Hello, dear readers. Mr. Drew back, to take you on another trip through the multiverse of media. I thought I’d do something different today and talk about one of my all-time favorite albums which is turning 20 today: Vol. 3 – The Subliminal Verses by Slipknot. After first listening to it in my senior year of high school (around the time they put out 2014’s .5: The Gray Chapter), I immediately became hooked on the masked Nine from Des Moines. So let’s delve into why this album still holds up years later. As always, enjoy, ‘cause there ain’t no law against it!
Having established themselves across their first two albums, Slipknot had the world in their eighteen hands at the dawn of the new millennium. So naturally, they decided to shake things up for their third LP (produced by modern maestro Rick Rubin) and introduced melodic, clean elements into their metal landscape.
For example, The Nameless contrasts harsh vocals with softer sung choruses to portray the dichotomous relationship between an abuser and their partner, and features marching band drumming courtesy of percussionists Chris Fehn and Shawn “Clown” Crahan.
Very ingenious instrumentation.
Also, their first completely acoustic song surfaces on Vermilion Pt. 2, detailing unrequited love we’ve all had towards someone.
Well, that was different.
Finally, Pulse of the Maggots gives back to their loyal fanbase (the term not being as condescending as one would believe.)
Most importantly, Vol. 3: The Subliminal Verses had the song that introduced me to the band: Duality. I feel like it’s mainly famous for its perfectly insane music video that featured a fan’s house being destroyed by the loyal maggots, yet the lyrics about ending seemingly never-ending pain is relatable to so much of the projected demographic.
Hope his home is insured.
My personal favorite song on the album, though, has to go to the Grammy-winning Before I Forget. I recall the first time I heard it, and it’s never escaped my mind. I’ve always been comfortable with being who I am, and this is the perfect anthem with which to silence the naysayers. The music video featuring the band members maskless is always a really positive adrenaline pumper.
No words.
Overall, Vol. 3 is almost all killer no filler and is regarded amongst not only Slipknot’s best albums, but one of the best metal albums of the 21st century. So if you’re looking to rage but want it to stay clean, this is the LP for you.
Thanks as always for reading, watching and listening, my dear readers. I’ll see you next time; until then, the balcony is closed.
Good afternoon, my cinephiles. Mr. Drew here, to chat with you guys for a bit. Today is the 25th anniversary of Star Wars: Episode I – The Phantom Menace, a movie so hyped and so polarized upon release. I was able to see it recently in theaters (definitely worth it), and I have to say: I’m not exactly sure what all the hate was about. Sure, it’s flawed, but it’s not the terrible movie I was previously led to believe. Add to that the fact that it’s become the most viewed SW entry on Disney+.
So today, I’m going to take a deep dive into The Phantom Menace and find out why some diehard fans were so put off by this fourth installment in the long-running franchise. As always, enjoy, ‘cause there ain’t no law against it!
First, I’ll start with what didn’t work with this flick. To address the Gungan elephant in the room, Jar Jar Binks is quite possibly the most annoying character not only in Star Wars, but in all of cinema. He almost never shuts up, gets on people’s nerves and was somehow supposed to be the comic relief. As a whole, Jar Jar doesn’t really mesh well with the overall tone of the movie. In no way do I blame actor Ahmed Best for this travesty, since he just played the role to the best of his ability. But there was one good thing about this character, which I’ll discuss later.
Ahmed Best wants to do a John Wick-style Star Wars movie. I’d be down.
The other thing that just didn’t work for me was the script. In some cases, it felt like a second grader wrote it; clearly, George Lucas should stick to directing in my opinion, since he’s clearly a better visual storyteller than a literal one. Just look at this prelude to the final battle of Naboo.
Now onto what worked for this movie. First up, the sound design was very on-point from what we’ve come to expect from the master that is Ben Burtt. Equally perfect was the CGI used to bring some characters to life. While a few shots look a little dated, for 1999 some shots were quite good thanks to Industrial Light & Magic.
Speaking of CGI, Jar Jar Binks visually was revolutionary for its time, helping to pave the way for Avatar (2009) and Thanos in the MCU. The fact that they put a visor over Ahmed Best’s eyes and a mold of the character atop his head helped the other actors with their eye lines. This way, they wouldn’t spend the whole movie chiding his neck.
Another aspect I loved was the score by some random guy named John Williams. There isn’t a bad movie this guy has done that I know of, and even on decent flicks his compositions still elevate scenes. In fact, with this movie he provided one of his best works with Duel of the Fates. Which leads to…
The best scene of The Phantom Menace is undoubtedly the final lightsaber duel pitting Qui-Gon Jinn (Liam Neeson) and Obi-Wan Kenobi (Ewan McGregor) against Darth Maul (Ray Park). The original trilogy’s saber fights were great on their own merits, but this moment made the classic duels look stiff by comparison. Park’s acrobatic skills were put on show in what might be the best example of a great scene in an otherwise “bad” movie. And as mentioned before, Mr. Williams’ epic score makes the fight even more badass.
I think this speaks for itself.
There are a few effects of this movie that are often overlooked. Lego put out their first licensed brand in support of The Phantom Menace, and since then have branched off into Indiana Jones, Harry Potter, Batman, Disney, etc.
