Top Films of 2012: Number 1 - Cloud Atlas

After some rave reviews and a recommendation from a trusted mentor, I read this book during my MFA stint. While I enjoyed the novel well enough and could see what Mitchell was going for, it just didn’t seem to “hit” me like so many other readers. It was good, but I didn’t see why it impacted others as it had. So when I first heard about the possible adaptation brewing between Tom Tykwer and the Wachowskis, I was more than a little interested. (I’ve been a huge fan of Tykwer since Run Lola Run, and say what you will about the Matrix sequels, the Wachowskis can put together some of the best sequences and eye-candy better than most currently working directors.)

In short, the film simply blew me away. It finally “hit” me. Hard. Right in the chest, and I don’t think another film affected me with such a huge emotional impact as this one did. I finally understood what everyone was talking about with the novel and what Mitchell had attempted. But why I think this worked better for me is not only that I’m a visual person, but the blending of the six stories completely and wholly, rather than Mitchell’s matryoshka presentation in the novel, made the connections in the narrative that much stronger, and both visually and emotionally engaging. Seriously, some of the montage sequences of this film are simply mind-blowing; the editing and thematic links created between the “Cut Tos” build a whole so much bigger than the individual parts.

On top of that, the acting is wonderful—even if it’s a bit too easy to get caught up in the “Who is the actor playing in this section?” as you watch. Hugo Weaving is all sorts of amazing as “The Devil Georgie” and “Nurse Noakes.” And while there’s nothing particularly “amazing” about Hugh Grant’s characters, he was the only actor that I completely missed all of his other roles, so take that as you will. (I will be more than a little disappointed if there isn’t some “Best Actor/Actress” love shown to this film.)

Visually, too, this film is stunning, as it has a wonderful juxtaposition of a gritty, down-to-earth beauty combined with a glowing/horrific version of the future. Really, though, considering the directors, I’d have been more surprised if the film HADN’T been aesthetically pleasing.

Ultimately, though, what makes the film work is the editing. Yes, it might not be something most folks notice or will pay any attention to, but condensing and jumping through time as this film does without a skilled editor? Well, it would’ve been shit, plain and simple. This, in particular, I will be more than a little annoyed if Alexander Berner does not get an Oscar nomination for this film. He’s what makes this film work.

True, it may be over-bloated and pompous to some, but when you consider the source material and how cohesive of a narrative these directors were able to create? You should be able to ignore a bit of overindulgence from time to time. Because, in the end, a film that produces such an emotionally-engaging romance film that spans hundreds of years in terms of settings and characters, well, it’s almost impossible to be unimpressed by the accomplishment of these directors.

Top Films of 2012: Numbers 2 & 3 - The Avengers & Looper

As promised, here are Films Two and Three for the year. These, of course, are in a particular order…

Number Three – Looper: Like so many films, I’d heard about this one LONG before any real footage or info started showing up—basically because I stalk certain directors via IMDB, and Rian Johnson is one of my stalk-ees. Brick and The Brothers Bloom are both excellent films, even if the former trumps the latter. So when I heard about Looper, its premise, and the actors involved, I wanted it so, so badly.

Unfortunately, as I tend to do when I’m anticipating a film, it builds into unrealistic proportions. Sadly, when I first watched this at the midnight showing, I left the theatre feeling more than a little disappointed. Sure, I’d enjoyed it well enough, and Joseph Gordon-Levitt does a phenomenal job at mimicking Bruce Willis’ speech patterns and mannerisms (really, it’s worth it just to see this mighty fine bit of acting). But I still felt like, in the end, it ruined itself in many ways.

Then I received a ranting praise email from a good friend of mine that made me rethink the film. I decided to give it another shot.

On second viewing, everything “clicked” much more wholly than the first time. Maybe because my initial expectations had already been let down and I knew what to expect. Maybe seeing it in the day with a fresh mind, rather than one that had been up for too many hours as it was, helped. Maybe I simply saw it for what it was: a story of hope.

Whatever the reason, I loved this film, and highly recommend it to any and all. Johnson has created a future that’s as freakishly possible as Mike Judge’s Idiocracy—though even more likely. This grounding allowed the time-travel and such to simply “exist,” along with the other fantastical elements. And, ultimately, its theme of hope and “love trumping all” made this one even more emotionally engaging than you’d expect a sci-fi film to be.

Number Two – The Avengers: How can you NOT have enjoyed this film? Seriously, this is a prime example of what films were made for in the first place: an escape of pure entertainment.

However, entertainment alone doesn’t always cut it, which is why The Avengers earns its Number Two spot. This film is AMAZINGLY balanced. Yes, the majority of these characters have had their own films to build their characters and back stories. But you’d think they’d all be fighting for screen time and one might be left wondering “Whose story is this?” Yet Joss Whedon managed to give each and every character their own ideals and growth throughout the film. (One might still argue that Robert Downey Jr. takes the spotlight with Iron Man, as usual, but even so, the other characters are one small notch below him in terms of screen time and character growth.)

