Really enjoyed this post from Freddie de Boer about his frustration with the common misinterpretation of Mad Max: Fury Road as “Furiosa replaces Max in a Mad Max movie”—a take that’s entirely false:
It’s important to understand that Furiosa doesn’t replace Max because the entire movie demonstrates the failure of dictatorship and the superiority of communal leadership. It’s not about men being erased in deference to women; it would be totally bizarre for a movie with that intent to place so much agency in its male characters. (Nux’s sacrifice saves the lives of the remaining characters, to pick an obvious example.) It’s about the superiority of democracy and shared governance and diversity over the the whims of an individual autocrat.
He then links this framework to how a “new masculinity”, embodied by Max, can be “unthreatened by the strengths and abilities of others” while joining with the ideal version of feminism:
Feminism is not about women replacing men in an equally stratified and undemocratic structure as the patriarchy that preceded it; that’s a parody of feminism. Feminism is about equality, diversity, communalism, and radical democracy. Indeed, the movie models consensus and communal deliberation for us. When they stop and discuss whether to continue on the salt flats or turn back for the Citadel, Max and Furiosa do most of the talking, but everyone weighs in and is heard. Furiosa doesn’t lead by fiat. She listens and becomes convinced, as do the rest, and they all make a plan together. Max isn’t erased; he’s a valued and essential part of the whole, just as white men will be in the new world of democracy and equality we are building.
In that group discussion on the salt flats—one of the few quiet moments of the movie—Max concludes his case to Furiosa thusly:
Look, it’ll be a hard day. But I guarantee you that 160 days riding that way, there’s nothing but salt. At least that way, we might be able to, together, come across some kind of redemption.
What a great metaphor! The path towards a better world is hard and painful, but retreating away from it is worse in the long run. “The obstacle is the way,” as Ryan Holiday would say.
Though it was fun to watch Little Man experience fireworks for the first time, my personal highlight was being able to see the clear night sky without much light pollution for the first time in a while. And, man, was it glorious to behold.
All that love’s about
It echoed a moment that stood out in our recent rewatch of WALL-E, which we decided to try with Little Man after he gravitated to a WALL-E toy at Target (probably because it looked like a truck).
In the film’s transcendent first act, WALL-E pauses during his garbage collection routine and looks up to the sky just as the otherwise dense smog clears just enough for him to see stars. “It Only Takes a Moment” from Hello, Dolly! underscores the moment, specifically at the line “And that is all that love’s about.”
This is a lovely bit of foreshadowing for later in the movie, when WALL-E and EVE perform their fire extinguisher-fueled space ballet among the stars—a scene I love so much I named it one of my favorite movie music moments. (The movie itself is #2 on my best of 2008 list.)
The robot toddler
Another takeaway from the movie this time around was something I couldn’t have realized before having a kid: WALL-E embodies all the best characteristics of toddlers.
He’s diligent, curious, enthusiastic, loving, loyal, temperamental. He’s a tinkerer who tosses aside a diamond ring because he’s more interested in the box it came in. He’s eager to show EVE all his toys when she visits his home. He basically has two speeds: inching along or sprinting. He’s charmingly clumsy, quick to make friends, and an accidental agent of chaos—but one that ultimately brings life to those around him.
In short, an excellent role model, and not just for kids. Here’s to all of us being more like WALL-E.
The Good Lord Bird. The limited series really captures the book’s madcap and dramatic spirit. Ethan Hawke is so delightfully committed to the dead-serious absurdity of John Brown.
The Underground Railroad. Two of my main takeaways while watching this 10-episode limited series: 1. I can’t believe I get to watch essentially 10 new Barry Jenkins movies! And 2. That’s a few too many given the heavy subject matter!
Art Blakey & The Jazz Messengers, A Night in Tunisia. Recently my wife asked me to “get some jazz” from the library, so right before I left I grabbed a few albums more or less at random. Struck gold with this one.
Benny Goodman, Mozart at Tanglewood. Wanted to find some good concertos and heard good things about this one. Those good things were right.
Fake Love Letters, Forged Telegrams, and Prison Escape Maps: Designing Graphic Props for Filmmakingby Annie Atkins. A cool visual compendium and behind-the-scenes exploration of a film graphic prop designer’s impressive work, including lots from Wes Anderson movies.
