Sinister Cinema: The 60's

It pretty much goes without saying, but I'll say it anyway: I love horror movies. For the past 5 years I've compiled a "31 Days of Horror" list, which directed readers to watch a different scary movie every day of October. But this year, I'm switching things up. Instead, I'll be presenting weekly lists - the top 15 horror flicks of each decade. We'll start with the 60's and work our way up to the present day. I ranked these movies based on 3 main criteria: how much I like them, how objectively good they are, and, well, how scary they are.

So sit back, turn off the lights, and enjoy. Pay no attention to the shadows pooling in the corners. And that presence you feel looming behind you? The faint sound of heavy breathing from around the corner? Oh, it's nothing.

Trust me.

1960's

15.) Carnival of Souls (1962): This is surreal horror at its simplest and finest. The imagery is creepy, the story is unsettling, and the overall vibe is downright haunting.

14.) Persona (1966): The less I say about this one, the better. So if you're in the mood for bizarre psychological horror, then this underrated gem by Ingmar Bergman will do you just fine.

13.) Lady in a Cage (1964): I saw this movie as a kid and wow, did it leave a lasting impression. This is a nauseating thriller, one with a melodramatic flair that is fun and frenetic.

12.) At Midnight I'll Take Your Soul (1964): This Brazilian horror flick written, directed, and starring Jose Mojica Marins is arguably the craziest movie of the 60's. It is terrifying, trashy, and totally terrific.

11.) Eyes Without A Face (1960): Few countries do gore quite as well as the French, and here, we have some very early, and very effective, splatter scares. And although the plot is unapologetically bleak, it is very effective.

10.) Black Sabbath (1963): Anthology horror films can be a mixed bag, but when famed Italian director Mario Bava is steering the ship, how could you go wrong? The 3 stories in this movie are each great in their own distinct ways - the first is vicious, the second is macabre, and the third is campfire fun.

9.) The Haunting (1963): For decades, haunted house movies have been content to stick to a certain formula, one ripe with cliches; for that, we can thank The Haunting for setting the gold standard. It is fun and, when viewed in the right atmosphere, genuinely eerie.

8.) The Innocents (1961): If The Haunting is the haunted house genre's gold standard, then The Innocents is its demented counterpart - less gothic, more grotesque. It's a slow burn, but if you can stick it out, the third act (especially the fatal finale) is shocking.

7.) The Birds (1963): This was the very first horror movie I ever saw, and in hindsight, it really did a number on me. The premise is incredibly simple, maybe even a little silly, but Hitchcock's direction is so serious, so sinister, that it's impossible not to get sucked in.

6.) Peeping Tom (1960): Here's the premise: a strange photographer gets his kicks by snapping pictures of murder, so he stabs beautiful women to get the perfect shots. It is twisted, dark, disturbing, and dangerous - all the things a good horror flick should be.

5.) Night of the Living Dead (1968): This infamous independent film propelled writer/director George Romero to the big leagues, and it also solidified "the zombie" as a horror mainstay. And while it hasn't aged all that well (some of the performances are downright cringe-worthy), the guts and grit on display is more than enough to enshrine it in my top 5 of the decade.

4.) What Ever Happened to Baby Jane? (1962): As far as sibling rivalry stories are concerned, few are as downright disturbing as this psychological horror classic starring Bette Davis and Joan Crawford. The enduring legacy of this thing is solidified by the caliber of performance from everyone involved, particularly the stars, the screenwriter, the cinematographer, and the costume designers (who nabbed an Oscar - a rare feat for a genre film).

3.) Repulsion (1965): Roman Polanski is a terrible person, but he has made some incredible films (sorry, but it's true). This simple film, centered on a woman who loses her mind in her New York apartment, is a cagey, claustrophobic nightmare.

2.) Psycho (1960): I know, I know - a lot of you are understandably annoyed that this isn't my number one. Sorry - we'll get to that in a moment. For now, all you need to know is that the heaps of accolades that's been piled on Psycho over the decades are all true. Anthony Perkins should've won an Oscar for his deeply sympathetic performance as Norman Bates, and the score is just as iconic as ever. In every sense of the word, it is a classic.

1.) Rosemary's Baby (1968): ...but if there's one movie responsible for cementing horror as an artistic, effective genre, then Rosemary's Baby has got to be it. It's Roman Polanski again (*annoyed sigh*), but it's here for a reason. This is, irrefutably, one of the scariest movies ever made. At the time, no other popular movie had been so defiantly demented. Cloying neighbors, nefarious doctors, LSD-inspired nightmares, demonic rape, and a satanic child? Come on. This one has got to be the best scary movie of the decade, and is arguably one of the best ever made.

10 WORST "Best" Movies, Part 2

Submitted for your approval - the sequel to a much-maligned post I wrote a few years back, in which I trashed a handful of classic films: Avatar, Blade Runner, Breakfast at Tiffany's, Gladiator, Heat, The Lady Eve, Solaris, Tron, The Untouchables, and West Side Story. So, take all this with a massive heaping of salt. I mean, honestly - I'm the guy who actually likes such gems as The Godfather Part III, Indiana Jones and the Kingdom of the Crystal Skull, and even Batman v. Superman.

