#capturing how society put us in the role of trash and how it exploit us that way

[captain-jale]

This manga is so funny at being tragic

[thesinglesjukebox]

CHILDISH GAMBINO - THIS IS AMERICA

[6.33]

And this is your #1 single, America.

Jibril Yassin: Listening to this without the video makes you realize just how much praise we've thrown at Donald Glover for essentially remaking Mother. It's just a shame the song feels like a patchwork of different moods: the capable and effortless singing and the passable rap schemes clashing at each possible moment. It's chaos supplanted by a million Atlanta rapper adlibs featured here -- notable because his past work revelled in his outsiderdom status. Now he relishes in being a medium. What the fuck does Childish Gambino wants us to think about him? The Billboard #1 means that once again somehow Young Thug wins so I'll take that. [5]

Ryo Miyauchi: Hearing that clatter of noise ripping the seams of the Coloring Book gospel felt viscerally thrilling at first. Yet the momentum of it soon died down as Donald Glover muttered ad libs in placement of real lyrics. If this excitement and then immediate bore from violence was the point, then it relies way too much on its visuals to get that across. As pure audio, it's fragments of unfinished ideas coalesced into what barely passes as a song, and those fragments depend upon too much subtext for it to hopefully bear some meaning. [5]

Tim de Reuse: Every word of the lyrics and every frame of the music video begs to be picked apart; that's Charleston, that's Parkland, that's the way white Americans revere gun culture. It's an assault on all fronts, and despite the pull of its main sonic gimmick, an assault on all fronts cannot be incisive. So it contains no arguments or calls to action, working mainly as a mood piece for anxiety, instability, dehumanization, and dread, writhing into itself, and young Thug's haunting outro is the only place where the horrors alluded to are felt rather than just referenced or replicated. Is it effective? Well, it certainly leaves an impression, but it's not as focused as it could be, and to get any kind of solid message out of it you've got to put in just as much as you're going to get out. [6]

Alfred Soto: A compelling statement of protest that doesn't mind flirting with the exploitative and why not -- the video, that is. A fitfully compelling protest whose tonal variety compensates for its lyrical shortcomings -- that's "This is America." Like many #1s, it's a vessel for listeners. Few hits in the twenty-first century benefit from a cultural moment like Donald Glover's. This is America? No -- this is America. [7]

Will Rivitz: There isn't much I can say about "This Is America" that Doreen St. Félix hasn't already said, so let me talk about its place as an "ambiguous document" on terms in which I feel slightly more authoritative: As a nuanced, complicated, and enigmatic dissection of Black existence -- which is about as specifically as one can describe the song and its accompanying visuals, since any narrower portrayal risks an uneasily reductive summary of its purpose -- Gambino's newest is excellent, aesthetically compelling and subtly difficult in all the right ways. As a pop song that's raced to number one on the charts with the force of a "God's Plan," it's less successful, so instrumentally and allusionally dense that, aside from Gambino's chorus and ad-libs, even a dozen listens in I still have trouble tracking its structure -- and a pop song that isn't easily accessible tends to fail at providing the populist unification that the best of that ilk inflict on a club at 1 AM. As a song, period, it's also a little weak: for all its bassy bluster, its aggression is pallid compared to the distortion of a Clipping or a Death Grips, and its Yeezus-cum-TLOP blend of gospel and snarl doesn't quite reach what made both of those albums so excellent. This, as much as I do love it at times, is what makes the single-number rating system we have on this site a smidge simplistic: we're rating songs based on a singular scale with which we try to summarize all of its qualities into a one- or two-character final word. On "This is America," the ambiguity that St. Félix characterizes so well can't properly be reduced to a score, because the song succeeds and half-succeeds and half-fails on so many disparate levels that it doesn't really do the song justice. That said, I've listened to this one the past two weeks about as much as I listened to "Plug Walk" last month, and I gave that one a [7], so here we are. [7]

Stephen Eisermann: There've been more than enough think pieces and Twitter threads about on this song that I won't try analysis. Instead, I want to highlight how impotent the song is without the accompanying video: how it's a great addition to the accompanying video. This song is good, sure, but the video makes it great. [7]

Julian Axelrod: "This is America" feels like an anomaly in so many ways: It's a song that meets Donald Glover's outsize ambitions, which have previously made him feel like an auteur in search of a masterpiece. Its popularity is partly due to an eye-catching viral video that justifies the hype and amplifies its song's message rather than overshadowing it. And most impressively, it's a cultural and political statement that actually feels suited to how we live now. The song builds and buckles under its oppressively sunny tension, like a powder keg with a smiley face plastered on the front. But check that title again: While "This is America" is clearly a product of our current climate, its anger is nothing new. As long as you live in a country that refuses to let you breathe, the only true rebellion will be dancing on its feet. [8]

