gosling was the perfect choice as the lead, his performance muted, yet commanding. Ford is great as an older Deckard, but the performances are just a small part of this gigantic event. The music, cinematography, story – everything is absolute perfection in this. From beginning to end, I was floored in its scope. Villenueve may be the greatest living director we have…but he’ll have to wait for this next guy to leave the throne first.
1. Twin Peaks: The Return (Showtime)
It’s not technically a movie. I know. But fuck off. It is filmed like a movie, and it’s the weirdest, most fucked up, absolutely beautiful thing we’re ever going to get in a theater or a television set. I’ve been waiting for a return to Twin Peaks for most of my life (not to mention a return from David Lynch doing anything), and now that I’ve finished this round, I don’t think I could be more satisfied. No, it wasn’t the same Twin Peaks. Like, even a little. But what we got instead was David Lynch free to do whatever the fuck he wanted for 18 hours and it is the most batshit insanity he’s ever produced. It’s violent, maddening, ridiculous, beautiful – just one of the craziest things that has ever been produced in any medium. I love that Showtime did this and hope it opens doors for other creative geniuses. Kyle Maclachlan turns in one of the greatest performances of not just his career, but television and film history as not just Dale Cooper, but three brand new characters. And don’t even get me started on Part Eight. This is the greatest hour I’ve ever seen on television, and may be the best and most Lynch piece that Lynch has done in his illustrious career. Fight me. I could legitimately go on for hours about his glorious cinematic event, and if you know me personally, you’ve probably caught some of it already. I’ll leave it here, though: we’re never going to get anything as insane as this again. So if you get a chance, sit down for a weekend and crush this. It’s the best and craziest “movie” you’ll ever see.
Arrival (2016) – Science Fiction | Drama
Directed by: Denis Villenueve
Starring: Amy Adams and Jeremy Renner
How I Watched: Theatres
Best Line: “Language is the first weapon drawn in a conflict.”
The events of the last two weeks have been rough on a lot of us. No matter which way you would like to slice it, the truth is that the world has fundamentally changed. Some of us are clinging to reality in a strange existential fog while others are sitting back and waiting to see what will happen. I’m not suggesting that writer Eric Heisserer and director Denis Villenueve saw the future when making Arrival, but I think it’s safe to suggest that they did a good job tapping into the anger, frustration and confusion floating like a cloud above our planet right now.
On the surface, Arrival is a pretty hard Sci-Fi film, borrowing elements from some of the most revered movies in the genre. For those who don’t know, the movie begins with an “arrival” as 12 mysterious and enormous objects suddenly appear across the globe without any apparent intentions. The US government enlists the help of language expert Louise Banks (Amy Adams) to perhaps obtain this intent. The film is unapologetic with its use of aliens and these are some of the better aliens I’ve ever seen. When it comes down to it though, Arrival is a pretty great drama.
Those that have seen Amy Adams in movies like Doubt, The Fighter and American Hustle know that she can handle herself in a dramatic role. This however, is something different. Adams absolutely owns this film, delivering an incredibly heartbreaking performance that is both devastating and thought-provoking in the most mind-fucking way possible. We’ve all seen Inception and we’ve all experienced the occasional Shyamalan twist, but what Arrival gives us is a whole new meaning to crazy.
I’ve only seen a couple of Villenueve’s movies (I haven’t seen Sicario yet – I know, I’m just the worst), but Prisoners rocked my world with its twist-filled darkness. Enemy with Jake Gylenhaal is probably more closely related to Arrival with its utterly bothersome climax. Something that Villenueve is definitely great at though, is using darkness to stun his audience. Like David Lynch, his movies are dark, muted and a bit relentless in the shock value. There’s plenty of shock in Arrival so be prepared.
Speaking of shock, holy shit, the aliens. I won’t go too far into it, but the Lovecraftian brilliance that they put into these things was astounding. I talked to a friend last night that also saw the movie and he described them as “a big bucket of nope.” While I can see why someone would say that, I wanted to see more of them. Perhaps though, how Villenueve presented them was perfect, as their appearances did not take away from the incredible storyline either. However, if aliens frighten you, I’d stay away from this one.