So...yeah. Read and enjoy. Or try to. Sorry in advance on this one.

- An Education (2009): Is this thing even a movie? I mean, it must be. It was critically adored and nominated for three Academy Awards, including Best Picture. Surely that means its an incredible film, one that is well written, brilliantly directed, or at least memorable. Right? Right?

Nope. An Education might just be the blandest film ever made, populated by non-characters treading water through the vanilla conflict of a lukewarm plot. It's a love story, I guess, but without zip or spark of any kind. I kept praying for some awesome Twilight Zone twist to come out of nowhere, to bring this thing out of its purgatory squalor; strangely, I was hoping the male lead was actually Satan in disguise, but nah - nothing that interesting happened. Ever. It's only about 100 minutes long, but feels like you're watching Lawrence of Arabia, Dr. Zhivago, and all three extended editions of The Lord of the Rings back to back. It is the cinematic equivalent of overcooked, flavorless egg noodles - sticky and mushy and not at all what you were craving. Instead, watch Silver Linings Playbook, a romance that is witty and wonderful.

- The Birth of a Nation (1915): Honestly, I shouldn't even have to explain myself on this one. It's a racist, rambling, 3-hour-long "epic" that glorifies the KKK and was considered bigoted even for its time. Who cares that it was innovative? Who cares that it helped legitimize the movie industry? Who cares that it was the first movie to screen inside the White House? This is a terrible film, simple as that, bloated and self-important and, worst of all, in very poor taste. If you're looking for a Civil War epic, watch 12 Years A Slave or Lincoln instead. Both of these should give you the subtleties and insights that the era deserves.

- Braveheart (1995): And then there's Braveheart. (*sigh*) Maybe my expectations were too high. Maybe I'm biased against overlong "historical" epics about the glories of war. Or maybe, just maybe, this movie isn't as good as we all remember. Because trust me - it ain't. Mel Gibson, who I think is actually a pretty talented actor, is nonetheless a ridiculously overrated director. How did this movie win Best Picture in 1995, especially when it was up against Apollo 13 and Babe? It's a mystery. This overstuffed, overblown mess of a movie is painfully dull. It wears its themes on its sleeves, and bashes you over the head with them until you scream "FREEDOM!" and sprint madly away from the television. From its historical inaccuracies to the hammy performances, from the clichés to the corny writing, I'll never understand why this flick is so revered. In the pantheon of over-the-top war cinema, Patton has got to be the best around, so watch that one instead. It's just as long but five times as good.

- Get Out (2017): For the first two acts of Get Out, I'd say it's a good movie - heck, maybe even a great movie. The performances are spectacular, the dialogue is clever, the plot is intriguing, and the overall vibe is eerie and unsettling. Unfortunately, when the third act hits - in all its convoluted, preachy, campy glory - the whole thing goes to, well, a sunken place. The goodwill that was banked from the first 90 minutes of the movie is washed away by a bloodless and befuddling finale. And yeah, I know it's basically heresy to dislike this movie (I've had the arguments and wear the scars to prove it), but I do. As a horror fan, as a horror writer, as a guy who's spent the better part of his life studying Stephen King, Joyce Carol Oates, and John Carpenter, I found this movie to be underwhelming at best and flat-out bad at worst.

Why? Well, at the top of the list is the wildly inconsistent tone. Honestly, this thing is borderline nauseating. I once read a review that described the genre as "horror/comedy/thriller/satire/political commentary." Yikes. Most good horror movies dabble with other genres, particularly comedy. But this? The third act tosses everything into a blender, offering up a totally different mood du jour per scene. Am I supposed to laugh? Cringe? Cry? Cower? When even the film can't decide, why should I? Instead of choosing a unified, coherent direction, each of these different tones is offered to the viewer like a platter of hors d'oeuvres. Choose whichever one suits your fancy, sir. It's on the house. This feels less like some multifaceted artistic statement and more like buckshot. If you throw enough crap at the audience, something is bound to strike them, right?

But it ain't all tone. The brain-swapping plot is about as campy as an early-60's B-movie, something cooked up by William Castle with Vincent Price mugging for the camera. The bloodless kills are sanitized and flaccid. The insinuation that all members of one race are predators and another are all prey is bafflingly broad-stroked. (Unless this is 100% satire, in which case the problem again boils down to tonal inconsistencies.) Writer/director Jordan Peele is a talented artist, no question, and I'm interested to see what he comes up with next. But for Get Out to be universally praised with four Oscar nominations? When so many better horror flicks are casually ignored? Come on. Instead, watch 2014's A Girl Walks Home Alone at Night or 2016's Green Room - both are brutal, biting, and bloody brilliant. And if you're looking for a nuanced account of racism in America? Watch 2017's Detroit. But be careful. It packs a wallop.

- Iron Man 3 (2013): This one's a mixed bag, for sure. Are there aspects I like? Of course. Some of the action sequences are exquisite - watching Tony's California palace get blown to smithereens is pretty neat, and the fireworks finale is loads of fun. Robert Downey, Jr. is again wonderful in the lead role, exploring Tony's humanity and paranoia with an impressive degree of control. And, as we've come to expect in any Iron Man flick, the sarcastic one-liners are to die for.

