Artist: Wavves Full Title: Wavvves Year: 2009 Label: Fat Possum Tracks:
1) Rainbow Everywhere- 8
2) Beach Demon- 8/9
3) To the Dregs– 10 :)
4) Sun Opens My Eyes- 8
5) Gun In the Sun- 8
6) So Bored– 10
7) Goth Girls- 7/8
8) No Hope Kids– 10
9) Weed Demon- 9
10) California Goths- 9
11) Summer Goth- 9
12) Beach Goth- 6/7
13) Killer Punx, Scary Demons- 7
14) Surf Goth- 9
Comments: This record savagely raped my speakers. It just went in, did its thing, and then came back for some more. Seriously though, this album will fucking knock your teeth out and destroy your ear drums, especially if you blast it from a stero. If you listen to it on low volumes or from your ipod/computer, your ears should stay intact however. I first heard of Wavves about a year and half ago. Before hearing the music, my first impression was “this is just another whiny emo/teeny bopping angst group.” Boy, was I wrong! Looking at the titles: so many friggin suns, beaches, goths, demons, etc. I thought it was a joke. “No Hope Kids” sounded like a phrase a twelve year old would utter because his mom couldn’t take him to Newbury Comics that day. Haha, but as I said previously, I was totally wrong. Naturally, I didn’t just eschew them, I gave them a chance and I was blown away by how amazing the recordings were with such limited tools. They were sooooo damn catchy! I could tell Nathan had a true talent for songwriting. With all this being said, I didn’t “love” Wavves and I failed to listen to the first two LPs in their entireties, but I still tossed on some of my favve wavve tunes fairly frequently. Fast forward to June 2010. I hear King of the Beach and if you read this site you know how much we love that record (best of the year!), in any case, Wavves became one of my favorite bands (top ten). The songwriting was better, the production (though cleaner a shock for some perhaps) was greater/more adventerous, and overall the music was more mature. Since, becoming such a massive fan of the group, I decided to revisit their older material. Enter Wavvves. The album kicks off with the noisy, psychedelic “Rainbow Everywhere,” this smoothly transitions into the extremely loud “Beach Demon,” just a pure wall of noise and sets us up for what is to be expected on the rest of the record, both sonically and lyrically (Nathan yelps “going nowhere, going nowhere, going nowhere” this is teenage angst I can actually dig). Hell, if you can’t tolerate the sound of this song, then you might as well stop trying here, you little puss. The third track, “To the Dregs,” is easily my favorite Wavves number. This one truly showcases Nathan’s abilities as a songwriter. TTD is just a classic pop song, a burst of fun, unbelievably euphoric music, it’s almost anthemic. And to the critics out there, Nathan hollers “you see me, I don’t care!” The next few tracks (“Sun Opens My Eyes” and “Gun in the Sun”) continue the experimentation, but aren’t quite of the same quality as the first few songs. They are not bad though and the lo-fi recording still works quite well. Songs like “So Bored” and “No Hope Kids” are Wavves essentials and follow in the vain of “To the Dregs”: all three songs are undeniably powerful, as if we are being coerced to hear the emotion in them. Definitely my three favorite Wavves songs in general. On “So Bored,” Nathan hits an emotional tone, simply beyond the confides of a typical song, it’s unlike anything I can think of, with perhaps comparisons to similar “emotional” artists as Daniel Johnston, Roy Orbison, and Johnny Cash (particularly on “Hurt.”). SB exemplifies those great reverb drenched Wavves vocals. The rest of the LP features some kick ass rockers in “Summer Goth” and “California Goths, ” and “Weed Demon” is a fantastic, spacey-psychedlic number that just crawls under your skin and stays with you for a few days. Two tracks I’m not as fond of appear toward the end: “Beach Goth” and “Killer Punx, Scary Demons.” I like them, but not nearly as much as the others. I feel like they don’t bring anything new to the table to suck me in and captivate me. But, maybe with further eartime, I will favor them more. The final track “Surf Goth,” for me anyway, is very “unWavves.” I don’t know why, but it has this really dark underbelly to it, as if it could be featured in some Harmful Korine flick. I feel like I have to take a shower when I listen to it; this is precisely what fascinates me about it. A great closer for a great sophomore effort from Wavves. After hearing King, it has made me realize how invigorating Nathan’s songwriting has always been. For noise pop and lo-fi fans out there, you probably have already heard this, but if not, you have some serious homework to attend to. Not as harsh as the debut, Wavves and not as poppy/accessible as 2010’s King of the Beach, but without a doubt Wavvves stands proudly on top of my shelf of albums.
Full Title: Trash Humpers Director: Harmony Korine Year: 2009 Comments: Humping. Shagging. Forincating. Fucking. Whatever you wish to call it; it is a perpetual aspect of our American lifestyle. Trash: our ubiquitous used condom, the leftover, the thrown away, the skeleton of us. What happens when these two social phenomenas meet? The latest work of director, Harmful Korine. Being a massive fan of Korine’s first motion picture, Gummo (1997) I greatly anticipated seeing this film, in fact this was arguably the highest anticpated film for me in ages and certainly of this year. Having missed out on the various screenings of Trash from the past two years I put forth a valiant effort to order it from Amazon (it has been banned from Netflix!) and after a lengthy process it finally arrived. Quietly, I locked myself in my room and zoned out for a good hour and half (or whatever the running time is). As viewers we are presented with an “artifact,” as Korine has called it, this found footage, old school, raw, analog, VHS looking piece of work. And yes, right from the beginning, we watch thee miscreants hump trash like there’s no tomorrow. With no real dialogue or explanation we see non-linear scene after scene of the trio’s pastime, which include, but are certainly not limited to partying, setting off firecrackers, coercing their “slaves” to eat certain things and entertain for them, and of course murder. Of course. As can be expected with old Harmful’s cinematic experimentations, convential movie standards are obliterated and when we get any sense of insight about who these people are what their story is, this insight is severed. The film is completely chaotic, but amidst this bedlam, real emotion is communicated. As wildy and wacky as Trash can be, Korine manages to connect with his audience and even feel for the savage stars on screen with a unique finesse, unmatched in the undeground or aboveground film circuit. I honestly don’t know what it is sometimes. I mean, don’t get me wrong, Korine is clearly talented, but I feel like in someone else’s hands, I would view this as, well nothing more than trash. But, instead he takes the lowest of the low and transforms this filth fest into a genuine artistic expression, albeit a harsh, relentless, visual and audio assault on the viewer. This is extreme, fringe cinema; out of all the found footage films I have seen, this one has struck me the hardest. It looks very real (though it is totally ficticious) and never lets up. Not once does it feel like a film… ehhh, one or two exceptions, but I don’t want to delve into those scenes in this review. I will say, I am hesitant to call it a masterpiece, just yet, but it is an original, challenging, piece of art that is easily one of the most thought provoking films I have ever seen. With comparison to other Korine films, let me say I don not enjoy this nearly as much as Gummo. I found that to be far more entertaining and I loved the way it swtiched things up constantly, with never a dull moment, even mixing the conventional with the unconventional. Now, I do prefer Trash over Mister Lonely (2007), Korine’s last film, which moved closer in the direction of a more mainstream/conventional film. Trash is akin to Harmful returning to his old form, so I’m glad about that. With that being said, at times I feel a bit bored, or like the film has run its course. This only happens a few times, but that’s enough to note. The film simply lacks the constant barrage of lurid images that Gummo contains. Don’t misconstrue me, it has a plethora of nasty, shocking, and definitely impressionable images, but not consistent enough for my taste. I feel like the film’s length could use a little truncating. But, it really doesn’t matter what I think, Korine made his film, the Great American Movie. If you are intrigued by the art of trash humping, I recommend it.
