It's a common refrain these days. Perhaps you've even said it yourself out loud on occasion to no one in particular but yourself, and/or to whomever you're jointly commiserating and quarantining with, and/or have typed it out as a comment-cum-lament underneath one of those incessant social media "memories" reminders that really only serve to bum you out about what you're missing—not to mention what you most decidedly won't be able to replicate in a comparable fashion in the near future.
ZZ Top ain't been nicknamed That Little Ol' Band From Texas for nothing, you know. But just in case you don't, please bear witness to this highly informative 2019 Banger Films documentary, which delves Rio Grande-deep into the true origins of this tight-knit blues 'n' boogie trio. (Incidentally, said trio also happens to comprise the longest-running unchanged lineup in rock history—51 years and counting, as of presstime.)
Enthralling in every way a movie can be, George Lucas' Star Wars (retconned as Episode IV: A New Hopein 1981) is simply one of the greatest achievements to ever hit the screen. A wildly imaginative yet classically inspired adventure, it has been entertaining audiences—and spawning prequels, sequels and spinoffs—since 1977.
It would be easy to characterize Chuck Berry, who passed away at age 90 in 2017, as one cantankerously acrimonious fellow, but after revisiting Taylor Hackford's astute 1987 documentary Hail! Hail! Rock 'N' Roll, now available on Blu-ray for the first time via Shout Select, I'm reminded of how captivating, creative, and downright business-savvy the pioneering, guitar-playing singer/ songwriter actually was.
Around 1890, two lighthouse keepers—isolated on a remote New England island with just gulls, each other, and a large supply of liquor for company—begin to gradually lose their sense of reality, civility, and eventually their sanity in an atmospheric concoction not conveyed this intensely since The Shining. It all makes for a great (if grueling) two-handed drama.
Uncut Gems, like its lead character, Howard Ratner (Adam Sandler), is challenging. A brash, lying, motor-mouthed, but charming hustler trading in precious gems and jewelry from a store he owns in Manhattan's Diamond District, Howard's real talent is upsetting people—along with other self-destructive behavior like pissing off the loan sharks he's heavily in debt to.
Is it the search for assorted MacGuffii—bank-heist loot, giant opal, camera that records brainwave images the blind can see—that sends self-destructive Claire, her writer ex, and a bounty hunter after thief Sam Farber? Or is it love? Threatening in the wings is a nuclear satellite plunging to Earth that, if shot down, could create a chain-reaction atomic pulse that wipes all electronic circuit boards, including the file of the novel the film is being based upon.
Subtitle it The Ballad of Never-Easy Rider. Produced by Cameron Crowe, David Crosby: Remember My Name is a self-actualized love letter to one of rock's most significant rollercoaster-ride careers. Croz's admitted goal for the film's wished-for postscript is some level of interactive redemption with his chief collaborators of years past—i.e., Stephen Stills, Graham Nash, and Neil Young—all of whom he doesn't speak with to this day. (Why? As he readily admits, the combination of anger and adrenaline always turn him into "instant asshole.")
Winner of the Cannes Palme d'Or and Academy Awards for Best Picture, Director, Original Screenplay, and International Feature, director, co-producer, and co-writer Bong Joon Ho's classist farce, Parasite, focuses on the Kims, a family of poor but proud con artists. Presently scrabbling to get by on lowest-paid jobs in a bug-infested basement apartment in Seoul, South Korea, they dream of climbing up to a better life by tricking the rich using flattery, charm, and well-rehearsed scripts.
The time has come to not only celebrate the holidays, but also our favorite movies and TV shows, in high- or ultra high-definition, with Atmos sound (where available), and with extras galore. Once again, we invite you to sit back and peruse our picks of the year's most exciting boxed sets to give and to receive.
Ari Aster's second feature—the first was 2018's thoroughly unnerving Hereditary—continues the director's preoccupation with family as a wellspring of horror. This time around, horrific familial events occur in the film's first fifteen minutes, and the main protagonist, college student Dani, ends up trailing her ambivalent, unsupportive boyfriend to a rural community in Sweden that's in the midst of celebrating Midsommar, a festival occurring only once every ninety years.
The rock and roll circus was coming to town. In 1968, Rolling Stones frontman Mick Jagger, The Who's guitar wizard Pete Townshend, and Small Faces bassist Ronnie Lane had collectively decided to organize a perpetual traveling show that would consist of equal parts live performance, grand spectacle, and mobile art installation, all rolled into one never-ending carnival bacchanal.
S&M, voyeurism, murder, rape, violence, and torture. . . some of the typically wholesome activities to be found in small-town America. This psychosexual possible-murder mystery—set in a neo-Fifties 1980s logging town—soon gets weird when an innocent local finds a severed human ear in a field. Writer-director David Lynch uses various tactics to keep the viewer as off-balance as his attracted-to-the-hidden-underbelly protagonist.
Capturing zeitgeist moments as they happen are a filmmaker's dream. Lucky for us, drummer/rhythmatist extraordinaire Stewart Copeland picked up a Super 8 film camera when The Police were but budding bleached-blonde young punks, and he filmed, well, practically everything they did both onstage and off.
For my money, Capernaum was the best film of 2018—similar to Roma (slice of life, untrained actors), not as cinematically breathtaking (though still impressive), but emotionally more gripping (fuller characters, deeper drama). The title is an Arab word meaning Godforsaken chaos (taken from a Biblical tale of a city literally forsaken by God), and that's a fair description of the impoverished section of Beirut where the film takes place.