The Kyterion

Dedicated to the celebration and shared experiences of film and pop culture, both past and present. Linktree: https://linktr.ee/thekyterion

[thekyterion]

This year’s Spooky Season watchlist 🥰

Favorites: Trick r Treat, Night of the Living Dead, Over the Garden Wall

[thekyterion]

M3GAN and the History of January Horror

January, for the longest time, has seemingly become a month for film devoted to three things: films seeking awards attention, films still playing from the holidays, and horror movies.

As long as I can remember, January has been a dumping ground for less-than-stellar horror flicks that studios unfortunately leave to die in cinemas. The vast majority of them being disliked by critics and audiences alike. Despite this, they often end up still making enough to break even due to their low price tags and advertising costs.

However, when the trailer for “M3GAN” first dropped a few months ago and people saw that January release date, the sense of worry surrounding January released horror was immediately overshadowed by incredibly high levels of hype. From a M3GAN Twitter account to gifs of the android doing kicks and flips to even a surprise remixed Taylor Swift deep cut, the film already had audience members in love and optimistic for the film.

Now, it seems our new murderous android bestie is officially dancing her way past the January horror curse after being released in theaters with stellar reception. With a 95% on Rotten Tomatoes, and close to $3 million in revenue from previews. “M3GAN” is projected to gross up to $20 million in its opening weekend alone, exceeding its $12 million budget breaking even in its first weekend alone.

If it opens higher than expected, it could even challenge “Avatar: The Way of Water” for the number one spot. However, my new favorite killer robot will face other horror competition almost every weekend of this month, so it will be very interesting to see how, and if, she is able to fend off the competition.

As for the film itself, “M3GAN” is as much fun as it looks to be. It was much funnier than expected, and even moments that were scary couldn’t helped but to be laughed with. Allison Williams once again shows that she is phenomenal in horror performances, and child actor Violet McGraw holds her own incredibly well in every scene, seemingly knowing how to perfectly balance the sadness and humor her character possesses.

The standout, of course, is the titular android, played with perfect terror and comedy by Amie Donald and voiced to terrifying comedic brilliance by Jenna Davis. M3GAN is going to become an iconic horror staple incredibly quickly because of their joint work to create such a scary and hilarious antagonist.

The film also beautifully comments on grief and the ways we act and things we do in those moments to help or hide our emotions. Williams and McGraw are the emotional core of the film, and both are able to perfectly keep that in tact while all of the murderous and hilarious shenanigans go on around them.

This is one movie worthy of the theater experience. My entire theater was perfectly in tune with the film. The film ended in applause, something I hadn’t seen at an AMC in a very long time. It’s clear people love M3GAN, and I really hope M3GAN loves us back.

[florencemachines]

#same energy

The princess Diaries (2001) // Glass Onion: A Knives Out Mystery (2022)

+bonus

[thekyterion]

TOP 10 FILMS OF 2022

In a year full of huge blockbusters, record-breaking indies and a sequel for just about every movie ever made, here are my top 10 films of 2022.

“Aftersun” (dir. Charlotte Wells): An incredibly personal, poignant and heartbreaking directorial debut with performances for the ages from Frankie Corio and Paul Mescal. Following a father and daughter on holiday, the film’s editing and sound design also stand out in this 96 minute emotional masterwork. I’d type more but I’d start crying. Seriously.

“Babylon” (dir. Damien Chazelle): A three hour spectacle of filmmaking and the perils of transitioning through one’s career as the environment around you shifts uncontrollably. Chazelle goes back to his “Whiplash” roots, with tension dialed up to 10 for most of the film, especially the final hour. Diego Calva leads the film perfectly, Margot Robbie gives one of the best performances of the year, and the entire supporting cast (especially Jovan Adepo) are phenomenal. Brilliant crafts and one of my favorite endings in recent memory. Definitely worth the big-screen experience.