It’s full of humor, has excellently staged action sequences, and still manages to slip in not only some fantastic lines, but also a few “deeper” thoughts that deserve consideration, from self-sacrifice to being a part of a team to what it means to wield power over others.

I think out of every film I saw this year, not one held my attention and kept me entertained as this one did, from second one to the final “bonus” scene after the whole of the credits.

It’s times like this, when Hollywood actually makes a “smart” choice by turning such a project over to the right hands, that give me hope for future films—not only in the comic book realm, but for films in general. There are a handful of directors that may not have the “Spielberg” and “Scorsese” status, but I’ll be damned if they can’t make a mighty fine film, and both Whedon and Johnson fall into this category.

Top Films of 2012: Honorable Mentions Part 2

Here is the other half of my “Honorable Mentions” for the year. Numbers Two and Three will be revealed on Monday, and Number One will drop on Tuesday.

Wreck-it Ralph: Being the videogame nerd that I am, of course I was drooling over this film, as it looked to pay tribute to so many things that I hold dear. I’ll admit, it takes a bit to really pick up some steam, but once it does, this turned into one of the more heart-warming and wonderfully put together films of the year. Besides, all the subtle videogame nerd-dom had me giggling for much longer than is probably healthy.

Moonrise Kingdom: Not many directors have such a distinct visual style as Wes Anderson, and like him or not, his films can be identified as such within watching less than a minute of them. Anyone with that sort of vision and style deserves props, and I think he carries through once again with his cross between absurdity, emotional insights, and energetic presentation. His films have that element where you think anything and everything could happen—and often does. Yet even at it’s most unbelievable, he manages to hold it together into one cohesive piece. As always, I look forward to his next work.

Django Unchained: For whatever reason—I’m guessing simply the timeframe in which I watched them—I never much cared for Taratino’s earlier films. It wasn’t until Kill Bill that I was anticipating the release of his films (this because I knew how much he’d been influenced by samurai flicks, and I couldn’t wait to see what he’d do with them). But since then, his films have grown and grown, with Inglorious Basterds being nothing short of amazing. And while Django isn’t quite as good as IB, it managed to keep me entertained, laughing, and cringing for the entirety of its two hours and 45 minutes. This, mostly, worked because of his gift of dialogue and conversation (not many can write a conversation like him). Plus, the performances are too good to ignore, on all fronts, from Jamie Foxx to Christopher Waltz and even Leonard Dicaprio. Each and every actor and actress is spot-on in this film, and I will be more than a little surprised if this film doesn’t garner some heavy Oscar nominations—if not wins—on this front.

Ruby Sparks: When I first saw the trailer, I thought it was a reverse version of Stranger Than Fiction; however, while watching, that view quickly shifted. Ruby Sparks is very much its own film with its own ideas and an original presentation. It navigates from the laugh out loud comedy to the uncomfortable to the downright dark, yet still manages to stay cohesive as one unit. Really, this film is all about relationships and what we do for, with, and even how we manipulate one another to shape them into who we want—or expect—them to be. That commentary, alone, makes this film worth watching. And, you know, I like Paul Dano, too.

Silver Linings Playbook: Like Tarantino and McDonagh, David O. Russell squeezes perfect performances from his actors and actresses—despite his explosive temper. (Google the clip of him and Lily Tomlin on the set of I Heart Huckabees.) This one is no different, as everyone—and I’m including Bradley Cooper in this—is wonderful. It’s a dysfunctional love story where everyone involved is broken in some way or another. So the different levels of redemption and what’s considered “normal” become that much more emotionally engaging, as it makes one question what, in the end, can truly be qualified as “healthy” and “The Norm.” True, it plays out much the way you’d expect and guess, but between the great acting, squirm-in-your-seat uncomfortable scenes, and the emotional resonance, this film is just shy of hitting my top three.

Top Films of 2012: Honorable Mentions Pt. 1

Continuing on with my “odd” presentation of the year-end films, I’m breaking these last parts into four sections. You get five “Honorable Mentions” today, five tomorrow, then my “Tops” on Monday and Tuesday next week. (There were too many movies that I felt like I enjoyed equally, and ranking them was stupid. However, three did, indeed, rise to the top.)

As you read, please note the following: Yes, I have seen The Hobbit, and while I enjoyed it, I enjoyed these films more. Also, at this writing, I have yet to see Argo, Lincoln, Life of Pi, or Les Miserables. Take that as you will.

These come to you in no particular order, simply five today, five tomorrow.

