Rivers of Nihil – The Work (2021)

Rivers of Nihil were one of the American technical death metal bands that seemed to be a direct response to the tech death bands from before (the early 2000s to 2010) switching gears from more traditional death metal or metalcore to space themes and ambient moments, such as The Faceless and Obscura. Those bands in turn made their change in response to the originators of tech death changing to more philosophical themes such as Cynic and Atheist. And around this time, it wasn’t just death metal, but Prog as well, as Devin Townsend and Opeth finding their softer sides. So with this line of bands following each other footsteps, was it surprising that Rivers of Nihil would change from their tradition death metal to incorporating psychedelic elements on 2018’s Owls Know My Name?

The simple answer is no. By then, saxophone had well found it’s way into tech death, including on albums by The Faceless. But aside from what some might dismiss as a gimmick, the songwriting on that album was absolutely solid, and it was a joy of an album to explore. Their follow-up however, surprised even me, not only how good it was, but also how much ground they explore and territory they masterfully cover. Let’s dig in to 2021’s The Work.

Between the release of their of previous album, three major things (that I know of) happened for the band:

1. The release of Owls helped the band get to a point where they could tour for a living.

2. The success of Owls created a pressure for the band’s follow up, something they had not experienced at this kind of level before.

3. The COVID 19 Pandemic put all of that to a halt, much like it did for the rest of the world.

These newfound experiences put the idea of “work” into context for the band, something they explore thoroughly over the course of this 64+ minute record. Without going too much into the concept, it’s not just the actual work we go to in order to support ourselves and our families, but the work our body does everyday to keep us alive, the work we put into relationships, all the work that goes on in our world and in ourselves every second of every day. The band chooses to start this album on a theatrical note. The soft opening is not surprising, and it brings up memories of Autotheism by The Faceless. But what it lacks in memorability as opposed to that one, it makes up for setting the stage for this dramatic endeavor. The subtle change from major to minor key, the background vocals, and train like sound effects all help the song build up to a huge climax. The song comes back down, only to go straight into………

The huge and heavy riffs of “Dreaming Black Clockwork”. This song is equal parts djent from Meshuggah, industrial elements and vocals like Devin Townsend, and “black jazz” like the band Shining, thanks to the comping style of the saxophone. It has a soft and mysterious middle section that only returns to the heavy riffs. This is a great introductory track to the mechanical tones of this album in comparison to their previous ones. It also shows how the band break away from the saxophone as a soloing instrument, and instead as a flowing and continuous part of the ambiance of the album.

If the previous song reminded me of Devin Townsend at his heavier moments, “Wait” reminds me of some of his more tender moments. It is an odd follow up to have a softer song immediately after the previous one, but I think that jarring transition is exactly what the band was going for. After some screams in the middle and a classic rock climax with a bluesy solo, and transitions into the darker “Focus”. I love the dynamics in this song, from the bass heavy verse, to the middle eastern sounding guitar riff of the chorus.

“Clean” has some memorable heavy riffs and screamed vocal lines, but the star of the show is a psychedelic synth solo and bluesy guitar solo that comes perfectly in the middle of it all.“The Void From Which No Sound Comes” combines the industrial and ambient elements of “Focus” with a massive chorus and a perfectly executed saxophone solo. “MORE?” Is the most aggressive song on the album musically, lyrically, and vocally, and it interestingly transitions to a reprise of the intro track, appropriately named “Tower 2”.

“Episode” starts off like doom metal you’d expect from the band Swallow the Sun, and is greatly contrasted with its heavy parts that sound more like the band Behemoth. It has a few masterful guitar solos as well as an emotional climax with the repeated lyrics “Do the Work”. They close the album out with a pair of epic tracks. The first is the gorgeous 7 minutes ballad “Maybe One Day” which is simultaneously hopeful and questioning, climaxing with a slide guitar solo and the repeated lyrics “Is this the only way?”. The last song is the progressive metal masterpiece “Terrestria IV: Work” which weaves through so many twists and turns, finally culminating with our familiar lyric, “Do the work”.

Overall, some transitions from heavy songs to soft songs may be questionable, but they were definitely the intent of the band nonetheless. It with everything else on this album meticulously crafted, it would be hard to imagine that wasn’t the case. Still, it is a small gripe if I had to choose gripes. The album is an incredible experience from start to finish. Every song has merit and memorable sequences. I may have gotten around to this album late, but it has been one of my favorite recent experiences, and I would highly recommend it to any fan of metal, Prog, tech death, or even jazz, as it will surely be one of those albums that bridges the gap for listeners who are typically not into extreme metal, much like Cynic and Meshuggah have done.