“The Banshees of Inisherin” (dir. Martin McDonough): The perfect encapsulation of the deterioration of a friendship that should not go to the levels it does. The entire cast is superb, with all four stars (Colin Farrell, Brendan Gleeson, Kerry Condon, and Barry Keoghan) deserving of awards recognition and will likely be huge threats in their respective acting categories. It’s a gorgeous film that is absolutely hilarious and heartbreaking at the same time, with a thesis that leaves you questioning everything but also never once lets you pick sides in the central battle. And it only gets better and funnier on each rewatch.

“EO” (dir. Jerry Skolimowski): One of the most immersive cinematic experiences I have ever had. The film, Poland’s submission for Best International Feature, places you directly in the eyes of a donkey named EO as he ventures across Europe and the many types of people and perils the world requires you to face, should you be brave enough to venture outside into them. Despite never saying a word, the film uses its breathtaking cinematography and sensory-inducing editing to allow you to understand everything EO does on an incredibly emotional level unlike anything I have ever witnessed.

“Everything Everywhere All at Once” (dirs. Daniel Kwan & Daniel Scheinert): The best and most original film I’ve seen in years. I’ve spoken so much about my absolute love for this film. I saw it 8 times in theaters in 2022, including one screening in IMAX at the TCL Chinese Theatre (which was life-altering). The multiverse masterpiece follows Michelle Yeoh playing a woman who just wants to do her taxes, but finds herself trapped in an inter-dimensional war that affects her current universe all too much. Stephanie Hsu and Ke Huy Quan deserve Oscars for the heart and soul they are able to bring to the film, and Yeoh is my pick for Best Actress, brilliantly balancing every version of her character within a film that changes genres so quickly and dramatically. A brilliant feat of filmmaking.

“Living” (dir. Oliver Hermanus): Based on the 1952 Akira Kurosawa film “Ikiru”, “Living” centers on a man (Bill Nighy) who is coming to terms with his impending death and understanding what it means to be alive and live. Nighy is brilliant and leads the film with impeccably perfect acting, and the film ponders and allows for many questions about life. It’s simply beautiful and never goes where you think, despite being given a road map at the start of the film. If I left the film with anything, it’s that what we choose to do with the time we have matters.

“Marcel the Shell with Shoes On” (dir. Dean Fleischer-Camp): A feature length film based on the YouTube short films, Fleischer-Camp returns to the world of Marcel with star Jenny Slate back as the voice of the a tiny shell you will instantly fall in love with. It’s a stop-motion animation marvel that is able to beautifully combine genres together and never once feels like the bit is going on too long. You’ll want to stay with Marcel for a very long time, and he, once you see the film, will stay with you.

“Nope” (dir. Jordan Peele): Yep. Peele leads Daniel Kaluuya, Keke Palmer, Steven Yeun and Brandon Perea, among others, in this beautifully complex and terrifying thriller that never once goes where you think it will. Peele gives all the puzzle pieces to us in the first watch, but repeated viewings continue to make the puzzle more complete. With some of the best crafts and scenes of the year, especially the score, “Nope” proves that Jordan Peele isn’t running out of brilliant ideas anytime soon.

“TÁR” (dir. Todd Field): Cate Blanchette is terrifying and brilliant as Lydia Tár, a conductor preparing for one of the biggest career achievements of her life while also dealing with the consequences of her previous actions. The film asks some incredibly difficult questions and, even with a daunting 158 minute runtime, doesn’t leave anything unanswered. The film at times feels like a horror film, and is incredibly tense and filled with flashes and visions of the past. Repeated viewings will reward with hidden ghosts and a greater understanding of Todd Field’s vision as a writer and Blanchette’s performance, both of which cannot be praised highly enough and will be huge and deserved contenders during awards season.

“Women Talking” (dir. Sarah Polley): The ensemble of the year, the film follows a group of Mennonite women who are discussing the best course of action to take after an incredibly dark discovery. Polley bakes in the questions of what it means to have a voice and how it can be silenced without realization. The entire cast is absolutely astounding (Claire Foy, in particular, gives a stellar performance), and the score and cinematography are simply stunning. It’s a film that asks hard questions and deals with even harder subject matters, but still remains hopeful even in the darkest of moments.

