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The Weekend Warrior 10/13/20: FREAKY, THE CLIMB, MANK, HILLBILLY ELEGY, AMMONITE, DREAMLAND, DOC-NYC and MUCH MORE!

It’s a pretty crazy week for new releases as I mentioned a few times over the past couple weeks, but it’s bound to happen as we get closer to the holiday movie season, which this year won’t include many movies in theaters, even though movie theaters are still open in many areas of the country… and closing in others. Sigh. Besides a few high-profile Netflix theatrical release, we also get movies starring Vince Vaughn, Margot Robbie, Kate Winslet, Saoirse Ronan, Mel Gibson and more offerings. In fact, I’ve somehow managed to write 12 (!!!!) reviews this week… yikes.

Before we get to the new movies, let’s look at a few series/festivals starting this week, including the always great documentary festival, DOC-NYC, which runs from November 11 through 19. A few of the docs I’ve already seen are (probably not surprisingly, if you know me) some of the music docs in the “Sonic Cinema” section, including Oliver Murray’s Ronnie’s, a film about legendary jazz musician and tenor sax player Ronnie Scott, whose London club Ronnie Scott’s Jazz Club has been one of the central cores for British jazz fans for many decades.

Alex Winter’s Zappa is a much more satisfying portrait of the avant-garde rocker than the doc Frank Zappa: In His Own Words from a few years back, but I was even more surprised by how much I enjoyed Julien Temple’s Crock of Gold: A Few Rounds with Shane MacGowan, because I’ve never really been a Pogues fan, but it’s highly entertaining as we learn about the chronically-soused frontman of the popular Irish band.

I haven’t seen Robert Yapkowitz and Richard Peete’s in My Own Time: A Portrait of Karen Dalton, a portrait of the blues and folk singer, yet, nor have I watched Marcia Jarmel and Ken Schneider’s Los Hermanos/The Brothers about two brother musicians separated from childhood after leaving their native Cuba, but I’ll try to get to both of them soon enough.

Outside of the realm of music docs is Ilinca Calugareanu’s A Cops and Robbers Story, which follows Corey Pegues from being a drug dealer and gang member to a celebrated deputy inspector within the NYPD. There’s also Nancy (The Loving Story) Buirski’s A Crime on the Bayou, the third part of the filmmaker’s trilogy about brave individuals in the Civil Rights era, this one about 19-year-old New Orleans fisherman Gary Duncan who tries to break up a fight between white and black teens at an integrated school and is arrested for assaulting a minor when merely touching a white boy’s arm.

Hao Wu’s 76 Days covers the length of Wuhan, China’s lockdown due to COVID-19, a very timely doc that will be released by MTV Documentary Films via virtual cinema on December 4. It’s one of DOC-NYC’s features on its annual Short List, which includes Boys State, Collective, The Fight, On the Record, and ten others that will vie for juried categories.

IFC Films’ Dear Santa, the new film from Dana Nachman, director of the wonderful Pick of the Litter, will follow its Heartland Film Festival debut with a run at COD-NYC before its own December 4 release. The latter is about the USPS’s “Operation Santa” program that receives hundreds of thousands of letters to Santa every year and employees thousands of volunteers to help make the wishes of these kids come true.

Basically, there’s a LOT of stuff to see at DOC-NYC, and while most of the movies haven’t been released publicly outside festivals yet, a lot of these movies will be part of the doc conversations of 2020. DOC-NYC gives the chance for people across the United States to see a lot of great docs months before anyone else, so take advantage of some of their ticket packs to save some money over the normal $12 per ticket price. The $199 price for an All Access Film Pass also isn’t a bad deal if you have enough time to watch the hundreds of DOC-NYC offerings. (Sadly, I never do, yet I’m still a little bummed to miss the 10Am press screenings at IFC Center that keeps me off the streets… or in this case, sitting on my ass at home.)

Not to be outdone by the presence of DOC-NYC, Film at Lincoln Center is kicking off its OWN seventh annual “Art of the Real” doc series, which has a bit of overlap by running from November 13 to 26. I really don’t know a lot about the documentaries being shown as part of this program, presented with Mubi and The New York Times, but check this out. For just 50 bucks, you can get an all-access pass to all 17 films, which you can casually watch at home over the two weeks of the fest.

Okay, let’s get to some theatrical releases, and the one I’ve been anticipating the most (also the one getting the widest release) is Christopher Landon’s FREAKY from Blumhouse and Universal Pictures. It stars Kathryn Newton as Millie Kessler, a high school outcast who is constantly picked on, but one night, she ends up encountering the serial killer known as the “Blissfield Butcher” (Vince Vaughn), but instead of dying when she’s stabbed with a ritual blade. The next morning Millie and the Butcher wake up to discover that they’ve been transported into the body of the other. Oh, it’s Friday the 13th… oh, now I get it… Freaky Friday!

Landon is best known for writing many of the Paranormal Activity sequels and directing Paranormal Activity: The Marked Ones. Msore importantly, he directed Happy Death Day and its sequel Happy Death Day 2 U, two of my favorite Blumhouse movies, because they so successfully mix horror with comedy, which is so hard to do. That’s what Freaky is all about, too, and it’s even harder this time even though Freaky has way more gruesome and gory kills than anything in Landon’s other films. Heck, many of the kills are gorier than the most recent Halloween from Blumhouse, and it’s a little shocking when you’re laughing so hard at times.

Landon does some clever things with what’s essentially a one-joke premise of a killer in a teen girl’s body and vice versa, but like the Lindsay Lohan-Jamie Lee Curtis remake from 2003, it’s all about the talent of the two main actors to pull off the rather intricate nature of playing humor without losing the seriousness of the horror element.

It may not be too surprising with Vaughn, who made a ton of dramas and thrillers before turning to comedy. (Does everyone remember that he played Norman Bates in Gus Van Sant’s remake of Psycho and also starred in thrillers The Cell and Domestic Disturbance?) Newton is a bit more of an unknown quantity, but as soon as Tillie dawns the red leather jacket, you know that she can use her newly found homicidal attitude to get some revenge on those who have been terrible to her.

In some ways, the comedy aspects of Freaky win out over the horror but no horror fan will be disappointed by the amount of gory kills and how well the laughs emerge from a decent horror flick. Freaky seems like the kind of movie that Wes Craven would have loved.