Grade: To slap a letter grade on this is kind of pointless, considering the criteria I usually require for films, by and large, cannot be applied here. So, I will judge it on an emotional level (and it certainly is filled with emotion- the last fifteen minutes is one of the most unsettling scenes/endings my eyes have ever witnessed). In the words of Anthony Fantano, I am going to give this a strong 7 to light 8, probably leaning more towards 8.
“I TOLD YOU I’D KILL IT!” For one of the KLYAMers, this is one of the best scenes in all of film. I agree it is great and it is definitely one of the funniest/most disturbing scenes in the the feature and perhaps of all time for that matter.
I am not going to write a full fledge review of the show because honestly I left after the second-third song, but I am going to make a few comments on it. The first is Peter Hook is no Ian Curtis, now granted he wasn’t trying to do an Ian impersonation, but if you ever heard any Joy Division song you would no how important Ian’s lyrical style and voice was to the band, but apparently Peter Hook doesn’t. Hook was confident and cocky with his delivery which would be a fine for almost any other band, but not Joy Division. I see it as the equivalent as coming of shy and awkward as the front man of a Sex Pistols tribute band, it just doesn’t work. Honestly the whole thing sounded like a Joy Division themed karaoke night. Secondly and more importantly, when the bassist of Joy Division goes on tour to play Joy Division songs, I expect him to play bass guitar. As it turns out Peter wasn’t even acting as lead bassist, his son was. Besides the nepotism and everything wrong with that, there is a major issue here; Peter Hook thought it was appropriate to play Joy Division in not only a six piece band, but one that included two bassist. I don’t know if he lost touch with his own music or if he was just trying to make a buck, but the end result was just a mess. At the end of the day I am not sure what I was expecting but Peter, I am sorry I went, sorry I wasted my money on a ticket, and most of all sorry for what you did to the memory of a once great band on that night. Now if you don’t mind I am going to listen to some Joy Division, the way it was meant to be played, with a melancholy lead singer and one bassist.
Full Title: Mister Lonely Director: Harmony Korine Year: 2007 Comments:”I just wanted to make a sequel to Caddy Shack”(1980). That was the explanation Harmony “Harmful” Korine offered David Letterman and his audience for why he wrote the screenplay for the controversial film Kids (1995). Anyone who has seen Kids knows that clearly Korine was pulling a fast one on the Late Show viewers. Kids follows twenty-four hours in the lives of a few teenagers in New York City as they have unprotected sex, consume copious amounts of alcohol and drugs, and commit various acts of anti-social behavior. Suffice to say both films share the common trait of having people in them, and that is about it. His next film Gummo (1997) was even more notorious. Gummo was an altogether new kind of film with images and sounds coming from everywhere. The movie has no real linear plot, but rather serves as a collection of highly impressionable and memorable scenes/vignettes. What we see and hear is almost always unsettling and more often than not downright vile. Following Gummo, Korine made one more full length feature film, Julien Donkey Boy (1999) before falling into a nasty drug habit and overall feeling of disenchantment. Eight years later, Korine bounces back with his biggest film yet, Mister Lonely (2007). With this work he pulls back a little bit and makes somewhat of a more conventional film. This time there is a narrative, in the traditional sense of the word, and more professional actors participate. Do not worry though, Korine still maintains his peculiar aesthetic as the story follows the life of a Michael Jackson look-alike (Diego Luna) living in Paris. One day the celebrity impersonator meets a fellow impersonator in the form of Marilyn Monroe (Samantha Morton), who invites him to live with her and other celebrity impersonators at a commune in the hills, where everything seems to be perfect.
I would wager that for Harmony Korine, making Mister Lonely is akin to a bizarre, obscure band finally making that album that is more commercially viable and not as strange, but still retains its weirdness. The album may hook in some new fans, it may push away long time devotees, but overall not much changes because the band is still too bizarre for most mainstream fans. Well, this sums up what ML does for Korine. Unlike his previous works, ML does not rely on the shock factor, but instead takes a more sensitive path, conveying an extreme care for its characters. Overall, the film displays themes related to isolation, self-hatred, withdrawal from reality, search for one’s dreams and one’s purpose in life, America’s obsession with fame and Hollywood, and ultimately the desire to be someone else. These issues are affectionately communicated to the audience, in stark contrast from the brutal, sometimes offensive nature of his previous films. There is far less ambiguity here and as a big fan of Korine, I cannot say this is a positive attribute. What I precisely loved about films like Gummo was the chaotic, seemingly message-less tone of the movie. In other words, one creates their own message, whatever is presented is there, but everyone is free to interpret their own meaning. This true of ML, but the film has far too much of a linear story for this to have the same effect. It feels as if Korine is attempting to make a more mainstream film and this is somewhat obvious because of the larger budget and so forth.
The look of the film is a significant departure from his previous works. The cinematography is mostly conventional and does not stand out as anything different, which is not necessarily a bad thing and perhaps will appeal to viewers that detest Korine’s usual style. His camerawork is as top notch as ever and certainly one of the strengths of the film. There are dazzling shots of nuns flying in the air and riding bicycles through the clouds. These shots offer strong imagery, but not nearly as evocative or as memorable as in the past.
Overall, this is a really good film with fascinating characters, excellent shot selection, and incredible use of music. The film has more strengths than weaknesses, but it is surely not without its share of flaws. It lacks cohesion and not in the good old Harmful sense for you fans out there. We have a (comparatively) normal structured film with a clear narrative, so when some randomness is tossed in, it does not quite fit, at least for my taste. In his previous movies, the scenes were filled to the brim with randomness to the point that it would be pointless for me to bring up cohesion as a flaw. Lastly, I will say I mostly found myself invested in the story and the characters, but at times I felt like it dragged on or appeared aimless, so for most viewers there is a good chance this will be far too vapid. With that being said, I recommend this to fans and non fans alike and I dare everyone to challenge themselves with a film they may otherwise overlook.
Grade: B
The background information in this review was taken from one of my past posts “Harmful For All Ages.”
This is a Concert Review of No Age at Wellesley College that I wrote for our past blog Wakefield Etudiant.
Bands: Lemonade, The Beets, and No Age Venue: Wellesley College Date: April 2, 2009
Introduction: When the three amigos and Paul arrived at Wellesley College we searched for nearly a half hour for the music center. Slowly, but surely we reached the place we were seeking (I had to run, not cool). So, we asked to step inside, but of course we have penises and it was an all girl school, clearly not our turf. We were instructed that entrance could only be granted, if we knew someone that attended the college. Well, we did not, but with our impeccable boyish charm we were able to coax the sweet girl at the door to let us in. The show cost a mere five singles. An excellent deal by any standard.
Act One: Lemonade
Excellent dance rock meets hard rocking noise pop. This trio rocked out for sure. All three members were highly energetic, especially the drummer; it appeared as though he would smash his entire set at any second. Now, with all that being said, I don’t want to confuse readers, they are extremely poppy, but in a very endearing way. I hope to hear more of them in the future.
Act Two: The Beets
Not the Beets that Doug and Skeeter adored, but rather an early Black Lips meets Beat Happening kinda group. They meshed garage rocky, bluesy, noisy sounds (Black Lips) with 60s pop and somewhat callow musicianship (Beat Happening, but perhaps better musicianship than Beat Happening). They weren’t as good as the first act and certainly nowhere near the next act lol, but they were overall entertaining and clearly talented. I heard some hooks beneath the noise. Some flaws were the start stop thing that occurred at the beginning of the first number and most of the songs sounding alike.
Act Three: NO AGE!!!
