Black Panther (2018)

While other films in the Marvel Cinematic Universe have dealt with issues of treaties and succession, I would never consider them to be political films. Though the Guardians of the Galaxy films make it more apparent than some of the others, in the end they’re all about family dynamics. Even Captain America and Iron Man’s conflict is little more than a heightened version of most dinner tables at The Holidays.

When MCU movies are topical it is either in a vague sense (ie: platitudes about sticking up for the little guy) or simply by refuting the carnage of DC’s cinematic output. Black Panther, on the other hand, is very specifically topical and political. It talks specifically about refugees and barriers that keep people out. It also talks about disadvantaged communities and how helping them is more involved than just saving the planet from annihilation every other week. And of course there is the fact that this cast is predominantly black and overwhelmingly female in the era of #BlackLivesMatter and #MeToo.

The fact that there was a concerted effort to diminish this film by lowering its rating on Rotten Tomatoes or claiming that white attendees were subjected to physical violence at screenings, let’s you know that the “other side” was aware of this film’s power. And the fact that this film smashed so many records let’s you know that audiences the world over are thirsty for what it is selling.

This is not a one-off. This is a repeatable model. Hire non-white actors and crews. Hire and cast women. People are sick of having to identify with a token either in front of or behind the camera. May the one-two punch of Wonder Woman and Black Panther be the blast that finally opens the floodgates!

Valerian and the City of a Thousand Planets (2017)

Black Holes are not visible. They are so dense that even light cannot escape their gravitational pull. We know that they are there because we can see all the stars and such that orbit them. Black Holes are the void at the center of intense cosmic beauty. Dane DeHaan and Cara Delevigne are the void at the center of this film’s cosmic beauty. Their relationship drama is DOA, but all the set pieces, alien creatures, and space diplomacy swirling around them is truly something to behold. And fortunately, that’s what most of the film consists of. It’s pretty easy to check out for their Soap Opera and check back in for some universe-spanning wiz-bang. I can only imagine what it looks like on a giant screen.

Star Wars: Episode VIII - The Last Jedi (2017)

Thematic spoilers follow, no specifics. You have been warned.

I know this movie was conceived and shot before the 2016 Election, but it really feels like a film for right this instant. When watching it the first time, the stream of setbacks that befall The Resistance felt structurally off. But when contrasted with The Trump Era where Healthcare, Civil Rights, Women’s Rights, LGBTQ Rights, etc. are all under continuous and simultaneous attack - the pace felt kind of leisurely. Having this come out the same week as Doug Jones’ victory in Alabama seems almost too perfect. Too bad the title A New Hope was already taken. Or maybe they’re preparing us for the gut-punch at the start of Episode IX where the First Order gives a tax cut to all the arms manufacturers on Canto Bight.

Baby Driver (2017)

This film would pair nicely with Collateral. Beyond the fact that it allows Jamie Foxx to play the flip side of the role he had in the Mann movie, Baby Driver deepens the themes of that other film by having a much more engaged protagonist.

Baby isn't an innocent who chanced into this life by having the wrong person get into his car. Sure he owes Doc a debt, but it was boosting a car that got him into that position to begin with. He's a thrill seeker who wants none of the consequences. And this film is all about consequences. It's not about action v. inaction. Baby is already a man of action. But does he have the strength of character to live with those consequences once the dominos start falling? Or will he continue to drown out any unpleasantness with catchy R&B tunes?

Guardians of the Galaxy Vol. 2 (2017)

When the first Guardians film came out, I heard so many people rejoicing that Marvel had finally gotten "weird". And while I appreciated the humor, the soundtrack and some elements of the design, all I could think of was that Hunter S. Thompson quote, "It never got weird enough for me." Well lo and behold this sequel has come along to deliver on the promise of that first film.

Like Tim Burton did with Batman Returns, this is James Gunn bending the superhero genre towards himself. He played it safe for that first film, and now he's able to let his freak flag fly. This feels much more like the work of the mind that gave us Tromeo & Juliet, Slither and Super. Who other than Gunn would use a movie this expensive in order to dissect the insidious message of a 70's pop song?

No matter how fun and frivolous art can be, it's always telling us something. Guardians of the Galaxy Vol. 2 is the perfect type of pop song: it's great to dance to, and the lyrics stick with you.