Also, it’s crazy to consider the fact that Sofia Coppola may not have become a director had she not been involved in this movie. That’s right, she’s in this, and no, she doesn’t have any lines. However, she did learn the basics of being a director, which she transferred to working on The Virgin Suicides that same year. Similarly, a then unknown Keira Knightley stars in this as Queen Amidala’s (Natalie Portman) decoy, due to her uncanny resemblance to Ms. Portman. Who knew?
In conclusion, Star Wars: Episode I – The Phantom Menace may have its detractors, but it also has a lot of fans like myself who look past the flaws and see it for the misunderstood masterpiece it is.
Thanks as always for reading/watching, my cinephiles. I’ll see you next time; until then, the balcony is closed.
Hello, my cinephiles! Mr. Drew here, to bring you guys on yet another cinematic journey. I recently saw Dune Part Two and was astounded by the scale of it, and also how the film eclipsed its predecessor in almost every way. So that prompted me to sit down and think about what other sequels are similar in that regard.
So here’s my list for the Top 10 best sequels of all time. If there’s a movie I left out, please let me know in the comments. Enjoy, ’cause there ain’t no law against it. Warning: contains spoilers, strong language and strong violence.
10. John Wick Chapter 2 (2017), by Chad Stahelski: Let’s start with the beginning of the John Wick universe. The first movie was a fine standalone flick, but this follow-up was the opportunity to do some unique world building. Keanu Reeves’ eponymous assassin must navigate the underworld once again to carry out the needs of an overly ambitious individual. More gunfights and crazy stunts inevitably ensue.
“Guns. Lots of guns.”
9. Dune Part Two (2024), by Denis Villenueve: I saw this film on Friday and I’m still recovering from the sheer scope of Villeneuve’s vision. Picking up after the devastating events of the first film, Paul Atreides (Timothee Chalamet) links up with the Fremen people of Arrakis whilst seeking revenge on the dreaded Harkonnen family. Think a more mature take on Star Wars.
I’d see this again in a heartbeat, even though it’s almost three hours long.
8. The Raid 2 (2014), by Gareth Evans: Those who have stuck with me throughout the years shouldn’t be too surprised with this entry. I’ve already sung my praises time and time again, but suffice it to say that this film pulls a John Wick and expands on the world building as Rama (Iko Uwais) navigates the criminal universe to seek out potential police corruption. Can’t believe it’s been ten years!
Quite possibly the best fight scene of all time.
7. Aliens (1986), by James Cameron: While Ridley Scott’s 1979 opus is sci-fi horror, this sequel is definitely sci-fi action. Cameron brings us back to the future as Ellen Ripley (Sigourney Weaver) awakens after 57 years to find out that the planet where her crewmates were killed has now been colonized. So she teams up with space marines (including Michael Biehn, Paul Reiser, Lance Henriksen and Bill Paxton) to investigate a distress signal. What’s worse than one acid-spewing alien? How about a damn army?
Weaver got a Best Supporting Actress Oscar nomination for this film. I can see why.
6. Spider-Man 2 (2004), by Sam Raimi: This might be the best version of our friendly neighborhood hero the big screen had to offer until Into the Spiderverse. Tobey Maguire returns as Peter Parker, who must contend with college life while a new menace to NYC arrives in the form of Doctor Octopus (a perfect Alfred Molina). With a better script and improved character development, there’s very little to hate with this sequel that still holds up twenty years later.
These guys are determined to get to work on time.
5. The Dark Knight (2008), by Christopher Nolan: Another film that has been talked about time and time again, Nolan’s second installment of his acclaimed Dark Knight trilogy finds Batman (Christian Bale) having to deal with the nihilistic Joker (the late legend that was Heath Ledger). While the whole movie is pretty solid, the Clown Prince of Crime elevates it in ways equivalent only to Daniel Day-Lewis. Now, let’s put a smile on that face!
Ledger deserved his Oscar, just for this scene alone.
4. The Lord of the Rings: The Two Towers (2002), by Peter Jackson: All it took was the entrance of Gollum (Andy Serkis) to differentiate The Fellowship of the Ring from the other films. Aside from him, Frodo (Elijah Wood) and Sam (Sean Astin) continue on the path to Mordor while Aragorn (Viggo Mortensen), Legolas (Orlando Bloom) and Gimli (John Rhys-Davies) go to make a stand against the forces of Saruman (Christopher Lee). Two Towers features quite possibly the best battle scene in any film, being the fight at Helm’s Deep.
Gandalf ex machina.
3. Terminator 2: Judgment Day (1991), by James Cameron: While the first Terminator was a solid flick, Cameron decided to up the ante with this superb follow up. The T-850 (Arnold Schwarzenegger at his finest) travels from 2029 to 1994 to protect John Connor (Edward Furlong) from the menacing T1000 (Robert Patrick). Along the way, they run into John’s mother Sarah (Linda Hamilton), who’s been institutionalized for firmly believing in the eventual apocalyptic arrival of the machines. Recently submitted into the National Film Registry at the Library of Congress, this might be the best action film ever made.
Get down!
2. The Godfather Part II (1974), by Francis Ford Coppola: Many people consider this mob classic as the definitive Godfather movie, and while I disagree (I see both movies as one), I can understand why. It’s both a sequel and prequel, in that we follow the further adventures of Michael Corleone (Al Pacino) as he continues being the head of the family in Lake Tahoe; meanwhile, his father Vito (Robert De Niro in an Oscar-winning turn) ascends to a similar rank in New York’s Lower East Side. While this film is almost 3 and a half hours in length, Coppola’s masterful direction ensures that every second is certainly worth it.
