Turn the Machine Back On!

(You hopefully read that in Mortimer Duke’s voice.) Just popping in here at the old lab to say a very happy new year to one and all. No matter what horrors are visited upon us by 2019, at least we have the House back.

Late 2019 will also mark the 20th anniversary of old GitM, tho’ obviously the site’s mostly been defunct for much of the ought-teens. Never say never, of course, but at least for now it will probably stay that way. Even in the height of the blogging era, when I posted here constantly, this remained a niche, low-traffic corner of the web. It’s hard to imagine it would ever be anything more at this late date, and that I would find the time and energy again to invest so much purpose in maintaining this website given the limited readership returns. Still, I may write up my best films of 2017/18 at some point — if I ever feel like I saw enough of them.

In any event, I hope all is well with you and yours, inasmuch as possible in the Trump era. And if you miss the rambling around here, I’m still at it over on Twitter these days more often than not. Thanks, as always, for stopping by.

The Return.

“[A]s the giant once foretold: It is happening again. Twin Peaks: The Return — the Showtime reboot of the Lynch series — didn’t just exceed its progenitor’s what-the-fuck quotient right out of the gate; as it meanders through a series of daringly protected, often mysterious scenes, the show seems determined to destroy any preconceptions we had about what another Twin Peaks would look like, or even what post–Twin Peaks television could aspire to be. What Lynch and Frost are doing feels so new to TV that even showrunners whose triumphs are built on Lynchian foundations are in awe of it.” — Matt Zoller Seitz, “The Best Show on TV is Twin Peaks: The Return.”

The 2016 movie list may finally be done and the 2017 list is right around the corner. And there are a lot of great TV shows on these days — Legion, Bojack Horseman, Halt and Catch Fire, Preacher, Fargo, the waning-but-still-entertaining Game of Thrones. But it’s safe to say that I’m not going to see a movie or TV this year, or for awhile thereafter, that I love as unabashedly as Twin Peaks: The Return. 27 years ago, before there was a GitM or even all that much of an Internet, I was just a high school sophomore in Florence, South Carolina who couldn’t wait for the weekend to bring the next installment of Twin Peaks. For 16 Sundays this summer, as soon as the classic theme kicked in, that 1990-91 experience came viscerally roaring back.

If, like me, you still find yourself dwelling on the deeply melancholy final episode — and with the caveat that the real Judy/Jiao Dai is apparently “to explain” — here’s the best and most in-depth fan explanation going around, at least until Mark Frost’s Twin Peaks: The Final Dossier comes out on Halloween. As someone notes in the comments, this theory makes a good deal of sense, but still doesn’t quite feel right. Whatever else was going on from Odessa to “Alice Tremond’s” house, it was emotionally clear that Coop hadn’t (yet) saved the day, and Laura was still — and may forever be — haunted by forces vast and cool and unsympathetic. [Update: It’s since come out that this theory was written up by one of Milo Yiannopoulos’s media pen pals, so the author’s sense of judgment should be considered even further suspect.]

In its mournful finale, and in its curtain calls for so many beloved original cast members who have left us — Catherine Coulson, Miguel Ferrer, Don Davis, Jack Nance, Frank Silva, David Bowie, now Harry Dean Stanton — the new Twin Peaks also made clear that, however much you may want to, you can’t really turn back the clock, at least not in the way you ever expected. As The Ringer‘s Alison Herman put it, “it was immediately obvious upon The Return’s premiere in late May that this was not going to be the Twin Peaks of the ’90s, with its soap opera shape, good-natured quirk, and Angelo Badalamenti’s steadying compositions. What was not obvious, however, was just how aware Lynch and Frost were of our yearning for the original Twin Peaks, or how they would capitalize upon it to maximize the uncanny horror and visceral sadness of The Return.”

Twin Peaks came back to us completely transformed in 2017, and yet, in its own way, still as captivating and chimerical, inspiring and visionary, funny and true as it was a quarter-century ago. In these cynical, Trumpian times, what a gift it was to have this show back again — still expanding the boundaries of what is possible on TV, still serving up damn fine cups of coffee (and musical numbers), still pushing us to rail against the darkness and malevolence in our midst.

2016 in Film.

Queso, usually I’d put a bunch of excuses in this opening paragraph about why this is going up so late, when the real question is: nearly ten months into 2017, why even do this Best of 2016 movie list at all? (Answer: I’m a completionist and it was bugging me.) But really the bigger issue here is: I missed a LOT of movies last year.

I missed Oscar contenders (Hidden Figures, Hacksaw Ridge) and Oscar bait (Allied, Florence Foster Jenkins). I missed promising indies (Captain Fantastic, American Pastoral) and movies with cult-cachet (Swiss Army Man, High-Rise, Elle, Kubo and the Two Strings). I missed the big winter dogs (Passengers, Assassin’s Creed), the summer dogs (Independence Day: Resurgence, The Legend of Tarzan), and the just plain dogs (Alice Through the Looking Glass, Deepwater Horizon).

