2020: A Year in Books

In keeping with tradition, I'm once again presenting to you the 25 books I tackled in the past year. As usual, my picks were all over the place, including pulpy thrillers, analytical nonfiction, YA bestsellers, and even a Nobel Prize winner. They are presented in the order I read them, with letter grades next to each reflecting my personal opinion (and my absolute favorites are highlighted in blue). 2020 was a uniquely terrible year, and reading helped me simultaneously escape and analyze the madness. I strongly encourage you to pick up a book and do the same in 2021. Enjoy!

1.) How to Fight Anti-Semitism by Bari Weiss ... A-
2.) The Moon is Down by John Steinbeck ... A
3.) Wake by Lisa McMann ... C+
4.) The Diversity Delusion by Heather Mac Donald ... B
5.) Gwendy's Magic Feather by Richard Chizmar ... D+
6.) The Smallest Minority by Kevin Williamson ... B-
7.) The Woman in the Window by AJ Finn ... A
8.) The Lost Causes of Bleak Creek by Rhett McLaughlin and Link Neal ... B
9.) The Stand by Stephen King ... B
10.) Don't Burn This Book by Dave Rubin ... B+
11.) The Triumph of the Spider Monkey by Joyce Carol Oates ... B
12.) The Problem with Everything by Meghan Daum ... A+
13.) How Did We Get Here? by Robert Dallek ... B
14.) Double Standards by Larry Elder ... C
15.) Sh*tshow! by Charlie LeDuff ... A
16.) The Populist's Guide to 2020 by Krystal Ball and Saagar Enjeti ... C

17.) Cynical Theories by Helen Pluckrose and James Lindsay ... B+

18.) The Death of Truth by Michiko Kakutani ... B- 

19.) Suicide of the West by Jonah Goldberg ... A 

20.) The Righteous Mind by Jonathan Haidt ... A

21.) The Final Solution by Michael Chabon ... B- 

22.) Fahrenheit 451 by Ray Bradbury ... A+

23.) The Girl Who Loved Tom Gordon by Stephen King ... B+

24.) The Ballad of Songbirds and Snakes by Suzanne Collins ... B

25.) The Curse of Madame "C" by Gary Larson ... B 

50 Best Movies of the 2010's: 25-11

We're still counting down the fifty best movies of the 2010's, and this time around we've landed in the middle tier. These were the films that shined a little brighter than the previous twenty-five entries but still aren't quite awesome enough to land a spot in the coveted top-ten. Nonetheless, the fifteen flicks you'll find below are each incredibly impressive. I once again attempted to balance my personal preferences with some critical objectivity, but even if I failed, these are all worth a watch anyway. With COVID and quarantine still dangling like twin swords of Damocles, why not try some of these? It's not like anything else is coming out anytime soon...

25.) Lady Bird: At a glance, this is a somewhat clichéd movie about the American High School Experience - bad grades, hormones, college applications, and personal insecurities. But honestly, that's what I love most about this Greta Gerwig flick from 2017 - the universal superficiality of it all. Speaking from a middle class, suburban, millennial perspective, whose teenage years didn't look like this movie? It seems like it was made just for me, which might mean I'm as basic as they come, but it also means that this really resonated with a lot of us. Sure, there's plenty of nostalgia here - drama club memories, midnight trips to Denny's, stolen kisses and lost loves. Yet this is also just a great film, one that is expertly made and lovingly crafted. The minimalist direction and powerfully realistic performances elevate the entire production to a higher level, one that certainly cements it to the top half of this list. 

24.) Searching: Wow. I just...wow. In an era of overblown filmmaking, it's surprisingly refreshing to watch a movie with such simple efficiency. The premise might be familiar (a father hunts for his missing daughter), and the storytelling device is a tad gimmicky (the whole thing plays out on computers, with Skype, FaceTime, and even local news channels framing the narrative), but it's all pulled off with such intensity and dedication that you can't help but be sucked in. The mystery is a real corker, and by the end you'll be gasping for air. John Cho carries the film, and his portrayal of anguished father David Kim is one of the most honest, soulful performances of the entire decade. Check this one out. And soon.

23.) The Clovehitch Killer: While I love a good horror romp, something with a larger-than-life villain and buckets of blood, I nonetheless have a soft spot for the quiet films, too. The Clovehitch Killer is so muted and unassuming that you won't even notice as it creeps into your home and places the knife against your throat. It pierces the depths of human evil, examining the duality of American life and how violence hides in even the most tranquil places. Bolstered by a razor-sharp script and two career-defining performances from newcomer Charlie Plummer and a surprisingly sinister Dylan McDermott, this flick is overlooked, underrated gold. It's one-part Rear Window, one-part Psycho, and one-hundred percept awesome. 

22.) Creed: Here comes the cliché. Are you ready? Creed is a knockout! …but seriously, it is. This movie has a tight script, loving cinematography, brilliant direction from Black Panther's own Ryan Coogler, and some of the decade's best performances - especially Sly Stallone's glorious return to Rocky, which should have won him an Academy Award for Best Supporting Actor. Casual fans could consider this to be the electrifying finale to Rocky Balboa's story while simultaneously being a fantastic introduction to boxing's newest hero, Adonis Creed. It's the best sports movie of the 2010's, and will hopefully give rise to a slew of entertaining sequels. Here's to six more! 

