Friday, July 27, 2018

Top Ten Movies of 2017

That's right! These are back! Just when you thought the end of the year movie's season couldn't be any more insufferable.

And now it's time for that part of the post where I apologize for not making any posts lately. I mean I know you're probably used to these, but eff it, it's a blog. I have friends who apologize about being absent if they've gone a week without blogging. Could you imagine if I had that kind of guilt?

Part of the reason, besides the standard "my life's been hectic" crap I'm sure you're used to from any blog, is just that the last couple years haven't been great movie wise, 2016 in particular, and while I would have had a pretty bomb worst of list for that year, I'm not sure I would have had anything to say that you haven't heard already. Like yeah, I'm sure you need to hear more about why Suicide Squad was bad right?

But also, I tend to shout most of my movie opinions over at IEGrapevine and my new entertainment podcast, Totally Fandom! Yes, that's the title! I'm not kidding! If you've listened to my top ten list there, this one isn't going to be that different, except I may have moved around like one at the bottom of the list, because I had a little more time this time to think about what I'm going to say. If you haven't listened to my podcast yet, you can find it on Facebook or Instagram. Right now in fact! I'll wait.




Anyway, I like to post stuff here because I can swear more and typos are allowed.

But other than that, it's the same old thing. Same old schtick. Whether you like blockbusters, award winners, or indies that nobody saw, I hope you'll see your favorite movies represented here, and maybe learn about some other little didies you should check out!

What can I say? It's been a great year for movies. Even if it has been an awful year for...well just about everything else.


10. The Disaster Artist


Oh hai (A24)


This was a movie I was looking forward to for quite some time, and one I couldn't wait to talk about. When it was announced, the general belief was that this was going to be the moment we all finally appreciated James Franco. And while he's definitely fantastic in the movie, it didn't really turn out that way; due in no small part to his being one of several actors that the women of Hollywood decided they'd had enough with. As a result, the moment of this movie's release focused less on appreciation for Franco, and more for the madman he played in the movie; real life director Tommy Wiseau.

Now, for a lot of you, the plot of The Disaster Artist is going to sound like a retread, but there are enough people who don't know the story that I feel it requires going over again. Disaster Artist tells the tale of Tommy Wiseau and Greg Sestero (two men (I think) I'm proud to say I've taken a picture with); two guys on a mission to make it in Hollywood. Greg (Dave Franco) is an aspiring actor who falls in with Tommy (James Franco), a filmmaker who claims to be from Louisiana, but is very obviously from somewhere else. It is unclear what Tommy is exactly, the smart money is split between a missing Latvian criminal attempting to pass himself off as an American filmmaker, and an unfathomable eldritch horror attempting to pass itself of as an American filmmaker. The important thing is that he wants the same thing Greg wants; to make it in Hollywood. But when it starts to seem as if Hollywood doesn't want them, Tommy, never one to quit, decides to write, direct, and produce his own movie for himself and Greg to star in. The movie is called The Room; and it's widely considered to be the worst film ever made. Yes, this is a real thing, and yes Tommy is also a real....thing.

See?


How you enjoy the movie hinges largely on how much you enjoy watching the Brothers Franco and their familiar troupe (including Seth Rogen, Ari Graynor, Josh Hutcherson, and a hilarious cameo from Zac Efron as 'the drug dealer', famously the best actor in the original movie) recreate cult-famous scenes from the original movie. Fans will like seeing the story behind the film, and newcomers can gape at the audacity it took to make something so off-kilter, but one wonders if you wouldn't just have the exact same experience watching the actual movie (did I seriously just say "one wonders"? That's what I get for writing more grad school essays than I do comedy these days), and most of what the movie does right was done better in Ed Wood twenty years prior. Still, Disaster Artist manages to tell a hilarious and effective story of a guy who stuck to his vision and made something that touched thousands; if not necessarily in the way he expected.


9. The Shape of Water


I've heard of getting catfished on a date, but this is ridiculous! (Fox Searchlight)


Now, before you ask, yes I'm aware that this is not a spinoff of Hellboy starring Abe Sapien. It's just a movie about a character that strongly resembles Abe Sapien, played by the same guy that plays Abe Sapien, with similar power and a similar backstory to Abe Sapien, directed by the guy who made the Hellboy movies and was never able to make a third one, all of which involve the character Abe Sapien. But fuck it, a guy can dream, just like a guy can dream that this is, in fact, the first science fiction movie to win the award for Best Picture, even if internet pedantry wants to take that away from me. They can't, damn it! I've waited too long!


What was I talking about? Oh yeah, this movie. In all fairness to internet pedantry, The Shape of Water, for all it's comic book familiarity and 40s monster movie characters, is essentially more of a fairy tale than anything else; the story of a deaf woman who works late nights at a government facility where a half-human half-fish creature is being held and experimented on. The two develop a mutual attraction, and she ultimately decides to break it out with the help of three of her friends (Michael Stuhlbarg, Octavia Spencer, Richard Jenkins). But the guy in charge of the project (one of the all time great himself, Michael Shannon) is on to them.


I wasn't quite as big of a fan of Shape of Water as a lot of people (apologies to my podcast partner Brenda Hernandez. Did I mention I have a podcast now?) Shannon is more restrained than usual, the movie's fairy tale mystique, while fun and unpredictable, makes some things kind of ambiguous and confusing when I don't think they really needed to be, and it succumbs to that well-worn tradition in these kind of movies of a guy finding a marvel of science and wanting to kill it as fast as possible (remember the AWESOME-O episode of South Park?).  Its cultural criticism is also a little too obvious.

But it still works. It's no coincidence that the Russian guy, the black woman, the disabled woman, and the closeted homosexual man are the only ones capable of understanding what the creature is going through, while the white, religious, military man is too busy focusing on dissatisfying capitalist frivolities to care. Half the fun is in the fact that, if this movie were made in the age of Universal horror films (you know, the kind they tried to bring back with that awful Mummy movie with Tom Cruise?), Shannon's character would be the good guy. In that sense, the movie utilizes sci-fi and fantasy concepts to shine a light on a romanticized, but problematic, period in our culture. It's also just filled to the brim with Guillermo del Toro's trademark atmosphere, quirkiness, and love of monsters.

8. Your Name

(CoMix Wave Films)


I know it's odd to see an Anime movie on a top-ten list that isn't from Miyazaki or Satoshi Kon (yeah that's right, I know my shit), but Your Name is something special, and I'm not the only one who thinks so. It's already become one of the most successful non-American movies of all time. Granted, it came out in 2016, but you should know by now about my policy of only doing foreign movies in the year they were released in America for me to see. Granted, I did actually see this one in the year it came out, but rules are rules, I don't make them. Well yes I do.