Coheed and Cambria – Vaxis Act II: Window of the Waking Mind (2022)

Coheed and Cambria became a household name a few times in their career. Their hits “A Favor House Atlantic” in 2003, “Welcome Home” in 2005, the use of the latter in the animated movie “9”. And their diehard fan base of the music as well as the graphic novel never let them fade away. But the band is enjoying a bit of a resurgence as each tour brings bigger venues and more acclaim. The 2018 release of Vaxis I introduced a new story in the so called “Amory Wars” universe the band is famous for, and it’s sprawling 15 song (almost a full 80 minutes of music) was a bit much to digest, even for diehards. A new concept and some memorable hooks, but a lot of the vibe was set creating this prison planet known as “The Dark Sentencer”, and setting up the story of our two characters and their son. Now out imprisonment and on the run, the music was ready to soar along with them.

Vaxis II returns 4 years later, not only at a different place in the story, but in the world in general. COVID hit, as well as political turmoil, and personal growth in main songwriter Claudio’s own life as a father. It’s impossible for all these elements to not get put into this album. But Claudio alongside the other three members have created an album that seems more than ready to be unleashed upon live audiences who are ready to mosh and sing their hearts out.

The album starts with an orchestral reprisal of “Old Flames” from the previous album. From here the album charges through a whopping 9 songs all under 4 minutes long. These songs are quick, upbeat, well produced, layered, and straightforward. In other words, modern pop/rock. But that’s no surprise from a band that started in a pop punk style and added the progressive elements over time. It is almost an attack of catchy choruses, the antithesis of Part 1’s more brooding and atmospheric approach.

From the big anthemic chorus of “Beautiful Losers”, to the almost In Keeping Secrets feel of “Comatose”. It pushes through to the extremely heavy verse riffs of “Shoulders” before dropping another ear candy chorus your way. “A Disappearing Act” has a wonderful electronic element throughout, reminiscent of Muse or later Depeche Mode. It’s a slow and subtle transition as the mood of the album changes without you even knowing it, but this is followed by the equally electronic “Love Murder One”. Instead of bluesy hard rock riffs of “Shoulders”, we’re now treated to funky bass in the background. But be clear, if I spent the whole time talking about all the subtleties of every instrument, this would be a much longer review than it already is!

“Blood” slows things down a bit and has that perfect industrial influence that Year of the Black Rainbow had on its ballads as well. But this is quickly picked back up with “The Liar’s Club” which has the best parts of Vaxis I with it. “Bad Man” goes back to that modern electronic vibe combined with Claudio’s soulful vocal styles of the Afterman albums.

“Our Love” is a beautiful ballad that showcases Claudio’s voice, before electronics come in towards the end. This downtime makes way for the triple threat that closes out the album. “Ladders of Supremacy” is the first long song, and has a very progressive feel to it, seemingly returning to the style of “The Willing Well” and “The End Complete” for the first time since those albums. For Prog fans like me, it’s a welcome track that could have honestly been longer, but should make for an excellent addition in the live set.

“Rise, Naianasha” returns to upbeat and catchy style of the earlier songs on the album, but has some progressive and dissonant tendencies during the chorus. But the title track “Window of the Waking Mind“ goes full progressive again, with 5 very different sections, including an orchestral reprise of the “Old Flames” theme, perfectly bookending the album, as well as allowing the story to continue.

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For a band who had made nine albums that were all very good and very different, it should be no surprise at this stage that they’re going to keep pushing themselves, try new things, and put out great records. But for me to like this one so much more than it’s predecessor is a testament to Claudio’s sense of storytelling, and the band’s continued inspiration with all styles of music. It’s clear they listen to heavy metal, blues, pop, electronic, and listen to their producers for new ideas (the one who worked on this one has worked with countless major artists as well).

All in all, this is an infectious album that will be great on your first listen, as well as on repeated listens as you continue to discover all the layering and tones. Good for a musician or fan of music alike!

My 50 Favorite Movies that I’ve Seen in the Year 2020.

Part 2 of 2.

I explained this list in part 1, so there’s not much more to add. I would like to put a quick reminder that this is a “Favorites” list, not a “Best” list. And while how good a movie is has a lot to do with its placement, I’m also biased, and take cultural significance and current events into consideration, in addition to how much I actually enjoyed it.

The purpose of this list is to share and discover, more than to actually say what movies are better than other ones.

That being said, let’s get right to it. Starting at #22 and going down to #1.

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22. Amores Perros (2000)

The first full length film by Iñárritu, and first film in his “trilogy of death” sets the stage beautifully. A fine example of hyperlink cinema, we see three separate stories interconnected, each with their own hardships and heartbreaks. It is a masterful demonstrations of the skills he has utilized his whole career.