I missed some big tentpole remakes (Beauty and the Beast, The Jungle Book, The Magnificent Seven, Pete’s Dragon.) I missed a bunch of unnecessary sequels (Now You See Me 2, Ride Along 2, London Has Fallen). I missed the maybe-better-than-you-expect B-movies (The Shallows), the high-rated Disney outings (Moana). I even missed a few movies I still really want to see (Silence, Toni Erdmann).

But of the ones I did see, I suppose these are my…

Top 25 Films of 2016
[2000/2001/2002/2003/2004/2005/2006/2007/
2008/2009/2010/2011/2012/2013/2014/2015/The Oughts]
1. Moonlight: Damien Chazelle’s meet-cute May-December musical romance featured Ryan Gosling and Emma Stone at their…wait, one second. Er…Yeah, I know, a little late for that joke — Anyway, we’ll get to La La Land later on.

For now Barry Jenkins’ Moonlight was a perfectly-contained short story about a young boy forced to toughen up in a harsh and uncaring world, and a man trying to be brave enough to shed that lifetime’s worth of armor. I have some quibbles with the movie — the classical score can be occasionally cloying, and some of the characters — Naomie Harris’s junkie mom, Mahershala Ali and Janelle Monae’s saintly neighbors — occasionally felt too broadly drawn. But at a time when too many films feel swallowed by their own ambition, Moonlight told a powerful, personal, memorable, and resoundingly human story on a small and colorful canvas.

2. The Nice Guys: Not to bag on La La Land in every entry, but if you saw Ryan Gosling in one burgeoning (b)romance in the City of Angels in 2016, I hope it was this one. Harkening back to other LA neo-noirs like The Long Goodbye, Inherent Vice, and maybe even a smattering of Lebowski, Shane Black’s throwback buddy-cop misadventure was one of the smartest, funniest, and most purely enjoyable movie experiences of the year (even if I saw it on a plane.)

3. Captain America: Civil War: In his last installment, our hero took on the military-industrial complex that had made his beloved country more like Hydra than the New Deal America of his youth. In Civil War, Cap makes the case for free-thinking dissent as the proper form of democratic consent, and punches that billionaire war profiteering egomaniac Tony Stark a few times in the face to boot. (#TeamCap4life).

Clearly Cap is the hero we need right now, even if, in these Hail Hydra times, he’s not the one we deserve. Throw in that ripped-from-the-comics airline melee, Spidey-done-right, and Daniel Bruhl as the best and most nuanced Marvel villain to-date (until the 2017 list, at least), and you have another jewel in Marvel’s gauntlet. Go get ’em, Cap.

4. Green Room: Antifa, meet the Ain’t Rights. Like his first film Blue Ruin — do we have a Kieślowski color trilogy going here? — Jeremy Saulnier’s Green Room portrays in naturalistic fashion a bad situation growing increasingly worse. It also provides a final stage for the late Anton Yelchin (meshing well with an ensemble that includes Alia Shawkat and Imogen Poots) and a rich opportunity for Patrick Stewart to play it real dark for once. Sadly, Green Room feels even more realistic now than it did last year, what with the return of Nazis marching in the streets. Tiki torch this, you rat bastids.

5. The Lobster: Since La La Land has been the Rosetta Stone of this list so far, let’s just say The Lobster is the meet-cute rom-com that movie is farthest from. I liked the first third-to-half of this movie, as sad-sack Colin Ferrell navigates the hotel of last opportunities with folks like Ben Whishaw and John C. Reilly, more than I did the back-half, where he finds himself caught up in an anti-romantic resistance of sorts, living in the woods with Rachel Weisz, Lea Seydoux, and a bunch of aloof ravers. (There’s also a section in the middle involving Farrell’s brother-turned-dog which I’d like to never think about again, thanks much.) Nonetheless, this weirdo, pitch-black satire about human coupling has moments that will stick in your craw, and makes the uncomfortable, misanthropic squirm-humor that propels (great) shows like Curb Your Enthusiasm seem positively Up-With-People.

6. Hunt for the Wilderpeople: In its own way, Taika Waititi’s Hunt for the Wilderpeople is also the anti-Lobster — a funny, sweet, good-natured foray into the deep New Zealand woods with a gruff Sam Neill, getting ever less gruff as he lets orphan Julian Dennison under his skin. Throw in Rhys Darby for a touch of Conchords zaniness and you have a thoroughly pleasant afternoon hike.

7. Hell or High Water: It’s a credit to the overall experience of David McKenzie’s Hell or High Water that it’s this high on the list, even though there’s some seriously ham-fisted writing in this movie. The most obvious offender is the racist-sheriff-with-a-heart-of-gold, a character that might not have worked at all if it weren’t Jeff Bridges playing him. But the heavy-handedness starts in the very first shot of the movie, with the wall reading “3 TOURS IN IRAQ BUT NO BAILOUT FOR PEOPLE LIKE US.” Ok, ok, I get it.) Still, even if it’s occasionally just No Country for Old Men by way of The Dukes of Hazzard, it’s a crowd-pleasing movie alright, and its heart was in the right place.