What don't I like about this movie? Lots. The big "twist" before the third act is laughably cringeworthy. The antagonists have an odd potpourri of powers, chief of which is the ability to breathe fire, which I find hilarious. Whenever Iron Man does something astounding or heroic, it turns out to be a hollow suit that he's somehow controlling from a distance (where's the heroism in that?). And the ending, which I'll not spoil here, seems totally unrelated to the seriousness of the plot. This is, unquestionably, Marvel's worst entry in the MCU, and is a giant misfire overall. It's like Tony's mansion - gorgeous to look at and full of wonderful toys, but it crumbles to pieces oh so easily. Better superhero threequels include Captain America: Civil War, The Dark Knight Rises, and Thor: Ragnarok. Do yourself a favor and watch those instead.

- JFK (1991): Good lord, do I hate this movie. It has one thing - one thing - going for it, and that's a pretty nifty performance by Tommy Lee Jones. Everything else? Just dreadful. I dislike Oliver Stone's style in general, and here he takes it to a whole new level: obfuscating fact with fiction, building mountains out of molehills, lumpy pacing, and a misplaced sense of grandeur...they're all here, and in ubiquitous amounts. These sins sprinkle the 3-hour runtime throughout, and are practically unshakable. But the worst part? Like all movies with Kevin Costner, it's Kevin Costner. Am I the only one who sees it? The. Man. Can't. Act. He has the range of a doorstop and the emotionality of a block of cheese. It's even worse here, when he's surrounded by such tremendous performers (Kevin Bacon, Joe Pesci, Laurie Metcalf, Gary Oldman, Michael Rooker, Sissy Spacek, Jack Lemmon, Walter Matthau, Donald Sutherland, John Candy, Vincent D'Onofrio, John Larroquette, and the afore-mentioned Tommy Lee Jones). I just...I don't get it. But I guess this movie isn't for me. I'd recommend better presidential intrigue movies, namely All the Presidents Men or Frost/Nixon. They both have punch and panache in spades.

- Mulholland Drive (2001): Director David Lynch and I have never been the best of friends, but I've been intermittently smitten with his idiosyncratic style. I rather like Eraserhead if only for its utter absurdity, and movies like The Elephant Man and Blue Velvet are each effective and artistic in their own odd ways. But I'm completely underwhelmed by Mulholland Drive, the film that so many fans and critics seem to think is his best. Like many of the movies on this list, it's entirely too long, but that's hardly the biggest issue. Instead, its Lynch's total obsession with surrealism. The plot is nonexistent, the pacing is almost comatose, and the themes? They're there, I suppose, but only if you're willing to sift through the muck and piece them all together. You see, when I watch a movie, I'm looking for just 3 things: believable characters, an engaging story, and heart. Here, I get none of them. Instead I get art. Oh wow, man. With a painting, you get an immediate visual kick. With music, you feel goosebumps and might sing along. With this? I get bored. Very, very bored. This movie is supposed to be a neo-noir Hollywood mystery, so if that's what you're hankering for, then check out LA Confidential instead. It's actually, you know, entertaining.

- Superman (1978): I really feel bad about disliking this one. For the record, I think Christopher Reeve and Gene Hackman were pretty solid casting choices as the man of steel and Lex Luther. That's...pretty much all I like. Sure, this is an influential movie. Sure, it wowed audiences at the time and launched the idea of the superhero movie. Beyond that, it's pretty forgettable. It's too long, foolishly grandiose, devoid of action, and is a total yawn. Whenever I think about this movie, the images appear in my head as hazy, like a dream sequence in some bad sitcom. And to me, that's how the whole production comes across - soft, saccharine, soulless. As a massive fan of both the genre and the character, I find this hard to get over. This movie just fails to stir any feelings in me - of wonder, of excitement, of nostalgia, of anything. Except boredom and remorse. I hate to say it, but I prefer Man of Steel from 2013, which was a far more visceral and enjoyable blockbuster.

- Titanic (1997): It's bad.

- Vertigo (1958): But if there's one shame I have in all this, it's my strident dislike of Vertigo, the classic mystery from Alfred Hitchcock starring Jimmy Stewart. Much like Blade Runner and Heat, there's an expectation that everyone who sees this movie should fall in love with it. Overall, everyone does. It's often considered to be Hitchcock's best film, and even one of the best of all time. However, it wouldn't be on this list if I agreed with all that. I think it's a well-made movie, one with solid performances and Hitchcock's usual competence, but...

...but it doesn't do anything for me. I've watched this thing three times now, and every time I pop it in, I'm less enchanted than I was before (and that's really saying something). The movie has this sort of droning quality to it, like a song played on the didgeridoo. I admire the skill required to make it, yet I'm unengaged with the finished product. Scenes seem to spiral into one another in big rambling loops, and if the effect is to make the viewer as confused and nauseous as the protagonist, then mission accomplished. But dude! You might be thinking to yourself. That's why this movie is so great! I disagree. When I watch Halloween, I'd rather not feel the knife through my sternum. You get the idea.

