Reviews by Ryan

My thoughts on Movies, Music, and More!

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Travis Scott - ASTROWORLD

I’m currently on the fence. On one hand, I could thoughtlessly frame Travis Scott as a sellin’-out-pussy-ass bitch for making a much safer album than Rodeo, and call you all fools for liking him. On the other hand, I could totally respect the consistency of this album and commend Travis for being way more interesting than most of his guests. As I’m listening to this for the third or fourth time, I’m certainly leaning towards the latter. 

I was going to try to make the argument that Travis is joining several other rappers in rolling out a more mainstream-style album after seeing critical (but not commercial) success with a more interesting and conceptual work. Kendrick Lamar did something similar with DAMN. last year, but that comparison is difficult to justify since Travis’ Rodeo album did not get nearly the hype that To Pimp a Butterfly did. 

As usual, some sort of clever allegory or big-picture observation about the state of a particular genre eludes me. I guess I’ll be forced to man up and evaluate ASTROWORLD in its own right. 

Travis Scott is, in my mind, incredibly likable, so I’m naturally inclined to find a way to enjoy this album. Travis doesn’t make it difficult, either. ASTROWORLD is consistent throughout its (almost) one-hour runtime. It also provides a good mix of atmospheric/introspective trap and raunchy trap filled with clever innuendo about parties you wish you could go to, women you wish you could be with, and other rappers you wish you could take a swing at.  

The latter half of that mix tends to provide more of ASTROWORLD’s highlights. Included in this category is “NO BYSTANDERS,” the album’s best track. If I’m being honest, it kind of made me want to try Xans just once. 

“NC-17″ as another of the album’s highest moments. As someone who admittedly doesn’t like 21 Savage very much, I have to eat my words and concede that his verse on this track is totally awesome. I am a strong proponent of ridiculous rap lyrics, and it doesn’t get much better than “I nutted on her cheek, her new nickname is Babyface.” 

The only other feature that really stood out to me were The Weeknd’s vocals on “SKELETONS” and “WAKE UP.” Most everything else approaches filler territory. I’m not really surprised that a Drake feature got wasted (best to just not put Drake on your album at all), but I was highly disappointed that Frank Ocean’s appearance was less than memorable. 

ASTROWORLD lacks the diversity and innovation that Rodeo had, but I guess an artist is really only good for one classic album. I could really spend all day picking it apart, but it’s also important to recognize that ASTROWORLD is listenable and enjoyable the whole way through, and that’s more that can be said for most other trap albums. I’ll take this over the 4th Slime Season mixtape anyday (or how ever many Young Thug has made now)... 

At the end of the day, I’m always perfectly content coming back to Travis’ albums because every time that high-pitched “IT’S LIT!” gets produced into the background I feel as though it truly is lit. 

STRONG 6

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The Top 10 Films of 2018 (so far)

I mid-year list of top films is nearly pointless in today’s industry, because all of the really good stuff (or, at least, what gets Oscar nominations) comes out much later in the year. I’m not saying that films who get those nominations are the best ones, but pretty much all of my favorite films last year hit theaters between November and January, inclusive. I have still enjoyed a great many movies in 2018, and I produce this list so that you may be aware of them (you likely already are) and aware of their likability (judging by some of their box office numbers, you likely are not). 

#10: American Animals dir. Bart Layton

Equipped with a distorted view of the American dream and what it takes to attain it, four friends embark on a fool-hardy mission to steal millions of dollars worth of books from their university library. A spiced-up telling of a true story, director Bart Layton shows that it’s more about the journey than the destination. We know the heist is unsuccessful from the very beginning, but to watch the young men’s unpreparedness and naive overconfidence unfold before us is a thrilling adventure. 

#9: First Reformed dir. Paul Schrader

The aging Rev. Ernst Toller of the historic First Reformed Church receives a wake-up call from the world when he is asked to counsel the husband of one of his congregation, a man with a history of arrests and potential for violence stemming from his radical environmentalism. Writer/Director Paul Schrader pens an entrancing and unexpected screenplay around his troubled main character, portrayed masterfully by Ethan Hawke. Shades of Schrader’s masterwork Taxi Driver (1976) are abundant, as Toller transitions quickly from isolated pastor to staunch idealist, antagonized by growing religious commercialism and an unavoidably deteriorating world. 

#8: The Party dir. Sally Potter

A 70-minute-long single-set comedy shot entirely in black and white, the strength of Sally Potter’s screenplay comes from the amusement one gets watching privileged folk become more and more perturbed as they learn that their fellow elites are really only in it for themselves, and that what they wield in political power they lack in real, valuable relationships. Ending abruptly on perhaps the best plot twist I have seen this year, The Party is a petty, star-studded affair that justifies its existence with the entertaining evolution of the tumultuous associations of its characters. 