Your Name is a story about two teenagers, Mitsuha and Taki. She lives in a small town in the countryside and he lives in Tokyo, but one night, when an ambitiously-animated comet flies by (if this were made in America, the comet would be voiced by Kevin Hart), the two find that, every other day, they switch bodies. He wakes up in her body, she in his. After wreaking havoc on each other's lives, they try to track each other down to figure out their mess, only to find out they may be separated by more than just space.


It's tough to find good romance these days, but Your Name definitely qualifies. It's sweet, funny, steeped in its setting (which is white person speak for "it takes place in a different country", I suppose), and has a charming sci-fi/fantasy element. It also didn't get nominated for Best Fantasy film at the Oscars because the Academy thought Alec Baldwin as a baby was a better pitch.


7. Dunkirk

Nolan sure does love putting Tom Hardy on planes (Syncopy/WB)


You think I would leave off Chris Nolan's first Best Director-nomination? What's likely Nolan's best movie since Inception is also one of the best war movies I've seen in years. It is, however, a different kind of war movie than something like Fury, which I talked about in '14. It's PG-13 rated, features a member of One Direction, and, like most of Nolan's movies, is lacking in blood and swearing. But, also like most Nolan movies, it doesn't need them (well mostly). A lot of directors working on these kind of movies get a bit caught up in war movie grit trying to sell how grown up and ugly their movie is (call it the Private Ryan effect), so its rare for someone to eschew that and focus more on the pure sights, sounds, and suspense of war.

As history buffs, and anyone who watched that Gary Oldman movie, know, Dunkirk captures the Battle of Dunkirk, wherein British soldiers, pinned against the ocean by the enemy, attempted to escape an inescapably desperate situation, aided only by some brave pilots (one of which is Tom Hardy, once again appearing on a plane with a thing on his face) and, miraculously, an armada of boat-owning British citizens (including Mark Rylance). In true Nolan broken-watch fashion, the three tales, one of soldiers, one of pilots, and one of expeditious dads with boats (a character I'm familiar with), are told simultaneously, despite covering different amounts of time.

Also in true Nolan fashion, the story is beautifully shot, expertly scored, and imminently suspenseful. There is little dialogue, and the stories are told more with sound, music, and sights. The end result is breathtaking. Kenneth Branagh, Fionn Whitehead, and Cilian Murphy all show up too.



6. The Big Sick

(FilmNation Entertainment/Apatow Productions/Amazon Studios/Lionsgate)

Probably the funniest movie I saw all year (which is saying a lot, because I watched Justice League this year) was The Big Sick.  Pakistani stand up comic Kumail Nanjiani stars as Kumail Nanjiani, a stand up comic from Pakistan, who develops a relationship with a girl named Emily Gardner (Zoe Kazan). Hijinks ensue as Kumail must navigate the experience of dating an American woman while at the same time trying to please his parents, who would prefer he date someone Pakistani. Or at least that's the premise of the first twenty minutes (and, mercifully, not an ABC sitcom). Thing's take a somewhat surprising turn when the two suddenly break up, only for Emily to wind up comatose in a hospital, leaving Kumail in the unenviable position of having to bond with her parents (Ray Romano and Holly Hunter) while they wait on her situation. 

I guess what I'm supposed to say when talking about a movie that navigates a variety of Pakistani-American cultural issues is that it's "the movie we need right now", but that's a pretty overused phrase at this point, so I'm just going to say it feels timely and refreshing. It's also just really, really sweet and funny. The always-riotous Michael Showalter directs, and Kumail emerges as an inspired comedic talent, but it's Romano and Hunter who steal it. Romano is the funniest I think I've ever seen him, and Hunter is fantastic as a frazzled, angry mother trying to find it in her to be fond of her daughter's boyfriend. This is as sweet, romantic, and funny a movie as I've seen in a long time.

 5. Blade Runner 2049

(Alcon Entertainment/Colombia Pictures/Scott Free)

Holy hell did this one surprise me. Everything about it, from it's status as yet another entry in the "Harrison Ford plays a character he played in the eighties, only this time he's old" genre, to the very title, kind of put me off. There was no way it would end up worthy of the legacy of the original, quite possibly the greatest science fiction film ever. Well, I was pretty wrong. Blade Runner 2049 is one of those sequels that somehow manage to exceed even the most stalwart expectations and deliver something fresh. It somehow manages to take the themes and lessons of the original and (horrifyingly) make them feel that much more applicable today.  This time, we're following K, played by 21st century Bogart Ryan Gosling. K is a Blade Runner, operating thirty years after the adventure of Rick Deckard (Ford). In the time since then, a wealth of technological advancements courtesy of the gaudy Niander Wallace (Jared Leto, keen on a cinematic redemption), taking over from Tyrell, have led to a new line of synthetic humans, or replicants. Among these is our hero, K, whose job is to retire older replicants (including Dave Bautista) by way of shooting. This is done in spit of the fact that he is a replicant himself. However, his job ultimately sets him on a quest to track down a child supposedly born of the union between a human man and a replicant woman, something supposed to impossible, at the behest of his captain (Robin Wright) and the Wallace corporation, so he can kill the child before the world finds out. As if this isn't enough of a shock, as his journey continues, he begins to suspect that the parents may be the leads from the first movie, and the child may be himself. That's right; this time the Blade Runner is a replicant trying to figure out if he might secretly be human, a twist on the premise of the original movie.

What makes 2049 work so well is the direction by Denis Villenueve (now a staple of my end of the year list, ever since 2013. I found him first! Don't you forget it!) and the cinematography by Roger Deakins (winning a long-overdue Oscar in the process). It's affecting, visually stunning, and capable of telling an actual story without holding the audience's hand. But it's also not quite the same movie. The last one had a vision of the future as dense and overcrowded, but this time, as a result of famines and food shortages, the future seems significantly lonelier. A particularly emotional subplot involves K's relationship with a hologram in his apartment that acts as his girlfriend, and while that seems silly, she comes off as a genuinely loveable character (thanks in no small part to her portrayal by Spanish actress Ana de Armas), forcing us to confront whether her love can possibly be real, and whether K’s can by proxy.

Blade Runner 2049 is every bit as dedicated to uncomfortable questions, breathtaking visuals, and mindbending noir as it's predeccessor and succeeds in nearly every endeavor.