How was Cazale not nominated based off just this scene? Very underrated actor.
Star Wars: Episode V – The Empire Strikes Back (1980), by Irvin Kershner: It was tough, but in the end I had to go with this one. No expected the second movie of the soon-to-be-burgeoning franchise to be downbeat after the uplifting finale of A New Hope (1977), but that’s what we got within the first thirty minutes. While Han Solo (Harrison Ford) and Princess Leia (Carrie Fisher) evade the persistent forces of Darth Vader (David Prowse/James Earl Jones), Luke Skywalker (Mark Hamill) travels to the remote planet of Dagobah to seek guidance from the mystical master Yoda (Frank Oz). While there’s barely a filler moment in this opus, the famous twist is what comes to mind for pretty much everyone.
Best. Twist. Ever.
As always, thank you guys for joining me on this cinematic venture. Stay safe out there and I’ll see you next time; until then, the balcony is closed.
Hello, my cinephiles. Decided to try something different this time, and I appeared on Josh Lindquist’s podcast Nerds & Friends to promote my Top 10 Movies of 2023. Enjoy, ’cause there ain’t no law against it!
Good afternoon, my cinephiles. Mr. Drew here, to take you on a journey into the near future. 2023 was a fun year for film, but 2024 isn’t exactly slouching either. So here’s my list for the most anticipated films of the year. As always, if you think I left something out, feel free to let me know in the comments. Enjoy, ’cause there ain’t no law against it!
10. Madame Web, by SJ Clarkson (2/14): The Sony Universe hasn’t really had the best track record (I’m looking at you, Morbius). But this origin story about Cassandra Webb (Dakota Johnson), a Manhattan paramedic with clairvoyant abilities, might be the hit that Sony needs.
9. The Beekeeper, by David Ayer (1/12): Speaking of comebacks, David Ayer returns to the directors chair to bring us this timely tale of a mysterious man (Jason Statham) who embarks on a rampage of revenge after his friend gets scammed by the government. Let’s just say he may not spend the entire movie tending to his bees.
8. Godzilla x Kong, by Adam Wingard (4/12): After the surprise success of Godzilla Minus One last month, it’s only fitting to have our favorite kaiju team up with Kong to take on a new threat to the world. Can’t they just talk it out like normal creatures?
7. Argylle, by Matthew Vaughn (2/2): Henry Cavill in a flattop? There’s the ticket. Matthew Vaughn returns to originality with this unique tale of a spy novelist (Bryce Dallas Howard) drawn into a mysterious underground syndicate.
6. Ghostbusters: Frozen Empire, by Gil Kenan (3/29): With 2021’s Ghostbusters: Afterlife winning over audiences in the aftermath of the pandemic, the sequel finds the eponymous team joining forces with the original gang to combat an evil force that threatens to freeze the world solid. So, think Batman & Robin (1997), but a lot better.
5. Kraven the Hunter, by JC Chandor (8/30): Originally slated for release last October, this ultraviolet origin story of one of Spider-Man’s more notorious adversaries finds Aaron Taylor-Johnson as Sergei Kravinoff, a Russian immigrant who’s determined to prove he’s the world’s best hunter.
4. Furiosa, by George Miller (5/24): With Charlize Theron’s scene-stealing performance in the Oscar-winning Mad Max: Fury Road (2015), audiences naturally wanted to know more about her character. This summer, we’ll get our questions answered with Anya Taylor-Joy as the titular heroine and more mind-blowing car chases.
3. Dune: Part Two, by Denis Villenueve (3/1): After seeing Part One a few years ago, I naturally didn’t want this epic story to end. Fortunately, we’ll see how Paul Atreides (Timothee Chalamet) rises up and prevents the Harkonnens from taking over the galaxy. It’ll be a trip to see the sandworms in action on the big screen.
2. Joker: Folie a Deux, by Todd Phillips (10/4): Not much is known about the sequel to the first R-rated movie to break $1 billion at the box office. What we do know is that Lady Gaga will play Harley Quinn, and it’ll be a musical. Based on the image below, I’ll be ready to be unnerved.
Yeesh.
Deadpool 3, by Shawn Levy (7/24): While I enjoyed Hugh Jackman’s final performance as Wolverine in 2017’s terrific Logan, I felt like we would never see him alongside Ryan Reynolds as Deadpool (even though we saw that in X-Men Origins, they were both treated disrespectfully). However, this summer, we’ll finally see the buddy-cop dynamic between the two that is fueled by the real “rivalry” with Reynolds and Jackman.
It’s not sleeveless, but it’s a good look on Jacked-man.
Thanks for taking this journey with me, my cinephiles. Stay safe out there, and I’ll see you next time. Until then, the balcony is closed.
Good morning, everyone! Mr. Drew here, to share with you a look back at the year in music. A lot of great bands made much needed comebacks while others simply maintained their momentum.
Music has always been my salvation (especially over the last few years), so that made compiling this list a bit difficult. So here’s my picks for the top 23 albums of 2023. If there’s an album you feel I forgot to mention, please say so in the comments. Enjoy, ’cause there ain’t no law against it! Warning: Some language.
