Self-therapy: 2014 in Review

Other Years in Review

Welcome to the cusp of 2015.

This was a banner year for me. I wrote my thesis, I graduated college, I worked a summer at Haverford, I spent a couple weeks in Minnesota, I slummed around, I got a job, I moved to Philadelphia. It's been one of those watershed years in which your life on December 31 looks nothing like it did on January 1.

Of course, 2014 was also the first year of Post-Credit Coda! One year ago today I was in a dire mood, so I made this blog and posted this post because I couldn't muster up the willpower to do anything else. That has grown into something of a hidden theme on this blog. I spent a decent portion of this year stressed, depressed, or suffering from severe writer's block. Oftentimes I would turn here as a sort of self-therapy; when there was nothing else in the world I could think to write about, I could always write about movies. It was my recourse, my outlet. MY SALVATION.

I may be giving the wrong impression. When a new Post-Credit Coda post pops up, you shouldn't be thinking, "Oh no! I do hope he's alright, the poor sweet dear." I come here just as often, if not more often, because I am excited about something. Sometimes movies electrify me in a way few things can, and I love sharing that energy with others.

MOCKINGJAY - PART 1: Rebels and Rubbles

In which it takes me two hours to figure out how to upload a sound file to Blogger.

Director: Francis Lawrence
Writers: Peter Craig, Danny Strong
Cast: Jennifer Lawrence, Liam Hemsworth, Josh Hutcherson, Woody Harrelson, Donald Sutherland, Philip Seymour Hoffman, Elizabeth Banks, Julianne Moore, Sam Claflin, Natalie Dormer, Mahershala Ali, Jeffrey Wright, Stanley Tucci, Jena Malone
Runtime: 123 mins.
2014

For this winter's biggest cinematic event, the continuation of the massively successful Hunger Games franchise, Post-Credit Coda is releasing its first audio review! Click below to hear me discuss Mockingjay - Part 1 with my two esteemed guest stars, Brandon and Carson Rebel. (Hopefully it works; you might have trouble on mobile devices. I apologize for the sound quality, I did the best I could with zero microphones.)

WARNING: Spoilers are discussed for Mockingjay - Part 1, though if you ask me it doesn't matter that much for this movie. Nothing beyond the scope of Part 1 was discussed.

My reviews for movies mentioned in the discussion:

Top Ten 2013 (Catching Fire)
Edge of Tomorrow
Godzilla

2.5 / 5  BLOBS

TOP TEN 2013

It's the end of the year, and you all know what that means. Time for the top ten movies released not this year but the previous year! I am nothing if not timely.

I've been meaning to write this list for a long time now, but I couldn't bring myself to do it earlier because I had missed out on many of 2013's critical new releases. Even still, I haven't seen a bunch of potential contenders like:

The Conjuring, The Wind Rises, Blue Jasmine, Captain Phillips, 12 Years a Slave, The Counselor, Dallas Buyers Club, Blackfish, The Bling Ring, Spring Breakers, etc.

I have an assortment of excuses for this negligence. The first Post-Credit Coda post being published on December 31 of 2013, 2014 was my first year of writing about movies. Seeing new releases in 2013 had not been a priority for my college self. But I've finally watched my way through forty movies from 2013, enough material for a hearty if not comprehensive top ten.

Looking over my list, I can't help but call 2013 disappointing. Shame on you, 2013. Summer blockbuster season felt like a dry spell and the Oscars didn't blow me away. Despite this, picking ten movies proved a bit confounding. That's why lists are fun! Time warps impressions, and self-imposed limits force you to confront what you find valuable in your favorite and not-so-favorite films. Not every movie can be a big fat winner. Some movies are big fat losers. With that in mind...

TOP TEN 2012

[This post was originally composed for my personal blog, The Name Is Rebel. I am replicating it here for posterity's sake. As you might guess, the list would look a little different if I had written it today--but no alterations were made!]

In my time, some have called me a Movie Buff.  Some have called me a No You're Not A Movie Buff.  Regardless, I love movies.  They're one of my three favorite forms of media (novels and video games probably fill the other slots).  I live on IMDB and Rotten Tomatoes.  As such, I'm pleased to have viewed twenty-one films so far that were released in the good year 2012.  Of these, I present to you my top ten.  Unlike my Top 10 Books of the Year list, these are not culled from all the movies I have seen this year, but all the movies I've seen that were released in 2012.  I have no idea what all the movies I watched this year are.

So, without further ado... some preliminaries.

NIGHTCRAWLER: It's a Game Where They Crawl Around in the Night Like Worms

In which Jake Gyllenhaal finally makes his X-Men debut.