21.) Drive: With Drive, director Nicolas Winding Refn has crafted a stylish neo-noir thriller, one that is exciting and emotionally engaging. It's a film built on clichés (are you noticing a metamodern theme with this half of the list yet?): a glimpse of Chinatown, a dash of Bullitt, a sprinkling of The Third Man and LA Confidential. But by building an iconoclastic story within such a familiar framework, the film can be avant-garde without alienating audiences. With scarce but nonetheless breathtaking action sequences, vivid violence, and oodles of artsy imagery, this is a white-knuckler that dares to tease the mind and tug at the heartstrings. All the important cinematic elements are here and pulled off with a polished finesse. The performances are stellar, the plot is lean, the score is intriguing, the cinematography simmers, and the themes are integrated smoothly into the narrative fabric. Drive honors the films of yesterday, pleases moviegoers of today, and slyly hints at the cinema of tomorrow. It is an incredibly satisfying work of art - emotional, entertaining, and intelligent. 

20.) Spider-Man: Into the Spiderverse: This very well could be the best Spider-Man movie yet, and is probably the best standalone superhero flick since The Dark Knight. It's pure pop insanity brought to life with characters, moments, and storylines ripped straight from the pulpy pages of Marvel Comics. The visuals alone are sensational, sporting the most bombastic color palette I've ever seen on the big screen. Thankfully, the story and characters are just as colorful as the world they inhabit. I've even used this movie to help teach Joseph Campbell's "mono-myth," or Hero's Journey, in my classroom. With everything from the writing to the score to the animation playing out in perfect synchronicity, how could I not put this one in the top twenty? 

19.) Train to Busan: It's simply astonishing how good this movie is - the manic terror, the scrambling action, the heart and humor and, of course, the horror. Director Yeon Sang-ho takes the overwrought zombie subgenre and, with a lightning-quick pace and deeply honest performances, makes it new again. In my opinion, this is the best zombie movie ever made, besting contemporaries like 28 Days Later and even classics like Night of the Living Dead. Seriously. Bounce over to Netflix and give this thing a try. If you're a zombie-fanatic or a fan of Asian horror films, give this a watch. By the end, Train to Busan will have thundered down the tracks, off the screen, and into your heart.

18.) 12 Years A Slave: This horrific true story is a searing, unflinching examination of American slavery in the mid-1800s, and yes - all the compliments that have been said about it are spot-on. Mesmerizing? Captivating? Genius? Yes to all of the above. It's certainly one of the decade's best films, saturated with arresting imagery and moral complexity. Even better, the performances are some of the best the silver screen has given audiences in years. Lead actor Chiwetel Ejiofor is miraculous as Solomon Northup, a free black man kidnapped and sold into slavery. He can speak volumes with merely a glance, a gesture, or a song. The supporting cast is equally magnificent, featuring such incomparable talents as Michael Fassbender, Lupita Nyong'o, Benedict Cumberbatch, Alfre Woodard, and Brad Pitt. Most importantly though, it's a film of stunning artistry. Everything drips with sunlight, thrumming with the hum of horseflies and songs of human sorrow. These delicate aesthetics transport you to a time and place you're glad you've never experienced. It makes you mourn for the past, celebrate the present, and hope for the future. 

17.) Argo: If you're addicted to tense thrillers, ones wrought with nail-biting suspense and palpitation-inducing close calls, then Ben Affleck's historical docudrama Argo will be an overly-satisfying fix. A movie about the Iran Hostage Crisis is bound to be exciting, but thanks to Affleck's artful directing, it feels positively urgent. The editing is seamless, and the gritty cinematography gives the film a true non-fictional quality; it feels more like a live news-feed than a big-budget blockbuster. Thanks to the realistic conflict and characters, this is a deeply unsettling movie. Thanks to the brazen creativity of one CIA agent, it's also a cathartic one. After the smoke cleared, when the film came to a halt and the credits started rolling, I was bolted to my seat. For I had actually forgotten this was all history - the events predetermined, the actors simply stand-ins for actual human beings. This is why Argo is great. The power of the storytelling, the weight of history, the focused conviction of everyone involved: all these things coalesce into a beautiful, compelling, stunning motion picture. 

16.) Detroit: As someone who grew up in Michigan, just forty-five minutes north of the Motor City, I find this film to be essential, horrifying, and spectacular. The technical specs are all immaculate - as usual, Kathryn Bigelow's direction is raw, uncompromising, and without peer. The performances are hauntingly authentic, perhaps none more so than John Boyega, who needed an Oscar (and more) for the humanity and reality he brings to his role. Nuts and bolts aside, however, this is a stirring film. It's the Schindler's List of the American Civil Rights Movement, a brutally visceral account of a horrid era in the country's most iconic rust belt city. To me, Detroit is 2010's ultimate cinematic statement on racism in America. This isn't a broad-stroked horror-comedy mess, nor is it a veiled parable almost unrecognizable beneath its many layers of intellectual detachment. No, Detroit is as stunning as it is terrifying, and it deals with its subject matter with a frankness you won't find anywhere else. If you're brave enough to stomach it, you should watch. If you're not brave enough? Then you need to. 