Jonathan Bradley: Who is Childish Gambino? This is what I ask from "This is America." Because we know Donald Glover: he's Troy from Community, he's a trash punchline rapper, he's a shockingly impressive nu-funk singer, he's Atlanta's dramedy auteur of the late 2010s. And now he's the ghost of Kendrick Lamar (because Kendrick invented political raps for the '10s the way Chuck D did for the '80s), he's Earn Marks, he's this shuckin' and jivin' shooter playing callous with life. Or has he surpassed performance; is "This is America" any black man playing the best role a white society can ask of him? "Have you seen 'This is America'," people ask of me, and I say, "no, I still have some episodes of Atlanta left to watch." As protest, aren't they as meaningful? As video, "This is America" doesn't resolve. Is this America? Well, song as shareable content is not new; pop history is articulated through tunes that capture an audience's spirit for their times. As song: the choir is lovely. [7]

Joshua Minsoo Kim: Remember when a bunch of white people thought it was OK to roll their eyes at Donald Glover for feeling "too white for Blacks, too Black for whites" on Camp? Some people dished out laundry lists of other Black people who were, in their minds, definitive proof of Glover being a fraud. Invalidating his experiences was a sure way to make him -- and other Blacks who felt similarly -- even more insecure about their identity. Here we are, seven years later, and Donald Glover's finally "made it" according to the standards set by white gatekeepers and lay internet folk (one and the same?), and it seems as if people consider the vivid depictions here as being astronomically different -- more artful, more profound -- than what was present in his earlier discography. It's been stated that "This is America" is not the lead single to the upcoming Childish Gambino album, indicating that this is a standalone product meant to be engaged with both aurally and visually. Glover knows: a video is going to be far more affecting simply because of how people approach one. Music is far more susceptible to passivity; people can hear, but they don't listen. Still, it's impossible to ignore the prevailing pernicious attitudes that lead to uniform declarations of "This is America" as a powerful political statement. Does everything need to be so painfully explicit and overt in its intentions to qualify as such? There's a sort of dysconscious racism underpinning how writers and fans are content with categorizing "This is America" and Donald Glover as political while denying such a label to the various rappers who provide ad-libs here. So let's break it down: Young Thug provided one of last year's most heartbreaking verses while mourning the murder of Keith Troup. BlocBoy JB dedicated his recent mixtape to Simi, a friend who died by gunfire. On "Work Hard," Quavo proudly declares that despite dropping out of school, he's rich enough now that his mom doesn't need to work. Slim Jxmmi says essentially the same thing on "Brxnks Truck" and unabashedly celebrates his affluence on "Growed Up." Kodak Black, who's namedropped here, explains how people don't see potential in him because he's "a project baby" on "Misunderstood," and spends another song later on Project Baby 2 sounding absolutely suicidal. And 21 Savage's "Bank Account," one of the most popular rap songs of last year, saw the rapper elegantly illustrating how being a successful Black man doesn't mean you can suddenly present yourself as vulnerable. It's funny: that everyone here is relegated to ancillary elements in the instrumentation ensures that people won't decry the presence of a less "conscious" (i.e. less "worthy," less "real") rapper. Glover understands this, and this decision is an effective middle ground between making significant impact and allowing all these other rappers to have a voice. It's moving because Glover's doing the exact opposite of what his Camp detractors did: unifying, validating, and empowering. The result is a beautiful tapestry that seems to be delivering a message hidden underneath a more obvious one. Every Black rapper is making political music. Every Black rapper is showing what it means to be Black in America. Every Black rapper deserves the attention to detail that has been poured upon this song and video. To think otherwise -- to discredit and disparage the truths of these Black people's lives -- is to disagree with the more obvious realities presented in the video. It's happening, and that is America too. [5]

[Read, comment and vote on The Singles Jukebox]

[real6lacktony]

Version:1.0 StartHTML:000000244 EndHTML:000080888 StartFragment:000051367 EndFragment:000080832 StartSelection:000051598 EndSelection:000080797 SourceURL:https://www.ssense.com/en-za/editorial/fashion/triple-s-to-xxx-the-data-of-desire Triple S To XXX: the Data of Desire | SSENSE                          

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Triple S To XXX: the Data of Desire

SSENSE and Pornhub Partner To Examine the Relationship Between Fashion and Human Sexuality

Text: merritt k

“Sex is worth dying for,” once quipped Foucault, as he mused that the most important form of modern political leverage is control over our reproductive functions. Could he have predicted today’s digitally-fuelled brave new world, for which there exists a porn video for any given sexual whim, no matter how eccentric? Perhaps porn sites wield far more cultural influence than we give them credit for.

We partner with Pornhub Insights to examine the data of desire, at what reveals itself at the intersection of fashion and pornography. Here, we turn our attention to the sneaker. Equipped with data surrounding sneaker-related porn consumption, writer merritt k considers its broader implications and connection to the fashion industry.

In the late 2000s, a group of Canadian men repeatedly lined up days in advance for the releases of high-end consumer electronics—iPods, gaming consoles, and so on. Purchasing these products using funds they'd raised online, they would then remove the items from their packaging and dash them to the ground in front of the rest of the line of consumers. Wails of despair and anger could often be heard from the crowds, intermixed with pleas that they just give the expensive item to someone in line rather than trash it.