I’m delighted to say that this week’s “Featured Flick” is Michael Angelo Covino and Kyle Marvin’s indie comedy THE CLIMB (Sony Pictures Classics), a movie that I have seen no less than three times this year, first when it was playing Sundance, a few months later when it was supposed to open in March… and then again last week! And you know what? I enjoyed it just as much every single time. It’s an amazing two-hander that stars Covino and Marvin as best friends Mike and Kyle, who have a falling out over the former sleeping with the latter’s fiancé, and it just gets funnier and funnier as the friends fight and Kyle gets engaged to Marisa (Gayle Rankin from GLOW) who hates Mike. Can this friendship possibly survive?

I really had no idea what to expect the first time I saw The Climb at the Sony Screening Room, but it was obviously going to be a very different movie for Sony Pictures Classics, who had started out the year with so many great films before theaters shut down. (Unfortunately, they may have waited too long on this one as theaters seem to be shutting down again even while NYC and L.A. have yet to reopen them. Still, I think this would be just as much fun in a drive-in.)

The movie starts with a long, extended scene of the two leads riding bikes on a steep mountain in France, talking to each other as Kyle (once the athlete of the duo) has fallen out of shape. During the conversation, Mike admits to having slept with Kyle’s fiancé Ava (Judith Godréche) and things turn hostile between the two. We then get the first big jump in time as we’re now at the funeral for Ava, who actually had been married to Mike. Kyle eventually moves on and begins a relationship with his high school sweetheart Marisa, who we meet at the Thanksgiving gathering for Kyle’s extended family. In both these cases, we see how the relationship between Mike and Kyle has changed/evolved as Mike has now fallen on hard times.

It's a little hard to explain why what’s essentially a “slice of life” movie can be so funny. On one hand, The Climb might be the type of movie we might see from Mike Leigh, but Covino and Marvin find a way to make everything funny and also quite eccentric in terms of how some of the segments begin and end. Technically, it’s also an impressive feat with the number of amazing single shot sequences and how smooth some of the transitions work. It’s actually interesting to see when and how the filmmakers decide to return to the lives of their subjects – think of it a bit like Michael Apted’s “Up” series of docs but covering a lot shorter span in time.

Most importantly, The Climb has such a unique tone and feel to other indie dramedies we’ve seen, as the duo seem to be influenced more by European cinema than American indies. Personally, I think a better title for The Climb might have been “Frenemied,” but even with the movie’s fairly innocuous title, you will not forget the experience watching this entertaining film anytime soon.

Maybe this should be called “Netflix week,” because the streamer is releasing a number of high-profile movies into theaters and on the streaming service. Definitely one of the more anticipated movies of the year is David Fincher’s MANK, which will get a theatrical release this week and then stream on Netflix starting December 4.

It stars Gary Oldman as Herman Mankiewicz, the Hollywood screenwriter who has allowed himself to succumb to alcoholism but has been hired by Orson Welles (Tom Burke) to write his next movie, Citizen Kane, working with a personal secretary Rita Alexander (played by Lily Collins). His story is told through his interactions with media mogul William Hearst (Charles Dance) and relationship with actress and Hearst ingenue and mistress, Marion Davies (Amanda Seyfried).

It I were asked to pick one director who is my absolute favorite, Fincher would probably be in my top 5 because he’s had such an illustrious and varied career of movie styles, and Mank continues that tradition as Fincher pays tribute to old Hollywood and specifically the work of Orson Welles in every frame of this biopic that’s actually more about the troubled writer of Citizen Kane who was able to absorb everything happening in his own Hollywood circles and apply them to the script.

More than anything, Mank feels like a movie for people who love old Hollywood and inside Hollywood stories, and maybe even those who may already know about the making of Welles’ highly-regarded film might find a few new things to appreciate. I particularly enjoyed Mankiewicz’s relationships with the women around him, including his wife “Poor Sarah,” played by Tuppence Middleton, Collins’ Rita, and of course, Seyfried’s absolutely radiant performance as Davies. Maybe I would have appreciated the line-up of known names and characters like studio head Louis B Mayer and others, if more of them had any sort of effect on the story and weren’t just

The film perfectly captures the dynamic of the time and place as Mank is frequently the only honest voice in a sea of brown nosers and yes-men. Maybe I would have enjoyed Oldman’s performance more if everything that comes out of Mankiewicz’s mouth wasn’t an all-too-clever quip.

The film really hits a high point after a friend of Mank’s commits suicide and how that adds to the writer’s woes about not being able to save him. The film’s last act involves Mank dealing with the repercussions after the word gets out that Citizen Kane is indeed about Hearst.

Overall, Mank is a movie that’s hard to really dig into, and like some of Fincher’s previous work, it tends to be devoid of emotion. Even Fincher’s decision to be clever by including cigarette burns to represent Mank’s “reels” – something explained by Brad Pitt in Fight Club – just drives home the point that Mank is deliberately Fincher’s most meta movie to date.

You can also read my technical/crafts review of Mank over at Below the Line.

Ron Howard’s adaptation of JD Vance’s bestselling memoir HILLBILLY ELEGY will be released by Netflix into theaters ahead of its streaming debut on November 24. It stars Amy Adams and Glenn Close, but in honesty, it’s about JD Vance, you know, the guy who wrote the memoir. The film follows his younger years (as played by Owen Asztalos) while dealing with a dysfunctional white trash family in Middletown, Ohio, dealing with his headstrong Mamaw (Close) and abusive mother dealing with drug addiction (Adams). Later in life, while studying at Yale (and played by Gabriel Basso), he has to return to his Ohio roots to deal with his mother’s growing addiction that forces him to come to terms with his past.

I’m a bit of a Ron Howard stan – some might even say “an apologist” – and there’s no denying that Hillbilly Elegy puts him the closest to A Beautiful Mind territory than he’s been in quite some time. That doesn’t mean that this movie is perfect, nor that I would consider it one of his better movies, though. I went into the movie not knowing a thing about JD Vance or his memoir but after the first reviews came out, I was a little shocked how many of them immediately went political, because there’s absolutely nothing resembling politics in the film.

It is essentially an adaptation of a memoir, dealing with JD Vance’s childhood but then also the past that led his mother and grandmother down the paths that made his family so dysfunctional. I particularly enjoyed the relationship between the older Vance and his future wife Usha (as played by Freida Pinto) earlier in their relationship as they’re both going to Yale and Vance is trying to move past his family history to succeed in the realm of law.

It might be a no-brainer why Adams and Close are being given so much of the attention for their performances. They are two of the best. Close is particularly amusing as the cantankerous Mamaw, who veers between cussing and crying, but also has some great scenes both with Adams and the younger Vance. The amazing special make-up FX used to change her appearance often makes you forget you’re watching Close. I wish I could say the same for Adams, who gives such an overwrought and over-the-top performance that it’s very hard to feel much emotionally for her character as she goes down a seemingly endless vortex of drug addiction. It’s a performance that leads to some absolute craziness. (It’s also odd seeing Adams in basically the Christian Bale role in The Fighter, although Basso should get more credit about what he brings out in their scenes together.)