23. Fatalism, by Polaris: After hearing their 2020 opus The Death of Me, I soon became a fan of this metalcore group from Down Under. Fortunately, their third album didn’t disappoint.
22. The Jaws of Life, by Pierce the Veil: One of many artists on this list who returned after a lengthy hiatus, this San Diegan post-hardcore band showed that they’ve still got what it takes to entertain the masses.
21. Foregone, by In Flames: When I heard the first few singles released by the Swedish melodic death metal maestros, I knew we were in for another terrific outing. Boy, was I right.
20. CMF2, by Corey Taylor: The Slipknot frontman once again showed that there’s more to him than just screaming with his solo outing that predictably avoided the dreaded sophomore slump.
19. Where Do We Go From Here?, by Asking Alexandria: While this British metalcore group have always delivered honest introspection in the past, this time they decided to just release crowd-pleasers for their fans. Mission accomplished, gents.
18. This is Why, by Paramore: Over the last month, I’ve developed into an “emo phase” thanks to Fall Out Boy (more on them in the next entry) and this band fronted by the incomparable Hayley Williams. Branching away from the pop punk/emo of the past and moving forward into post-punk and rock revivalists, Paramore has shown once again that they’ve yet to rest on their laurels.
17. So Much (for) Stardust, by Fall Out Boy: I know that Fall Out Boy in the 2010s weren’t quite as good as they were in the 2000s, but their latest outing showed them going back to their emo roots while delivering a fun, updated cover of Billy Joel’s We Didn’t Start the Fire.
16. Confessions of the Fallen, by Staind: I admit, I was a bit surprised when Staind dropped their first record in 12 years. But after listening to the first song on it, I knew the boys were back. Thanks, Aaron Lewis, for once again reminding us why you should be amongst the best frontmen in rock.
15. Hackney Diamonds, by The Rolling Stones: For these legends, age really is just a number. Despite the death of their longtime drummer Charlie Watts in 2021, Mick Jagger, Keith Richards and Ron Wood powered on to deliver not only their most original material in 18 years, but also what might be their most energetic record since Tattoo You (1981).
14. The Surface, by Beartooth: Another band that’s all about introspection, Ohio’s Beartooth has frontman Caleb Shomo finally sounding positive, having dumped his mental health issues into his songs in previous releases. Thanks, guys.
13. Holocene, by The Ocean: This German metal band have always done excellent concept albums that keep people riveted despite the long running times, and Holocene is most certainly no exception.
12. Life is But a Dream…, by Avenged Sevenfold: After seven years, this Huntington Beach group returned with their most experimental and polarizing release yet. By melding together various styles into an engrossing whole, they’ve managed to show that they belong in their own camp.
11. The Other One, by Babymetal: In a year that also saw them collaborate with guitar whiz Tom Morello, Babymetal showed that despite losing a band member, they still have what it takes to soldier on an deliver for their loyal fans.
10. The Harmony Codex, by Steven Wilson: Following last year’s Porcupine Tree release Closure/Continuation, Mr. Wilson delivered his best album in years with a unique mixture of progressive rock, electronic music and art rock.
9. War of Being, by Tesseract: The British djent pioneers have described their latest concept album about looking inwards. Traversing a variety of styles and time signatures, it’s definitely a record that’s worthy of its hour-long runtime.
8. Stone, by Baroness: Frontman John Dyer Baizley has stated that the color saga that started with their 2007 debut Red Album ended with 2019’s Gold & Grey. While that did briefly sadden me, I had a feeling he wasn’t quite finished yet, and this latest opus was pure evidence of that fact.
7. Tether, by Of Mice & Men: The Costa Mesa metalcore quartet can almost do no wrong, and frontman Aaron Pauley showcases his range over ten tracks that deal with salvation and solace.
6. Periphery V: Djent is Not a Genre, by Periphery: Self-deprecating title aside, the Washington, DC group dropped this terrific album in March and showed why djent truly is a genre over 70 breathtaking minutes.
5. Death Below, by August Burns Red: I’ve been a fan of this metalcore band ever since I went to college, and they seemingly can do no wrong. Bringing in guest musicians like Underoath’s Spencer Chamberlain and Jesse Leach from Killswitch Engage only helped to further show why these guys are tough to beat.
4. But Here We Are, by Foo Fighters: I was incredibly devastated to hear of longtime drummer Taylor Hawkins’ untimely passing last year, especially since this was the second time one of Dave Grohl’s bandmates succumbed to their illness. Nonetheless, I breathed a sigh of relief when the lead single from But Here We Are dropped in the spring of this year, as Mr. Grohl never struck me as the type to give up.
3. Atum: A Rock Opera in Three Acts, by Smashing Pumpkins: For every fan of Mellon Collie and the Infinite Sadness, this lengthy album was certainly a terrific sequel. Releasing the acts over the course of several months, Billy Corgan once again showed why his band are the kings of alternative rock.
2. One More Time…, by blink-182: Hearing the news of Tom DeLonge returning to blink-182 filled me with a lot of hope for the pop punk legends, but this album surprised me still. With a title track that nearly made me cry to Part 3 of their long-running Anthem series, it brought me back to the good ol days of Enema of the State (1999), Take Off Your Pants and Jacket (2001) and their self-titled effort (2003).
