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astrolovecosmos · 4 years

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Neptune in the Houses and The Dissolved Ego

“Neptune embodies the urge to transcend the boundaries that keep the soul separate from the whole. Neptune seeks dissolution of the ego, the small self, but this can dissolve into not knowing who or what the self really is.” - Judy Hall.

Neptune in the 1st: There is a sometimes unrealistic environment around the development of self. Many warn of being impressionable, that there are no boundaries for the self. In best case scenario one could argue the ego sees past itself with this placement. This person has a more immediate understanding of the human condition and especially feelings of others. From this can be a healer, poet, helper, maybe empath BUT from this can also be a struggle to find self. In a more negative scene this can be someone with less boundaries, they find it easy to become intimate and vulnerable. Intimacy can be a weapon they wield or blocks for relationships to build or both.

Neptune in the 2nd: Let me guess have you heard that this placement is bad with money? They always are left wanting, even if well off? They are impractical? While I won’t say these associations are completely untrue I understand if you are tired of them. With Neptune in the 2nd things like art/creativity build up their worth. If we look at more specific associations - photography, music, dancing, and poetry. Religion or spirituality could help them feel more bounded to the real world. In the 1st intuition is seen in the self but I would make a claim this placement has a lot of seen or outward intuition too. Here this exist in a tangible way. Their intuition interacting with reality. We know substances are associated with Neptune, there comes a warning that substances can boost their self-esteem but in a house connected to the senses there can be more of a spiritual experience with some substances, of course I know this is a controversial take. Finding great value and meaning for the self in something as innocent as food and drink could be part of this interpretation with substances + senses + value. In terms of “ego”, this allows one to find value in elements other than the material. Ego does not have to rely on objects of wealth. There is depth in a house that tends to get a very surface level reputation.

Neptune in the 3rd: Known to be elusive in communication and connection. A natural knack for creativity which really comes from an idea that they do best with creative ways to learn. The ego here doesn’t get hung up in words and intellectual dogma. There is a way to share feelings and thoughts that reaches others. Expression and learning are important to them especially in an artistic sense such as poetry and song writing. Easily distracted and can lack discipline but they are highly adaptable and this may be seen most in their childhood as well as times when they are open to learning. They help others understand them, the nature of emotions, and fellow humans through communication.

Neptune in the 4th: Things like pride or selfishness are likely to not get in the way of what matters most - family or the feeling of finding belonging. Attachment to the changeable and an unstable home life is associated with this placement. But intuition and feeling is nurtured from their past somehow. This is a highly sensitive individual who was not programmed into being misled by the ego. The flip side of this is that their sense of self might not have been solidified growing up. Selfish wants and needs were not always catered to and this can have both positive and negative outcomes. On the positive this is someone who can be giving and easily sympathizes with others, may even have a sense of humility. But a lack of boundaries and self-focused needs being met can still have consequences that allow them to be easily used and hurt. Learning that change is the only constant at an early age can be an area of strength for them.

Neptune in the 5th: Could get carried away in romances and easily lose sense of self within them BUT while I don't want to downplay those risks, if there was a house with plenty of positives for Neptune it is this one. A creative, intuitive, and emotionally in-tune planet sitting in the house of pleasure, play, and creativity. Neptune can be about romance and in the 5th... here the ego dissolves into foam of fantasy feelings and expectations. Disappointment and crashes down to earth can await but at least here the soul, the individual gets to feel something truly special in their romances. "Tis better to have loved and lost than never to have loved at all." There is a greater understanding about themselves and about others when they dive into the arts/creative expression. Pleasure, the joys of life are felt on another level, maybe even a spiritual one.

Neptune in the 6th: Creativity, imagination, and intuition in the mundane is a gift for this placement. Prone to hypersensitivity and over stress is one burden of this placement but that hypersensitivity still has the ability to grow emotional and inner strength. Here the ego is dismantled by a desire to truly serve and help others. Teamwork and honestly a humanitarian aspect exist in this house. Neptune is here with a connection to human emotion and spirit. They give back on multiple levels.

Neptune in the 7th: Alright, loss of self in a relationship, easily being influenced and used, lack of boundaries - this does exist. Don't boil down Neptune in the 7th to just this. First their ability to read others is uncanny. They know what others need and want. Part of them is driven to please or care for others and this has an ability to be a good thing. The ability to adapt to others can be a skill. They share themselves with many and while this has its downside, while they should learn to protect themselves, this can still be great. One book describes the 7th as a place where we share our humanity. Giving many access to one's humanity, is a positive. Online I know many love to throw around the word "mirror". That element has a place here. They can at times act as a mirror for another, helping them see things in themselves and to learn. Of course "being a mirror" is not anyone's responsibility, something to keep in mind. Relating to another can be a spiritual experience and in many ways, shouldn't it be like this? In the 7th, the ego is dissolved into others.