Director: Dan Gilroy
Writer: Dan Gilroy
Cast: Jake Gyllenhaal, Riz Ahmed, Rene Russo, Bill Paxton
Runtime: 117 mins.
2014

The brilliant feat of Nightcrawler is that it manages to be scathingly political without ever emphasizing that that's what it has on its mind. I tend to be suspicious of art that brands itself as "political" because it's often obvious... on the nose... self-important. At any rate, I've found that every work of art is political in its own way, consciously or no, and the most effective art is frequently covert or subtle when it comes to that affiliation.

Nightcrawler is a savage takedown of capitalism and news journalism, without pretending to be anything more or less than a crackling thriller. Maybe movies like these are the most politically important, since the plot and premise are enough to get them greenlit by the studios, and the themes and motifs are enough to make the audience question established moneymaking systems like the studios that approved them. It's a neat trick, one that I noticed recently in The Lego Movie, of all things.

The catalyst for all the action that unfolds is Lewis Bloom (Jake Gyllenhaal): sociopath, fence-stealer, smooth talker, professional miscreant. The lurid fluorescent setting of Los Angeles does not surround Lewis Bloom--Lewis Bloom penetrates Los Angeles. Nothing happens outside of his desire for it to happen, a desire that is at once monstrous and coolly efficient. The machine of his will encounters resistance, to be sure; the world does not bend to accommodate Lewis, nor does Lewis bend to accommodate the world. He reaches out and forcibly twists the world into the shape of his choosing. He is a god to those around him, and this god in turn prays to the sacred altar of the television.

INTERSTELLAR: A Galaxy Far Near Away

In which LOVE was the universal constant ALL ALONG.

Director: Christopher Nolan
Writers: Jonathan Nolan, Christopher Nolan
Cast: Matthew McConaughey, Jessica Chastain, Anne Hathaway, Michael Caine, Bill Irwin, John Lithgow, Wes Bentley, David Gyasi, Casey Affleck, Josh Stewart, Topher Grace, Mackenzie Foy, and a secret
Runtime: 169 mins.
2014

Director Christopher Nolan has been something of a hot button issue lately. Ever since the cultural zeitgeist that was The Dark Knight released to rave reviews and ravenous ticket sales, Nolan has had a legion of devoted fanboys. I use that term particularly: I here consider fanboyism the state of devoting oneself to a cultural property to the point of ignoring and/or actively seeking to debunk that property's flaws. Not every Nolan fan is a fanboy, though he certainly has plenty--to the point of alienating many of those on the fence about his work. Understandably so. When you try to have a conversation about the quirky blemishes of a director's craft, only to be stonewalled with denials and insults again and again, I can see how you might sour on the director in question.

Thus a party of so-called anti-Nolanites has arisen, critical of Nolan's work, but more critical of the culture surrounding it. Meanwhile the Nolanites fire back with increased vitriol, and the fence-sitters shake their heads, possibly falling off the fence due to vertigo. The talking point at the center of all this hooplah has, of course, been Interstellar.

STARGATE: A Galaxy Near Near Away

In which Kurt Russell teaches an alien human how to smoke.

Director: Roland Emmerich
Writers: Dean Devlin, Roland Emmerich
Cast: James Spader, Kurt Russell, Jaye Davidson
Runtime: 121 mins.
1994

Only after I started watching Stargate did I realize how complementary it was to Christopher Nolan's new blockbuster film event, Interstellar. Both feature humans traveling through wormholes to the far reaches of the universe. Both are directed by men known for their summer popcorn bombast (though Roland Emmerich wouldn't enter the cultural consciousness in a big way until his next movie, Independence Day). They're both... did I mention the outer space stuff?

I've run out of similarities so soon because, for all its flaws, Interstellar is a movie with heart, soul, and an artistic vision. Stargate is a movie with three independent fight scenes all taking place in the same poorly designed, Egyptian-themed, paintball-esque corridor.

Going into this movie, I didn't realize that it was the source material for the decently popular decades-spanning television franchise that included the shows Stargate SG-1, Stargate: Atlantis, and Stargate: Universe. It makes sense. A world in which we humans have discovered a centuries-old wormhole device that allows us to dial in to different destinations in the universe--the premise of the Stargate movie and the subsequent shows--would provide much fodder for syndicated entertainment. Indeed, the only part of the movie worth anything at all is the initial anticipation of what will be found on the other side of that portal. Emmerich is in a hurry to do away with that wonder. The characters enter the portal and nobody seems all that impressed by the alien world they have discovered, nor is it all that impressive. However, I'm guessing wonder plays more of a factor in the television show. It's always nice when folks can rip a good idea from the clutches of fools.