#7: Beast dir. Michael Pearce

A young woman over-protected by her mother and eclipsed by her younger sister finds love in a mysterious rural-dweller, only to learn he’s been suspected of being the perpetrator of a series of brutal murders, primarily of other young women. Both she and the audience are left in the dark regarding the real truth, and his refusal to be open about his life only serves to arouse suspicions. Beautifully shot and skillfully executed, writer/director Michael Pearce takes us on quite a ride, and lead actress Jessie Buckley gives a marvelous performance as her character is unceasingly torn apart by conflicting feelings of love and fear.  

#6: Thoroughbreds dir. Cory Finley

It is fun and amusing to say that Thoroughbreds’ most important lesson is that you should never trust a horse girl, but there’s admittedly more to it than that. The impressive directorial debut of Cory Finley is an exquisite dark comedy complete with sadistic performances from Olivia Cooke and Anya Taylor-Joy (who is also amazing in The Witch, which you should watch if you haven’t yet). The two formerly-estranged friends rebuild their relationship as they plan the murder of Lily’s (Taylor-Joy) stepfather, a highly wealthy man who gives Lily everything she could want save for love and respect. Erik Friedlander’s string and percussion-heavy score is a lovely, quirky complement to the film as well. 

#5: Upgrade dir. Leigh Whannell

Perhaps the most out-of-place film on this list, Upgrade is more of a Netflix-original-type B-movie as opposed to the typical arthouse fare that comprises the majority of the top spots. Most films of this form lack severely in interesting storytelling or technical execution, but I’m pleased to say this film has both. While the acting performances aren’t there, writer/director Leigh Whannell’s carefully-crafted sci-fi tale about a paraplegic widower who experiences newfound strength and intelligence with the help of a robotic spinal implant is surprising and so much fun. The action sequences are exciting and gory and over-the-top, and the camerawork is ingeniously complimentary to the rigid nature of the protagonist’s movements while under control of the mysteriously potent AI inside him. 

#4: Hereditary dir. Ari Aster

A24 studios continue to have a good eye for modern horror films. After they picked up the critically-acclaimed Killing of a Sacred Deer last year, they found new success with another family-centered psychological scare in Ari Aster’s Hereditary. Toni Collette gives a terrifying performance as the mother in a family long-plagued by mental problems and supernatural possession. Aster makes clever use of framing in order to deliver the biggest fright to the audience, and does so without utilizing a single jumpscare, an approach of which I am a huge fan. The film’s accessibility is also a huge asset; it’s wide release provided many a welcome break from the unimaginative drivel that gets rolled out every time a Friday, the 13th rolls around. 

#3: Annihilation dir. Alex Garland

Wow, it’s really cool that no one went to see this…

It wasn’t long ago that the Ghostbusters 2016 people were talking about how we never have female scientists in movies, only to make some crappy movie where the actresses just improvise a lot and make poop jokes. Here’s a fantastic sci-fi/horror film from the director of Ex-Machina (2014) with an all-female lead cast where all the characters are smart and possess a variety of knowledge and skills. The sound design is excellent, the premise is intriguing, and the final act is legitimately terrifying. Natalie Portman is great, too. But instead this got sent straight to Netflix in most places and failed to turn a decent profit. Stupid.

#2: You Were Never Really Here dir. Lynne Ramsay

Lynne Ramsay’s stylistic, radical deconstruction of the action genre turns You Were Never Really Here into a fascinating and unnerving character study. It’s also another film on this list that’s a lot like Taxi Driver (1976). Joaquin Phoenix portrays a psychologically wounded war veteran who works as a private enforcer, hunting down and mercilessly killing criminals who traffic and exploit children. Meanwhile, his character is constantly at war within his own head, making him unpredictable and worthy of our sympathy. Beautiful cinematography and Johnny Greenwood’s dissonant score enrich the experience two-fold. 

#1: Isle of Dogs dir. Wes Anderson

Complete with one of the greatest voice casts the world has ever seen, Wes Anderson’s heartwarming adventure about a Japanese boy who travels to a remote island to find his dog is one of the finest animated features you’ll find anywhere. The set and character design is magnificent, with so much attention to detail; the look of the dogs is especially laudable. Isle of Dogs is also rich with beautiful homages to Japanese culture. The banter between the dogs is funny, the destitute conditions of the titular island are heartbreaking, and Atari’s love and determination in the search for his own “man’s best friend” melted my heart into a puddle. Nothing pleases me more than to be able to, once again, grovel at Wes Anderson’s feet. 

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The Top 10 Films of 2018 (so far)

A mid-year list of top films is nearly pointless in today’s industry, because all of the really good stuff (or, at least, what gets Oscar nominations) comes out much later in the year. I’m not saying that films who get those nominations are the best ones, but pretty much all of my favorite films last year hit theaters between November and January, inclusive. I have still enjoyed a great many movies in 2018, and I produce this list so that you may be aware of them (you likely already are) and aware of their likability (judging by some of their box office numbers, you likely are not). 