Neptune in the 8th: Yes their intuition is powerful, it is strong. Can we get an applaud for this? Many books and articles I see warn of a lot of danger and negatives with this placement. A warning of being taken advantage of financially is talked about frequently. If I had to distill it down, the warning would be this: don't let anything good slip away from you. Appreciate what you have in the moment and watch out for the wolf in sheep's clothing. Here walls are peeled away in terms of intimacy, giving, sharing, fears, and the unknown. Not an open book but they have no fear of vulnerability. It is their hunches that will protect them because without it there is just an urge to merge and to share. From this comes the danger of being deceived. The ego doesn't fear appearing weak, showing flaws, getting close. Maybe it isn't always that the ego is dissolved but shared. The self and its expectations, wants, needs are shared to whoever flashes vulnerability back at them. I would look at this as a place of bravery.

Neptune in the 9th: Something to be said about their idealism! Spiritual learning and subjects can take a seat here. "[there is the call] towards ritual and mysticism - or the illusions that pass for it." - Judy Hall. I think the 9th house is an area to be careful of in general - but that is a talk for another day. Be cautious of falling for spiritual illusions and being misled in the area of knowledge, education, morals, and religion. Be careful of blind faith. But Neptune here is in touch with the spiritual realm or the human spirit. Their own inner faith is not that of over confidence but a faith in the universe. Their beliefs overcome any of the ego's needs or insecurities.

Neptune in the 10th: Attracted to creative/artistic careers or careers that can heal/help/serve others - yes. okay. let's move on. Here we see the ego, the self being shared on a mass level. It is "dissolved" into the public sphere. No boundaries can be useful though, giving so many over access, honestly a possible good position for gaining "fame". But I don't like to label certain placements as the "fame" placement. You will find celebrities and public figures with all kinds of charts. But the idea that the public has easy access to them can be a real threat to be aware of too. They can be far reaching in their community or career. They make an influence on others which has its positives and negatives. They connect with others easily on a platform, through their art, or through their work. On an even larger scale, when thinking about society here is someone who can help make the world a better place.... or could set in motion harmful ideologies and emotions to cling to. An ability to see the wounds in society is a strength that would benefit many of us.

Neptune in the 11th: So sensitive to the collective, to the group, maybe even the mood of the room. There is compassion for their fellow woman/man. Being easily fooled/misled in a group setting can be a big negative. Being used by friends is a reoccurring theme. This is a very cordial, amiable, and accepting placement when it comes to dealing with others. Intuition among the collective and within the social realm is strong and this will help them to overcome issues with deceptive or unhealthy friendships. The ego puts down its sword and shield to connect with others in the most straightforward way. It can forge spiritual bonds with people that is unsullied by heavy expectations. Depth can be found in friendship, in a group, in an organization, among an array of relationships and depth doesn't have to be confined to romance or family.

Neptune in the 12th: If there was a place the ego would metaphorically "die", this would be it. Tapping into intuition, creativity, spirituality are strong but out of all that, I want to put the spotlight on how this gives someone a very deep ability to connect with the human condition and the human spirit. Kindness and forgiveness are learned here. I emphasize learn, not inherit, not natural, learned. Understanding when one is a victim that needs to be saved and when one needs to move past being a victim is important. Strength will always exist in the non-tangible. Strength exist in uncovering what is hidden. Strength comes from understanding and accepting what is within.

#neptune #planet #zodiac #astrology #neptune in the houses #natal chart

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driftingglass · 5 years

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Anime asks: 1, 3, 12, and 22 😊

AH YES you picked a few of the ones I was really hoping to get an ask for! :D Thank you, blessed person!

Okay.

1. First anime you ever watched.

SAILOR MOON, MOTHERFLUFFERS.

I absolutely loved Sailor Moon. I also loved Yu-Gi-Oh and Pokemon, but I watched those after I was introduced to the world of anime through the Sailor Scouts in one of their random movies. I gravitated towards Yu-Gi-Oh (shut up, snickering person in the back), and of course Pokemon cards and games were very influential on my childhood.

But as far as classics? The very first one I was ever introduced to? One of the Sailor Moon movies. I adored Sailor Mars and Jupiter especially (come on, we all know they were the bomb diggity), and Serena actually kinda drove me crazy.

But I think her cat Luna was actually my favorite character, if we’re being honest. And also the opening sequence to Sailor Moon Crystal is one of my favorite songs to listen to in the gym, so there.

I am thankful to this anime for introducing me into that wonderful, weird, abstract world. Thinking about it gives me fuzzy nostalgic feelings.

3. Favorite anime character.

Why, must this always be so difficult?

This is an extremely hard question to answer for a lot of reasons. As far as characters who are most dear, real and human to me in anime, that can span its own category, and favorites trend more in that realm. But I also love characters that transcend so many typical descriptions of what is expected of them, and love the risks taken to write them to begin with.

For example, I admire the construction and writing and execution behind the character of Meruem in Hunter x Hunter, but to call him my favorite still seems wrong. Despite, in actuality, how much I adore this character as well as many others in Hunter x Hunter.

I’ve written so many analyses in the past about my feelings and thoughts about certain characters, especially my favorites. It’s no surprise to anyone who knows me personally that I love Killua Zoldyck and Gon Freecss from Hunter x Hunter, and I consider Izuku Midoriya to be one of the most relatable characters (alongside Killua) that I’ve seen.