Hillbilly Elegy does have a number of duller moments, and I’m not quite sure anyone not already a fan of Vance’s book would really have much interest in these characters. I certainly have had issues with movies about people some may consider “Southern White Trash,” but it’s something I’ve worked on myself to overcome. It’s actually quite respectable for a movie to try to show characters outside the normal circles of those who tend to write reviews, and I wouldn’t be surprised if the movie might be able to connect with people in rural areas that rarely get to see themselves on screen.

Hillbilly Elegy has its issues, but it feels like a successful adaptation of a novel that may have been difficult to keep an audience invested in with all its flashbacks and jumps in time.

Netflix is also streaming the Italian drama THE LIFE AHEAD, directed by Edoardo Ponti, starring Oscar-winning actress Sophia Loren, who happens to also be the filmmaker’s mother. She plays Madame Rosa, a Holocaust survivor in Italy who takes a stubborn young street kid named Momo (Ibrahima Gueye), much to both their chagrin.

I’ll be shocked if Italy doesn’t submit Ponti’s film as their choice for the Oscar’s International Film category, because it has all of the elements that would appeal to Oscar voters. In that sense, I also found it to be quite traditional and formulaic. Loren is quite amazing, as to be expected, and I was just as impressed with young Ibrahima Gueye who seems to be able to hold his own in what’s apparently his first movie. There’s others in the cast that also add to the experience including a trans hooker named Lola, but it’s really the relationship between the two main characters that keeps you invested in the movie. I only wish I didn’t spend much of the movie feeling like I knew exactly where it’s going in terms of Rosa doing something to save the young boy and giving him a chance at a good life.

I hate to be cynical, but at times, this is so by the books, as if Ponti watched every Oscar movie and made one that had all the right elements to appeal to Oscar voters and wokesters alike. That aside, it does such a good job tugging at heartstrings that you might forgive how obviously formulaic it is.

Netflix is also premiering the fourth season of The Crown this week, starring Olivia Colman as Queen Elizabeth and bringing on board Gillian Anderson as Margaret Thatcher, Emma Corin, Helena Bonham Carter, Tobis Menzies, Marion Bailey and Charles Dancer. Quite a week for the streamer, indeed.

Another movie that may be in the conversation for Awards season is AMMONITE (NEON), the new film from Francis Lee (God’s Own Country), a drama set in 1840s England where Kate Winslet plays Mary Anning, a fossil hunter, tasked to look after melancholic young bride, Charlotte Murcheson (Saoirse Ronan), sent to the sea to get better only for them to get into a far more intimate relationship.

I had been looking forward to this film, having heard almost unanimous raves from out of Toronto a few months back. Maybe my expectations were too high, because while this is a well-made film with two strong actors, it’s also rather dreary and not something I necessarily would watch for pleasure. The comparisons to last year’s Portrait of a Lady on Fire (also released by NEON) are so spot-on that it’s almost impossible to watch this movie without knowing exactly where it’s going from the very minute that the two main characters meet.

Winslet isn’t bad in another glammed-down role where she can be particularly cantankerous, but knowing that the film would eventually take a sapphic turn made it somewhat predictable. Ronan seems to be playing her first outright adult role ever, and it’s a little strange to see her all grown-up after playing a teenager in so many movies.

The movie is just so contained to the one setting right up until the last 20 minutes when it actually lives the Lyme setting and lets us see the world outside Mary’s secluded lifestyle. As much as I wanted to love Ammonite, it just comes off as so obvious and predictable – and certainly not helped by coming out so soon after Portrait of a Lady. There’s also something about Ammonite that just feels so drab and dreary and not something I’d necessarily need to sit through a second time.

The animated film WOLFWALKERS (GKIds) is the latest from Tomm Moore and Ross Stewart, directors of the Oscar-nominated Secret of the Kells (Moore’s Song of the Sea also received an Oscar nomination a few years later.) It’s about a young Irish girl named Robyn (voiced Honor Kneafsey) who is learning to be hunter from her father (voiced by Sean Bean) to help him wipe out the last wolf pack. Roby then meets another girl (voiced by Eva Whittaker) who is part of a tribe rumored to transform into wolves by night.

I have to be honest that by the time I got around to start watching this, I was really burnt out and not in any mood to watch what I considered to look like a kiddie movie. It looks nice, but I’m sure I’d be able to enjoy it more in a different head (like watching first thing on a Saturday morning).

Regardless, Wolfwalkers will be in theaters nationwide this Friday and over the weekend via Fathom Events as well as get full theatrical runs at drive-ins sponsored by the Landmark, Angelika and L.A.’s Vineland before it debuts on Apple TV+ on December 11. Maybe I’ll write a proper review for that column. You can get tickets for the Fathom Events at WolfwalkersMovie.com.

Next up is Miles Joris-Peyrafitte’s DREAMLAND (Paramount), starring Margot Robbie as Allison Wells, a bank-robbing criminal on the loose who encounters young man named Eugene Evans (Finn Cole) in rural Dust Bowl era North Dakota and convinces him to hide her and help her escape the authorities by taking her to Mexico.

Another movie where I wasn’t expecting much, more due to the generic title and genre than anything else, but it’s a pretty basic story of a young man in a small town who dreams of leaving and also glamorizes the crime stories he read in pulps. Because of the Great Depression in the late ’20, the crime wave was spreading out across the land and affecting everyone, even in more remote locations like the one at the center of Dreamland.

The sad truth is that there have been so many better movies about this era, including Warren Beatty’s Bonnie and Clyde, Lawless and many others. Because of that, this might not be bad but it’s definitely trying to follow movies that leave quite a long shadow. The innocent relationship between Eugene and Allison does add another level to the typical gangster story, but maybe that isn’t enough for Dreamland to really get past the fact that the romantic part of their relationship isn’t particularly believable.

As much as this might have been fine as a two-hander, you two have Travis Fimmel as Eugene’s stepfather and another generic white guy in Garrett Hedlund playing Allison’s Clyde Barrow-like partner in crime in the flashbacks. Cole has enough trouble keeping on pace with Robbie but then you have Fimmel, who was just grossly miscast. The film’s score ended up being so overpowering and annoying I wasn’t even remotely surprised when I saw that Joris-Peyrafitte is credited with co-writing the film’s score.

