Uff Da! is a Norwegian exclamation that can refer to any kind of surprise or shock, that I learned from grandmother who is from Norway. I find myself saying this phrase whenever I stumble upon new music, movies, and other kinds of art that just blow me away. That is the purpose of this blog; to highlight a variety of underground pieces of art so that you can have your Uff Da! moment. For me, nothing is better than discovering new art I can love, and I'm sure many of you feel the same way.
Those unfamiliar with the world of heavy metal music might be surprised to find out what an insular universe the genre really is. For a scene filled with outcasts, loners and other "rejects" of society, those heavily involved in its subculture are often quick to accuse others of bastardizing and muddying the music they hold so dear
Deafheaven are no strangers to such labels.
Formed in 2010 in San Francisco, Deafheaven are one of the biggest and most controversial acts to come out of the atmospheric black metal scene that seemed to explode in popularity over the past decade. Their sounds venture far beyond typical metal sounds, incorporating features of post-rock, shoegaze and post-hardcore into their aesthetic.
What's the result of such unrepentant genre-blending? It's the music one plays to eggs hatching, a literal breaking out of one's shell. The first part is pure effort, with the second being the catharsis of breaking free and witnessing the world tower below you.
After releasing their 2013 opus Sunbather, which received acclaim from fans and critics alike, the band released their 2015 follow-up New Bermuda. Unlike previous releases, this record strayed much more within the confines of traditional black metal. Gone were the light and effervescent riffs that gave made the quintet so unique. As a result, they sounded much more like the dozens of bands trying to copy the trends they first established.
After three years of studio silence, due in part by substance abuse issues faced by multiple band members, Deafheaven have finally returned with Ordinary Corrupt Human Love, and with it an even larger rejection of the metal orthodoxy. Put simply: if you thought the band gave a fuck, they do not.
On OCHL, the band have reached a new level of creativity that may even surpass that of Sunbather. With a title based off of a line from a Graham Greene novel, the record focuses almost exclusively on love. One can not help but be reminded of Emerson or Blake when reading vocalist George Clarke's metaphorical takes on nature and relationships.
Despite the group's heavy reputation, the album begins on a surprisingly soft note with "You Without Me." Piano notes and guitars reminiscent of a sunrise fill the air and put the listener in a state of calm before the impending storm. We are then welcomed by a spoken-word recording from a short story on Oakland, with lines like "a flock of geese burst from the darkness and flew, shrieking into what was left of the daylight."
It's a beautifully haunting track that encapsulates exactly what Deafheaven are going for with their music. OCHL only continues to innovate and experiment from then on.
The bulk of the album consists of four songs lasting for over ten minutes. While that sounds like some arduous chore, the sheer emotion and versatility of these songs make the time fly by.
"Honeycomb" features some of the best instrumentation on the entire record. Guitarist Kerry McCoy has often received criticism from naysayers for being a lackluster player. However, he puts all the critics to shame with an amazingly simple solo, showing he doesn't need to rely on foot pedals to prove his merit as a musician. The tracks finishes off with four minutes of beautifully mellow piano after seven minutes soul-shredding shrieks and riffs.
Deafheaven also manage to hearken back to an older sound on "Glint." The track has a heavy Mogwai influence (who the band actually covered back in 2012), and the result is a steadied track that, while sounding tortured, reflects on the beauty of growing old. At the seven minute mark comes easily one of the most beautiful sections the band has ever written. Clarke chants over bristling and bright guitars "I'm shrinking into your gown/Tearing the pink linen of your belly." The post-hardcore influence is undeniable here, and it is a spectacle to behold.
What truly sets apart OCHL from other Deafheaven releases is the inclusion of clean vocals, something I can't recall the band ever using before. Both "Near" and "Night People" include no screams whatsoever, with the latter featuring the amazing Chelsea Wolfe on vocals. It's as dark a love ballad as you will find, a welcome change of pace for a band now on it's fourth LP.
The best incorporation of clean vocals comes at the end of "Canary Yellow," the longest track on the record. Clarke's wretched yelps combine with ominous voices chanting the same line: "On and on and on we choke on an everlasting handsome night/My lover's blood rushes right through me."
It's a wonder the band doesn't incorporate such features more often, because Clarke's screams, while enthralling, aren't exactly versatile.
Overall, Ordinary Corrupt Human Love proves why Deafheaven are one of the most important bands of their generation. Their distaste for convention might irk some black metal die-hards, but they have opened the door to metal for so many individuals that may never have otherwise.
The band is the perfect convergence of happiness and anger, taking you to the top of the mountain while reminding you of the hardships it took to get there in the first place. Deafheaven have not forgotten their roots, but have proven that they're not afraid to toss them to the side of the road as well.
9/10
You can listen to Ordinary Corrupt Human Love here.
No matter what kind of crazy awful stuff pops up on our phones every morning, one thing is for sure — the world will continue to produce amazing music for us to enjoy. 2018 has proved no exception.
Even if no more good music came out for the rest of the year, what we've been gifted with at the moment has been plenty. Here is a list (in alphabetical order) of ten of the best albums of 2018... so far. Obviously, I am just one man, so if your favorite albums aren't featured on this list, let me know what they are.
Against All Logic — 2012-2017:
Coming into 2018, Nicolas Jaar had already proven himself as one of the greatest electronic producers of the decade. Seminal releases such as Space Is Only Noise and Sirens displayed the deeply experimental yet catchy nature of his music, achieving a balance that few other producers even come close to. Under the name Against All Logic, Jaar has released one of his simplest and greatest bodies of work to date. It's mesmerizing house music that instantly places the listener in Jaar's personal Wonderland, where colors bend and distort at whim. Tracks like "This Old House Is All I Have" and "Some Kind of Game" capture the massive variety one finds in house music and puts it all on display. It's a magical release that easily stands among the best of the genre.
One track to listen to: "This Old House Is All I Have"
Car Seat Headrest — Twin Fantasy:
Sure, Car Seat Headrest originally released Twin Fantasy in 2011. However, Will Toledo — the young mastermind behind the group — always felt it was incomplete. His relative lack of recording experience led to an extremely lo-fi record that failed to capture all of the 19-year-old's ideas. Seven years later, with a new band and better equipment, Toledo has re-recorded his Bandcamp classic, and by doing so has given it new life. The songs show a kid hateful towards many things — his body, love, sexuality and drugs. But through the bitterness comes the real image of Toledo, a tender and soft spoken man yearning to be loved. Equally fun and sobering, Twin Fantasy shows Toledo at his finest, and it is amazing to see this album given the justice it deserves.
One track to listen to: "Bodys"
Lucy Dacus — Historian: Full disclaimer: I listen to a lot of sad and depressing music. However, few albums reach down to the bottom of my soul quite like Lucy Dacus' Historian. And the music isn't even that somber. Rather, its her poetic lyrics matched with quaint musicality that produces these powerful feelings within me. Even when Dacus uses a a fairly unoriginal metaphor (like love being an addiction), she manages to put a clever spin on it: "I'll call you 'cause I'm used to it/You'll pick up 'cause you're not a quitter." Fans of P.J. Harvey and Iron & Wine will love this band, but honestly it's difficult to imagine anyone's heart not being both warmed and broken by this album.
One track to listen to: "Addictions"
Forth Wanderers — Forth Wanderers:
I firmly believe that every generation has its own version of emo, even if it's technically not "emo" music. Bands that try to capture this aesthetic often copy their predecessors, leaving their music devoid of any genuine feeling to call their own. Forth Wanderers do not have that problem. On their sophomore release, the band tows the line of disenchanted emo rock without sounding overly whiny or sentimental. Think Alvvays mixed with Sunny Day Real Estate. It's incredibly refreshing to hear band play with their influences without drowning in them. This music is the equivalent to wearing sunglasses indoors and it is amazing.
One track to listen to: "Nevermine"
No Age — Snares Like a Haircut: With their first album in five years, Chicago rockers No Age have maybe peaked with 2018's Snares Like a Haircut. It's as punchy and catchy a noise rock album could hope to be, providing no shortage of memorable moments laced with saccharine guitars that still sound like they've gone through a shredder. The deadpan delivery of vocalist and drummer Dean Allen Spunt contemplate one's place in the world, as evidence by the track "Send Me": "There's so much I wish that I had/Another roof perhaps, and then I wouldn't feel so bad." It's the band's most melodic album yet, but feels no less exciting than their earlier records. For all the punk rock fan's of the 80's who suddenly found themselves married with two kids and a white picket fence, this is your anthem.
One track to listen to: "Drippy"
Parquet Courts — Wide Awake!:
Years before they played before a bunch of confused housewives on "The Ellen Show," Parquet Courts were producing some of the most innovative rock records of the decade. Providing punk rock with a more western sound, the Brooklyn quartet have continued to redefine themselves with each album, and Wide Awake! might be their most realized version yet. Implementing bits of funk, classic rock and even elevator music, each song has its own quirky personality that proves more infectious with every listen. The lyrics are just as varied, with topics skipping from starting fights to protesting, and even hurling expletives at Tom Brady. One thing's for sure — you'll never be bored dissecting the many layers of this insanely fun album.
One track to listen to: All of them... Listen to every single one.