Seven Psychopaths: I love Martin McDonagh. After watching In Bruges, I knew this would be a director I’d be following for the length of his career. And while I didn’t quite like SP as much, this is still a very enjoyable film. Mostly, I think he’s a director that can get some wonderful performances out of every actor he works with. (He’s the reason I started liking Colin Farrell.) Everyone is spot-on in this film. And while the “meta” portions of the film almost become a little too self-indulgent at times—reminded me of Adaptation in some ways—the colorful characters and dark humor carried me along for a wonderful ride.

Safety Not Guaranteed: I worried this film would be one of those “quirky for quirkiness’s sake” films. However, I was glad to see that my worries were unfounded. There might be a few scenes that feel “oddball” just because they could be, but overall, the heart of the film lies in its examination of relationships, how they form—if they form at all—and the lasting impacts they can have when you remember the past in different lights. Plus, both Aubrey Plaza and Jake Johnson are all sorts of wonderful. True, the ending might—and seems to irk—many, but it worked for me, as I couldn’t see it wrapping up any other way.

Hunger Games: Like the last few Harry Potter films, this one was so much better than it deserved to—or was expected—to be. Don’t get me wrong, I enjoyed the novel enough, but I never thought the film would have been so well-realized, taking the novel from a “fantasy” and turning into something that felt much more grounded and “real” than I expected it would be. It’s a shame Lionsgate pushed out the writer/director simply because he was going to “take too long” for the next films. They had a good thing going, and I won’t be surprised if the second film will do what the second novel did for me: all but kill the series. Still, this one on its own is more emotionally engaging and well-acted than I ever thought possible for an adaption of this series.

The Dark Knight Rises: As one of my friends said, there is simply no way Nolan would be able to top The Dark Knight. Heath Ledger’s Joker is now the stuff of cinematic legend in terms of mind-blowing performances. But, to me, this one didn’t even top Batman Begins. Honestly, I don’t think it really works as its own, singular film—like the other two do. Yes, it’s entertaining enough, and I love much of what Nolan has done here, but without the other two films, this would’ve been less than “Meh.” That being said though, as a finale to the trilogy, this film does an amazing job tying up all the threads and giving a sense of closure to the trilogy that’s a rarity these days. (Plus, I don’t care what others say, Anne Hathaway nailed Catwoman.)

Pirates! Band of Misfits: I read Gideon Defoe’s first two Pirates! books more than a few years back—and thoroughly enjoyed them. So when I heard Ardman was adapting the first one into a stop-motion film, I eagerly anticipated this one for quite awhile. And the waiting was worth it. This film is all sorts of amusing, with bizarre one-liners and an extremely well balanced sense of humor, as it keeps both the kid-friendly “physical/visual” humor and “asides” for the older crowds in check. Plus, this film is face-melting when you think of all the detail and time that must’ve gone into filming some of these scenes. In particular, the bubbles on the beer are ridiculous. Kudos to the filmmakers that had the patience to animate such things. Films don’t get much more fun than this one—especially when keeping to a “family friendly” audience.

Top Films of 2012: The Visual Feasts

As promised yesterday, today's post focuses on those films that were visually stunning in one capacity or another. While some are good films as a whole, others were simply chosen because of their aesthetics. Without further ado, here are my picks--in no particular order.

• Snow White and the Huntsman: Say what you will about Kristen Stewart, her Derek Zoolander “One Look,” and her acting in general, but you’d have a hard time arguing that this isn’t a visually impressive film. From the hallucinogenic swamp to the realization of the fantastical creatures to the fluidity of the mirror and milk and crow mush, this is a grotesquely gorgeous film. Yes, it has some serious flaws overall, but aesthetically, it’s more than worth your time.

• ParaNorman: Unlike the above film, I loved this one on more levels than its looks alone. It would definitely make my Top-Ten list of the year. But, taken on looks alone, this is the prettiest stop-motion film that I’ve ever seen. I don’t know how many times I lost myself in the visuals and thought: “I can’t believe this is stop-motion…” I’ve tried my hand at such films, and to not only work in that exacting of a medium but to also create such a beautifully realized world… well, there are no words for this accomplishment.

• Rise of the Guardians: In film school, I was often taught the importance of the close-up. The more, the better became the mantra. And while I still hold this to be true, there is something to be said about a perfectly composed extreme wide-shot, and RotG has some amazing wide-shots. Almost mind-blowingly so. It’s a film that took full advantage of its animated medium and produced some of the most well-composed frames and nothing short of jaw-dropping visuals of any film this year. Period.

• Dark Shadows: Overall, I didn’t really care for this film. But, in terms of Tim Burton fully and completely realizing his “vision,” I don’t think he’s come close to this level of sophistication in any of his earlier works.

• We Need to Talk About Kevin and Killing Them Softly: I’m lumping these two together, as they are very much in the same vein. For being films with such dark themes and melancholic/disturbing/disheartening tones, these are still beautifully shot films. I’m always impressed when a film without all the fantastic elements and special effects can still be so visually engaging, and both of these films did it for me—even if I felt like shit after having watched them.