Most Surprising Song Release – Now and Then, by The Beatles: Wait, is this 2023, or 1973? In this song borne out of cassette tapes that late frontman John Lennon recorded in the mid-70s, Paul McCartney and Ringo Starr finish this terrific song in tribute to their fallen brothers. While not their best, it’s certainly a reminder of why the Beatles are still talked about over 50 years after their dissolution.
72 Seasons, by Metallica: It just had to be this album. In what might be their finest album since their 1991 self-titled offering, Metallica keep firing on all cylinders in their surprise fifth decade. Nearly every song is worth a listen, which is why it tops my list for the best records of the year.
Thanks for reading/watching/listening, dear readers! Hope you all have a very safe New Years, and I’ll see y’all next time; until then, the balcony is closed.
Hello, my cinephiles! Mr. Drew here, after quite some time away. I got a second job, so that kinda ate up my time. However, now that I’ve managed that aspect of my life, I feel I owe it to you guys to get back to what I do best.
Recently, I saw that Netflix put up Marvel’s first cinematic adaptation of their resident Not-So-Jolly Green Giant, which turned 20 this year. (Man, I’m old.) I used to love this movie when I was younger, and I decided to take a look again now that I’ve got more years under my belt. Here’s what I came away with.
One of the better Hulk adaptations (imo).
Fresh off the massive success of Sam Raimi’s Spider-Man (2002), Marvel wanted another hit on their hands and got Ang Lee to helm their next film. While I don’t feel that Mr. Lee was the best choice for a movie of this caliber, I do admire his effort. He purposefully chose to film everything like it was a comic book, which involved shooting multiple takes a la Kubrick. I thought it was pretty fun to see as a kid, and I still feel it’s a pretty sleek creative decision.
Take 4 of 40.
One thing that got a lot of criticism at the time was that there was barely an humor in the film. Lee wanted Hulk to be like a Greek tragedy, since Bruce Banner fit those characteristics quite well. I feel that it was a bit too soon after the aforementioned Spider-Man for audiences to digest a movie like this. That being said, tons more comic book movies have followed a similar format [Watchmen (2009); The Dark Knight (2008); Captain America: The Winter Soldier (2014); Logan (2017); Joker (2019); The Batman (2022)], and the successful Incredible Hulk TV show from the 70s unintentionally set that bar.
Two legends: the late, great Stan Lee and Lou Ferrigno – the real Hulk.
One aspect that made me appreciate this film is the unbelievable score by the icon that is Danny Elfman. He wanted to pay homage to Bernard Herrmann, and it definitely helps in making Hulk stand out all these years later.
This almost gives Alan Silvestri’s Avengers theme a run for its money.
In terms of performances, two really stand out. Sam Elliott, in my opinion, is the definitive General “Thunderbolt” Ross: brash, determined and uncompromising. While his goal is keeping his daughter Betty (Jennifer Connelly) safe from her ex-boyfriend Bruce (Eric Bana), he’s nonetheless prepared for any possible outcome. The mustache is a nice touch, although Elliott wasn’t sure about it at the time. But the real star was Nick Nolte (messy hair and all) in a frightening turn as David Banner, father of Bruce and resident wacko. His experiments with human cellular regeneration result in him enlisting himself as a test subject; however, he passes on the genes to his son and becomes obsessed with helping him show the world who he really is. Nolte’s final showdown always has me in stitches for how much he doesn’t care.
Get a haircut, dude.
When it comes to the CGI, it’s not perfect, but for the most part it holds up fine. Lee wanted to use CGI to bring the Hulk to life, and even assisted in standing in for motion capture. But the scariest thing about this version of the giant is that there’s seemingly no end to his power. Due to the trauma that Bruce Banner endured as a kid, it definitely adds fuel to the fire in terms of his Hulkouts.
This guy should see a shrink.
“You’re making me angry.” “Oh, am I?” Run, b$%#h, run!!!
Hulk also features one of my favorite endings in cinema, which shows Bruce now somewhere in Central America still helping people when he encounters a local militia.
My one problem: We should’ve seen Hulk tear those guys apart.
Overall, Hulk (2003) does have flaws, but it’s not exactly as underwhelming as everyone thought at first. People forget how essential the film is in terms of paving the way for the future Marvel Cinematic Universe, and for that it’s developed a following over the last twenty years. Speaking of which, Eric Bana has gone on record as stating that he’s unwilling to return to the character, but I’ve got a feeling they’ll chuck a good chunk of change in his direction for him to appear in Avengers: Secret Wars.
What are your thoughts about this misunderstood masterpiece? Please say so in the comments. Thanks as always for having me back, my cinephiles. Hope you enjoyed it, cause there ain’t no law against it. See ya next time; until then, the balcony is closed.
Good morning, my cinephiles. Mr. Drew here, to deliver another year-end list.
This has been a better year in terms of movie-related output. It wasn’t too difficult to nail it down, but here’s my top 10 favorite movies of 2022. Enjoy, ‘cause there ain’t no law against it! Warning: contains spoilers, language and strong violence.