4. Logan

(Marvel Entertainment/Kinberg Genre/TSG Entertainment/20th Century Fox)

Oh boy, yes. It is finally time for me to talk about Logan on my blog. The movie so good my mom named a dog after it. I'll try to keep this brief, because I could go on about this movie, but suffice to say it's fantastic. Logan, of course, is Hugh Jackman's final film as the character who got me, and a not-insignificant portion of my generation, into comic book movies. After eight movies, two timelines, and close to two hundred years of existence, the most legendary of the X-Men; the cigar-chomping, metal-boned, claw-wielding superhero Wolverine, finds himself dealing with an entirely new enemy: old age, both his own and that of his mentor and surrogate father, Professor X. While it's been implied in the past that Logan is ageless, we find out here that the power that kept him that way is not, and what was once the toughest comic book hero in a genre full of them is now on his last legs.

But he's not the only one. Professor Xavier, the wisened, telepathic leader of the now-defunct team is suffering from a degenerative brain disease that makes him a hassle to take care of when on his meds; a potential weapon of mass destruction without them. Both are living out their days cranky and alone with only Stephen Merchant to keep them company, before one day, when they are greeted with one final mutant who needs their help: a girl named Laura who is on the run from a company who wants to make her into a weapon. Although Logan wants to stay out of it, he comes to realize he has no other choice but to help the young girl after learning that she is his daughter, conceived in secret by the company, using his DNA. I know that might be a spoiler, but her attitude and penchant for growing metal claws from her fists probably should have tipped you off.

That Logan is the best superhero movie in a decade where the genre has exploded more than anyone even thought possible goes without saying. It's willing to be quiet, introspective, sad, and ridiculously violent in a way that few superpowered blockbusters are now. But it's more than that; to the point that even calling it a "superhero movie" feels more a reference to its metatext, and place in its franchise, than an actual assessment of its plot. You don't even have to be familiar with the franchise (beyond knowing that the X-Men were a team of superpeople who saved the world from bad guys, and Xavier was the leader and Wolverine was the asshole of the group) to enjoy it. It's a movie that utilizes its bizarre sci-fi precepts to make a point on the nature of its characters, and on the society that simultaneously hates and idolizes them. The superhero has always been emblematic of American's view of itself, and in its depiction of a hero as beloved as he was, let's get real, murderous to a problematic degree, the movie depicts more than just a genre of comics or movies that (by the point in time that the story takes place) has gone the way of the cowboy; it's depicting an entire country that may be heading down that road too.

Not to say the genre itself has "gone the way of the cowboy", we're pretty clearly still a ways off from that point. Shit, they're still making X-Men movies. But for one of the genre's most exemplary stories, and characters, Logan is a rare and satisfying epitaph.



3. Get Out

(Blumhouse Productions/Monkeypaw Productions)


Hooo boy. Well, doubtlessly you’ve heard about this one. Get Out took the world by absolute storm when it came out, (it’s been over a year since) and has already cemented its place as one of the most boundary-pushing films in decades. If you’ve seen my other lists, you know I’m very happy with how the 2010s have been to horror, but Get Out is something truly special. Daniel Kaluuya is Chris, a young black man in a relationship with a young white woman named Rose (Allison Williams). When the movie begins, they are on their way to meet Rose’s family, who are also white, at their country estate. You almost don’t need to go any further than that; that’s a solid horror movie premise for poor Chris even without the race dynamic. But, suffice to say, the movie does go farther.

What’s so brilliant about Get Out is that it’s never predictable. Rose’s parents (Bradley Whitford and Katherine Keener) are not the typical “scary white folks” you’d imagine in a horror film like this. There are no Texas drawls, confederate flags, or any other dog whistles for the “racist southerner” trope.  The father of the family even voted for Obama twice. What’s unnerving is how he won’t stop mentioning it to his daughter’s black boyfriend. This is in addition to the fact that the hired help at the house (in fact, the whole neighborhood) are all black folks. To put it mildly, something is off with the family, and the neighborhood as a whole, but exactly what is pretty surprising.

Jordan Peele’s through line for suspense is not in the openly hostile white neighborhood, but in the white neighborhood so intent at putting a black visitor at ease (despite clearly not knowing how to act around him), they wind up making him (and us), extremely uneasy. This is not only a ridiculously clever social commentary; it makes for a better movie. Peele understands that true horror is in the uncanny and the uncomfortable, more so than the racist southerner with the chainsaw.


2. Three Billboards Outside Ebbing, Missouri

(Blueprint Productions/Fox Searchlight/Film4)


Damn, if you thought it couldn’t get more political than that, wait until you see this one. In a time when the country is more divided over issues like the enforcement of the law and the treatment of women and minorities than it has been in decades, here comes old Martin McDonagh to throw some wood on the fire. I couldn’t be happier; this is the guy's first movie in almost five years, and it’s one of his best. Frances McDormand kills as Mildred Hayes. In a film about angry people, Hayes is the angriest, and for good reason. Her daughter was raped and murdered seven months earlier, and the local police department, run by Chief Bill Willoughby (Woody Harrelson), has not caught the men responsible. It has, however, been more than busy with controversy over a variety of poorly-handled instances of violent conduct, and even racism, most of them the fault of the dimwitted and short-fused Officer Jason Dixon (Sam Rockwell, in a career stand-out). She calls his failures out with the eponymous trio of crimson billboards, erected on a highway outside the town, demanding justice. It’s easy to be on her side, the Police Department has some clear issues that need to be handled, and a strong, motherly, angry woman taking a middle-American police force to task is, in many ways, exactly the story the world needed in 2017. But of course, it’s not quite that simple in the real world, and even less so in a McDonagh story.

And it’s that (if you’ll permit me using the phrase, not long after I decried it’s use) that makes Three Billboards so important. McDonagh is not interested in easy stories, where the good guys are good and the bad guys are bad and the good guys win. He knows that’s what the audience wants, and he’s more than willing to wink at the notion, as he’s made clear in movies like Seven Psychopaths, but he’s not interested. Like all his movies, Three Billboards turns the characters you don’t like into characters you do, and the characters you do like into characters you’re not sure about, all while asking if all the hubbub that comes from anger, even genuinely righteous anger, ever brings us closer to justice.

It’s also, again like all his movies, perfectly written and fantastically acted, particularly with regard to McDormand and Rockwell, who both took home well-deserved Oscars for their work. It’s also moving, unsettling, and often absolutely hilarious in spite of itself.