Was this a kind of psychic revolt against consumerism? A voyeuristic spectacle? A cheap stunt for attention by bored young men with no underlying political content?

The answer seems to be, "yes." Plus, it was probably pretty fun.

The image of a desirable gadget reduced to fragments of plastic, circuitry, and metal is a complicated one, embodying waste, excess, amusement, and denial, among other things. Like all wreckage, it captures the eye. But I'd like to ask you to shift your gaze away from the wreck, to pan ever so slightly to the line of young men waiting for their own chance to purchase one for themselves. Check out their feet. What are they wearing? More than likely, sneakers—a form of apparel fraught with a complex history, whether slipped on a foot, sitting in a box, or, echoing the image of the ruined electronics, dripping with cum.

The line between sneaker culture and sneaker fetishism, then, isn’t always clear.

Yes, people jack off in, on, and around sneakers. It's a thing. Data from Pornhub shows sneakers coming in at number 993 in overall searches on the site. That might seem low, but consider that these queries include studios, performer names, specific acts, and so on. This means that people search for sneakers thousands of times a day. Of all apparel-related porn searches, items relating to feet such as boots, socks, and, of course, sneakers occupy 20% of the top twenty list on Pornhub.

Why are people into sneaker porn? We could start to answer this question by discussing the role of feet in broader trampling and worship fetishes, how they're an abject part of the body culturally coded as filthy and thus available to use in fantasies of degradation and submission. And, I mean, it's 2018—feet are mainstream now, just search "and she got feet" on Twitter.

But we're not just talking about feet here—we're talking about what's on them. And the meanings associated with, say, stiletto boots are very different from those associated with knee socks, which are different still from those associated with the humble sneaker. And to understand the appeal of sneakers specifically, we need to talk about the history of footwear.

Featured In This Image: Vetements sneakers.

While casual wear ascended to popularity amongst men and women in the latter half of the 20th century, the sneaker qua sneaker has become an object tied to male athletic performance, wealth, and prestige. Similar to how the combat or work boot is an erotic symbol of authority, power, and rugged masculinity, the sneaker is associated with masculine personas like the skater, the sports star, and the rapper. And since the explosive rise of the sneaker in the 80s and 90s, the shoe has arguably become the male equivalent of the high heel in terms of status, price, and desirability.

Like a pair of Louboutins, high-end sneakers are meant to be collected, seen, and adored. Some of the most expensive, sought-after sneakers are rarely worn and in this sense are no more functional than $700 stilettos. Unless you're wealthy enough to rarely be on your feet and to have backup pairs available when they inevitably get scuffed, they'll likely spend most of their time in a box.

Sneakers, then, straddle the line between the practical combat boot and the ornamental pump. In this sense they’ve shifted away from the image of the physically dynamic wearer they began with, now occupying more ambiguous ground. And they're footwear with a charged history, culminating in the early 1990s panics around “sneaker killings,” which often conspicuously targeted prominent black celebrities like Michael Jordan and Spike Lee for their purported role in instigating violence over sought-after brands.

So it would seem wrong, to assume that sneaker porn is a straightforwardly masculine fetish and leave it at that—to do so would be to ignore the strata of meanings heaped upon by sneakers over the past several decades. And these meanings are always being excavated and reappropriated by subcultural elements in much the same way as historical accoutrements of torture and slavery have been taken up by queer sadomasochism.

Of course, in attending to the symbolic we shouldn't completely eschew the physical. The complex tactile pleasures of leather have been well-documented by theorists of sadomasochism and those pleasures are at play with sneakers as well. It's easy enough to recognize the visual beauty of footwear, which after all is the primary criteria of value in high-end and celebrity-branded sneakers. But to touch the soft leather, the careful stitching, to slide one's foot into a plush enclosure reveals another kind of beauty. So why should it be any surprise that people find pleasure in touching, rubbing, smelling, licking, and even fucking them? As one self-described sneaker fetishist puts it, "It feels pretty good, especially if the sneakers are more narrow like Shox, adidas Racers, or Puma Speedcats.”

This kind of physical intimacy with sneakers brings the body back into contact with a piece of apparel that's increasingly divorced from its original function. Huffing, caressing, and fucking sneakers, using them to trample another person, or even simply fucking someone while wearing them is a physical act, albeit one that runs counter to the designed function of the shoes. These practices are the mirror of the unworn sneaker collection: dedicated in their adoration yet expressing that adoration through physical means.

But even this may be overstating the division between fetishist and fan. When a sneakerhead pulls his shoes out of their box and delicately fondles them, inhales their scent, or shows them off, the difference between his actions and those appearing in sneaker porn seem more of degree rather than of kind. The line between sneaker culture and sneaker fetishism, then, isn’t always clear.