8. Doctor Strange: Another quality Marvel outing that’s all the more impressive given how badly it could have turned out. Benedict Cumberbatch isn’t the most inspired choice to play Dr. Stephen Strange — he’s basically just doing his Sherlock with an American accent — but it’s great fun to have Chiwetel Ejiofor, Benedict Wong, and Tilda Swinton(!) along for the ride, as well as Mads Mikkelsen playing the heavy. (Obvious highlight: “Mister Doctor?” “It’s Strange.” “Maybe, who am I to judge?”) Now maybe they can find something for Rachel McAdams to do in the next one — she’s as wasted here as Natalie Portman in the first Thor.

9. The VVitch: “Wouldst thou like the taste of butter? Wouldst thou like to live deliciously?” And now we’re back to the woods being terrifying again. While the most memorable part of Robert Eggers’ The VVitch is its (kinda problematic) ending, I was also impressed with the way this movie puts you square in the 17th century, conveying the strangeness, isolation, and religious panic that must have come from living alone along the unexplored frontier. (Kinda what The Village aspired to do, but really, really didn’t.) Sure, it’s a slow-moving affair, but that’s likely how it would be, until Black Philip comes-a-callin’.

10. 10 Cloverfield Lane: I thoroughly hated the original Cloverfield, but watched this on the strength of Mary Elizabeth Winstead and John Goodman. Pretty good choice! To be fair, this is basically the War of the Worlds reel in Tim Robbins’ basement drawn out to feature length. Still, 1010 Cloverfield makes for a reasonably taut chamber piece for most of its run, as alliances shift among the three main characters who may or may not be waiting out the end of the world in Goodman’s well-stocked bunker. Can you guess how it ends? Probably, but at least you got to see some of old Walter Sobchak along the way.

11. Rogue One: A Star War Story: To be honest, if I’d only seen this movie once, it’d have been much higher on the list. At that opening night show, Rogue One felt like it delivered the visceral thrill of the original films in a much purer way than the prequels or The Force Awakens. Finally, Vader — a character who’s been bogged down by New Age-y family matters for close to 25 years now — was an unstoppable malevolent force again, like he was when I was a kid. Finally, the world of Star Wars developed more much-needed diversity, even as Ben Mendelsohn gets to be the sneering Imperial aristocrat he was born to play.

Speaking of Imperial aristocrats, he gets a lot of grief, but I really liked CGI-Peter Cushing, and, while I get the icky implications for the future, I still thought it was an appropriate homage to a guy who hunted the undead for so long. And, of course, the Death Star’s exhaust port got a brilliant retcon.

But then I watched Rogue One again a few months ago on DVD. And, exposed to the light of day, it’s hard to ignore the movie’s serious pacing and writing problems. Almost all of Felicity Jones’ suicide squad are one-note at best — Alan Tudyk’s quippy droid comes off the best by a large margin. It’s hard to tell what they were going with with Forest Whitaker’s character, but it feels like more than half of his arc got cut somewhere. And, while we’re not at Starkiller Base, doing-violence-to-basic-physics bad, so much of what happens doesn’t make any sense. (If they desperately want to stop the transmission of the plans, why don’t the Imperials just blow up their own radar tower?)

So, in short, Rogue One was a great nostalgia delivery device, but it doesn’t really hold up. Here’s hoping some of the other one-off installments have more intrinsic quality.

12. Arrival: I haven’t read Ted Chiang’s “Story of Your Life” so can’t attest to how Denis Villeneuve’s Arrival holds up to the source material. As for the movie, it’s a heady First Contact story that shows a great deal of promise in its first half, before getting derailed by a silly bomb subplot involving Halt and Catch Fire‘s Mark O’Brien — how were these aliens meant to be surprised by a bomb? — and then spending the rest of the movie explaining what you’ve probably already figured out. Still, a good run up to that point.

Much was made of this being the blue state science-fiction movie we all needed after Election 2016. But given that Arrival ends up being more cerebral than smart, and that the basic message ends up being “acquiesce to the inevitable preordained tragedy in your future,” I don’t think that holds up in the way suggested.

13. Louder than Bombs: Joachim Trier’s Louder than Bombs very much has that indie-arthouse Squid and the Whale, broken family/coming-of-age-drama, I’m-watching-this-on-a-Saturday-on-the-IFC-channel feel about it, and not just ’cause Jesse Eisenberg is back for another round. But this story about a father (Gabriel Byrne) and his two sons (Eisenberg, Devin Druid) coming to terms with the untimely death of their photojournalist matriarch (Isabelle Huppert) has a natural, melancholy, lived-in feel and some well-observed moments (and, let’s face it, it’s always great to see Tom Reagan again, with or without his hat.) Definitely comes by its Smiths B-sides title honestly.

14. Hail Caesar: With The Ladykillers being the exception that proves the rule, there are two types of Coen movies: the instantly great ones (most of them) and the ones that’ll grow on you if/when you see them again. For me, Hail Caesar was among the latter.

Set around a decade after Barton Fink burned down the Hotel Earle and disappeared from Hollywood, Caesar continues Fink‘s initial inquiries into the mid-century studio system, fellow-traveling screenwriters, and movies as the spiritual iconography of our time. Also has Channing Tatum dancing, Tilda Swinton playing twins, George Clooney mugging, and Ralph Fiennes and Alden Ehrenreich doing their “Would that it were so simple” routine. Like I said, my initial reaction to it was around the level of The Man Who Wasn’t There — eh, ok — and like that one, I probably need to see it again.