I started making annual top-10 movie lists in 2007, so I’ve been going backwards from there to create lists for each year retroactively. See all my best-of lists.
I really enjoyed kicking off my back-in-time film rankings series with the 2006 slate.
Most of my indelible memories from this moviegoing year involved the late, lamented Westgate Cinema, a rundown strip mall theater in Madison that showed the arthouse flicks I was really getting into at this time as a high school junior and senior. I saw several of my top 10 films there.
Looking at the box office from that year reveals a now-familiar dominance of franchises, though only one superhero movie. The only two original concepts represented in the top 10 were Mr. & Mrs. Smith and Hitch—one of which made my own top 10 and the other just missed out.
As for the Oscars, the bit that sticks out (besides the surprising-but-not-really Best Picture triumph of Crash over Brokeback Mountain) was host Jon Stewart’s quip after Three 6 Mafia won Best Original Song for “It’s Hard Out Here for a Pimp” from Hustle & Flow: “For those of you who are keeping score at home, I just want to make something very clear: Martin Scorsese, zero Oscars; Three 6 Mafia, one.”
On to the list…
1. Brokeback Mountain
True story: when I started teaching myself how to play guitar around this time, the first two songs I learned were “Blackbird” by The Beatles and “The Wings” from the Oscar-winning Brokeback Mountain score by Gustavo Santaolalla. Partially because they happened to share a similar riff (and, I realize only now, theme: “Take these broken wings and learn to fly…”), but also because they’re both gorgeously evocative in their own ways.
2. Good Night, And Good Luck
There’s a cozy intimacy this film accomplishes that sets it apart from other star-studded period dramas. Maybe it’s the smooth-jazz score, the black-and-white, or the short runtime. Or maybe it’s the contrast of big issues—freedom of speech, the power of the press—being teased out through small conversations in unassuming rooms.
3. Grizzly Man
I’ve seen and enjoyed many Werner Herzog documentaries, but this one still reigns supreme.
4. Batman Begins
Ah, the halcyon days of when a gritty superhero reboot was a novel concept.
5. A History of Violence
The fight in the diner. The stairway sex scene. The final shot.
6. The 40-Year-Old Virgin
Let’s save the discussion about the cancelability of mid-2000s comedies for the 2004 list (Anchorman, Dodgeball) and say for now that this felt like a sea change at the time, not only for the humor but also for the ultimately positive portrayal of virginity.
7. The New World
I remember going to see this with some friends who were expecting something closer to Pocahontas than the slow, meandering, meditative epic this actually is. Needless to say they didn’t like it, but I did.
8. Walk the Line
At my high school, seniors were allowed to make a big raucous commotion between classes on their last day of school to celebrate graduating. My contribution to this day was hoisting my boombox above my head and playing this movie’s soundtrack on repeat while I walked the halls.
9. Four Brothers
An underrated winter movie, crime movie, family drama, and ensemble piece, with Chiwetel Ejiofor’s truly chilling turn as the sadistic, fur-spangled crime boss Victor Sweet as a bonus.
10. Mr. & Mrs. Smith
We now know how Brangelina would turn out, but at the time the chemistry of Pitt and Jolie was as incandescent as this movie’s alchemy of action, humor, and romance.
Honorable mentions: Broken Flowers, Fever Pitch, Hitch, In Her Shoes, Just Friends, King Kong, The Squid and the Whale, War of the Worlds
My annual top-10 movie lists begin in 2007, so I thought it would be fun to start going backwards from there and create lists for each year retroactively.
First up is 2006, which is now 15 years ago and a notable year for me in several ways: it’s when I graduated high school, went on tour with my band (RIP Ice Cap Fortune), entered college, and started this blog.
I also have a lot of movie-related memories from that year, including:
seeing Brick at my beloved Hilldale Theatre in Madison not long before it closed permanently
going to my first and last midnight screening (Pirates of the Caribbean: Dead Man’s Chest)
suffering through some truly awful movies (X-Men: The Last Stand, Superman Returns, Lady in the Water)
But the abiding memory from 2006 was the day I saw five movies in a row.
My mediocre movie marathon
This may be a common occurrence for film festival-goers or professional critics, but for me it was something I did just to see if I could pull it off—both as a tactical feat of avoiding detection by the theater staff and as a moviegoing stunt.