Izuku is also the only reason I watch BNHA, so that earns the character some extra points.

Before I watched BNHA, Killua Zoldyck was a dead ringer for that spot (and if I’m honest, he still is my all-time favorite as far as all-around character deconstruction).

His development, design, abilities, flaws, strengths, and relatable quest for self-worth are all so layered and full of depth. His story and individual arcs are so beautifully written and opposed to the likes of Gon’s character in a parallel examination of a friendship that stands the test of time.

But the thing I love that most people don’t really talk about in their relationship in general involves all the aspects of a friendship/relationship: the good, the bad, and especially the ugly.

Bring me the ugly. All of it.

I’m getting off-topic.

So yeah. Killua. Gon. Izuku.

Love ‘em.

Hard to beat that bar, you know?

12. Anime that should get more attention than others.

Oo. This is a hard one.

I’m especially picky with anime, actually.

As much as I love Hunter x Hunter, I’m glad that it’s more understated in how awesome it is compared to others. I’m thankful that it has more opportunity and room for a lot of people to tell others about it and to get that experience of letting people know how good it actually is, and in my opinion, how “over-hyping” doesn’t seem to exist when attached to it.

However, it does have marginally more attention than others.

I’m actually going to talk about a movie, and recommend one anime when related to this. While both are well-known, they deserve more attention.

The film Wolf Children, as well as the anime Wolf’s Rain.

And yes it’s a complete coincidence that both have “wolf” in the title.

Just trust me on this one. Go check them out, please.

Another kind-of recommendation I have that you can check out is The Ancient Magus’ Bride (Mahoutsukai no Yome).

I found it particularly frustrating in the second half but, loved the first few episodes. It’s beautifully animated and is a very interesting world. Give it a shot! You might love it.

But yeah I’m very picky. I’ve tried many anime and have liked very few. So.

Hope this is somewhat useful!

22. Age you started watching anime/person who introduced you to it.

This actually made me remember a very fond memory that’s rather safe from my childhood. In better times.

My father was browsing a Blockbuster and came across one of the Sailor Moon films (forgot the name, but it’s the one where Luna transforms into a human… this was my first introduction to Sailor Moon), and apparently the salesman told him that little girls love Sailor Moon, so he bought it just to entertain me.

I think I was around six or seven years old.

What a nice memory. I’m glad to think about it now.

Okay so that’s all I have for now! Thank you so much for the questions! :D

#Ask Me Anything #Anime #Anime Asks #dragonbooks249 #HxH #Hunter x Hunter #BNHA #Sailor Moon #Wolf Children #wolf's art #wolf's rain

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ahouseoflies · 5 years

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The Best Films of 2018, Part IV

Scroll down for Parts I, II, and III. VERY GOOD MOVIES THAT STILL AREN’T TECHNICALLY GREAT--SEE, I LIED, NEW CATEGORY, WHICH REALLY SAYS SOMETHING ABOUT THIS TIER IN 2018 AND MAYBE HINTS THAT THERE WEREN’T MANY MOVIES THAT I GENUINELY LOVED

44. Hotel Artemis (Drew Pearce)- It should be illegal to watch this movie before midnight because it is an exploitation flick to its core. Is it a problem that it's shaped like a triangle, that it starts wrapping up its answers the minute we understand what the questions were? Yes. Is that a problem that Jeff Goldblum, playing the Wolf King, wearing a double-breasted camel's hair coat like a shawl, can't fix? No.

43. Sicario: Day of the Soldado (Stefano Sollima)- Considering how much I liked Sicario, I'm impressed by how close its sequel came to its chilly hardness. Strangely enough, the craft suffers more from the absence of Jóhann Jóhannsson than it does from the absence of Denis Villeneuve. Aside from a lull at the two-thirds mark and the pulling of exactly one punch, this entry feels as vital and astute as the last one.

Which means the real auteur must be Taylor Sheridan. His script mimics the structure of the original while twisting its characters just askew enough to breathe new life into the material. His screenplays just sort of unfold in a way that I find organic--it's hard to even say what the conflict is until halfway through most of the time. And if he wants to write five more of these, I'll gladly take them.

42. The Other Side of the Wind (Orson Welles)- Like almost anyone else, I'm grateful that The Other Side of the Wind exists at all. The fact that it's so more personal and experimental than I expected is a bonus. It's kind of a mess until it congeals at the drive-in, but every choice still seems labored over. (The claustrophobic nature of the party versus the wide open spaces of the film-within-the-film, for example.) Nonetheless, it's hard to go to bat for a movie whose backstory is more captivating than the final product.

41. The Mule (Clint Eastwood)- Besides the breezy glide of the pacing, the performances stand out. Eastwood's is the type that we haven't seen from him in a while. He smiles a lot. He sings and dances and flirts. He's generally carefree and loopy. And he's contrasted with* a nervy Bradley Cooper in one of those humongous-star-taking-the-back-seat performances, sprinkling charisma the way Sean Connery did in The Untouchables.