10. Scream, by Matt Bettinelli-Olpin and Tyler Gillett: Let’s reimagine the idea of the legacy sequel. Set 25 years after the original Woodsboro, CA murders, a new killer dons the iconic Ghostface mask and targets a groups of teens with the intent of uncovering secrets from the town’s dark past. The opening scene is a good homage to the iconic moment from the first movie.
Poor Wednesday.
9. Blonde, by Andrew Dominik: Welcome to the most controversial movie not directed by Oliver Stone. In Netflix’s first NC-17 rated film, Ana de Armas steals the flick as Norma Jean in this fictionalized biography of the world’s first sex symbol. Moments where she’s reenacting Some Like It Hot and The Seven Year Itch are expertly handled. While not an easy watch, it’s an interesting revisionist view into Norma Jean’s fractured psyche.
At times, she sounds just like Marilyn.
8. Doctor Strange in the Multiverse of Madness, by Sam Raimi: I was psyched when I heard that Mr. Raimi would be returning to the Marvel universe after the misguided but well-intentioned Spider-Man 3 (2007). Dr. Strange (Benedict Cumberbatch) must protect America Chavez (Xochitl Gomez) from Wanda Maximoff/Scarlet Witch (Elizabeth Olsen in what might be her best performance as the character), who’s targeting the former due to her universe-hopping capabilities. The first MCU film to tackle the multiverse, the results are quite intriguing to say the least.
This was almost as depressing as the end of Infinity War. Almost. Everyone in the theater was shocked.
7. Black Adam, by Jaume Collet-Serra: The DC universe hasn’t had as good a track record as the MCU in terms of cinematic content, but this entry is certainly a major exception. Teth-Adam (Dwayne “The Rock” Johnson) awakens after being entombed for 5000 years, and prepares to unleash his unique form of justice on the modern world. Johnson does a good job portraying the gritty antihero, and Pierce Brosnan steals the show as DC’s version of Dr. Strange, Dr. Fate. While not the best DC film, it’s nonetheless a good time for those who are tired of black and white heroes and villains.
You can’t beat the devil.
6. Nope, by Jordan Peele: After the disappointment that was Us (2019), I was waiting to see what Peele’s next film journey would bring us. In inland California, OJ Haywood (Daniel Kaluuya) and his family bear witness to a phenomenon that affects the entire gulch. With random objects falling from the sky after the sudden death of his father, OJ and his sister Emerald (Keke Palmer stealing the show) enlist the help of tech salesman Angel Torres (Brandon Perea) and documentarian Antlers Holst (Michael Wincott).
I wonder if this ever happens at Sea World.
5. Jackass Forever, by Jeff Tremaine: I’m not gonna sugarcoat things: The last two years have been a complete s^&*show. This phrase is one I would’ve never thought to say: I’m glad there was a new Jackass film this year. It was certainly worth it seeing our favorite boys damaging their bodies for our entertainment. For the first time, there’s the first female member of the team, while the veterans (Johnny, Steve-O, Chris, Preston, Wee Man, Dave, Ehren) treat Forever as their possible swan song. Thanks, gents!
“So if we get bit, we die.” Nice observation, genius.
4. Glass Onion, by Rian Johnson: I just saw this yesterday, and I enjoyed it more than I thought I would. Daniel Craig returns as renowned detective Benoit Blanc, who’s invited to the party of tech tycoon Miles Bron (Edward Norton) in Greece along with the latter’s eclectic group of friends. Those of us who enjoyed Knives Out (2019) will enjoy this unique murder mystery, complete with the exotic locale and ensemble cast.
Maybe you shouldn’t have invited Blanc to your murder mystery party, Miles.
3. Black Panther: Wakanda Forever, by Ryan Coogler: Trying not to sob typing up this entry. Coogler was devastated (as was the entire globe) by the sudden death of Chadwick Boseman, but then remembered his final conversations with the man and decided to move forward with the Black Panther sequel. Reeling from the death of T’Challa, Queen Ramonda (Angela Bassett) and Shuri (Letitia Wright) must contend with the emergence of Namor (Tenoch Huerta Mejia). The latter continues the MCU’s knack for well-written villains, while honoring the legacy of Chadwick’s portrayal of Black Panther.
2. Everything Everywhere All at Once, by Daniels: Those who think the box office is solely populated by sequels, reboots and superhero films, consider this the ultimate antithesis. The icon that is Michelle Yeoh turns in her best performance as Evelyn Wang, a laundromat owner who’s caught up in an adventure where she can save the world by means of exploring other universes with the lives she could have led. While she carries the movie, Ke Huy Quan (Short Round) returns after a 20 year hiatus to play her well-meaning husband Waymond.
Well, that was interesting.
The Batman, by Matt Reeves: What else was gonna take this spot? I’ve already waxed poetic about this movie, but suffice to say that it’s quite possibly one of the better versions of the World’s Greatest Detective. Robert Pattinson erases any memories of Twilight (2008) with his portrayal of the iconic antihero in what might be the most realistic comic book film ever made.
Best. Monologue. Ever.
Thanks for watching/reading, my cinephiles. I’ll see you guys later. Until then, the balcony is closed.
Good morning, everyone. Mr. Drew back, to provide with my first of two year-end lists.
The music world was blessed with so many terrific albums that it was difficult to narrow it down. So here’s my list of the twenty greatest albums of 2022. Enjoy, ‘cause there ain’t no law against it! Warning: contains language.