And the use of sneakers as an easy reference to a whole set of identities (erotic and otherwise) isn't limited to porn, either. Fashion always wants us to aspire to something better, different, or richer—the whole purpose of mass market advertising is to inspire associations with products. But these associations aren't always handed down from above, and sometimes consumers repurpose them in ways that run counter to the expectations and desires of fashion brands—see for instance the early 2000s "chav" adoption of Burberry’s iconic beige check pattern. Could sneaker companies, then, try to get porn featuring their footwear taken offline? It's possible, but it seems unlikely—not to mention a little late.

Featured In This Image: Raf Simons sneakers.

Featured In This Image: Balenciaga sneakers.

If any brand did pursue a takedown of sneaker porn featuring their products, it would likely be in an effort to protect their image against "unfriendly" associations. (Remember when the games company Blizzard asked people to stop drawing pornography of their characters?) But to do so would be to expose an anxiety at the heart of this moment in capitalism and especially with regards to luxury products: that we are all in love, we just express it differently. Not many of us masturbate on our shoes or phones, but most of us touch them and keep them close on a daily basis. Yet the Fight Club-esque analysis that "your things come to own you" falls a little flat for me, because there is indeed something pleasurable about our relations with the designed world.

In post-industrial societies, no gesture, no pose, no desire exists outside or before the base framework of capitalist exchange. As Sonic the Hedgehog tells us, there is no ethical consumption under capitalism. At the same time, consumption is a complex process that involves symbolic values, social influences, and often erotic desires, all enmeshed within production networks based on exploitation and enrichment of affluent countries and corporations at the expense of the rest of the world.

In a sense, then, sneaker porn but is the logic of object love taken to its extreme. But in another, pushing past "normal", acceptable levels of interest in everyday objects to reach explicit sexual fascination (the classic definition of a fetish) creates the potential for rupture. Taking love to the point that it manifests in destruction—smearing shoes in saliva and cum or scuffing them up on some else's back—isn't simply a form of nihilism, a simplistic consumerist romance, or an expression of violent masculine sexuality. It's a complicated gesture that reveals the erotic constructions of identities under capitalism.

This article is a collaboration with Pornhub. For the full analysis with more detailed data visualizations, and more details on the data behind the story, please visit the Pornhub Insights version of this story.

merritt k is a writer and podcaster. Her writing has appeared in Real Life Mag, MEL Magazine and Kotaku amongst other publications.

Text: merritt k

Director: Nik Mirus / L’ÉLOI, Caravane

艺术指导: Francis Dakin-Coté / Caravane, Jean-Constant Guigue / L’ÉLOI

Post-Production: Francis Dakin-Coté / Caravane, Jean-Constant Guigue / L’ÉLOI

Composer: Loïc Ouaret

Production: Karyne Bond / L’ÉLOI

[room666]

Top 10 Memorable Scenes Of 2016

Along with great films comes sometimes ever greater scenes. This year I broke down 10 of my favorite. These are all my personal favorite and are on this list because I haven’t stopped thinking about them since I saw them in the dark room with the giant shining light where I do my worship. These scenes are Heaven and film is God.

10. Morris From America (Car Ride) Of all the films I saw this year, Morris From America was one of the best surprises. Chad Hartigan’s coming of age tale about a young American boy growing up in Germany with his single father played brilliantly by Craig Robinson is the perfect examination of the loneliness of growing up and being grown up. In a key scene from the film Morris, played by Markees Christmas, has gone out of town with some new friends and gets stranded when he no longer wants to follow the group and starts getting taunted. His father has to come pick him up and the car ride in which Robinsons character explains to Morris all about his own loneliness and sense of sadness with being out of place in Germany is a beautiful revelation for both characters. It’s one of the best things Craig Robinson has done. The sadness and loneliness that we all feel but never can convey is brought out wonderfully in this conversation. As children we assume our parents could never understand our loneliness and as parents we aren’t sure how to connect with our kids but this scene shows that conversations can move mountains and break down barriers.

9. American Honey ( Star Grows Up) American Honey is like if Andrea Arnold was able to capture the wild excitement and the unstable emotional state of the youth of America. Throughout the film you follow Star, played by newcomer Sasha Lane, who is a young Midwestern girl who isn’t exactly living the best life. She and her younger siblings dig through trash cans for food while she also deals with sexual advances from her absent mothers boyfriend. It’s a situation you want her to get out of but what way out is there? Star comes across a van of misfits and lowlifes lead by king rat tail, Shia LaBeouf as Jake in an unusually good performance, who go door to door selling magazines. Star joins this merry band of arm pit stains and sets off on a literal journey to self discovery. The final scene displays the group dancing around a camp fire like some tribe of young stoners who worship Rihanna and it’s a mesmerizing site. Jake and Star and the rest of the group dance around the fire and sing songs as if it’s their most natural state. Jake pulls Star to the side and hands her a little turtle. Throughout the film Jake has been giving Star gifts but it’s mostly to disguise the fact that he’s really taking more away from her. The mind games he plays with himself and her are leaving Star emotionally confused and scarred. She takes the turtle and sets it back in the lake and even taking a dip in it herself. The scene plays like a baptism of sorts, allowing Star to let go of the childish games and relationships and start to become herself, whatever that may be.The scene doesn’t guarantee that Stars life gets better or that she even learned what she needed to from her interactions with Jake and the rest of the crew but it shows one persons internal growth in a masterful way.