Score: “정훈희” (Jeong Hun Hi or Jeong Hoon-hee) (안개(Fog) 1967)” from “Decision to Leave” (dir. Park Chan-wook)

[thekyterion]

ALBUM REVIEW: “SOS” by SZA

It’s been nearly five and a half years since SZA dropped CTRL, an album that truly changed and saved my life so many times. It’s a masterwork that is relatable on so many scales accompanied by some of the best lyrics, beats and vocals of all time.

Since, fans have been clamoring for what’s next from SZA. In the time between her albums, SZA became an Oscar nominee, a Grammy winner and dropped multiple singles, including “Hit Different (feat. Ty Dolla $ign)”, “Good Days”, and “Shirt”, the latter two being on “SOS”.

One of the biggest differences between the two albums is their length. “CTRL” had 14 tracks to “SOS”’s 23. There’s also a shift with SZA lyrically. It seems as if she has some better understanding of the troubles talked about in “CTRL”, but some songs still show that, even all this time later, SZA is still as vulnerable and hurt as she was, despite the clear mental and emotional growth displayed throughout the album.

Even with 9 additional tracks, SZA has once again created a skipless masterwork that shows the elevation of her artistry and abilities across her lyrics, production and vocal range. If I have to wait 5 and a half years for another SZA album, I will gladly do it again.

MY TOP TRACKS:

- Kill Bill

- Low

- Ghost in the Machine (ft. Phoebe Bridgers)

-Conceited (currently playing)

- Special

- Good Days

“SOS” is available to purchase/stream on all services.

#sos #sza #ctrl #campctrl #thekyterion #review #album #phoebebridgers

[thekyterion]

THE MENU (2022, dir. Mark Mylod)

In recent years, there has been a massive uptick of films that have been catalogued as “eat the rich” films, in which characters with obscene wealth get their comeuppance in some form. There’s even an “eat the rich” Best Picture winner in Bong Joon-Ho’s “Parasite.” It’s a genre that has grown to be beloved by critics and audiences alike, and some even go on to become box office success stories (2019’s “Knives Out” is a great example, grossing $165 million domestically as an original property alone).

This year has seen multiple entries into the genre, but none seem to have hit the nerve of audiences and critics like “The Menu,” a delicious satirization of the world of fine dining and those to whom have the luxury of experiencing it. We follow Margot and Tyler (Anya Taylor-Joy and Nicholas Hoult), who are visiting a luxury restaurant on a private island, along with some rich, famous and powerful guests. Once there, they realize they are in for more than they bargained for as head chef Julian Slowik (Ralph Fiennes) has quite the meal up his sleeve.

“The Menu” keeps its secrets close to its chest, never letting the audience in until its time, just like a perfectly cooked meal. It allows itself to build tension throughout while also being absolutely hilarious, packing one-liners and biting commentary about society. The entire ensemble cast is superb, with standouts being Taylor-Joy, Fiennes and, my favorite, Hong Chau as Slowik’s biting and blunt assistant.

There’s a moment halfway through the film when you finally realize exactly what you’re getting on “The Menu,” and it might be one of my favorite scenes of the entire year, somehow hilarious yet terrifying at the exact same time. One of the best films of the year, and a phenomenal addition to the ever-growing “eat the rich” genre.

IF YOU LIKE THE MENU:

- Triangle of Sadness (2022, dir. Ruben Östlund)

- Ready or Not (2019, dir. Matt Bettinelli-Olpin & Tyler Gillett)

- Hustlers (2019, dir. Lorene Scafaria)

[thekyterion]

BONES AND ALL (2015 Novel by Camille DeAngelis, 2022 film dir. Luca Guadagnino)

When I first heard a film about a cannibal love story was coming to theaters, my first instinct was to say “absolutely not”. Then I learned of the talent behind the film and my interest was piqued, as was my stomach. I am not a big fan of body horror, and knowing that the content matter of this film would likely be grisly and gross, I was ready for the nausea to sit right next to me in my recliner.