Saving Private Ryan (1998)

From a narrative standpoint this movie didn't have to open with the D-Day Invasion. You could have easily snipped out those first twenty-six pages of screenplay, started with the telegrams being typed out, and gone from there. Sure there are little character beats that get dropped in that opening sequence (about Captain Miller in particular) but nothing that isn't also covered later. It feels like the type of indulgence that a studio reader would have suggested cutting for budget's sake. But this isn't a screenplay, this is a film. On the page it's a pretty straightforward account of taking the beach. But with sound and images on a screen, it's an assault. It beats you into the ground. That opening is there to traumatize the audience. Now you are in Captain Miller's boots. You're startled by loud noises and hypervigilant about threats from all sides. Is this what it's like to have PTSD? Anything can happen and anyone can die at any moment. And that is why Steven Spielberg is a master.

Wonder Woman (2017)

Oh man this movie is everything I love about Super Hero Comics: it's silly, serious, action-packed, and it has an ethos. I 100% reject the idea of keeping politics and social issues out of genre, and so does this film. It has a message to impart and it imparts it while also telling a pulpy, "blood and thunder" story that's filled with gods, goddesses, and super-powered Germans. More than ever we need super heroes, but since they don't exist, we have to become them. Wonder Woman herself cannot come down off the screen and save us, but she can inspire a whole generation of little girls and boys to care for others and to fight for what they believe in. Now, let's cue up that electric strings sting, and get to work.

Now, here's a Twitter thread of 75+ female film writers on Wonder Woman that was curated by the great Marya Gates! Give them your clicks and attention because this world needs female voices.

Heat (1995)

While I certainly don't agree with Pauline Kael's opinion that the Auteur Theory was a way for film-bros to label the genre films of their youths as "art", Heat certainly gives me similar feelings. As much as I enjoy this film, there's nothing deep about it. It has nothing new to say about cops and criminals, and the "insights" it has about men and women are equally reductive. But that doesn't stop people from trying to read more into it. Why do people feel the need to graft deep thoughts onto this film? Does a work really need to be filled with soul-shattering insight in order to be great? Can't an expertly crafted piece of Pop Cinema just be enough? The photography, choreography, editing, score, sound, and acting are all top notch. It's a whole crew of absolute professionals doing their absolute best and it's a wonder to behold. Can't that just be enough?

Doctor Strange (2016)

While narratively it's your basic origin story that we all know chapter and verse, what kept me engaged throughout this film was the visuals. And I'm not even talking about the special effects. Of course they were amazing and deserving of their Oscar nod, but what I'm really talking about is the overall look of the film. This is the first time since the original Iron Man that I actually gave a damn about how a Marvel Movie looked.

On that first outing for Marvel Films, it was all uncharted territory. As daring as it was for the studio to go with Jon Favreau as director and Robert Downey Jr. as star, it was also daring for them to go with Matthew Libatique as DP. Prior to Iron Man he'd only done extremely "in your face" films for the likes of Darren Aronofsky and Spike Lee. Choosing Libatique served everyone well in that they were getting a cinematographer who would make sure that their film looked nothing like the (then) recent DC films Batman Begins and Superman Returns. He helped Marvel to stand out from the pack...and then they got cold feet.

Every Marvel Movie since has been pretty much the same. You could splice them all together into one film and you wouldn't really notice when things switched from Winter Soldier to Age of Ultron. They found a "house style" and they've stuck to it, which I guess is fine, but the imagery in these films seems more indebted to Cinema than to Comics. These movies look like other films you might find in a multiplex. Except for Doctor Strange. This film actually looks like a comic book. And at certain moments it even looks like the kind of day-glo poster you would buy in a Head Shop.

Maybe their unending string of hits has made them cocky and Kevin Feige is finally loosening the visual reigns because he feels they can do no wrong? Or have these movies become something akin to a Woody Allen film, where the style is SO set in stone that the minor variations scream out for attention? I guess we'll just have to see how the next few installments look. Here's hoping for a little more variety.

Kong: Skull Island (2017)

Lots of people take to criticizing filmmakers like Michael Bay and Zack Snyder for being "style without substance", but that's not really accurate. These films do have substance, it's just reprehensible substance that perpetuates a dangerous/delusional worldview. To demonize a prodigious use of imagery because of these guys is cinematic guilt by association. Thankfully, Kong came along to show us that there is another way.

