Caveat (2020) Written & Directed by Damian McCarthy
Lynchian is a term that gets thrown around a little too liberally. It’s meant to denote that something is reminiscent of the work of filmmaker David Lynch, but it is often applied to either tv shows set in strange small towns or for media that is esoteric & quirky. The Lynch aesthetic is much more specific from my perspective, a way of telling stories in abstracted settings brimming with emotion & passion. People often behave in strange ways, and stories have elements of melodrama that take bleak turns. Not much I’ve seen has genuinely reminded me of that, but Caveat is actually a movie that lives up to the term. I won’t say Caveat is as masterfully delivered as Lynch’s films, but it is a decent horror movie that builds a unique atmosphere.
Bad Trip (2020) Written by Dan Curry, Eric Andre, and Kitao Sakurai Directed by Kitao Sakurai
When you are watching a film like Bad Trip, a fictional narrative where unaware participants are being pranked and filmed, a certain balance has to be maintained. People have come to see the movie based on the pranks’ outrageousness and in anticipation of seeing how the bystanders react. This means, if you lean too far into the narrative, people are disappointed. But you certainly don’t want to just put a prank compilation in theaters because that doesn’t justify the ticket price. This balance is crucial for a movie like Bad Trip to work, and I am happy to say it’s probably one of the best in this subgenre I’ve ever seen. I had a clear understanding of every character and their motivation, and the pranks were fantastic.
Hawkman: The Awakening (2019) Reprints Hawkman v5 #1-6 Hawkman: Deathbringer (2019) Reprints Hawkman v5 #7-12 Written by Robert Venditti Art by Bryan Hitch
Hawkman: The Darkness Within (2020) Reprints Hawkman v5 #13-19 Written by Robert Venditti Art by Pat Olliffe, Tom Palmer, and Will Conrad
Hawkman: Hawks Eternal (2021) Reprints Hawkman #20-29 Written by Robert Venditti Art by Fernando Pasarin
How do you solve a problem like Hawkman? As I laid out in my Superhero Spotlight on the character, when you take on Hawkman, you are taking on a writing chore. There have been so many conflicting attempts to “simplify” the hero that led to him being a toxic continuity bomb. DC Comics are obsessed with continuity, so this results in a conundrum. I can’t say I am a fan of Robert Venditti. I read his X-O Manowar revival for Valiant, which was fine. I definitely didn’t enjoy his Green Lantern run, but he immediately followed Geoff Johns, who raised the bar so high it was nigh impossible to top. As this Hawkman series went on, I began to hear some surprisingly positive buzz, and when it was announced, it was coming to an end; I realized it was the perfect time to read through it.
Moonbase 8 (Showtime) Written by Fred Armisen, Tim Heidecker, Jonathan Krisel, & John C. Reilly Directed by Jonathan Krisel
On the surface, I should love this show. I’ve been a big fan of Tim Heidecker’s whole career, John C. Reilly is terrific, and I have enjoyed all the Armisen/Krisle collabs (Portlandia, Documentary Now). Krisel has also directed episodes of Tim & Eric Awesome Show, Great Job!, Check It Out! with Dr. Steve Brule and Baskets. All of this is precisely in my comedy wheelhouse, mainly through the 2000s and 2010s. Ultimately, I enjoyed Moonbase 8 but didn’t necessarily love it.
Last and First Men (2020) Written by Jóhann Jóhannsson & José Enrique Macián Directed by Jóhann Jóhannsson
In 2016, I went to the theater to see Denis Villeneuve’s Arrival. One of the things that stuck with me when the end credits rolled was the haunting score by Jóhann Jóhannsson. Since his first solo album in 2002, the Icelandic composer had already established himself blending traditional orchestra, electronic instruments, and choral elements. Last and First Men would be his only directorial effort. It premiered in early 2020 at the Berlin Film Festival, but Jóhannsson had died in 2018. Toxicology reports showed a lethal combination of cocaine and flu medication in his system. Jóhannsson was only 48 years old.
Koko Di Koko Da (2020) Written & Directed by Johannes Nyholm
I’ve recently tried to pin down what specific type of horror that resonates most with me. I know people who love over the top gore and what veers into comedy. Others enjoy the haunted house jumpscare ride experience. The horror I am drawn to is often based on human grief and is a slow burn. It doesn’t fall back onto cheap spooks and actually delivers horrifying moments that sink in and stick with the viewer.
His House (2020) Written by Felicity Evans, Toby Venables, and Remi Weekes Directed by Remi Weekes
In the 19th, 20th, and now 21st centuries, Africa’s history is a testament to colonialism’s evil. There are constant think pieces published in the papers and magazines of note in the United States & Europe attempting to figure out what went so wrong for the continent. Recently, I saw one blaming it all on the tsetse fly. Colonists will do everything in their power to not accept their role in creating the horror inflicted upon the African people through the rabid extraction of resources. Sudan is an oil-rich country, and therefore massive conflict exists. Many people from Sudan and refugees that settled there having fled conflicts in their own regions have taken the dangerous trek up the Atlantic with dreams of possibly reaching Europe and the United Kingdom. His House is the story of two of these refugees and the horrors they face in their new home and those they bring with them.
The Dark and The Wicked (2020) Written & Directed by Bryan Bertino
I don’t think I like Bryan Bertino’s films. This is the third movie by this director I’ve watched, with the others being The Strangers and The Monster. He simply has no depth to his work. It’s all surface level, atmospheric, yes but with no meaningful character development. The Dark and The Wicked may be his absolute worst film to date. I love horror, especially slow-burn horror; however, it must be building to something. I need to understand and sympathize with the characters to feel something for them when they are tormented. We learn almost nothing about these characters, and so we ultimately don’t care.
The Kid Detective (2020) Written & Directed by Evan Morgan
When I was a kid, I was a fairly regular reader of the Encyclopedia Brown book series. Brown was a middle school student who worked as his neighborhood’s local kid detective. Each book had around ten interlinked stories that end on a cliffhanger. The reader is expected to notice an inconsistency in a suspect’s dialogue that hints at their guilt. I can say only once do I remember solving the mystery before checking the back of the book for the answer. Brown has served as an inspiration for many other kid detectives and many satire pieces on the genre recently. I recall The Boy Detective Fails by Joe Meno and Donald Glover’s Mystery Team as pieces of media that touch on the concept of child detectives turned adults.
Minari (2020) Written & Directed by Lee Isaac Chung
I personally find the American Dream to be a complete fantasy, and it basically always was. This fantasy of bootstrap independence leading to wealth & success is a myth. People achieve wealth in the United States on the backs of workers who toil for very little. Now, this is what our culture labels as “success,” but I would that most of us know that the acquisition of money, while definitely alleviating stress tied to providing for our families, crosses a line at some point into exploitation. I would like to define success as creating a life collectively with family and friends. But for so many native-born people and immigrants, the allure of that capitalist myth is so strong they get lost in it and become consumed.