#10: American Animals dir. Bart Layton

Equipped with a distorted view of the American dream and what it takes to attain it, four friends embark on a fool-hardy mission to steal millions of dollars worth of books from their university library. A spiced-up telling of a true story, director Bart Layton shows that it’s more about the journey than the destination. We know the heist is unsuccessful from the very beginning, but to watch the young men’s unpreparedness and naive overconfidence unfold before us is a thrilling adventure. 

#9: First Reformed dir. Paul Schrader

The aging Rev. Ernst Toller of the historic First Reformed Church receives a wake-up call from the world when he is asked to counsel the husband of one of his congregation, a man with a history of arrests and potential for violence stemming from his radical environmentalism. Writer/Director Paul Schrader pens an entrancing and unexpected screenplay around his troubled main character, portrayed masterfully by Ethan Hawke. Shades of Schrader’s masterwork Taxi Driver (1976) are abundant, as Toller transitions quickly from isolated pastor to staunch idealist, antagonized by growing religious commercialism and an unavoidably deteriorating world. 

#8: The Party dir. Sally Potter

A 70-minute-long single-set comedy shot entirely in black and white, the strength of Sally Potter’s screenplay comes from the amusement one gets watching privileged folk become more and more perturbed as they learn that their fellow elites are really only in it for themselves, and that what they wield in political power they lack in real, valuable relationships. Ending abruptly on perhaps the best plot twist I have seen this year, The Party is a petty, star-studded affair that justifies its existence with the entertaining evolution of the tumultuous associations of its characters. 

#7: Beast dir. Michael Pearce

A young woman over-protected by her mother and eclipsed by her younger sister finds love in a mysterious rural-dweller, only to learn he’s been suspected of being the perpetrator of a series of brutal murders, primarily of other young women. Both she and the audience are left in the dark regarding the real truth, and his refusal to be open about his life only serves to arouse suspicions. Beautifully shot and skillfully executed, writer/director Michael Pearce takes us on quite a ride, and lead actress Jessie Buckley gives a marvelous performance as her character is unceasingly torn apart by conflicting feelings of love and fear.  

#6: Thoroughbreds dir. Cory Finley

It is fun and amusing to say that Thoroughbreds’ most important lesson is that you should never trust a horse girl, but there’s admittedly more to it than that. The impressive directorial debut of Cory Finley is an exquisite dark comedy complete with sadistic performances from Olivia Cooke and Anya Taylor-Joy (who is also amazing in The Witch, which you should watch if you haven’t yet). The two formerly-estranged friends rebuild their relationship as they plan the murder of Lily’s (Taylor-Joy) stepfather, a highly wealthy man who gives Lily everything she could want save for love and respect. Erik Friedlander’s string and percussion-heavy score is a lovely, quirky complement to the film as well. 

#5: Upgrade dir. Leigh Whannell

Perhaps the most out-of-place film on this list, Upgrade is more of a Netflix-original-type B-movie as opposed to the typical arthouse fare that comprises the majority of the top spots. Most films of this form lack severely in interesting storytelling or technical execution, but I’m pleased to say this film has both. While the acting performances aren’t there, writer/director Leigh Whannell’s carefully-crafted sci-fi tale about a paraplegic widower who experiences newfound strength and intelligence with the help of a robotic spinal implant is surprising and so much fun. The action sequences are exciting and gory and over-the-top, and the camerawork is ingeniously complimentary to the rigid nature of the protagonist’s movements while under control of the mysteriously potent AI inside him. 

#4: Hereditary dir. Ari Aster

A24 studios continue to have a good eye for modern horror films. After they picked up the critically-acclaimed Killing of a Sacred Deer last year, they found new success with another family-centered psychological scare in Ari Aster’s Hereditary. Toni Collette gives a terrifying performance as the mother in a family long-plagued by mental problems and supernatural possession. Aster makes clever use of framing in order to deliver the biggest fright to the audience, and does so without utilizing a single jumpscare, an approach of which I am a huge fan. The film’s accessibility is also a huge asset; it’s wide release provided many a welcome break from the unimaginative drivel that gets rolled out every time a Friday, the 13th rolls around. 

#3: Annihilation dir. Alex Garland

Wow, it’s really cool that no one went to see this...

It wasn’t long ago that the Ghostbusters 2016 people were talking about how we never have female scientists in movies, only to make some crappy movie where the actresses just improvise a lot and make poop jokes. Here’s a fantastic sci-fi/horror film from the director of Ex-Machina (2014) with an all-female lead cast where all the characters are smart and possess a variety of knowledge and skills. The sound design is excellent, the premise is intriguing, and the final act is legitimately terrifying. Natalie Portman is great, too. But instead this got sent straight to Netflix in most places and failed to turn a decent profit. Stupid.