No, when all is said and done, I simply don't understand the mountains of adulation piled on this one. Movie snobs tend to fan this thing with palm fronds, but really it's just...fine. About as fine as plenty of other psychological mysteries from that era. There's lots of head but not a lot of heart, which really detracts from its accessibility and the ever-important re-watch factor. Instead, I'd recommend some of Hitchcock's more polished masterpieces - Rear Window, North by Northwest, and good 'ol Psycho. You'll certainly have a more enjoyable experience with any of those. I know I do.

10 Best Films of 2017

Honorable Mentions: Battle of the Sexes, Dunkirk, It, It Comes At Night, Logan, Okja, Spider-Man: Homecoming, Thor: Ragnarok, War for the Planet of the Apes, Wonder Woman  

10.) The Beguiled: Remember when movies used to just tell stories? Before they became completely obfuscated by boatloads of cash, needless special effects, or insurmountable fan expectations? Yeah. Neither do I. But thankfully, The Beguiled manages to harken back to a simpler era in Hollywood, 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. Scenes open up in big yawning chasms, so it's easy to tumble in and get lost. I strongly suggest you do.

9.) The Shape of Water: While his last few outings have been forgettable (Crimson Peak and Pacific Rim), here writer/director Guillermo del Toro delivers a strange, intriguing, and utterly unique film. Although the plot is a bit humdrum, everything else is exquisite. The performances are great, especially from Sally Hawkins and Richard Jenkins, both of whom breathe life into otherwise archetypal characters. The themes are equally potent, exploring what it means to be human, asking questions about love and liberty, drawing attention to power dynamics in contemporary America. But the real treat here is the visual style, which del Toro crafts with grace and majesty. Each scene, each shot, is gorgeous.

8.) Baby Driver: While, admittedly, this isn't director Edgar Wright's best outing - I still reserve that spot for 2013's The World's End - Baby Driver is nonetheless exceptional entertainment. It's not quite a comedy, not quite a musical, not quite an action flick, and not quite a crime thriller. Yet it's somehow all of these genres tangled up together, each one vying for your attention and your heart. This film is a magnetic masterpiece, bustling with intriguing characters, wonderful cinematography, and some of the year's best action sequences. As always, I'm incredibly happy with what Edgar Wright delivered, and am dying to see what he'll come up with next.

7.) The Disaster Artist: OH HAI, MARK. Honestly, I shouldn't even have to explain why this movie is great. It tickles your funny bone, churns your stomach, and breaks your heart all at once. It's a hell of a cinematic cocktail - bubbling and frothing with all its disparate components - but man oh man, is it satisfying. The Franco brothers give some of their best performances, both in front of and behind the camera. But be sure to watch The Room beforehand. Trust me. It'll make the whole experience even better.

6.) The Post: This is one of those films that just works exceptionally well across the board - the writing, the acting, the direction, the cinematography, the music, the art direction. Spielberg has become the master of these movies as of late, delivering quality cinema time and again: War Horse, Lincoln, Bridge of Spies, etc. But here, in The Post, the old master has given us something a cut above his usual excellence. The performances are better, particularly by Meryl Streep and Bob Odenkirk. The music is better, again composed by the eternal John Williams. Even the timeliness of its release is synchronized, no doubt intentionally, with current affairs that make the film's themes all the more relevant. The fact that Spielberg made this movie while simultaneously overseeing post-production on Ready Player One makes it even more impressive. I hope he keeps making movies for decades to come.

5.) I, Tonya: It's strange how likable this film is, considering the subject matter. Assault. Domestic violence. An almost awe-inspiring sense of ignorance and stupidity. But damn, if this ain't one heck of a movie anyway. It's funny, tragic, nerve-wracking, and everything you'd want in a movie. It's easy to be startled into laughing, unsure of whether you even should be, and the juxtaposition you'll subsequently experience 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. Another movie this year - Three Billboards Outside Ebbing, Missouri - strikes a similarly bipolar tone; and while that's a good movie, it's nowhere near as emotionally resonant, thematically rich, or stylishly executed as I, Tonya. Like Tonya Harding's triple axel, I'm shocked anyone was able to stick the landing on this one. Thank God I was wrong.

4.) Wind River: Before seeing this film, I thought the title Wind River was merely poetic. A lovely yet haunting name to help sell the movie. And it is, right? It's mysterious yet elegant - a wisp of smoke curling from around a corner, beckoning you forward. But there's more than simple poetry to the title. Wind River is also the name of a sprawling Indian reservation in Wyoming, where the movie takes place. It's also a title which suggests that the very essence of this movie is as natural as the earth itself. Which is also true. This is a story that starts as a murder mystery, but isn't content to live within the comfy preordained confines of the genre. It examines so much more between the title screen and the end credits, particularly Native American culture and grief. Because this isn't simply about the death of a young girl. It's about the death of tens of thousands of young girls. Really, the less I say about it, the better. But I'll leave you with this: 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 that's 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.

3.) Detroit: While writing this review, I must admit that I just finished watching the film - literally just. And I can't...put it into words, exactly. As someone who grew up in Michigan, just forty-five minutes north of the Motor City, I find this film to be...essential. Ingrained. Horrifying. 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 needs an Oscar and more for the humanity and reality he brings to his role.

