#glen powell could ruin my life

[thisisanewlowes]

i meannnnnnnnnnnnn

look at this man. just- just look at him

[theloniousbach]

50 Years of Going to Shows, Pt. 7: European Tradition Art Music

First, I am lobbying for European Tradition Art Music instead of “classical” which was a very short period in the grand sweep of the tradition.  It’s art music—composed for, by now, listening.  It’s European but now spread around the world, so it’s a tradition.  I mean strings, winds, brass sometimes piano and percussion in orchestras or in chamber ensembles.It’s been around and I’ve sought it out over these 50 years.  

I saw the Kansas City Philharmonic when they played a couple of concerts on the floor of the Cowtown Ballroom.  I took an unsuspecting date to a KC Lyric Opera performance of “The Flying Dutchman” after I read about a staging with an actual boat on stage.  As a date, I thought it was a disaster and so misread that she was willing to put up with even that to be with me.  Doh.

Opera is a better as an idea to me in the abstract than realized.  We saw a cousin of some sort of Ellen in the chorus of an Opera Theater of St. Louis performance of some Shakespeare tragedy wherein no one dies and I saw an uninterrupted dress rehearsal of the “Charlie and the Chocolate Factory” story.  I appreciated the opportunities to have those experiences more than the experiences themselves.

When on our European tour, we saw “Carmina Burana” performed open air under the basilica of a ruined church in view of the Colosseum and a guitar recital maybe also in Rome.I got to see Yo Yo Ma with the St. Louis Symphony at the last concert of Leonard Slatkin’s tenure and another time with some Elgar.

A one time knitting friend of Ellen’s is a cellist who led a chamber ensemble Configurations which I saw three times, including as a way to introduce Ellen to Katie Leach who at the time I knew a) knitted in my class and b) had a violin as a social media marker.  She liked the recital just fine, but vouchsafed that she actually preferred Irish music.  Oooookay then, we sure can do trad music, can’t we?

But all of those were before this more focused, reflective listening with Spotify to prepare for programs and then reinforce what I’ve heard.  By now, I have definite preferences—Baroque, chamber music, late 19th/early 20th Century French piano music—and even pieces.  But even something like Beethoven’s “Missa Solemnis” at Powell Hall from an amazing central box courtesy of Webster University patrons prompted preparatory listens and context.

The Baroque comes from Irish fiddler Martin Hayes drawing parallels between his craft and this music.  So I listen weekly to the nationally syndicated Sunday Baroque radio show and I took a class on the Bach Cello Suites.  I saw all 6 of them performed by Ken Kulosa on successive weeks at the Cafe of the Fine Arts which served drinks and food to accompany such things.  I’d seen a Kulosa recital at school perhaps a year and a half before which featured #5 and works by other composers from the era.  I went to a Bach concert from the St. Louis Bach Society which included various configurations including the Hanser/McClellan duo with friend John McC who taught that Bach Cello class.  They were great of course and added a young prodigy/protege.  There was also a guitar orchestra which was a little much.  But it was all Bach and related.

Webster University faculty and student recitals are a treasure I haven’t taken sufficient advantage of.  I owe Daniel Schene gratitude for opening up the world of Debussy’s Preludes and from that rich period—Ravel, Satie, and others.  

Bob Chamberlin is a good friend, ally, and comrade on many fronts; music has been part of the fabric of our friendship.  But that’s true of many friends, so I value a few glimpses of his professional life--an organ recital at the church he’s been trying to retire from, a “last lecture” with playing the piano backward, a great story about confounding his recital instructors who knew he hadn’t properly practiced but he could play credibly because he knew so much music broadly that he could know this specific music (there are several lessons there, right?), and a huge concert of his compositions at the big Episcopal Cathedral.  Bob’s music is always clever and thoughtful with nice twists--hand bells, tuba, bagpipes put into standard forms where they “shouldn’t” fit.

Matt Pickart is new Webster friend and is well plugged into the Upper Midwest strings world.  So he’s a brain to pick.  I had suggested a Focal Point concert of fiddle music but he said he had a “church” gig which turned out not to be a wedding or part of a service.  Instead it was a glorious concert in a church of the Mozart Piano Quartet for which he played a viola and the Brahms Piano Trio #2 which is on my regular forays into the genre.  