#2: You Were Never Really Here dir. Lynne Ramsay

Lynne Ramsay’s stylistic, radical deconstruction of the action genre turns You Were Never Really Here into a fascinating and unnerving character study. It’s also another film on this list that’s a lot like Taxi Driver (1976). Joaquin Phoenix portrays a psychologically wounded war veteran who works as a private enforcer, hunting down and mercilessly killing criminals who traffic and exploit children. Meanwhile, his character is constantly at war within his own head, making him unpredictable and worthy of our sympathy. Beautiful cinematography and Johnny Greenwood’s dissonant score enrich the experience two-fold. 

#1: Isle of Dogs dir. Wes Anderson

Complete with one of the greatest voice casts the world has ever seen, Wes Anderson’s heartwarming adventure about a Japanese boy who travels to a remote island to find his dog is one of the finest animated features you’ll find anywhere. The set and character design is magnificent, with so much attention to detail; the look of the dogs is especially laudable. Isle of Dogs is also rich with beautiful homages to Japanese culture. The banter between the dogs is funny, the destitute conditions of the titular island are heartbreaking, and Atari’s love and determination in the search for his own “man’s best friend” melted my heart into a puddle. Nothing pleases me more than to be able to, once again, grovel at Wes Anderson’s feet. 

[reviewsbyryan]

Incredibles 2 is a lot of fun, but not much else

If I’m being honest, I believe it’s pretty clear that Incredibles 2 was made because enough people told them to make it. It doesn’t do that much to justify its own existence (except make a lot of money, I guess), and the character development to number of characters ratio is worryingly low. That being said, it’s very fun to watch good guys with cool powers fight bad guys with cool powers.

In the second installment of the story of the superhuman Parr family, the illegality of public displays of said superhuman qualities is the primary hindrance to the family’s coexistence with society. When a wealthy tech mogul named Winston Deavor (Bob Odenkirk) hatches a plan to generate support for the supers, Helen Parr (Holly Hunter), otherwise known as Elastigirl, becomes the star of the show. 

Elastigirl, with a small camera attached, begins a new job fighting crime in a new city, and quickly becomes popular with the public. She soon becomes locked in battle with a new villain, Screenslaver, who has the power to hypnotize anyone through any screen. Meahwhile, Bob Parr (Craig T. Nelson), AKA Mr. Incredible, is forced to stay home and care for the Parr’s three children, a role in which he struggles immensely. 

Director Brad Bird is able to quickly recapture much of the magic of the first Incredibles film. Exciting and seamless, albeit very choreographed, fight scenes retain their heart-pounding excitement, especially as new supers are introduced and new powers are showcased. The animation is perfectly executed with vivid colors and eye-popping effects. Michael Giacchino repeats his success as the film’s composer, once again utilizing a sax and trumpet-heavy Bond-esque musical accompaniment. 

In addition, I loved everything with Jack-Jack. 

The film is also able to capitalize on a feminist message without being too preachy. As Elastigirl takes center stage in the story, there is much conversation regarding female empowerment and bread-winning, and the writers are careful to keep each character human. There are conflicting opinions, valuable debates, and true learning moments. 

The issues lie more in the film’s overall plot. To keep it simple, it’s just too predictable. It took very little time for me to (almost) correctly guess how the film would play out, and that diminished the payoff of the third act. It could be argued that “it’s just a kids movie,” but the original Incredibles felt a lot more unexpected with significant characterization along the way. This may sound harsh, but the fantastic Pixar short “Bao,” which precedes Incredibles 2 in theaters, told a much better story in just 3 or 4 minutes, without a single line of dialogue. 

Still, the shortfalls of the screenplay do not significantly deduct from the film’s overall quality. At the end of the day, Incredibles 2 is visually magnificent, exciting, and heartwarming, even if it is a bit of a cash grab. When we compare, however, where the Parr family is at the end of this film to where they were at the end of the first one, there doesn’t seem to be a whole lot of change. And that’s why Incredibles 2 is more of a “why?” instead of a “wow!” Strong 6

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American Animals is a different kind of heist movie

I am a proud MoviePass user. American Animals is the 27th film I have seen in theaters since subscribing to the service about 3 months ago; needless to say I’ve gotten my money’s worth. MoviePass however, have perhaps not. American Animals is among the first films that MoviePass have themselves invested in, with a meager first two days of about $550,000 (compared to a $3 million budget), it may be safe to assume that the cinema subscription service is buying many of the tickets to their own movie.

Of course, none of that has anything to do with the quality of the film, rather, I just wanted to share that particular bit of irony with you. As for American Animals itself, I quite enjoyed it. It’s a heist movie, but you won’t find any shades of Ocean’s Eleven in here. Sleek suits and clever diversions are replaced with nervous breakdowns and foolish incompetence.

American Animals is essentially a docudrama, centering around the attempted theft of several rare and valuable books from the Transylvania University library in 2004. I can say “attempted” because the movie tells you that the heist was a failure almost as soon as it begins. There really are no spoilers here.