But there is no elegance at all. Besides Chekhov's cough and the cheesy elbowing of "If only somebody had $25,000 to save the VFW Hall," we get the messy racial politics of Eastwood once again. Whereas Gran Torino worked for me because it's aware of its own racism, this one thinks that it's doing some good. The subtext is that an old White man would never catch trouble from police, but the text is a Hispanic man getting pulled over and nearly pissing himself for laughs. Hard to argue this isn't a fun time at the movies though, despite the fact that it's almost entirely about regret.

40. If Beale Street Could Talk (Barry Jenkins)- Too theatrical and outre for my taste, but it's easy to get lost in its cosmetic pleasures: the lush colors, the lavish costumes, the immaculate close-ups, the best score of the year. I liked it, especially the Brian Tyree Henry tangent, but as the movie is swooning over itself, it's easy to catch yourself thinking, "What is this even about?"

39. Can You Ever Forgive Me? (Marielle Heller)- Can You Ever Forgive Me? hits every beat you would expect from an "in over her head" crime movie, but the time that the film dedicates to the central relationship creates a rare intimacy. If you stopwatched it, I imagine the majority of the film would be McCarthy and Grant talking to each other. That focus, along with a resistance to smoothing over the characters' rougher edges, elevates a kind of boilerplate story.

38. Blockers (Kay Cannon)- Even if the ending is kind of exhausting, desperate to give each character his or her moment, this is hilarious. Not so much in the setpieces showcased in the commercials but frequently in an expression or line reading. The Blu-Ray has a line-o-rama gag reel that is funnier than some entire movies. It's pretty progressive and fair in its portrayal of young female sexuality too.

37. Game Night (John Francis Daley and Jonathan Goldstein)- It gets a little tidy and full circle for my taste, but this movie has some great laughs while being a good example of a film that nails both the characters' "want" and the characters' "need." Rachel McAdams is winning, and Jesse Plemons steals all of his scenes.

Game Night also has way more of a filmic identity than one might expect, since it doubles as a sort of Fincher parody. Besides Cliff Martinez's insistent electronic score and some CGI-for-no-reason establishing shots, Daley and Goldstein borrow the auteur's desaturated palette, locked-down camera, and narrow light range. There's even an elaborate one-r. The visuals elevated a premise that had the potential to be really dopey.

36. First Man (Damien Chazzelle)- I think this is exactly the movie Chazelle wanted to make, but, to match my expectations or his filmography, it's not quite good enough. Cool to the touch, though anything else would be antithetical to who Armstrong was. In the shape of suspense, but with an outcome that is obviously never in doubt. Flipping to the IMAX ratio the second the crew docks onto the moon is a cool trick, but it's as innovative as things get.

The cast is game. Gosling's fastidious brooding resists any of his Movie Star charm but still holds every scene, and the framing of Armstrong's motivation works very well. Foy's reading of "a bunch of boys" is about to become a t-shirt. Kyle Chandler and Jason Clarke and the suddenly mature Patrick Fugit all get their moments. The final scene places the film into the Chazelle tradition of people whose calling is greater than even their most transcendent relationships, and a protest sequence is a welcome break from the eraser-streaked perfectionism.

I'm sorry that I wanted Apollo 13 instead of a hipper Apollo 13.

35. Spider-Man: Into the Spider-Verse (Bob Perischetti, Peter Ramsey, Rodney Rothman)- Within the course of one year, we got two possible solutions for the "problem" of inspiring but self-serious origin stories. At the beginning of the year, Black Panther mastered the form and presented it so solidly that it couldn't be argued against. Spider-Man: Into the Spider-Verse goes the other way, so impressionistic that the final sequence is people flying through abstract shapes and colors, so irreverent that a character cuts someone off mid-sentence as he says, "With great power comes..." Though I would have trouble explaining the film, all of the dimensional comings-and-goings make sense in the moment, and it's easily the funniest Marvel movie ever made.

Maybe purposefully, it is overstuffed though. Six different iterations of Spider-Man is enough to juggle; I definitely didn't need a cadre of villains that was even less defined. I have to admit, even though I couldn't tell you what to cut, I was exhausted by the end, even if I was huffing and puffing fresh air.

34. Boy Erased (Joel Edgerton)- Many characters do bad things in this movie, but they're people trying to help and doing their best, justifying the pain that they're causing. This is a film that easily could have been drawn in caricature, and it never is. It does, however, draw the characters as fairly as they deserve, so the Joel Edgerton gay conversion therapist does wear bad ties and pronounce some words incorrectly. The Russell Crowe character, especially in the powerhouse final scene, is more complex and real, at least if I'm to judge by my own father, who has disturbingly similar moral authority and power moves k thx bai.

33. Won’t You Be My Neighbor? (Morgan Neville)- This one is more cohesive than 30 Feet From Stardom, but these Morgan Neville docs are sometimes too slick for their own good. If you've never made the "jerking-off motion" with your hand, then you'll be tested when he asks his subjects to close their eyes and imagine someone special to them.