15.) Gravity: Two American astronauts are stranded in space after a terrible accident leaves them without a crew, without a ship, and without hope. Too many movies over-complicate their narrative, cluttering the plot with twists and turns. But in this film, the premise is the plot. The story is lean and clean, letting the characters blossom with little interference. Speaking of characters, our two protagonists are riveting. George Clooney is perfect as the movie's mouth. He muses, he explains, he jokes and talks and laughs. In a film with very little sound, he plays an integral role. He keeps us rooted to the situation, with all its grandeur and horror still in tact. Also perfect is Sandra Bullock as our determined protagonist. If Clooney is Gravity's voice, then Bullock is its heart. Her performance is astonishingly empathetic. You feel everything she feels - pain, despair, gratitude. Also notable is the cinematography, which is as immense as it is intimate. Here, director Alfonso Cuaron lets the camera do the talking. We swoop, we linger, we cut away, we soar, we drown, we survive. I was lucky enough to see this in 3D, and it was truly an unforgettable experience. 

14.) Bone Tomahawk: If you needed a reminder that Westerns can be absolutely awesome, that they can be defined by realism and gravitas and unadulterated brutality just as much as any other genre, then Bone Tomahawk should definitely be in your queue. This is 3:10 to Yuma meets The Hills Have Eyes, and if you think that's a wacky juxtaposition in theory, just wait until you see it in practice. Populated by a terrific cast of characters portrayed by some of Hollywood's best (Kurt Russel, Patrick Wilson, Richard Jenkins, etc.), the magnetic charm of this throwback thriller is undeniable. And while the plot gets a little fantastical by the third act, the heart of the film is tangibly real. These feel like actual people with real relationships, and your eyes will certainly mist up a little before the end. This is the definition of metamodernity - throwback themes delivered with nontraditional flair. It's the best western of the decade and I absolutely adore it. 

13.) Rogue One: A Star Wars Story: This was the first Star Wars flick in 36 years that dared audiences to abandon their preconceived notions of the genre - to embrace a new, boldly tragic direction for the series. I'm not saying this is a perfect film (it's somewhat low on character development, and made some questionable choices with its computer effects), but when it works, it works very well. From a design standpoint, it is a marvel - the sets, the costumes, and the vehicles are all wonderful to gape at. The story is simple and efficient, its character beats coinciding with larger plot points. And the tone? Dismal, challenging, yet sprinkled with hope. This is the first movie in the saga to emphasize the "war" in Star Wars, and poignantly expresses the nobility and goodness of ultimate self-sacrifice. Although this movie stands apart from the rest of its kin, it is nonetheless stylishly made and loads of fun. While I'm one of the few unapologetic fans of Disney's sequel trilogy, I think Rogue One is the best Star Wars flick of the new era. It deserves to be as cherished and adored as the original films. 

12.) Annihilation: Transcendentally surreal, shockingly emotional, and expertly filmed - these are the phrases that perfectly encapsulate Annihilation, my pick for the best film of 2018 and, apparently, the twelfth best film of the entire decade. Alex Garland, known for directing Ex Machina and writing 28 Weeks Later, adapts Jeff VanderMeer's ponderous novel for the big screen. The entire cast is exceptional, perhaps none more so than Natalie Portman in her best role since Black Swan, whose character grapples with both herself and the unknown. It's difficult to find the right words to describe this trippy sci-fi experience, but if I had to boil it all down, I'd say watching it felt a lot like watching 2001: A Space Odyssey for the very first time. It is strange, sometimes upsetting, yet nonetheless mandatory viewing. It also provides an intriguing counterpoint to the lethal concreteness of Rogue One, and forges a psychedelic spirit-walk into gorgeous yet horrifying new realms. 

11.) 1917: I went into this movie expecting nothing and came out of it having felt like I'd experienced, I dunno, everything? Heroism, horror, loyalty, love, wrath, redemption - it's all there in this, the best war movie of the decade. Directed to perfection by Sam Mendes (of American Beauty and Skyfall fame), this WWI thriller is filmed in such a way that it looks like a single uninterrupted shot from beginning to end. A neat trick, but if that was all the movie had going for it, it would be mighty dull. Thankfully, this isn't the case. 1917 is a powerhouse film, one that made me cry half a dozen times before the credits started to roll, when I proceeded to cry even more. It's this melding of genuine emotion, artistry, and technical achievement that makes for a perfect movie. And that's just what this is - so perfect, in fact, that it's almost in my top ten movies of the decade. Almost. 

50 Best Movies of the 2010's: 50-26

Thanks to COVID and its accompanying insanity, 2020 has been a vast and unforgiving cinematic desert. With a billion studio delays and no concrete release dates in sight, I decided to forgo my usual "10 Best Movies of the Year" list and instead present this: a list of the 50 best movies of the last decade. I tried to be objective with this list, balancing artistry with competence and innovation, but my personal taste is also on display here. And remember: I haven't seen everything released between 2010-2019, but my friends and family know I've seen enough to justify this list. I'm a dude who loves movies, what can I say? 