I walked into Marcus Point Cinema in Madison, WI, for a 12pm showing and reemerged into the darkness just before midnight (paying for only one ticket—yes, I was a teenage scofflaw). It’s not the best lineup, but here’s what I saw:
The Pursuit of Happyness
Rocky Balboa
The Nativity Story (an unplanned addition but it fit perfectly between other showings, and my mom joined me with some contraband McDonald’s)
Blood Diamond
The Good Shepherd (my dad joined me for this one)
I never did this again and would not recommend it. By Blood Diamond my eyes were getting blurry and my butt hurt, so I don’t think I could fully appreciate that or The Good Shepherd. But it was bucket list cross-off and gave me a story to tell on my blog 15 years later.
Anyway, on to the list…
Top 10 of 2006
I suspect this won’t continue to be the case as I move back in time, but I saw almost all of the films in my top 10 in theaters at the time. By then I was an ardent cinephile with a job and a car, so I was able to see a lot of movies. And there were a lot of great ones. Here are my favorites:
Honorable mentions: The Prestige, Borat, Little Miss Sunshine, Idiocracy, Half Nelson, United 93, Marie Antoinette, Shut Up and Sing, Monster House, Old Joy, This Film is Not Yet Rated, Mission: Impossible III
An ongoing series of books, movies, and music I’ve encountered recently.
(Haven’t done this since before the end-of-year list-o-mania, so check out my favorite books and films of 2020 for a fuller “Media of the Moment” experience.)
Ted Lasso. Throughout the whole 10-episode first season I kept thinking, “How is this show real?” Can’t wait for season two.
Down from Basswood by Lynn Maria Laitala. Went long on this short, wondrous book.
Palm Springs. I love when comedic actors, like Andy Samberg in this instance, stretch into drama. Also love when a movie manages to mix so many genres well—in this case comedy, romance, sci-fi, drama, and even philosophy.
Run. The latest thriller from Aneesh Chaganty (whose debut film Searching was one of my favorites of 2017) puts Sarah Paulson right where she shines, in a role that cloaks a dark edge with a sunny surface. Kudos to her co-star Kiera Allen for an impressive debut.
The Splendid and the Vile: A Saga of Churchill, Family, and Defiance During the Blitz by Erik Larson. Listened to the audiobook and enjoyed when the British narrator adopted Winston Churchill’s distinctive even-more-British accent when quoting him. Remember to be brief.
The Dig. Like The Splendid and the Vile, a stately story set in World War II Britain that was just OK—though Carey Mulligan and Ralph Fiennes were, as always, the best part of it).
Jimmy Carter: Rock & Roll President. Documentary about the influence of music and musicians on Carter and his 1976 presidential campaign. Had no idea he was best friends with Bob Dylan and Willie Nelson. Perhaps I’ll make him my next presidential biography…
Contagion. Finally dove into this Steven Soderbergh joint that was eerily prescient about pandemic life, though thankfully more extreme than what COVID-19 hath wrought.
Wings. This 1927 silent film was the first winner of the Academy Award for Best Picture (technically “Outstanding Picture”). About 30 minutes too long but strikingly style-forward for its time, as this stunning tracking shot demonstrates.
Ghosts of the Abyss. Went on a Titanic kick a while back and stumbled upon this documentary from James Cameron on his 2001 expedition to the Titanic wreck, which captured some incredible footage.
Only Lovers Left Alive. Between this, Broken Flowers, and Patterson, I have yet to be let down by Jim Jarmusch.
(Spoilers for the films Soul and Driveways, two of my favorites of 2020.)
At the very end of Driveways, Brian Dennehy’s elderly Del finds himself recounting a story. He concludes:
You know what I wish? I wish me and Eddie were just leaving Joplin this morning. I wish we could do that whole trip all over again. Maybe we’d be a little more deliberate this time, drive a little slower, take our time. Take a good look at stuff. Really see the country.
This echoed in my mind at the end of Pixar’s Soul, which finds Joe being offered a restart for his life:
JERRY: We’re in the business of inspiration, Joe, but it’s not often we find ourselves inspired. So, we all decided to give you another chance. … So what do you think you’ll do? How are you gonna spend your life?