That's not to say that the nearly pornographic reverence of Fred Rogers is not deserved or effective. And one of the most daring notes of the film is the suggestion that, in our hostile times, Rogers's message might not have stuck. The jabs at Trump aren't overplayed, but the president is sort of a pall over the entire film. When Rogers says, "The most essential things in life are invisible," it's hard not to imagine the person on our TV daily who is the antithesis of that idea.

32. Hearts Beat Loud (Brett Haley)- This is a heartwarming movie that ends on a high note with solid music. (Important because, if the music that the father and daughter made had been bad, the whole thing would have fallen apart.) Occasionally, it falls into that ensemble problem of "Good news: We got Ted Danson. Bad news: We have to find something for him to do." And it's a weird sideways ad for Spotify. But if I gave Begin Again three stars, then I have to kick this Once-core entry up to three-and-a-half.

If I may, though, I would like to analyze a recommendation that Offerman's record store owner makes to Collette's character. Since she's buying Dig Me Out by Sleater-Kinney, he puts her on to Animal Collective's Merriweather Post Pavilion, an album she has not heard of. Which is absurd. Forget that Animal Collective should not be recommended to any woman ever. Any person who knows Sleater-Kinney also knows Animal Collective. She would have heard of them if only because they would be a bad match for someone who likes Sleater-Kinney. But here he is all like, "Check out 'My Girls'--killer song." You're going to recommend the lead single, fam? You're not even going to go out on a limb and push "Bluish"? No wonder your store is shutting down if you're pushing free folk/art-punk onto riot grrls.

31. Western (Valesta Grisebach)- While I was watching Western, I can't say I was having too much fun. It seemed like an adequate story told in a patient, austere way. But in the days since then, I haven't been able to get it out of my head. The way that Grisebach gets so much out of non-professional actors, the way that each character seems to exist not so much as a person but as a totem for something like aggression or labor or exploitation or occupation. Like few other movies--though Beau Travail comes to mind--it's a portrait of masculinity that seems really resigned about its conclusions. 30. American Animals (Bart Layton)- I worry about the potential Boondock Saints effect of this movie: Do I want to be in the same number as the college dorm crew attracted to it only for its style? Is it only style? I don't think it adds up to much ultimately.

But it does have style, and it's way too fun of a caper flick to resist. It presents an interesting bridge in Bart Layton's career, from non-fiction that is a bit too fictional to fiction that is a bit too factual. The segments with the real people involved in the heist serve as decisive punctuation to the florid sentences of the narrative. I also appreciated that the film didn't dwell too much on the trial, since we know exactly where the boys faltered and what evidence did them in.

29. The Land of Steady Habits (Nicole Holofcener)- I loved the rich characterization of the first half, which resists hand-holding as it plops the viewer into a post-divorce setting that is familiar but specific. The film bounces off into tangents from there, some of which are great, but Edie Falco seems to draw the short straw. There are three actors on the poster--weird-voiced Ben Mendelsohn, Thomas Mann, and Falco--but her character is left undeveloped, a bit unfairly, as the proceedings favor the men. The film is still another ground-rule double for Holofcener, a filmmaker who gives the impression that she has no idea what a ground-rule double is.

28. Private Life (Tamara Jenkins)- I don't know anything about Tamara Jenkins's personal life, but there's no way that the details and emotion of the central couple's infertility don't come from her own pain. That frustration and obsession take center stage, and we get filled in with the rest of the details patiently as the film goes on. I don't think we even know what Giamatti's character does for a living until forty-five minutes in, and that's okay. The movie cares more about the supporting characters than I did, but I appreciated the lived-in realism of an apartment with books filling up the fireplace.

27. Flower (Max Winkler)- Although I didn't believe Zoey Deutch as a seventeen-year-old, I was impressed by this script, which moves slowly until it doesn't. I guess "Flower" is good branding since there doesn't appear to be a movie called that already, but I kind of wish this had just been called "Erica." It builds that character carefully, plants her in an impossible situation, then unleashes hell upon her.

An advantage of a movie with teenage characters is that they don't necessarily have to make the most logical decision in a given moment, so even when these characters are being dumb, they're being true to themselves. As the most prominent Zoey Deutch stockholder in North America, I actually thought about bumping this up an extra half-star.

26. Leave No Trace (Debra Granik)- Leave No Trace is partly about how existing outside of society can be as much of a contrivance as buying in, but the way the movie delivers that message is less ham-fisted than my description due to the intense performances at the center. Ben Foster, uncharacteristically restrained here, reportedly worked with Debra Granik to excise 40% of his dialogue, and that choice speaks volumes about the trust the film has for the audience in limiting the exposition.

The only thing holding me back was how exclusively internal the father-daughter story is. Unlike Granik's Winter's Bone, which functions as both a (similarly compassionate) coming-of-age story and a race-against-the-clock thriller, Leave No Trace is tracking only emotional growth. Will and Tom aren't headed anywhere in particular, which is part of the survival-versus-living point. But, you know, get you a Debra Granik movie that can do both.