So sit back, relax, and enjoy! In this crappy new era of avoiding the cinema experience, I urge you to rent, stream, or buy any of the movies you see below. Thanks! 

50.) Rush: In Ron Howard's best film of the decade, we see two ambitious racers play a gruesome game of cat-and-mouse with glory and devastation on the line. Much like the excellent Ford v. Ferrari a few years later, this is not your average sports film - gone are many of the clichés, the tropes, and the story beats we can all predict well in advance. Instead we have something bold and bone-rattling, something as creative as it is competent. The racing sequences alone are spectacular, with Howard using all of his considerable skill to put you behind the wheel. You'll flinch, you'll sweat, your muscles will tense up, and you'll have to keep reminding yourself that it's just a movie. And a superb one, at that. 

49.) Straight Outta Compton: This engrossing biopic about infamous hip hop group N.W.A. definitely deserves a spot on this list. The technical specs are all rock solid - the cinematography, editing, and sound design are all top-notch - and the performances are terrific, especially newcomers Jason Mitchell and Corey Hawkins. But the movie's best attribute is the dynamite directing by F. Gary Gray. He manages to juggle several subplots, a cast of hundreds, and an overall runtime of almost 2 and a half hours without losing a single beat of forward momentum. He is a master storyteller, and this is a story well worth being told. 

48.) The Martian: What could have easily been a hyper-serious film about interplanetary survival and solitude turns out to be one of the decade's most buoyant, entertaining movies. A lot of it hinges on star Matt Damon's charisma, so thank God he's got enough to go around. The other performances are great too, particularly from Chiwetal Ejiofor and Jessica Chastain. This is a hilarious and occasionally breathless film - a great feat for Ridley Scott, and a welcome addition to the cinema of the 2010's. 

47.) Moneyball: Through Brad Pitt's fire-and-ice portrayal of real life Oakland A's manager Billy Beane, this film presents baseball in a whole new way: clinically, categorically, and dangerously. This is a film of quiet artistry and humble efficiency, one well worth the watch. I'm sure all the baseball metaphors have been used already (It's a home run! This one's a game changer! Brad Pitt knocks it out of the park!), so I'll simply say this: it's an excellent movie - maybe one of the best in the genre, and certainly a highlight of the decade. 

46.) The Beguiled: Remember when movies used to be about stories? Before they became polluted by boatloads of cash, special effects, or unreasonable fan expectations? Thankfully, The Beguiled hearkens back to a simpler era, when a filmmaker's goal was just to spin a yarn and make it a good one. Sofia Coppola is a fabulous director, and here she's crafted an understated masterpiece, one with sharply drawn characterization and enough subtext to satisfy even the most ravenous theater students.  

45.) BlacKkKlansman: In this, his best film since 1989's Do the Right Thing, Spike Lee has pulled off an incredible feat in modern cinema - he's created a story about race in America that is nuanced yet broad-stroked, earnest yet playful, and is as intelligent as it is empathetic. Framing it as a crime drama was a smart choice, as it rarely feels like the viewer is getting bludgeoned by the politics of the artist (which is something Lee has been guilty of in the past). Instead, this is a nifty little thriller with some powerfully important themes. 

44.) Winter's Bone: This movie came out all the way back in 2010 and it's disappointing how many people have forgotten it. But Debra Granik's Winter's Bone deserves a lot of recognition. It was an early starring vehicle for a young Jennifer Lawrence, whose charismatic yet painful performance garnered her the first Oscar nomination of her career. The movie's focus on the dreary, meth-infected pockets of Appalachia also served as a canary-in-the-coalmine moment for many artists and journalists after the 2016 presidential election. But this is a movie first and foremost, and with some stunningly bleak cinematography and bold characters, it's surely one of the decade's best. 

43.) Take Shelter: This tautly-written character study revolves around construction worker Curtis LaForche, a soft-spoken family man who is plagued by nightmarish visions of an apocalyptic storm. Michael Shannon is the gifted actor in the lead, portraying our protagonist in what should have been an Oscar-winning tour de force (you're telling me he wasn't even nominated for this?). But let me make this clear: this is not a fun movie to watch. It is the tense and painful examination of one man's soul, and you won't come out unscathed. Thankfully, it's utterly magnetic. Like a distant storm tumbling along the horizon, you won't be able to look away. 

42.) The Lighthouse: If you're interested in cinema of the surreal, something that barely has a plot and oodles of ambiguity, then this is a psychological horror movie for you. It's a little David Lynch, a little Stanley Kubrick, and by the end, you'll be gasping for air and wondering what the hell you just watched. Filmed in stunning black and white, the cinematography lulls you in with its crisp beauty and dramatic lighting. But don't let your guard down - this thing has teeth, and it's more than happy to chomp down on an unsuspecting viewer. 

41.) Ad Astra: Thanks to a pretty dull trailer and uninspired marketing, Ad Astra was one of the most overlooked movies of 2019. But if you're on the hunt for a movie with pop sensibilities yet meaty ideas, then give it a watch. Starring Brad Pitt, this sci-fi gem is simultaneously action-packed and quietly contemplative; it's both a swift adventure flick and a ponderous meditation on humanity. But I think the movie's strongest quality is the tonal shift near the end of the third act. Without spoiling anything, it goes from being a nihilistic technological nightmare to a celebration of love and humanity, which is one whopper of a prestige. 