Nuts and bolts aside, however, this is a stirring film. Period. It's the Schindler's List of the American Civil Rights Movement, a brutally visceral account of a horrid era in America's most iconic rust belt city. Yet beyond the violence - looking past the gunfire and rioting, the screams and tears and gnashing of teeth - the character you need to hone in on is Larry Reed, played to perfection by Algee Smith. In my opinion, he personifies Detroit itself: Initially starry-eyed and optimistic, ready to use his God-given gifts to carry him to fortune. Unfortunately (inevitably?), he suffers immeasurable setbacks - some relatively minor, others downright traumatic; some circumstantial, others systemic. These misfortunes harden him, chilling his marrow and lifting the scales from his eyes. Yet somehow, unbelievably, he finds himself anew - a phoenix reborn through faith and perhaps even a glimmer of that optimism he used to have. It's faded now, buried beneath snow and concrete and blood, but it might just be there. After all, he still lives in Detroit, doesn't he? If that's not optimism, I don't know what is.

To me, Detroit is 2017'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 that you won't find anywhere else. If you're brave enough to stomach it, you should watch it. If you're not brave enough? Then you need to.

2.) Star Wars: The Last Jedi: This tenth theatrical installment in the Star Wars saga - yes, the tenth - is an overwhelming achievement in blockbuster filmmaking. Casting off the fun-yet-familiar trappings of 2015's The Force Awakens, here we have a full-fledged space opera extravaganza, one with heart and brains and, thankfully, guts. This movie is daring, probably more so than any tent-pole goliath has been before. Sure, it cannibalizes the saga to a certain degree (The Empire Strikes Back is reappropriated at length), but it's so surprising and bold that it hardly seems to matter.

Most of this boldness comes from writer/director Rian Johnson, the guy responsible for such gems as Brick, Looper, and a handful of phenomenal Breaking Bad episodes. He doesn't just direct this movie; he directs the crap out of it, weaving subplots and character arcs and genre tropes all snugly together. This is unquestionably the most action-packed entry to date, with breathless cosmic dogfights and a lightsaber sequence that is just...wow. But this thing ain't all action. It's also a soulful study on heroism, examining the ambiguity of good and bad, and the tension that simmers in between. In fact, there's a blizzard of gray area here: protagonists fail, antagonists triumph, characters question each other and themselves, the list goes on.

Daisy Ridley and Adam Driver are impeccable as the light side and the dark, straining to understand each other as their shared destinies become hopelessly entangled. Mark Hamill gives the performance of his career as a now-embittered Luke Skywalker, flipping the wise-old-mentor archetype on its head as he reveals himself to be less of a legend and more of a tortured soul. Also fabulous are the supporting players, especially Oscar Isaac and Kelly Marie Tran as Resistance fighters who just want a shot to do something good. And keep your eyes peeled for a fun turn by the always-terrific Benicio del Toro as a slimy codebreaker.

All in all, it's safe to say that The Last Jedi is aggressively good. It's certainly the best installment since 1980's The Empire Strikes Back, and will undoubtedly be remembered as the best space opera flick of the decade. It is transmodern, ardently iconoclastic, but best of all? It's still Star Wars, and it's still fun.

1.) Blade Runner 2049: Few films these days have the courage to unfurl like a novel, letting their threads unspool organically and ponderously. Thank goodness Blade Runner 2049 isn't like most movies. It takes its time, letting the characters explore their world with way more free reign than you might expect. But this is a good thing. Heck, not just good, but great. It imbues the entire film, which clocks in at a whopping 163 minutes, with a sense of grandiose profundity. By the end, it feels less like a movie and more like an experience, one that doesn't just linger, but imprints itself into your cinematic sensibilities.

As someone with an intense disdain for the original Blade Runner from 1982, I was totally surprised and impressed by this sequel. Honestly, I'm not some die hard Blade Runner fanboy who waited with baited breath the release of this film. I thought the trailers looked interesting, and although I find Ridley Scott's original to be tedious, boring, and thoroughly overrated, I decided to see this sequel on a whim. About halfway through my first viewing, a thought occurred to me. It rang in the depths of my psyche like a church bell: Holy crap, this is incredible. Then, later: Holy crap, this might be the best sci-fi flick in years.

And it is. The cinematography and production design are so beautiful that basically any given shot is worthy of being framed and hung in a gallery. Performances range from great to marvelous. The score, a droning and disorienting synth landscape, is distinctive and vivifying. The special effects are must-see, and are utilized in some really clever ways (there's a love scene that is simply unprecedented). 

But really, it's not about the effects. Like all great stories, it's about characters and ideas. Here? Every character is compelling. Concepts of humanity are challenged. Our notions of personhood and the Other are called into question, daring us not only to empathize with a non-human, but to recognize him as well. It opens up a whole realm of personal and philosophical questions. This is the thinker's movie, one aglow with ideas, rendering everything else secondary. It's cerebral science-fiction, made in the glorious tradition of 2001: A Space Odyssey, Silent Running, and most recently, Ex Machina. And yes, it is a peer to these classics. Unquestionably.

Grand. Inventive. Clever. Sensational. These are the words I'd use to describe Blade Runner 2049, my pick for the best movie of 2017. I seriously doubt another movie will surprise me so delightfully and overwhelmingly again in the future.