15. The Birth of a Nation: Both the problem and the potential are right there in the name. The Birth of a Nation is wildly over-the-top and full-of-itself at times. It’s also too self-consciously designed as a star vehicle for its writer-director Nate Parker (who, it has to be said, must go alongside Polanski and Woody in the probable rapist scumbag in real life department.)

At the same time, I appreciated the scale of ambition here — the blatant eff-you to the racist-as-hell D.W. Griffith standard and the attempt to overturn a cultural legacy that’s treated Nat Turner (or Denmark Vesey or John Brown) as criminals rather than survivors who rose up against an American hellscape that we sanctioned here for far too long. If all the turning Nat Turner into a vengeful Christ figure here is laying it on extra-thick, maybe we needed an extreme corrective to get the message out. In that regard, Nation is striking the same vein as QT’s Django Unchained, with a better grip on history to boot.

16. Knight of Cups: So we’re getting to the part of the list where I’ll freely admit that some of these probably played better on my TV than they would’ve in the theater. I grew a bit bored by Tree of Life in its second hour and absolutely loathed To the Wonder from start-to-finish, perhaps because I was trapped in. (Loved The New World, tho.) But, watching Terence Malick’s equally languorous Knight of Cups at home felt like less of an imposition on my time, and I could just roll with its impressionistic beauty. Christian Bale takes long walks on the beach and wrestles with deep spiritual malaise about the meaning of life, his many romantic escapades, and (Malick, natch) the wisdom once bestowed to him by his father (Brian Dennehy)? Go with it, my man. It helps that, like its milieu, Knight of Cups looks like a million bucks, with a captivating, sensual sheen (provided by Emmanuel Lubezki) throughout.

17. The Neon Demon: Here, again, if I’d seen Nicolas Winding Refn’s The Neon Demon at the multiplex, I think I’d just be waiting for this hyperbolic, cut-rate-Aronofsky madness to end. (Then again, I saw Only God Forgives on the small screen and lordy it did not help.) But for whatever reason, at home I could take Refn’s ludicrous, pulsing disco-club beautiful-people-are-vampires story for what it’s worth, and just enjoy the trippy visual stylings without being unduly burdened by plot, character, or the usual elements that make, y’know, a decent movie. Bronson and even Drive are far better, but this one’s oddly entertaining in its weirdo midnight movie Cat People sorta way.

18. Midnight Special: Speaking of midnight, Jeff Nichols’ Midnight Special is another movie with great promise that kinda falls apart in the final act. In its opening moments, as Michael Shannon (also in Nichols’ Take Shelter) and Joel Edgerton cruise along at high speed with night-vision goggles on, the film immediately feels like an lost and underrated Stephen King short story, a sensation helped along by Sam Shepard and Bill Camp showing up as conflicted cult leaders and Adam Driver playing against type as a nerdy government agent. But as the Very Special Kid (Jaeden Lieberher) moves to the fore and we get to the Very Special Ending, Special loses its punch, and begins to feel less like an original sci-fi story and more like one of the many so-so ’80s Spielberg knockoffs these days, a la Super 8 or Stranger Things.

19. Lion: Lion is a true story about Saroo Brierly, a young Indian boy who accidentally left his village as a child and spends his days haunted by what he left behind. It is also well-made and perfectly cromulent Oscar bait, with solid performances all around, especially Dev Patel as the young man in question, Nicole Kidman and David Wenham as his supportive, if not totally understanding adoptive parents, and Divian Ladwa as his resentful adoptive brother.

Still, even if they’ve added a mid-movie romance with Rooney Mara to pad the running time (and which doesn’t contribute much to the film), we’re talking about a two hour movie here that basically builds up to a Google search. Lion was…fine, I suppose, and would probably appeal more to more sentimental types.

20. A Bigger Splash: A remake of La Piscine (which I haven’t seen), updated for modern times to incorporate the European refugee crisis and accommodate folks’ desire to hang out with Tilda Swinton, Luca Guadagnino’s A Bigger Splash‘s main asset is Ralph Fiennes’ manic turn as an extroverted, cocaine-fueled record producer on Italian holiday. Fiennes has played against his usual clipped-and-distant type before, most notably in In Bruges, but he’s still a jolt of delirious energy throughout A Bigger Splash, which feels a bit like the first third of Sexy Beast before taking a turn — as I now know, like the original movie — in the late going. (It gets a bit long in the tooth after that.)

21. La La Land: City of Stars, why do you have to be so white? Alright, so La La Land — or, as Amy and I began calling it as soon as it was over, “white people shit.” To be fair to the film, I thought it got better as it went along — I was on the verge of walking out during the big frenetic “let’s put on a show!!” traffic jam-boree at the start — and Ryan Gosling and especially Emma Stone are both appealing enough, even if Gosling can’t dance without looking at his feet.

But the real issue here is: Why should I care? Stone wants to be a megastar? Gosling wants to open a jazz club (presumably so he can keep whitesplaining it to anyone who walks in)? Gosling is worried his fusion breakthrough with John Legend might make him a sellout? Honestly, who gives a shit? C’mon, people, it is — sorry, was — the year of our Lord 2016. This is like the poor King of England having a stutter all over again. Please come at me with real problems.