Simply said, one of the top five greatest bands out there today. Glen, Ben, and I had the magnificent pleasure of chatting with the dynamic duo at various junctures throughout the show. We stood right between Dean’s drum set and Randy’s amps and hopped up and down, raising our arms straight in the air relentlessly as soon as they opened with “Teen Creeps,” a tune I personally requested to Randy Randal. I hopped back and forth between the mosh pit and the front where it was a bit tamer. The crowd (30 , give or take) shared in our enthusiasm and loved each song. Along with TC, they played such classics as “Neck Escaper,” “Every Artist Needs A Tragedy,” “Eraser” “Miner,” “Keechie,” “Cappo,” “Here Should Be My Home,” “Ripped Knees,” “Sleeper Hold,” “Brain Burner,” and two new songs. Unfortunately, the band did not play their triumphant anthem, “Everybody’s Down,” but what are you going to do? There was no stage and perhaps Randy thought it would be too much of hassle to find some way to do his signature crowd surfing at the end of the song. Oh well, it was still a fabulous show. Can’t complain.
Conclusion: Small Venues make the best shows! Not an absolute, but an experienced truth. As I said before, fabulous. My second favorite concert ever! and I’m sure it ranks fairly high for Glen and Ben. Grade: 10/10. I strongly recommend No Age to those who have not seen them, fan or non fan.
———— Editors Note: Definitely the second best show I’ve seen. The up-close and personal nature of the show contributed to its awesomeness. The fact that the group traveled out of their way to put on a show for a relatively small number of college students is simply impressive. The showmanship of Randy Randall and Dean Allen Spunt is second to none. – Glen
Here is a Concert Review of No Age Glen posted on the old blog WE about two years ago. Ohh the memories!
It’s always fun searching online for bands that play local all ages shows. Especially difficult is finding one at a small club-like venue. Not to worry for Chris, Ben, and I as we noticed No Age, an LA based noise rock band we saw back in July, scheduled to play at the Middle East Downstairs. Recalling No Age as one of the more preeminent live acts we’ve seen, we didn’t hesitate to make the journey to Cambridge on Monday night.
Act One: Silk Flowers – I didn’t really know what to expect from this trio. Judging from looks alone, I saw diversity. The guy on the left with the long hair seemed more apt as a 90s garage rock guitarist than a synthesizist (no such word, is there?). The center-man was just kind of there. That’s not a bad thing. He was doing some heavy duty rocking out and I greatly admire that. The dude on the left handling the drum machine (and singing…if we can call it that), who I figured out is Aviram Cohen, reminded me of Mr. O’Brien in his youth (not that I know what O’Brien looked like back then). The group showed flashes of potential with catchy dub beats and a tribute (or seemingly so) to the post-punk/industrial scene of the ’80s. I recall Ben comparing their music to ’70s horror music, a fairly accurate comparison. I admittedly heard more Palm (the electronic one-man band from the first No Age show) than Kraftwerk. Overall, it was quite a respectable performance for a three song set.
Act Two: Soft Circle – Guitar. Drums. Electronic Percussion. Vocals. Hiram Akira Bharoocha can literally do it all…in one song at that. He picks up the guitar and plays a one or two minute riff. He then goes over to the electronic percussion kit and mixes a string of noise. All the while he records a spacey chant. With the guitar riff, percussion noise, and vocals all on loop, he picks up his drum sticks and starts going nuts. Being able to do all of this effectively proves he is a masterful musician, but what impressed me even more were the songs themselves. They were more dub than anything else, but the heavy drum was really the kicker. Watch out for Soft Circle. That’s all I have to say.
Act Three: No Age – Words really can’t describe how good No Age is live. You kind of have to be there. Further, you kind of have to be in the front row. Starting things off with “Keechie” — an experimental and instrumental track off their 2008 highly acclaimed CD release Nouns — was a bit unexpected, but proved to be a great segue into more heavier, noise driven tunes. The crowd, rather shiftless during Silk Flowers and Soft Circle, went into an uproar as soon as Dean Allen Spunt, the drummer/vocalist, began pounding the bass drum. Randy Randall’s near flawless guitar play was an excellent complement as usual. Lesser known songs like “Brain Burner”, “Cappo”, and “Sleeper Hold” drew great crowd involvement in the form of head banging and dancing while more popular songs like “Here Should Be My Home”, “Eraser”, and “Ripped Knees” put everyone into a comfortable position to rock out and bang into each other. Two particularly awesome moments I recall were: Randy Randall playing “Eraser” right in front of me (I could’ve and should’ve memorized the chords) and an attractive female, approximately my age, dancing and throwing herself around with ease (whilst not giving any shit at all). I was a little disappointed when No Age left the stage having not played the classic “Everybody’s Down.” Of course, they came back for an encore. The first encore included Aviram Cohen on vocals singing a cover of G.G Allin’s “Don’t Talk To Me.” That was pretty much out of the blue, but awesome, and went along well with the pace of the previous set of songs. The second encore was in fact “Everybody’s Down.” This is definitely one of No Age’s better songs (Chris would argue its their best) and ended in a spectacularly awesome way — Randall crowd surfing while finishing the final minute of the song on guitar. He was thrown back on the stage and the concert ended. Amazing. Oh yeah, Aviram gave Ben and I high-fives. That was cool.
Final Comment: 3rd Best Concert Of All Time (Following Radiohead and Dinosaur. Jr/Meat Puppets/Built to Spill)
Finally, here is a review of the first No Age show we saw when we were not as familiar with the LA duo.
Full Title: Halloween Director: John Carpenter Year: 1978 Comments: Halloween gave us the classic teen slasher flick. Sure, Texas Chainsaw and others came before this, but Halloween cemented the staple in cinema. Essentially if you drink, smoke, and fuck when you can you will perish at the hands of the killer, in this case the ruthless Micheal Myers. Sure, he may not speak… at all, but that’s precisely what makes the character/film chilling. Not to mention, John Carpenter’s eerie music, easily one of the finest/scariest themes of all time. This is a classic and essential for the Halloween season every year.
Grade: A
Full Title: Dazed and Confused Director: Richard Linklater Year: 1993 Comments: If you have read my previous list of ABSOLUTE Favorite Films, then you would know this is number two for this guy. Dazed is the kind of film that gets better each time you see it until you have seen it a gazillion times like me, but I still appreciate it nonetheless. I associate this film with time, joy, and one’s perception of how much you enjoy your stay on earth and how this perception alters overtime. True, this is a party/hangout flick, the best of it’s kind as one Quentin Tarantino would agree. But, there is so much more going on than that. The tone of this film may be light hearted and certainly euphoria inducing (always cheers me up and makes me ready to party hardy!), but if you look closely the characters themselves do not realize this or outright disagree with this. At one point, Pink pronounces “if I ever refer to these as the best days of my life, then remind me to kill myself.” Their attiude toward life seems to contrast the tone of the film itself. It’s as if the film is speaking to us, saying: these were the good old days when you had no responsibilities and your only worry was which party you were going to next. Top priorities? Getting Aerosmith tickets, when they were still cool. But the characters do not realize this and sadly we never do either in our own lives. We don’t appreciate the good times until their long gone. Perhaps even editing out the bad stuff! It’s funny when I first saw this flick I was ten, way too young to appreciate or understand the significance of the story or should I say the insignificance of the story. I often hear Dazed Detractors (poor souls) comment that the film has no point or purpose, that the movie simply ends. This is true, but that is the point exactly. Dazed perfectly captures a slice of teenage life and in most days, nothing out of the ordinary occurs. At age ten this simply went over my precious skull and while watching the first half of the film I actually thought it was supposed to be some sort of afternoon DARE TV special against drugs! A few years later (age 13) I saw it again and I loved it. I would say this is the best time to turn people on to this flick, just as they are finishing up Junior High and becoming Highschoolers, just like Mitch. This got me so excited for HS. Sadly, as much fun as I had, it was never as righetous as the activity presented in Dazed, is anybody’s? Now I am in college and not too far from “That’s what I love about this High School girls, I get older they stay the same age.”