2017: A Year in Books

Since I started teaching and my adulthood officially began, my literary appetites dwindled. It's sad, but true. I used to chew through 30-40 books annually. But for the past 5 years, I've barely cleared 1 book per month. (*sigh*) To combat this lethargy, I decided to read at least 25 books in 2017. And I mean really read - no audiobook nonsense (not that there's anything wrong with that). 25 books in a year is certainly less than many, and it's not even close to what I was able to accomplish before, but I thought it'd be a good, modest number to aim for. Thankfully, it was a goal that I found very attainable. I'll shoot for 25 again in 2018.

Therefore, the following list showcases all the books I read this past year. Although most were new reads, I managed to revisit a few favorites along the way. Novels, plays, short story collections, non-fiction, graphic novels - I've got 'em all on this list, and presented in the order in which I read them. Also, because I can't help but do a little bit of a review whenever I can, I'm putting a letter grade next to each book, indicating how good I believe it to be. Read and enjoy!

1.) Dark Places by Gillian Flynn ... A-
2.) Rage by Richard Bachman ... B
3.) The Long Walk by Richard Bachman ... C
4.) NOS4A2 by Joe Hill ... A
5.) A Separate Peace by John Knowles ... B+ 
6.) Anthem by Ayn Rand ... B+ 
7.) The Bone Clocks by David Mitchell ... B
8.) The Outsiders by S.E. Hinton ... C+
9.) A Raisin in the Sun by Lorraine Hansberry ... A
10.) Yummy by G. Neri and Randy DuBurke ... B
11.) Sex Criminals Vol. 1: One Weird Trick by Matt Fraction and Chip Zdarsky ... A- 
12.) Rose Madder by Stephen King ... C+ 
13.) The Handmaid's Tale by Margaret Atwood ... A+
14.) Locke & Key: Welcome to Lovecraft by Joe Hill and Gabriel Rodriguez ... B+ 
15.) The Colorado Kid by Stephen King ... C
16.) The Couple Next Door by Shari Lapena ... D+
17.) Parker, Book One: The Hunter by Darwyn Cooke ... C-
18.) The Giver by Lois Lowry ... A
19.) Gathering Blue by Lois Lowry ... C-
20.) Everything's Eventual by Stephen King ... A
21.) I Know Why the Caged Bird Sings by Maya Angelou ... A+
22.) Messenger by Lois Lowry ... C+
23.) A Separation by Katie Kitamura ... B-
24.) Son by Lois Lowry ... C 
25.) Sleeping Beauties by Stephen King and Owen King ... B 

Favorite Music of 2017

Every year I write up a quick "Best Films" list, yet I've always struggled to do the same with albums. Maybe because music is more subjective than film? Because it's harder to have a serious discussion about? Because, at the end of the day, musical taste is just too potent a spice in the stew of aesthetics? Perhaps. So, I'm just going to start doing a "favorite" albums of the year list. I tried to come at these with as much objectivity as possible, but I've probably failed regardless. Here are the EP's and the full-length albums that dominated my 2017.

10 Favorite EP's of 2017 

10.) The Mountain Has Fallen - DJ Shadow: DJ Shadow has some of the sickest beats, slickest productions, and smartest collaborations in the game. And here, he proves it all over again.
9.) Steve Lacy's Demo - Steve Lacy: This is easily the year's most relaxing dollop of funk. It'll pour from your speakers and envelope your senses.
8.) Herstory - Young M.A: Made for strobe lights and champagne bubbles, this EP is low-fi club-friendly rap delivered with maximum efficiency. It is effortlessly listenable.

7.) Myths and Legends EP - The Score: This is vacuous-yet-fun pop at its most anthemic. The hit single, "Legends," is a perfect microcosm of pop in the 2010's.
6.) A Tribute to Art Blakey and the Jazz Messengers - Tony Allen: A wonderfully made and carefully crafted homage to the eternal Art Blakey. For fans of jazz, this is mandatory listening.
5.) Middle Kids EP - Middle Kids: Maybe it's a little too 2005 and takes a few too many cues from popular indie acts, but I don't care. Middle Kids EP is simply wonderful.
4.) No Plan - David Bowie: What a weepy, whimsical EP this turned out to be. The perfect airy meditation on which Bowie ends his stunning career.
3.) Bishop Briggs EP - Bishop Briggs: A curiously alluring assortment of songs that blend pop, blues, and folk with almost perfect precision. Briggs's voice will draw you near and never let you go.
2.) Cold Dark Place - Mastodon: Evokes shag carpets and stale smoke - psychedelic swirls and blustery winds. In the modern study of throwback rock, this EP is a doctoral thesis.
1.) All Is as All Should Be - The Dear Hunter: The grand, cinematic strains of The Dear Hunter have been a recent obsession of mine. Here? They blast their pseudo-prog style into the stratosphere.