21. Borat Subsequentfilm (2020)

Now I know what you’re thinking. Yes, this one is not better than the first one. Yes this is not better than many of the other films it’s above. That being said, this movie was so needed in the year 2020, to draw attention to how much the country had changed in 14 years. To draw attention to how ridiculous American politics had become. To remind us of a time when we used to laugh and PC culture hadn’t gone gone to its full extreme. In other words, this film was necessary.

20. Tie – In the Mood For Love (2000)

Considered one of the greatest movies of all time, it’s simple premise and compact running time allows all the focus and attention to be on the emotional state and passing glances of its two main characters. Combine that with some of the smartest cinematography I’ve seen in a while and you’ve got a love story for the ages.

20 Tie – Portrait of a Lady on Fire (2019)

I had to put these two movies together. If you’ve seen them, you’ll understand why. This recent French film has become a modern classic and fan favorite. An unlikely love story filled with subtle gazes and emotional weight. Great scenic views and matching music.

19. The Ballad of Gregorio Cortez (1982)

A young Edward James Olmos plays the titular character, based on the true story of a man who became a folk hero after a misunderstanding with the law. From the chase to the trial, this is a well-made piece of cinema, and the deliberate lack of translations to put you in the shoes of the characters was a brilliant choice.

18. The Cabinet of Dr. Caligari (1920)

The oldest film on this list, and one of the most important horror films of all time, it is known for its extensive use of German Expressionism (a style that Tim Burton was inspired by) and its unique narrative structure that has inspired legions of copycats. Still brilliant to watch all these years later.

17. The Irishman (2019)

Martin Scorsese returned to his award winning formula of Goodfellas and Casino, this time at a running time of 3 and 1/2 hours, and the inclusion of Al Pacino with Pesci and De Nero. And while the movie didn’t receive the awards to show it (unfortunately competing in the year of Joker and Parasite), it might be the quickest 3 and a 1/2 hour movie ever. I even watched it again a few days later!

16. ¡Alambrista! (1977)

The second film by Robert M Young (Gregorio Cortez) to be on this list, and another eye opening story. And while this one isn’t based on one true story, it is a story we see every day. Following a young man who crosses the border in search of a better life, it shows examples of bias, stereotypes, bilingual challenges, and occasional human kindness. Enhanced only by watching it with a woman who encountered a very similar journey in her life.

15. Shoplifters (2018)

Winner of the 2018 Palm d’Or at Cannes, this film covers many themes later explored in Parasite. But this movie doesn’t go the thriller route. Instead, this drama about family brings up many questions about the word and if “blood” is really thicker than water. Some moments of light-heartedness, some moments of tragedy. Worth every bit of praise.

14. Angst (1983)

This film was banned in Europe for extreme violence. Thankfully, it got a bit of a resurgence due to Gaspar Noe’s recommendation. Watching it, you can see many of his trademarks in it. The dark humor, the camera angels, the storytelling, the pacing. Following a recently released serial killer, we are constantly on edge waiting for him to kill again.

13. Les Diaboliques (1955)

Hitchcock fought for the rights to make the novel into a movie, but lost out to Henri-George’s Clouzot. In turn, this film adaptation actually inspired Hitchcock in the making of Psycho. And it can be felt when watching this. It is a classy, stylish thriller with elements of psychological horror that keep you guessing all the way until it’s dramatic ending. Fun for any fan of films like Vertigo.

12. The Night Porter (1974)

Twelve years after WWII, a former SS Officer and a woman who was a teenage girl in a concentration camp cross paths. What results is a movie that blends erotic drama and psychological thriller. With flashbacks to the war intercut with a country still trying to recover all those years later, it has strong political messages. It also has a lot to say about S+M, guilt, regret, and Stockholm Syndrome.

11. Knife in the Water (1962)

Roman Polanski’s first feature length film is a subtle game of cat and mouse between two men and a woman. A married couple bring a hitchhiker on board their boat for a night at sea. These are the only three characters in the film, and all the action takes place on a boat. It is a mental game and the tone changes slowly over time. And the ending leaves off with a question. Lots to say about expectations of people’s roles in life, as well as brain vs brawn.

10. Canoa: A Shameful History (1976)

Like Gregorio Cortez, Japon, and ¡Alambrista!, one of the biggest discoveries of the year for me was emotional charged and devastating movies from or dealing with Mexico. Canoa is based on a true story about students who were attacked in a small village due to fear and stereotypes. Shot in a documentary style, it is brutally raw, feels extremely real, and says a lot about politics, religion, and how blindly following can lead to massacres such as the Holocaust.