22. Fantastic Beasts and Where to Find Them: I never read the books (I know, I know, we’re a long way from The Leaky Cauldron days), and I’m not sure we need an all-new multiple-film foray into the expanded Potter universe. But a Harry Potter prequel spinoff set in 1920’s America? Now you’re speaking my language! (Also, not to give the ending away, but I think I’d prefer Colin Farrell as the multiple-movie nemesis rather than He-Who-Should-Not-Be-Named-On-Account-Of-Spoilers.)

23. Don’t Breathe: Fede Alvarez’s Don’t Breathe was one of those horror movies getting It Follows, Babadook, and VVitch-level hype in some corners, and I saw it after it had been rather intensely hyped. Given that, the second act twist didn’t particularly impress me, and I was expecting more memorable all around than just a reverse-Wait Until Dark. Still, it’s always good to see Stephen Lang getting his due — unless you’re watching Gods and Generals, in which case dear god why?

24. Star Trek Beyond: a.k.a. the one where Kirk’s big contribution to the endgame is popping wheelies on a motorcycle. Idris Elba and Sofia Boutella are both wasted behind the extensive make-up, but at least this third installment of nu-Trek sidestepped the stupid remix brain of Into Darkness and focused on telling a fun, small-bore TNG-ish adventure. Beyond isn’t classic Trek or anything, but it does lend credence to the theory that, in the reboot universe, it’s the odd ones that don’t suck.

25. Deadpool: Like I said for a few years now, I like to give the last spot to a genre movie that knows what it is and does it well. This year, that was Deadpool. I have no connection to the character and frankly find him kinda irritating — he’s a sophomoric Liefeldian (re: many pouches) knockoff of the DC’s funnier, more-meta Ambush Bug. And much like Ryan Reynold’s very similar comic hero in Blade: Trinity, he also “appears to have learned English from reading AICN talkbacks” (or Reddit, for the kids out there).

Still, Reynolds, director Tim Miller, and co. embraced the guy, pouches and all, and gave him a movie that suited the character. Besides, it was fun to actually have Colossus running around a X-Men movie for once — but not sure this will get me in the theater for Josh Brolin’s Cable.

MOST DISAPPOINTING:

Warcraft: Look, I know that you probably weren’t disappointed by Warcraft. But I sure was. Duncan Jones of Moon and Source Code bringing the game I’ve literally spent a year in to life? This could’ve been pretty good!

Except — and here was the big issue — Jones didn’t make a World of Warcraft movie, which would probably involve a bunch of D&D-like classes on a quest to level up and gain loot or somesuch. Instead, he made a movie of the original Warcraft, a.k.a. the RTS game from twenty years ago, which means…orcs bashing things for two hours. (And I don’t even recall a single “ready to serve!”) The story of the entire movie should’ve been a LotR-like prologue.

It also doesn’t help that, with the exception of Paula Patton and Team Preacher (Ruth Negga, Dominic Cooper), most of the human actors — I’m looking at you, Travis Fimmel and Ben Schnetzer — are 110-level charisma voids. By contrast, there are some good, fun actors among the orcs — Toby Kebbell, Clancy Brown — but they’ve been literally turned into cartoons. And Ben Foster, who can be fine in other things (Hell or High Water, for example) is operating on his own mad level of terrible here, like he method-trained for this by watching Jeremy Irons in D&D or Brando in Dr. Moreau. Just an all-around missed opportunity.

WHAT IS THIS I CAN’T EVEN:

Suicide Squad: Remember how I said Rogue One seemed like a disjointed mess the second time I saw it? That’s Suicide Squad right from jump street. The whole movie has that Tranktastic Four, “we rewrote this in the editing room” and “eh they’ll see it anyway” haphazardness to it. Margot Robbie acquits herself fine as Harley Quinn, I suppose, and this may be the most likable Jai Courtney has been in anything. But Will Smith is bored, Viola Davis seems ashamed to be there, Joel Kinnaman, as the-absence-of-Tom-Hardy, just plays his cop from The Killing, and Jared Leto is a completely egregious misfire as The Joker.

On top of everything else, the film is just ugly — everything looks like it got storyboarded by Ed Hardy, not the least the Clown Prince of Crime, who we know is damaged because…it says “Damaged” on his forehead. Trust me, this movie isn’t even fun bad — it’s just an amateurish disaster. In other words, exactly the type of movie you’d expect from executive producer Steve Mnuchin.

THE REST:

Worth On Demand-ing::

Batman v Superman: Dawn of Justice: MARTHA!! Why am I (barely) recommending this deeply flawed sequel to (the even worse) Man of Steel? Well, mainly because of Batfleck and Jeremy Irons’ Alfred. Zack Snyder can’t seem to understand that Superman should not be a tortured, emo character — he’s more like Chris Evans’ Cap, boy-scout to the bone. But, yeah, Batman sure is — maybe they should write “damaged” on his head — and that stuff here works pretty well.