1.     A Ghost Story


(A24)


Wow. Yeah, so, I love this movie. I fully realize what you are about to read might be some of the hipsteriest stuff I’ve ever written here, so I apologize, I don’t normally go for movies this unorthodox (I wasn’t overly enamored with Boyhood), but this one honestly blew me away. I almost want to be careful how much I praise it, because it’s not really the sort of movie you get hyped up to watch as much as the sort you just expose yourself to and let affect you. It might even be boring for some people. All I can say is that I was utterly transfixed, and ultimately, blown away.

A Ghost Story, directed by David Lowery, introduces us to ‘C’ (Casey Affleck), and ‘M’ (Rooney Mara), two young, attractive people living in a house in the countryside. The closest thing to conflict their other otherwise simple life experiences is a desire by M to move away, while C would rather not. Their argument doesn’t really get resolved though, because C winds up in a fatal car accident, only to wake from the morgue as a ghost. Like a full on “white sheet with holes for eyes”, budget-Halloween costume ghost. He returns home to the grieving M, only to find he cannot speak to her, cannot be seen by her, can only occasionally, with effort, interact with the world around him, and apparently can’t (or rather, won’t) leave his home. While this happens, he watches M grieve, grow, and leave, all while he is left in a house that undergoes rapid change.

The film is filled with weird quirks that may seem too hipstery for many, whether it’s the nameless characters, the mumbled dialogue, the aspect ratio (made to look like a super 8 camera recording), or, yes, the fact that the lead is Casey Affleck wearing a sheet with eyeholes in it, a fact which honestly overjoyed me. There’s even a cameo from Ke$ha. But it all works for this movie. It doesn’t feel pretentious; it feels honest, simple, and straightforward. Also you get all the subtlety of a typically great Casey Affleck performance without having to look at Casey Affleck. Rooney Mara is equally moving in her own understated way.


A Ghost Story is spooky, but not scary, somber, but not depressing. It’s a moving, intense, cosmic rumination on death, love, relationships, and the passage of time.  If you’ll forgive the pun (and you’ve forgiven plenty by this point), it’s nothing short of haunting, and it'll stick with you long after it's left your screen.


Sunday, September 4, 2016

Worst Films of 2014


Ohh, I see. I get it. This is what you were really looking for wasn't it you sick sons of bitches? Is this what you wanted to say? Forget all the analysis I did about the genuine art of moviemaking over the past year or the countless hours spent absorbing the very best cinematic experiences 2014 had to offer. Never mind all the gold, I say, gold I gave you in your search for quality film to view when you watch Netflix during a date. No. You want to see the crap-de-la crap. Well fine then.

Lord knows when Ryan Downs suffers an injustice, people hear about it, and this is no different. There is one important deviation this time, though. In the past I went easy. Past lists, as I'm sure you noticed, would usually consist of several movies I actually liked. At first I would list movies (like The Hobbit) that may have even been good, just not that good. The "ten worst" movies of the year would invariably include movies that weren't even that bad, they were just the worst I had to offer. I wouldn't get to movies that were actually bad until about the halfway point.

Well fret no more. The fact that I actually put in more work than, well, ever really ,as a film critic for no less than three different publications, plus my own short-lived vlog (you should just watch my sister's instead) meant I saw some real shit. I mean like "they made me go watch Age of Extinction instead of End of Tomorrow" shit. So, rest assured, there's probably not a movie on here that I actually like in any way. Hell, for the first time there was some overflow (Noah and Divergent can consider themselves lucky). Well you know what impoverished sewer-divers in India say!

I don't really know. Probably whatever helps them deal with the fact that they're about to jump literally headfirst into shit.



10. Horrible Bosses 2


WB/New Line Cinema

I have to get something off my chest: I'm not a huge fan of the first Horrible Bosses. I think it's a lazy, under-plotted mess that's not entirely that funny. I've also never been a huge fan of The Three Stooges, the concept of which this movie is pretty clearly going for. After the first movie, where our titular heroes manage to foil their, shall-we-say, Unpleasant Employers (including a murderer, a drug addict, and a rapist), they learn the value of working alone. That movie worked, for a lot of people that do not include me, because of a pretty simple casting premise; the employees are all television comedians and the villains are all A-list actors. Then there's the always-entertaining, even here, Jamie Foxx, who is both. Admittedly, Kevin Spacey acting opposite Jason Bateman and Charlie Day is a pretty fun sell. Aww, look at me, waxing nostalgic about old movies I don't like.

Anyway, this time around, our main trio (also including Jason Sudeikis as the Larry to Jason Bateman's Moe and Charlie Day's, well, Charlie Day) is forced to accept the realities of self-employment, and that starting a business is hard. After an appearance on a daytime talk-show where the group tries to sell a device whose only function is to make gay jokes for an awkward ten minutes, they decide that they need an investor. Of course, the irony in being self-employed is that you then have to find someone to work for. They find one in Christoph Waltz, who screws their company over in the hopes of buying it again at a lower price. In order to get back at him, they plan to kidnap his son, Chris Pine (I don't know the character's names and who cares); a spoiled, psychotic brat who is so game for the idea it isn't long before the three start to feel like they're the ones being held hostage. Jamie Fox and Jennifer Aniston, now going to therapy for sex addiction, show up as well.

Although most of the jokes are very hit-or-miss, this is, for the most part, a much funnier movie than the first one. Aniston is always fun, and Chris Pine is clearly having the time of his life. As is commonplace with comedies now, a lot of the film seems improvised. However, just being kind of funny is not enough to really sell a movie. Most of the gags are incredibly dumb and juvenile, and while Pine's character offers a humorous twist in the "kidnapping" plot, the rest is pretty predictable. Not an awful movie, it's the kind you could put on Netflix when you're washing the dishes or trying to make moves on someone on your couch.

9. Sin City: A Dame to Kill For


Dimension Films/Troublemaker Studios


It's a genuine testament to this list that this movie is at the number nine spot. If you told me when I walked out of the theater that I would find eight worse movies over the course of the year, I think I would have stopped watching movies altogether. Hell, I'm already halfway through 2015 and I haven't seen a movie this disappointing. I'm making it sound worse than it is, probably, but it's not good, and it's a movie I was looking forward to. In order to understand it's failings, you have to understand a now eleven-year-old movie called Sin City.