20. Jackpot Juicer, by Dance Gavin Dance: It’s unlikely that this band will release another album since they’re currently on hiatus. However, DGD’s latest release is definitely an indication that they still have gas in the tank.
19. The War to End All Wars, by Sabaton: Search for this Swedish power metal group if you have a history test in the morning. The band put out another concept album detailing World War I, specifically focusing on the famous Christmas truce of 1914.
18. Requiem, by Korn: I’ll try not to call these guys the forefathers of the nu metal subgenre, but I can’t help it when they singlehandedly started it all with their eponymous debut in 1994. Almost thirty years later, Korn were able to kick off the new year with the first single Start the Healing.
17. The Classic Symptoms of a Broken Spirit, by Architects: I stumbled on these guys about six years ago, and they’ve been among my favorite bands ever since. Architects have been on quite the streak lately, and this album is ample evidence.
16. Divisive, by Disturbed: All David Draiman had to do was put out a left field cover of The Sound of Silence in 2015, and Disturbed have injected more melody into their established formula. I never thought I needed to see him duet with Heart’s Ann Wilson, but I’m nonetheless glad it happened.
15. AfterLife, by Five Finger Death Punch: I know these guys are rather polarizing, but I’ve been a fan for a couple years now. After near-death experiences involving two band members, FFDP rebounded with a new outlook on life and what comes after.
14. Parrhesia, by Animals as Leaders: Sometimes, lyrics aren’t necessary in telling a good story. That’s something this Orwellian themed band have understood since 2009, and they’ve proven incapable of making bad music.
13. Of Kingdom and Crown, by Machine Head: Robert Eggers’ Viking revenge epic The Northman was the inspiration behind this Oakland thrash band’s first concept album. It’s a bit of a hefty time investment, but lead singer Robb Flynn’s creative vision makes it all worth it.
12. Obsidian, by Northlane: This Australian metalcore group’s name was inspired by the aforementioned Architects. The former incorporated more electronic elements into this album, which I have absolutely no problem with when these guys are involved.
11. Immutable, by Meshuggah: Djent is the most difficult metal subgenre to pronounce, and it’s even more difficult following along with the technically advanced guitar and drum parts. However, these Swedish legends have shown for the last thirty years that it can be easy to get lost in the musicianship on hand.
10. Impera, by Ghost: For the last ten years, Ghost have shown their passion for melding Satanic imagery with pop music. After a song inclusion on the Halloween Kills soundtrack, I knew that there was a new record around the corner; suffice to say, it didn’t disappoint.
9. The Sick, the Dying…and the Dead!, by Megadeth: I was saddened to hear that longtime member David Ellefson left the band for a second time in 2021. That being said, Dave Mustaine was able to rebound from this lineup change and delivered one of Megadeth’s better albums.
8. Zeit, by Rammstein: Everyone was convinced that Rammstein would break up after their 2019 self-titled masterwork, released after a ten year hiatus. Color me surprised when they showed they still had some tricks up their sleeves with Zeit.
7. Omens, by Lamb of God: The world sucks, but Randy Blythe (pronounced Bly) is around to voice our frustrations with everything. Lamb of God are another band that can’t put out a bad album, and Omens is yet another example of this fact.
6. Unlimited Love, by Red Hot Chili Peppers: Six years removed from their previous record, their first album with guitarist John Frusciante back in the fold was met with rabid anticipation. One listen from their first single Black Summer was evidence that when it’s Frusciante, Flea, Chad Smith and Anthony Kiedis involved, nothing but gold is created.
5. Color Decay, by The Devil Wears Prada: I was initially confused when TDWP revamped their sound with some melodic elements. However, Color Decay showed that they could adapt with the times without losing their longtime fans (myself included).
4. Patient Number 9, by Ozzy Osbourne: Good ol’ Ozzy. Despite the difficult time he’s been through lately, he’s still able to pump out quality work, as evidenced by 2020’s Ordinary Man. However, he topped himself with September’s new album that features guests like Tony Iommi, Eric Clapton, and Jeff Beck.
3. Vaxis II: A Window of the Waking Mind, by Coheed and Cambria: For a band that’s been doing the same concept album for twenty years, the progressive rock titans have no plans of slowing down. Claudio Sanchez sounds like Geddy Lee in his prime, and no one does the concept album like Coheed and Cambria.
2. Closure/Continuation, by Porcupine Tree: Like I said last year, I’ve recently become a fan of Porcupine Tree. So when I heard that Steven Wilson’s main project would be making their first album in 13 years, I started jumping up and down in my seat. When the album eventually arrived (on the same day as the previous entry in this list), I was far, far from disappointed.
The End, So Far, by Slipknot: The Chapeltown Rag was just the tip of the iceberg when it came out in November of 2021. The Des Moines Nine have released an album that is certainly their most diverse recording to date, but the hardcore Maggots have absolutely no complaints.
Thanks as always for reading and watching, my cinephiles. I’ll see you next time; until then, the balcony is closed.
Good morning, my cinephiles! Hope everyone’s doing fine.
I wanted to try something a little different today. I was recently asked by someone about constructing the best rock/metal band of all time with my decisions for every slot like bassist, frontman, drummer, etc. That got me thinking about applying that to my passion for movies.