40.) The Ritual: I run into this problem a lot, but here it is anyway: the less I say about this, the better. Just know that The Ritual is a cutthroat horror flick from Netflix - searing, surreal, and scary. It's the best rare gem the streaming service has to offer, and if you go in with an open mind, you will not be disappointed. The lead is Rafe Spall, a British actor who I always knew as one of the Andy's from Hot Fuzz. His performance is absolutely incredible, and anchors you to the outlandish horror premise that gets weirder and weirder as the plot progresses. 

39.) Django Unchained: Out of the bold mind of Quentin Tarantino comes this delicious western about love and loss in the pre-Civil War plantations of the American South. While the plot focuses on the horrors of slavery, of which Tarantino slathers onto the screen with a cinematic paintbrush soaked in blood, the tone is nonetheless lively, with dialogue and action that is often laugh-out-loud funny. The characters are riveting, particularly our 3 leads: determined Django, noble Dr. Schultz, and despicable Calvin Candie. The interplay between these characters is this movie's strongest quality, yet there's much to love here. It's a wickedly playful film that ranks up there with Tarantino's best. 

38.) Spotlight: Very much in the tradition of All the President's Men and The Insider, Spotlight is searing journalistic drama. It's a movie that deals in clarity - of ideas, of emotions, of fact and fiction. This is mostly due to the resonant script brought to life by a bulletproof cast: Michael Keaton, Mark Ruffalo, Rachel McAdams, Liev Schreiber, Stanley Tucci, John Slattery, and a dozen others. Every performance is standout, playing to each actor's particular strength - Keaton's underplayed realism, Ruffalo's ingrained humility, McAdams' pronounced focus. The direction and cinematography are equally strong, to a degree that both become invisible. No ostentatious camera tricks or directorial flourishes here. This is an honest and heartbreaking film, one that dared to peer into the dark and shine a light. 

37.) True Grit: I had a weirdly difficult time placing this movie so high on the list, and in fact, there were times I debated including it at all. At a glance, this is a pretty typical Hollywood western - it's fun, there are some nice moments of action, and the dialogue has a clever yet campy quality to it. But with the Coen brothers at the helm and with four incredible performances driving it forward, it becomes so much more. A decade after it was released, I can still see and hear individual moments in my head. This thing is memorable, and I doubt you'll be able to shake the experience of seeing it (not that you'd even want to). 

36.) You Were Never Really Here: If we can classify a cinematic subgenre as "Old Man Gets Revenge and Saves A Kid," with movies like Gran Torino, Man on Fire, and of course Taken being the best examples, I think 2017's You Were Never Really Here is the best of the bunch. Unlike all the others, it has an artistry to go along with the savagery - a grace humming beneath the guts. Behind the camera is the incomparable Lynne Ramsay, whose deft touch allows this simple thriller to become so much more than it is. 

35.) Inception: With 2010's Inception, Christopher Nolan dared to take us into the dizzying tangle of dreams, and somehow he succeeded. It's hard to review this movie due to its enormous popularity and various plot twists, so I'll just make a series of statements to sum up: The action is without peer. The pace is breakneck. The script is taut as piano wire. The set design is innovative and, in a word, incredible. The performances are wonderful - in particular, Marion Cotillard and Cillian Murphy are surprisingly soulful. This is easily one of the most exciting, thought-provoking, and gorgeous movies of the decade. 

34.) Don't Breathe: This is what happens when you take a simple, no-frills movie and ramp everything in it up to eleven. Yes, this is the horror equivalent of shotgunning some Mountain Dew while skydiving. The plot is insane, the acting is over-the-top in all the best ways, and the direction - full of lethal energy, driven to a cunning conclusion - is awesome. This isn't the best horror movie of the year, but it just might be the most rewatchable, the one you put on in October to get you in the Halloween spirit. The third act, though a little absurd, is a masterclass in cinematic suspense. Don't Breathe truly is what its title suggests - breathless. 

33.) I, Tonya: This is an emotionally resonant, thematically rich, and stylishly executed biopic that I'm surprised was even made in the first place. Fusing so much real-life violence with a comedic tone was risky, but the payoff is hugely satisfying. You're often startled into laughing, unsure of whether you even should be, and the juxtaposition is uniquely terrific. And that's what this movie is - unique. You're never quite sure if you should be laughing or crying, and the imbalance is beautiful. Like Tonya Harding's daring triple axel on the ice, I'm shocked anyone was able to stick the landing on this one. But I'm grateful they did. 

32.) The Cabin in the Woods: Here we have the movie responsible for re-popularizing Hollywood's love of the "metathriller," and it ranks up there with New Nightmare and Scream as one of the best around. Although The Cabin in the Woods is definitely a horror movie - and a fierce one at that - it's also a tongue-in-cheek send-up of the entire genre. There are more laughs than scares here, but that only adds to the awesomeness. This is a clever and deeply-affectionate take on horror, with a handful of fun surprises and plenty of winking references. 