I’ve seen Eric Ring on bassoon twice.  The concert in Winifred Moore Auditorium had a contrabassoon/contra forte (a slightly differently constructed low double reed) duet.  But, I especially enjoyed a wonderfully intimate performance in the Recital Hall which included the Poulenc Piano Trio which is one of my favorite pieces.  

I have taken a sustained look at the piano trio because we got to watch historian friend and serious violinist Kevin Amidon rehearse Mendelssohn #2 with his cellist brother and a piano friend at his mother’s house on Lake Michigan in Glen Arbor.  We got to see it again by the Door County Midsummer’s Music’s trio this past summer along with trios by Clara Schumann and Robert.  We saw some Schubert, Haydn, and Raff in that same serious the year before.  That’s been a nice addition to our vacations when we get to Door County.

I especially appreciate Midsummer’s Music’s extensive curation that is true in general.  Programming is always intentional and drawing out the connections as a listener with the helpful guidance of the programmer makes it easy for would-be students of the music.  Jazz and jam band performances are more free-flowing and for them we had liner notes and now journalism, including fan based, which has served as a model for these writings of mine.  But, in this tradition, there are programs that you can prepare for and recreate or even recreate recitals/concerts you can’t attend.  

We tried a subscription to the Ariana Quartet at their UMSL home.  They are excellent but subscription series are mixed bags and we didn’t renew.

But this is important music too—and more so as I listen more intently to jazz which maybe should by now be called African American Tradition Art Music.

[inaneinthenextplane]

American Amnesia: A Case For Why Trump’s Administrative Evils Do Not Make bush Good

http://thehill.com/homenews/news/357109-poll-dems-have-favorable-view-of-george-w-bush

It's come to my attention lately that my fears have been verified, that a bunch of nice celebrity guest appearances and speeches condemning the obvious evils of white supremacy has worn away at American contempt towards one of their most vicious and prolific abusers. The news cycle has noticeably begun to handle this assassin of American moral character with kid gloves and in the ire & fire of public outrage against out current manchild-in-chief, his image has been successfully re-rehabilitated.

This is not okay.

Lets just go over some things this man has done:

The authorization of military force that has been used for years well into the Obama and now Trump administration to 'fight the war on terror' was tasked originally with hunting down Osama Bin Laden and deconstructing Al Quaeda, both of which were adequately accomplished. This same declaration fresh after 9/11 has been used to justify the executive branch occupying the countries of Afghanistan, Niger, Iraq, Libya (during the ousting of Ghaddafi), and many other countries. Normally wars have to be authorized via a congressional declaration of war, but the lawful lawlessness of every executive branch in the use of military force since Could Not have happened without this man.

This man also capitalized on 9/11 to push through the P.A.T.R.I.O.T. Act, an act which has effectively suspended habeus corpus & our fourth amendment rights, allowing the government clearance to access our personal information via a rubber stamp covering large swaths of many millions of Americans or if just suspected to be an enemy of the state.

The deployment of the Cuban naval station Guantanamo Bay as an extra-judicial prison designed to hold (largely foreign) captured enemies of the state in cruel conditions, & often subject to periods of torture during interrogation, began in 2002 not long after this man was elected. Part of Obama's path to the whitehouse was the broken promise of closing this HellHole, which stands in opposition to anything we ever say about human rights on an international stage.

This man was the progenitor of the drone program which left mechanized aerial warfare to what are fundamentally death machines in the sky. A military tactic we've used for taking out targets of interest, & that has resulted in the murder of many thousands of people unrelated to threats to our national security, for simply being in the wrong place at the wrong time & they are used to murder doctors, rescuers, and mourners after the job is sloppily done

https://www.salon.com/…/u_s_drones_targeting_rescuers_and_…/

I normally hate a lot about Salon.com, but Glen Greenwalds article & the information presented in it can be corroborated by many sources.

The double-tap drone strike designed to hurt civilians is a war crime, it threatens our safety on the world stage, and it is us allowing our government cannibalize any sense of honor we hold claim to.

Footage of helicopters killing 10 men in a street of Baghdad (including two journalists for Reuters) were leaked by the private Bradley Manning to Wikileaks and published under the title 'collateral murder'. A van stopped to assist the wounded and was fired upon, two children were wounded and their father was murdered. Nothing happened to the people who committed this act.