Dreamland is fine, though it really needed to have a stronger and more original vision to stand out. It’s another classic case of an actor being far better than the material she’s been given. This is being given a very limited theatrical release before being on digital next Tuesday.

This might have been Netflix week, but maybe it could have been “Saban Films Week,” since the distributor also has three new movies. Actually, only two, because I screwed up, and I missed the fact that André Øvredal’s MORTAL was released by Saban Films LAST week. Not entirely my fault because for some reason, I had it opening this week, and I only realized that I was wrong last Wednesday. Oh, well. It stars Nate Wolff as Eric Bergeland, an American in Norway who seems to have some enigmatic powers, but after killing a young lad, he ends up on the lam with federal agent Christine (Iben Akerlie from Victoria).

This is another movie I really wanted to like since I’ve been such a fan of Øvredal from back to his movie Trollhunter. Certainly the idea of him taking a dark look at superpowers through the lends of Norse mythology should be right up my alley. Even so, this darker and more serious take on superpowers – while it might be something relatively unique and new in movies – it’s something anyone who has read comics has seen many times before and often quite better.

Wolff’s character is deliberately kept a mystery about where he comes from, and all we know is that he survived a fire at his farm, and we watched him kill a young man that’s part of a group of young bullies. From there, it kind of turns into a procedural as the authorities and Akerlie’s character tries to find out where Eric came from and got his powers. It’s not necessarily a slow or talkie movie, because there are some impressive set pieces for sure, but it definitely feels more like Autopsy of Jane Doe than Trollhunters. Maybe my biggest is that this is a relatively drab and lifeless performance by Wolff, who I’ve seen be better in other films.

Despite my issues, it doesn’t lessen my feelings about Øvredal as a filmmaker, because there’s good music and use of visual FX -- no surprise if you’ve seen Trollhunters -- but there’s still a really bad underlying feeling that you’re watching a lower budget version of an “X-Men” movie, and not necessarily one of the better ones. Despite a decent (and kinda crazy) ending, Mortal never really pays off, and it’s such a slog to get to that ending that people might feel slightly underwhelmed.

Seth Savoy’s ECHO BOOMERS (Saban Films) is a crime thriller based on a “true story if you believe in such things,” starring Patrick Schwarzenegger as Lance, a young art major, who falls in with a group of youths who break into rich people’s homes and trash them, also stealing some of the more valuable items for their leader Mel (Michael Shannon).

There’s a lot about Echo Boomers that’s going to feel familiar if you’ve seen Sofia Coppola’s The Bling Ring or the heist movie American Animals from a few years back, but even with those similarities, Seth Savoy has a strong cast and vision to make more out of the fairly weak writing than another director might manage. Schwarzenegger, who seems to be pulling in quite a wide range of roles for basically being another generic white actor is only part of a decent ensemble that includes Alex Pettyfer as the group’s ersatz alpha male Ellis and Hayley Law (also great in the recent Spontaneous) as his girlfriend Allie, the only girl taking part in the heists and destruction. Those three actors alone are great, but then you add Shannon just doing typically fantastic work as more of a catalyst than an antagonist.

You can probably expect there will be some dissension in the ranks, especially when the group’s “Fagan” Mel puts Lance in charge of keeping them in line and Allie forms a friendship with Lance. What holds the movie back is the decision to use a very traditional testimonial storytelling style where Lance and Allie narrate the story by relaying what happened to the authorities after their capture obviously. This doesn’t help take away from the general predictability of where the story goes either, because we’ve seen this type of thing going all the way back to The Usual Suspects.

While Echo Boomers might be fairly derivative of far better movies at times, it also has a strong directorial vision and a compelling story that makes up enough for that fact.

In theaters this Friday and then On Demand and Digital on November 24 is Eshom and Ian Nelms’ action-comedy FATMAN (Saban Films/Paramount), starring Mel Gibson as Santa Claus and Walton Goggins as the hired assassin sent to kill him by a spoiled rich boy named Billy (Chance Hurstfield) who unhappy with the presents he’s being brought for Christmas.

While we seem to be surrounded by high concept movies of all shapes and sizes, you can’t get much more high concept than having Mel Gibson playing a tough and cantankerous* Kris Kringle (*Is this the week’s actual theme?) who is struggling to survive with Mrs. Klaus (played by the wonderful Marianne Jean-Baptiste from In Fabric) when they’re given the opportunity to produce military grade items for the army using his speedy elf workshop. Unbeknownst to the Kringles, the disgruntled hitman who also feels he’s been let down by Santa is on his way to the North Pole to fulfill his assignment.

You’ll probably know whether you’ll like this movie or not since its snarkier comedic tone is introduced almost from the very beginning. This is actually a pretty decent role for Gibson that really plays up to his strengths, and it’s a shame that there wasn’t more to it than just a fairly obvious action movie that leads to a shoot-out. I probably should have enjoyed Goggins more in a full-on villainous role but having been watching a lot of him on CBS’ The Unicorn, it’s kind of hard to adjust to him playing this kind of role. I did absolutely love Marianne Jean-Baptiste and the warmth she brought to a relatively snarky movie.

I’m not sure if Fatman is the best showing of Eshom and Ian Nelms’ abilities as filmmakers, because they certainly have some, but any chance of being entertaining is tamped down by a feeling the filmmakers are constantly trying to play it safe. Because of this, Fatman has a few fun moments but a generally weak premise that never fully delivers. It would have thrived by being much crazier, but instead, it’s just far too mild.

Malin Åkerman stars in Paul Leyden’s CHICK FIGHT (Quiver Distribution) as Anna, a woman unhappy with her life and inability to survive on the little money she makes at her failing coffee shop. When Anna’s lesbian traffic cop friend Charleen (Dulcé Sloan) takes her to an underground fight club, Anna her trepidation about joining in, because she has never been in a fight in her life. Learning that her mother has a legacy at the club, Anna agrees to be trained by Alec Baldwin’s always-drunk Murphy in order to take on the challenges of the likes of Bella Thorne’s Olivia.

Another movie where I’m not sure where to begin other than the fact that I’m not sure I’ve seen a movie trying so hard to be fun and funny and failing miserably at both. Listen, I generally love Akerman, and I’m always hoping for her to get stronger material to match her talents, but this tries its best to be edgy without ever really delivering on the most important thing for any comedy: Laughs. Sure, the filmmakers try their best and even shoehorn a bit of romance for Anna in the form of the ring doctor played by Kevin Connolly from Entourage, but it does little to help distinguish the movie’s identity.