Post Malone — beerbongs & bentleys: Never in my most vivid nightmares did I ever see myself enjoying a Post Malone album. However, it has become impossible to deny with the release of his incredible beerbongs & bentleys. Post recently found himself under fire for stating that in an interview that hip-hop music was largely void of deep emotions. It's ironic that he would make such a ridiculous statement, considering how emotional this record is. Post proves he is not defined by "rockstar" and "Psycho," his two absolutely gigantic singles. "Rich and Sad" and "Better Now" see the auto-crooner reflect on his life in a way I never thought he'd be capable of. No matter your feelings on Post Malone, it is impossible to deny the man's ability to write a hook, as seemingly every track oozes single status. 2018 might be remembered as the year Post declared himself among the best mainstream hip-hop has to offer.
One track to listen to: "Rich and Sad"
Shame — Songs of Praise:
In case you weren't aware, post-punk music is experience a renaissance at the moment. Bands like Metz, Idles and Iceage are providing a new twist on the sounds of legends like Joy Division and Echo & the Bunnymen. The latest addition to this wave are a pack of British youngsters known as Shame. Their debut album Songs of Praise (named after a Christian music show) contains everything a proper punk album needs: wit, personality and pure aggression. Yet, the quintet pushes beyond the essentials and delivers a sound that gives post-punk more modern sensibilities. "One Rizla" sees the band embrace a more indie rock sound that delivers one catchy chorus: "But if you think I love you/You've got the wrong idea." One of the most exciting bands in rock, Shame will no doubt be a name hard rock fans will chant for years to come. Also, please watch their KEXP performance. You will not regret it.
One track to listen to: "Concrete"
Kamasi Washington — Heaven and Earth: If you have even a passing interest in jazz, it's more than likely you've come across the work of Kamasi Washington before. He stands alone as the modern-day king of jazz. However, even if jazz is not your cup of tea, there is something to love about Washington's compositions. More so than previous releases, Heaven and Earth is a completely cinematic record. The brooding swagger of "Fists of Fury" and quiet anger of "Street Fighter Mas" are just two examples of Washington's ability to create a new world with each song. His music is confident, angry and ready to kick some ass, all in a way that a jazz layman might find jarring — which is exactly the point of this record. It's an Avatar-sized production that makes itself impossible ignore. Washington is for this generation what Davis and Coltrane were for there's and for good reason.
One track to listen to: "Street Fighter Mas"
Young Fathers — Cocoa Sugar:
It's fitting that this album should finish this list, as it might just be the best album of the year so far. Scottish trio Young Fathers are all about redefining labels, having stated that their one goal is to redefine what it means to be a pop band. With Cocoa Sugar, they not only transcend pop, but any label one could attempt to throw at them. Incorporating elements of dance, hip-hop, R&B and gospel, Young Fathers create 12 tracks that serve more as an experience than a set of tracks. They offer incredibly unique insights on topics like race and money: "Don't you turn my brown eyes blue/I'm not like you." Many critics have labelled Cocoa Sugar a safe record for the band, but that could not be further from the truth. It's their third full-length album and easily their most daring. I hold out hope that even better music will be released this year, but I'm pessimistic — what more can an artist do?
For me, watching a movie and realizing it's spectacular remains one of the most exhilarating experiences one can have. The emotions I feel are quite similar to when your favorite baseball team hits a dramatic walk-off home run; absolute euphoria. Finding a film like this can be challenging. There is an endless supply of great films, but there are even more not worth scrolling through on Netflix. Jackie is not one of those films. Jackie is superb, and by the time the credits rolled, I was pumping my fist like I just won the World Series.
Few events in American history carry the mystique, the solemnity that follows the assassination of John F. Kennedy. It is an event where Americans living through that time can say exactly where on planet Earth they were when it happened. Director Pablo Larrain's film takes a deeply intimate look as to where First Lady Jacqueline Kennedy was during that, as well as the tumultuous days that followed. It also examines the personal tribulation Jackie experienced, and how she helped shape every American's memory of JFK's deservedly grand funeral.
If great films are rare, then films made great by a single actor are even rarer. That is exactly what Natalie Portman achieves in her poignant portrayal of the former first lady, her best performance yet. This film does not come close to excellence without her. With every line, movement, and facial expression, Portman paints a picture of a woman holding herself together whilst on the brink of shattering. It's difficult to imagine anyone having to live through such a horrifying experience. Yet, she did, and Portman does her famed character justice.
If there is one aspect of the film that could compete with Portman, it is the score, composed by Mica Levi. It sounds like it came straight out of a horror film, strings playing at an increasingly terrifying speed. This score perfectly illustrates the vacuum that has been created in Jackie's life, as it plays alongside many scenes of her walking around the White House unsure of what to do next. She's living through a nightmare, and the score is appropriately dark.
One scene that continues to floor me takes place in the hearse carrying her husband's body. She turns to the driver of the car and asks, "Do you know who James Garfield was?" The driver says he does not. Later, she asks, "Do you know who Abraham Lincoln was?" The driver responds, "He ended the Civil War. He freed the slaves." Both men were assassinated presidents.
This becomes a reoccurring question for Jackie throughout the film. Who will her husband be remembered as, a Lincoln or a Garfield? Essentially, this serves as the basis of the film. Jackie perseveres through personal anguish to ensure that her husband becomes a Lincoln.
What strikes me most about Jackie is its absolutely haunting nature. Even with knowledge about the events that unfolded, I was stunned by how unrelenting the film was. There are many images in the film that could easily unsettle an audience. However, rather than give a sanitized account, Larrain chooses to show every detail seen by those who experienced it. This is what launches the film from great to exceptional.
Due to no holds barred approach to the film, the audience is reminded that actual people lived through these events. Not just smiling figureheads that lived in a shiny secluded house, but real genuine people with psyches as fragile as anybody else.
Of course, the emotion of the film is helped by the seductive atmosphere, made possible by the historically accurate and somber tone created by Larrain. Choosing to use intimately close shots of Jackie and the people she talks to, he gives the viewer the feeling of being right there through every agonizing minute.
While watching Jackie, one word kept popping in my head when trying to describe it: operatic. Much like an opera, Jackie is epic, grandiose, and, most of all, purely human. You may not always understand what the characters are saying, but, just by reading their faces, you'll know what they are feeling as your gut twists itself into knots. Everything is laid out on the table for you to absorb with the poignancy of our greatest first lady.
One of the greatest filmmakers of his generation or maybe any generation, Christopher Nolan has forever changed the way millions of people look at film. His groundbreaking experimentation with editing and time structures have become legendary in the film community. Apart from his work behind the camera, he is also renowned for his uncanny ability to write an amazing screenplay. In fact, in all of Nolan's films, only once did he not receive some sort of writing credit. It's the dialogue within these scripts, whether it be complex or utterly sparse, that creates the unique universes in which his stories take place.
With the release of his most recent film, Dunkirk, many a film critic lauded it as the director's best work so far. Being a Nolan fanatic myself, this got me wondering how his films compared to one another. I believe he has yet to make a bad film, but some are definitely better than others. Now, having finally seen Dunkirk and Interstellar (which took way too long to do), I will now embark on the nearly impossible task of ranking all ten of Nolan's outstanding films. Wish me luck.
#10: Batman Begins (2005)
One of these films had to be bottom of the list, and sadly its Batman Begins, the first installment of Nolan's Dark Knight trilogies. A key aspect of the films I considered was how game changing they were, and they broke away from traditional film making. While an excellent film in its own right, Batman Begins fails to separate itself from other origin story super hero movies. It follows the traditional hero's journey: hero loses parent, finds a mentor, takes on thankless task of saving people. However, Nolan does manage to put his own twist on many of these genre stereotypes. Christian Bale also establishes himself as the greatest actor to portray the character of Batman. All in all, a very good film that fails to stand out from the crowd. Still way better than any Avengers movie, though.
Watch the trailer here:
#9: Insomnia (2002)
The only film for which Nolan was not a writer, Insomnia sees the likes of Al Pacino and Robin Williams in some of their darkest roles ever. Set around the murder of a teenage girl in a small Alaskan town, this film transcends traditional notions of good vs. evil, especially in the world of the criminal justice system. It's probably Nolan's least experimental film, with no weird plot structures or ideas to speak of. However, that doesn't mean that Insomnia is not a captivating thriller. All the actors put on stellar performances that highlight the crushing guilt that looms over the characters. A unique and cinematically gorgeous film, Insomnia would still pale in comparison to many of Nolan's later works.
Watch the trailer here:
#8: The Dark Knight Rises (2012)
The icing on the cake for Nolan's Batman trilogy. In fact, few movies series have wrapped up as well. If I could sum up this film in one word, it would be heavy. Every action, line, and shot seems to carry a hug amount of weight that builds and builds until you feel nearly crushed by the end. What I love about Nolan's version of Batman is that they don't really feel like your average Superhero film. While they are obviously based in fantasy, I feel like they could happen in real life. This is especially true on The Dark Knight Rises, where Bane (Tom Hardy) turns Gotham into a city under siege, imposing some incredibly harsh punishments in the process (the frozen river scene still gets me every time). Nolan took a big risk by trying to follow up the seminal film that preceded this, but ultimately it paid off, and I for one am completely satisfied by the final product.