10 Favorite Albums of 2017

10.) Funk Walker - Scary Pockets: A wacky, weird, wondrous assortment of covers, all thoroughly funkified. Few acts are as ambitious yet grounded as Scary Pockets.
9.) From A Room: Volume 1 - Chris Stapleton: I've always been wary of country music, especially anything this side of 1975, but Stapleton is a virtuoso of the genre. Here he weaves authenticity with camp, and genuine emotion with genre tropes. (Volume 2 is quite good, too.)
8.) Guardians of the Galaxy Vol.2: Awesome Mix Vol. 2 - Various Artists: I know it's practically cheating to include this soundtrack, but I couldn't resist. For the groovy and the hip, for those FM radio cruisers with the wind in their hair, you need to check this out.
7.) Mr. Finish Line - Vulfpeck: Some of 2017's best songs, from composition to arrangement to performance. Sax solos and keyboard licks, soaring vocals and in-the-pocket percussion. What more could you ask for?
6.) After Laughter - Paramore: The first time I flipped this album on, I simply couldn't believe my ears. Imagine Carly Rae Jepsen collaborated with Talking Heads and made a record produced by Paul Simon. Yeah. Sugary bubblegum afro-pop with an alternative bent. It's great.
5.) Concrete and Gold - Foo Fighters: Kicking off with one of the band's slickest openers, and sustained by hits like "The Sky is a Neighborhood" and "Run," this is one of the Foo's best. It's an album very much owed to their influences - particularly Queen and The Beatles - which is great.
4.) In Full Swing - Seth MacFarlane: The best big band pop album released this year (heck, maybe even this decade), MacFarlane nails each nimble run and vibrato-soaked strain. The arrangements are sublime and his vocals, as always, are divine.
3.) Amber Galactic - The Night Flight Orchestra: This is top-40 prog-rock made with such masterly attention to detail that it feels like it was released sometime in the Carter administration. Which, of course, encases its awesomeness in gold. Glittery guitar solos, machismo vocals, and dance-floor beats stretch from end to end. Love it.
2.) Woodstock - Portugal. The Man: Listen to 60's-swinging "Feel It Still" just once and try to argue with me on this. Still not convinced? How about the walloping sax-infused hook of "Tidal Wave" or the popcorn percussion of "Rich Friends." Are you initiated yet? Good.
1.) The Storm - ZZ Ward: "Baby, you're my bourbon honey / Baby, you're my Cherry Coke / My mystery man from Montgomery / My favorite licorice rope." These lyrics from the record's seventh track ("Bag of Bones") perfectly encapsulate my feelings about the entire thing. It's an album I didn't know I craved - blistering, bluesey, and beautiful. It's been on endless repeat since the start of summer with no signs of letting up. Get into it.

DC Movies Review (Part 1...?)

As a kid, I always preferred the heroes of DC Comics to their Marvel cohorts. The stoic optimism of Superman, the detective skills of Batman, the ferocious Wonder Woman, the clever and creative Green Lantern - they were the costumed crusaders I fell in love with. Some of the first comics I ever read were Aquaman and The Flash, and my favorite graphic novels will always be The Dark Knight Returns, Kingdom Come, and Identity Crisis. DC Heroes are imaginative and iconic, telling terrific stories in fun yet heartfelt ways. Unfortunately, in the minds of the public, the recent film incarnations of these characters have been less successful. So much so, in fact, that any future installments in this series now hang in the balance. With all this in mind, let's take a look at the current DC shared universe and the five films that comprise it...

- Man of Steel (2013): The Good...In all honesty, this is the best Superman origin story that we could've hoped for. It's equal parts ambition and imagination, bringing to life the crumbling world of Krypton and the humble childhood beginnings of Clark Kent. This movie is perfectly cast, especially Michael Shannon as the malicious General Zod and Diane Keaton as the gritty and gutsy Martha Kent. And the musical score, composed by Hans Zimmer, is occasionally calm, occasionally thunderous, but always a joy. Beyond that? This is simply an enjoyable action movie. Enough said. The Bad...Well, the product placement is ubiquitous to the point of absurdity, and the religious allusions are laughably on the nose. The Verdict...All things considered, Man of Steel is a well-made, genuinely affecting superhero flick. It doesn't have quite the gravitas as, say, Christopher Nolan's Dark Knight trilogy, but it gets the job done. Final Grade: B

- Batman v. Superman: Dawn of Justice (2016): The Good...Well, if Man of Steel gets points for aspiration, then this one deserves even more. This is, unequivocally, the most ambitious superhero movie ever made. It played every card it was able to play (and even a few that it shouldn't have). Thankfully, Zack Snyder's direction is still competent and, at times, even compelling. Plus, Ben Affleck and Gal Gadot were some truly inspired casting decisions, fully embodying their characters. The Bad...The story is an overstuffed, melodramatic mess. I mean, it could be worse (this ain't The Amazing Spider-Man 2), but it's bloated and self-important. And while this is fixed to some degree by the "Ultimate Edition," the whopping 3-hour run-time is obscene. Troublesome, too, is the dreary tone of the whole thing. Every scene is so dour, every shot imbued with an unpalatable amount of doom and gloom. I'm not saying every movie has to be spat out of the Marvel assembly line, but good God! When domestic terrorism gets involved, it's safe to say the tone is a bit macabre. The Verdict...While this movie gets far more crap from critics than it deserves, it's still nothing more than a slightly above average summer blockbuster, one easily eclipsed by Marvel's Civil War. It certainly has its moments, but overall, Batman v. Superman is 3 hours of meh. Sorry: 3 hours of super meh. Final Grade: C+