Listen, I’m not going to apologize for being a heterosexual male that finds Bella Thorne to be quite hot when she’s kicking ass in the ring. (I’m presuming that a lot of what we see in her scenes in the ring involves talented stuntwomen, but whoa! If that’s not the case.) Alec Baldwin seems to be in this movie merely as a favor to someone, possibly one of the producers, and when he disappears with no mention midway through the movie, you’re not particularly surprised. Another of trying too hard is having Anna’s father Ed (played by wrestler Kevin Nash) come out as gay and then use his every appearance to talk about his sex acts. Others in the cast like Fortune Feimster seem to be there mainly for their bulk and believability as fighters.

Ultimately, Chick Fight is a fairly lame and bland girl power movie written, directed and mostly produced by men. I’m not sure why anyone might be expecting more from it than being a poorly-executed comedy lacking laughs.

And yet, that wasn’t the worst movie of the weekend. That would be Andrzej Bartkowiak’s DEAD RECKONING (Shout! Studios). Yes, the Polish cinematographer and filmmaker who once made the amazing Romeo is Bleeding, starring Gary Oldman and Lena Olin, has returned with a movie with the onus of a premise that reads “a thriller inspired by the Boston Marathon bombing in 2013.” No, I did not make that up. It mostly takes place in Nantucket, Massachusetts, which I guess is sort of close to Boston, but instead it focuses on the relationship between teens Niko (K.J. Apa) and Tillie (India Eisley), the latter whose parents died in a plane crash that might have been caused by a terrorist. It just so happens that Niko’s brother Marco (Scott Adkins) is an Albanian terrorist. Coincidence? I think not!

Once you get past the most generic title ever, Dead Reckoning is just plain awful. I probably should have known what to expect when the movie opens with Eric “Never Turned Down a Job” Roberts, but also, I strong feel that Scott Adkins, better known for his martial arts skills, is easily one of the worst actors ever to be given lines to say in a movie. And yet, somehow, there are even worse actors in this movie. How is that even possible?

Although this presumed action movie opens with one of three or four fight sequences, we’re soon hanging out on the beach with a bunch of annoying teenagers, including Tillie, who is drowning the sorrow of recently losing her parents by literally drinking constantly in almost every single scene. When she meets the handsome Eastern European Niko, we think there’s some chance of Tillie being saved, but it isn’t meant to be.

Part of what’s so weird is that Dead Reckoning begins in territory familiar to fans of Barkowiak’s movies like Exit Wounds, Cradle 2 the Grave and Maximum Impact but then quickly shifts gears to a soppy teen romance. It’s weird enough to throw you off when at a certain point, it returns to the main plot, which involves Adkins’ terrorist plot and the search by FBI Agent Cantrell (played by James Remar) to find the culprit who killed Tillie’s parents. Oh, the FBI agent is also Tillie’s godfather. Of course, he is.

Beyond the fact that I spent much of the movie wondering what these teens in Nantucket have to do with the opening scene or the overall premise, this is a movie that anything that could be resembling talent or skill in Barkowiak’s filmmaking is long gone. Going past the horrendous writing – at one point, the exasperated and quite xenophobic Cantrell exclaims, “It’s been a nightmare since 9/11... who knows what's next?” -- or the inability of much of the cast to make it seem like anyone involved cares about making a good movie, the film is strangled by a score that wants to remind you it’s a thriller even as you watch people having fun on the beach on a sunny day.

Eventually, it does get back to the action with a fight between Cantrell and Marco… and then Marco gets into a fight with Tillie’s nice aunt nurse Jennifer where she has a surprisingly amount of fighting skills. There’s also Nico’s best friend who is either British or gay or both, but he spends every one of his scenes acting so pretentious and annoying, you kind of hope he’ll be blown up by terrorists. Sadly, you have to wait until the last act before the surfboards are pulled out. (Incidentally, filmmakers, please don’t call a character in your movie “Marco,” especially if that character’s name is going to be yelled out repeatedly, because it will just lead to someone in the audience to yell out “Polo!” This is Uwe Boll School of Bad Filmmaking 101!)

The point is that the movie is just all over the place yet in a place that’s even remotely watchable. There even was a point when Tillie was watching the video of her parents dying in a car crash for the third or fourth time, and I just started laughing, since it’s such a slipshod scene.

It’s very likely that Dead Reckoning will claim the honor of being the worst movie I’ve seen this year. Really, the only way to have any fun watching this disaster is to play a drinking game where you take a drink every time Eisley’s character takes a drink. Or better yet, just bail on the movie and hit the bottle, because I’m sure whoever funded this piece of crap is.

Opening at New York’s Film Forum on Wednesday is Manfred Kirchheimer’s FREE TIME (Grasshopper/Cinema Conservancy), another wonderful doc from one of the kings of old school cinema verité documentary filmmaking, consisting of footage of New York City from 1960 that’s pieced together with a wonderful jazz score. Let me tell you that Kirschheimer’s work is very relaxing to watch and Free Time is no exception. Plus the hour-long movie will premiere in Film Forum’s Virtual Cinema, accompanied by Rudy Burckhardt’s 1953 film Under the Brooklyn Bridge which captures Brooklyn in the ‘50s.

Also opening in Film Forum’s Virtual Cinema Friday is Hong Khaou’s MONSOON (Strand Releasing) starring Henry Golding (Crazy Rich Asians) as Kit, who returns to Ho Chi Minh City for the first time since his family fled after the Vietnam War when he was six. As he tries to make sense of it, he ends in a romance with Parker Sawyers’ American ex-pat and forms a friendship with a local student (Molly Harris). Unfortunately, I didn’t have the chance to watch this one before finishing up this column but hope to catch soon, because I do like Golding as an actor.

I shared my thoughts on Werner Herzog and Clive Oppenheimer’s FIREBALL: VISITORS FROM DARK WORLDS, when it played at TIFF in September, but this weekend, it will debut on Apple TV+. It’s another interesting and educational science doc from Herr Herzog, this time teaming with the younger Cambridge geoscientist and “volcanologist” to look at the evidence left behind by meteors that have arrived within the earth’s atmosphere, including the races that worship the falling space objects.

Opening at the Metrograph this week (or rather on its website) is Shalini Kantayya’s documentary CODED BIAS, about the widespread bias in facial recognition and the algorithms that affect us all, which debuted Weds night and will be available on a PPV basis and will be available through November 17. The French New Wave anthology Six In Paris will also be available as a ticketed movie ($8 for members/$12 for non-members) through April 13. Starting Thursday as part of the Metrograph’s “Live Screenings” is Steven Fischler and Joel Sucher’s Free Voice of Labor: The Jewish Anarchists from 1980. Fischler’s earlier doc Frame Up! The imprisonment of Martin Sostre from 1974 will also be available through Thursday night.