31.) Wind River: This is a movie that starts as a murder mystery, but isn't content to live within the comfy preordained confines of the genre. It examines a lot between the title screen and the end credits because this isn't simply about the death of a single young girl - it's about the death of tens of thousands of girls. Without spoiling anything, the film ends with the image of an Arapaho character sitting outside in the cold. His face is painted blue and white, the two colors intertwining and dividing his hardened expression. It's a moment ripe with symbolism, and I can't help but see a lot in these two colors. Native Americans and whites. Heartache and redemption. Good and evil. It's all there, and depending on your interpretation of the story, it's an image that's sure to stick with you. And when a movie can communicate all this with just an image? You know it is of the highest caliber.

30.) Your Name: While I've never been a particularly huge fan of anime (like many of my fellow millennials, I watched Dragon Ball Z and Pokémon as a kid but little else), this animated romantic fantasy from Japan is seriously amazing. At first it seems like a story we've seen versions of plenty of times before - a Freaky Friday body-switching romp with hijinks and hilarity - but by the time the second act rolls around, you realize this is something more. Instead of a harmless little fantasy comedy, your expectations are subverted again and again in all the right ways. With gorgeous animation that far surpasses the work of its western contemporaries, this character-driven adventure might just be the best animated movie of the entire decade. 

29.) Lincoln: There's a lot of potential when making a movie about Abraham Lincoln, especially with Spielberg at the helm and so many terrific actors and technicians keeping it afloat. The possibilities were practically endless. Would it be about secession? The Civil War? The assassination? While this incredible movie tackles all these topics with a natural rhythm that only veteran filmmakers seem capable of, the plot instead focuses on the creation and ratification of the 13th Amendment. The movie plays out like a slick political thriller, yet it's delicate and graceful. A lilting piano-centric score by John Williams drips atop the overcast setting like quiet rain, baptizing each scene in quiet contemplation. This is a powerful story told with understated gravity. It is elegant and subtle. Much like President Lincoln, himself.  

28.) Willow Creek: Yeah - this is a horror movie about Bigfoot. So what? You may shake your head and cluck your tongue, but until you actually see this movie, you have no idea. Is it a good film? Absolutely. Is the acting believable? You betcha. Is the plot effective? Uh-huh. Is it scary? Oh, words can't quite do it justice. This is the very epitome of cinematic tension, and you'll be covering your eyes and holding your breath until those final screams and the bitter end. I'll put it to you like this: what Psycho did to showers, Willow Creek does to camping. So if you're brave enough, I say give it a go. And if you're a horror fan? This is mandatory viewing. 

27.) Ex Machina: With its deliberate, meditative pace, lots of people found this sci-fi thriller to be "boring." How sad. Ex Machina is one of 2015's best, and it earns a spot on this list for plenty of reasons. Similar to other notable modern thrillers like Sicario and Django Unchained, the focus here is on a triangle of characters: an unpredictable genius, an everyday schmoe in over his head, and a futuristic cyborg learning her place in the world. The cunning cat-and-mouse dynamic between them is a real thrill, and if you're able to sink your teeth into the ideas at hand, you'll be very happy with the payoff. 

26.) The King's Speech: When watching The King's Speech, it's damn near impossible not to smile. Back in 2010, critics and moviegoers unanimously agreed - this is an excellent film. Was it a Best Picture shoo-in? Perhaps. It goes down about as smooth as soda in summer, so who can complain? Underdog stories are always compelling (classics like Mr. Smith Goes to Washington and On the Waterfront come to mind), and this one hits all the right notes in stride. Thanks to an exceptionally wonderful cast and crew, the film is a masterclass in good storytelling. Endearing characters? Check. Relatable plot? Check. Gorgeous cinematography? Check. Terrific art direction? Check. Humor? Wit? Soul? Check, check, and check. Even if you're not a fan of historical docudramas, The King's Speech is a wonderfully witty winner. 

50 Best Albums of the 2010s: 10-1

After months of listening, reflecting, and writing, we've finally made it to the top ten! Again, here's a quick review of how I tried to rank these albums: I graded these holistically, giving (mostly) equal attention to: composition, arrangement, performance, production, innovation, impact, and personal enjoyment. Like all of my music reviews, I probably failed to live up to this impossible task, but I gave it a shot. Enjoy! (And feel free to check out the bottom half of this list here, plus my mid-tier picks here.)

10.) The Marshall Mathers LP 2 - Eminem: I'm just a simple fanboy from southeast Michigan, so take this with a grain of salt - not only is The Marshall Mathers LP 2 Eminem's best album, but it might be one of the greatest rap statements ever recorded. There's something intangibly awesome about the entire project, from the throwback album cover to its overall vibe of playful pop malevolence. Eminem has never been afraid to court controversy - something that persists in this album - but here, it seems to be imbued with a new sense of purpose. This ain't shock for shock's sake, and although it's easy to get lost in Em's big anthemic hooks, it's more important to dig through each line. This album finds its grace in unexpected moments - a feature, a chuckle, a subverted expectation. All in all, this thing is fantastic fun, and was a serious contender for the decade's best rap album. Standout track: While chart-toppers like "Rap God" and "The Monster" are tempting choices, I have to go with the songs produced by the legendary Rick Rubin - "Rhyme and Reason" and "So Far..."