• Skyfall: When I’d heard Sam Mendes was directing this, I went from being like “Oh, another Bond film” to “I can’t wait for this freaking film!” Mendes has always impressed me with his visuals, right from the start with American Beauty, and I knew that he’d be a good choice for Bond. He did not disappoint. Not only was there both stark and lush beauty in this film, he added something that’s been missing from Bond films for years: heart. True, I won’t argue with the purests that say it “misses the point” of what the earlier Bond films are, but for someone who never gave two shits about Bond before these last few films, I am more than impressed with how these films have grown—despite the slight stumble of Quantum of Solace.

Top Films of 2012: The Biggest Surprises

For films, while I plan on doing a “Top-List,” I’ve decided to break them down a few different ways this year, since I think there were some noteworthy films for one reason or another, but they may not have been the “best” overall. You know? So, for today, I want to cover the films that I was most surprised by that came out this year—in no particular order. (Mostly, I’m trying to buy some time to ensure that I can see a few other of these “end of year” releases before I make my final picks. Tomorrow will cover what I’ve dubbed, “The Visual Feasts.”)

• Men in Black III: It’s taken years for the first film to grow on me. I never really liked it upon its initial release, and it’s only after multiple viewings that I’ve decided that I do, indeed, enjoy that film. That being said, I skipped the second film entirely and have yet to actually watch it. However, with this one, not only did I think the trailers looked rather amusing, but I also wanted to see Jemaine Clement as the villain. (That guy is so awesomely weird.) So, possibly against my better judgment, I went to see this film—and thoroughly enjoyed it. It has some good humor and quotable one-liners, it does a good enough job with time-travel, and it has much more heart and soul than I ever would have thought possible for a Men in Black film. Plus, James Brolin as Tommy Lee Jones as Agent K is almost as impressive as Looper's Joseph Gordon-Levitt as Bruce Willis as Joe.

• Frankenweenie: I’m in the generation that’s pretty much grown up with Tim Burton’s career, and I’ve seen all of his films—most many times over—to date. This includes his original short of Frankenweenie. So when I first heard about this one, I thought it was rather lame that he has not only been remaking others’ films, but now, he is also remaking his own films. After the trailer’s release, I had even less desire to see it. However, being the animation junkie that I am, I saw it in spite of my misgivings. And I’m glad I did. The tributes to all the horror classics are too good to pass up. The teacher—holy shit, the teacher—Mr. Rzykruski has some of the best lines and commentary on today’s schools and learning environments that I’ve seen/heard in years. Lastly, even with its kid-film status, it managed to creep me out still. (Seriously, the bat/cat transformation… pretty sure I wouldn’t have slept for weeks as a child.)

• Cabin in the Woods: I like Joss Whedon. But I honestly didn’t have high hopes for this one. It looked fun enough, for sure, but nothing too wonderful or noteworthy. However, there were few films that I saw this year that had me laughing as much as this one. So much dark humor… And where Frankenweenie paid tribute to the horror films of old, Cabin in the Woods took all those often-used tropes and flipped each and every one of them on their heads. It’s definitely a film more for those familiar with horror flicks, but if you don’t mind some blood and guts with your laughs, this is a good place to go.

• 21 Jump Street: I never watched the show growing up, and even though I knew Jonah Hill had turned this into his “baby” of a project, I didn’t really care about it. I didn’t even bother to check it out in the theatre. But when I had my Blockbuster Pass for a few months this year, I picked it up off the shelf—and laughed until my ribs were sore. True, it may go “too far” for some in a few instances, but for those that are more than okay with laughing at the perverse, this is a hilarious film. And like Fight Club made me look at Brad Pitt in a different light, this one did the same for Channing Tatum. Anyone that can play into his stereotypes and, basically, make fun of themselves in a film, well, they’re okay in my book. And Tatum is downright ridiculous. Watch the “Fuck Yeah” portion of the film and just TRY not to laugh at him crashing the band room.

Top-Five Albums of 2012: #1 - Purity Ring's "Shrines"

For the number one, I’m sure there will be more than a few folks shaking their heads and wondering what in the world is wrong with me, but out of all the albums I picked up and listened to this year—which was upwards of 50 to 60—I had so many of these tracks stuck in my head and found myself listening to this album more often than was probably healthy.

Really, I think it’s the simplicity of this band that really drew me in. Most of the tracks only have a few different elements working together. The music never becomes overwhelming or too “full” by way of too many sounds and instruments going on all at once. This, of course, works that much better to showcase Megan James’ lovely voice—even when it’s manipulated.

I’ve always been a sucker for these types of bands as it is—seeing as Portishead, Hooverphonic, and any track by Massive Attack with a female vocalist are some of my all time favorites—I probably didn’t have much of choice in choosing this one as the top album for me this year.