Sadly, there are just way too many movies out this week, and some of the ones I just wasn’t able to get to include:

Dating Amber (Samuel Goldwyn) The Giant (Vertical) I Am Greta (Hulu) Dirty God (Dark Star Pictures) Where She Lies (Gravitas Ventures) Maybe Next Year (Wavelength Productions) Come Away (Relativity) Habitual (National Amusements) The Ride (Roadside Attractions, Forest, ESX) Jingle Jangle: A Christmas Journey (Netflix) Transference: A Love Story (1091) Sasquatch Among the Wildmen (Uncork’d) All Joking Aside (Quiver Distribution) Secret Zoo (MPI Medi Group/Capelight Pictures)

By the way, if you read this week’s column and have bothered to read this far down, I think you’re very special and quite good-looking. Feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or drop me a note or tweet on Twitter. I love hearing from readers … honest!

#Movies #reviews #Mank #TheClimb #Freaky #Fatman #Heartland #Mortal #EchoBoomers #VOD #Streaming #TheLifeAhead #HillbillyElegy

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josemaximiliano-blog1 · 6 years

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FAVORITE ALBUMS 2017 (TOP 50)

2017 was a phenomenal year for music and a special one because this year I went full dedication to music, heard albums here and there, a lot of them actually to be precise 402 albums I heard just from this year, there were good albums, bad albums, horrible albums, happy albums, sad albums, we had everything this year and out of those 402 I heard I selected the 50 that I liked the most from New Wave to Doom Metal to Bubblegum Pop to Hip-Hop, I found out about a lot of new interesting artists and I’m looking forward for what next year has in store for us. It was hard to choose my top 50 but here are the ones that stand out the most.

1. Alex Cameron - Forced Witness (New Wave, Synth Pop, Soft Rock)

Wow. This album has the best songwriting of the year, just to start the character development is sublime, the hooks are catchy, the lyrics are hysterically funny and the production is awe-inspiring, it brings back the 80′s in such an amazing way, his vocal performance is stirring. This album is an introspective look into the persona that Alex created. The recurrent themes of masculinity, bravado, love, failure, sincerity, hope and hopelessness make this album grow into you until it becomes addictive. The lyrics might be fun and everything but at the end there is a raw reality that some might feel identified with it.

Three songs you should check out: Candy May, Stranger’s Kiss (Duet With Angel Olsen), Politics of Love.

2. The War On Drugs - A Deeper Understanding (Heartland Rock, Synth Rock)

This album is awesome from start to finish, makes me want to take the car during midnight and drive and never look back, its beautiful and satisfying guitar riffs to its gorgeous instrumental breaks and dreamy synths make this album an almost perfect listening experience, with the cherry on top being the thoughtful and heart melting/breaking lyrics.

Three songs you should check out: Pain, Thinking Of A Place, You Don’t Have To Go.

3. Arca - Arca (Art Pop)

Immaculate and gorgeous production joined by a powerful voice, it is a journey into Alejandro Ghersi’s sexual life, fantasies and thoughts. This album has astonishing and beautiful falsettos with great lyricism.

Three songs you should check out: Anoche, Castration, Miel.

4. The National - Sleep Well Beast (Alternative Rock)

This album explores new territories into The National’s great discography and it is their most experimental album yet and it might be their best album too, time will decide. Frontman Matt Berninger gifts us one of the best written albums of the year with a sorrowful and mature songwriting joined by an amazing band work by the Dessner twins and company.

This album could’ve been my number one spot but being honest... Turtleneck is not for me. Excited to see them live next month!

Three songs you should check out: Nobody Else Will Be There, Dark Side of the Gym, Sleep Well Beast.

5. BROCKHAMPTON - SATURATION (Experimental Hip-Hop, Hip-Hop)

The first album out of the Saturation trilogy and what a perfect way to get introduced to this boyband, I want to be like them so bad! this album is banger after banger, the production is juicy and amazing, you will never get tired of this album.

I have more to say about them but (spoiler alert) they have two more spots on this list and I don’t wanna run out of praise.

Three songs you should check out: HEAT, SWIM, MILK.

6. Lorde - Melodrama (Art Pop)

This is an album that can define an entire generation, Ella wrote an album for the teenagers and it is a true blessing, with her beautiful voice and gorgeous production by Jake Antonoff (fun, Bleachers) Melodrama is really a melodramatic expression of the daily lives of many of us.

That’s a beautiful cover art by the way.

Three songs you should check out: Liability, Hard Feelings/Loveless, Liability (Reprise)

7. Perfume Genius - No Shape

Love has no shape, this album gorgeously produced songs (totally deserved that Grammy nomination) and Mike’s angelical voice make a wonderful listening experience.

Three songs you should check out: Slip Away, Die 4 You, Alan.

8. Sorority Noise - You’re Not As Alone As You Think (Emo, Indie Rock, Punk)

In a year where I openly struggled with depression, suicidal thoughts and a friends death this album helped me a lot even though I might still be depressed, yes, this album talks about the same stuff I struggled with but sometimes a negative plus negative make a positive change.

Three songs you should check out: No Halo, A Portrait Of, A Better Sun. (It is just 30 minutes long so why not check the whole thing)

9. Father John Misty - Pure Comedy (Singer Songwriter)

2017 was a hell of a year and it is slowly going to fade away as long as we keep fighting each other and this album is just a reminder of that but it is also a reminder that it is a miracle to be alive and there is nothing to fear. Tillman’s songwriting is really an inspiration for me and he is my role model.

Three songs you should check out: Pure Comedy, The Memo, In Twenty Years or So.

10. King Krule - The OOZ (Post Punk, Art Rock, Nü Jazz, Trip Hop)

Yeah that genre description is cool isn’t it. Archy came out this with an amazing set of songs that explore depression and he just keeps showing us how great of an artist he is and yes we have to honest his voice is just something else I dream with his voice.

Three songs you should check out: Dum Surfer, The Ooz, Midnight 01 (Deep Sea Diver).

11. Charli XCX - Pop 2 (Electro Pop, Bubblegum Pop)

Charli closed the year with an amazing mixtape that stands out thanks to the amazing production by the PC Music team, the album is very futuristic and enjoyable with great features.

Three songs you should check out: Lucky, Porsche (Feat. MØ), Track 10.