This was probably the biggest risk taken by writer/director Bart Layton in the making of this film. Why should the audience stay invested if they already know what will happen? Layton is able to make it work by not revealing any of the heist’s details. The question of how they will fail is left unanswered, and the screenplay is able to make those details the most intriguing bit of information.

Barry Keoghan and Evan Peters are both excellent as Spencer and Warren, respectively. The two friends they portray are in over their heads from the very beginning, and their performances shine brightest when things go from bad to worse during the robbery. The sheer panic brought about by knowing that millions of dollars of stolen goods was replaced with years behind bars is exhibited very well. 

The film does suffer a bit in the second act, however. With a crime so haphazardly planned, there is a lot of time in between the introduction of the characters and the crime itself that not a whole lot happens. I found myself getting a bit bored, just waiting for the good part to actually show up.

The third act is the film’s saving grace. When the boys are actually doing the crimes, everything is super tense. I was even short of breath at a few points. It was all totally gripping. I was in a state of incredulity; I couldn’t believe just how dumb these guys must be to try to pull this off. And I think that’s really the point.

The four students ultimately convicted of the crime each spent 7 years in federal prison. And they all appear in the film, narrating the story and telling us how it really went, or at least, how they remember it went. It gave the movie a bit of an “I, Tonya” sort of feel, and that really capitalized the gravity of the situation. Each man is now out of prison, living his own life.

Most of all, American Animals is about how stupid decisions can fuck up our whole lives. The things we think we can get away with come back to haunt us in the end. Obviously, very few of us have actually tried to steal millions of dollars worth of rare goods from a library or museum, but we can still learn lessons from the mistakes we make. American Animals is an exciting tale of how four young men learned them the hard way.

Decent 7 

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Ethan Hawke dazzles in the wild, weird, and political First Reformed

There’s this weird thing that’s been happening these days with almost every slow-burning troubled male-centered character study: They all get compared to Taxi Driver. They did it with Drive, and more recently with You Were Never Really Here. Taxi Driver is indeed a fine film, but it seems like its place in film history is perhaps being taken advantage of.

Of course, I will render my preceding diatribe null and void by comparing First Reformed to Taxi Driver. But considering the two were written (and the former, directed) by Paul Schrader, and pretty much have the same plot, I can justify giving myself a pass.

The film centers around Reverend Ernst Toller, who presides over services at the First Reformed Church (roll credits!). When we meet him, Toller is already struggling with a plethora of issues. He is still processing the death of his son who served in the military, and he struggles with alcoholism that his taken a toll on his health. The 250th anniversary of his church is approaching and he faces pressure from nearby megachurch Abundant Life to dole out favors to the landmark’s benefactors. A new challenge presents itself as he is asked by a woman named Mary to counsel her husband Michael, a radical environmentalist who wants Mary to get an abortion, as he believes it is unmerciful to bring a child into what he considers a terrible world. 

We hear all of Reverend Toller’s thoughts as he writes prolifically in his diary. Toller is reclusive and grave in his expressions, yet is seemingly quite devoted to his practice. However, the troubles that face him trigger a transformation within. Michael’s extremism begins to rub off on the reverend, and he becomes increasingly cynical of the world he lives in. 

At times, that particular political aspect of the film is perhaps a bit too “on the nose.” It’s as if Paul Schrader is giving something more than just a slight nudge that he wants you to care about the planet, even if none of the characters in the film who care have very much in the realm of redeemable qualities. 

Yet, it’s also a clever way of evolving the film. Abundant Life’s existence as a negative force in the Reverend’s life completely changes form. They go from the big mean boss telling him what to do to something much darker: a Koch-brothers-esque allegory for the corrupt leaders whose primary interest is padding their own pockets.

Through it all, Ethan Hawke makes Reverend Toller’s instability totally believable and enthralling to watch. His increasingly complicated relationship with Mary adds a softer touch to his cold, bitter default state. Amanda Seyfried, who portrays Mary, gives another of the film’s great performances. 

If there’s anything to be said for Paul Schrader, it’s that he definitely knows how to end a film with a bang. Nearly everything that happens in the last 20 minutes or so is totally unexpected and delightfully juicy. First Reformed is one of those “what the fuck did I just watch?” movies, and I like those kinds of movies. 

I do think the film’s politics do sometimes distract from the story at times, and I wish the cinematography and lighting didn’t make everything look so dark and washed out. Basically, there’s no reason to believe that normal people don’t turn on the lights when they’re home.

Other than that, I enjoyed everything else about First Reformed. Ethan Hawke is a solid bet for a Best Actor nomination, and I get to add yet another film to the list of A24 successes. Not to mention, I have an excuse to watch Taxi Driver again. 

Decent 7

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Hereditary is modern horror, done right.