Normally, the bizarre—if not outright nonsensical—lyrics would irk me, as I tend to like my music to make some form of sense. But Purity Ring does just enough to keep everything together and coherent—even if they’re more than a little “off.” Tracks like “Fineshrine” and “Grandloves” and “Crawlersout” give enough hints to a story/emotion/revelation that they help pull together some of the more nonsensical lyrics that permeate this album. “Fineshrines,” in particular, has one of my favorite choruses: “Get a little closer, let fold/ Cut open my sternum, and pull/ My little ribs around you.”

Overall, though, it’s the chillaxed nature of the whole album that sells me. It’s something that can be listened to at any moment of any day and be fitting in its calming rhythms and echoing beats. Think of it as The XX with a bit of a dubstep injection and you’ll have a good idea of what this band sounds like.

Along with the three aforementioned tracks, some good ones to check out are “Cartographist” and “Obedear.”

For me, at the end of the day—or year in this case—I have to think about what albums that I have not only listened to a crapton as is, but I also can see myself listening to for years to come. And I have a feeling that anytime a track from Purity Ring’s first LP pops up on my iPod—or whatever my next-gen player ends up being—it’ll put a smile on my face.

BONUS BAND: Along with Purity Ring’s album, the next most listened to album of the year for me was Grouplove’s 2011 release, “Never Trust a Happy Song.” From the first time I heard “Colours” on an acquaintance’s playlist, I was hooked. They only got better from there, as I do believe that “Itchin’ on a Photograph” is one of the best opening tracks to any album. Ever. Such a wonderful track that sets up the playful and slightly melancholic nature of the rest of the album. Truly, this is a band that you can just tell that they’re having fun with their music. Even if I hadn’t caught them in concert this year—and they put on one hell of a show, by the by—I think their infectious energy is apparent on every track, with each one distinct and unique. If you haven’t been listening to Grouplove, do it. Now. Go.

Top-Five Albums of 2012: #2 The Lumineers' "The Lumineers"

This year ushered in a whole new wave of music that I opened myself up to. True, this indie-folk scene is on the rise--thanks mostly in part to Mumford & Sons--but I wasn't aware of it, really, until my writing counterpart introduced me to this band, starting with "Stubborn Love."

The lyrics alone drew me in, as I love the simple honesty and truth that permeate the majority of their songs. And if they aren't sharing insight into life and love, they know how to create a fun song that makes you want to be in some dark and dingy dive bar, sipping a whiskey, ready to sing and dance along to each and every song. Tracks like "Classy Girls," "Dead Sea," and "Ho Hey" are more than lively enough to push you from your seat, want to grab the nearest person, and start dancing, regardless of where you are.

On the flipside, their quieter songs like "Slow It Down" and "Charlie Boy" and especially "Morning Song" might not make you want to move, but they make you feel, which is equally important.

I think that it's the fact that this band knows how to navigate the upbeat with the down, and the lead singer Wesely Schultz's voice is the perfect amount of scratchy and tremulous that works in both styles. And really, the whole album is an excellent balance between the faster and slower tracks. This is a band that knows the importance of moving through emotions, giving some downtime to relax from all the up, up, up.

It'd be easy for folks to compare this band to Mumford & Sons, or say that they're ripoffs or whatever, but you'd be doing yourself and the band a huge disservice. The Lumineers are very much their own, with their own sound, and as I said before, the lyrics alone make this band worth your time. Seriously, if you're into the growing indie folk scene and haven't heard of these guys, go, buy their album. It's a good idea; I swear.

BONUS BAND: Though in this case, it will be bands. To carry along with the "lesser known" indie folk bands, you should also do yourself a favor and track down The Head and the Heart's self-titled album, and Shovels and Rope's "O Be Joyful." Both are most excellent and well worth your time. In particular, check out Head and Heart's "Rivers and Roads" and Shovels and Rope's "Circus." If those don't suck you in, well, then I guess the indie folk scene just isn't for you.

Top-Five Albums of 2012: #3 The Shin's "Port of Morrow"

Yes, I'm one of the many that had no idea who The Shins were until I saw Zach Braff's Garden State. But regardless of how you feel about the film as a whole, he got Natalie Portman's line right when she says, "This band will change your life." Ever since, I've nabbed up each of their new albums, and each one has lived up to their past offerings--if not bettered them. So, despite having James Mercer's side project of Broken Bells to tide me over, I've been eagerly awaiting a new album from this band. Usually, the more excited I get for something to be released, the more I build up my expectations, which ultimately leads to my disappointment with the final product. However, "Port of Morrow" didn't disappoint.