JOE: I’m not sure. But I do know… I’m going to live every minute of it.
I liked the contrast between these two versions of starting over. Del’s second chance is only imaginary, a nostalgic and bittersweet reverie that won’t come to pass. Joe, on the other hand, has an actual opportunity to restart his life with the benefit of the wisdom he acquired on his journey.
Along with all the other lamentable things that happened (or didn’t happen) this year due to COVID-19, I mourn the movies I missed out on seeing on the big screen. The last time I was in a theater was in late February to see LittleWomen, which ended up being my favorite film of 2019.
But I’m also aware that I probably wouldn’t have done much moviegoing this year anyway with a toddler at home. That makes me very grateful for the plenitude of at-home viewing options available to me. Between Netflix, Amazon Prime, Kanopy, Disney Plus, and library checkouts, I was able to see most of what 2020 had to offer and then some.
My logbook tells me I saw a total of 78 films in 2020, 34 of those being 2020 releases. Here’s what stuck with me the most.
10. Greyhound
This got a lot of “meh” reviews, but I found it to be a gripping, well-made, and admirably brief thriller, written by and starring Tom Hanks as the Navy commander of a destroyer protecting a convoy of Allied merchant ships in the U-boat-infested waters of the Second World War’s Battle of the Atlantic. (An unexpected benefit of having to get a new iPhone recently was getting a free one-year trial of Apple TV+, which is the only reason I was able to see it. So shout-out to my first-gen iPhone SE for crapping out!)
9. Dads
A sweet and insightful documentary from Bryce Dallas Howard that celebrates modern fatherhood, with talking heads from her father Ron Howard, Jimmy Fallon, Judd Apatow, Will Smith, and other celebrities interwoven with the stories of four everyday men and their parenthood journeys. (Watched on Apple TV+.)
8. Wolfwalkers
In the tradition of previous Cartoon Saloon animated films Song of the Sea and The Secret of Kells, this is a resplendently illustrated magic-infused folk tale set in 17th-century Ireland with some familiar story elements (rebellious daughter, stern but loving father) embedded with many surprising and delightful turns. (Watched on Apple TV+.)
7. Soul
In the last five years, Pixar has hit the bullseye with only Inside Out, Toy Story 4, and Coco. It’s those films that Soul echoes the most, with its jazz musician protagonist undergoing a metaphysical (and physical) journey rediscovering his own life and purpose. Kids will like its zanier bits, but only adults can fully appreciate the worldview-tilting wonder in this ode to finding meaning in “regular old living.” (Watched on Disney Plus.)
6. First Cow
In 1820s Oregon, two men hatch a scheme to steal milk from the area’s only cow to make and sell biscuits at the local outpost. Sneaks into something very different than what you expect initially. A classic western and American tale of enterprise gone wrong, with a blend of sparseness and depth that only Kelly Reichardt can pull off. (Watched on library Blu-ray, but also available on VOD.)
5. The Assistant
Julia Garner (whom I first discovered in 2012’s Electrick Children) stars as an office assistant of an unseen and unnamed Harvey Weinstein-esque Hollywood producer, whose malignant presence nevertheless follows her as she navigates workplace gaslighting, emotional abuse, and a crisis of conscience. The film’s oppressively hushed tone creates a horror/thriller atmosphere that’s fitting for the psychological menace she has to endure. (Watched on Kanopy.)
4. Driveways
While a woman fixes up the house of her recently deceased hoarder sister, her shy son develops a sweet friendship with the elderly neighbor, played by Brian Dennehy in his final role. Really enjoyed seeing Hong Chou in a different light compared to her role as Lady Trieu in HBO’s Watchmen. And Dennehy’s quiet, abiding presence culminates in a touching monologue that captures the ache of end-of-life regret. (Watched on Kanopy.)
3. My Octopus Teacher
I already wrote about this documentary, which captures a freediver’s unexpected encounters with an octopus in a South African kelp forest. It’s a beautiful and emotional story that shows the stunning possibilities of what being present in nature can offer. (Watched on Netflix.)
2. Sound of Metal
Riz Ahmed (previously known to me from Nightcrawler) plays a drummer and former addict who suddenly loses his hearing and finds refuge at a community for deaf recovering addicts, led by a deaf Vietnam vet (played by a riveting Paul Raci). His struggle to regain his hearing and old life clashes with new insights, and make this a stunning, humanist portrait of addiction and transformation. (Watched on Amazon Prime.)