Watch the trailer here:
#7: Inception (2010)
I can tell many of you will be wondering why this isn't higher on my list. True, it is thought-provoking and wonderful film, but definitely not a personal favorite. I found myself constantly fascinated by the sheer complexity of the story, but I fail to recall any singular moment that left me stunned. What I do love is the concept: dreams. In the film, Nolan explores the physical relationship with dreams, and how humans can interact with one another in a dream. The film also contains an all-star cast, including Leonardo DiCaprio, Ellen Page, and Joseph Gordon-Levitt. All of them put on career defining performances. Also, Hans Zimmer's original score, as usual, sounds absolutely stunning. In the end, this movie is far down on the list not because I think it's bad, but because the rest of Nolan's films are even better.
Watch the trailer here:
#6: Following (1998)
What I love most about this film is that serves as a sneak peek into the ideas that would inspire Nolan's later works. His feature directorial debut, the story centers around an unnamed man, who makes a habit out of following strangers through the streets of London. Due to this strange and downright creepy hobby, he gets involved with a set of characters that introduce him to the pleasures that can be found in a criminal lifestyle. The structure of this film can be downright confusing at times, with Nolan shuffling the plot at random (although there definitely is a method to the madness). Also, for a film with a budget of $6,000, the quality exceeds expectations. Honestly, it looks like a film that cost at least a couple million, not several thousand. I consider it one of the best produced indie films ever, with lighting (all natural in this film) and editing that rival big expensive sets. Truly, an amazing start to a wonderful career.
Watch the trailer here:
#5: Dunkirk (2017)
Like I said before, there were no shortage of critics and fans that called Dunkirk Nolan's best work yet. Obviously, I do not agree with them, but that does take away from the fact that it is one of the best war movies in recent years. For his first historical drama, Nolan decided to make a film about the Dunkirk Evacuation, in which over 300,000 British and French soldiers narrowly escaped Nazi capture. For fans of films like Saving Private Ryan and Hacksaw Ridge, you may be taken aback by the sheer lack of blood the film shows. As well as a lack of violent gore, Nolan also uses a minimal amount of dialogue for much of the film. Many main characters remain silent until around half an hour of screen time. All this is completely intentional. Rather than have the focus be on the horrors of battle, Nolan chooses to highlight the deafening tension that consumes the atmosphere of the film. Dunkirk is a different kind of war movie, one that shows how terrifying war can be, even whilst in relative safety. Also, this film makes the case for being Nolan's most beautiful; not an easy feat.
Watch the trailer here:
#4: Interstellar (2014)
I actually only saw this film this past weekend, and I now severely regret not seeing it sooner. This film takes many thematic and stylistic cues from Inception, but exceeds them in every way. Matthew McConaughey stars as Joseph Cooper, a farmer and engineer who is sent on an intergalactic mission to find humans a new home, while Earth's resources slowly wither away. While easily Nolan's longest feature (clocking in at nearly three hours), the fascinating concept and excellent acting make the time seem much shorter. Fair warning, this film requires almost all of your attention. Much of the dialogue consists of science lingo that will make the film a confusing hellhole if you fail to pay attention. Like many of Nolan's films, Interstellar contains an underlying theme of time and how easily it can be warped and manipulated. This also might be Nolan's most heartbreaking film, with numerous moments that leave you dabbing the tears out of your eyes. Anne Hathaway also puts on a great performance as Dr. Brand. I came upon this film thinking it would be near the bottom of the list, when in fact its Nolan's grandest project to date, producing some spectacular results.
Watch the trailer here:
#3: The Dark Knight (2008)
I'm just going to say it: this is the greatest superhero movie ever. Period. Nothing really even comes close. This film takes all the expectations one has of the genre, and breaks them in half. In fact, few films in general are as dark, exciting, and mind-bending as The Dark Knight. Before I go further, I have to talk about Heath Ledger. Try watching Brokeback Mountain and then this film; it really feels like you're watching two completely different actors. But in fact, you are seeing one of the truly exceptional acting performances of all time. Ledger's Joker is a menace, a psychopath, and deep down an entertainer. Everything he does is a performance, a grand spectacle of horror and chaos. This film just has an edge that is difficult to put into words. Like a broken sting on a violin, the world within Gotham is one big sour note trying to redeem itself. The best part about this film are the people. They are riddled with many flaws, you almost hesitate to call them "good guys". Yet, in the face of true evil, they must reconcile these flaws in order to survive.
Watch the trailer here:
#2: The Prestige (2006)
Based on the Christopher Priest novel, The Prestige is easily one of the best films about rivalry, and how it can drive people to do extraordinarily terrible things. Set in 1890's London, the aforementioned rivalry takes place between two professional magicians, Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale). Each develops an obsession of outdoing the other by performing increasingly outlandish and risky tricks, all while doing their best to undermine each other's work. This movie also contains great performances by Scarlet Johansson, Andy Serkis, and even the late David Bowie, who stars as Nikola Tesla. After watching all of Nolan's films, it becomes obvious that he's a fan of a good twist. No spoilers, but this film has arguably the best one of all, which will make you want to instantly re-watch the film in an attempt to figure it out. It is fascinating to watch these characters slowly devolve, as their obsession consumes nearly every facet of their life, often at the detriment to those around them. I've seen this film close to ten times by now, and I never tire of it, thanks to the amazing story that hooks your attention from the first minute and never lets go.
Watch the trailer here:
#1: Memento (2000)
As hard as it was to assemble this list, there was little chance that any film would beat out Memento, Nolan's opus. The film, based on a short story by Nolan's brother and frequent collaborator Jonathan, focuses on Leonard Shelby, a man with short-term memory loss following a brutal attack that resulted in the death of his wife. With a memory that only lasts the span of a few minutes, Leonard works desperately to find his wife's killer. All the while, he must deal with people who either try to help him or take advantage of his severe handicap. Here, Nolan's experimental timelines reach near perfection, with a plot that illustrates how confusing and nightmarish the world seems through the eyes of Leonard Shelby. Trying to imagine what his life must be like, where every few minutes feels like waking up for the first time, it sounds unbearable. Nolan examines how memory, something we all take for granted, can be so easily stripped from you. This film will definitely take a couple viewings to make complete sense, but the end result is a one-of-a-kind masterpiece. I'm not saying Nolan will never make a better film than this, but such a feat seems highly unlikely. An exceptional film that should be required for everyone to see.
I'll never forget the first time I heard Arcade Fire. Hunkered in the library and listening to Pandora while studying for finals, the opening riff for "Wake Up" started playing and instantly blew me away. The hauntingly poetic lyrics and passionate instrumentation was unlike any indie rock band I had heard before. This inspired me to dig deeper into their catalog, and as a result I found a band that, with every single release, experiments with new sounds and genres, while still maintaining that Arcade Fire charm.
Perhaps the highlight of my journey with the Montreal-based group was listening to The Suburbs, their third full album and in my opinion their best. Having been an angst-ridden and bored suburbanite myself, I instantly related to lyrics delving into feelings of conformity and being stuck where you are. It was an album definitely worthy of winning Best Album of the Year at the Grammy's.
One of things I admire most about Arcade Fire is how robust their discography is. Their first three releases (Funeral, Neon Bible, and The Suburbs) were all stellar, and even their latest album Reflektor was a solid release, despite containing a few bumps here and there. So when the band announced that they releasing a new record in the summer of 2017, I had few worries that they would fail to create another stand-out album.
Then I heard the singles leading up to the release. Some, like "Everything Now", were pretty decent, while others, such as "Electric Blue", were a little more... interesting. However, I was certain that once I listened to the entire record that any reservations I had would be washed away as I experienced what would certainly be one of the best records of the year.
On the day it came out, like a kid on Christmas morning, I eagerly awoke, grabbed my phone, and immediately began listening to Everything Now, an album destined to be one the band's best. After making it halfway through the track listing, my enthralled smile turned into absolute befuddlement. This was definitely not their best record. In fact, it wasn't even good. Not only that, but it was also absolutely awful, the worst Arcade Fire album by a long shot. I felt betrayed. How could this be the band that made magical songs like "Rebellion (Lies)" and "We Used To Wait"? It didn't make any sense.
Having listened to Everything Now a handful of times, I have still yet to comprehend how it could be this bad. Even the singles I liked leading up to the release sound worse in context of the entire record. So I'm going to analyze the album track by track in an attempt to find out where it all went so horribly wrong. I usually don't write negative reviews, mostly because I would much rather talk about music I love. However, so great is my disappointment I find not discussing this album next to impossible. Therefore, I must vent.
#1: "Everything_Now (Continued)"
This is really just an extension of the title track. It's decent, but fails to really serve a purpose in the grand scheme of things. The last track on the record is basically the same exact song, because I guess Win Butler wanted to make the album one gigantic loop, for some reason I guess.
#2: "Everything Now"
Best song on the record. This is the track where Arcade Fire truly succeed at infusing a variety of disco-based sounds. It does a great job of incorporating these elements without sounding overtly nostalgic, which is incredibly easy to do when writing a disco song. Not an outstanding track, but very fun to dance to and very catchy. However, I think they made better dance music on Reflektor.
#3: "Signs of Life"
The biggest crime here are the painfully cliche lyrics. I feel like if I asked a random person to write a song about going to dance parties every night, any one of them could write these lyrics. Lines about cigarette smoke and getting lost in the crowd prove rather uninteresting, which for a poetic band like Arcade Fire, leaves me feeling kid of sad. It also gets really boring past the two minute mark.
#4: "Creature Comfort"
This single contains some of the most hard-hitting lyrics on the entire album. Pretty decent track, except when Win and Regine scream "on and on, I don't know what I want". That just gives me a headache. This track contains some great ideas, but the execution leaves a lot to be desired.