- Suicide Squad (2016): The Good...The concept is great (right?), the production design is stunning, the makeup effects are superb, and again, the casting is pretty solid all around. The best parts of this movie? Will Smith's cool charisma, Viola Davis's authoritarianism, Jai Courtney's wild-eyed insanity, and Jay Hernandez as the tormented yet reformed El Diablo. Batman and The Flash show up, too! Neato! The Bad...Like it's predecessor, the story structure here is a mess (also like it's predecessor, there's an overlong "Ultimate Cut" that is much better, but that's beside the point). Character motivations are muddled, action sequences are soulless, and apart from a few well-placed songs, the overall soundtrack is distracting and completely devoid of subtlety. The Verdict...I am, admittedly, not a fan of this one. It gets points for design and a few standout performances, but that's not enough to save it from itself. A poor script, muddled cinematography, lumpy pacing, and a depressing amount of squandered potential reduces this wannabe tough-guy slugfest to little more than a faux-blockbuster that's imitation edgy - a Hot Topic teen's aesthetic with college freshman philosophizing. Final Grade: D+

- Wonder Woman (2017): The Good...Holy Moley, this thing ain't just a breath of fresh air - it's a refreshing ocean zephyr. Okay okay, I'm hyperbolizing a little, but you get the point, right? Wonder Woman is arguably the best film in the DC Cinematic Universe. It's a fun romp if ever there was one - brisk, hopeful, and imbued with an undeniable forward momentum, plummeting (and pummeling) through one terrific set piece after another. Gal Gadot is impeccable as our titular hero, and equally impressive is Chris Pine as love interest Steve Trevor. It's also cool seeing a modern superhero flick set in the trenches of WWI, and all the period production design is lovely. The Bad...Well, this isn't perfect. It's definitely a familiar movie, loaded with a dizzying degree of genre tropes and campy moments. The finale is unfortunately similar to all of its DC kin - lots of smoke, fire, and a big gray CGI baddie to brawl. There's also an uncomfortable amount of similarities to Marvel's first Captain America movie. The Verdict...I don't care how cliché this thing is - Wonder Woman is phenomenal fun. If you haven't already, be sure to check it out. Final Grade: B+

- Justice League (2017): The Good...Once again, this franchise finds its footing in characters and casting: Batman busts skulls, Wonder Woman inspires, The Flash is funny, Cyborg is intriguing, and Aquaman is a cool reimagining. There are some jokes that land well enough, and some sequences that really crank the action up to eleven. Also - this is the Supermanest Superman that's ever Supermanned. Which I adore. The Bad...I'm not entirely sure, but maybe the problem lies with me. I just never once bought into it. There were some funny moments and a few solid scenes, but honestly, I couldn't take off my pair of skepticals for this one. I was never engaged on an emotional level (apart from a miniscule moment between Clark and his mother), and beyond some oohs and aahs from the visuals, the story never enveloped me. Oh yeah, and the villain sucked, too. Same with Superman's plastic upper lip (rewatch the first scene and tell me you don't see it too). The Verdict...All the hype, all the universe-building, led to this? I'm incredibly underwhelmed. This is the epitome of bland filmmaking. It's fine, sure, but it's about as memorable as a piece of toast. I'd rather soar with Man of Steel, brood with Batman v. Superman, laugh at Suicide Squad, or rally behind Wonder Woman. At the end of the day, Justice League doesn't do the league any justice. Final Grade: C-

31 Days of Horror (Part 6): The Beginning

We're back! It's October once again, so settle in for 31 glorious days of guts and gore. This is the 6th entry in my annual series, and I'm not scraping the bottom of the barrel at all. (*wink*) But seriously, this list is chock full of wicked, wild, and weird movies, one for each day of the month. So settle in, wait until night falls, and bask in the unnatural glow of your television screen. Because it's Halloween season, right? No better way to celebrate than to get good and scared. And with this list, you'll be well on your way...

- The Execution of Mary Stuart (1895)

- The Monster (1903)

- Dr. Jekyll and Mr. Hyde (1912)

- The Golem: How He Came into this World (1920)

- The Man Who Laughs (1928)

- Un Chien Andalou (1929)

- Dracula's Daughter (1936)

- Dementia 13 (1963)

- The Last Man On Earth (1964)

- Repulsion (1965)

- The Vampire Lovers (1970)

- Phantasm (1979)

- Altered States (1980)

- Psycho II (1983)

- Sleepaway Camp (1983)

- Night of the Creeps (1986)

- Killer Klowns from Outer Space (1988)

- Event Horizon (1997)

- Sleepy Hollow (1999)

- Stir of Echoes (1999)

- Joyride (2001)

- The Mothman Prophecies (2002)

- 28 Weeks Later (2007)

- [REC 2] (2009)

- Insidious (2010)

- I Saw the Devil (2011)

- The Sacrament (2013)

- Goodnight Mommy (2015)

- Don't Breathe (2016)

- Green Room (2016)

- It (2017)