12. Remo Drive - Greatest Hits (Indie Rock, Emo)

Same issue as Forced Witness but now with the title, to my understanding this is their DEBUT ALBUM and the fact they named it “Greatest Hits” made me think that this was a compilation from an old band trying to have more revenue but I’m glad I was wrong. This set of upbeat teenager songs is one of the best debut albums of the year.

They’re going to be touring with Sorority Noise how cool someone take me there!!!

Three songs you should check out: Crash Test Rating, Yer Killin’ Me, I’m My Own Doctor.

13. Julien Baker - Turn Out the Lights (Singer Songwriter)

The follow up to her debut album “Sprained Ankle” couldn’t be better, this is one of the most heart breaking and depressing albums (second most depressive because A Crow Looked At Me exists) of the year, Julien opens up with more depressive themes such as drug abuse, faith, suicidal thoughts and love and her delivery brings me to tears, the song structures here are brilliant and satisfying almost depending on the vocal performance but she doesn’t disappoint.

Three songs you should check out: Appointments, Sour Breath, Claws in Your Back.

14. Tyler The Creator - Flower Boy (Experimental Hip-Hop)

I didn’t like Tyler before this release but it did change my mind, this project was the album of my summer, literally, that was the only album I heard during summer camp so it brings me a lot of good memories with my friends and girlfriend.

Three songs you should check out: See You Again, Boredom, 911/Mr. Lonely.

15. Kirin J Callinan - Bravado (Art Pop, Synth Pop, Euro Dance)

The fact that one of my favorite songs from this album is one of my favorite memes of the year makes me feel wholesome.

Watch it for yourself: https://www.youtube.com/watch?v=rvrZJ5C_Nwg the joy starts at 2:23

Three songs you should check out: S.A.D., Big Enough, Bravado.

16. Fleet Foxes - Crack-Up (Chamber Folk, Folk)

One of the best produced and written albums of the year, beautiful instrumentation comes along with a strong set of lyrics to give one of the most pleasing albums this year, this would be even higher on my list if it hadn’t been for the replay value (that is good but it took me a while).

It has one of the most beautiful cover arts of the year for sure.

Three songs you should check out: -Naiads, Cassadies, Third of May / Ōdaigahara, Fool’s Errand.

17. Phoebe Bridgers - Stranger in the Alps (Singer Songwriter)

Another set of depressing songs now this time from Phoebe, props for being a debut album too, her songwriting reminds me a lot of Mark Kozelek and yes she actually sings a cover (which is my favorite cover of the year) from a Mark song. The narrative on her songs is criminally incredible.

Three songs you should check out: Smoke Signals, Funeral, You Missed My Heart (cover).

18. Charli XCX - Number 1 Angel (Electro Pop, Bubblegum Pop)

It’s Charli, again. One of the catchiest releases of the year with a more mainstream focus than Pop 2 but still the album is great and the features again are amazing, so much chemistry.

Three songs you should check out: Emotional, Babygirl (feat. Uffie), Lipgloss (feat. CupcakKe).

19. Protomartyr - Relatives In Descent (Post Punk)

The songwriting...

I’m not saying anything about this album just read this verse.

From the song “Half Sister”

In Northern Michigan There was an incident in winter A horse was hit by lightning And began to speak in a foreign language When he was finally understood It repeated, "Humans are no good" So they shot it behind the shed and stuffed him He's now on display as a lesson For the kids to always do your best Do your best always.

Have to say that the “she’s just trying to reach you” reprise used throughout the album is just heart breaking.

Three songs you should check out: A Private Understanding, The Chuckler, Night Blooming-Cereus.

20. Counterparts - You’re Not You Anymore (Metalcore, Hardcore Punk)

This album doesn’t catch a break at all 27 minutes of straight forward madness. All I have to say.

Three songs you should check out: Bouquet, No Servant of Mine, You’re Not You Anymore.

21. Mount Kimbie - Love What Survives (Future Garage, Indietronica)

Every time I listen to this album I just want to lay down and chill for a minute, great production and it has an overall dreamy vibe, shout out to Mount Kimbie for introducing me to King Krule.

Three songs you should check out: Blue Train Lines, Marylin, We Go Home Together.

22. BROCKHAMPTON - SATURATION III (Experimental Hip-Hop, Pop Rap)

The boys back at it again, the conclusion to the Saturation saga and it is as creative as previous efforts, they keep changing their sound with every new album, what I liked the most from this album was that members like JOBA got more spotlight than ever before, the MVP’S of this one were Matt, Merlyn and JOBA.

Three songs you should check out: LIQUID, BLEACH, HOTTIE.

23. Oneohtrix Point Never - Good Time Original Motion Picture Soundtrack (Soundtrack, Ambient, Original Score)

The highest entry for a movie score is Good Time, what an addition to the movie with high gripping and tense sequences of dreamy acid songs and with one of the best closing tracks of the year with The Pure and the Damned featuring Iggy Pop the song is heartbreaking and a great culmination to the album.

Three songs you should check out: Leaving The Park, Connie, The Pure and the Damned.

24. Rex Orange County - Apricot Princess (Alternative R&B)

This is an underrated and overlooked album that definitively deserves more attention, Alex delivers sweet and lovely songs with his unique and tender voice, great instrumentation and vocal performance. If you are looking for a love album this might be one of the best ones of the year.

Three songs you should check out: 4 Seasons, Rain Man, Happiness.

25. BROCKHAMPTON - SATURATION II (Experimental Hip-Hop)

What a year for the boyband. This one is full of bangers.

Three songs you should check out: SWAMP, JUNKY, SUMMER.

26. King Gizzard & The Lizard Wizard - Flying Microtonal Banana (Psychedelic Rock)

It is the strange vibe to this album and the crazy tuning that makes this an exotic and groovy album. The prolific Australian band proved that they are here to stay, they put out four solid albums in a short span of time and this has to be my favorite (one more to come out before the year ends). Looking forward for the fifth of the year!

Three songs you should check out: Rattlesnake, Sleep Drifter, Doom City.

27. Kyle Dixon & Michael Stein - Stranger Things 2 (A Netflix Original Series Soundtrack)

In my opinion the score outlives the tv show, this nostalgic vibe is incredible and all the layering is chilling yet beautiful to hear, from mellow synths to dark and eerie atmospheric sequences this album is one of the most memorable things of the show.

Three songs you should check out: Eulogy, Descent into the Rift, Soldiers.

28. Xiu Xiu - FORGET (Art Pop)

It’s unsettling, bold and dreary, this is an album you should not forget about, vocal performances on point plus a weird and iconic instrumentation.

Three songs you should check out: The Call, Wondering, Get Up.