9.) Lemonade - Beyoncé: Whenever the queen arrives, she demands everyone stop and listen. So when this album exploded unexpectedly onto the scene back in 2016, it seized everyone in its grip and refused to let go for months. On Lemonade, Beyoncé is explosive, imaginative, humble, ferocious, weepy, and everything in between. It's a pop album of epic proportions, with unforgettable melodies and truly standout vocal performances. Musicality and cultural flourishes aside, what I appreciate most about this record is its commitment to variety. In its 45-minute runtime it delivers scintillating soul, hypnotic pop, blistering rap, and unpretentious Texas-style country. With features from artists as diverse as Kendrick Lamar to Jack White, it's clear that Beyoncé worked hard to integrate as many varying styles as she could. This is middle-finger music, with as much bite and bile as the medium can conjure up. Standout tracks: I'm obsessed with the textured production of "Daddy Lessons" and the vocal ferocity of "Don't Hurt Yourself." 

8.) The Goat Rodeo Sessions - Yo-Yo Ma, Stuart Duncan, Edgar Meyer, and Chris Thile: I've always loved musical mashups. Like fireworks blossoming into explosions of glittering color, it's fun to see how different artists, songs, and genres intersect. Here, the unparalleled genius of Yo-Yo Ma tackles bluegrass, and it's every bit as weird and thrilling as you'd expect. With popping strings and breathless arrangements, this is unquestionably one of the decade's very best albums. The caliber of musicianship alone is enough to make your jaw drop, but what I find most fascinating is how natural everything sounds. I'd have never imagined twangy Appalachia and baroque formalism would intertwine so effortlessly. Each song is a full-throttled exploration of this bizarre new musical territory - the only thing you can do is let it wash over you. There are so many competing voices and melodies that it's fun to get lost in the multifaceted minutia of every track. This is the sound of bustling streams buried deep in the woods, of fireflies and starshine. Standout tracks: I adore the firebrand intensity of "Where's My Bow?" and the soft smolder of "Here and Heaven."

7.) Nightbird - Eva Cassidy: Although this album is already in the top ten, I still think it should be higher on the list. Really. Nightbird is an album as sweet and sultry as its title. Its jazz is pure, swinging up there with Basie and Q and the best of them (I'm particularly enamored with the tickled ivories and holy skins). But like many of the other records on this list, it all boils down to the vocals. And Eva Cassidy? She's the most talented singer you've never heard of. She's fire and ice, the sky and the sea, sassy and soulful. Sadly, her life and career were extinguished too soon. This posthumous release showcases the full range of her exquisite talent. Call it whatever you want - blue-eyed soul, lounge jazz, fiery folk - it doesn't matter. Nightbird is perfect. Standout tracks: Her versions of "Ain't No Sunshine," "Fever," and "Son of a Preacher Man" are divine.

6.) The Afterman - Coheed and Cambria: Regardless of how intricate the music or masterful the performance, prog-rock is often too esoteric, mathematical, and alienating for most listeners. Thankfully, The Afterman is as emotionally grounded as it is musically impressive. There are a smattering of radio-friendly ditties to keep casual listeners engaged, but mostly? This is a balls-to-the-wall effort. Guitar heroism abounds, the rhythm section is pure thunder, and those vocals? Frontman Claudio Sanchez might be an acquired taste, but he's effortlessly emotive. It's a double-album (Ascension and Descension), meant to be enjoyed as a single experience. The "Key Entity Extraction" series alone is enough to make you a hardcore fan of Coheed's sweeping story and unique vision. Standout track: While a few of my friends love the cinematic grandiosity of "Gravity's Union," the down-to-earth concreteness of "The Hard Sell" just tickles my brain in all the right ways. I also think the bustling percussion of "Evagria the Faithful" is as groovy as prog could ever get. Awesome stuff.

5.) WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? - Billie Eilish: Full disclosure? The first time I listened to this album, I thought it was vaguely interesting garbage. I didn't understand the hype, and I was somewhat irritated by the breathy vocals and spooky instrumentation. But something weird happened. Without realizing it, I found myself gravitating back to it again and again and again. Before long, I'd listened to the entire record almost a dozen times, and I'd somehow been transformed into not only a fan of Eilish, but an admirer of her style. The vocals I once found breathy and limp, I now find intimate and unique. Instead of hearing a cringy Halloweenish production, I now hear inventive synths and unexpected percussion. This album is an ocean at midnight, glittering beneath a pale and distant moon. It is alive and beautiful and foreboding, deeper than you expect and teeming with life. It's certainly not everyone's cup of tea, but if you listen with an open mind, you'll be surprised by what you find. Standout track: Yes, all the hits are bangers (can anyone even argue with "Bad Guy" or "Bury A Friend"?), but my all-time favorite has to be the knock-down-drag-out bravado of "You Should See Me in a Crown."