9. The Man Who Laughs (1928)

Perhaps best known as the inspiration for the Joker’s smile, it is an adaptation of a Victor Hugo novel, and feels very much like The Hunchback of Notre Dame. A romance with twinges of German Expressionism (providing elements of horror), drama, and a bit of action. It conveys so much emotion despite being a silent film. A lot of that is from the eyes of Conrad Veidt, which show joy and fear even when you can’t see his mouth.

8. Y Tu Mamá También (2001)

Alfonso Cuarón had already made three films by the time this one got released, but it quickly became his signature film. It’s blend of a road movie and a coming of age story paired with its depiction of sex helped issue in a new generation of Mexican directors that were getting attention from around the world. Some great performances including a young Diego Luba. Gorgeous cinematography and a look into gender roles as well as finding yourself.

7. Wait Until Dark (1967)

I had been wanting to watch this one forever. It was well worth the wait. A thriller featuring Audrey Hepburn as a blind woman trying to outsmart thieves in her home. Most of the action takes place in the apartment and feels like watching a play, but it keeps you on the edge of your seat the entire time. Contains one of my favorite movie moments of all time.

6. Burning (2018)

This movie messed with my head for a while after watching it. After 8 years, acclaimed South Korean director Lee Chang-dong returned with what is arguable his masterpiece. A blend of romance, psychological thriller, mystery, and drama, we follow a young man who quickly falls for a girl and fights for her attention. The pacing is outstanding, it’s well acted, has beautiful cinematography, and changes tone like it’s nobody’s business.

5. La Haine (1995)

One of the most intense films I watched this year felt right at home in the political turmoil of 2020. Following a group of friends the day after riots over the shooting of a Middle Eastern, everything is touched upon. From racism to sexism, to politics, religion, classism, age-ism. Gender gaps, gentrification, media control. From movie references to great music. You can break down every scene of this movie and find something incredible, but most of all, you can also find something current/relevant.

4. Belle de Jour (1967)

Luis Buñuel accomplished something amazing when he created a film about a sexually-repressed woman with masochistic fantasies who toys with the idea of working at a high-class brothel, and didn’t do it in a trashy way. Even at its most perverse moments, class oozes out of every scene. The dream sequences blend in a gorgeous/surreal fashion, and it is another perfect performance from Catherine Deneuve.

3. Blind Chance (1987)

I haven’t delved into Krystof Kieślowski’s crowning achievements (Dekalog/Three Colors Trilogy) yet, but after The Double Life of Veronique, I had high hopes. This brilliantly structured film introduces you to a character, shows an event, and then shows three different possible/potential outcomes. Each one has its own trials and consequences. Whether politics or religion, or love or self discovery, it challenges the ideas of fate with simple differences and simple crossovers. Would this have made a difference? What about that? Who’s to say for sure.

2. Carnival of Souls (1962)

The sole movie directed by Herk Harvey (who also plays the all-important ghoulish figure), a man more known for his work in making instructional films. And what a legacy he left. This low budget, independent horror film has inspired countless directors, especially those that have mimicked its ending. But up until that point, you are subjected to wonderful imagery, use of music, use of location, use of film techniques all whirled up in a style of a constant dream-like state. Blending shadows and nightmarish images with its simple concept, it has quickly become one of my favorite films of all time.

1. The Night and the Hunter (1955)

Putting these movies in an order of some kind proved to be a challenge. But from the start, no film could convince me to change my mind about what would be #1. As much as I loved every movie in the top 10, and especially that tight-nit top 5, this movie blew me away. The ultimate battle of good and evil, accentuated not only by the haunting performance Robert Mitchum, but by German Expressionistic influence. There are some shots in this movie that could never be replicated. Some of the most beautiful frames I’ve ever seen lie in this film. On top of the cinematography, it is smart, intense, and timeless. One of the most underrated films of all time, even despite its acclaim from people in the indus

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A special shoutout to directors Ingmar Bergman (Hour of the Wolf, Wild Strawberries, Cries and Whispers, The Virgin Spring, Winter Light, The Magician, The Silence, Through a Glass Darkly), Dario Argento (Phenomena, The Bird with the Crystal Plumage, Deep Red, Tenebre), Yorgos Lanthimos (Dogtooth, The Lobster, The Killing of a Sacred Deer), Michael Haneke (Cache, Funny Games (1997), Code Unknown, The Piano Teacher), and Nicholas Winding Refn (Bronson, Only God Forgives, Pusher 1 – 3) whose films I deliberately left off to keep this list fair and even. I didn’t want to overcrowd it with too many films from the same directors, and many of them would have overtaken the top slots. I recommend checking the movies mentioned here, as some of them are incredible and worth it.