Right from the opening track of "The Rifle's Spiral," I knew I was in safe hands. The simple way it builds the drum beat and layers on the rest of the song, it is one of the best opening tracks for any album this year. Plus, it sets you up for what's to follow. While this is still The Shins you know and love, it's easy to hear that there's a bit more polish--and a bit more pop--leaking through. This, to me, shows even more with the second track of "Simple Song." And as it often tends to be for me, even though it's the main single off the album, it's one of my least favorites. I still like the song, don't get me wrong, but there are so many better tracks. (It's songs like this that make me wonder how much control an artist or band has when choosing their singles.)

Much as "Port of Morrow's" upbeat tracks are good, it's the more downtempo tracks that are the most enjoyable. From "40 Mark Strasse" to "It's Only Life" to the title track, these are the songs that tend to carry the more "haunting" tones that The Shins use as a signature. (The title of their song, "Caring is Creepy" is one of the more fitting ones, as I think there is an unease to much of their music, but that's what tends to make it so interesting.)

Honestly, the worst part about the album is its length. At ten tracks, it doesn't last nearly as long as one might want, but they've always been a band that seems to live by the "quality over quantity" rule. It never feels like any of their songs are fillers, those nonsense or forgettable tracks that almost every band has one or two of on a disc.

And even though the entire album is worth your time and money, these tracks in particular help make the album shine:

• "The Rifle's Spiral"
• "It's Only Life"
• "Bait and Switch"
• "For a Fool"
• "40 Mark Strasse"

There you have it, more than half the album is nothing short of fantastic--a way better ratio than most. So, if you're a fan of The Shins, I don't know why you don't already own this, but you should. And if you're new to them, this is a good enough place to start, as long as you keep in mind that their older work becomes more "raw" the earlier it gets. But it's equally good. The Shins, man, they really will change your life.

BONUS BAND: 

The Glitch Mob is, yes, categorized as dubstep. (Personally, I still don't see how dubstep is a separate entity from techno as a whole. It's simply another branch like Jungle or Trance or Drum and Bass... But I'll leave that argument for the purists.) Still, the beats and rhythms this band creates are all sorts of amazing. And they're probably a bit more accessible than some of the other dubstep-ers, since they tend to be a little less distorted and glitchy--in spite of their name. The best place to start is "Between Two Points," since it actually has a singer and lyrics. If you like the beats in that song, you'll probably like the rest of their tunes, too. It's a perfect blend of chillaxing and just enough of a danceable beat that it makes you want to move.

Top-Five Albums of 2012: #4 Porcelain Raft's "Strange Weekend"

Apparently this is the year for film inspirations...

I first heard Porcelain Raft in the trailer for Celeste and Jesse Forever, with their album opener, "Drifting in and Out." The dreamlike rhythm that did, indeed, drift in and out, carried me along, and I'm pretty sure I watched the trailer for that film more than once just for the song. Then, of course, I remembered that these were the internets, and not only could I find out WHAT song it was, but I could also buy the damn thing--which I promptly did.

The band reminded me quite a bit of Beach House, who also put out a pretty solid album this year, but something about "Strange Weekend" simply lulled me back time and time again, as this album ended up with some pretty heavy rotation. And I'm fairly sure that the few folks I made a mix for this year have, at least, one track from this album.

The one thing that I will give the naysayers is that the lyrics are, often, less than stellar. Most of the time, the songs tend to repeat their short chorus/verses, but it's one of those instances where the singer and his melodies grow into the songs themselves, the rhythm and beats and vocals all blending into one mesh of earhole goodness. Basically, I'm saying the lyrics don't really matter with music like this. Yes, it would be a plus if there was something profound in each song--though I do quite like the lyrics for "Backwords" and "Unless You Speak From Your Heart"--but the whole is much greater here than when you break it into the individual pieces.

What really made this album work for me is the fact that almost every track has become one that I've played, then replayed, then replayed again before moving on. Tracks like "Put Me to Sleep," "Is It Too Deep For You?" and "Shapeless & Gone" leave you hanging, wanting more, and the only way to get that is to press that double-arrowed button on your iPod to hear that song again.

And even though the album works as a cohesive dreamspace, each unit has its own feel and distinct emotion. The aforementioned "Unless You Speak From Your Heart" has an alternating circus/celestial feel. Bizarre as that sounds, it creates a melancholy that fits the lyrics perfectly. Same for "Backwords," as right from the humming intro to the slow building beat, it sucks you into this calm space that grows and grows until it makes you feel as if you'll explode with emotion and the only way to quell it, is to re-listen to the track.

While the whole album is worthwhile, any of the specifically mentioned tracks are more than worth your time--especially if your a fan of Beach House, possibly Radiohead, Washed Out, or any other dream-ballad from the 80s.

I think this is definitely an example of how much my music tastes have "chilled out," but if artists keep making music like this, I'm more than okay with finally growing into another sound.

BONUS BAND: Bombay Bicycle Club
I happened upon this band through an Amazon recommendation, and it was a mighty fine recommendation at that, too. After devouring their 2011 album, "A Different Kind of Fix," listening to the final track, "Still," more times than I'm willing to admit, I picked up their earlier albums and all three have been chosen frequently since I acquired them. Excellent stuff if you're into Radiohead, Sunny Day Real Estate, or Death Cab for Cutie.