Grade: A+
Full Title: Kids Director: Larry Clark Year: 1995 Comments: Much like Dazed, Kids focuses on one day in the lives of the youth of America, where drinking, smoking, and fucking seems to be their only concerns. Yet, while Dazed has an atmosphere of joy and let the good times roll, this film has anything but. Most likely the characters in Dazed will go on to lead fine lives as upstanding citizens, but these kids are doomed for failure, incarceration, and certainly death. Clark takes then teen Harmony Korine’s painfully accurate screenplay and gives it the adult perspective we see in the film. As with Dazed the tone of the film seems to contrast with the attitude of most of the characters. The main players (literally) are Telly (Leo Fitzpatrick) and Casper (Justin Pierce) and both are quite satisfied as total assholes that will take advantage of anyone they can, they see nothing wrong with this, yet the film never approves of their behavior nor does it totally condemn them either. Instead, the film simply speaks for itself. Lastly, for my money, Kids has some of the most natural dialogue ever written. Most folks believe it is improvised, but in fact it is nearly all scripted. The fact that it appears ad libbed only speaks to the brilliance of Korine’s script. After all, as Clark stated, Korine’s screenplay is “from the inside, from the point of view of the kids.”
Full Title: Reservoir Dogs Director: Quentin Tarantino Year: 1992 Comments: Reservoir Dogs is where it all began. With Dogs, writer/director Quentin Tarantino forever engraved his name in th echelon of badass cinema. Here we have our introduction to the dish de Tarantino, a dish best served cold: classic dialogue that has absolutely nothing to do with the plot (everything from astute interpretations of Madonna’s “Like A Virgin” to the subtleties in what a white “bitch” will put up with and what a black “bitch” will not), gruesome and excessive violence, a non-chronological storyline, and coolest of all a bumpin’ soundtrack with classic 70s hits. Tarantino uses these various elements to ameliorate an otherwise stale genre of film. Instead of focusing merely on the plot, he instead pulls back and utilizes the perceived frivolous dialogue as key character development and even foreshadowing. For example, in the opening scene when it comes time for the gangsters to cough up a tip, Mr. Pink (Steve Buscemi) refuses because he does not believe in it, while Mr. White (Harvey Kietel) passionately argues that waitresses rely on these tips to survive. Pink admits that he thinks it is absurd that the government taxes their tips, but he still will not pay extra i.e. go against his own self-interests. White, on the other hand, is willing to help another person out when they need it. Later in the film we see this same situation: Mr. Orange (Tim Roth) is dying and White displays incredible compassion for his comrade, and insists that he receives medical attention immediately. Pink does not want Orange to die and somewhat sympathizes for him, but makes it clear that he will not put his neck on the line for someone else. This is top notch story telling from Tarantino and Dogs definitely showcases some of his greatest creations. Grade: A+
Full Title: Pulp Fiction Director: Quentin Tarantino Year: 1994 Comments: Without a doubt, this is Tarantino’s Magnum Opus. His finest film and one of the finest ever made. It baffles me when people say they have not seen this. Just scene after scene of witty, pop culture drenched dialogue, stylized violence, caustic humor, and above all memorable characters. Probably the best work for all involved- made Samuel L. “foot fucking master” Jackson the star he is today. Grade: A+ (My Favorite Film)
Full Title: Inglourious Basterds Director: Quentin Tarantino Year: 2009 Comments: The following is a review I did upon the film’s release, one of my first film reviews for KLYAM:
First, I’ll offer you a brief rundown of the main characters
Lieutenant Aldo Raine (Brad Pitt)- Basterd, Jewish American Hillbilly crazy for revenge and leader of the renegade soldiers known as the Basterds. Provides much of the film’s comic relief. He orders his men to bring him 100 Nazi scalps each.
Hans Landa aka “The Jew Hunter” (Christoph Waltz)- The film’s chief nemesis. He is one of the highest ranking Nazis and though he is pure evil, he often displays a romantic, jovial, and courteous demeanor.
Shosanna Dreyfus (Melanie Laurent)- A French Jewish girl, who narrowly escaped the massacre of her family at the hands of the Nazis and while on the run became the proprietor of an exquisite French Cinema.
Bridget von Hammersmark (Diane Kruger)- A famous movie star in Goebbels’ Nazi Germany film industry, whilst also a spy for the British/Allies. Like always, Kruger is extremely sexy!
Fredrick Zoller (Daniel Bruhl)- The Nazi’s model sniper, killed hundreds of enemy soldiers in just a few short days. After gaining fame for his military “heroism” he became the biggest star of Nazi propaganda films.
Staff Sergeant Donny Donnowitz aka “The Bear Jew“( Eli Roth) A Bostonian Basterd that takes pride in beating his Nazi victims with a baseball bat. The crowd cheered when this guy made his killings!
Final Thoughts: An instant classic! Comparable to the Kill Bill series and certainly better than Tarantino’s last flick, Death Proof (which was good). It’s a violent, gory, hilarious, alternate version of history. This is unique because, unlike most War films it isn’t a Drama. Tarantino doesn’t make Drama films. Period. This is straight up revenge! An action packed revenge movie in the style of a Spaghetti Western with elements of the French New Wave era, like most Tarantino works. The soldiers in this film, the Basterds, aren’t portrayed as people with emotions, families, or lives outside of war, like most movies of the genre. Instead, they are fierce Guerrilas only concerned with one thing… KILLING NAZIS! On the other side of the fence, we see Nazi soldiers who do have emotions, love for the cinema, sons waiting at home to play catch with,etc. I’ve never seen a film show this side of the enemy. Remarkably we still cheer for the Americans and boo the Nazis; after all it’s a REVENGE movie! In short, Quentin is our generation’s chief raconteur; you can tell he cares about his characters and therefore we care about them.
Go See Inglourious Basterds Now!!!
P.S. For you Tarantino nuts out there (like me), he makes tremendously effective uses of his trademark “Corpse View” shot.
Full Title: Dirty Work Director: Bob Saget Year: 1998 Comments: It saddens me when I hear that so many young boys and girls have not heard of this hilarious, wacky, raunchy comedy from Bob Saget of all people. No, this aint Full House, but it is just as ridiculous, except in a good way. DW is in the same league as such Adam Sandler classics as Billy Madison (1995) and Happy Gilmore (1996) (Sandler even makes a cameo himself), not quite on par with those ditties, but certainly in the same league. If you dig dead hookers, people getting their noses (half) bitten off, and revenge then this is right up your alley- after all that best describes my typical weekend. DW is also special because it contains the great Chis Farley in his last on screen role, and as usual he is wildly brilliant. RIP buddy.
Grade: B+/A-
Full Title: Office Space Director: Mike Judge Year: 1999 Comments: One of the funniest films I have ever seen period. Just about everyone knows what it is like to hate their job (at least at some point in their life) and that is precisely what makes this film funny. If you have ever taken orders from multiple bosses and felt that horrible swoosh of vapidity that comes from work then this movie is for you. OS delivers a decent story with some goofball humor mixed with a clever take on the 9-5 world; in other words a fun way of saying FUCK OFF to Corporate America.
Grade: A (one of the finest comedies around)
Full Title: South Park: Bigger, Longer, and Uncut Director: Trey Parker Year: 1999 Comments: Ahh good old South Park our modern day Voltaire (with dick jokes :). SP has never let us down and this movie is evidence that Trey and Matt can extend their satiric brilliance into a full-length feature. This is not simply a few episodes of SP slapped together, this is a high quality film with a conistent story that never ceases to amuse, shock, and certainly entertain. Seriously, this is the best musical I have seen in years and definitely the smoothest sitcom to silver screen transition. As much as I love the SP series, I think this is their greatest offering, by far.