My 50 Favorite Movies That I’ve Seen in the Year 2020.

Part 1 of 2.

It’s no surprise that 2020 was a hard year on the film industry. Unlike many bands who had to option to rearrange touring plans in order to hurry up a new release during the lockdown, movies (like concert venues) came to a complete standstill. Everyone from the film studios themselves to the people running the concession stands at movie theaters felt the effects of COVID.

So, in the worst year for movies since, possibly during WWII (just a guess), this year’s end of year list is going to be different.

Instead of naming my favorite films released this year, here is my list of my favorite films that I saw for the first time this year. Over the lockdown, I had more time than ever before in my love to sit around and watch movies. I got the chance to watch many movies I had been wanting to see for a long time. And because of it, the amount of great movies I saw this year is an impressive list in of itself. Here are a list of my favorites:

Honorable Mentions:

Host (2020)

One of the few entries on this list actually from 2020 wastes no time getting to the point, and is legitimately full of well thought out and timely scares. The perfect horror movie while the lockdown was still new to us.

His House (2020)

A rare Netflix horror movie that was smart and meaningful. This horror movie doubles as a metaphor for political refugees, and hit home in a year of much turmoil involving racism. An easy but memorable watch.

Ready or Not (2019)

A fun game of cat-and-mouse with a unique twist and one of the most surprising endings on this list. A nice surprise from a pair of directors that are more well-known for their work in the horror genre.

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The Top 50:

50. Night and Fog (1956)

Starting this off with the sole documentary on this list. Usually I wouldn’t include them, but this is a must. A 30 minute look at the concentration camps 10 years after the grisly events took place. A look at the unspeakable horrors that humans can inflict and a desperate reminder to never let by it happen again.

49. Watership Down (1978)

An animated film based on a book of the same name. Featuring classic British actors providing voices, an allegorical look at the hostile life of rabbits, and also humans for that matter, and even a song by Art Garfunkel, it has remained a popular film in British cinema for families.

48. Beyond the Black Rainbow (2010)

A slow burn with a style and pacing all its own. This film from the director of Mandy may not be everyone’s cup of tea, but there’s no denying it’s visuals and soundtrack that harken back to the time of Tangerine Dream and 2001: A Space Odyssey.

47. Fantastic Planet (1973)

One of the most well-known animated films of all time. This allegorical film depicts a race of aliens that treat humans how humans treat animals. Stylish, moralistic, and unforgettable.

46. Demolition Man (1993)

This futuristic action film might be as cheesy as you remember it, but it’s also way funnier than you remember it to be. Filled with cameos, references, and quotable moments, it’s worth a revisit, or a first watch.

45. A Monster Calls (2016)

This adaption of the novel of the same name by the director of The Orphanage is as beautiful as you’re imagining it to be. Unfortunately it under performed at the theaters, but it is touching in all the right ways.

44. Blue Valentine (2010)

An emotional journey through the early happy days of a couple to the sad reality where they are now. Ryan Gosling and Michelle Williams give some of the best performances of their careers.

43. The Uninvited (1944)

This film is considered the turning point for when ghosts became something to be feared in Hollywood cinema, rather than for comedic effect. The plot can be a bit tough to follow but the special effects are great for their time!

42. Tetsuo: The Iron Man (1989)

Considered the Japanese Eraserhead, this surrealistic film combines cyberpunk and body horror. The lack of dialogue is carried by the abundance of unique imagery.

41. Baskin (2015)

This Turkish horror film is a master class in patience. The deceptive slow build leaves you unprepared for its dark and brutal decent. Some of the imagery is like Jacob’s Ladder on steroids. Brilliant film.

40. Black KKKlansman (2018)

My favorite Spike Lee film in quite some time. Fueled by the racial tensions in the country during the Trump administration, it was only appropriate to have seen it during the George Floyd protests of 2020. Fun, well acted, and inspiring when we needed it most.

39. The Devil’s Advocate (1997)

Heard about this movie my whole life, so I was aware of many aspects of it. That being said, this is still an exciting movie with great performances by Keanu Reeves and Al Pacino. Like a time machine to the 90s.

38. Dog Day Afternoon (1975)

I knew the name but not the plot. And the fact that this is so low on the list is only a testament to how good these movies are. This was a pleasant surprise. Interesting and full of surprises. I was on the edge of my bed the whole time! “Attica! Attica!”

37. Japón (2002)

Watched on a whim, and impossible to forget. Works at its own pace, it follows a man who journeys to the spot he has chosen to commit suicide. A spiritual and emotional film that questions purpose and mortality.