The Scariest Movies of My LIFE

In my continuing efforts to disavow all holidays, I will be celebrating Halloween by working at my dad's network tonight. Nonetheless, the last vestiges of my holiday spirit cropped up yesterday and demanded that I do a film-based retrospective.

So here we are. It should come as no surprise that the subject of this retrospective will be horror, one of my favorite of all movie genres. Something about the grotesque... the unknown... the tangible becoming intangible... intangible becoming tangible... it gets me.

Horror fans tend to obsess over their pet genre, tracking down obscure gems and popular turds alike for voracious consumption. My knowledge isn't nearly as encyclopedic as most horror enthusiasts, but hey, that's what the rest of my life is for. In the meantime, I'll focus on what I have experienced.

What you are about to see is not a list of the best horror films I have ever seen. You won't find horror masterpieces like The Thing, The Shining, The Cabin in the Woods, or Psycho. Rather, this is a list of the ten films that scared me the most when I saw them. It's a purely personal compilation. Well-constructed horror films are more likely to terrify, but each of us is frightened by such idiosyncratic things. Bob 1 might find insects terrifying but is unfazed by the threat of stalker psychos in a character's backyard. Bob 2 is unafraid of insects unless they talk, and unafraid of psychos unless they don't. Bob 3 finds anthropomorphic appliances disturbing on a deep existential level. It's a crapshoot: one that I find endlessly interesting. In fact, I would love to hear about your scariest movies.

I'm not a person who scares easily--it takes a lot for a movie to elicit any sort of visceral reaction from me--but we are about to embark on a tour of the ten movies that have done the most to shape the disturbances of my conscious and subconscious imagination.

As they say in the I Spy: Haunted Mansion computer game that I used to play: Enter if you dare... you're in for a scare.

Everything rhymed in that game.

ALL IS LOST: A Silent Monologue

In which a seventy-seven year old actor loses 60% of the hearing in his left ear because he decides to do his own stunts.

Director: J. C. Chandor

Writer: J. C. Chandor

Cast: Robert Redford

Runtime: 106 mins.

2013

All Is Lost asks the question: Why would anybody go on a boat?

The movie begins with a brief Hemingwayesque voiceover in which Robert Redford's character shares a few sparse sentiments. "I tried to be true, to be strong, to be kind, to love, to be right. But I wasn't." We don't know who he's speaking to--us? God? a loved one?--but he goes on to say that all is lost now, and that he is sorry.

This is the only significant dialogue in the entire movie, and it is dispensed with in the first thirty seconds. It's not specific, and the words aren't especially beautiful in and of themselves. But the essentialist quality of these phrases hangs over the essential action that is to follow, such that it gains much meaning and nuance and significance as we witness the eight days leading up to these words. There are many trials in this movie--the protagonist wakes to find his boat skewered by a shipping container filled with tiny sneakers, and he patches the ship up just in time to encounter a series of massive storms brewing on the horizon--but the focus is always on the man at the center of it all. Or maybe the trials are the man. And the man is the movie. It's hard to separate them.

String Theory: The Trailer for AVENGERS: AGE OF ULTRON

I've never done an analysis of a trailer before. Trailers are such contentious pieces of entertainment. Some people wait with bated breath for the release of trailers, and ogle them ten, twenty, a hundred times before the movie arrives in theaters. For them, anticipation reaches a fever pitch--and they are often disappointed, as I was with the release of Spider-Man 3. I had watched the trailer so many times that the real film paled in comparison to the ideal film that reeled around in my head. My feelings were kind of hurt.

Other folks avoid trailers as if they were sources of eye infection. The idea behind swearing off a trailer is that you want to come into the movie fresh, on its own terms, free of bias and expectation. I believe I adopted this method before seeing The Grand Budapest Hotel. I knew it was a critically acclaimed Wes Anderson film, so I needed no further information to convince me to see it. Thus, I had an excellent movie-watching experience in which Anderson's colorful world unfolded before my very eyes, complete with unexpected cameos and untainted gags.

Right now I fall in between these two camps. Ideally I like the purism of the second approach, as it seems the most fair to let a movie express itself outside the dirty, necessary confines of advertisement. On the other, trailers are exciting. They give you a glimpse into a new world and let you hope for the best.

It's with both of those attitudes in mind that I dig into an analysis of the hot-off-the-presses Avengers: Age of Ultron trailer. There was no way I was going to avoid this one, especially because we all already have loose expectations about the film. Why not use it as a platform for speculation and observation? Besides, the movie doesn't come out until May. We'll both have forgotten that I wrote this by then.

See my Age of Ultron review here.