Yeah, y’all know me, still the same OG, but I been low key… on my list of favorites that is. Yeah, y’all know me. You know how much I love to conjure up these little lists of my favorite this and that. Well, today kids you are in for a (trick or?) treat. Last time, I posted my ABSOLUTE FAVORITE albums of all times and since I am an ultra movie geek just like I am an ultra music geek the following is a list of my ABSOLUTE FAVORITE films! One exception. Last time my list consisted of my top 25 ABSOLUTE favorite albums, this time I am counting down from 50 to 1! Same rules apply- ABSOLUTE means truly special films for me, so there are movies that I love and consider favorites, but they will not appear here because they do not affect me nearly enough as these babies do. In other words, with these guys I go out of my way to tell everybody about them and encourage discussion, debate even regarding them any chance I get. They pitch a tent, kick back and relax in my cerebral, waiting to float down to my vocal chords and become the center of attention whenever I can find someone that is willing to have their head talked off in a cinematic bull session. No bullshit. So, few films can do that for me- I have to make the distinction between these masterpieces and other fine works of art that I adore, but simply do not make the cut. Briefly, I have noticed as I am sure you will too, several trends amongst this selection: humor, often dark and/or over the the top, controversial, ridiculous humor; one can never go wrong with pure ridiculocity. Anyway… other similar elements include heavily dialogue and character based screenplays, coming of age/youth oriented themes, and as I have stated in previous posts the most crucial factor for me, vastly memorable features- whether you want to remember them or not. Now, not all of these trends appear in each flick, but they make their presence clear. So, here is the point when you say to yourself “get to the fucking list.” Alright ramblers, let’s get rambling!
Cue the badass music… I am thinking Glassjaw- You Think You’re John Fucking Lennon. James’ GJ piece got me in the mood! Oh and to answer your question Darryl, yes I do.
P.S. This is a list of favorites not the best films ever made. So, do not comment that this is “wrong” or “this shouldn’t be on here” you will just make yourself look like an asshole.
50) The Silence of the Lambs (Jonathan Demme)- 1991
Silence takes the typical detective story and gives it a good spin on its head- everything is out of the ordinary. We have seen this story before young detective (Jodie Foster) makes her name hunting down a well sought after criminal (Ted Levine) with the help of another criminal (Anthony Hopkins, except with this terrifying tale, the criminal is a disturbing serial killer that tortures and murders college girls and uses their flesh for his own attire (to achieve the appearance of a woman to boot). And the other criminal is not just some scumbag, run of the mill character, no, Dr. Hannibal Lector is a cold, calculating villain, one of the most unsettling characters in all of horror and the performance of a lifetime from Sir Anthony Hopkins. Perhaps what I love the most about SOL is the suspense; Hannibal’s mind games for Clarice leave you as quizzical as she is.
49) Sixteen Candles (John Hughes)- 1984
For most people, especially girls, turning sixteen is a wonderful time we would love to experience over and over again… well except for Samantha (Molly Ringwald) who painfully waits each agonizing second for the special day to come to an end. This is classic John Hughes: over the top, exaggerated scenarios about the highs and lows of being a teenager. Hughes takes every little nuance of high school life and exaggerates it to the extreme i.e. the nerds are not your average band geeks, instead of harmonicas hanging from their heads they have devices made to detect extra terrestrials (especially female extra terrestrials :). This is vintage John Hughes- just pure fun, admittedly a bit more style than substance, but it’s all good. One of those films, seemingly more apparent before the age of political correctness, where general senses of morality and reality are suspended and replaced with classic comedy. Seriously this is one of the funniest films I have ever seen.
48) Welcome to the Dollhouse (Todd Solondz)- 1996
If you thought Samantha had a rough time because everyone forgot it was her birthday, then you would be in tears for Dawn (Heather Matarazzo) in Welcome to the Dollhouse as she is tortured by her family and fellow middle school students on a daily basis. Solondz presents all of this bedlam in a relatively light tone, since you know the subjects of rape and abduction are such light topics. For fans of savagely dark comedies this is a must see. For further reading, here is my review of WTDH: https://klyam.com/2010/09/05/classic-film-review-welcome-to-the-dollhouse/
47) High Fidelity (Stephen Frears)- 2000
Top Five Reasons Why I Love This Film. 5) The characters, lovable, obsessive, music nerds 4) Dialogue/appreciation for music and what makes music good or bad 3) The music itself/the soundtrack 2) John Cusack’s performance 1) The humor- not in your face, mile a minute jokes, but rather smooth, witty, and often esoteric writing. For more on HF read my review: https://klyam.com/2010/10/01/mini-classic-film-reviews-detroit-rock-city/.
46) Gummo (Harmony Korine)- 1997
I could talk about this film for days on end. It simply has that effect on the viewer, whether you find it pleasing or repulsive (perhaps both) you are left with a heavy impression that irritates you worse than that herpes sore on your anus. After seeing this for the first time, I had to tell everyone about it, I still do! Gummo banks on imagery, leaving life lasting images in your mind, probably against your will. Simply put, this flick is a collection of highly memorable scenes, images, and lines. Check out https://klyam.com/2010/06/21/chris-on-5/ and https://klyam.com/2010/04/28/classic-film-reviw-gummo/
45) American Psycho (Mary Harron)- 2000
Ho Ho Ho, look what we have here. If you think you have seen some real sick American Psychos, then check out Christian Bale in this 2000 adaptation of Bret Easton Ellis’ controversial novel of the same name. Throw 80s pop hits, dark, dark humor, and merciless killing in a blender and you have a wonderfully bizarre film that entices just as it offends. Here’s a past review- https://klyam.com/2010/09/27/mini-classic-film-reviews-thank-you-for-smoking/
44) The Sixth Sense (M. Night Shamylan)- 1999
Picture being nine years old in a dark theater watching this horror masterpiece. Yeah, so thank the heavens I merely came close to shitting myself. SS terrified my tender little soul to the point of me hating the movie. Seriously, for years I detested this film because it scared me so much. Which, by the way, few films ever have scared me and rarely am I as affected by a piece of art as I was with this creepy flick. It haunted me for weeks, sleepless weeks! The ghosts represented something more than simply objects that are there to jump out at you; sure they scare us, but Shamylan offers us a far greater psychological trip than a few shocking moments here and there. We question what happens when we die and more importantly why? Being a kid, this was too heavy for me. Of course some folks out there probably eschewed this aspect of the film and merely enjoyed it for its shrills and thrills, which is totally fine. But, for me, even at my young age, I had to reflect on my own life- I’d say SS was the first film to make me think, to challenge me… and yeah scare the shit out of me too! A few years later I watched it again and fell in love with it. Not finding it as disturbing, but all the more intriguing. And anyone that has seen this can never forget the incredible ending- the greatest twist ending in the history of film. Hands down. If I was a little bit older, I am sure I would have gizzed in my pants just like The Lonely Island guys.
43) Thank You For Smoking (Jason Reitman)- 2005
If there is anything I have ever learned from studying politics and the media it is that every issue is spun from all sides and at the end of the day the issue itself is frivolous what really matters is personal interests. This film is not about whether smoking is good or bad, it is about the industry of spin and how the mechanics of spin can make that decision for you to satisfy their own interests. A great, unique comedy that is a breath of fresh air for a genre built on retarded romance and cliche after cliche. Review: https://klyam.com/2010/09/27/mini-classic-film-reviews-thank-you-for-smoking/
42) Happiness (Todd Solondz)- 1998
Do you remember that conversation you and your dad had about masturbation? I certainly hope not. But, if you need a gross reminder then toss in this morbid comedy from director Todd Solondz. As usual, Solondz takes the awkward and revels in it, instead of alleviating you from the situation on screen he stays with it until you feel as maladroit as the characters. With disturbing content such as child rape and suicide, amongst others, it must baffle folks when they hear that people think of this as a comedy. Sure, it is not a comedy in the traditonal sense of the word, but it is not a drama. Solondz has removed the entire emotion from this story that there is nothing left to do but laugh, even when the subject matter is anything but funny. This is a grower not a shower as Anthony Fantano would comment, if you do not like or dare I say “get” this then give it a few more views and perhaps you will feel comfortable enough to chuckle or at least appreciate its brilliance.