4.) Sonic Highways - Foo Fighters: Foo Fighters are simultaneously one of the most overrated and underrated rock bands ever. In one camp, you have hardcore fans who hold up the group as saviors of modern music and the torchbearers of everything kickass. In the other camp, you have snobby music elitists who ignore the humble competence and enduring musicianship of the band altogether. Both camps have their points, yet there's no denying the mythic scope and peerless execution of 2014's Sonic Highways. It's an ambitious project, one that spanned the country and included a host of famous collaborations, from Zac Brown to Gary Clark, Jr. This is the Foo at their most sophisticated, with organic productions and sumptuous songwriting. The album has a slew of memorable moments, like the slow-burn of "Something From Nothing," the minimalist guitar solo in "Outside," and the one-two punch of slinky "Subterranean" with the righteous "I Am A River." This is the best Foo album, and a watershed moment in modern rock & roll. Standout track: My wife and I love every second of "Congregation."

3.) Family Dinner (Volume Two) - Snarky Puppy: You guys knew I couldn't leave the top-5 devoid of jazz, right? Well, here we are. Snarky Puppy is a band that's as surreal as they are sensational, and with this live album they prove themselves to be the best jazz group of the present day. With rhythms that'll make your head spin, solos that are unhinged yet emotionally impactful, and grooves deep enough to make the dead tap their toes, it's no wonder why this record is one of the decade's best. This is technically considered to be "jazz fusion," and the band was not screwing around with the "fusion" part. Here you'll find be-bop, math rock, proggy time signatures, and soulful otherworldly folk. Every song is like a different planet, each with its own gravity, geography, and life. If you're a brave musical explorer, ready to probe the final frontier and boldly go where no man has gone before, then this album should be at the top of your list. Standout track: "Don't You Know," featuring Jacob Collier and Big Ed Lee, is the best jazz song of the decade, and one that's been a playlist staple of mine for years. Get into it.

2.) My Beautiful Dark Twisted Fantasy - Kanye West: I understand that Kanye has become a cultural epicenter, and that by his own often ridiculous actions his brand has become politicized. But if you can actually hear the music through all the static and noise, you will be infinitely rewarded. While Kanye made some incredible music in the 2010s - especially Kids See Ghosts and The Life of Pablo - My Beautiful Dark Twisted Fantasy still comes out on top. It is the pinnacle of West's divinely decadent musical excess. Every track is slathered with layer upon layer of vocals, synths, hooks, samples, and collaboration. Hell, in breakout hit "All of the Lights" you get John Legend, Rihanna, Kid Kudi, Alicia Keys, Drake, Fergie, and Elton John. And that's all from a single song! Thankfully, Kanye manages to keep all these plates balanced and spinning. The entire album grooves on without letting up, keeping you hypnotized from the first words to its final half-hearted applause. This is, and may always be, the best rap record of the 2010's. Standout tracks: Ten years have gone by, and I'm still entranced by "Runaway," "Monster," and "Lost in the World." If you can listen to these and still not be a fan, then I don't know what to tell you. This is genius at its most eccentric and ostentatious - and it's almost the best album of the decade.

1.) Act V: Hymns with the Devil in Confessional - The Dear Hunter: Okay okay okay, I know what you guys are thinking. Who the heck is The Dear Hunter, and why the heck are they number one? Well, to anyone not in the know, The Dear Hunter is a prog-rock/pop band that's been around for fifteen years. Most of their lifespan has been dedicated to an ornate, grandiose rock opera told in 6 acts. The story chronicles one man's life as he grapples with love, death, family, and war. Is it pretentious? Oh, you betcha. But is it impressive? Does it actually work? Thankfully, the answer to both of these questions is absolutely.

Although I was tempted to put the equally awesome Act IV: Rebirth in Reprise on this list, it just doesn't strike me like Act V does. The subtitle is Hymns with the Devil in Confessional, a phrase that contains all the pageantry, mysticism, and elegance of the album itself. For fans of arthouse pop acts like Father John Misty or Sufjan Stevens, this will definitely tick a few of your boxes. But this album isn't all cascading waterfalls and drifting leaves - it also blasts out some seriously impressive high-concept rock, stuff that'll leave fans of Coheed & Cambria satisfied.

All things told, Act V is the apex of why I loved music in the 2010's. It's the ultimate statement in metamodernity, paying respect to what has come before and pioneering some innovative new ground. From a technical perspective, all the specs are spot-on, from the warm production to engaging musicianship. And the individual songs themselves? Wonderful. You want pop? Check out the hauntingly beautiful "The Moon/Awake." You want folk? How about the power-pop ballad "Melpomene." How about swing? You've got the raunchy swagger of "The Revival" and the sly "Mr. Usher." You'd rather have something with a bit more edge, something punky? "Gloria" and "The March" ought to do the trick. All these genres coalesce into a single satisfying vision. Plenty of modern artists don't have a distinctive identity or direction. Well, The Dear Hunter has more than enough to go around. And here? They revel in it.

Honestly, this entire album is exquisite - dusky and delightful, glittery and glum, divine yet devilish. I listen to the whole thing probably once a week. Seriously. It is my favorite album of the 2010's, and one of my favorites ever recorded. I strongly encourage you to check it out. Standout tracks? How about the whole damn thing. You're welcome.