25. Eighth Grade (Bo Burnham)- Socially terrifying when it isn't being effortlessly funny. Sometimes the protagonist is downright frustrating, which the film doesn't shy away from, but the vulnerability of Elsie Fisher's performance grounds everything around it. Besides nailing adult condescension, Burnham's script works because the big social disaster is always averted until it suddenly isn't, and that's when the moment hits the hardest. Somewhere in the back of my mind though, I kept thinking that perceptive realism is easy to do if that's your only goal. To quote the kids: "Some shade."

I spent most of the movie thanking God that YouTube channels didn't exist when I was thirteen.

24. Three Identical Strangers (Tim Wardle)- I'll be the millionth person to write "truth is stranger than fiction" with regard to this movie. And sometimes having no idea where a movie will go is enough. 23. Green Book (Peter Farrelly)- When a dramatic director makes a comedy, it often feels self-conscious and overt. I'm thinking about Von Trier's The Boss of It All, in which the technique is more important than any audience joy or release. Or Michael Haneke explaining tirelessly why he thinks Happy End is "actually a comedy." Unsurprisingly, the results work a lot better when a comedy director of twenty years decides to go more serious. He knows what audiences want, he already understands how to wring tension out of each scene, and all he needs is the right subject.

The last item is where Green Book suffers. In the end, this is still a movie in which a White guy learns not to be racist. The first third, there seemingly to insist that Tony is the main character, is shaggy. I would wager the men don't get into the car inside of forty minutes. But once we're on the tour? Man, is this a crowd pleaser. The men's respect for each other grows gracefully, and the film's proud sentimentality powers its best moments as they fly by at a clipped pace. I had given up on Farrelly after Hall Pass, which felt amateurish, so a work of such professionally manicured (manufactured?) emotion was a shock.

On a different note, are any of you interested in a thousand words on Linda Cardellini's posture?

22. Den of Thieves (Christian Gudegast)- Despite the February release date, a director with no track record, and the most #basic studio lead there is, Den of Thieves is a caper film as sprawling as it is humane. Even Potato-face Butler is perfect for his role.

I watched the unrated version, which should be called the "depressing version," since I know exactly what was cut. (Hint: The wordless scene of Butler's jilted family ignoring him when he sees them in the grocery store, not anything from the shoot-out.) There's a spot where I would end the movie, and it's way before the Keyser Soze epilogue, but this was a welcome surprise for me. The movie seems to find its star in O'Shea Jackson, Jr. as it goes, and I completely agree. Many more like this please.

21. The Front Runner (Jason Reitman)- Reitman starts with a complicated oner that cranes up and down, zooms in and out of new characters, and times itself perfectly to catch snatches of conversations about "how can you even lay this much cable?" And in all of its Altman-esque indulgence, it's kind of the movie in a nutshell. Something simple--a scene shot with one take--commenting on how damned hard it is. What seems like a straightforward thesis moves at a breakneck pace with a game ensemble until you realize that it was all more complicated than it seemed.

Hugh Jackman has the challenge of playing someone essentially unknowable, but he has an amazing moment in the first third. On the chartered boat called Monkey Business--such a bad look, dude--Gary Hart is composed and dignified until a woman we don't see* sits down across from him, and his whole affect changes. His guard drops, and he seems absorbed by her, giggly. We can't hear what he's saying, but he's asking her about herself and joking about himself. Both or one or neither of those personalities is the real guy. The Front Runner is a movie about a tragic Great Man, and they're always described as if they can't help themselves, as if they're fighting their demons until the magic moment when they aren't. Jackman made that magic real for me when Hart's personality fell out.

20. The Ballad of Buster Scruggs (Joel Coen and Ethan Coen)- Patently uneven and bizarrely sequenced, The Ballad of Buster Scruggs doesn't stack up to the Coens' major works--though it demands another viewing. I did think, in all of its bleak absurdism, that it belongs in their neighborhood. To me, there's a dichotomy that most of the brothers' films trace. We're all doomed, but the force that does us in is sometimes fate (A Serious Man, Inside Llewyn Davis, The Hudsucker Proxy, No Country for Old Men) and sometimes the stupidity of other people (The Big Lebowski, Blood Simple, Burn After Reading, Miller's Crossing). This new movie seems to start with the latter, waver sometimes in the more interesting middle stories when Zoe Kazan and Tom Waits break my heart, then end up at the former. Tracking such a thing in miniature can be really instructive.

19. The Tale (Jennifer Fox)- If you can look past Common's goofy voice and the more afterschool special aspects of this movie, then you can realize that it should actually, as disturbing as it is, be an afterschool special. It spins its wheels sometimes, but the questions that this movie asks about memory and abuse are invaluable. Presenting a downright shocking portrayal of grooming and secrecy, it avoids easy answers and over-sympathizing with the protagonist all the way through. (Especially notable because the character is "Jennifer Fox," and the director is Jennifer Fox.)

Laura Dern remains Laura Dern, but I loved Jason Ritter in this. Exactly because he has been in a hundred failed sitcoms, he is terrifying here as a devilish knock-off of the type of guy approachable enough to be on TV.