#5: "Peter Pan"
Up until this point, Everything Now has been decent, teetering on the edge of disaster but managing to keep it together. With this track, the band dives headfirst off the cliff into realms of mediocrity untouched by the band so far. Honestly, "Peter Pan" sounds like a terrible Miike Snow rip off. This sounds nothing like an Arcade Fire song. I know the band likes to experiment with different styles, but I never thought "boring cliche indie pop" would be their next musical adventure. Also, the lyrics are terrible. Seriously, this is some Jay Park level cringe. What a mess.
#6:"Chemistry"
This track is too goofy for its own good. I can't help but laugh at the opening verse, the instrumentation sounds like it was written for a joke song, not a serious piece of music. As well as being absolutely ridiculous, it's also one of the blandest and most uninteresting love songs I've heard in a while. Eventually the horns lose all humor and become absolutely mind-numbing. I find it hard to believe that anyone played this song, and in all seriousness said, "Wow, this track really rocks. Such a jam."
#7: "Infinite Content"
The fast-paced nature of the track feels very refreshing after the very tepid cuts preceding it. The incredibly simple lyrics talk about the consumerism that dominates modern society today. Not a bad topic, but there are other songs that do a much better job at discussing it (see "Content Nausea" by Parquet Courts). All in all a pretty solid song, especially the harmonious synths mixed with the guitars.
#8: "Infinite_Content"
Literally the exact same as the last song except instead of being fast-paced, it's slow and relaxed. Not really sure what the point of this move was. The first was honestly better, and putting a slower version of the same track after it takes away any excitement that had been built up. The record could have really benefited without this.
#9: "Electric Blue"
There's nothing exciting about this song, except maybe Regine's vocals, which are captivating for all the wrong reasons. I don't know what they did to her voice, but hearing her sing those tedious "na na na" lines like a goddamn squeaky toy is simply too much to bear. When my ears aren't being assaulted with what feels like a cheese grater, this song bores me to tears. I feel like my head is being slowly pushed underwater, and I can't fight back.
#10: "Good God Damn"
God damn, indeed. On this song, we see Arcade Fire try to write their own version of a Black Keys song, with little success. There's really not much to say about this song; I literally get sleepy every time I hear it. A throw away track if there ever was one.
#11: "Put Your Money On Me"
My personal favorite on the album. The haunting hook proves strangely seductive, a great dance track that leaves me with chills. The last chorus is a great ending to a track that slowly builds to the end. I only wish it came earlier in the track listing. After listening to so many awful tracks, I find it hard to enjoy this song as much if it had come after a song like "Everything Now". All the other songs have sucked all feelings of enjoyment out of my body. This album has rendered me an emotionless husk.
#12: "We Don't Deserve Love"
What can I say about this song that hasn't already been said about the album as a whole. Very smooth and effervescent, but so uninteresting in both its lyricism and instrumentation. The chorus is very saccharine, but the rest of this tepid song drags throughout its six minute run time. I find myself just wishing it would end because nothing happens worth mentioning, the most unexciting nightmare I have ever experienced.
#13: "Everything Now (Continued)"
See the review of Track #1. Like I said, they're basically the same for whatever reason.
I think the most frustrating part of the album is that both fans and critics have come up with lines like, "Arcade Fire have made it OK to like dance music again", as though groups like LCD Soundsystem, Daft Punk, and The Avalanches never existed. There's really only two or three actual dance songs on Everything Now, with the rest being sad attempts at recreating the works of other indie rock bands.
In the end, though, Arcade Fire's greatest crime on this record is how they seemingly just mailed it in. The songs don't seem to have received nearly the amount of attention we usually find on their albums. Instead, we're given a bunch of basic love songs that, in the end, don't feel like they're about anything, the lyrics feel that uninspired. I can only sit here and hope that the band's next release is better, and, honestly, that's a low threshold for excellence.
In the lifespan of any music fan, there will no doubt be a number of albums that will help shape their future aspirations, identities, and perspectives on the world. Part of what makes music so powerful is its ability to leave an impact on our psyche that lasts for the rest of our lives. Whether it came after a breakup, during an existential crisis, or before your first day of high school, you'll always remember the music you listened to during that time, even if you hate it now.
The ten albums in this list are all here because they came into my life exactly when they needed to. I really believe that these bits of music were just waiting for the right time to unveil themselves to me, and assist me in whatever struggles I may be dealing with. Below are the albums listed in the order in which they came into my life.
The Clash- London Calling:
This was one of the first albums I ever bought, way back when I was a 10-year old fetus. I had no idea when I got it that I now possessed one of rock's greatest albums; I just thought the title track was catchy. As I grew older and my musical tastes morphed with staggering rapidity,
LondonCalling remained the one constant. I soon began to appreciate the variety of influences (ska, rockabilly, etc.) that form the nineteen tracks on the record. It's also an album that grows up along with you. Younger me loved simple catchy tunes like "Hateful" and "Lost in the Supermarket", while my older and more emotional self was more attracted to fiery political anthems like "The Card Cheat" and "Revolution Rock".
London Calling changed my life not in any direct way, but by being there to witness all the changes I did go through, never managing to lose my interest. It allowed me to feel any negative emotions I had, while allowing me to grow more mature. I can't think of many other records with such a versatile range of emotions. It is a mixed bag of anarchic anger and whimsical playfulness.
Favorite track on album: "The Card Cheat"
Fleet Foxes- Helplessness Blues: I already discussed my journey with this band in my Crack-Up review, but they are definitely worth reiterating. Up to 2011, I had always been a big fan of music, but had no desire to expand my horizons beyond the familiar realm of 80's metal. To me, all modern music consisted of either meaningless pop trash or rap, which I could not stand at the time. This album truly opened my eyes to what modern music could be. Although, there have been scores of bands that have tried imitating their sound, I have to find a single indie rock band that could match the beauty and musical complexity of Fleet Foxes. It definitely is one of those records with not a single bad song. Even deep cuts like "Someone You'd Admire" leave me with chills every time I listen to it.
Without a doubt, this blog, along with my burning passion for music, would not exist had I not listened to Helplessness Blues. It gave me this desire to constantly seek new amazing music that could replicate its mystical effects. Of all the records on this list, this one has had the biggest impact on my life so far.
Favorite track on album: "Helplessness Blues"
Frightened Rabbit- The Midnight Organ Fight:
Adolescence is a turbulent time for everybody, and many times one will find themselves overcome with emotion, in need of a release. The Midnight Organ Fight, the seminal record of Scottish band Frightened Rabbit, was that release for me. In the maddeningly confusing state of growing up, this album was there to comfort me. Lead singer Scott Hutchison paints a picture of an insecure and lovesick man, unable to find the happiness in relationships he so desperately desires. His cracking Scottish accent permeates every song, adding a layer of vulnerability that highlights the emotion behind the record.
Middle school and my early years in high school were a difficult period, and this record made it possible to get through the worst moments. The lyrics are some of the best I've heard on any album, dealing with painful topics such as loneliness, faith, and heartbreak. One of my favorite lines is from "Head Rolls Off", a reflection on the point of death:
"When my blood stops
Someone else's will thaw
When my head rolls off
Someone else's will turn."
Like a good friend, this album was there when I needed it to be. Even today, I still find comfort in its folksy analyses on life and its various highs and lows.
Favorite track on album: "Head Rolls Off"
Savages- Silence Yourself:
The first thing you'll notice about a Savages live show is their imposing lead singer, Jehnny Beth. She struts the stage with a certain kind of swagger that captures the audience's attention in the first minute, and never lets go. Even when the band dives into deeper and more vulnerable topics, they just ooze confidence. With songs consisting a dark and pummeling brand of post-punk, if you ever wondered what a noire film sounded like as an album, this is it.
This has been my hype album for many albums now. If I ever need to make a public presentation of any kind, I always spend a couple hours jamming out this record beforehand. It gives me the energy and the confidence to go headfirst into any presentation I have, which normally terrifies me. On tracks like "Shut Up" and "Hit Me", Savages show how much they truly don't give a fuck about what anyone else has to say. They know their message, and are completely unafraid to scream it at the top of their lungs. In doing so, it gives others the confidence to express themselves in a carefree way. If my worries about someone's opinion gets in the way of what I'm creating, I play this album and realize that the only person your art should please is yourself.
Favorite track on album: "Shut Up"
Deafheaven- Sunbather:
I remember hearing this album for the first time, and absolutely hating it. It probably had something to do with George Clarke's screams, which were a bit too high-pitched for my tastes. However, seeing the massive hype that surrounded this LP, I figured there had to be something to it that I was missing. So I listened to it front to back multiple times to get a full picture of the record. I was stunned. The crescendos on this thing were unlike anything I had heard before. "Dream House" and "The Pecan Tree" were soon routinely belted out while I took a shower, each feeling an epic poem stuffed into one track. This record began my interest in a multitude of genres, including black metal and post-rock. This has led to me finding many more bands and albums that I adore.
You ever get that feeling when you're so upset you just want to punch a whole in the wall, hot tears streaming down your face? This emotion finds itself bubbling to surface on nearly every track, with angelic tremolo guitars playing alongside furious blast-beat drums. It's like the world's most depraved symphony. This album is an absolute vent for me. Life likes nothing more than to piss you off at random times, so it's good to have a piece of music that allows you to kick life's ass when need be.