Don’t get me started on Jesse Eisenberg’s Luthor — rein it in, Jesse — or Snyder’s absurd love for slow-motion bullet casings, or the truly awful ways Diane Lane is employed here. (I’m not just talking about the Stepbrothers-esque “Did we just become best friends?” part — Zack, get Martha Kent away from your creepy-ass Polaroids.) But still, y’know, Batman, Wonder Woman, there’s some stuff to like here.

Keanu: Keanu, about Key & Peele trying to get their cat back from some stone-cold gangsters (including Method Man) is…ok. To be honest, given its creative team, I expected something much funnier, but then again I saw it well after the hype machine had kicked in. A nice send-off to George Michael, if nothing else.

Loving: Jeff Nichols’ Loving tells an important story in a rather drab and by-the-numbers fashion — there was considerably more energy in his Midnight Special. Joel Edgerton basically mumbles his way through the movie and even Ruth Negga, such a spitfire in Preacher, is rendered inert here. But, y’know, it’s fine for what it is, no harm no foul.

Neighbors 2: Sorority Rising: Did you like the first Neighbors? Well, here’s more of the same, now with Chloe Grace Moretz, Selena Gomez, and Kiersey Clemons in the mix as well. Rose Byrne is the secret weapon of these movies, but give Zac Efron credit: he’s surprisingly game for anything.

Manchester by the Sea: Hey ma, look heah: we gawt moah white people praw-blems. I had this in the “don’t bother” section for awhile but eh, it’s competently made, I guess. The main problem here is Casey Affleck’s bitter janitor (an Oscar-winning performance?!) is so emotionally recessed that he doesn’t register — he just mopes his way through scene after scene. (Lucas Hedges gave us a more layered character here, I thought.) I really like Kenneth Lonergan’s other movies, but this one, like Inarritu’s 21 Grams (which is more fun, because it’s so much more pretentious), just assumes that misery is a substitute for character.

Don’t Bother:

Fences: My wife and I saw Dave Chappelle here in DC this past week, and his opening act was Donnell Rawlings, who you may remember from Chappelle Show or as Clay Davis’s chauffeur in the The Wire. Anyway, he basically summed up the problem with this movie in his act: “Denzel, it’s been two and a half hours! Get out of your backyard! Stop looking at the fence!” In other words, this is not really a movie of any kind. It’s a filmed play — which is fine, if it had any sort of energy. It does not — just go see the play.

Ghostbusters: I’m bummed about this one because every MRA asshole on the planet has been whining about an all-female reboot of Ghostbusters somehow ruins his childhood. (To which I say: First, obviously, grow the fuck up. Second, the original Ghostbusters is wildly overrated and wasn’t even one of the ten best fanboy movies of 1984, so develop some taste.) All of which is to say that I was rooting for Paul Feig’s reboot — but, alas, it’s just not very good. Kate McKinnon gets in a few zingers, and they make solid use of Chris Hemsworth, but Kristen Wiig is wasted as the straight woman, and too much of the movie feels like it’s being improvised on the fly, like one of those interminable 11:45am trial-run SNL sketches. I’m glad this Ghostbusters is out there so future fangirls have some role models to look up to, and because this movie’s sheer existence deeply angers many of the worst people in the world. But in the end, sadly, it’s just not all that funny.

Jackie: Yeah, sorry, I don’t understand the love for this one at all. I was bored, as was our entire party. JFK getting shot is not new information, so please find something more to say about it than “then Jackie came up with Camelot.” And maybe Natalie Portman nailed the accent to some extent — moah white people praw-blems — but you can see the Herculean striving throughout her performance, and it makes her Jackie seem weirdly graceless. This was just a ponderous film throughout, tho’ it was nice to see John Hurt give one final, brief curtain call.

Jason Bourne: Have you seen any of the other Bournes? Yeah, you’re good, then. This is basically a Gus Van Sant Psycho remake.

Money Monster: The ubiquitous, beat-for-beat trailer spoiled this movie several times over well before I saw it. And despite the impressive pedigree here — Jodie Foster, George Clooney, Julia Roberts, Giancarlo Esposito, Dominic West — here’s no other part to the movie that you’re missing.

Snowden: I’m very sympathetic to Edward Snowden and his predicament. This dull, hagiographic Oliver Stone outing still misses the mark by a country mile. That being said, Rhys Ifans does a pretty good CIA sinister, Nicolas Cage is here as NICOLAS CAGE!, and it’s kind of a funny kick to see Zachary Quinto playing Glenn Greenwald. Still, you’re better off watching CitizenFour.

X-Men: Apocalypse: Weirdly lifeless for a number of reasons. First, this movie makes the Willem Dafoe-as-Green-Goblin mistake of casting a fun, engaging actor (Oscar Isaac) as the Big Bad, but then burying him so deep in make-up that his personality disappears. Second, a lot of the new X-Men here, like Sophie Turner/Sansa as Jean Grey and Tye Sheridan/Ready Player One as Cyclops, are more than a little on the stiff side, while some of the better actors from the last outing — Nicholas Hoult, Evan Peters — aren’t given enough to do. (That’s especially true for Michael Fassbender’s Magneto, who gets one scene from a much better movie involving an attack on his family, and then just delivers exposition the rest of the time.) Third, maybe standards have changed, but this film looks really cheap for some reason. Bryan Singer delivered one of the best X-outings with X2, but this one’s only for completists.