18. Paddington 2 (Paul King)- At first, during the extended introduction, I was worried that Paddington 2 was falling prey to the curse of the sequel: more, not better. But as each family member pays off what we learned about him or her in the introduction during a sprightly train setpiece that owes more than a little to Keaton, I realized that I shouldn't have doubted the Paddington empathy machine. This one carries over the humor and sweetness but goes even harder on the pathos in its attempt to convince us to have good manners and care about the people around us. I'm not sure any other movie this year hit me harder than when the Browns don't show up for their weekly meeting at the jail.

Hugh Grant, an actor who always seems to be having fun, has never seemed as if he is having more fun.

17. Set It Up (Claire Scanlon)- I guess I believe in true love now.

16. Blindspotting (Carlos Lopez Estrada)- The stylized climax is going to be polarizing, but I thought it was a heightened, artful moment whose seeds had been sown throughout. The film meanders, but its angles on subjects like gentrification and probation and identity show tenderness and openness, and Estrada's visual energy recalls early Spike Lee or Jarmusch or Aronofsky. It's worth seeing if only for its fresh sense of place.

The two leads play off each other especially well. If Daveed Diggs is the fourth lead or whatever of Hamilton, then I guess I finally have to see it.

15. Incredibles 2 (Brad Bird)- Incredibles 2 is a good example of a sequel rhyming with the original in a way that doesn’t feel like a retread. Accidentally topical in its subtext about just rule of law, the film hits upon some of Brad Bird’s ideas of exceptionalism and hope for the future while being slightly more cogent in that messaging than the original. (Slightly. The villain problem is still there. If superheroes are already illegal, then why employ and promote them at all if your goal is to make them even more illegal?)

This entry is a bit more overstuffed, less timeless, and less funny than the original. There’s nothing on the level of “Honey, where is my super suit?” which I still say to my wife fourteen years later. But the fight choreography and the textural animation take advantage of the gap in between films. The Paar family dynamic is altered only slightly, but it’s enough to re-invent the proceedings. Violet has more confidence in herself, Dash is more in control of his powers, and it’s the, yes, thicc Elastigirl who is working solo this time. Especially in the opening sequence, we see how each character’s skills complement the others’. If Finding Dory is the bar for “sequels to Pixar movies that didn’t need sequels,” then Incredibles 2 leaps over that bar.

14. Chappaquiddick (John Curran)- "We need to tell the truth. Or at least our version of it."

After the Kennedy Curse claimed JFK Jr., it seemed as if the culture reached a saturation point with Kennedy coverage. Aside from the occasional "Look who's dating Taylor Swift," we gave them their space. Who would have thought that twenty years later would be the perfect time to dust off the coldest case in the dossier?

See, now that we're having a national conversation about who gets the breaks, there's a little bit of extra weight lent to a scene of Ted Kennedy waiting for a sheriff he summoned as he drafts a statement at that absent sheriff's desk. A sheriff who then helps Kennedy to escape through a backdoor lest he answer any untoward question about his manslaughter. The film is delivered with an even pitch--especially the Jason Clarke performance that could have been overdone--but it makes no mistake about its real subject: privilege.

The attempts to keep Kennedy safe become more brazen as the film goes on, and each dodged consequence--getting Teddy's driver's license renewed on the low, for example--is balanced by Ed Helms's desperate performance as a voice of integrity. In all of the best tragedies, we know what's going to happen in the end. All along, the Kennedy Curse was that they are not like the rest of us.

13. Love, Simon (Greg Berlanti)- Can we all agree that an anonymous gossip web site for a high school is a bad idea? And that, though the film doesn't pursue this angle, the vice principal is the one maintaining it?

This propulsive, observant, and witty movie is an outright pleasure from beginning to end. Hocking spitballs at its PG-13 rating, its greatest strengths are having the courage to get dark and having the wisdom to give every supporting character his or her own moment.

#film #lists #movie reviews

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progarchy · 7 years

Text

by Rick Krueger

The sun shone warmly again on the south side of Chicago as Progtoberfest III kicked off its second day. Taking in the view as I exited the ‘L’, it was amusing and welcoming to see a familiar screaming face painted on the exterior of Reggie’s:

Hoping to get Alphonso Johnson’s and Chester Thompson’s autographs in the VIP Lounge the night before, I’d struck up a delightful conversation with members of the North Carolina Genesis tribute band ABACAB. In 2016, festival organizer Kevin Pollack had given them “homework” for this year: to play all of Genesis’ live album Seconds Out on the 40th anniversary of its release. You could tell the band was nervous (they focus on 1980s Genesis to get bookings, so they had to learn half the album in the past year) but also absolutely thrilled to bring it to the Rock Club stage. And on Saturday afternoon, they nailed it, to the joy of an enthusiastic, supportive crowd and rave reviews from other acts. They’re already planning to return to Reggie’s in April as a headliner, and for Progtoberfest IV next October. Check out why below:

As my festival survival strategy took shape, I decided on a quick walk outside — especially since the old Chess Records building, one of the historic sites of electric blues and early rock’n’roll, was just two blocks away on Michigan Avenue. Great music was made here by so many artists — Muddy Waters, Howlin’ Wolf, Etta James, Bo Diddley, Chuck Berry, even The Rolling Stones, The Yardbirds and early Fleetwood Mac. Now in the hands of Willie Dixon’s Blues Heaven Foundation, a quick tour of the building provided a lovely little look at a tiny studio that moved the world.