41) Jaws (Steven Spielberg)- 1975
The Greatest Popcorn Movie of All Time! Seriously, Jaws
emodies entertainment, it serves merely as tool to excite, frighten, and entice you. That is it. No social commentary of any sort, but that is okay here. What this film contains is precisely what most adventure/thriller/horror/action films abolutely lack-tremendous suspense, a massive (figuratively and literally) conflict, well-developed characters, and above all phenomenal score from John Williams, arguably his best. The fact that we cannot see the shark is what scares us the most. What lies beneath the ocean could be anything; our imagination is more horrific than anything a screenwriter could dream up.
40) Fast Times At Ridgemont High (Amy Heckerling)- 1982
One of the quintessential Teen Films cinema has to offer. This flick represents everything great about said genre: the fashion styles, the music, everything 80s-almost to the point that this looks like a retrosective film a la Dazed and Confused (1993), but it is not (if you check the year above). It is like a slice of 1980s teen culture in one film. From the start, we see those wonderful shots of all the various characters doing their thing (which usually tells us a little something about the characters themselves) at the local shopping mall to the Go-Gos “We Got the Beat,” this tells us that this is what is cool, these people are cool, this film is cool. As the title suggests this film moves rather quickly in contrast to the slow, layed back pace of Dazed. Just like in real life, it seems as though everything from boyfriends to bongs comes and goes so fast. An enjoyable look at high school and teen life as well as a rare instance of Sean Penn in a comedic role as the immortal stoner Jeff Spicolli. See ya later bud!
39) Edward Scissorhands (Tim Burton)- 1990
Tim Burton essentially presents us with the hip, goth version of the Jesus story. He (Edward that is) comes to Earth, offers us gifts and ubiquitous kindness and only asks for love and friendship in return. When we are done using him we cast him aside for not conforming to our standards, eventually driving him out of society. Ahh, but he lives on forever through the beautiful snow he creates; in other words he is always with us even though we do not deserve his love. Okay, so a chirstian take on the film haha. Few films touch me as much as this, even fewer “family” films. Some criticized Edward for not climaxing with the typical, everything works out, wrap up Hollywood style/fairy tale ending, but this what I specifically applaud it for; the movie is much more than the former and deserves an honest ending. It works on various emotions, sometimes funny, always endearing, and overall mesmerizing.
38) The Breakfast Club (John Hughes)- 1985
What else can I say about this movie that you have not thought yourself? Everyone (seemingly) has seen John Hughes’ magnum opus and overwhelmingly adore it. This may be the “greatest teen” film and I think it stands out as one of the finest examples of said genre, but what I really love about BC is how it expands beyond those boundries. Most teen movies stick with teen issues, instead Hughes explores how these five diverse individuals represent the varying differences in class, social status, home life/background, and how this affects their perception of each other. In the end, they all come to agree that they want to be nothing like their parents (even if it is possibly inevitable); out with the old, in with the new.
37) The Terminator (James Cameron)- 1984
As you notice from reading this list, I am not a big fan of action films. I grew up with The Terminator films and I have always loved them. The story is excellent, real simple and to the point. In many ways, it is set up like a horror flick, adding the darker aesthetic to this movie as opposed to its sequels. The Terminator is a mass killing machine with one mission: murder Sarah Conor and he will wipe out anyone that stands in his way. Great set up. Classic story, terrific action executed at just the right times, constantly keeping me invested. By comparison, most smash em up, throw this grenade, blow up that building, action flicks are too stale and uninventive for my taste, but this works and has been a favorite of mine since childhood.
36) Terminator 2: Judgment Day (James Cameron) 1991
As far as sequels go, this is definitely in the top three. T2, another great flick from my childhood. This changed the special effects game forever, and I am not one to really give two splats of shit about special effects, but you have to acknowledge how cool they were/are and how grounbreaking it was at the time. Bottom line, T-1000 is the most badass villian ever.
35) Donnie Darko (Richard Kelly)- 2001
Donnie has the rare privilege of being one of the few things that makes me mildily interested in the world of science. This film seems to have it all: cult teen flick mashed with bizarre David Lynchy undertones, it’s ominous, entertaining, humorous, and extremely well-written. The dialogue is fresh and sounds very natural. Kelly effectively uses the time period in place (late 1980s) to tell his story, masterfully connecting it to various aspects of pop culture. That is what I love the most about Donnie, but one can also find exceptional fantasy/sci-fi and drama. It is an enigmatic film, no doubt, but you do not have to totally understand it to appreciate it- with most films like this that is not the case and I assure you after repeated viewings you will most likely find it easier to grasp.
34) The Dark Knight (Christopher Nolan)- 2008
Returing to an earlier film on this list, I pointed toJaws (1975) as the classic “popcorn” movie, if I had to choose a modern film to pass the buttery torch to it would be Gummo (1997). Haha, of course not. Naturally, I am speaking of DK since this is written under its heading. DK is the ultimate super hero/comic book movie with memorable scene after memorable scene. The flow is incredible, you never feel even slightly bored and after watching this movie I always admire how this is a quality we seldom see even in above average films.
33) American Beauty (Sam Mendes)- 1999
I can say with no exaggeration that this is truly a beautiful film, perhaps if it was an hour and a half of a plastic bag blowing in the wind it would be even prettier, but we work with what we have. A great depiction of suburban life in modern America; a close look at one family and how they are, as Kevin Spacey’s character would say, “A commercial for how normal we are when we’re anything but.”
32) Stand By Me (Rob Reiner)- 1986
Everyone’s favorite go camping in the woods to discover the dead body of a twelve year old boy before the rival gang finds it movie! It is funny how for such a lighthearted film the story is a bit gruesome in nature. Thanks to the work of Rob Reiner and the talented young actors in this film instead of macabre we receive a heartfelt quest for one’s self in 1950s America.
31) Kids (Larry Clark)- 1995
Ahh quite the opposite of Stand By Me (1986), these kids are rude, crude and downright vile. If you are looking for a morality play, look elsewhere. Larry Clark brings Harmony Korines screenwriting debut to life in brutal, relentless, an honest look at youth in urban America. There is no character I can relate to, every character is either a total scumbag or associated with total scumbags. Some of the ladies are okay people, but mostly just kids you pitty at best. For most viewers this drives them away, but for me, it makes it all the more fascinating. I love the no holds barred partying, the immature and completely vulgar dialogue (the scene where Telly and Casper are walking down the street discussing Telly’s just minutes earlier sexual experience with a twelve year old girl is one of the finest pieces of dialogue imo), not to mention the gifted camerawork of Larry Clark. Even fifteen years later this will shock most people and rightfully so, in fact, if you are not alarmed by the behavior portrayed in the film then you are far closer to the characters than I would ever desire to be. The soundtrack is exceptional and consists of some of my favorites; the last few moments are chilling, just before we hear Sebadoh’s “Spoiled” with the credits, an apropos tune for the time- Barlow moans “spoiled children soon too fall.” I couldn’t agree more.
30) Natural Born Killers (Oliver Stone)- 1994
Good old NBK. This film hit me like a ton of bricks. Sent me flying off my rocker. Drowned me in a sea of blasphemy :), if you will. Upon first viewing at the age of fifteen I was convinced the American Media is totally fucked and as disturbing as this film itself. Which, by the way, this is a trip- a visceral, psychedelic experience. I dig the merciless satire, especially the sitcom/laugh track scene, classic. Violence in the media does not create violent little creatures, but it does make them famous!
29) Forrest Gump (Robert Zemeckis)- 1994
This list is like a box of chocolates, you never know what you are going to find next! Forrest tells the story of America through its innocent title character, giving us one of the most memorable movies for generations to come. I love catching each and every reference to American history/culture as some of them are funnier than others. I always get a chuckle when Forrest apologizes for “ruining your Black Panther PARTY.”