Using the form of a Michael Bay film as well as Zack Snyder's preferred cinematographer, Jordan Vogt-Roberts is able to slyly subvert the Breitbart talking-points that usually accompany such spectacle, in favor of a more compassionate worldview. It isn't necessarily a "woke" film, but it is a wild popcorn flick that can be enjoyed without the guilt. The time has finally come for a baggage-less monster romp where someone dons a gas mask while wielding a samurai sword. Thank you, Kong.

Female Prisoner #701: Scorpion (1972)

As Michael Bay can surely attest, an over-abundance of style can easily paper over a great many deficiencies. If it's flashy looking, you won't notice the cardboard characters, plot holes and dubious politics because you are being constantly bombarded with spectacle. But style can also help distract from the fact that you do not have a budget. Pretty much all of Female Prisoner #701: Scorpion takes place in one location and good chunks take place in a large dirt field, yet it is one of the most visually inventive films you will ever encounter. Even something as subtle as a colored light can make something cheap look interesting. The participation of a leading lady as magnetic as Meiko Kaji also helps too. I'm really excited to see where this series goes!

Kill Zone 2 (2016)

God I love Hong Kong Cinema! I know I'm showing my Eurocentric roots when I say this, but sometimes I forget that it exists. Back in the 90's it was EVERYTHING, but then something new comes along. Suddenly there's a new flavor of the week. But things don't just go away because you stopped paying attention. Lots of 90's bands are still touring with loyal followings. The same goes for Hong Kong Cinema. It is still alive and kicking, kicking, kicking. It's even keeping alive the old exploitation model of taking a popular title, slapping it on a new movie and filling it with stars from all around the world. It's comforting to know that Hong Kong Cinema will always be there for you when you need it. Go enjoy your mumblecore or whatever people are into these days. When you need to watch some serious ass-kicking, Simon Yam et al will be there waiting for you to catch up with everything they've been doing since you left. And unlike Matchbox 20, they've learned a few new tricks since the last time you came around.

Rogue One: A Star Wars Story (2016)

People like to make a lot of noise about the Star Wars Universe's roots in myth, legend and pulp fiction, but there's a flip side to that coin that is often forgotten -  the series' roots in revolution. Like the rest of his draft minded generation, George Lucas was steeped in the politics of Vietnam and his student films Freiheit and Electronic Labyrinth THX1138 4EB vividly reflect this in both style and substance. Yet by the time he got around to crafting his little Space Opera, all the messy politics of a rebellion were pushed to the background so that a story of family and succession could take the fore. Even the aesthetics were sanitized to purely functional storytelling. Rogue One goes a long way to restoring balance to The Force. Here we get a rebellion that is split into factions and far from a united Front. Here we get protagonists who have no qualms about killing someone who might draw unwanted attention. Here we get a film that owes a visual debt to The Battle of Algiers and the cinema of Costa-Gavras. It's far from perfect, but in a universe so preoccupied with cycles and repetition, it is a welcome breath of messy air.

Lone Wolf and Cub: Baby Cart in Peril (1972)

This film made me feel a very specific type of cinephile shame. Of the four Lone Wolf and Cub films that I've seen so far, I like this one best. So where does shame come into the equation? My shame comes from the fact that this is the first film in the series not directed by the legendary Kenji Misumi, who in addition to directing the bulk of this series, also directed six of the Zatoichi films. This is the one and only film in the series directed by Buichi Saito whose filmography is filled with films only an aficionado in Japanese cinema might recognize. I swear I'm not saying all of this to be a contrarian. I'm not trying to be "that guy" who prefers Lou Reed's Metal Machine Music to Transformer. I'm not even saying it is a masterpiece. Like the other films it suffers from not being able to successfully balance the ongoing story with the "adventure of the week". But thanks to Saito's particular use of pans, tracking shots and push-ins, my attention was maintained throughout the litany of endings. Perhaps I should track down more Buichi Saito films. Maybe I'll be the guy who "discovers" this forgotten master! Or maybe I'll just be that contrarian guy.

Kubo and the Two Strings (2016)

Dead parents are so omnipresent in animation that it has become a cliché. It's a quick way to make you empathize with the protagonist while also presenting more opportunities to place that protagonist in harm's way. They have nobody to protect them and must therefore rise to the occasion and save themselves.