I was delighted to find out that the film was based on a novel, and I ran over to purchase it as soon as I could. I ended up reading it over the course of three days and found myself transported by the story and emotions running throughout, despite some more grisly moments. DeAngelis captures a story of growing up, discovering self and love/loss all guised under a cannibalistic backdrop in a beautiful portrait of what it means to understand one’s self. She also brilliantly weaves in the narrative of a young woman struggling to understand herself and her role in the world through Maren, one of my favorite protagonists I’ve had the pleasure of following in a very long time.

The film, unsurprising if you’ve any seen Guadagnino’s previous works, captures that perfectly. Taylor Russell leaps off the screen and once again gives a performance for the ages. I cannot wait to see her continue to grow and develop as an actress who already has so much talent and empathy at such a young age. Supporting players like Mark Rylance and Timothee Chalamet also turn in phenomenal work, specifically Rylance, who should definitely be in the awards conversation this year. He gives a performance of nightmares and he is a relentless and terrifying force, even when not on screen. Chalamet makes a great foil for Russell and the two have a natural chemistry that makes their characters incredibly believable and natural.

The crafts behind the film, especially the score by Trent Reznor and Atticus Ross and the cinematography from Arseni Khachaturan, are worth the price of admission alone. There are changes from the book to the film, and, like most adaptations, some work and some do not. If you asked me now which I preferred, I would have to say the book, solely because there are details from the novel that help to tie a lot of strings together and gives more closure to our characters in a way the film doesn’t (that feels purposeful in the film, however). Still, the changes that happen never take away from what we are seeing: a beautiful, messy coming of age story.

TW: lots of gore, violence, icky stuff

IF YOU LIKE BONES AND ALL:

- Raw (2016, dir. Julia Ducournau)

- Waves (2019, dir. Trey Edward Shults)

- Suspiria (2017, dir. Luca Guadagnino)

[thekyterion]

GLASS ONION: A KNIVES OUT MYSTERY (2022, dir. Rian Johnson)

2019’s “Knives Out” was a huge success. It was critically beloved, made over $300 million worldwide and received an Oscar nomination for Best Original Screenplay in one of the most competitive years in that category. Naturally, conversation turned to whether or not we would get a sequel (because Hollywood’s gonna Hollywood), and now, three years later and a reported $450 million later, Netflix has release their first of two guaranteed sequels/anthology films in theaters for an exclusive one week run.

The plot of Glass Onion has remained so wildly under wraps that I won’t even dare to do a plot synopsis. Just know that Benoit Blanc (Daniel Craig) is back and the game is once again afoot, this time on an island with people who are all dressed so fabulously it can only mean they must be up to something.

What I will say is that Glass Onion, like it’s predecessor, keeps you guessing constantly, despite keeping everything there for you the entire time. Johnson weaves the narrative beautifully so that information is revealed only when it is necessary to the characters or to the audience in a way that leaves you never knowing where it will go next. Like the puzzle box introduced in the trailer and the beginning of the film, there are many layers and many more puzzles before you even begin to understand what’s going on. But you first have to figure out exactly what it is you’re dealing with, something Johnson crafts very well.

It also possesses one of the best ensemble casts of the year, and while they don’t all get their moments to shine like they do in the first film, they each bring something unique and important to the overarching mystery unfolding. Highlights are easily Janelle Monae, Kate Hudson and, of course, queen Kathryn Hahn.

If you get the chance to see this in theaters this week, make sure to jump on it. Glass Onion will release on Netflix to stream December 25th.