8. Swiss Army Man (One Last Fart) Throughout Dan Kwan and Daniel Scheinert’s brilliant Swiss Army Man you are subjected to Daniel Radcliffe as a farting corpse named Manny and Paul Dano as the miserable loser Hank who finds his body washed up on the shore of a random island he choose to kill him self on. After Hank uses Manny as a speed boat he ends up in the wilderness with the need to survive and the only way he can is with the help of Manny and his many uses. He can chop wood and shot bullets out of his mouth and everything else like some ummm… Multi Purpose Dude?…. NO! Like a Swiss Army Man! Throughout the film Hank displays an unhealthy obsession with a female character named Sarah, played by Mary Elizabeth Winstead, we only see in flashbacks or pictures. You come to find out that, even though he has a picture of her as his screen saver, Hank has actually never talked to her and has been too scared and shy to really function as a socially expectable human being. When we get to the end and Hank ends up in Sarah’s backyard and finally on a beach where he’s already been outed as an obsessive stalker he lets out a fart and declares very proudly it was him who farted and in a lesser film Sarah’s reaction would be one of Joy and maybe she would have even entertained dating him seeing that as his self discovery but not in this film. Sarah and her husband a long with the rest of the crowd gathered on the beach watch in horror and never excuse the behavior. It throws the whole idea of all you have to do is be yourself and you’ll get the girl right out the fucking window. Sarah and the audience know Hank has a problem and regardless of how whimsical and cute it is, it’s a problem and he needs help and she or any woman of your dreams for that matter isn’t the answer and shouldn’t be forced to be your savior. Hank is off but he’s growing and watching Manny smile and fart his way up the ocean waves as everyone watches in disgust and horror and Hank,who stares and smiles knowing he saved a life,was one of the funniest and heartbreaking moments I’ve seen all year.

7. The VVitch ( Unholy bond with Black Phillip) Robert Eggers delivered one of the best horror films to come out in a long time. A slow burn of a film that deals with a family living out in the woods in 1630s New England. The family is cast out of their community and forced to live out in the woods where an evil presence lurks. The Witch is about liberation. It’s about freeing yourself from the shackles of society with all their religion and rules for how one should act. It is especially a tale of liberation concerning Anya Taylor-Joy’s character Thomasin. She’s carried down by the weight of her responsibilities within her family. A role she didn’t ask for but is expected of her since she is a growing young woman. She must watch after the kids and clean the house and cook and do all the things her families religion and society has assigned to her. Throughout the film an evil lurks in the woods in the form of a witch. You know you’re in for some fucked up shit when the film starts with a naked lady cutting open a baby and bathing in its blood. You don’t see all the gory details but you get the feeling that living out in the woods in New England during the 1630s was a pretty stupid idea. The scene I want to talk about is the ending of the film. An ending that pretty much will make or break what you thought of the film up to that point. The ending in which Thomasin pledges an alliance with Black Phillip, the goat who Thomasins younger siblings claim to be the Devil earlier in the film and Thomasin brushes it off, and follows him into the woods to find a camp fire of witches laughing and screaming until all at once they start to lift towards the sky in what is one of the best visual representations of liberation I’ve seen. Now, I’m not saying this movie got me to denounce God and start worshipping the Devil but it did.

6. Jackie ( Assassination Scene )

Pablo Larrain has knocked the biopic on its head with this amazing psychological horror film and Natalie Portman gives the performance of her career playing Jacqueline Kennedy in her most vulnerable and fragile moments. The key scene in question is the sun in which this film revolves around. The assassination scene could have been done in a very exploitive and classless way in the hands of a lesser film maker. The fact that we can actually see footage of the event only adds to pressure surrounding the scene. We all pretty much have watched the film footage. It’s morbid and violent and chaotic and it satisfies the worst of our voyeuristic tendencies. This could have been done in a way that glorifies the scene as some action set piece head shot but Larrain films the scene with a real heavy grace, dropping you in the car with a loud BANG! we are chaos and panic and we’ve landed right on Jackie and you feel as she pushes and struggles with us as we tear through the scene like a bullet creating uncertainty and dread. Every awkward movement and confused look is captured perfectly in this scene and it’s like we are seeing it for the first time and really feeling the weight of it.