36. The Treatment (2014)

Shoutout to Shudder for introducing me to this one. This film from Belgian is based on a best selling novel and feels similar to The Girl with the Dragon Tattoo. Dark, intense, and so good that I had to watch it twice in two days.

35. Tigers Are Not Afraid (2017)

I’m a simple man. I see Guillermo Del Toro praises a movie, I watch that movie. Combining fantasy elements and ghostly figures with the real world horrors of cities affected by the cartel and other assorted drug gangs, this is a heartbreaking look, drawing attention to those that suffer the most (the children).

34. Attack of the Killer Tomatoes (1978)

I put off watching this movie for years, expecting just a bad horror movie. I never expected it to contain so much Airplane-style humor. The second half does drag on but it contains some of the best comedic gags I’ve seen in a long time.

33. The Poughkeepsie Tapes (2007)

This movie became the stuff of legends for 10 years of delays before it finally got its wide spread release. In 2007, it would have been perfectly in time with the “found-footage” boom. Still, 13 years later, it is a dark, uncomfortable, and well-made horror film that feels very real. Like watching “true crime”.

32. The Phantom Carriage (1921)

One of Ingmar Bergman’s favorite films and name to a local brewery, this early Swedish silent film is similar in idea to A Christmas Carol. It was advanced at its time for narrative structure and special effects, and is still a delight almost 100 years later!

31. Eyes Without a Face (1960)

A classic French horror film that has inspired everything from the look of Michael Myers to Billy Idol songs. Ambient, subtle, and haunting. It should have never taken me this long to see it, but doing so made me go out and get the Criterion version so I could see it again right away!

30. The Foul King (2000)

The second film by South Korean director Kim Ji-won is also an early leading role for superstar Song Kang-Ho. A hilarious film reminiscent of Fight Club and Office Space, with hints of Dodgeball and Ready 2 Rumble.

29. La Llorona (2020)

After the abysmal depiction of a such an iconic person of Latin American folklore in the “Conjuring Universe” Guatemalan director Jayro Bustamante created what is arguably La Llorona’s best depiction so far. Capturing the sadness with a backdrop of the crimes of war, this movie is a step in the right direction for horror in general.

28. Possession (1981)

A movie about a marriage in ruins, which would be enough for other directors. But this one constantly keeps you guessing about potentially sinister forces at work until the final reveal. Dramatic, intense, and memorable. Great performances and great effects.

27. Insomnia (1997)

Before it became a 2002 film directed by Christopher Nolan starring Robin Williams and Al Pacino, it was a Swedish film with the always incredible Stellan Skarsgård. While both versions have merit, this one feels colder and bleaker. A unique murder mystery in constant daylight.

26. The Club (2015)

A Chilean film about a group of “disgraced priests” living quiet lives so the Church can go on with their secrets. Took me a bit to get into but it is an unflinching look at the lengths organized religions will go to in order to keep their power. A must watch.

25. Border (2018)

This Swedish film from 2018 is a modern day adaptation of a dark fantasy. A woman, who looks different and has always felt different meets a mysterious stranger who might have the answers she’s been looking for. The name implies the borders between people, as well as a metaphor for countries and immigrants.

24. Tenet (2020)

The big release of 2020, but don’t be surprised to see it so far down. It’s not fair to compare it to so many classics from all these other years. With delays working against it, and an intricate plot/storyline, many were disappointed. But this movie will be a puzzle to dissect for years to come, and I’m sure I’ll enjoy it more and more each and every time.

23. A Taxi Driver (2017)

Based on the amazing true story of a taxi driver and a journalist during time of political turmoil, Song Kang-Ho utilizes all his emotional talents to make you laugh, cry, fearful, and hopeful. Equal parts action and comedy, and an unforgettable ending.

Part 2 (with movies 1 -22) will be posted soon. In the meantime, let me know what you think of the list so far in the comments.

A Taxi Driver (2017 by Jang Hoon)

Post originally published on Letterboxd.

Being obsessed with South Korean cinema, I knew I had to watch this for two reasons: the high praise it was getting (including being one of the highest grossing films in South Korea of all time), and of course Song Kang-ho. I swear this man can do no wrong. He picks phenomenal roles that make use of his ability to depict fear, humor, tragedy, and realism. He easily flows through the spectrum of emotions without ever drawing attention to the fact that he is just an actor and he is not really experiencing the events depicted in the movie. And if there was ever a film that needed this, it was this film. He plays a spectator who becomes involved with the political turmoil around him.