Favorite track on album: Jesus, this is hard. I guess "The Pecan Tree", if I had to pick one.
Dead Kennedys- Fresh Fruit for Rotting Vegetables:
I think what separates good punk bands from greats ones comes down to wit. Anyone can write about pissed off they are at the system, but your statement has a better chance of sticking when combined with some charisma. Dead Kennedys, one of the all-time great punk band, has charisma in spades. On their 1980 debut album Fresh Fruit for Rotting Vegetables, the band uses their razor sharp wit to shed light on world issues like poverty, the use of chemical weapons, and governor Jerry Brown of California.
Before listening to this record, I knew next to nothing about politics and the big issues facing our country. I won't say that I bought into every idea the group espoused, but it at least encouraged me to research into the topics deeper. Even though many of these discussions took place in the late 70's and early 80's, they still remain hot-button issues today. It exposed to me to a whole side of the political spectrum that I wasn't exposed to in the cloistered world of suburban America. Also, if you get a chance, listen to lead singer Jello Biafra's spoken word albums, especially Hellburbia. Recorded not long after the Columbine Shooting, it amazes me how relevant it still is.
Favorite track on album: "Let's Lynch the Landlord"
Interpol- Turn on the Bright Lights:
While not the first record I heard by the band (that would be Antics), this is the one that made Interpol my favorite group of all-time, instead of just another post-punk band I admired. Of all the groups to come out of the New York's indie-rock scene in the early 2000's, no one else comes close to Interpol, who managed to create their opus on their debut album. Every track here is a classic, from the soothing "NYC" to the more punchy "PDA", which features one of my favorite verses ever:
"But you're so cute when you're frustrated, dear
Yeah, you're so cute when you're sedated."
This line is so tender yet sinister at the same time, a feeling which I think defines the band. Their cryptic lyrics will often leave you unsure how to feel, as you try to wrap your mind around what the hell lead singer Paul Banks is talking about. However, I believe these lyrics mean whatever you think they do. Their beauty lies in their ability to coincide with the feelings of any human being. As far as my life is concerned, this album showed me a band that challenged me like nothing before, in the end rewarding me with some of the most eerie and contemplative songs I have ever heard. This record serves as my basis for what happens when a band gets everything right.
Favorite track on album: "Leif Erikson"
Godspeed You! Black Emperor- Lift Your Skinny Fists Like Antennas to Heaven:
This record, with about 90 minutes of music spread across four tracks, feels like one gigantic song. Probably one of the greatest records of all-time, Lift Your Skinny Fists manages to feel both inspiring and terrifying at the same time. The band are experts at building up a song, slowly turning a single note into a thundering orchestra. Listening to this album from start to finish is a lot like backpacking around the world; you've experienced so much that it becomes difficult to contemplate the entire journey.
One of my greatest passions in life is writing, especially poetry. I re-read some of the first poems I wrote, and cringed as I realized they were just a bunch of miserable Ginsberg rip-offs. I had difficulty finding my own voice, as I endlessly just copied my favorite poets. Godspeed You! Black Emperor, and more specifically this album, inspired me to find my own voice, and write poems that were 100% mine. To this day, I still listen to this album regularly whenever I write any sort of fiction, as the instrumentals are so powerfully emotive that I never run out of inspiration. I wouldn't be nearly as good a writer were it not for this album, and the raw emotions that it creates.
Favorite track on album: It really is like one track, so the whole album is my favorite.
Sam Smith- In the Lonely Hour:
Is this the most technically gifted album? No. Does it have wonderfully inventive lyrics? No. Is it all that original? Definitely not. And yet, In the Lonely Hour, like all of these records, came to me at a time when I needed it most.
Senior year of high school, I finally began to accept my being gay. It was something that I had been repressing within myself for years, but I could no longer handle the stress that hiding such a vital part of my life brought. At the same time that I was going through this, Sam Smith was ruling the pop charts with hit singles like "I'm Not the Only One" and "Stay With Me" (which does rip off the tune of "I Won't Back Down"). These songs were unavoidable, and while I would usually find such pop tracks revolting, Smith's songs struck a chord with me. Even before I knew he was gay, I could tell he wasn't singing about women. Listening to this album let me know that living life as an openly gay man would still have the moments of love, heartbreak, and affection that straight couples have. Even now, as soon as I hear the beginning notes of "Money On My Mine", I get this bubbly feeling that swells up inside me. It's difficult to describe, but it's a feeling that gives me an overwhelming sense of freedom. Almost like nothing is standing in my way.
So yeah, this album may be a collection of sultry pop tunes consisting of crooning vocals and corny rhyming couplets. However, I can not deny how wonderful In the Lonely Hour makes me feel every time I hear it. Sam Smith and his music taught me that it was ok to be gay; therefore, I don't really care how corny it may be.
Favorite track on album: "Life Support"
Car Seat Headrest- Teens of Denial:
For me, college has consisted of a near monthly existential crisis, in which I lay on my bed asking over and over, "Where the fuck is my life going?" I continuously find the world of adulthood creeping up on me, and I feel totally unprepared at times to deal with it. That's ok, because Will Toledo, lead singer and mastermind of Car Seat Headrest, doesn't appear to be ready either.
This album landed #13 on my Best Albums of 2016 list, but in retrospect it should have been higher. Much higher. It has such a classic sound, and yet sounds so different from any other current rock band. It's incredibly ambitious in its length with over an hour of music, at least half an hour more than most commercially successful rock albums. But what keeps bringing me back to this album are the lyrics, which Toledo sings with the energy of a student who just took his last final. The track "Fill in the Blank" perfectly captures this post-college malaise:
"I've known for a long time
I'm not getting what I want out of people
It took me a long time
To figure out I don't know what I want."
Whenever I go through these existential crises, I think I'm the only feeling this way, and that everyone else I know is going on to do grand things with their life. In reality, though, many of them, as this song illustrates, are going through the exact same thing. In fact, almost every song on the record deals with the life of a young person in their twenties, stuck at the crossroads of where they are and where they want to be. This record allows me to take a deep breath, and realize it'll be alright.
Every person has that one movie that forever changed the way they saw the world and themselves. You may have seen it when you were five years old, a teenager, or maybe you saw it yesterday. Whenever that moment was, you know it is a moment you will never forget. The emotions you felt while watching that film for the first time will stick with you every time you watch it again. A person's favorite film really gives you an insight into who they are as a person. People love movies because they can take their own life and relate to the characters, conflicts, and action that is exhibited in film.
If you are a movie nerd, like myself, then you have many different movies that have provided such an experience. Whittling my favorite films down to 50 proved quite a challenge, but in doing so I learned a lot about my movie-watching habits. For one, I realized I need to work on watching movies made before 1970; there ended up being very few of those. Also, I may like George Clooney a little too much. Then again, why is that bad thing?
Trying to compile this list reminded me of movies that, while I adore, I have not seen in years. It also helped me reaffirm my love for certain films. Hopefully, some of your favorites are on this list as well. If not, at least you have fifty new films to add to your watch list.
#50: Mystic River (2003)
Director- Clint Eastwood
Probably one of the greatest performed crime dramas ever. Kevin Bacon, Tim Robbins, and Laura Linney all do an excellent job slowly showing the all-too-human flaws their characters possess. And Sean Penn is at his absolute best, portraying a grief-stricken father hellbent on getting vengeance for the murder of his daughter. It is dark, disturbing, and an excellent story of what the horror of death does to otherwise good people.
Watch the trailer here:
#49: Gone Girl (2014)
Director- David Fincher
Perhaps there is no more polarizing character in film than Amy Dunne. In a landmark performance by Rosamund Pike, Amy is a character that you don't know if you want to root for her or kill her. More so than the wonderful screenplay and cast, I love the cinematography in this film, which perfectly captures the emotion behind every scene. Oh yeah, and then there's the bedroom scene. You won't be ready for it, I promise.
Watch the trailer here:
#48: You Can Count On Me (2000)
Director- Kenneth Lonergan
Laura Linney might just be my favorite actress ever. She is perfect in everything she does. In this heartwarming classic, her chemistry with a young Mark Ruffalo is something to behold. Together, they play a pair of polar-opposite siblings, with each having experienced their own mix of heartbreak and tragedy. Like any Lonergan film, the screenplay jumps out at you, with every line serving the purpose of illustrating the complex relationships within this rather simple story.
Watch the trailer here:
#47: Patema Inverted (2013)
Director- Yasuhiro Yoshiura
A severely underrated anime film, this drama shows the dangers that come with labeling and rejecting others for their physical appearance. The characters avoid typical anime cliches for the most part (although the main villain is a it campy), and the story is one of most complicated and well thought out of any anime I have seen. A perfect anime to rival any Miyazaki.
Watch the trailer here:
#46: The Dark Knight (2008)
Director- Christopher Nolan
This is the best superhero movie, ever. Period. There is no debating. What Christian Bale and Heath Ledger manage to do with these legendary characters is nothing short of extraordinary. What's amazing about Nolan's Batman trilogy is that, while obviously fiction, they feel so utterly tangible. He makes the stuff of science fiction appear realistic. In case you ever doubted the Ledger's acting prowess, just watch an interview of him, any will do, and then watch this film. It seems like two completely different people.