5. La La Land ( Traffic Jam )

The opening scene of Damien Chazelle’s spectacular film La La Land is pretty much the opening scene to your life if you live in LA. Being stuck in traffic is hell but almost everyone of those people, honking and shouting, are here because they have a dream and trying to successfully realize that dream can make life one huge traffic jam. This glorious musical sequence is made all the more spectacular by being done in what is made to look like one unbroken long take that slips and glides up down the 105 as morning commuters dance and sing as if though Los Angeles is the casting director for Hollywoods latest big budget musical. They don’t make them like this anymore and Chazelle makes the case that as long as you know what you’re doing and you have a passion for film musicals can still be relevant and fresh but still remind us of the optimism and joy of early Hollywood. The scene encompasses everything about the film. Ambition, talent, and guts. You gotta have them to make it in La La Land and you gotta have them to think you can open a film like La La Land with a musical number as ambitious as this.

4. Captain America : Civil War ( Airport Scene )

The Russo Brothers snuck into my brain and unlocked my comic book geek dreams and wildest fantasies and used that collective knowledge to create not only one of the greatest superhero films of all time but one of the all time greatest superhero film scenes ever put on screen. I can write pages and pages about this scene and every little detail that was done correctly and with such care that it made me cry but I am just going to remind you that Spider Man is the best he’s ever been on screen in his brief moments in this film. Ant- Man and Paul Rudd as Ant Man is the superhero we didn’t know we needed. HE FUCKING TURNS INTO GIANT MAN! Just go watch the scene. As a matter of fact I’m going to stop typing and you should stop reading and just GO WATCH CIVIL WAR NOW!

3. Moonlight ( End of act 1/ Closing Shot )

What can I say about Moonlight that hasn’t already been said? It’s considered one of the best films of the year and for a very good reason. This beautiful film about self discovery and connection in a world that doesn’t give you a chance to do either of those things for yourself is a master class in subtle filmmaking. Barry Jenkins creates a giant effect with small intimate moments and although he is the cook it is his main ingredients that really bring this dish together. All the actors playing the 3 stages of Chiron’s life are pitch perfect and are supported by an array of brilliant performances. One of those performances belongs to Mahershala Ali, who plays Juan the drug dealer, and gives one of the best performances of the year. The scene in question puts us at Juans home where he lives with his girlfriend, played by Janelle Monae, and it’s the end of act one. We’ve just experienced Juan coming across a young Chiron ,who was being bullied and chased by older kids, and eventually forming a bond. This bond allows young Chiron to not have to go home to his crack addict mother, played by a fantastic Naomie Harris, and use Juans place as a safe haven from her addiction and verbal abuse but what Chiron doesn’t know is that Juan is where his mother gets the drugs that are sending her and his life spinning out of control. In an emotional gut punch of a scene young Chiron walks up to Juan who is sitting at his kitchen table and asks him if he is the one who sells drugs to his mother. What follows is one of the most heartbreaking exchanges I’ve ever seen on film and Mahershala Ali as Juan quietly figuring out in his head what to tell Chiron and eventually telling him the truth is an automatic Oscar in my opinion. Juan’s reluctance to tell Chiron and his eventual feelings of disappointment and anger towards himself are all shown in Ali’s eyes and body language. He never goes for the big scene and makes it larger than life because of it.

2. The Lobster ( David picks up on the Heartless woman while biscuit woman dies on the floor next to them ) In Yorgos Lanthimo’s brilliant relationship satire we follow David, played by Colin Farrell, as he is forced to live in a hotel for 45 days because he is single and being single is outlawed and in order to avoid being turned into an animal after 45 days he must find a partner and create a relationship with them in the hotel. Sounds like every other fucking day, am I right? In this brilliant comedy our characters find love with each other by finding certain traits that each can relate to. For example, a young woman has constant nose bleeds and instead of trying to win her over with a personality, another character decides to bang his head or stab a sharp object into his nose in order to give the impression that he also has constant nose bleeds and wins her over. It’s the perfect metaphor for the way people court each other and try to win each other over with surface and artificial things like being into the same bands or having the same fashion sense. In this key scene David decides he needs to find a partner soon and that he will also need to fake something in order to find her. David finds himself being attracted to The Heartless Woman, played by Angeliki Papoulia who was also in the directors previous film Dogtooth, who is given that nickname because she is mean and has no heart. The scene that really brought this film together and makes it stand out above the rest is a scene where one of the hotel guests has just jumped out of a window in an attempt to kill herself. She lays on the floor all crippled and screaming in pain when David sees this as an opportunity to try and court the heartless woman, he walks up behind her as she sits in a hot tub not very far from the attempted suicide and say’s out loud how he hopes that the lady will die soon so that she stops screaming because it’s really disturbing his day and with that heartless statement he gets a glance from the heartless woman and from there they are a couple. It’s doomed from the start and he knows it but with the pressure on us everyday to find a partner we are willing to go against ourselves to please others and even willing to complain about a dying woman’s screams. It’s hilarious and heartbreaking and dark in ways that give me joy beyond comprehension.