Top-Five Albums of 2012: #5 - Hunger Games: Songs From District 12 and Beyond

Now that the honorable mentions are out of the way, on to the “real” picks.

Normally, I’ve always thought these types of albums are stupid. The ones that seem to be put together for a quick buck to capitalize on a particular name or license—seeing as the music isn’t even a part of the film proper. (Two songs in the credits don’t really count as being “in film.”)

But when I first heard the final track during those credits—the latter of the two, “Kingdom Come” by The Civil Wars—and recognized that it was Civil Wars, I thought I’d track the song down. Once done, I read through the rest of the bands that contributed to the album and was impressed. However, I didn’t buy this straight away.

It wasn’t until Amazon sold it for a sweet deal of $2.99 that I picked it up. Some of the best $3.00 I’ve ever spent.

Not only does this album have some extremely solid tracks by those artists I already knew and enjoyed—The Civil Wars, Arcade Fire, The Punch Brothers, and Glen Hansard—but it also introduced me to some new and outright fantastic bands: Secret Sisters, Birdy, and The Low Anthem. Really, this album has some excellent tracks if you’re into the indie-folk scene. (Yes, it’s a rather hipster album, but I’m becoming more and more comfortable with my emerging hipster.)

Even the bands or artists that I don’t much care about have some solid offerings here, namely that of Kid Cudi’s “The Ruler and the Killer.” (After reading more than one of my students essays analyzing his lyrics, I’d pretty much written him off as anyone I’d ever care about. But, damn, this is a wonderful track with an excellent beat and singing style.)

Ultimately, though, what finally impressed me about this album is how many of the songs were actually written for/inspired by the story. It’s not a huge thing, and perhaps the songs could’ve been better otherwise, but I can’t help but give a few props to those that can pay tribute to another creation while making their own unique offering.

True, the album has some duds—I can’t stand Maroon 5—but the highlights overshadow the downers. Even if you ignore the rest of the album, you need to check out the following tracks:

• “Abraham’s Daughter” by Arcade Fire
• “The Ruler and the Killer” by Kid Cudi
• “Kingdom Come” by The Civil Wars
• “Run, Daddy, Run” by Miranda Lambert and Pistol Annie
• “Just a Game” by Birdy

In particular, I’ve listened to that final track by Birdy countless times. That girl has a gorgeous voice, and this is a perfectly toned song for what the film turned out to be, and is an excellent close to an album that’s way better than it ever had the right to be.

Top-Five Albums of 2012: Honorable Mentions and Singles

For the music portion of this year, I’ve honed it down to five albums—even though there are many more I’d like to mention. Seems like it was a fairly good year for music—at least for me. Ultimately though, I decided which albums I listened to the most/became the most obsessed with after hearing them.

And as a bonus, I’m also going to include another band that was new to me this year, even though they didn’t come out with an album this year. Those will be in no particular order.

First up, though, are the honorable mentions, the albums that I quite liked but were just not listened to quite as much and/or they’ve received more than enough praise elsewhere already.

Honorable Mentions (in no particular order):

• Sigur Ros’ “Valtari” – I’ve been a fan of them since I first heard “The Nothing Song” on Vanilla Sky. Each and every album has been a good one in my eyes, and I’ve listened to all of them much more than is probably healthy. This one, in particular though, has even more of an ethereal quality to it. So many have said their music is “transcendent,” but I never thought it applied until this album. It’s simply “holy,” and there’s no other word for it.
• Santigold’s “Master of My Make-Believe” – What’s there to say? Really. This is simply a fun and great pop/hip-hop mashup. Personally, she reminds me of a bit more “radio friendly” version of M.I.A. But she definitely has enough of her own sound and design to stay wholly unique. Honestly, this album is worth it just for “Disparate Youth,” “GO!,” and “Freak Like Me.”
• Sea Wolf’s “Old World Romance” – This was a late find, but it’s already had some heavy rotation. He reminds me of a Beck/Aqualung/Band of Horses mash-up, and “Whirlpool” is an amazing track.
• Deftones’ “Koi No Yokan” – This is a great blend of the older and newer stylings of Deftones, and even though I’ve only had a few listens on it, it’s a solid album. Not many bands can shift, change, and grow for as many years as this band has and continue to be both new and retain their original sound like Deftones have. If you’re a past fan, there’s no reason you shouldn’t have bought this album.
• How to Destroy Angels’ “An Omen” – Much as I wanted a full-length release, this is still another excellent entry to Trent Reznor’s new band. While it’s more of “background” music than anything you’ll really sing or hum or rock out to throughout the day, it’s a handful of good tracks nonetheless.