Watch the trailer here:
#45: The Cabin in the Woods (2012)
Director- Drew Goddard
In the world of horror, this film is revolutionary. Simultaneously celebrating and critiquing the various stereotypes that plague the genre (idiotic college kids, foreboding strangers that warn idiotic college kids, monsters that kill idiotic kids, etc.), Cabin in the Woods entertains from start to finish. Richard Jenkins and Bradley Whitford are hilarious as the bumbling idiots in charge of a disturbingly gruesome stage.
Watch the trailer here:
#44: Persona (1966)
Director- Ingmar Bergman
I never realized that movies this old could be so insanely messed up. The best film by Swedish auteur Ingmar Bergman, Persona is a rabbit hole of madness. From the very beginning, the film assaults the viewer with a barrage of disturbing images, ranging from the slaughtering of a lamb to a crucifixion. This seemingly random sequence (it's not, believe me) sets the tone for a tense and terrifying relationship between a neurotic actress and her nurse. I'm not exaggerating, this stuff is straight out of your worst nightmare.
Watch the trailer here:
#43: Spaceballs (1987)
Director- Mel Brooks
After watching it dozens of times, this film still makes laugh just as hard. Whether you love Star Wars, hate it, or have never even seen it, this parody contains enough humor to have you rolling on the floor. Rick Moranis and John Candy pull out some of their best performances. Being a Mel Brooks film, Spaceballs routinely borders on the absurd, often breaking the fourth wall in some very creative ways. It's always refreshing to see a movie that does not take itself to seriously. And it's so quotable, which is always a plus.
Watch the trailer here:
#42: The Prestige (2006)
Director- Christopher Nolan
During high school, this film was a movie night regular. We would always watch it every time someone new joined us, because watching their reactions always made it worth it. Based on the 1995 novel of the same name, the story centers around two incredibly ambitious magicians at the turn of the 19th century. Each one tries increasingly dangerous tricks, while also doing their best to sabotage their rival's work. This movie is classic Nolan, with the story stripped of any typical storyline. Plus, David Bowie is in this flick. That's right, David Freaking Bowie. That right there should be enough to convince you to see it.
Watch the trailer here:
#41: Shaun of the Dead (2004)
Director- Edgar Wright
The first in Edgar Wright's Three Flavours Cornetto Trilogy, fuses elements of horror, romantic-comedy, and action for a one of a kind spectacle. Simon Pegg stars as a man down on his luck, who tries desperately to get his sad life figured out right in the middle of a zombie apocalypse. The chemistry between Pegg and regular co-star Nick Frost is absolutely legendary. Of course, there is Wright's excellent camera skills, which adds to the hilarity of two nitwits fighting of hordes of the undead.
Watch the trailer here:
#40: Cinema Paradiso (1988)
Director- Giuseppe Tornatore
Winner of Best Foreign Language Film at the 62nd Academy Awards, this movie is 100% pure magic. This Italian drama focuses on the relationship between a little boy and an elderly movie theater manager. The ups and downs of their friendship are examined with such exquisite beauty. Added on top is an epic musical score by Ennio Morricone, honestly one of the best I have ever heard. The final scene always, always, always leaves me in tears.
Watch the trailer here:
#39: The Sunset Limited (2011)
Director- Tommy Lee Jones
I'll admit, the premise of this film doesn't sound to exciting on the surface. Two men, one a white college professor and the other a poor black janitor, sit in a tenement and talk. For the whole movie. However, the fact that these two men are played by Tommy Lee Jones and Samuel L. Jackson, and that the script is written by Cormac McCarthy, makes this film so engaging. The two men, complete polar opposites, talk about life, religion, love, and a myriad of other worldly topics. Even with a lack of physical action, the film hooks you in with its thought-provoking dialogue that might just tear down everything you thought you knew about the world.
Watch the trailer here:
#38: Little Miss Sunshine (2006)
Directors- Jonathan Dayton and Valerie Faris
Meet the Hoovers, perhaps the unluckiest family in America, who just happen to live in New Mexico. Go Figure. This quirky movie shows the members of the family attempting to better their lives while driving to Los Angeles for youngest child Olive's beauty pageant competition. This film is as heartfelt as it is funny, with career best performances by the likes of Steve Carrell and Alan Arkin. Actually, it's not fair to name specific actors, because they all do amazing. Seriously, not a bad performance out of all of them.
Watch the trailer here:
#37: The Pianist (2002)
Director- Roman Polanski
It took a Holocaust survivor to make the best movie about the Holocaust ever. Polanski comes through on his greatest film, which depicts famed Polish pianist Wladyslaw Szpilman as he struggles to survive in the cruel and inhuman world of the Warsaw ghetto. Adrien Brody's depiction of Szpilman shows a man in a constant state of composed horror. When I watch this story, I feel a pit in my stomach, because even though I want the characters to make it out alright, I know it probably won't happen.This film provides a unique insight into the greatest tragedy the world has ever seen.
Watch the trailer here:
#36: Blame It on Fidel (2006)
Director- Julie Gavras
This entertaining French film centers on nine-year old Anna, whose life is upended when her upper-middle class parents decide to abandon their privileged lives to become radical Communists. Set in the early 1970's, we watch Anna, performed excellently by Nina Kervel-Bey, cope with her newly chaotic lifestyle, from having a personal nanny to a bunch of Fidel Castro look-alikes in her home. It is an honest account on how the passions that come from ideology can have unintended consequences on those around us.
Watch the trailer here:
#35: Taxi Driver (1976)
Director- Martin Scorsese
"You talkin' to me?" This psychological thriller by Scorsese highlights the nightmarish effects of PTSD, and the havoc it can wreak upon society. Robert DeNiro stars as Travis Bickle, a former marine and insomniac, who becomes a taxi driver to make it through the sleepless nights. He soon encounters an entire underworld of grungy New Yorkers with all kinds of depravities. He also begins to dangerously obsess over a woman named Betsy. A 13 year old Jodie Foster also makes a surprisingly mature performance. There is a reason this film is as iconic as it is.
Watch the trailer here:
#34: American Psycho (2000)
Director- Mary Harron
Oh, Christian Bale. Serial killers never looked so good. In this thriller, Bale plays Patrick Bateman, a New York businessman obsessed with fancy restaurants, business cards, and, well, killing people. This is arguably Bale's best performance ever, creating a characters so suave and psychotic at the same time. The film wonderfully satirizes corporate businessmen who care way too much about money and personal appearance. This movie is also educational, as well as exciting. You'll learn more about Huey Lewis and the News than you ever wanted to.
Watch the trailer here:
#33: Michael Clayton (2007)
Director- Tony Gilroy
I was really caught aback by how good this movie really is. George Clooney plays a lawyer who must handle the crisis of one of the firm's partners having a mental breakdown, due to a huge scandal involving corporate corruption in a civil lawsuit. Clooney plays opposite to Tilda Swinton, who took home a Best Supporting Actress Oscar for her role as a ruthless businesswoman. Watching Tom Wilkinson's portrayal of a man on the brink of insanity continues to leave me in absolute awe.
Watch the trailer here:
#32: The Incredibles (2004)
Director- Brad Bird
This is, without a doubt, Pixar's greatest movie. Not only does it feature the stellar animation that the company has become renowned for, but it also contains one its most complex and mature themes. Bob and Helen Parr, along with their children, possess super powers that once made them the greatest heroes on Earth. However, society rejects them, and forces them into hiding, unable to reveal their powers to anybody. I might me be reading into this too much, but I definitely think there are similarities between the superheroes in the movie, and homosexuals in the 1950's. Both were forced to hide their true identities and pretend to be like the rest of the population in order to escape legal prosecution. It is such an interesting take on the world of superheroes, and one of the more thought-provoking animated movies ever.
Watch the trailer here:
#31: Tangerine (2015)
Director- Sean Baker
A film shot entirely on iPhones, Tangerine is one of the most entertaining LGBT movies in recent years. It's based around two friends, Sin-Dee and Alexandra, who are both transgender sex workers. The story follows the two of them in their daily lives as they try to survive on the streets of Los Angeles, with Sin-Dee causing all kinds of trouble along the way. It is a hilarious film, but also contains a good amount of serious moments, showing the troubled life that all too many transgender people face on a daily basis.
Watch the trailer here:
#30: In Bruges (2008)
Director- Martin McDonagh
In the world of comedy, In Bruges is about as dark as moonless night. Colin Farrell and Brendan Gleeson play two assassins forced to hideout in a tourist-ridden village in Belgium following a botched hit. McDonagh's witty screenplay continuously exploits the pair's misery and boredom for comedic purposes. The best parts of this film, though, are in the more serious moments when Farrell's character must come to terms with the awful mistakes he has made.
Watch the trailer here:
#29: Glengarry Glen Ross (1992)
Director- James Foley
This star-studded flick contains profanity so rich and thick, you could drizzle it on a cake. Five miserable salesman (Al Pacino, Alan Arkin, Jack Lemmon, and Ed Harris) must compete to get the most sales or run the risk of getting fired. We watch as each of them continuously demean themselves in order to possibly sell pieces of land to people. The flick, of course, contains the iconic scene featuring Alec Baldwin, in which he yells, "Coffee's for closers only!" Watching these actors spar with carefully curated profane sentences reminds me of Roman gladiators in the Coliseum.