Private Manning was imprisoned under conditions of solitary confinement, subject to torture & humiliation, and was essentially until the ass end of the Obama administration thrown away for life for bringing to light this and other leaks to inform the American people of a war crime committed by their government.

During the election that 'won' him the presidency, the state of Florida (then governed by Jeb Bush) purged 50,000 black votes in an election that was critically close in terms of delegates. The supreme court would decide the outcome of the lawsuit that would follow, filed by Al Gore, two court judges both having been appointed by this mans father George H.W. Bush. Not to mention, this man attempted to appoint his own personal lawyer as a SC justice.

This man infected the educational system of the United States with curriculum centered around unscientific ideas such as intelligent design in direct opposition to evolutionary biology, abstinence only sex education which resulted in continued upward teen birthrates, and with the institution of No Child Left Behind the emphasis on education was placed upon student performance on standardized testing. This resulted in failing students dropping from public school, low scoring schools being punished in terms of funding, and the general destruction of well rounded educations designed in part to teach critical thinking skills.

This man carpet bagged someone whose primary experience was in the Rodeo Show business to be the head of FEMA who would then oversee a failure to appropriately respond to the disaster of hurricane Katrina. Chaos would ensue in New Orleans & it was a dramatic blow to American confidence in disaster repose.

This man withdrew from the Kyoto protocol on greenhouse gasses & undermined American regulation on the environment by defunding enforcement agencies, & disbanding a pledge to tax carbon emissions. This has set the United States back basically a generation in terms of the environment on top of what we now have with Trump.

This man had the audacity to cut funding for veterans he was sending out to war, gutting services to them by billions of dollars.

In fact, this man so skyrocketed the use of mercenaries that at the height of the Iraq war there were more private military contractors in Iraq than actual army soldiers. These mercenary companies like Blackwater would be implicated in various war crimes, where civilians would be, again, slaughtered by men who would face no fucking punishment or trial.

This man used false evidence through then defense secretary Colin Powell to justify an illegal war in the face of UN opposition, implicating Iraq in the events of 9/11 and as having amassed weapons of mass destruction with intent to kill Americans on the US mainland. Also using the testimony of an acrimonious political prisoner of Saddam Hussein code-named 'Curveball' to implicate the regime in Iraq further in falsified WMD claims.

This man had twice as many CIA (not FBI) agents fighting the failed war on drugs than he did tasked with even investigating terrorism.

This man was the first president to initiate 'free speech zones', not content to just monitor our speech but to tell us how we were allowed to protest and where.

This man assaulted abortion rights for women, defunding family planning institutions designed to help those who needed abortions. An actual ban was instituted on stem cell research, which set medical research back for years (they even made a South Park episode about it). He opposed gay marriage and continued DACA, maintaining the homophobic-ally motivated national ban on same sex marriage.

the bright side of his being president was the fact that he decided to leave when he had to.

This man was a national embarrassment, his capacity for constant gaffes even created the popularization of the 'bushism', these brought us humiliation whenever we made the mistake of turning on the news-you could look them up but I'll link here a compilation that demonstrates his capacity to fuck up worse than even Trump https://youtu.be/Be6tunbRcs8

This man is now LIKED BY THE MAJORITY OF DEMOCRATS & I know what this is, this is that Democrats are typically younger and don't remember what went on. And hey, nobody has to agree with me that as far as impact on social/economic/legal/foreign issues his administration is worse than currently is Donald Trumps by miles, & definitely the Obama administration.

But he's not 'good'. If there is a hell, this man is as good as there already. The evil shit that he was up to, I mean, you just aren't informed to me if you have a positive opinion of him at this point. I question your political judgement in all things if you like the shit was doing, or think at all that some bullshit speeches taking swipes at the man that tossed his brother around like a RagDoll compensates for the institutionalized suffering of human lives & the environment committed by him. I don't even think you can have sincerely held liberal or even libertarian principles if you like him, he appeals to a very authoritarian and ultra-conservative side of politics and exercised those tendencies in the ugliest of ways. He is a war criminal who should remain shunned by all media circles, & you should be distrustful of Anyone who gives him a platform in the media.

I don't even capitalize his name when I type it, this man is and will always be george w. bush to me. This borderline illiterate moron with his entire family dynasty has ruined much of what actually made our country great.