Sin City was something miraculous when it came out. A nearly three-hour long, impeccably stylish action opera that featured three (well, four if you count Josh Hartnett's cameo) stories taking place in Frank Miller's brutal, black-white-and-red, noirish hellhole, where everybody is a grizzled, angry badass with a gun. A brutal, pulpy, lingerie-and-trenchcoat anthology featuring an enormous ensemble cast centered around Clive Owen, Mickey Rourke, Rosario Dawson, Jessica Alba, Elijah Wood, and (of course) Bruce Willis. If there's one thing you should take away from this diatribe, it's that you should watch Sin City.

So, when I heard there was a possibility I would get to return to this vibrant world, I was excited. What I got was an anthology of three more stories: one featuring Josh Brolin as Clive Owen's character from the first movie, the second featuring Joseph Gordon Levitt as a gambler whose dream is to take on Sin City's biggest mob boss, the third features Jessica Alba returning as the gold-hearted stripper from the first movie, desperate for revenge against said mob boss.

Of these three, two are original stories written specifically for the film by Frank Miller. The first, starring Joe Levitt, is the best by far, eschewing Miller's typical thugs and whores for an intriguing little short. The other, final story in the film, which features Jessica Alba on a vengeful spree, watched silently and sadly by the ghost of Bruce Willis (in what has to be the most confusing and useless casting in a movie this year), is terrible. That leaves the hour-plus story focusing on Brolin, which pretty well sums up the entire movie (as well as Frank Miller's other adaptation this year): stylish, sexy, kind of predictable, boring, and completely stolen by (a mostly nude) Eva Green. Brolin is solid, as usual, but why is he Clive Owen? There's even a scene where he gets plastic surgery to change his face, and he's still Josh Brolin? What was the point?

Violence without any threat, style without any substance, and, at several points, sadly missing Michael Clarke Duncan, is there anything good about this wasted opportunity? Well, Mickey Rourke's Marv is a pretty consistent presence through the movie, so that's pretty good.

8. A Million Ways to Die in the West


Fuzzy Door Productions/Universal


Seth MacFarlane is a lot of things. Good looking, funny, creative, a hardworking innovator, a clever writer, a hell of a singer, and a very good director. Don't be surprised if I delete this entire entry if I ever try to find substantial work in the entertainment industry, but with this movie, I'm now convinced you can cross "leading man" off the list. As well as the words "very good" coming before director.

Seth's follow-up to Ted is a comedy set in the old west, where he plays Albert Stark, an intelligent and affable, but violence-shy, sheep farmer who loses his girlfriend (Amanda Seyfried) when it becomes apparent he's too cowardly to hold his own in a gunfight. However, when Anna, the begrudging wife of local outlaw Clinch Leatherwood (Liam Neeson) decides to teach him how to be a better shot, they wind up falling in love and then the movie ends after some stuff happens. I can appreciate A Million Ways as if a friend or family member made it, in the sense that I appreciate the attempt, and I can see the artistic voice of somebody I really do respect. There are good performances here and there and some funny scenes, particularly involving Neil Patrick Harris and a stoner Native American played by Wes Studi.

Unfortunately, McFarlane's "gag" oriented humor, which I normally appreciate, wears pretty thin here. The humor never really comes from the story or situations, but more from just one-off jokes and references the characters make.  I realize I am not even close to the first person to make this criticism of his work, and normally I'm kind of okay with it, but in an old-western where he's deliberately cut-off (for the most part) from the social satire and pop-cultural references that dot Family Guy, he doesn't have much else to go on. It's pretty hit-or-miss, and the hits are the sort of jokes you laugh at and then forget a second later. And while both he and Theron have a charming screen presence on their own, there's no chemistry here. Better luck next time.


7.  Age of Extinction


Paramount Pictures/Hasbro

Oh look, a snarky asshole critic on the internet watched a Transformers movie! How original! Now before you start, I'm not the biggest Transformer-hater on the internet. I really liked the first one, the now-legendary second one did not bug me that much, and I don't remember the third one. But this one broke me.

After the war in Chicago that ended that last one, the US Government has made it against the law to be an alien robot, and has begun to track down the ones that turn into cars, Autobots and Decepticons alike. That makes this the fourth movie where the evil US Government fucks everything up by not being able to tell the difference between the good robots and the bad ones, something everyone who grew up in the eighties can do, considering that, even with their legendary shapeshifting abilities, they're never able to carry the opposing teams decal. But there's more to it than that, it turns out Evil Government Man (Kelsey Grammer) is in league with an evil Lamborghini that's secretly a towering intergalactic bounty hunter with a sniper rifle for a face. The Lamborghini has orders to draw out our hero, Optimus Prime, and bring him to the "creators", who long ago assaulted Earth with tiny little bombs that turned everything into robots, killing the dinosaurs and turning them into robots. These are not the dinosaur robots that turn up on the poster though, those are different, because this movie makes no fucking sense.

Evil Government Man is going along with this plan because he is a xenophobic right-winger who thinks alien robots take American jobs and wants to replace them with man-made robots. You see, a local engineering company run by Stanley Tucci (scene-stealing, as usual) has discovered the metal that the Transformers (the first movie where that word is actually used) are made of ("transformium"), and, after some egregious product placement, has decided to make some robots of their very own. However, after creating a new robot named Galvatron (points for the reference), they discover that it's been possessed by Megatron's mind. Meanwhile, a poor, failed Texan inventor named Cade Yeager (Mark Wahlberg, still with a Boston accident) discovers a broken down semi and attempts to restore it, only to discover that it is, in fact, Optimus Prime. When the government comes to their house, they team up with Yeager's hot daughter (TM), her hot foreign boyfriend (TM),  and what remains of the Autobots (TM), including two racist caricatures, a fat guy, and Bumblebee to do a lot of fighting. At one point, Optimus rides a robot T-Rex.

I don't even see the need for a review at this point, because every reason not to see the movie (and several reasons to see it) are pretty well outlined in that plot. On the one hand, the special effects are top-notch as usual, there's some cool fighting, and Mark Wahlberg does his best to share the leading-man role with a gigantic robot. These are silly, occasionally fun movies that will probably be looked at as weird cult icons in the decades to come. But for whatever joy you get out of Transformers, be it genuine or ironic, you're going to lose it here. This movie is, for the most part, a hollow, self-serious affair that replaces any charm the series had at all with shooting and yelling and stabbing. Even the once-noble Optimus has been reduced to a sword-swinging psycho who just yells about how much he wants to kill everyone. Which sucks, because in the first couple minutes we actually get a good reminder of what made the first film work when Mark Wahlberg tries to put together an old truck that turns out to be alive. I'm going to come right out and say it; this movie is sorely missing Shia LaBeouf, and I do sincerely mean that.