The most important part of Arrival to me was the narrative concerning international relations. Amid the invasion, the countries in which a ship landed each investigated the ships in their own way. As the movie progresses, it becomes clear that each country does not agree on how these ships should be handled, which leads to an all-out international crisis. This hit way too close for home for me, as my fears for how the world is currently treating itself looked a lot like this. I know, I know, it’s a movie about aliens, but this really struck a chord in me that I was not expecting walking into the theater.
I was a little stunned to find as much meaning as I did from Arrival. While it’s a really cool science fiction movie about aliens making first contact, it cleverly delivers a statement about the shape the world is in right now. I enjoy the way Denis Villenueve works and absolutely expect Arrival to shake things up this awards season. Science-Fiction is not generally treated very well at the Academy, but movies that have something to say with relevance about us as a species generally do. So don’t be shocked when this one gets heaped up toward the top.
Final Score: 4/4
Similar Films: Enemy, Close Encounters of the Third Kind, War of the Worlds
Stranger Things (2016) – Science Fiction | Horror
Created by: The Duffer Brothers
Starring: David Harbour and Winona Ryder
How I Watched: Netflix
Best Line: “Mouth-breather.”
Stranger Things is technically a television program. What it plays like, however, is the best 7-hour movie that you’ve never seen. For this reason, I have decided to review the series as a film. Stranger Things begins all too familiar. We are immediately reminded of the Spielberg family-scapes of a 1980’s suburbia and given to a not-so-motley crew of nerdy kids that even The Goonies would probably bully. The 80’s worship does not stop there, though. Everyone enjoys a good helping of neon, John Hughes inspired feels and a good Reagan-era pop hit, but Stranger Things takes the decade and molds the story around it.
I was born in the 1980’s. Before I was 5, though, they were over. I can’t really say I know what the decade was actually like, but I’ve always felt a strange kinship to its music, movies and pop culture. So whenever someone makes the creative choice of setting their story in the 80’s, I’m usually intrigued. Donnie Darko did an excellent job making you feel like you were watching something made in the 1980’s and Stranger Things is no different. The music is blissfully extreme in its synth-heavy soundscape, evoking the most insane crescendos in John Carpenter films. The characters’ fashion choices are tamed but convincing, and even a lot of the architecture looks as though it was ripped from Ferris Bueller’s Day Off.
Matthew Modine and Winona Ryder hold their respective places in 1980’s filmdom. Ryder is excellent as a grieving mother in the series, slowly descending into understandable craziness while she desperately searches for her son. Modine plays a soft-spoken and mysterious doctor in a laboratory on the outskirts of town, and his looming, often creepy presence grows as the show progresses. Perhaps the most impressive character among the show’s adults, though, is that of David Harbour’s Sherriff Jim Hopper. We’ve all seen Harbour before in small parts (TV and film) but this is really a breakout role for him, as he excellently guides the cast through the series’ ups and downs.
The real stars of the series though, are the four geeky kids mentioned earlier. Never have I been more impressed with children acting than I have with Stranger Things. Led by the spectacular Finn Wolfhard as Mike (who has been cast as Richie Tozier in the new 2017 incarnation of IT), these three boys never give up looking for their friend Will who goes missing in the first installment. Will does not get much screen time, but when he does, he steals every frame. The actors playing Dustin and Lucas are excellent as well, battling bullies and difficulties of middle school life as D&D loving dorks. Eleven (Millie Bobby Brown) is also a really cool character and the focus on her storyline grows throughout the series.
I think what impressed me most about Stranger Things was its ability to take so liberally from those projects that inspired it, and make it its own original story. At times, you’ll feel you’ve seen certain scenes before, whether it’s the bike chase scene in E.T., an alternate universe in Poltergeist or Under the Skin, telekinetic abilities in Stephen King stories like Carrie, a synth-heavy montage in a Carpenter flick…the list goes on and on. Once you watch it yourself, you’ll probably even discover nods yourself that I never would have thought of. It’s really incredible how well the Duffers acknowledge their influences in this.