Watch the trailer here:
#28: In the Loop (2009)
Director- Armando Ianucci
Like the film that precedes it in this list, In the Loop is a film known mostly for its vulgar dialogue. A precursor to Veep, it shows that absurd and chaotic world known as politics, with the some of the most narcissistic and clueless characters every to grace the big screen. It leaves one wondering how anything gets done in politics. If you're looking for some dry political satire, with Dr. Who swearing like a senile grandfather, this movie is for you.
Watch the trailer here:
#27: Manchester by the Sea (2017)
Director- Kenneth Lonergan
This film haunts me. Watching the trailer, I thought I knew what to expect. And yet, it was so much more disturbing and magnificent then I every could have imagined. Casey Affleck shines, not through the words he says, but through the subtle mannerisms he works into his damaged character. It's one of the best movies on grief every made, mostly by taking the unusual moral that sometimes things just don't get better. Not an uplifting takeaway, but very much a real one.
Watch the trailer here:
#26: Up in the Air (2009)
Director- Jason Reitman
Ryan Bingham, played by George Clooney, makes a living firing people for bosses to scared to do so. He lives his life based on a philosophy of owning as little as possible and not setting up roots in order to live a freer life. The movie is an examination of one's personal philosophy, something many people have, and what that person does when that philosophy is stripped from them. This film includes excellent performances by Anna Kendrick and Vera Farmiga.
Watch the trailer here:
#25: Brokeback Mountain (2005)
Director- Ang Lee
Based on the 1997 Annie Proulx short story (which everyone should read), this is THE gay movie of the century, maybe in film history. And there's good reason for this. Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) defy conventional gay stereotypes, showing that even tougher-than-life cowboys can be gay as well. This movie is not just for gay people, though. Anybody who has ever loved someone they can't have can relate to it as well. Honestly, though, how did this lose to Crash? Does anybody even like Crash?
Watch the trailer here:
#24: Office Space (1999)
Director- Mike Judge
You ever have that one boss that just drives you crazy? The one that always asks you to do the most menial, tedious crap ever? You should watch this movie then. The comedy that perfectly encapsulates the monotonous hell that is a desk job, Office Space depicts what happens when employees, stuck in this never ending rat race, finally crack. I should warn you, though, that this movie will unleash work scars you didn't know you had. An absolutely spot on satire.
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#23: Monty Python and the Holy Grail (1975)
Directors- Terry Gilliam and Terry Jones
One of the greatest comedies of all time, British sketch geniuses Monty Python unleash some of their best material that pokes fun not only at history, but every authoritative institution known to man. For some reason, when I tell people about this film, they know what I'm talking about maybe 20% percent of the time. However, if they're a Boy Scout, they always know it. Seriously, every Boy Scout I have met knows about this movie. I have no idea why. All I know is that everyone should watch this film.
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#22: Memento (2000)
Director- Christopher Nolan
When film critics talk about non-linear plot structures, they're probably referring to this movie. This unique film focuses on Leonard Shelby, a man unable to create new memories due to a tragic accident. Because he is only able to experience the world in snapshots lasting a couple minutes, this is how to movie is presented to the audience. However, what seems chaotic at first forms into an actual pattern, as we begin to figure out how Leonard's life is even sadder than we first imagined. It's neo-noir at its finest.
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#21: American History X (1998)
Director- Tony Kaye
The first time I saw this movie, I was 13 years old flying home from DC on JetBlue. Right from the get go, I was stunned. Taking place in the highly racialized environment of 1990's Los Angeles, American History X contemplates why it is that angry and frustrated white males embrace radical neo-Nazi ideology. I love Edward Norton in this film, who plays a young leader of a white supremacist gang who finds himself disgusted at what he and his family have become as a result. One of the better films on racism in America, this film rips you out of your bubble and throws you headfirst into the darker side of American culture.
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#20: The Shining (1980)
Director- Stanley Kubrick
Let's face it, if Kubrick directed it, it's probably a masterpiece. This rings true especially for his genre-defining classic The Shining, one of the most eerie and unsettling motion pictures ever created. Jack Nicholson's slow descent into madness as the keeper of the Overlook Hotel is one of the most captivating and startling acting performances in history. I love this film, because, while it is a horror, Kubrick utilizes the talents of his actors and a wonderfully written script to make it scary, instead of just using a bunch of rudimentary jump scares. You could spend hours debating the symbolism and meanings of the film. In fact, entire documentaries have been made about it. Whatever conclusions you draw from it, it is sure to have you gripping you chair by the end. Unless you're name is Stephen King; then you hate it for some reason.
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#19: One Flew Over the Cuckoo's Nest (1975)
Director- Milos Forman
Another Nicholson masterpiece, this classic critiques the regular psychological abuse inflicted upon those in mental hospitals. The movie consists of an ongoing battle between the extremely strict Nurse Ratched and rebellious inmate Randie McMurphy. McMurphy tries various ways to improve the lives of his fellow inmates, but is continuously blocked by Ratched who demands absolute obedience. It's a sobering revelation on the multiple injustices faced by the metally ill.
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#18: The Imitation Game (2014)
Director- Morten Tyldum
I don't think I've cried harder over a movie than I have with this film. Based on a true story, it follows the journey of Alan Turing, who worked tirelessly in order to crack a Nazi coding device known simply as Enigma. Alan, played by Benedict Cumberbatch, clearly has some sort of autism and therefore finds it difficult to socialize anybody, including those on his team. Sometimes, you just find a cinematic character who relate way too much with. It's almost as though someone saw you and decided to put your life into film. That's how I feel with Alan Turing in this film. If I write anymore about it, I'm going to start crying again, so I'll leave it there.
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#17: Breathless (1960)
Director- Jean-Luc Godard
One of the best film to come out the French New Wave movement, Breathless was shot with a hand-held camera, and used almost no artificial light, something almost unthinkable in the black and white era. What this does, though, is make you feel right at the center of the action, as you follow the suave Michel Poiccard on the run from the police. Michel is your typical old-school film bad boy: he's handsome, charming, cares too much about his looks, sleeps with many women, and always has a knack for getting in trouble. My personal favorite performance in this film is Jean Seberg as Patricia, the main love interest. She speaks French with an unapologetic American accent, which adds to overall quirkiness of her character. She also seems to be the only one to tame Michel, and is one of the most captivating characters in French film. The final scene is especially wonderful, but you'll have to watch it to find out why.
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#16: American Beauty (1999)
Director- Sam Mendes
This film has it all: a compelling story, talented actors, a beautiful score, and a theme that transcends the lives of nearly every human being. Kevin Spacey stars as Lester, a man who finds himself in the middle of a mid-life crisis, following an unhealthy infatuation with his daughter's best friend. He rejects the cozy the suburban life he has constructed for himself to live a more exciting and care-free life. I believe that this movie is relatable for any age group, from rebellious teenagers to adults who suddenly wake up to find themselves in their mid-40's. It's a film about the various restrictions we unknowingly impose on ourselves, and how we spend our lives struggling to break free of them.
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#15: Goodnight, and Good Luck (2005)
Director- George Clooney
A reminder that the freedom of the press is a delicate thing, and it only takes a few powerful people to make it go away. David Strathairn plays famed television news anchor Edward R. Murrow, who was repeatedly accused of being a Communist for criticizing Senator Joseph McCarthy's campaign to kill communism in America. Director George Clooney does an excellent job in showing just how scary a time this was in American history, when those who critiqued the government found themselves lambasted by it. Sound familiar?
Read my full review here: http://uffdaculture.blogspot.com/2017/02/goodnight-and-good-luck-2005-review.html
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#14: As Good As It Gets (1997)
Director- James L. Brooks
My favorite Nicholson film, good old Jack plays a profane and obsessive compulsive writer named Melvin who dislikes every single human being. Seriously, I don't know if you could be more pessimistic. But after meeting waitress and single mom Carol, played by the marvelous Helen Hunt, he begins to rethink his universal hatred of everyone, and tries opening up for the first time. Greg Kinnear also shines in this film, playing a gay artist who is also neighbors with Melvin, and therefore a frequent victim of his verbal insults. I love watching Melvin, because it's fascinating watching a man trying so hard to be likable, and still manage to put his foot in his mouth.
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#13: Leon: The Professional (1994)
Director- Luc Besson
It's one of the more unique dynamics in film. Professional assassin Leon and 12-year old Mathilda, brought together by the murder of Mathilda's family at the hands of corrupt DEA agents. Mathilda insists that Leon teach her how to become an assassin so she can exact revenge on the agents, headed by the certifiably insane Norman Stansfield (Gary Oldman). Natalie Portman, in her major motion picture debut, plays a kid far more mature than most her age, not deterred by the reluctance of Leon, who'd rather not have a little kid around at all times. It's incredibly exciting, with no shortage of thrills, but what excells this movie to greatness is Leon and Mathilda's relationship grow stronger as they become the family that neither of them have ever had.
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#12: No Country for Old Men (2007)
Directors- Joel Coen and Ethan Coen
Based on the stirring novel by Cormac McCarthy, this Coen Brother's masterpiece turns the typical western narrative on its head, while rewriting the rule book on how to make movies. The plot centers around the actions of three men: Anton Chigurh (Javier Bardem), Llewelyn Moss (Josh Brolin), and Sherriff Ed Tom Bell (Tommy Lee Jones). In a story involving a briefcase stuffed with thousands of dollars in drug money, each of these characters examine their own unique moral compasses and weigh it against the rest of the world. It really is an examination on morality, and how it differs among all kinds of people. This film is also unique in that there is no music whatsoever. But rather than ruin the mood, it adds to random chaos of the plot, to all of the people who die for no real significant reason. This film shatters any concept of a divine plan.