From just starting as a simple taxi driver to getting right in the middle of the action and seeing the Gwangju Uprising of 1980 (something I had no prior knowledge of. I admit my ignorance), our character has the ability to view things from all sides before finally choosing what he believes is right, and he takes us along for the ride. Through laughs and tears, it is a roller coaster of ups and downs, and a very well crafted piece of cinema. Just a touch on the long side towards the end, but this is a mild complaint of a near perfect film in my opinion. I would recommend it to all my family and friends!

I rate this movie 4 and a half out of 5 stars!

Angst (1983 by Gerald Kargl)

Review originally published on Letterboxd

For being the movie that Gaspar Noe always refers to as an influence, it wasn’t what I anticipated, but it definitely makes sense. Instead of his dizzying camera work, we are treated to long graceful overhead shots intertwined with frantic shaky-cam styles. For a movie about a psychotic serial killer, the gore isn’t the forefront. It plays a very small role in a film much more concerned with the inner thought process of our mentally disturbed narrator. This is not the Hannibal Lector side of the psychopath. This is a clumsy, unsure, and uncertain character. The only thing he knows for certain is that he feels good when he does what he does. Aside from that, is it a very slow build up, and is quite an impressive feat for a low budget Austrian film from 1983. It is not trying to make a mockery of the events it is based off of. It only tries to understand them. It drags on just a touch in my opinion, but is very impressive for a film that is carried predominantly from a single actor. Fantastic acting, score, script, and cinematography. Very easy to understand the influence on directors and the horror genre. 3 years earlier than “Henry: Portrait of a Serial Killer” and never settles for cheap laughs or thrills. Very classy movie given the context and subject matter.

4/5 stars!

Dogtooth (Kynodontas) (2009 – Yorgos Lanthimos)

Review originally posted on Letterboxd.

This is the first film that I saw by Yorgos Lanthimos and definitely it gives you an idea of exactly what he is all about. I had heard about it for years, and knew the premise, but was still really surprised at the pacing. I went in knowing it was supposed to be a “disturbing film”, but I thought that was going to be done visually, in the vein of “Salo” or Takashi Miike films. Instead, not much happens to our characters over the course of the film. We are instead treated to a director who is a master at taking his time. I was not a fan of the slow pacing at first, but would later get used to it, especially after seeing this style utilized in his other films. He doesn’t always give you all the answers once the film is over, and the film is only disturbing if you fully immerse yourself and imagine exactly what these characters are going through. That’s when you truly realize that this is a director who feels free to do what he wants to do. He is free to tell stories, create new worlds, and see things from all perspectives. This movie is well acted and well scripted. It is a film that is hard to forget about for a long time after sitting through it.

I give this movie 4/5 stars!

The Lobster (2015 – Yorgos Lanthimos)

Review originally posted on Letterboxd.

The third film I’ve seen from Yorgos (previously watched “Dogtooth” and “The Killing of a Sacred Deer”) and he never seems to stop amazing me. He is a unique storyteller. He has a dark sense of humor and creates a very dry, unpleasant world that reminds me of Wes Anderson or the Cohen Brothers without the fun. All that is left is the sadness, and you can’t help but awkwardly laugh while intensely feeling for this characters in these situations. The scenarios are not really happening in our world, yet they seem very real, almost like they are not too far off from actually happening. As if a few choices or different actions could have lead us there. Because of this, we can’t help but put ourselves in their places. Aside from a slow second half that goes on for a little too long in my opinion, this could have been a perfect movie. The music, cinematography, and acting are all spot on. I would say this is most accessible film out of the three that I have seen so far.

I give this movie 4/5 stars!

It Follows (2014)

It Follows (2014) – 8.5/10

https://www.youtube.com/watch?v=HkZYbOH0ujw

It Follows is the second movie by American director David Robert Mitchell. After a short film called Virgin in 2002, his first full-length film was a coming-of-age drama titled The Myth of the American Sleepover, released in 2010. The film was distributed by IFC Films and followed four young people in suburban Detroit searching for love and adventures during the last weekend of summer vacation. Four years later, David Robert Mitchell returned with this supernatural horror movie that was a commercial success. Critics approved of it, despite being an independent film that was shot on a low budget. It Follows debuted at the Cannes Film Festival in 2014 before being released on a wide spectrum the following year.

The story follows Jay (played by Maika Monroe) as a college student who goes to see a movie at the theaters with her boyfriend Hugh (played by Jake Weary). He starts acting afraid of something and they leave. On their next date, they have sex in his car. He puts her to sleep with chloroform. She wakes up tied to a wheelchair and Hugh explains that he has passed on a curse to her through sex. He explains what the curse is, what will happen to her if she ignores the curse, and how she can get rid of it. He explains that if she gets rid of it, she will have to explain all of this to the next person, so that the curse does not ever come back to her, and then (by default) back to him. After all of this, Hugh returns her to her home and then drives away. We find out that he was living under a false identity and did not really live at the house he said he was living at.