But hey, if you want to wait two-and-a-half-hours just to see Optimus ride a fire-breathing robot T-Rex for all of five minutes, be my guest.

6. As Above, So Below


Legendary Pictures/Universal


Fuck, what was this one about?

Oh, yeah. So, like, these kids from America or whatever go to France to explore the catacombs, a dark and spooky series of tunnels that go all underneath France where dead people were buried. And before you ask, no I did not visit them during my trip to Europe. I did not get to go to France, unfortunately. I know there were catacombs in Coventry, which were not so much haunted tunnels decorated with rotting skulls as they just these old walls and benches from the medieval era that they built coffee shops on top of. Like you had to go get a key from the local museum or whatever and then talk to the people in the coffee shop and tell them you wanted to see the benches, and then you'd get to like open the door to the basement and go in and look around, but like, not for too long because they didn't want homeless people to get in.

What were we talking about? Oh yeah, this thing. Yeah so these Americans decided to go into the catacombs. One of them is like this girl whose looking for the Philosopher's Stone and she thinks it's in the catacombs. She gets her friends to go with her, including this one guy with a camera, and yeah before you ask this whole thing's one of those found footage movies. I remember thinking she as a cool, strong character, but all her friends are boring and have no discernible qualities. Then they go into the catacombs and there's like a cave and they wind up in a portal to hell, which is apparently as easy to get into as it is to get out of. And is filled with, like, people with cloaks walking around. Like it's not really that scary.

I don't know. There's some claustrophobia horror and some nifty jump scares. It's a B-horror movie, good for putting on when you and your friends want to get drunk. It tries, and it's not unbelievably insulting, it's just not entirely worth the money.

5. The Expendables 3




Millenium Films/Lionsgate


The Expendables 3, on the other hand, is unbelievably insulting. And I had to watch it because I was a film critic for a little while, before I was fired for being too negative.

First of all, look at that picture. look at them laughing. They're laughing at you. For actually paying money to see this drivel, which I can assure you you didn't, because it was not terribly successful. I did though, because it was my job. So, they're laughing at me, I guess.

I realize Sylvester Stallone's The Expendables was always the Grown-Ups of action movies; a bunch of actors who haven't been relevant in years come up with a movie as a means of going on vacation and getting paid for it, but now they're not even trying to hide it. The poster is literally just the actors smiling at you, letting you know what a great time they had playing dress-up. Like, it's not the characters, I know that because the characters are all grim and grumpy mercenaries. Hell, even the villain, the somewhat wonderfully named "Conrad Stonebanks" (Mel Gibson) is in the poster grinning along with everyone else. Why? Because that's not the villain, that's just Mel Gibson!

For those who haven't followed these movies, which is a list of people that includes those who watch them, I'm sure, the idea behind the first Expendables was to bring together the top action stars from the eighties in one movie, a notion which was only fully realized in the second movie. That film was a gleefully R-rated, over-the-top, blood mess where Stallone, Schwarzeneggar, and Willis, among others, all team up to take down Jean Claude Van-Damme, playing a villain who was literally named "Vilain." It was hilarious how far writer and star Stallone was from giving anything resembling a flying shit.

But it's not funny anymore, and not just because the new movie is rated PG-13. After breaking Wesley Snipes out of prison (get it?), Barney Ross (Stallone) decides something we all decided a long time ago; that his super-mercenary team is officially too old and he needs a new one with younger operatives if he's serious about fighting Stonebanks. The new recruites include Ronda Rousey, Victor Ortiz, and Glen Powell, all of whom, unlike the old Expendables, can actually kick ass in real life. However, they are like the old Expendables in that they can't act very well. Mel Gibson can though, and he's by far the best thing about the movie. Harrison Ford and Antonio Banderas show up as well.

The problem with the Expendables 3 is not that it's stupid, but that it's lazy and boring. It's like the Avengers, only instead of watching for the crossover of characters, you're watching for the crossover of actors. Only the actors are all people you don't care about. And also you're not watching anyway.

Fuck, what was this one about?

Oh, yeah. So, like, these kids from America or whatever go to France to explore the catacombs, a dark and spooky series of tunnels that go all underneath France where dead people were buried. ANd before you ask, no I did not visit them during my trip to Europe. I did not get to go to France, unfortunately. I know there were catacombs in Coventry, which were not so much haunted teunnels decorated with rotting skulls as they just these old walls and benches from the medieval era that they built coffee shops on top of. Like you had to go get a key from the local museum or whatever and then talk to the people in the coffee shop and tell them you wanted to see the benches, and then you'd get to like open the door to the basement and go in and look around, but like, not for too long because they didn't want homeless people to get in.

What were we talking about? Oh yeah, this thing. Yeah so these Americans decided to go into the catacombs. One of them is like this girl whose looking for the Philosopher's Stone and she thinks it's in the catacombs. She gets her friends to go with her, including this one guy with a camera, and yeah before you ask this whole thing's one of those found footage movies. I remember thinking she as a cool, strong character, but all her friends are boring and have no discernible qualities. Then they go into the catacombs and there's like a cave and they wind up in a portal to hell, which is apparently as easy to get into as it is to get out of. And is filled with, like, people with cloaks walking around. Like it's not really that scary.

I don't know. There's some claustrophobia horror and some nifty jump scares. It's a B-horror movie, good for putting on when you and your friends want to get drunk. It tries, and it's not unbelievably insulting, it's just not entirely worth the money.

4. The Giver


Walden/The Weinstein Company

You can split a lot of the movies I disliked during the year into ones that tried and ones that did not. I can forgive a movie for a lot (more of that in a moment) but few things irk me as much as cynicism. Well, like, not cynicism about the state of humanity or the world; that’s good, and it usually makes for good movies.  But cynicism in the sense that a movie expects people will go and see it just because. 

The Giver is  another adaptation of a young adult novel, a genre which surpasses even superhero movies in terms of media domination and blunt, flimsy social criticism. I didn’t read The Giver in high school like you did, and I certainly didn’t know it counted as young adult fiction, because it had a gross old man on the cover, whereas the film poster was smart to emphasize the attractive young people in the movie. As is the case with a lot of young-adult sci-fi, The Giver rips off Fahrenheit 451 by taking place in a supposedly idyllic, but secretly totalitarian, society where people have been engineered to live in certain communities and have certain careers that help the overall tribe. However, in order to ensure that the citizens live out their purpose without complication, emotion has been phased out of their biological makeup, and there are no historical records of most of human history.