1. The Vast of Night
The Twilight Zone meets Super 8 in 1950s New Mexico, where a young switchboard operator and a radio DJ discover a mysterious, possibly extraterrestrial audio frequency. Their search for answers around their small desert town alternates between vexing, exhilarating, and downright eerie. No other 2020 movie captured my imagination and attention as much as this debut feature from writer-director Andrew Patterson, who displays an impressive one-two punch of technical prowess and storytelling panache—with a no-name cast and tiny budget to boot. (Watched on Amazon Prime.)
Honorable mentions: One Night in Miami, Downhill, Tigertail, Blow the Man Down, Miss Americana: Taylor Swift, Hamilton: An American Musical, Da 5 Bloods, Boys State, Lovers Rock, Mangrove, Yes God Yes
Haven’t yet seen but want to: Minari, Nomadland, Another Round
Other non-2020 films I enjoyed:
Only Lovers Left Alive Magic Mike Kramer vs. Kramer A Night to Remember Margin Call The Firm A Hidden Life The Last Temptation of Christ Waves
Former Packers columnist Vic Ketchman likes to say “memories make us rich.”
I think about this a lot, but I gave it special consideration during this year’s annual viewing of It’s A Wonderful Life when, at the very end—in arguably the film’s best moment—Harry says, “A toast to my big brother, George, the richest man in town.”
He’s rich because all of Bedford Falls is dumping a veritable fortune on his table. He’s also rich—richer, I’d say—because of who is doing the dumping and why they’re doing it.
George had been offered a similar financial windfall earlier in the film when Potter tried to hire him, but he rebuffed it. Had he decided otherwise, he would have gained wealth of a kind, but also a kind of poverty that no amount of money could cure. He wouldn’t have had the same relationships with all the friends and family and townsfolk who filled his house with a different kind of windfall.
George was rich in the end because he remembered. He remembered the barrenness of his ghostly alternate life where he was never born. And he remembered—suddenly, when he wanted to live again—the meaning of all his family and friends and frustrating failures and small victories that had accumulated into something like a wonderful life.
Clarence Odbody (Angel Second Class) gets the last word in the movie with his book inspiration to George: “Remember, no man is a failure who has friends.” Remember these friends, he’s saying, not because they’re currently making you rich, but because they already have.
Grumpy Old Men has become one of the few movies I return to every Christmastime, along with The Family Stone and It’s A Wonderful Life. Though (or maybe because), like those other movies, it’s only partially about Christmas.
It’s schmaltzy to a fault, but also an hilarious showcase for the legendary comedic chemistry between Jack Lemmon and Walter Matthau, forged over decades of working together.
Matthau was open about taking the role only for mercenary purposes. His co-star Kevin Pollak talked about chatting with Matthau on the set before their first scene together:
I said, “So, Walter, script’s pretty good, huh?” And he said, “The script sucks, kid. I owe my bookie $2 million.”
You’d never know it though. Matthau and Lemmon fully commit to their acerbic, chops-busting banter, which is the core strength of the movie.
The movie also stumbles upon a few bits of wisdom that have stuck with me, most of which comes not from the titular men but from the people around them. Like Ariel, the free-spirited neighbor turned love interest played by Ann-Margret. Here’s what she said to acknowledge the death of a mutual friend:
“We can be thankful that we had the privilege of knowing him while he was still here.”
She also drops this doozy during an argument with Lemmon’s John Gustafson, whom she accuses of being too stuck in his ways:
“The only things in life that you regret are the risks you don’t take.”
Finally, Burgess Meredith—absolutely slaying in a supporting role as Gustafson’s horny, incorrigible father—lends this uncharacteristically reflective bit:
The first ninety years go by fast. Then one day you wake up and realize you’re not 81 anymore. You begin to count the minutes rather than the days. And you realize that pretty soon you’ll be gone. And that all you have is the experiences. That’s all there is. Everything! The experiences!
The experience of watching the movie’s combination of sincerity, silliness, and un-Christmaslike shenanigans (along with its wondrously snowy northern Minnesota setting) is what keeps me coming back every year.