It’s hard to put into words how much I really loved Stranger Things. It’s become so easy to just sit for hours and “binge” on shows featured on Netflix. But when a project like this comes out and there are only eight nearly hour-long episodes, it really becomes a feature film. A couple “episodes” in, you’re going to be facing a tough choice, just like I did: “I know it’s late, but this is so damn good. I need to finish this.” I suggest you do just that before someone ruins Stranger Things for you.
Final Score: 4/4
Similar Films: E.T. the Extra Terrestrial, The Goonies, Poltergeist
Blade Runner: The Final Cut (1982) – Science Fiction | Action
Directed by: Ridley Scott
Starring: Harrison Ford and Rutger Hauer
How I Watched: Blu-Ray
Best Line: “All those moments will be lost in time, like tears in rain. Time to die.”
The first time I saw Blade Runner, it was playing on cable in standard definition and it was the spectacularly underwhelming theatrical version. For those unfamiliar, Blade Runner has had a tumultuous history, and seven versions exist that we know of. I really enjoy Ridley Scott’s films, but after seeing that cut of Blade Runner, I had no real intention of watching any other version as it left a pretty bad taste in my mouth. What I did take note of though, was the world that Scott had created as well as the incredibly cool Vangelis score. So when I heard that a sequel was being made by a director that I really respect (Prisoners‘ Denis Villenueve), I thought I’d give The Final Cut a try. And god damn, I’m glad I did.
Perhaps it is not fair to dislike a film for something as minute as voiceovers, but when it comes down to it, this is the main culprit behind my disdain of the theatrical cut of Blade Runner. Harrison Ford’s narration is cheesy and comes across as condescending, as if we’re too stupid to follow the storyline. It almost reveals too much about Ford’s character Deckard, and strips away the natural mystery that Scott intended for the audiences. It’s a ham-fisted approach and honestly changes the tone of the entire film. Luckily in The Final Cut, this narration has been completely removed.
It’s obvious how much influence this film has had on the genre of Science Fiction. The neons and electronic score, flying cars, cascading skyscrapers, hyperrealistic androids and dystopian future are all on full display throughout Blade Runner. It’s easy to see why many consider this the peak of Sci-Fi film. Truth is though, this movie is more closely related to noir fims like L.A. Confidential or Chinatown.
The themes that Blade Runner address are deeply philosophical and grow exponentially larger once the film’s antihero Roy Batty (a ridiculously good Rutger Hauer) is introduced. Like many throughout history, Roy is consumed by the philosophy of what it is to be alive and those limits we must all face. I have a feeling that Ridley Scott underestimated Hauer’s acting chops and there is tragically too little of Roy Batty by the time the credits roll.
The set design is perhaps, Blade Runner‘s greatest cinematic achievement. The slow zooming aerial shots are incredibly breathtaking, and though at times you can tell that these shots feature scaled models, the detail is amazingly unbelievable. Scott created a world (with the assistance of H.R. Giger) that was almost revolting in Alien and a good amount of that carried over in Blade Runner. I’ve always been impressed with the dreamworlds in Terry Gilliam’s movies (none more than Brazil) and I get the same feeling from the set design in Blade Runner.
The score by 1980’s electronic virtuoso Vangelis, is one of the most important additions to the movie. I cannot imagine any other score than this synthesizer-soaked soundtrack sweeping over the shots of the dark dystopian metropolis. The neon-lit rain and absolute darkness are accompanied perfectly by the music and it gives a feeling of such wonder, that you can’t help but want to visit this insane landscape.
I’ve heard that “The Director’s Cut” version of the film is the next best way to go if you can’t get your hands on The Final Cut. Unfortunately, this version was not actually supervised by Ridley Scott and instead was rushed out to the public by the studio in 1992. I picked this version up on Laserdisc a few years ago, but did not watch it in fear of being let down by what was left out compared to The Final Cut. All I can say is, if it’s your first time seeing this movie, be safe and make sure it is this Final Cut. The theatrical version is relatively terrible to this and if you enjoy Science Fiction, you owe it to yourself to see The Final Cut.
Final Score: 4/4
Similar Films: Looper, Total Recall (1990), Brazil