If this all sounds familiar, that’s probably because the “totalitarian future where everybody is in separated communities and X is illegal because of some messy apocalypse in the past, and now some attractive white teenagers want to fight against it” is a pretty common trope in young adult fiction, but this is an old book, so whose ripping off whom is beyond me. Come to think of it, it’s starting to sound a lot like Divergent, another dystopian YA movie that almost made it onto this list, until my friend made me watch Horrible Bosses 2. And I know Divergent came later and is probably considered the true appropriation by YA purists, but at least it made me care a little about its world.

It gets better though. It turns out our main character, Sexy McTeenMan, is meant to be a “Giver”. The  current Giver (Jeff Bridges) is a guy who holds the collective memories of every person that’s ever existed, and, as a result, experiences their emotion as well, so that someone can advise the Chief Elder (Meryl Streep) with knowledge of history.

There’s not a lot of snark to be said about this one. There’s a nice premise, some good acting, and one of the best living actors in the role of villain, which should counterbalance an appearance by Taylor Swift. It’s shot in an interesting way, so I liked that. So how could a movie this competently made, with Meryl Streep no less, wind up this far down the list? The problem is the movie fails to make you really care about it’s characters or its world that much. There’s not much of a conflict until all of a sudden the main character has to rescue a baby or something from the police. It’s kind of just a couple hours of dull nonsense until it leads up to one of the dumbest and most confusing endings I’ve ever seen in a movie. I didn’t hate it, I just don’t see the point.



3. Step Up: All In


Summit Entertainment/Lionsgate


I do, however, see the point in Step Up: All In, a movie that tries its god damn heart out. The point, of course, being to watch unbelievably sexy people do a little dance on screen in front of you. I almost feel bad putting the movie this low; it genuinely, and I mean this without irony, has among the most impressive dance choreography I think I’ve ever seen in a movie. There were scenes that blew me away with their creativity, their complexity, and their showcasing of the lead actress’s midriff. So how did a movie like that wind up third on my most stuffed “worst of” list ever? Probably because the acting and dialogue and plot and, you know, all the things that make a movie a movie, and not just a music video, are hilariously bad. I mean if you took all the scenes that did not involve dancing and edited them together, it would be Asylum-level quality. Every second somebody isn’t doing confusing things with their body is a second I couldn’t believe I was in the theater watching this movie, having paid money to see it. And I once saw Birdemic in a theater.

The plot, as it was explained to me by a good friend who likes these movies, involves the main characters from the last three Step Up movies (not the first one though, because Channing Tatum is expensive now) all coming together in an Avengers-style crossover to compete in a dance competition together. Sounds cool enough, except these movies are not built on story, they’re built on dance, bitch. Every conflict in this movie is solved with dancing, and over the course of like five minutes. A character cheats on another character? They dance it out. A guy is conflicted about competing against his friends? Dancing. Someone doesn’t want to dance? Everybody dance! I know that sounds hypocritical coming from a guy who watches movies where conflicts are solved with punching all the time, but there’s something about super-choreographed dancing that makes it obvious there’s no emotion or plot driving it; its just what looks cool.
And as great as that is, I don’t think people are quite as willing to sit through it. I could be wrong, of course, but it seems to me like over an hour of dance scenes, no matter how cool, with only the most insulting idea of a plot to string it together, doesn’t really seem worth it. It’s one thing if the dancing is treated like action scenes like in most historical musicals, woven into the plot and infused with theme and tension; but all of that is gone when the reason the characters are dancing is because they’re practicing for a competition. I’d say this is great for fans of the franchise, but even my friend was underwhelmed, and I honestly can’t buy that the average viewer will enjoy most of this.
Great for putting on at a party and fast-forwarding to the good bits, but probably not something you’d ever want to sit all the way through.



2. God's Not Dead


Pure Flix Entertainment

And now we get to the most legendarily bad movie of the year. A movie that has already gained notoriety as one of the worst movies ever made. The crown jewel atop the shit-cake of low-budget Christian propaganda that has made such an unfortunate comeback in the last couple years: God’s Not Dead. Oh god, what can a snarky blogger say that hasn’t already been said?

Chances are, you already know the plot: Josh Wheaton (some guy) is a young, Christian, college student who enrolls in a philosophy class, only to come across a major problem: the teacher (Kevin Sorbo, the only actor this year who actually should have starred in a Hercules movie), Professor Radisson, is an evil, conniving atheist who requires his students to all write the words “God is Dead” on a sheet of paper or risk failing the class, because in the dystopian future this movie takes place in, atheist teachers are allowed to judge the entire class’s grade on one assignment that’s deliberately created to persecute Christians. In order to pass, Josh is then supposed to take up as much of the film’s runtime and use as many tired, bullshit apologetics as he can think of to convince Professor Radisson that god exists. Or, more appropriately, that god is not dead, because the film is apparently under the assumption that atheists actually literally believe that god was alive at one point but is no longer.

I wanted to devote an entire post to this when I first saw it, but, as I outlined in the creationist museum article, I don’t really want to turn my blog into yet another “smartass talks about religion” blog, not necessarily because those offend me (as you may have noticed, this is already a “smartass talks about Bond movies various things blog), but more because there’s not a whole lot about this kind of ridiculous propaganda I can say that someone fatter and beardier than me has probably said better and funnier and more pointedly. As a result, much has already been made about how ridiculous it is somebody actually made a movie out of paranoid Christian e-mail copypasta (it’s the most egregious example since The Adventures of Nigerian Prince and Return of the Ghost That Eats You if You Don’t Copy this Status Three Times). So what else can I say about it?

Well, a few things. Like how there’s more disconnected subplots than a Roland Emmerich disaster film. Altogether, you’d think they’d communicate a theme like “god is real” or “god is good”, or, hell, even “god is not dead.” But the only thing all these subplots have in common is some variation on the theme “people who aren’t Christian are bad, miserable people.” The sole exception being a subplot in which Reverend Dave’s (David R. White) faith undergoes frustration when his failing car spoils his attempts to take his visiting friend to Disney World. His friend sees providence in their misfortune, perhaps because he has faith that god puts people through trying times for a reason, like reminding two reverends on their way to Disney World that they are, in fact, grown-ass men. Then there’s a young Asian man whose overbearing father does not want him to be a Christian because it might hurt his grades, a young muslim woman whose overbearing father does not want her to be a Christian because he might hurt her face, and a young, liberal, ACLU, vegan liberal atheist who contracts cancer shortly after an interview where she rudely admonishes “Duck Dynasty” star Willie Robertson, in a scene that was shockingly shot and filmed by real people at one point. Her boyfriend, also an atheist, is dismissive of this fact, because the movie cannot make up its mind about whether atheists are selfish sociopaths or bleeding-heart types who yell at reality stars for killing ducks.