Unseen: The 5th Wave, 13 Hours, Absolutely Fabulous, The Accountant, Alice Through the Looking Glass, Allegiant, Allied, American Pastoral, Assassin’s Creed, Bad Moms, Bad Santa 2, Barbershop: The Next Cut, Beauty and the Beast, Ben Hur, The BFG, Billy Lynn’s Long Halftime Walk, Blair Witch, Bridget Jones’s Baby, The Brothers Grimsby, Captain Fantastic, Central Intelligence, Collateral Beauty, The Conjuring 2, Criminal, Crouching Tiger, Hidden Dragon: Sword of Destiny, Deepwater Horizon, Demolition, Dirty Grandpa, Eddie the Eagle, The Edge of Seventeen, Elvis and Nixon, Eye in the Sky, Fifty Shades of Black, Finding Dory, Florence Foster Jenkins, Free State of Jones, The Girl on the Train, Gods of Egypt, Hacksaw Ridge, The Handmaiden, Hardcore Henry, Hidden Figures, High-Rise, A Hologram for the King, How to Be Single, The Huntsman Winter’s War, Independence Day: Resurgence, The Invitation, I Saw the Light, Jack Reacher: Never Go Back, Jane Got a Gun, The Jungle Book, Kubo and the Two Strings, The Legend of Tarzan, Live By Night, London Has Fallen, Love and Friendship, The Love Witch, The Magnificent Seven, Me Before You, Miss Sloane, Moana, A Monster Calls, Nocturnal Animals, Now You See Me 2, Office Christmas Party, Passengers, Paterson, Pete’s Dragon, Popstar, Pride and Prejudice and Zombies, Race, Ride Along 2, Sausage Party, The Shallows, Silence, Swiss Army Man, Sully, TNMT: Out of the Shadows, Toni Erdmann, War Dogs, Where to Invade Next, Whiskey Tango Foxtrot, Why Him?, Zoolander 2, Zootopia, pretty much anything else you can think of.

(The Rest of) 2017: It’s September, y’all already know what’s coming out over the next few months. And while if I’d done this list nine months ago The Last Jedi or Blade Runner 2049 would probably get the pole position here at the end, I have to say at this point I’m most excited about…


The hammer of the gods
Will drive our ships to new lands
To fight the horde, sing and cry, Valhalla, I am coming…

Trump.

Hello all, reposting this from Facebook, with a few minor edits and embedded links.

Ok, so, we’re five days out from this election now, and two months before Trump takes office, and here’s where we are.

This morning, the president-elect took to Twitter to attack the press (again), and then told an easily-disprovable lie about his stance on nukes, one that even Breitbart, run by his blatantly anti-Semitic campaign head — now his chief strategist — wrote about.

As of this writing, he has also said nothing about the emboldened hate attacks happening all over America now. Speaker Paul Ryan, when asked by Jake Tapper about them, just shrugged and said those aren’t Republicans doing those. (Ryan, for his part, is busy plotting the end of Medicare.)

Meanwhile, the President-Elect has tried to move the trial on his fraudulent business practices at Trump University, because being president-elect is too hard. (Spoiler: the job gets harder after January.)

Despite this apparent busy-ness, the President-Elect *has* taken the time to openly complain about protestors, so that’s speech, press, and assembly — three of your five first amendment freedoms, already getting challenged.

In the first five days.

When asked about the President-Elect’s many ethical conflicts-of-interest at the moment, Rudy Giuliani, who’s apparently up for Attorney General, said “Those laws don’t apply to the president.”

(Note: Giuliani also wants to “fix” cybersecurity — trust me, that’s not going to be in the direction of your privacy.)

Newt — yes, he’s back too — is calling for a new House Un-American Affairs Committee. Yes. HUAC. You’re not reading that wrong.

Trump campaign manager Kellyanne Conway today, when asked about Harry Reid’s rightfully angry press release about the new president, said the former Senate Majority Leader should “be very careful about characterizing someone in a legal sense.” In other words, she threatened to sue and/or imprison the political opposition.

Across the pond, Putin is telling Trump to withdraw NATO forces from Eastern Europe, while Britain is putting more long-range missiles there to protect it. However you feel about Russia or NATO — I would think Republicans are very divided on this point at the moment — this is the type of situation where things can very quickly spiral out of control if a steady hand is not at the till.

A steady hand is not at the till.

All of which is to say, we have to start recognizing what is happening here, and plan accordingly. People my age have had a good run, but the shit has finally arrived.

There are many good articles floating around right now about the election. One of the best, imho, is this one. Step one: Believe the autocrat.

It doesn’t do any good to hope Trump somehow turns out to be a closet lefty, or is just content to play Don the Builder and invests massively in infrastructure. That’d be great (tho’ his version of infrastructure — prisons, pipelines, walls — may not be your version.) I hope so too – that’d be the best case scenario at this point. But there’s also a lot of bargaining going on, and we’re all going to have push through the steps here and get to action.