1. Green Room ( Patrick Stewart vs. Anton Yelchin )

Jeremy Saulnier’s punk rock horror film Green Room stands above the rest this year when it comes to thrills and twists you never see coming. It’s a master class in suspense and tension. This isn’t some free for all shoot ‘em up stab 'em frenzy, it’s a calculated cat and mouse game that requires our characters to think before acting. A punk rock band has just witnessed a murder in the green room of the venue they just played that just so happens to be run by a menacing skinhead gang. The bands bassist, played by the late and talented Anton Yelchin, was able to dial the cops on his cell phone before it’s grabbed from his hands and this creates a problem for both parties. Now that the band has seen what they saw the venue can’t exactly let them go but after having the cops called on the venue they can’t exactly just straight up murder these kids so they have to figure something out and they get their help in the form of their quiet but menacing leader Darcy, played by a brilliant Patrick Stewart, who figures out a way to get rid of the band and save face. At this point our band is locked up in the green room holding one of the skinheads hostage while they have his gun and figure out how the hell to get out of there. One punk suggests shooting his way out but this isn’t that movie and our characters know that they could have more guns on the other side and at this point the band believes the cops are on their way to the venue. Enter Darcy who shows up to clean the mess by promising that they will let the band go without harming them as long as they hand over the gun and the person they have in the room safely but the band as well as the audience knows that isn’t the case and it isn’t going to be that simple. What follows is one of the most tense stand offs in cinema history. It’s Anton Yelchin trying to figure out if he should unlock the door and hand over the gun to Patrick Stewart on the other side but it’s a back and forth that has both actors matching wit and verbally trying to knock the other out. It isn’t until the end of the scene that we get a burst of violence and chaos but leading up to that is a strategy game that leaves you at the edge of your seat and asking yourself “ What the fuck would I do in a situation like this?” and then showing you there is no right or wrong answer and you can’t always just go into action hero mode because the situation calls for it. For the most part you just die.

[snarkydefense]

Quick Take: The Greatest Showman deftly tells the story of a charming hustler intent on bringing his dreams to vivid (and profitable) life. The character at the center of the action is, Phineas Taylor Barnum (Hugh Jackman) best known as P.T. Barnum.

The Greatest Showman‘s a story told with a deliberately light dramatic touch and bombastic savoir-faire. It’s less traditional musical biopic and more a stylistic “highlight reel.”

But while P.T. Barnum may be the story focus, it’s the people who make up his menagerie that give this film its purpose.

This film entices its audience room to engage and have fun while gleaning its message from the margins. So if you wait around for this tale to told through dialogue, then you’re going to miss most of the important (and interesting) bits and leave feeling like it’s a film with little substance under the glitter and glam.

The Greatest Showman delivers its character backstory through song and dazzling visuals. It entertains and keeps the film’s pace with a delightful syncopated precision.

The cinematography and set design are nothing short of amazing. The period costuming and site location establish time and place perfectly. Everything behind the scenes works together to capture the heartbeat of this period piece and sets a believable image of the times.

I’m pretty sure I could watch the opening sequence of The Greatest Showman once a day. Great staging, fantastic lighting, perfect vocal drop in. It has the rush of an opening night, that moment of great expectation and Hugh Jackman striking a dashing pose.

This scene does more than just set the tone; it sets the pace and The Greatest Showman doesn’t slow down for a single second.

Grade: B- (due entirely to the extraordinary visuals and accidental revelations behind all that dancing)

Hugh Jackman (P.T. Barnum) and Zac Efron (Philip Carlisle) star in Twentieth Century Fox’s THE GREATEST SHOWMAN.

P.T. Barnum (Hugh Jackman) and Charity Barnum (Michelle Williams) share an enchanting dance on a New York rooftop in Twentieth Century Fox’s THE GREATEST SHOWMAN.

Reality Check:

But this isn’t really the story of P.T. Barnum, showman, impresario and circus master. It’s a tale invented by screenwriters Jenny Bicks and Bill Condon and Director Michael Gracey’s vision of a savvy American nobody who built an empire and fortune out of his wit, hard work, and ingenuity.

And that’s not who P.T. Barnum was at all. In reality, he launched his career as a showman by exploiting former slave and extremely elderly Joice Heath turning her into an exhibit then authorizing her public autopsy after death.

He wasn’t just a “hardworking Joe” turned businessman made good. He was a social climbing, fast-talking, huckster who wasn’t above employing a good gimmick to make a name for himself. He repeatedly and shamelessly exploited others for his own gain.

Barnum’s motto might well have been, “scandal equals sales.”

Phineas Taylor Barnum is not a hero, he wasn’t a trailblazer; but he is very much so the embodiment of a capitalist-minded, win at all costs (as long as the profits wind up in my pocket) American businessman. He should not be lauded as a role model or example of how to get ahead. But this is America, so of course, he’s cast in an admirable light and given the “Hollywood” treatment.

So, how do you build a movie around such an unapologetic shyster?

With music, dancing, to die for costuming and sublime set designs. Naturally.