So here is what I consider to be the Perfect Movie. If you feel I left something out, please let me know in the comment section below. Enjoy, cause there ain’t no law against it! Warning: contains spoilers, strong violence, some sexual content/nudity and language.
Best Cold Open: Watchmen (2009), by Zack Snyder
Just like the accompanying Nat King Cole tune, this scene is truly Unforgettable.
Best Opening Credits: Se7en (1995), by David Fincher
Makes my skin crawl every single time.
Best Opening Scene: The Batman (2022), by Matt Reeves
R. Pats is a long way from Twilight!
Best Character Introduction: Dr. No (1962), by Terence Young
Happy 60th, Mr. Bond.
Best Narration: Fight Club (1999), by David Fincher
Pretty much me on a plane.
Best Fourth Wall Break: Spaceballs (1987), by Mel Brooks
This might be my favorite scene from this flick.
Best Sex Scene: Deadpool (2016), by Tim Miller
The Lent moment made me LOL in the theater.
Best Argument: Steve Jobs (2015), by Danny Boyle
If I were asked to direct this scene, I would do it the exact same way.
Why the hell wasn’t Fassbender, Daniels or Sorkin nominated for Oscars? Phenomenal work from everyone involved.
Best Conversation: Pulp Fiction (1994), by Quentin Tarantino
“What do they call a whopper?” “I dunno, I didn’t go to no Burger King.” QT at his inarguable finest.
Best Monologue: Glengarry Glen Ross (1992), by James Foley
Possibly Alec Baldwin’s best performance, as well as the most memorable scene from this terrific adaptation of writer David Mamet’s stage play.
Funniest Scene: Django Unchained (2012), by Quentin Tarantino
Only QT could spur uproarious laughter from one of the darkest moments of our nation’s history.
Best Disaster Scene: 2012 (2009), by Roland Emmerich
No one knows the disaster genre quite like Emmerich.
Best Jump Scare: Jaws (1975), by Steven Spielberg
Gets me every time.
Scariest Scene: The Godfather (1972), by Francis Ford Coppola
That’s Coppola’s Oscar for Best Screenplay from Patton (1970) on Woltz’s nightstand.
Best Long Take Scene: Goodfellas (1990), by Martin Scorsese
“Every time I come here. Every time you two! Don’t you work?” RIP Ray Liotta.
Best Nightmare Scene: Trainspotting (1996), by Danny Boyle
How’s this for an anti-drug message?
Best Transformation Scene: An American Werewolf in London (1981), by John Landis
Without this scene, the category for Best Makeup would be absent from all Oscars ceremonies.
Best Interrogation: The Dark Knight (2008), by Christopher Nolan
If anyone’s wondering why Heath Ledger deserved his posthumous Oscar, this’ll help you understand.
Best Torture Scene: Reservoir Dogs (1992), by Quentin Tarantino
Michael Madsen ad-libbed the scene where he talks into poor Marvin’s detached ear. Yeesh.
Best Car Chase: Ronin (1998), by John Frankenheimer
Great scene from a severely underrated film.
Best Parkour Chase: Casino Royale (2006), by Martin Campbell
The crane jump makes my jaw drop every time. Hats off to Sebastian Foucan for pulling that off.
Best Stunt: Police Story (1985), by Jackie Chan
It’s a miracle this guy’s still alive to tell the tale.
Best Battle Scene: Saving Private Ryan (1998), by Steven Spielberg
Quite possibly the most accurate depiction of war in movies.
Best Knife Fight: Eastern Promises (2007), by David Cronenberg
Roger Ebert compared this fight to the car chase from The French Connection (1971) in terms of changing the game. He’s not wrong.
Best Sword Fight: Rob Roy (1995), by Michael Caton-Jones
Liam Neeson vs. Tim Roth? Nuff said.
Best Bank Heist: The Town (2010), by Ben Affleck
A reminder that Mr. Affleck is a force to be reckoned with in the director’s chair.
Best Shootout: Heat (1995), by Michael Mann
C’mon, what else would it be?
Best Fight Scene: The Raid 2 (2014), by Gareth Evans
You knew what my choice was gonna be, but here it is.
Best Plot Twist: Star Wars: Episode V – The Empire Strikes Back (1980), by Irvin Kershner
Luke’s gonna need years of therapy to heal this psychological wound.
Saddest Scene: The Green Mile (1999), by Frank Darabont
Saddest scene ever.
Best Hero Death: Logan (2017), by James Mangold
We don’t deserve an actor like Hugh Jackman. And I’m not crying; it’s just eye sweat.
Best Villain Death: Star Wars: Episode VI – Return of the Jedi (1983), by Richard Marquand
No one but Ian McDiarmid could play this role with such gleeful menace. That being said, it was great watching him go.
Best Final Scene: Inglourious Basterds (2009), by Quentin Tarantino
“You know something, Utivich? I think this just might be my masterpiece.” Indeed it is, Aldo.
Best End Credits: The Incredibles (2004), by Brad Bird
This music brings me back to my youth. Chills every time.
Best Post-Credits Scene: Ferris Bueller’s Day Off (1986), by John Hughes
Funny every time.
There we have it, ladies and germs. The perfect movie, according to me. Again, if you have any issues with my choices feel free to let me know in the comment section.
Stay safe out there, my cinephiles, and I’ll see ya next time; until then, the balcony is closed.
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