I don't normally like to make posts this long and drawn out in details, but I just found out about this & its verified my fears about the re-calcification of positive sentiment towards bush in the mainstream media, & this is just intensely demoralizing for me on a visceral level. I am frustrated with the political amnesia of my countrymen, and also their underlying lack of political principle. I don't want to harp too much on this but let this post be a testament to the fact that I have no tolerance for this man & neither should any of you Even if you have political beliefs aligned with him on some of the social issues or on things like taxes, (which I didn't even mention the bush tax cuts) but there's probably like a thousand ways this guy could have fucked up in a single year I could talk about.

Bottom line: things are ugly right now.

[theampreviews]

Favorite Films of 2016

2016 will probably be remembered more for its big budget flops like Ghostbusters, Alice Through The Looking Glass, The Legend of Tarzan, The Huntsman than for any breakout hits, outside of the obvious annual clock-punchers from Marvel and Lucas Film. From a distance a brace of Summer duds can unfairly colour a year, and that’s certainly the case for me. Aside from (and sometimes including) these under-performing, perceived failures, there was some absolute gold among the silt.   

Will Smith (and more to the point, his wife) throwing toys out the pram over the lack of an Academy Award nomination for Concussion [30] took away from what was an admirably thoughtful film about the heath issues plaguing the NFL. Sure, it was always Leo’s year, but he deserved to be in the conversation at the very least (although to be fair to the Academy, not making the final 5 doesn’t mean he wasn’t). 

Paramount continue to deliver under appreciated brilliance with the 3rd in their rebooted franchise, Star Trek: Beyond [29] hit all the right notes for a summer sci-fi blockbuster; fast, fun and frivolous. People complained it felt like an extended episode, but that’s exactly why I liked it, I’ve had enough of world building, just show me a good time. They also had another zinger at the start of the year with Michael Bay’s underrated 13 Hours [28]. Chances are his name alone, attached to a military action/drama, was enough to put audiences off, but they missed a trick skipping this one. He may be off-puttingly jingoistic, but he even managed to temper that somewhat here, whilst delivering action set-pieces that put most others to shame. 

Another notable failure of the year was Natalie Portman’s Jane Got A Gun [27]. It’s one of those “development hell” cautionary tales yet, it didn’t show its scars for me. I’m a big fan of Westerns and this one kept things intimate & lean, and all the better for it. The opposite of that, and another of the years casualties, was Duncan Jones’ Warcraft [26]. A (likely) failed franchise starter based on the oddly popular role play game, this was a hulking great bowl full of cinematic jelly & icecream that few bothered with. It certainly showed that The Hobbit likely killed off any notions of Fantasy’s great comeback. It’s a shame because amongst the ridiculousness, Jones managed to put some life behind the eyes of his CGI characters in a way that is desperately lacking in the craft (I’m staring you straight in your dead Peter Cushing eyes, Disney). 

Far smaller in scale (and finding a far smaller audience) was Elvis & Nixon [25], the Michael Shannon/Kevin Spacey comedy about the meeting behind the most requested photo in the White House archives. Shannon seemed unlikely casting for The King in a visual sense, but he finds ways to convey the spirit of Elvis (from what we know of him) that allows for the lack of physical likeness. Spacey, a familiar face in that room thanks to House Of Cards, is a far cry from finding the depths of Nixon that Anthony Hopkins did, but he’s fun in the role and the two enjoy a great chemistry behind their masks.

Don’t call it a comeback (people will yell at you), but seeing Mel Gibson back on screen in 2016 was a heartwarming delight. Blood Father [24] was a nice beefed-up throwback to the sort of films he made back in the 80s and 90s with one eye on the Liam Neeson market. A story of a loathsome alcoholic putting himself in harms way for redemption may have been a little on the nose for those that have no time for him, but they likely didn’t see it anyway. Nor did many make the trip to see another star of the 20-30 years past take a stab at the aging action hero in Kevin Costner’s batty Criminal [23]. The preposterous story of murderous psychopath being the only viable candidate for a dead Ryan Reynolds memory transplant, Criminal was loopy enough to rise above its own absurdity. It was also filmed in Croydon, adding to the whole whatthefuckness of it all. I had a blast with this one.         