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#11: The Salesman (2016)
Director- Asghar Farhadi
If I could some up this movie in one word, it would be tense. Unbelievably tense. One of the best directors in the world, Asghar Farhadi surpassed his masterful A Separation with a story showing a couple reeling after a terrible tragedy. In the aftermath of this event, Emad and Rana try desperately to normalize their life once more, but find this impossible due to the trauma both have received. Eventually, Emad decides to take matters into his own hands, by exacting revenge on those who wronged him and his wife. This film is a classic example of show-not-tell, when the awkward silences that fill conversations become absolutely deafening.
Read my full review here: http://uffdaculture.blogspot.com/2017/02/the-salesman-2016-review.html
Watch the trailer here:
#10: Moonlight (2016)
Director- Barry Jenkins
The surprise winner of this year's Academy Award for Best Picture, Moonlight is like no other film. Barry Jenkins delivers to the world a tender and soft-spoken tale about Chiron, a boy living in Liberty City, Miami, who must come to terms with his identity and his place in the world. I remember seeing this in theaters for the first time, and being unable to speak afterwards. I felt as though none of my words at that moment could do this movie justice; I'm still not sure if they can. What's most amazing is that Chiron is played by three different actors. These actors never worked together on set, and yet they all exhibit the same mannerisms that define the character, a black man who has put up a shield to block out the world that continuously hurts him. Also, Nicholas Britell creates one of the best musical scores I have ever heard, period.
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#9: Fargo (1996)
Director- Joel Coen
This Coen Brother's flick contains some pretty heavy topics, with no shortage of scandals and senseless murders. Normally, this would make for a pretty heavy film, but just throw in some Minnesota "yah, you betcha" accents, and that edge will slide right off. This film is the perfect combination of the serious and the comical in a story that sees a pathetic man looking to get rich by having his own wife kidnapped. It can be downright absurd at times, which plays greatly with the cartoonish and ridiculous set of characters. Frances McDormand puts on a show stopping performance as Police Chief Marge Gunderson, who's probably the most polite police officer you'll ever meet. This movie is the hunky-dory murder mystery you didn't know you needed.
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#8: Moonrise Kingdom (2012)
Director- Wes Anderson
Featuring American auteur Wes Anderson's unique cinematic style, Moonrise Kingdom is the coming-of-age film of the decade. Set on the fictitious New England island of New Penzance, 12-year olds Sam and Suzy, both known for their short tempers, fall in love and decide to run away together to live apart from the oppressive adults in their life. They must outrun Suzy's overbearing parents (Bill Murray and Frances McDormand), Police Captain Sharp (Bruce Willis), and a social services agent (Tilda Swinton). There's also Sam's hell-raising Khaki Scout troop, who should be relatable for any Boy Scouts out there. This is just a really sweet film overall, about two kids who want nothing more than to be with one another. It's difficult to find a more simple and worthwhile goal than that.
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#7: Spotlight (2015)
Director- Tom McCarthy
I don't know if it says more about me or the film that I've seen it at least ten times since it came out two years ago. To me, it speak what a captivating story it is, that I can watch it over and over again without tiring of it. It's based on the true story on how some reporters at the Boston Globe lifted the lid on the Catholic Church sex abuse scandal that rocked the world. Every actor gives a career-best performance, from the persistent Mark Ruffalo to determined, yet caring Rachel McAdams. Spotlight inspires me to be a journalist, to speak for those that have been wronged by society. It ought to be shown in every beginning journalism class for how to ethically pursue and write an article, and how just one article can change the world.
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#6: The Usual Suspects (1995)
Director- Bryan Singer
This was my favorite film for the longest time. Even now, I am still floored by how gutsy of a movie it is. One moment, it will pull the rug from under you. You think that's it, but then it'll open the trap door underneath the rug. All I can really say about this movie is that you MUST pay close attention. If you don't you will be very confused. Key details are inserted so subtly that you might just miss them. After all, murders involving 27 dead men at one scene are rarely simple.
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#5: The Grand Budapest Hotel (2014)
Director- Wes Anderson
What a fucking delight this movie is. I cannot comprehend that there are people in this world who do not like this movie, it's just impossible. The color schemes, the music, and all the camera angles are so meticulously thought out. It remains one of the most visually striking movies I have ever seen. We mostly follow around M. Gustave, concierge of the Grand Budapest Hotel, and his lobby boy Zero. Through the devious action of others, Gutave finds himself implicated in the murder of a former guest of the hotel. He and Zero are forced on the run while trying to clear his name. The characters thrive on Anderson's insanely witty dialogue, making for one his funniest films yet. This film warms my heart every time I see it, because the emotive world it exists in seems like something out of a dream. Also, Ralph Fiennes creates one of the most uniquely captivating characters when playing Gustave. How did he not win an Oscar?!
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#4: Ida (2013)
Director- Pawel Pawlikowski
God, how do I even begin describing this film? For one, the emotions displayed are immense. Not that the characters are terribly emotive, but the pain they try so desperately to hide can be seen on their worn faces. In 1950's Poland, Anna prepares to become nun and officially join the convent, which she has lived in since infancy. However, she must first meet her last living relative, an aunt named Wanda. She learns that she her name is Ida, and she is Jewish. She now has to re-examine her own identity, as well as find out what happened to her original family. I get goosebumps just thinking about Ida; it's so utterly dark and tortured. Movies won't look the same after watching this.
Read my full review here: http://uffdaculture.blogspot.com/2017/03/ida-2013-review.html
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#3: A Single Man (2009)
Director- Tom Ford
What happens when famed fashion designer Tom Ford tries his hand at film making? He creates a masterpiece, of course. The movie takes place over one day in the life of George Falconer (Colin Firth), an English professor slowly losing his will to live after the death of his lover, Jim. Based off the 1964 novel by Christopher Isherwood, A Single Man features a wonderful performance by Julianna Moore, who plays George's best friend. As he goes about his day, George reflects on his time with Jim, his death, and how his future looks. Being that Tom Ford is a fashion designer, of course the film would be absolutely visually stunning. Every shot looks so sleek, almost like it came out of a page in Vogue. Abel Korzeniowski writes a brilliant score, perfectly capturing George's despair, which seems to grow every minute. If you have ever struggle with the loss of a loved one, this film is as therapeutic as they come. It's like watching a painting being created stroke by stroke right in front of you.
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#2: The Silence of the Lambs (1991)
Director- Jonathan Demme
This is the perfect film. No exaggeration. I have yet to find a singular flaw with this film, and even if one existed, I wouldn't change my mind. Every line holds significance. Every shot is chosen for a reason. There is no filler, because every single aspect of this film serves a purpose. Anthony Hopkins gives his character, the serial killer Hannibal Lecter, the ability to lock you into a trance. He's a truly terrifying character, one that makes your skin crawl every time you see him. Made the same year that Jeffrey Dahmer was caught. Silence of the Lambs introduces us to a terrifying serial killer by the name of Buffalo Bill, who becomes renowned for skinning his victims after killing them. Still in the FBI Academy, Clarice Starling (Jodie Foster) is determined to apprehend him. She seeks help from Hannibal Lecter in order to achieve this. Every time I watch it, I find new things I never noticed before. It scares me to death to know that there actually are people like that evil that exist in the world.
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#1: Trainspotting (1996)
Director- Danny Boyle
Ever since I saw this film for the first time when I was 15, I knew it was my favorite. Now that I've seen close to thirty times, I can say that that hasn't changed. Not even slightly. It's my belief that truly exceptional films capture the time in which they are set perfectly. Trainspotting IS 1990's Great Britain. From the acid house clubs, the hundreds of unemployed drug addicts, and the AIDS crisis, Danny Boyle's greatest flick captures the spirit of a generation. The film focuses on five friends in Edinburgh, Scotland, many of whom are addicted to heroin. They commit an uncountable amount of crimes in order to fulfill this habit. There's plenty of good humor here, with the friends going to extreme lengths to embarrass/humiliate one another. However, the movie also reveals the extreme dark side that comes when living a drug fused lifestyle. The main character is Renton (Ewan McGregor) who repeatedly tries to get off of heroin and live a normal life. His friends, though, continuously drag him back into the dangerous habit. This film is grimy, disgusting, eye-opening, and downright shocking. It shows not only the deplorable conditions that many addicts live in, but also the institutions that cause it to happen while doing little to nothing to stop it. To me, this is such an important movie, especially now that the US is facing its own opioid epidemic. Besides its relevancy, though, it also provides some of the most entertaining bunch of characters in film, each with their own little intricacies that ultimately determine their fates. Also, the accents in the movie are pretty thick, so you're going to want to use subtitles. Just a warning.
What's the result of such unrepentant genre-blending? It's the music one plays to eggs hatching, a literal breaking out of one's shell. The first part is pure effort, with the second being the catharsis of breaking free and witnessing the world tower below you. 
"Honeycomb" features some of the best instrumentation on the entire record. Guitarist Kerry McCoy has often received criticism from naysayers for being a lackluster player. However, he puts all the critics to shame with an amazingly simple solo, showing he doesn't need to rely on foot pedals to prove his merit as a musician. The tracks finishes off with four minutes of beautifully mellow piano after seven minutes soul-shredding shrieks and riffs. 