With a story that wholeheartedly distracts from a few truths: 1) there are plenty of people who believe that realizing their dreams are more important than people’s lives; 2) “American ingenuity” is usually just code for a willingness to lie, cheat, steal and shamelessly use people to get what one wants. Obviously.

By focusing on the dazzling extravaganza of it all and peppering the rest of the cast with people and story arcs that uplift and only hint at the grime behind it all. Of course.

This entire script is a lie. But that doesn’t take away from the fact this ensemble cast led by Hugh Jackman, Zac Effron, and Michelle Williams do a pretty solid job of selling it (jazz hands and all).

P.T. Barnum would be proud.

♦

After the opening credits, time swiftly rewinds to reveal a young Phineas and his father struggling to make ends meet and working for an upper-crust (socially and financially) family. Phineas lives in his head where anything is possible including marrying the daughter of his father’s employer Charity. Almost immediately, talking gives way to singing and the lyrics carry the story arc and character development forward right through to the end.

This part of the story is, for the most part, sweet and intended to have you rooting for Phineas to capture his dream, win his girl and sail into a great future. But while it offers insight into how Charity and Phineas grow closer and remain true..ish to each other and their hopes, it also reveals the beginnings of Phineas’s willingness to do anything to make a buck.

♦

Jackman plays Barnum with enduring wit and a charmingly slick edge. He’s a guy with his eye on the main chance and his head in the clouds. He’s promised himself a grand life and he’ll stop at nothing (and for no one) to make it happen.

It’s clear from the story angle, Gracey wants you to see Barnum as a man unafraid to step outside the norm (exploit), to innovate (cheat), and invent (lie). You’re supposed to be inspired by his ingenuity (sticky fingers) and quickwittedness (con); it’s supposed to showcase the American work-ethic and “bootstrapping” mentality at work, so to speak.

His relationship first with Charity and then with his daughters in the movie humanizes Barnum up to a point and the reworking of the Jenny Lind years serves to underscore that he’s not completely without loyalty (he so is) and integrity (just saying that word would totally give him hives).

I found this more accidentally unvarnished look at a man of his type refreshing. Jackman’s portrayal leans “into the light” but the overt inferences and his onscreen interactions tell the real tale. P.T. Barnum was a selfish, smarmy asshole of a man.

His use of the subversive wasn’t intended to benefit anyone although that was a very real secondary effect (the primary being he made money) for those ordinarily cast-out and shammed. Those “othered” by society found kinship, homes and a greater sense of safety working under his banner. He wasn’t a humanitarian. He didn’t give a damn about the plight of others unless it could make him a dollar.

So kudos to the film’s screenwriters for finding a way to paint Barnum as just a quick-thinking American with a dream and a heart of gold. It only goes to show what good writing and a loose relationship with the truth can really accomplish.

♦

Despite being issues of the day, the secondary storylines are decidedly modern feeling: A tale of star-crossed love (a story I’d much rather watch unfold with greater detail), the combustible public protests against his showcase of Oddities, the hostile environment his cast members navigated daily and the chokehold Barnum had over the players in his exhibits (let’s not pretend he wasn’t running a human circus).

All these story arcs serve to balance the scales (but not nearly enough) and insert a dose of the realistic into The Greatest Showman. Some of the musical numbers didn’t sync with the time period and therefore rang slightly false. They’re great songs but not always put to their best use. This may be due to the aggressively modern niche Ben Pasek and Justin Paul seem content to rest in.

Plus the story angle and direction took gross liberties with what truly would’ve been permitted which undercuts the emotional payoff in the end and makes it all just one more element of Barnum’s showcase.

There are moments where it’s clear Gracey wants you to see them as pivotal for Barnum emotionally. We’re to believe those moments are what shape his willingness to bring those living in the shadows to the main stage. Not that he’s playing to the public’s interest in the macabre and bizarre.

Gracey does a solid job of “show not tell” for the majority of the film but he’s occasionally a bit heavy-handed.

It doesn’t detract from the story or the glorious visuals but it does make everything feel as though it’s trying just a little too hard (because making P. T. Barnum not come across as the trash he is is hard work) and aiming to deliver the overall storyline with an edge that just a little too slick.

But anyone willing to can see P.T. Barnum was a charming flim-flam man who pitched the right scheme at the right time to the right banker to secure funding with a wink, smile and some slick talking and slight of hand. He saw a niche market he could capitalize on and goes for it with no remorse.

I will not be surprised if most critics flat out do not like The Greatest Showman.

The Greatest Showman is a song and dance extravaganza that’s anchored in joy, light, pain, hubris, laughter, and promise.  It’s far more than a simple “boy makes good” story.

Go, have fun but remember this is “theater” at its best; don’t get blinded by the lights.

Overall:  2.75 out of 5 (because truth in advertising damn well matters)

*originally posted on tggeeks.com

Repost: Now Watching: The Greatest Showman | Movie Review Quick Take: The Greatest Showman deftly tells the story of a charming hustler intent on bringing his dreams to vivid (and profitable) life.