They don’t make ‘em like this, anymore. In the age of cheap jump scares, tired cliches, and totally unnecessary sequels, Ari Aster has given us a fresh, suspenseful, psychological horror story about an incredibly troubled family.

The biggest selling point for me is this: the film has zero jump scares. Jump scares, while often effective, do not accomplish a horror movie’s task. That task is to scare the audience; a jump scare merely startles. Being startled leaves no impact lasting longer than a few seconds, and inspires very little thought. When you can actually scare an audience, that fear will often linger long after the film as ended. Hereditary accomplishes the horror movie’s task better than any I’ve seen in a long time.

It is quite difficult to explain Hereditary’s plot without spoiling any key moments. Surely one of the film’s most unexpected and important events takes place very early on; it feels irresponsible to reveal anything past that point. I went into this film almost completely blind as to its plot, and I’m glad I did.  

What I can say is that Hereditary is about family. And I of course don’t mean to jest in the way that Deadpool 2 did when it claimed to be a film about family. After the reclusive grandmother of the central household passes away, the mother, father, and their two children are left feeling like she never left. 

The daughter, Charlie (Milly Shapiro), is initially the family’s most eerily-portrayed figure. Charlie was closer to the deceased grandmother than perhaps even her own mother, and while we never see the grandmother alive in the film, it is very clearly that the woman was not a stable or healthy person to have in a house.

The mother, Ann (Toni Collette), is the film’s centerpiece, however. Initially, she seems the most sane of the bunch. Well, perhaps her husband is the sane one, but he also seems mostly clueless most of the time. Ann is a dollhouse artist, building and painting tiny structures and figurines that often contribute to the sadistic terror of the film.

Toni Collette gives a knockout performance as Ann, a performance I dare say is “best actress nominee” material. Horror films don’t normally get much attention from the Academy, but after Get Out’s success last year, anything is possible. Collette is kind and loving when she needs to be, hysteric and distraught when dealing with loss, and even incredibly demonic as her sanity falls in and out of place.

A lot of the camerawork is very well-executed, too. Ari Aster makes healthy use of long, slow pans, dizzying inverted shots, and meticulous framing. In many scenes, I was impressed at how he was able to designate a very particular level of importance for certain objects or persons within the shot. That also contributed to this film’s high scare factor.

What makes Hereditary scary is that it focus on real dangers invoked by real emotions. Silly possessed dolls and demons aren’t scary in and of themselves because those things aren’t real and we have no reason to fear them. What is scary is the idea of a family falling apart, exposing one’s self to harm to protect others, and the worry that the people you love are transforming into something you don’t recognize. These are things that happen to all of us in real life, and Hereditary takes those ideas to the extreme to really terrify us. 

If I have one complaint, it’s that I thought the ending was a little silly. It’s certainly one that’s open to interpretation, and would inspire differing opinions between viewers. My personal feeling is that the ending does something a little more similar to what a mainstream horror flick would do, and it kind of took me out of it a bit. Nonetheless, I cannot deny that Hereditary made me feel perpetually uneasy, a feeling which I cherish in the horror genre. 

Hereditary is probably not a horror classic, but it is still a great film. I sometimes forget what it means to be scared, and it’s lovely to come across something that refreshes my memory.

Light 8

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Upgrade is impressively well-crafted sci-fi

Considering director Leigh Whannell’s only previous credit behind the camera is Insidious: Chapter 3, I’m really damn surprised at how good this was. Despite a few sub-par acting performances typical of a B-movie, Upgrade is original, exciting, gory, and outrageously fun.

The film begins with a horrible accident. Grey Trace (Logan Marshall-Green) is left a widower paralyzed from the neck down after the self-driving car carrying him and his wife goes haywire, crashing into a gang-infested neighborhood. 

A highly wealthy acquaintance presents Grey with a new opportunity: an experimental implant called STEM. STEM, once attached to his spine, allows grey to move his body, expand his mind, and fight with superhuman ability. Throughout the film, Grey attempts to get back at the people who nearly destroyed his life, all while realizing that this newfound power may be more than he bargained for. 

Upgrade is filled with twists. At every moment, you are never quite sure who is pulling all the strings. There are many heroes, many villains, and many characters switch between the two. Yet the movie is always careful to be well organized, never leaving the audience confused as to who stands where.

STEM, which functions almost as another person living inside Grey’s body, is a nicely executed character. STEM has immense power, and never quite seems totally trustworthy; this fills the movie with tension even when there’s a break from the action.

The action sequences are nicely put together as well. The camera movements, quite robotic in nature, perfectly complement the nature of the situation. Grey is hardly in control of his own body. The robot controls it for him, and his movements represent that well.

Logan Marshall-Green is not necessarily the best actor, though. Some lines of dialogue just don’t seem like they were delivered properly, and he sometimes has trouble adapting to the tone of the scene. He plays it too funny when it’s serious, and vice-versa. Still, it’s not significant enough to greatly distract from the film. The story truly shines.