28) Requiem For A Dream (Darren Aronofsky)- 2000
I think its great that kids see this and think “I’ll never touch heroin.” Fantastic! but this work of art is far more than just a massive Drug Free America ad. Aronofsky uses drugs to illustrate the power of addiction and how it can enhance our insecurities, pushing us as far away from our dreams, our loved ones, and what we know as reality.
27) TIE: American Graffiti (George Lucas)- 1973 and Animal House (John Landis)- 1978
Both are amazing films about young people in 1962, living life to the fullest, before they grow up and forget how to have fun. The Rock and Roll was great, the cars were nice, and the kids were experimenting. AG is the night before college and AH is college itself, unsurprisingly, the latter is the funnier and lighter of the two; AG represents all the fears and insecurties you have when you are young, worried about your future. AH says let’s put that aside for a while and party hardy while we can.
Each is the master of their repsective subgenres; AG is the quintessential teen movie (well, with one exception that we will get to later) and AH is the quintessential college movie, all others are wannabees even if they are decent bees they still do not come close.
26) The Graduate (Mike Nichols)- 1967
Yet, another flick about young people. This film sums up that feeling of being a confused young lad on the brink of the “real world” and wanting nothing more than to sit back, relax, have a beer, and sleep with your parents’ best friend, it’s natural, we all experience it. That is until you discover you really are in love with their daughter. Here is a fabulous example of the generation gap: the parents (WWII stalwarts) and the kids (Post-War Baby Boomers, Rock and Rollers via the fantastic pop psychedelia of Simon and Garunkel). Best work for all involved.
24) Psycho (Alfred Hitchcock)- 1960
The Master of Suspense at his most masterful. For those who have not seen this or do not know the ending, I envy you. Norman Bates (Anthony Perkins) is in my top five favorite characters; this mama’s boy means business. By watching this movie we get to see the psychology of the mentally depraved and at the same time we can hav fun with the sheer shrills and thrills that make this the classic that it is.
23) Willy Wonka and the Chocolate Factory (Mel Stuart)- 1971
I loved the novel, but I needed more. This is one of my favorite adaptations; Stuart simply brings all of Dahl’s terrific imagination to life. Take for example, the final scene: the image of them floating in the air balloon all over the city to the oompa loompa music leaves me with a lasting image and has always given me a powerful feeling of warmth I do not feel very often.
22) The Wizard of Oz (Victor Fleming and others)- 1939
21) It’s A Wonderful Life (Frank Capra)- 1946
Another film that always puts a smile on my face. Naturally, best around Christmas time, but it goes so far beyond that. This serves as a constant reminder that for most of us life truly is a miracle and tis a hell of a lot better than being dead. As others have pointed out, this film shows us how each and every person greatly affects the lives of those around them. In more recent years I have come to appreciate and admire the chracter of George Bailey (James Stewart) for always sacrificing his own dreams to help out those who are not as privileged as him. At any point, he could have gone off to college or traveled the world like he envisioned as a child, but when his family, friends, and fellow townspeople needed him, he was there. Seldom, do we see this kind of hero represented on the silver screen.
20) A Clockwork Orange (Stanley Kubrick)- 1971
Clockwork is the film your parents forbid you from watching. That strange British weirdo bizarro Kubrick mess. It is that “fucked up movie you gotta see” as some young people might label it. Sure, it is queer in the traditional sense of the word, certainly horrifying, and yes may make you queasy. But, behind all of the pandemonium there is a serious masterpiece that begs your attention. Clockwork entices us with its lurid content and imagery, which I love by the way, but acts as a satire of broken down society. Alex (Malcolm McDowell) is our juvenile delinquent, but this cat makes James Dean look like an altar boy. Alex tortures, rapes, and even kills- and yet he is just a school boy (15-18). He is a perverse character that we somehow find ourselves attracted to; we are jealous of his social freedom. Ultimately, we realize that the very institutions we trust in preventing such gargoyles as Alex do not really care whether he lashes out or not-one day he is a menace, the next day he is a model citizen, whichever helps said institutions maintain their control over the rest of the populace.
17) Good Will Hunting (Gus Van Sant)- 1997
As a whole this is simply a brilliant film that clearly connects with many viewers, but specifically there are a few personal connections for me: 1) Boston- though I am from Wakefield, a suburb of Boston, the familiarity of the setting has always made me feel closer to this film and the characters. Most movies shot in Boston do not have this effect on me, but for whatever reason Gus Van Sant selected all of the right shots. The shot where Will is on the subway and then the camera suddenly flashes to various clips of locations in Boston including Fenway Park is one of my all time favorite shots, for some reason it has always stuck with me. The city is used for more than just a physical setting, but rather a state of mind for Will- what he is comfortable with and as a viewer I share in this comfort- it is all he truly knows of this great, big world. I too have seen very little outside Massachusetts. 2) The music of Elliott Smith- this film would not be the same without Elliott. It is impossible for me not to see images of GWH when I listen to say “Between the Bars” or “Say Yes,” being a massive fan of Smith’s work this has always struck me- his music is not simply there as a sountrack to the film, it flows with it and speaks to the audience, it often conveys what is happening on screen. In “Say Yes,” Smith says “I’m in love with a girl…” as we see Will (Matt Damon) and Skylar (Minnie Driver) share their first kiss. 3) The 90s- for some films, particularly those I watched as a child in the 90s, they remind me of the decade and my early childhood years. I always feel nostalgic whenever I see this.
16) Boogie Nights (Paul Thomas Anderson)- 1997
Let us be clear here, this is not a porno. Good, glad we got that. I cannot stand it when people write this off as trash because the subject matter is perceived as sleazy. This country is so prudish it is absurd. Do you hear anyone call The Godfather (1972) a snuff film because it deals with crime and murder, I think not and rightfully so. Well, the same should apply to Boogie. Along, with Goodfellas (1990) this is one of the greatest character(s) studies over a period of time. This film is only literally about the pornography industry. It is really about people, just like you and me, human beings over a period of time, how they rise, fall, and try to stand up again, if they are not already dead. PTA offers us a fascinating look at a wonderful ensemble of colorful characters as they struggle to love themselves for who they are or who they think they are. Throughout the story the characters battle with their self-image versus others’ perception of themselves. In other words, “are we really the people we think we are?” A powerful question all of us have to face at some point in our lives.
15) Back to the Future (Robert Zemeckis)- 1985
Do you remember when you were a little kid and there was always that one movie your parents could toss in to get you to shut up? BTTF was that video for me. I have probably seen this movie eighty times, if not more. I am positive you will be hard pressed to find many people that deteste if not simply feel indifferent to this film. Perhaps some artsy fartys autuers fuckers out there, but generally speaking, this film is loved by most folks. It encompasses everything great about adventure movies that sadly most features fail to contain. This film has it all: action, comedy, romance, an original story, memorable characters, quotable lines, and best of all a heart. Not to get to wimpy on you, but seriously, you get the feeling that BTTF is more than just a fun ride. It flawlessly executes all the above and then some, entertainment at its finest.
13) Trainspotting (Danny Boyle)- 1996
When I describe this as a comedy I seem to get quizzical looks. True, it is a dark comedy and quite dark in many scenes, but nonetheless it is undeniably a comedy. Heroin is horrible and the film never depicts it as other wise, but Trainspotting perfectly mixes this disturbing element with UK absurdist humor and a fantastic soundtrack. The characters have flaire and despite how big of arseholes they can be we find that we enjoy spending time with these low life junkies. This film makes you think, laugh, and most definitely cringe.
