It’s that time of the year. Everyone decides to rank their favorites to show what they liked and perhaps to make you feel a little lackluster on the progress on TBR pile or wonder who has that much time to read 10 books in a month without ignoring other tasks entirely.
In previous years, I didn’t read as many books as I would’ve liked. This year? It honestly felt like two years were folded into one.
I will not put this in any specific order, just highlighting what I thought was good and allowing you to decide if it’s worth a peek.
Each year, I like to go back to January’s Most Anticipated Films list (Part 1, Part 2) and quickly jot down a sentence or two about what I thought of the ones I saw. If a movie from the original list is not here more often than not it means production didn’t start until too late in the year or has been delayed into 2023. There are also a small numbers I just didn’t watch because I either never found the time or I saw reviews coming in and realized it probably wasn’t going to be something I would enjoy. Those movies may get reviewed in the future though. So here is my list:
I can’t say I loved this movie at first, but thinking about it in the years since has endeared it to me. Mighty Morphin Power Rangers is a ridiculously cartoonish show, so a movie reboot seemed like a bad idea. However, this adaptation does a lot of unexpected things. Our group of friends starts out in conflict, all given detention which becomes their bonding experience. We don’t see the Power Rangers in costume, using their animal-like Zords well into the picture. The characters are incredibly nuanced and layered. Billy is the biggest stand out to me in this version; they present him as being on the autism spectrum. The result is someone whose neurodivergent way of seeing the world makes him better at being a Power Ranger. There are some flaws, of course, and a case of sequel bait, but I think few adaptations of this kind have elevated the source material in the way Power Rangers does.
The Taking of Pelham 123 (Directed by Joseph Sargent)
From my review: The most fascinating character, in my opinion, is Mr. Blue, the head of this quartet of criminals. The audience will eventually learn he’s Bernard Ryder, a former British Army Colonel who became a mercenary in Africa. We’re never entirely sure how this crew came to be, but we can assume they met in prison or after getting out. Blue is a rotten man, down to his core. He sees no value in human life but is also calculating. He’s not going to run in shooting; he’ll figure out the angles and force his opponent’s hand. Mr. Green, on the other hand, is, as his name implies, not confident in this criminal activity. Green got involved in the drug trade and was arrested in a bust; upon release, he had trouble getting a job of any means. We learn he operates an airport forklift and leaves in a hole of an apartment. One is utterly unsympathetic, while the other will likely elicit empathy from the audience. Green doesn’t want to kill anyone, but he has gone all-in with this crew. Society seems not to have a way to reintegrate these people, leading to the revolving door of crime.
It seems like Spider-Man; there is always a Batman reboot just around the corner. A long time ago, I gave up on caring about films adhering to a singular vision of a character. I wouldn’t say I am hyped about this due to Matt Reeves’ involvement. I think the recent Planet of the Apes films are okay. I am, however, interested to see Robert Pattinson as Batman. Pattinson has made some fantastic career choices recently, and I want to see if this one was purely for the paycheck or if they are doing something special with Batman. The tone of the trailers has been pretty spot on, a good mix of Nolan’s gritty world with the inclusion of other elements we haven’t seen in a while. I am curious to see Colin Farrell’s Oswald Cobblepot, the Penguin, as he looks unrecognizable.
I hadn’t reviewed as many movies on this blog as Seth has. Also, if this list intermixes with his, we watch a lot of films together. I will choose a few others to show just how cool I am.
Can’t Get You Out of My Head: An Emotional History of the Modern World Directed by Adam Curtis
Adam Curtis is like the Ken Burns of the emotional state of the Western World. There is a particular stomach-turning sensation when watching Adam Curtis’s films. You’re quietly begging for him to perhaps deliver some good news only for him to carve in deeper into the history to remind you just how insane it is. Not a lighthearted watch. You can watch it all here right now.
As I expected with COVID-19 still being very much out there and continuing to kill and disable, there were quite a few films pushed to 2022 and beyond. However, this was a much better crop of movies than what we got in 2020. Below are just brief thoughts and links to the full reviews of movies I saw. Then we have the ones I haven’t seen yet split into “will eventually” watch and “not likely” piles. These all come from the Most Anticipated Films of 2021(2) posts made last year.
From my review: We get a darkly complex story about the unnoticed rise of fascism and how humanity is composed of abused & downtrodden people who take advantage of each other. This story will not deliver a fairy tale ending and features characters you will have a deeply hard time liking. Such a shift by del Toro, a director who has spent his career delving into worlds of magic, is pretty jarring. The only figure who deserves an ounce of empathy in the picture is the poor geek, forced to bite the heads off chickens while living in an opium/alcohol-induced squalor. Even Molly is guilty of running a con; she just doesn’t want to go as far as Stanton is willing to reach.
If I am candid, I am surprised about the number of books I read this year—a total of 32, just two more than my goal. Somewhere either Seth or big book nerds are scoffing at my number.
I would give excuses as the why the number isn’t grander, but honestly, I am surprised I can still form together words and sentences. Paragraphs are questionable at best.
From my review: Shawkat continues to give the best performances of her career so far. Physically she has a shaved head (forced upon her by the Twink), and there’s a disconnect in the way she moves. She cowers continuously, compared to last season, where she played the seductress, using her sexuality to manipulate. By the end of season four, she is genderless in many ways. She walks with a gait that could never be considered “feminine” by American cultural standards. I think this is important because it notes that Dory has played several roles as she’s dug herself deeper into the predicaments in her life. Now she’s reached a point, having convinced the public of her innocence while feeling the enormity of her guilt, that she is no one. The Twink takes full advantage of this and further breaks Dory down throughout the season.