My hope is that this film gets a bit more attention during its run in the theaters. It definitely has a bit of a Netflix B-movie feel to it, with some over-the-top action sequences and some shaky acting. But on the other hand, I thought it was thoroughly enjoyable, and I’ll bet you’ll think so too.

Light 8

[reviewsbyryan]

Beast is an exciting exploration of love tainted by insanity

The debut of director Michael Pearce is disturbing, to say the least. It’s delightfully sadistic. It’s also perhaps a tad exhausting.

Our protagonist, Moll (Jessie Buckley), is quiet, reserved, and has something of a troubled past. After a less than satisfactory birthday party where her sister steals all the attention, she goes out for a night of drunken dancing, ending up as a near victim of sexual assault. Pascal, a local poacher, comes to her rescue.

The people in Jersey, where the story takes place, are on edge. A 15-year-old local girl is missing, and likely the fourth victim in a string of gruesome murders. Moll quickly falls in love with Pascal, only to discover later that he is one of the prime suspects, and that he carries a troubled past of his own.

As the investigation continues and their relationship is increasingly strained by the deeds Pascal may or may not have committed, each of their sanity slowly deteriorates, and things go from mildly troubling to absolutely mental.

It’s a riveting thing to watch, and Jessie Buckley especially shines in the lead role. Her character is a different person depending on her company, and Buckley nails the aspects of each one. 

It is surely impossible for me to go any further into the story without spoiling its events. Suffice it to say that there are twists at every turn, and a few incredible scenes where director Michael Pearce creates a perfect mood, whether peaceful or otherwise.

My only big issue is that I think the movie had several great opportunities to end and leave itself where it was, but it just didn’t. Instead, it goes on a few scenes too long, and fails to deliver as big of a final jolt as it could have. Nonetheless, Beast is a modern psychological thriller that proves to be one of my favorites of the year so far. 

Strong 7

[reviewsbyryan]

I have a new favorite Aphex Twin record...

I listened to Selected Ambient Works Volume II (1993) while at work yesterday, and damn is it amazing. This super minimalist and flawlessly produced work by Richard D. James is easily one of the best ambient albums I’ve heard. Every track evokes a certain mood and that mood penetrates to your very core. Highly recommended. 

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The necessity of its existence is questionable, but Solo: A Star Wars Story is still a perfectly serviceable action/adventure.

Truth be told, it wasn’t particularly difficult for Solo: A Star Wars Story to leave me satisfied. After the hot mess that was The Last Jedi (2017), I was eager to see Solo because I was confident that Ron Howard would be able to put together a more focused and less preposterous Star Wars movie. 

It is probably dangerous for me to lower my standards in such a way, so I will attempt to elaborate on my passive enjoyment for this film brought about by the film’s own qualities, rather than simply my status as a “Star Wars fan.” If I fail to approach it from an objective standpoint, it would make my criticisms of other franchises (namely, comic book movies) less valid. 

It’s not really about was Solo has, so much as it is about what it doesn’t. Solo doesn’t try to change your life, as so many other blockbusters seem to be attempting. There isn’t some “epic” half-hour battle scene or drawn-out character arc. Rather, it’s a story about a young, cocky pilot who dives head-first into an adventure that is surely more than he can handle. 

This stand-alone format also works because the frame stays fixed on our protagonist. We follow Han Solo all the way through the story, and the story very much unfolds around his own thoughts and actions. It makes for a more focused movie; there are no unnecessary B-plots or side stories that compete for our attention.

The action sequences prove to be the film’s most valuable asset. The car chase at the beginning is really fun, the train robbery is super exciting, and the Kessel Run, while perhaps just a bit over the top, is extremely gripping. 

Alden Ehrenreich manages to pull off what I figured to be a difficult task: actually making me feel like I was watching the real Han Solo and not just a cheap stand-in. Non-Harrison Ford Han Solo took some getting used to, and I liked the decision to show him in a younger, more naive light than the one we knew from the original trilogy.

The supporting casts tends to lack in replicating the enthusiasm, however. I did feel like Woody Harrelson and Emilia Clarke were phoning it in, at times. There’s also the fact the film’s villain, Dryden Vos, is really not all that intimidating. We hear a lot on-screen about how ruthless and dangerous he is, but we don’t really see much of it. 

Yet, my biggest issue with Solo was the fact that it fails to hide its true purpose: an effortless attempt to appeal to Star Wars die-hards. While making the fan base happy is a somewhat noble goal, I do feel like the Solo spends far too much time winking at things from the other films. There are a lot of silly scenes where the movie gives quick, lackluster explanations for things that we remember from A New Hope (1977). Random lines and character ticks that don’t really mean much are assigned meanings in retrospect, and that much feels a bit cheap. This is also the second Star Wars movie in a row that thinks I care about the stupid dice. I don’t.