29. Mount Eerie - A Crow Looked At Me (Singer Songwriter)

The year’s most depressing album follows the story of Phil Elverum who tragically lost his wife after fighting against cancer, this is as real as it can be, the songwriting is heart breaking and outstanding, this album is arguably one of the best three albums of the year for me but the replay value affected its place on the list, the listening experience is too pessimistic and full of gut punches that I find it hard to listen to the full album in just one sitting.

Three songs you should check out: Real Death, Swims, My Chasm.

Starting from the next album I’m just giving my quick thoughts...

30. Benjamin Clementine - I Tell A Fly (Chamber Pop, Art Pop, Avant Garde)

An album with great and beautiful instrumentation joined by one of the most interesting and satisfying voices working today.

Three songs you should check out: God Save The Jungle, Phantom Of Aleppoville, One Awkward Fish.

31. Sampha - Process (R&B)

One of my favorite R&B releases of the year, Sampha has such a great voice.

Three songs you should check out: (No One Knows Me) Like the Piano, Under, Timmy’s Prayer.

32. IDLES - Brutalism (Post Punk)

The album title describes everything, brutalism all over the place with an interesting political/social point of view. Vocal performances are awesome.

Three songs you should check out: Mother, Divide & Conquer, White Privilege.

33. Ariel Pink - Dedicated to Bobby Jameson (New Wave, Synth Pop, Art Pop)

This album was my introduction to Ariel Pink and it was so good I enjoyed so much every track with a nostalgic vibe of music from the last century.

Three songs you should check out: Feels Like Heaven, Another Weekend, I Wanna Be Young.

34. Destroyer - Ken (Synth Pop)

I love the synths here, to be honest that was what made me love this album, it is so well designed and the lyrics were pretty cool.

Three songs you should check out: Sky’s Grey, Rome, Sometimes in the World.

35. Daniel Hart - A Ghost Story (Original Soundtrack Album)

I went to see the movie almost six months ago and the first thing I did after walking out of the movie theater was crossing the street to the nearest record store and buy the album, it still haunts me to this day, the album itself haunts me as well as the movie.

Three songs you should check out: Whatever Hour You Woke, Post Pie, The Secret In The Wall.

36. Jay-Z - 4:44 (Hip-Hop)

One of the best written hip- hop albums this year for sure, pure sincerity and emotion in this project and the production is just brilliant.

Three songs you should check out: The Story of O.J., Caught Their Eyes (feat. Frank Ocean), 4:44.

37. The xx - I See You (Indietronica)

One of the first albums I heard this year and it was good enough to make it to my list, I like the sensuality of the beats here and the smooth vibe to it.

Three songs you should check out: Say Something Loving, Perfomance, Test Me.

38. Primitive Man - Caustic (Doom Metal)

I like the way my favorite reviewer (theneedledrop) described this album, I share the same feeling so I’m just going to quoute “ Doom metal trio Primitive Man returns with one of the most nihilistic albums in the genre. For anyone who enjoys some pain with their pleasure.”

Three songs you should check out: My Will, Victim, Inevitable.

39. Moses Sumney - Aromanticisim (Art Pop, R&B)

Uhhh his voice is so beautiful and he is such a talented artist I’m in love with his voice, make sure you enjoy his voice as much as I do. I urge everyone to listen to Doomed if you wanna know what I am talking about.

Three songs you should check out: Plastic, Make Out in My Car, Doomed.

40. Code Orange - Forever (Sludge Metal)

It is brutal it is dirty it is aggressive it makes you wanna throw punches.

The cover art is easily top 3 of the year for me.

Three songs you should check out: Forever, Real, Spy.

41. King Gizzard & The Lizard Wizard - Polygondwanaland (Psychedelic Rock, Progressive Rock)

This is a great concept album that you should check out (if you are into concept albums otherwise you might not like it) because I love how every song builds to a great climax at the end.

Three songs you should check out: Crumbling Castle, Loyalty, The Fourth Color.

42. Alvvays - Antisocialites (Dream Pop)

Dream pop at its best this year.

Three songs you should check out: Dreams Tonite, Your Type, Forget About Life.

43. Slowdive - Slowdive (Shoegaze)

Great comeback from one of the most important bands of the genre, good for driving.

Three songs you should check out: Star Roving, Sugar for the Pill, Falling Ashes.

44. King Gizzard & The Lizard Wizard - Murder of the Universe, Chapter 1: The Tale of the Altered Beast, Chapter 2: The Lord of Lightning vs. Balrog (Psychedelic Rock)

The boys are here again for the third time, why did I put the chapters? Because this album is divided in three chapters and oh god the third chapter almost ruins everything so that’s why I didn’t put it here and I think that the first two need recognition, I love the narrative tone of the album and how it feels like a real story or a video game.

Three songs you should check out: Altered Beast I, The Lord of Lightning, The Balrog.

45. Zola Jesus - Okovi (Art Pop)

This album is so meaningful (a little bit of background, Zola Jesus wrote this album for a friend who tried to commit suicide twice) and powerful, it has a very strong message and the production is beautiful.

My favorite cover art of the year here.

Three songs you should check out: Witness, Siphon, Half Life.

46. Hans Zimmer - Blade Runner 2049 (Original Motion Picture Soundtrack)

So nostalgic and brings back the vibe from one of my favorite movies of the year.

Three songs you should check out: Flight to LAPD, Joi, All the Best Memories Are Hers.

47. Yung Lean - Stranger (Clout Rap)

This album might had its flaws but it is a great listening experience if you just one to chill for a minute, solid production, lyrics and performances so yeah why not. Also bonus points for having two of my favorite singles of the year.

Three songs you should check out: Red Bottom Sky, Hunting My Own Skin, Agony.

48. ROSALÍA - Los Ángeles (Flamenco)

One of the last albums I heard this year, If I had listen to this album earlier on the year it might have been higher on the list but anyways this is a good project from Rosalía and she has one of the most attractive voices of the year.

Three songs you should check out: Nos Quedamos Solitos, Día 14 De Abril, I See A Darkness.

49. Ex Eye - Ex Eye (Post Metal)

This is just four tracks long but it is epic and progressive, really well produced album and nice to see Colin Stetson experimenting more with his saxophone.

Three tracks you should listen: Go with all the album, it is just four tracks, If I had to choose one... Anaitis Hymnal; the Arkose Disc.

50. Mac DeMarco - This Old Dog (Singer Songwriter)

The songwriting here is solid with a nice production, the song structures make this album a satisfying session.

Three songs you should check out: For the First Time, Moonlight on the River, Watching Him Fade Away.

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