A Bigger Splash [22] is one of those meandering films that does very little but won me over thanks to Ralph Fiennes being absolutely bloody marvelous. I’ve really taken to his latter day renaissance as a fine comedic actor. I’ve also taken greatly to Kiwi Comedy, and Hunt For The Wilderpeople [21] carries on their fine tradition of distinctly idiosyncratic humor that can be as heartfelt as it is hilarious, with a touching and delightful performance from newcomer Julian Dennison. Lenny Abrahamson also managed to balance both the traumatic and the sentimental perfectly, with a standout performance from the mini Jacob Tremblay, in Room [20]. As a huge fan of the …Top Model TV show (Australia, America, Britain in order of preference) I found Nicholas Winding Refn’s absurd psycho-horror The Neon Demon [19] a highly amusing satire on the fashion world. And there’s no denying he creates visually arresting films. I laughed my arse off at the ending, not sure if that was the desired reaction or not, but it worked for me. So to did Ben Wheatley’s immaculate construction of a simple metaphor, High-Rise [18], a tribute to decadence & squalor was one of those films that entertains as it confounds. Hiddleston, Miller and Evans were all superb. 

Hollywood reconstructions of real-life tragedies can often feel clumsy and exploitative but credit where it’s due, Peter Berg kept the glorifying heroics to a minimum (mercifully devoid of slow-mo) with Deepwater Horizon [17] and worked on delivering an effective build up to a chaotic and intense finale. Speaks volumes that the tech-heavy opening half is as gripping as the explosive stuff, if not more so.   For a subject that could feel a lot like homework, Adam McKay also made a bold and brash film out of The Big Short [16] that did a good job of explaining itself in entertaining ways and ended up being an incendiary and surprisingly emotional account of one of recent history’s most colossal financial tragedy. Bale’s Oscar nod was well deserved.

Deniz Gamze Erguven and his superb young cast tackled the depressing truths of life as a young girl in a strict Muslim country in Mustang [15] and breathed a commendable amount life and vitality into it. What could have been a grim tale of patriarchal oppression becomes a spirited bid for freedom. Wonderful film.

Amusing and emotional, the pairing of Michael Caine and Harvey Keitel looking back on lives lived and/or wasted worked wonders for me. A heady mix of regret and sensuality with segways into the sublime and the ridiculous, Youth [14] was a sensory cocktail. Rachel Weisz was the standout, one of my favourite performances of the year.

On paper, Captain Fantastic [13] looked like a Wes Anderson wannabe, touchy-feely cringe fest but, despite appearances, this was one of the most affecting films I saw all year. Put me in a brilliant mood, and that’s worth celebrating. As did The Jungle Book [12]. This was pure joy; an old fashioned story told with the very best technology the industry has to offer, without losing any of its heart or soul. Sets the standard for all future Disney live action adaptions. Bravo, Favs!

With Boyhood leaving me pretty cold, aside from an appreciation of the impressive production scale, I was glad to see Richard Linklater revisit Dazed and Confused (always my favourite of his films) by way of an anthology-style sequel in Everybody Wants Some!! [11]. Following a group of two-track minded Jocks (Baseball & Women) this became a casualty of the super-Woke climate of 2016, but I frigging loved it. Good to see more of the promising Wyatt Russell and a (should have been) star making turn from Glen Powell. One of the best feel-good Comedies I’ve seen in an age.

Hell Or High Water [10] was an incredibly simple story of Cops n Robbers incredibly well told. Sometimes, that’s all it takes. (It also featured the years most satisfying beatdowns)  

Tobias Lindholm is one of my favourite filmmakers to emerge in recent years; writer of The Hunt and director of A Hijaking, two of my favourite films of 2012 (numbers 1 & 3 respectively). A War (Krigen) [09], staring A Hijacking’s brilliant Pilou Asbaek, is a taught drama covering the trial of a Danish Commander accused of an illegal killing (or, civil murder) in Afghanistan. Frustrating and engrossing in equal measure, this is the type of honest, contemplative war films rarely seen in Hollywood.

With all the dust settled on the DiCaprio Oscar Campaign, The Revenant [08] stands tall as a devilishly engrossing revenge thriller that’s as linear and explosive as any Hollywood Action Flick, despite its protestations to be something more cerebral/spiritual. And, for what it’s worth, Leo was fucking great. Films rarely look, sound or feel this good. 