The cameo near the end (you know the one if you’ve seen it) made me chuckle a little bit. As someone who’s a bit more familiar with the Star Wars mythos than than the average Joe, I can confirm that the cameo makes perfect sense story-wise, but it really does seem thrown in for more fan-service. 

Nonetheless, Solo: A Star Wars Story shows decent recovery from its tumultuous production, and avoids the mistake of trying to make itself feel too important. We probably didn’t really need a Han Solo stand-alone film (and we sure as fuck don’t need a Boba Fett one!), but the one we got was simple, fun, and extremely competent. And that’s really all I could’ve asked for at this point.

Light 6

[reviewsbyryan]

I’m seeing Solo: A Star Wars Story tonight

Review to come probably tomorrow. If it sucks, I’m blaming the dude who just sat down right next to me even though there are plenty of open seats.

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Cool female-led garage rock...

I ran into this band when I saw their AV Undercover performance of Len’s “Steal My Sunshine” on YouTube. It was pretty good so I tried their debut album, Guppy. It is also good. 

[reviewsbyryan]

The Rider is a quietly powerful conflict between passion and fear

Chloe Zhao’s latest film is about Brady Blackburn, a rodeo competitor who suffers a serious head injury that puts his entire career at stake. Throughout the film, Brady attempts to recover and continue his passion for riding. Sidelined from his key source of income, and in constant conflict with his father, Brady struggles to get by in rural South Dakota.

Perhaps the most interesting part about this film is that all the characters are real people portraying their own personal stories. Zhao met Brady Jandreau (the real name of the protagonist) while shooting her last film, “Songs My Brothers Taught Me (2015),” and decided to base The Rider on his story. 

The life of a rodeo star is shown to be a dangerous one; Blackburn himself points out that “any ride could be your last.” This extreme danger is paired with near-reckless desire for those who participate in the sport. Brady acknowledges that he is lucky to have not been hurt worse in his accident, but it doesn’t seem to quell his own desire to ride. 

Still, he is forced to face that fact that many of injuries will have permanent effects, and that there are people in his life who depend on him. His absence would deal a heavy blow to his already struggling family. 

This internal debate is emotional and tumultuous, and Chloe Zhao tells its story carefully and with precision. The film does get a little bit slow at points, but stunning cinematography helps enhance some of the less exciting scenes. 

The decision to use real people instead of actors is not an experiment that is always successful either (Clint Eastwood’s “The 15:17 to Paris (2018)” comes to mind). It works fairly well in this film, although there are a few scenes (particularly the one where Brady and his friends sit around the campfire) where dialogue is delivered somewhat awkwardly and slightly out of sync. It pays off in other moments, where characters’ emotions are far more convincing because the person portraying it has actually experienced it. 

Despite some forgettable moments and a bit of off-kilter dialogue, The Rider is a great story that draws you in regardless of whether you’ve ever ridden a horse. 

Light 7

[reviewsbyryan]

Fuck you and ur uniball pens

Do NOT  talk shit about uniball pens EVER

[reviewsbyryan]

I just listened to DAYTONA

It was pretty good. Not anything spectacular though. Except maybe “What Would Meek Do?” Certified banger with a top-tier Kanye feature.

[reviewsbyryan]

Being aware of a mess does not make that mess any less messy

It seems Deadpool was a joke that was only funny once. 

I sensed things were amiss pretty early on. After a fairly unmemorable opening sequence where Deadpool graphically massacres a bunch of faceless bad guys in various parts of the world, the movie actually delivers a pretty convincing gut punch, something I didn’t expect from Marvel’s least serious sub-franchise. Then it cuts to the opening credits where we get a close-up of Ryan Reynolds’ ass. The gravity of the moment is completely thrown out, which was strange even for an obvious comedy. Still, the opening credits sequence was once again one of the more hilarious parts of the movie. 

The story is ultimately about Deadpool trying to find a greater purpose, which he slowly discovers while attempting to protect a young mutant, Russell (Julian Dennison), from a time-traveling half-man/half-machine called Cable (Josh Brolin). There are well over a dozen supporting characters, but the movie keeps the attention on the title character as much as it can. 

Through 2 hours of 4th wall breaks, awkward pop culture references, and a weird dubstep joke that wears out its welcome well before its finished, we get a lot of unexpected twists. The twists are so unexpected, however, that it doesn’t really feel like the movie knows where it’s going at all. 

The makers are well aware of this though; the characters in the film comment on it repeatedly. The question that hung in the back of my mind is “why not just make a funny movie that makes sense like the last one?” At times, I was too busy figuring out what was going on that I didn’t know when to laugh. 

Then again, maybe my sense of humor just sucks. There were a couple jokes in there that I laughed really hard at but no one else in the audience did. I gotta tell you, it’s an awkward feeling. 

Everyone laughed at the end credits scene, though. Kinda makes you forget you just watched a huge clusterfuck. 

Strong 4