I don’t want to tell you how to get involved, donate, volunteer, or organize — that’s up to you. Some of us are more privileged than others in that regard. But make a list of the things you are going to do to stand against what’s coming, because it sure does seem to be coming.

A few other thoughts on the inter-Dem recrimination happening at the moment, which I think is good and necessary to move forward. As others have pointed out, in the UK after a losing election, the party leadership usually quits. We need strong Dem leaders right now in the field. But we also need the people who failed here to be held accountable. No more failing upward or pundit tenure.

There’s obviously a lot of back and forth right now about whether Clinton lost because of racism or sexism or economic anxiety, Comey or WikiLeaks or just a terribly run campaign. The answer here to me seems to be…yes? Many of these things are not at all mutually exclusive. She lost the Electoral College in a handful of places, and a lot of things could’ve changed that — no Comey, or more money/visits in Wisconsin, or a media that wasn’t disastrously bad at figuring out what stories merit continuous coverage, or a message that better resonated with working white people.

I will say that I helped write a book with Bill Press this past January, Buyers Remorse, about how Barack Obama failed progressives in many ways, and I think it definitely holds up now. If his administration had addressed the foreclosure crisis in a way that was less banker-friendly and more people-friendly, or if he hadn’t continued building out Dubya’s extra-constitutional foreign policy of surveillance and kill-strikes, we’d be in a better place right now.

That being said, and as others have pointed out, Obama in 2012 also ran much better on the Rust Belt front, aggressively pointing out that Romney and Bain Capital were giant hypocrites that hated the auto bailout and took people’s jobs. (Mike Pence, FWIW, was against the auto bailout too.) Clinton did some of this with Trump’s outsourcing and whatnot, but the overarching message of the campaign was “he’s a deplorable human being.” Which he is, but clearly that didn’t matter for a lot of people.

In any event, Trump pulled his voters and Clinton didn’t pull hers. That was the difference. There was no massive white surge to Trump. He got the people who would vote for any Republican, and enough in a select few states in the middle who were angry about how things are going. That’s it. This isn’t a Reagan landslide. It was a close election with terrible turnout where many people disliked both candidates, and Republicans, as always, were more motivated to show up.

There’s been a lot of talk about how Dems need to pop their elitist bubble and talk to white working class people again. This is definitely true to an extent. But, by all that is good and holy, that doesn’t mean turning Trump voters into some sort of exotic Heartland “real Mur’ican.” Nor does it mean meeting fools halfway on the racist, sexist nonsense. I grew up with a lot of these folks — they don’t think they’re racists and get offended when you call them thus, but then go on to say and post deeply racist things.

As @theshrillest pointed out on Twitter, saying Clinton lost solely because of racism/sexism is like saying a plane crashed because of gravity. Both are real and pervasive, especially in the 99% white enclaves that went for Trump, and that’s how it is.

So for God’s sake let’s not lose our nerve on these issues and look for a Jim Webb type to save us. Let’s do a better job of conveying the true story about who the real villains are here — not poor people of color, struggling every single day, but the rich white assholes who now control every single facet of the federal government, and will use it as a trough.

Bernie clearly was much better at this sort of thing, and as someone who supported him, I’m more than a little annoyed that various people on our side were telling us to ignore what the polls were telling us back then. But that is water under the bridge, and we have a tsunami right in front of us.

Let’s get it sorted, let’s hold the people who failed our party accountable, and let’s get ready to fight. Because, again, the shit is here. This is not a drill.

The Unbearable Whiteness of Trump.

“Republicans’ great strength is their appeal to white voters, who are still far and away the nation’s largest demographic group. It’s served them quite well in congressional elections…And they’d be winning at the presidential level, too, if they could just increase their level of support among whites by a tantalizingly small amount. Indeed, if Trump is able to increase the GOP share of the white vote by 5 percentage points more than Romney won in 2012, even while holding the strong minority vote for Obama that year steady, the mogul would win handily.”

Remember how I wrote that Trump is already drawing dead because of lack of minority support? As my college friend Shawn Zeller points out in CQ Roll Call, and on the eve of an RNC that promises to go Full Wackadoodle, Trump’s team appear to be aware of the math and are leaning into it, hoping to grow the (old, angry) white vote as a share of the total. “Offending Latinos might even be a good electoral strategy, Frey says: ‘The older white population has a hard time dealing with changing demography, and wedge issues like immigration play well.'”

A good electoral strategy, perhaps, but terrible for the polity…and I still don’t see Trump pulling it off. So he has to grow the overall white vote by 5 percent over 2012 — but he’s running far behind Romney with white women and is still polling egregiously with Latinos. Even notwithstanding Clinton’s iffy approval numbers, it’s a longshot at best. I’ll stand by my earlier prediction: Trump’s gonna lose, handily.

Update: Or, perhaps not.

A Free-Born Woman of the USA.

Artistic Director Kevin McKenzie called her, ‘a joy…for every minute of 20 years! She is gifted and smart, willing to absorb from her peers and be an example at the same time. We have watched her grow organically into her potential – blossoming into a truly unique American ballerina with an astonishing command and range of repertoire.'”

As she celebrates her 20th season with ABT, Gill makes the cover of Irish America, and is named one of their inaugural “Top 50 Power Women”. Brava!