IF YOU LIKE GLASS ONION:

- Clue (1985, dir. Jonathan Lynn)

- The White Lotus (HBO, 2 seasons)

- Spy (2015, dir. Paul Feig)

- Who Framed Roger Rabbit? (1988, dir. Robert Zemeckis)

[thekyterion]

SHE SAID (2022 dir. Maria Schrader)

“She Said” follows the pursuits of New York Times journalists Jodi Kantor (Zoe Kazan) and Megan Twohey (Carey Mulligan) as they learn about and work to publish a report about the sexual misconduct in Hollywood, specifically in regards to Harvey Weinstein.

The entire cast gives stellar performances, with Kazan, Mulligan, Patricia Clarkson and Samantha Morton all turning in awards worthy work. The film takes care to place you right into the mindset and world that Kantor and Twohey are facing, and Schrader carefully weaves the narrative throughout, bringing waves of tension, despair, relief and sympathy that come together to create an emotional experience few films can match.

As I was told at AFI Fest a few weeks ago, “if you think you know this story, you have no idea.” Easily one of the most brilliant films about the challenges of journalism and the perils faced by those brave enough to tell the stories that will help change the world.

IF YOU LIKE SHE SAID:

- All The Presidents Men (1976, dir. Alan J Pakula)

- Promising Young Woman (2020, dir. Emerald Fennell)

- Spotlight (2015, dir. Tom McCarthy)

Visit the link in the bio for all things Kyterion.

[thekyterion]

The Kyterion Essential Films: A living document of my favorite/most personally impactful films. More added soon.

- Bringing Up Baby (1938 dir. Howard Hawks): One of the first “old time Hollywood” films I saw as an adult and I fell in love immediately. It’s sharp, quick humor that never lets up and, even today, it’s still absolutely hilarious.

- The Descendants (2011 dir. Alexander Payne): This is the first “Oscars” movie I ever saw, and it has stuck with me for 11 years. It’s a story of love and loss and what it means to be a family.

- Easy A (2009 dir. Will Gluck): If there’s any movie I’ve seen the most, it’s Easy A. I’ve loved it since I first saw it, and I will always love it.

- ET: The Extra Terrestrial (1982 dir. Steven Spielberg): This is the first movie my mom remembers seeing in the theater and I have always had a soft spot for this little alien. I got to see it in IMAX this year and I cried so much.

- Gone Girl (2014 dir. David Lynch): The perfect example of adaptation from page to screen and a brilliantly terrifying ride from start to finish, especially thanks to Rosamund Pike as Amy.

- Mad Max: Fury Road (2015 dir. George Miller): THE action film. I have yet to see anything more engrossing than this film. A masterwork across the board, especially in craft categories like editing and visual effects.

- Moonrise Kingdom (2012 dir. Wes Anderson): I saw this in theaters with my grandma, and one again, fell in love with it instantly. It’s a story of freedom and understanding and love and how we are able to express that to others.

- Parasite (2019 dir. Bong Joon Ho): Masterpiece. I have nothing else to add.

- Scream (1995 dir. Wes Craven): The horror film that changed the game and kicked off my love for slashers. “What’s your favorite scary movie?” This one.

- Singin’ in the Rain (1952 dir. Stanley Donen & Gene Kelly): Full of laughter and iconic music and the best dancing ever put to screen. Gene Kelly cannot and will not ever be beat.

List available on Letterboxd (link in bio)

Logo design by Sammie Lisberg

[thekyterion]

One of my favorite things about pop culture and the entertainment industry is the shared experiences and stories that come out of it. We have always connected through stories, in all forms, for all of human existence, and I have always loved having a platform and being allowed to share my thoughts and experiences with others.

That is the thesis of The Kyterion. I wanted to create a space dedicated of all aspects of the entertainment and pop culture landscape that allows for the celebration and shared experiences that those bring us, both from our past and in our current times.

I am so grateful to everyone who has helped me on this journey and guided me to this point, and I cannot wait to share more with you all soon.

(Also a HUGE thank you to Sammie Lisberg for being an amazing leader and creator. I’m so lucky and grateful to have you by my side and so proud of what you’ve done to help make this a reality.)