Back at the Rock Club, Wave Mechanics Union took the stage. Highly recommended by prog saxist Jamison Smeltz, it’s the only big band I’ve ever heard that started their set with Yes’ “Siberian Khatru” and closed with a Jethro Tull medley. In between, they romped through swinging, harmonically sophisticated arrangements of tunes by Queen, King Crimson, Gentle Giant, Pink Floyd, Rush and Tom Waits. Think Postmodern Jukebox for progressive rock – it was serious fun, audacious and impeccably performed.

Next up was CAST; founded by almost 40 years ago by keyboardist and composer Alfonso Vidales, Mexico’s preeminent proggers wasted no time digging in. The extroverted septet brought the goods to the excited audience with their polished, passionate, complex epics. A nice, loud metal edge and the first violin I’d spotted for the weekend added a different spice to the enjoyable musical recipe.

Then it was over to the Music Joint for the first time, to check out Joe Deninzon & Stratospheerius. They served up gleefully deranged power pop with a gutsy (if sometimes odd-timed) backbeat, including a double time cover of Muse’s “Hysteria.” And hearing two violins in a row certified that I was at a prog festival, especially as Deninzon made loops with his voice, then channeled them through his souped up fiddle, to make the strings sound like anything but.

Hearing Mike Keneally & Beer for Dolphins back in the Rock Club, I had the unavoidable mental picture of a completely sober driver weaving on and off the road, just for kicks. Like his mentors Frank Zappa and Steve Vai, Keneally weaves quick snippets of musical normality and nuttiness together; the result, even in a power trio format, is a dense, disconcerting, but oddly enjoyable tapestry. Oh, and singing while playing keyboards with your right hand and guitar with your left, all at the same time, goes beyond prog right into downright crazy.

Helping out following unavoidable cancellations by other bands, Dave Kerzner took to the stage in the Music Joint for what turned out to be my favorite set of the festival. Kerzner and band hit peak intensity quickly with Sound of Contact’s “Not Coming Down,” then turned it up for New World’s “My Old Friend” and “Stranded.” With a few words of tribute to Pink Floyd’s Rick Wright, Durga McBroom took things even higher with a transcendent performance of “The Great Gig in the Sky;” she was completely in possession of the room, doing her family, who came all the way from Detroit to hear her, proud. And Jamison Smeltz (him again!) hopped onstage to join in a tribute to the late Greg Lake: the complete In the Court of the Crimson King album, which really brought down the house. An utterly amazing 75 minutes.

And, at long last, the moment came that had convinced me to take in all three days of Progtoberfest: a quintet version of The Tangent/Karmakanic, playing a double-length set from both bands’ catalogs in the Rock Club. It was an absolute treat to finally see and hear Andy Tillison’s delightfully sardonic introductions and story songs in person, and to revel in his mind-meltingly good keyboard playing. Tillison’s animated personality is the perfect match for Jonas Reingold ‘s earnest lyrics, melodic bass playing and bone-dry humor (while a glitch in the keyboard sound was addressed, Reingold told one painfully bad joke after another, reminding us after each one how it was, and I quote, “so funny.”). The set was pleasingly tilted towards longform material, with the whole band shining on “Send A Message from the Heart,” “God, the Universe and Everything No One Really Cares About, Parts 1 & 2” and “Where Are They Now?”

But the most moving moment came at the start of the second set: Tillison quieted the crowd for a new song, “Sanctuary in Music,” dedicated to the victims of recent attacks on concerts in Paris, Manchester and Las Vegas. And in the middle of the song, thirty seconds of silence, in memory of those who had died, took over. And held. And, if only for that moment, purged the pain Tillison (and so many of us) so obviously felt at such senseless loss.

(One further Tangekanic note: the guys in the band really entered into the spirit of the festival. I couldn’t count how many times on Friday and Saturday I would look around only to see Andy, Jonas or drummer Steve Roberts standing to one side or behind me, checking out yet another act. They also brought Wobbler front man Marius Halleland — who had had to cancel their appearance when the US turned back the rest of the band at the border — onstage for a number. Needless to say, they were generous with their time in the VIP Lounge as well.)

Alas, I had to catch the train, so I was unable to stay for Bruce Soord’s acoustic set in the Music Joint. The version of The Pineapple Thief’s “Tear You Up” that I caught on the way out sounded great, though.

Finally, props to the bands I didn’t get to see on Saturday: Frogg Cafe, The Pneumatic Transit, The Renegades, King Llama and Necromonkey.

You can check out my review of Progtoberfest III’s Day One here.

Progtoberfest: Day Two Report by Rick Krueger The sun shone warmly again on the south side of Chicago as Progtoberfest III kicked off its second day.

#Bruce Soord #CAST #Dave Kerzner #Genesis #Greg Lake #Jamison Smeltz #Joe Deninzon #Karmakanic #King Crimson #Mike Keneally #The Pineapple Thief

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