If Blue Ruin made me take notice of Jeremy Saulnier in 2013, this years Green Room [07] ensures I will be there day one for whatever he comes up with next. A brutal, claustrophobic rush of Horror-Realism, this was a huge “Fuck You!” to the bland and predictable schlock that spills out of studios all year. It’s also a punk-as-fuck farewell to the late Anton Yelchin, who’s premature death this year was the biggest gut punch.

For too long Hollywood has paraded The Great White Hope in boxing movies (and still does), so it was great to see the Daddy of them all address the balance by bringing Apollo Creed’s son front and center to carry on this beloved franchise in Ryan Coogler’s euphoric Creed [06]. Michael B Jordan is stellar in the lead role and Stallone gifted one of Cinema’s most enduring Icons a worthy and heartfelt send-off. For people of a certain age, this was their most emotional trip to the cinema in 2016.

Continuing my love affair with Danish cinema, Anders Thomas Jensen’s absurdly wicked comedy Maend & Hons (Men & Chicken) [05] playfully flirtswith horror and pathos in ways I’ve seldom seen. Finding a beauty in the grotesque, this was the most bizarrely fascinating and fulfilling film I saw all year, one that had me going over what I’d seen for hours after as it revealed ever more miniature complexities. It’s also great to see Mads Mikkelsen taking huge roles in two of the years biggest Disney behemoths but still have enough love in his native Cinema to fit something lie this in too. What a guy.

Shane Black’s sense of humor really clicks with me (Kiss Kiss Bang Bang is a Hall Of Famer for me) and The Nice Guys [04] had me rolling. Russell Crowe was game for playing the straight guy to a movie-stealing performance from Ryan Gosling, who, it turns out, is a Comedy Genius. The Year’s best Comedy, hands down, and a film that already appears to have endless rewatchability.

Another film that I’ve had no issues with watching several times last year, despite its hefty run-time (4 at last count) was Tarantino’s The Hateful Eight [03]. Outside of the exceptional run of his first three films, this is QT’s MASTERPIECE. His writing is as good as it has ever been but his growth as a Director is most evident in this film. I feel like I’m in that haberdashery with them every time I watch this; it’s some of the richest story telling I’ve ever seen with a brace of stellar performances.

Then we come to my most contentious pick in all of 2016; Batman v Superman [02]. I’ll never apologise for liking this movie as much as I do, but the amount of scorn thrown its way needs to be acknowledged. The disappointment most people felt with this film seems to boil down to one thing: Zack Snyder. People don’t like him or his style of film-making. I love him. As annoying as it has proved to be to express to people; for me Snyder has made the best Comic Book Movie yet. It’s an absolute tour de force of owning the world you’re creating, not apologizing for it or trying to excuse the inherent absurdities with knowing humor or smug cynicism. Sure, it aims for the Man-Child audience du jour, kids will be bored to death here (as many adults were, yes, yes, bravo) and that’s something I think is a fault with the Genre across the board, but Snyder sets his tone and rides it, hard. Going for broke with the grand mythologizing, Snyder has taken a huge leap with the DCU and, whilst for many he has landed flat on his face, I think he soars. Henry Cavill’s conflicted Superman is the most interesting take on the character I’ve seen yet. The distrust shown him by the people he’s promised to protect making him question his role on Earth gives what has been a rather bland Hero in the past an actual arc, and Cavill is just brilliant. So to is Ben Affleck as an aging and unforgiving Batman/Bruce Wayne. Even Jesse Eisenberg’s infinitely irritating Lex Luthor worked a treat for me. I’m not being contrarian when I champion this film, I went twice to see it at the cinema (regular and IMAX) and have subsequently watched the (superior) Ultimate Cut at home a further two times; my feelings towards it only grow with each viewing. 

And that brings me to my number one, which will be a surprise to exactly no one who has had to endure my gushing over this film since the BFI London Film Festival Gala screening in October of 2015; Bone Tomahawk [01].

This isn’t just my favourite film of the year, it’s my favourite film in over a decade. A brutal Western with Horror trappings starring America’s Greatest Actor Kurt Russell, it felt like this film was made just for me. For all the gold standard performances (Russell is on career best form, Matthew Fox is a revelation and Richard Jenkins straight-up steals the movie) it’s S. Craig Zahler’s screenplay (married to his beyond-his-years debut direction) that sets Bone Tomahawk apart form the pack; it’s an exemplary piece of writing that should be praised until the end of time.

It’s easy to say “I love this movie”, but I legitimately *love* Bone Tomahawk.