While Laika has mostly avoided this trope, death is still very much a presence in all of their work. It is most notable in Kubo and ParaNorman, but that morose atmosphere really hangs over all of their films. The closest cinematic parallel I can find is in the run of death-obsessed, horror films that Val Lewton produced for RKO in the 40's. Though Laika's films aren't so cynical as to subscribe to Lewton's sentiment that, "death is good." they are much more honest about grief, the various forms it can take, and the way we all live with it.

I know audiences didn't turn out for Kubo, but I'm optimistic that this will be the year that The Academy finally sees fit to honor this plucky, little studio for what I see as their masterpiece. This is the film where everything they do best comes together in the most satisfying way. It's a real bright-spot in a rather mediocre summer. Don't be scared off by all the crappy family film trailers that play before it.

The Terminator (1984)

It's really weird going back and revisiting this one. Especially in a post-Genisys world. It blows my mind that a film made for less than $10 million has spawned four sequels that each cost a MINIMUM of $100 million. And it's not like the original looks more expensive than its budget. It looks exactly like its budget. It looks like every other low-budget, high-concept action film of the time. You can tell what is a miniature and what is matted in. You can tell when it switches from a dummy to a real person. You especially feel it when Arnold is going to visit the first Sarah Connor from the phone book. It's just a guy in a big jacket walking up to a suburban house and you can picture James Cameron just out of frame in shorts and a t-shirt. I'm not saying any of this to put the film down. In fact, it's rather inspiring. There is really no magic to movie making. Just do it!

Tank Girl (1995)

Of all the various low/mid-budget comic book movies of the 90's (Ninja Turtles, The Crow, Spawn, Blade, Barb Wire, etc.) I think Tank Girl might be the masterpiece. Sure it bombed. The audience for the comic was so minuscule that I'm not even sure why someone shelled out money for the rights. And even the super-indie fans of the source material were put off by the Hollywood co-opting of their culture. So then why am I calling this a niche masterpiece? Because to a whole generation of weirdo kids just discovering punk, indie and DIY, this was the film pointed the way. It's a crash-course in collage-culture. Complete with a Cole Porter musical number and a whole bunch of bad-ass women to look up to/fall in love with.

The Grandmaster (2013)

The past plays a huge role in the work of Wong Kar Wai. His characters are haunted by friends, lovers and eras both long and recently departed. Wong's cinema recognizes that the passage of time is inevitable. Nothing can stop it. In this film in particular, characters are literally fighting the future via exquisitely staged kung fu battles. Yet, no matter who wins any particular match, history marches on. It is a wave that cannot be stopped. Some things are allowed to endure. Others are pulled out to sea in a rip current. Those are the cold, hard facts. Yet unlike other Wong Kar Wai films which tend to focus on the person in mourning, this film gives voice to the one being mourned as well. Nobody gets an easy break.

Captain America: Civil War (2016)

The other day on Twitter, critic Scott Weinberg asked for people's opinion of "...the #1 BEST feature film based on a Marvel superhero". I replied, "Iron Man 3 because it's about consequences and is amplified by Downey's personal history. Also it has an auteur's stamp." While the Russo Brothers are far too early in their collective career to have a discernible "stamp", they sure as hell understand consequences and how to wring every possible emotion out of them. It makes sense that they began in television where it's all about the actions of one week having ramifications in the next. Lots of people are saying that TV is becoming more and more like film, but the door swings the other way as well. I can certainly foresee a day where this interconnectivity becomes impenetrable and annoying, but right now we are in an amazingly sweet spot and I can't wait to see where it goes next. Also, Robert Downey Jr.'s  checkered past helps a lot.

Speed Racer (2008)

With a budget of $120 mil, Speed Racer might be the most expensive art film ever made. Like the Matrix Trilogy and V for Vendetta it has a lot on its mind, only this time the Wachowski's want you to really listen. They're using bright colors and willfully unrealistic CGI in much the same way that Bertolt Brecht used harsh lighting and spoken stage directions to alienate the audience and make them aware that they are being messaged. Like Godard they are taking the conventions of pop cinema and turning them against the audience. There is no way you can walk out of this film and not be thinking about corporate greed, good CGI v. bad CGI, and studio filmmaking. Even 12 year olds are certain to come out of this film a little more woke than when they went in.