By Ezra Stead
Brigsby Bear, USA, 2017
Directed by Dave McCary
Though Dogtooth certainly has its dark sense of humor, one wouldn’t expect a movie about an abducted child raised in an isolated, hermetically sealed world based on lies to be a comedy. This type of premise has yielded great results as emotionally devastating drama, as in the rightfully acclaimed Room, or intense psychological suspense, as in the by-and-large underrated 10 Cloverfield Lane (not about a child abduction, but dealing with similar ideas in terms of the nature of the protagonist’s captivity). Despite these and some other obvious comparison points, though, veteran Saturday Night Live director Dave McCary’s feature debut, Brigsby Bear, is a wonderfully original, sincere, and idiosyncratic movie that manages to not only earn cruelty-free laughs from an inherently unsettling subject, but also to make a larger point about the very nature of art and entertainment, without being annoyingly meta about it. Read More
Comedy and horror are the two most difficult genres to successfully pull off, because what makes us laugh—just like what scares us—is highly subjective. Even nearly universally acclaimed works in either genre will inevitably have their detractors, as some [backwards-thinking idiots] might not think last year’s 
Filmed in Utah, the 1993 coming-of-age film The Sandlot wonderfully captures the summer of 1962 through the eyes of nine middle-school boys, and—in what was certainly a case of life imitating art—this cast of unknowns would later admit that the summer they spent filming this cinematic gem was, indeed, their favorite summer. Just like Simon Birch—another film involving an ill-fated baseball—this story opens with the voice of an adult narrator recalling one of the more memorable chapters from his youth. A good sports drama involves conflict, and the main pickle in this adventure stems from a stepfather’s prized baseball being knocked over the fence of the neighborhood sandlot that plays host to a summer-long baseball game. Normally, a 95-cent baseball would just be replaced, but this ball was autographed by the Sultan of Swat, Babe Ruth, and the neighboring yard is patrolled by a drooling monster of a dog known to the boys as “The Beast.” 
As anyone who’s read my 
Let’s get your first question out of the way now: “vore” is short for “vorarephilia,” a fetish involving a desire to be consumed by—or to be the one consuming—another person or creature. Yes, it is a sex thing, and yes, as per Rule 34, there is pornography for this fetish. Daniel Schneidkraut’s latest feature is a documentary about Raymond P. Whalen, sometimes known as Rock & Roll Ray (full disclosure: both the director and his subject are friends of this reviewer), who holds claim to the title of the most successful purveyor of vore porn.
Well, here we are again, folks! Every year since 2001, I’ve made it my self-imposed obligation to see at least 100 new movies (104 in 2016) and then attempt to rank my ten (or more) favorite ones against one another. Notice I didn’t say these were the “best” movies of the year, but my favorite ones; the distinction is important, lest anyone mistakenly expect a shred of objectivity herein.
1. MAD MAX: FURY ROAD – it’s always a treat to have really high expectations for a movie and then to see them exceeded. George Miller’s return to the wasteland of his career-defining trilogy is a perfect example of this phenomenon. The first time I saw it, though, Fury Road appeared to only meet my expectations, a rare enough feat in its own right. It was the second viewing that made me realize that this was not only my favorite movie of the year, but also my favorite Mad Max movie, and quite possibly my favorite movie of the last two decades. Then I saw it three more times in the space of about two weeks, and I noticed something new about it every single time. The rich, detailed world-building not only rewards but demands multiple viewings, and it’s a testament to Miller’s craft that the movie doesn’t rely on a lot of expository dialogue and other hand-holding devices to make sure the audience can keep up. Max Rockatansky’s world of “fire and blood” has its own language that is every bit as evocative and original as its eye-popping visuals: War Boys, Blood Bags, Bullet Farms, etc. This is a movie in the glorious pulp tradition of Robert E. Howard and Heavy Metal magazine, but it never feels derivative, even of its own source material (The Road Warrior being the original Mad Max movie it most closely resembles). What seems to be overlooked in all the talk about its incredible visual effects and stuntwork (which makes a better case than any movie I can think of for an Oscar category devoted to the people who risk their lives to make movies awesome) is the quality of the writing and performances. Charlize Theron and Nicholas Hoult are especially great, but there is also a surprising tenderness and depth to Tom Hardy’s performance as Max, a man of few words and great stoicism, and Melissa Jaffer managed to break my heart with just a few minutes of screen time as the Keeper of the Seeds. Critics and skeptics say this movie is just one long chase scene, which is reductive, but even if that were strictly true, complaining about that misses the point of how amazing it is that a movie this compelling could be made from a single long chase. Others might say it doesn’t belong in the Best Picture Oscar race because it’s not serious and important enough, but its themes of feminism and environmentalism are extremely relevant; they’re just not belabored to the point of didacticism. Fury Road’s vision of the destruction of the Old World, in which water was plentiful and “everyone had a show,” seems all too plausible, despite its over-the-top visual antics, and there’s a funny/scary comparison to be made between the film’s main villain, Immortan Joe, and a certain current Presidential candidate. I have no doubt this movie will ride eternal in Valhalla, shiny and chrome. It is perfect in every way. 
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