12) Goodfellas (Martin Scorcesse)- 1990 Goodfellas has the wonderful privilege of being the second greatest mob movie of all time. We’ll get to number one later (seems pretty obvious). Anyway, GF is modern, it abandons the mob/mafia set up we are used to. The soundtrack is modern- Rock and Pop hits, we even hear Sid Vicious’ version of “My Way” over the credits! Modern themes in the crime life- cocaine, like its counterpart Scarface (1983), but I prefer this film when it comes to the gangster lifestyle. We watch Henry Hill (Ray Liotta) grow up and achieve what he perceives as the American Dream- Power. Decadence. He has it all. But, worst of all, he ends up as a regular schmuck, a kid like you and me, if you will- worse than being dead.
11) Taxi Driver (Martin Scorcesse)- 1976
In terms of character driven films you would be hard pressed to find anything close to Taxi Driver. De Niro’s performance as Travis Bickle is frightening. Bickle is all around us and could be us. He is every young man at some point in their lives. Alienated, frustrated, and ready to let go. Only difference… when his short fuse blows he is determined to violently lash out against the society that has betrayed him.
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10) One Flew Over the Cuckoo’s Nest (Milos Forman)- 1975
9) Garden State (Zach Braff)- 2004
Only second to Juno (2007) for my favorite film of the 2000s. Zach Braff makes the film of his career (most likely): fantastic cinemetography, believable characters, and an incredible soundtrack. The music is placed so delicately over every scene, as I am told Braff chose every song himself. Perhaps my favorite is the inclusion of The Shins’ “New Slang,” we hear this as Large (Braff) is transitioning from a character made of stone to a new man feeling emotion once again. The Graduate (1967) of our generation.
8) American History X (Tony Kaye)- 1998
Out of all the films I have seen dealing with racial hatred/ignorance this is by far the most emotional. Our main characters are neo-nazi skinheads and we see how they blindly and desperately become members of such white power gangs to fit into a society that has long abandon them. Despiter their intelligence, they become consumed with so much hatred (and confusion) that they lose sight of what is important- keeping their family together, which is essentially what the characters desire the most. In the end, destroying their family is precisely what occurs. This film is not preachy in any way and like similar films does not focus on minor prejudices that all of us have, rather it depicts the horrible, misguided world simple minded bigotry can lead to.
7) Fight Club (David Fincher)- 1999
The first rule of writing a review about Fight Club is you do not talk about Fight Club. The second rule of writing a review about Fight Club is you do not talk about Fight Club. Well, I guess I cannot talk about FC. Y’all just have to check out my Classic Film Review of FC.
6) The Godfather (Francis Ford Coppola)- 1972
If this was a list of the Greatest Films of All Time, then The Godfather would have to be number one, hands down. This picture is flawless as everyone knows. There is not much more I can say in a few lines to truly give this epic masterpiece justice; one piece of advive SEE IT if you have not already.
5) Reservoir Dogs (Quentin Tarantino)- 1992
Ahh the film that started it all for Mr.Tarantino. Easily one of most badass debuts from a director. Dogs exploded Tarantino into the underground film circuit and made him the cool, hip director we have come to love. I will stop here for now as a review of Dogs is in the works as I write this.
3) Clerks (Kevin Smith)- 1994
The funniest movie my eyes and ears have had the privilege of witnessing. Clerks is vulgar and raunchy, but it is “smart raunchy.” Smith creates chracters that are witty, well developed, and sometimes downright offensive (in a good way). After all these years this film still retains its unique quality- you simply cannot steal that from this film. The unpolished, poorly edited (appearance wise) look of the film is its precise appeal. No one can say this is just like every other comedy film, just look at the damn thing! It effortlessly has character and with the support of Smith’s knack for brilliant dialogue (basically most of the film) this character is further augmented transforming Clerks into a slacker, Generation X classic. It does not care if you feel unimpressed or shocked, or even bored for you worthless viewers out there that do not “get it.” After about eight or nine years of admiring this movie I still hold it in high regard and can watch it over and over agin- probably 2-3 times a year at the least.
2) Dazed and Confused (Richard Linklater)- 1993
“That’s what I love about these High School girls I get older they stay the same age.”- Wooderson (Matthew McConaughey). Nowadays Wooderson would be creepin on Facebook for the High School Hunnies! Dazed captures teen/high school life better than any other film, even American Graffitti (1973), which is a fierce competitor. I often hear fans refer to this as a “stoner” movie. There is some validity to that, but it should never be reduced to Cheech and Chong status. To make an analogy, Dazed is like a gangsta rap who has matured and rhymes about social issues. That rapper still has his gangsta flavor (party/hang out quality) but has mostly grown beyond that. This is a fun, interesting, and certainly thought provoking coming of age film you have to see at some point in your lifetime.
1) Pulp Fiction (Quentin Tarantino)- 1994 !!! :)
So here we are at #1. Do I have to explain why this takes the cake? I have yet to see a film as good as PF since its release in 1994. PF redefined the action genre- sure it is a massive pastiche, composed of countless references to various films, TV shows, music, and other areas of pop culture. But, do not be fooled, it perfects the genre like no other film before it. What I love the most about PF is the way the story unfolds before you eyes: at any point one little, just one little teensy detail can alter the remainder of the plot. I.E. Mia’s sudden overdose, Butch and Marcellus fighting their way into a pawn shop, whose propietors are satomasichists that torture them, amongst other things. Tarantino’s baby is a phenomenon we, movie viewing public of the world rarely have the chance to experience; people still discuss PF as if it was just released and I doubt that will ever change.
Artists: Deerhunter, Real Estate, Casino vs Japan Venue: Royale Boston Date: Saturday, October 16, 2010
Act I: Casino vs Japan
This is not my kind of music whatsover, so yeah it was just unbearable electronic music to me. It always feels like these guys overstay their welcome, but maybe it’s just me. Aficionados of said music may have dug this chap, but nothing stood out to me, I have seen far more interesting purveyors of the style.
Act II: Real Estate
Not my favorite band by any means, but a good band and after Casino, they were a massive relief. I liked them slightly more this time around. They are just a chill, relaxing group with some rockin’ in them. If you like mellow music, I would recommend them.
Act III: Deerhunter
YESS! As one of my favorite bands, I was really excited for this show. Deerhunter always (in the two previous times I have seen them) blow my mind. But, before I felt a tad bit unsatisfied, just a teensy bit as they are amazing, but not this time. Sure, there were some flaws. The vocals were low, at times they were better, but much of the time they were indecipherable. Which was not that big of a deal because I feel like the vocal apsect of their music is better appreciated on record, whereas the live show is mostly concerned with the guitars. Brad, Lockett, and Josh produce shards of noise whilst still maintaing that calm, cool quality that is essential to their art. Not to mention, the pounding drums of Moses, also exquisite. In terms of the setlist, it was fantastic. Sure, I did not hear everything I wanted to, but numerous classic were dished out, mostly tracks from their latest release, the incredible, Halcyon Digest (2010). They opened with one of their best “Rock” numbers in the Halcyon track, “Desire Lines,” where Lockett carried vocal duties. For that album they also unleashed the catchy and evocative (Deerhunter can mash the two aesthetics together perfectly) “Revival,” “Don’t Cry,” “Memory Boy, “Helicoptor,” and “He Would Have Laughed,” in honor of our buddy Jay Reatard. From Microcastle (2008) we heard “Never Stops,” “Little Kids,” and “Nothing Ever Happened.” Then “Rainwater Cassette Exchange,” from the EP of the same name. “Fluorescent Grey” and other classics were performed as well. As serious of a band Deerhunter is, there is an amusing, almost goofy side to the band. Frontman Bradford Cox always seems to be cracking jokes: at one point he stops the show to ask Josh if he loves him and informs the audience that he will not continue to play until he hears Josh utter the words. Haha, stuff like that. Overall, I can safely say this is the best Deerhunter show I have seen and I really cannot wait to seem them again.
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Kids Like You & Me (KLYAM) 