Now if this whole movie sounds like the horrors of an STD or an unwanted pregnancy after a sexual encounter, the movie does a good job of never making it feel that way. The curse is a supernatural entity, and what follows is an extremely good pacing of scares and occasional horrifying images. In addition to this, David used recurring dreams he had as a kid about being followed as the inspiration for the anxiety that is felt throughout the film. This also helps create an overall surrealistic atmosphere filled with nightmarish images. This allows the film to tap into the psyche of the viewer and make them feel as though they are right in the movie.

The film also has an old school feel to it. David used wide-angle lenses to give the film an expansive look. This helps achieve the look that horror movies had in the 1970s and 1980s. David also cites being influenced by great directors such as George Romero and John Carpenter. This is obvious because of the composition of the film as well as it’s visual aesthetics. The color scheme sometimes uses bright neons colors like in past horror movies, and the musical score reminds me of the memorable orchestral moments in movies such as Halloween and A Nightmare on Elm Street. This throwback to older horror movies creates a nostalgia, which when paired up with the modern day scares creates a winning combination. Like The Babadook, it is one of the better modern day horror movies, because it is an original story, it is influenced by the horror movies of the past, and makes use of the technology of the present. This is a great movie for fans of atmospheric horror, but also for fans of horror films in general.

A lot of praise goes to the use of tension throughout the film. I only rate it lower than The Babadook because it is slightly inconsistent in terms of acting and also in terms of plot. But overall, this is a very creepy and well-made film and it should be seen by anyone who likes scary movies.

The Babadook (2014)

The Babadook (2014) – 8.75/10

https://www.youtube.com/watch?v=k5WQZzDRVtw

Before the release of her debut feature-length film, Jennifer Kent had a lot of experience with the ways of the entertainment industry. She wrote stories as early as seven years old and focused on acting after graduating from the National Institute of Dramatic Art. She was a main cast member for a television show called Murder Call, also appeared in many television shows, had small roles in movies, taught acting at major institutions, assisted Lars von Trier on his 2002 film Dogville, directed an episode for a show called Two Twisted, and directed a short film in 2005 called Monster, which was screened at over 50 film festivals.

Eventually, she decided to adapt the short film into a full-length movie, and cast an old friend from drama school in the lead. With the distribution help of IFC Films, funding from the Australian government, and a Kickstarter campaign to pay for sets, Monster became The Babadook. Written and directed by Kent, the film stars Essie Davis as Amelia, a troubled widow who is raising her six-year-old son Samuel after her husband Oskar died in a car crash. Sam displays different problems such as rarely sleeping through the night because he thinks about imaginary monsters. He builds weapons to fight it, which he brings to school, leading to his forced removal.

That’s when the problems start.

One night, Sam asks his mother to read a mysterious pop-up storybook that he finds lying around the house. The book talks about a supernatural entity known as “Mister Babadook”. The story explains how people who find out about the monster are tormented by it. Sam becomes obsessed with the idea of the Babadook and is in constant fear because of it. Amelia dismisses it… at first.

What results is a smart blend of different types of horrors in the same movie. Is the Babadook real? Is it all in the head of the main characters? Is this a mental problem, and the characters have always been this tormented? Is it a psychological problem that is a result of the recent events? Is it a lack of sleep? Or is it just a simple Freud answer and it’s all really just sexual frustration or repression. The beauty of the film is that it makes you wonder these questions simultaneously. You’re never really sure what’s going on. The pacing is excellent. Nice and slow. The images are short and sharp, but memorable. The ending gives an explanation, while leaving room for more analysis and interpretation. In short, this is a smart horror movie, and exactly what the world of horror movie needs during a time of gore-focused reboots and remakes.

Through the promotion of the film, Kent was vocal of the lack of female directors in the horror movie genre. She cites statistics that prove that women love watching scary movies as much as men. The demographic is 50/50. She explains how women “know fear and “can explore the subject”. This movie is an excellent example, along with American Psycho and American Mary (the first two movies to come to my head).

The film has received widespread acclaim, and rightly so. Kent explained that the biggest influences on her during the making of the film were David Lynch, Roman Polanski, and black and white horror films from the 1950s. These influences can be seen easily as surrealistic and expressionistic themes can be felt throughout. When the director of The Exorcist tweeted that he’d “never seen a more terrifying film”, you know you’ve done a good job. Looking forward to seeing more from Jennifer Kent. Definitely worth a watch for anybody who is a fan of atmospheric horror movies.