The weird thing is, the movie has moments of clarity. We find out that Professor Radisson has a Christian girlfriend at home that he is in a loving, (mostly) functional relationship with. There’s another equally interesting (if short-lived) scene where the Muslim father reminds his daughter that the people who live in Christian society (or more honestly, secular society) are “unhappy” and she is better off staying in her religion; an accusation the film seems to be levying against atheists. Like the creator’s of Skynet, I am forced to wonder if what I am viewing has become self-aware. But alas, it is not. Radisson and his girlfriend are incompatible, as are the young Muslim woman and her father upon his discovery that she has been listening to audiotracks of Christian sermons; because atheists are assholes and Muslims are violent. All these plotlines inevitably converge at what I’m convinced is one of the most insulting endings to a movie I’ve ever seen.

In the end, the strawman atheist teacher is revealed to have not been an atheist, not in the literal sense, but a former Christian who gave up his faith after a tragic occurrence. Sorbo, by far the best thing about the film, runs with it. This is not a man who has difficulty believing the claims of a religion he is not longer a part of, but a sad and hurt person who has been unable to spiritually or psychologically move past an event that happened to him as a child. While this rather insultingly gives the impression that only tragedy, greed, or smugness would push a man to atheism; it at least gives Sorbo the chance to infuse his character with more humanity than the script does. But the rest is propaganda so inexcusable, it’s no wonder the movie’s found the fame it has.



1. Left Behind
Entertainment One/Freestyle Releasing


So what could possible be worse than the most infamous and egregious example of Christian propaganda in years? Well imagine that Christian propaganda had a chaste marriage with a disaster flick from the SyFy channel, and that’s how you get Left Behind.

If you’ve heard of the novel series by Tim LaHaye and Jerry B. Jenkins, or the subsequent film adaptations starring Kirk Cameron, you probably know the gist; the rapture occurs, and we are Left Behind with those who did not ascend. In this adaptation (I don’t know how faithful it is), we are introduced to Chloe Steele, a young woman returning from college to surprise her father, Rayford Steele (Nicholas Cage, who seems too big an actor for this project until you think about it) for his birthday. She becomes upset to discover that he will not be present, as he is instead flying to England that weekend. Granted, he’s an airline pilot, so he has to fly to another country for work, and he had no idea she would be visiting that weekend, but this story needs conflict, and it stems from Chloe’s discomfort at being left alone with her mother, Irene (Lea Thompson), a loving but religious woman who tends to bring up her faith around her daughter more often than Chloe is comfortable with.  Worse, Chloe’s issues with her father are validated when we see clues that he has the intention of having an affair with one of his stewardesses in England.

The movie wants us to feel like Irene is being treated unfairly by her family for being a good Christian, but it becomes apparent that her newfound dedication to her faith is not shared by her husband or daughter and is tearing the family apart. However, she is vindicated in the end when she, along with a large portion of humanity, including Ray’s copilot, suddenly disappears from the face of the earth. This leaves Chloe in the unfortunate position of trying to find her missing brother in a mall and Ray in the more unfortunate position of trying to pilot a plane full of panicking and unlikeable characters during a global catastrophe. Naturally, there is a fuel shortage at one point. Among the cast of misfits aboard Ray’s plane is journalist Buck Williams, a role formerly played by 90s sitcom star Kirk Cameron but here played by puppy-faced aughties CW star Chad Michael Murray. There’s also a muslim, a senile old woman, one of the crewmen from the Black Pearl, and Jordin Sparks.

Any questions about why so much of the film is on an airplane are answered when we turn to the subplot about Chloe trying to survive in a world that’s turned to anarchy and chaos, which the film chooses to represent as “lots of extras running around parking lots”. Looting, murder and school bus crashes abound. I’m going to give the movie the benefit of the doubt and assume that this is all the movie’s awkward way of trying to show the human chaos that occurs during a disaster, and not an implication that everybody would murder each other all the time if there were no Christians around.

Except, that’s still sort of the problem. For what it’s worth, Left Behind is probably far less of a work of Christian propaganda than God’s Not Dead is. We even get a Muslim character whose not a tired stereotype. There’s an interesting catch-22 with the genre of rapture fiction; it’s Christian propaganda that, by it’s nature, asks you to sympathize with non-Christians, or at least Christians who aren’t Christian enough. It’s still propaganda, mind you; the moral of the story is “hardcore Christians are right and you should listen to them”, and it’s not like the cast is exactly full of atheists. The heroes are all Christians who have committed the sin of not taking the Bible’s hokey doomsday predictions seriously. Still, aside from Ray’s implied affair, they’re not demonized in the way they are in other faith-based movies.

So, why is this movie worse than God’s Not Dead? Pretty simple: while Left Behind is less blatantly insulting, it is still pretty fucking bad. Give GND credit, at least it knows what kind of movie it is. It’s a small story set in a small town and filmed with a small budget. Left Behind has a similarly small budget, but tries to make you think it’s an epic film about global catastrophe, with utterly disastrous results. The first twenty minutes are eye rolling, the next half-hour is hilarious, and the hour after that is just fucking boring as hell. The movie’s version of a world gone mad seems to be mostly relegated to brightly-lit sunny days filled with screaming extras running around public malls. Occasionally, someone will try to rob someone else, or a driverless vehicle will crash into something (one memorable scene has Chloe scream in horror as a completely empty schoolbus falls off a cliff). That’s not the end of the world, that’s just a normal day in Oakland. I know I’m focusing too much on this, but a true disaster artist like Stephen Soderbergh will tell you the importance of lighting and the color of a shot. If you’re trying to show us the end of days by having an attractive, untouched actress wander aimlessly around what looks like a perfectly beautiful day in Texas, it doesn’t come off as scary, it comes off as fucking hilarious.

And that’s unfortunate, because maybe with a better budget, they could have done more with the story. I know there are Left Behind novels that deal with the Antichrist taking over the world and people fighting in World War 3 and stuff, but we got stuck with a story that’s primarily set in Nicholas Cage’s cockpit, and apparently the movie could barely even afford that. Cage is, believe it or not, a bright spot in the movie, reserved as he is. Hyperbole aside, he is an actual actor and he’s more talented than the rest of the cast, and this is still far from the most ridiculous movie he’s appeared in. However, it may very well be the worst.