Singles:

Either they weren’t on a full release album, or the album as a whole didn’t quite make it, these are a few tracks that I listened to way more than I should have.

• Dragonette’s “Lay Low” and “My Legs” – I know. It’s ridiculous. This is music for college sorority girls as they’re headed out to some big party, but Glob help me, these songs are way TOO catchy and—in my eyes—perfect examples of how fun bubble-gum pop music can be.
• M.I.A.’s “Bad Girls” – The beat for this… holy crap… just holy crap… When it hits the “0:40” mark, the groove just cuts straight to the core. Love it.
• Bad Veins' “Dancing on TV” – This track is too fun. Reminds of the best of Weezer and has some wonderful lyrics to go along with it.
• Owl City’s “Dreams and Disasters” – While the album as a whole is fairly decent, this track rises above and beyond the others in a BIG way. Love the beat. Love the lyrics. It’s another example of pop done right.
• The XX’s “Angels” – Dreamlike and beautiful, from the music to the lyrics. Nothing more needs to be said.
• Placebo’s “B3” – I’ll write more on this band at another point in time, but not only was I surprised that they were still putting out tunes, but that this was also a mighty fine little ditty from their EP of the same name.

Top-Five Reads of 2012: #1 Jeff Lemire's SWEET TOOTH

I love this series so much that it’s not even right. But considering that I’ve already ranted and raved about it, instead of spewing even more fanboy nonsense, I offer a short list of books that barely missed the top five.

Honorable Mentions (in no particular order):

• Imaginary Girls by Nova Ren Suma
• I loved, loved, loved the writing in this book. It is simply too beautiful and haunting. This is, most definitely, how someone should build a setting/general location and bring it wholly and fully to life.
• Nick & Norah’s Infinite Playlist by Rachel Cohn and David Levithan
• The film entertained me well enough, but it didn’t blow me away. So I was more than a bit surprised that the novel is nothing short of amazing. The writing is so solid, it moves at a perfect fast-pace, and it’s so full of energy and insight that it’s almost impossible to put the damn thing down.
• Graffiti Moon by Cath Crowley
• More than anything, the language and writing itself is what made me like this book so much. Story-wise, it works on a basic level and kept me reading, but the writing is so gorgeous that it’s more than a bit enviable.
• League of Extraordinary Gentlemen Vol. 1 & 2 by Alan Moore, Kevin O’Neill (Illustrator)
• Many in the comics’ world consider Moore the God of Comics, and it’s not surprising. So far, everything I’ve read of his is simply mind-blowing. These two books are most excellent reads on so many different levels that I can’t even begin to discuss them in such a short spot. Also, if you want the perfect example of an anti-hero, Moore has done WAY too good a job with his rendition of Dr. Jekyll/Mr. Hyde than should have been allowed. (The art, too, is all sorts of joy and joyness.)

• I Kill Giants by Joe Kelly, J. M. Ken Nimura, (Illustrator)

o This is how magical realism should be done. The metaphor works beautifully, and it really ends up being a very heart-wrenching read. One that takes a long time to leave the ol’ noggin.

• Ready Player One by Ernest Cline
• There is just enough about this book that bothers me to keep it from the top-five, but it is close. It is super entertaining. And, really, if you’re into MMORPGs, the 80s, or videogames at all, you MUST read this thing. In the end, I think the plot trumps the theme, but it’s such a fun and enjoyable read that it’s hard not to love every page.

Top-Five Reads of 2012: #2 Stephen Graham Jones' DEMON THEORY

This was one of the first books that I read this year, way back in January, yet I’ve continued to think about it from time to time. Anything that lingers that long deserves a high place in my eyes, as too, too much is forgettable.

Even more, this is the first book that I've ever "Not wanted to put down." Part One of this book sucked me in, sank its gargoyle fangs into my neck, and wouldn't let me stop reading until I reached Part Two. Really, I read that whole first chunk (also probably because there are no “official” chapter breaks) in one evening/night. Though, it might’ve been the fact that I couldn’t stop chewing my already nubbins of fingernails down even further.

I loved the tone, right from the get go. It felt like a well-versed tribute to the horror genres of old. It felt like a “thinking man’s” horror story, and that’s what pushes it above and beyond a regular “scary” story—especially with all the film references. I was giddy with all the allusions and footnotes and explanations peppered throughout the novel. Each new note either made me feel smart for already knowing the reference, or if I didn’t know what the hell Jones was talking about, then I liked learning the explanations.

Film nerdiness aside, the fast-pace, playfulness, frightening moments, and the twisting of basic horror-genre tropes dug their claws deeper into my “Don’t put this book down” impulse. The pace helped keep that sensation alive, too. The novel clips along at a wonderful pace but still doesn’t forget to take the time for a few jokes—some darker than others, but always amusing. And Jones pays tribute to and pulls from every film out there, while at the same time builds something very original—and something that I would love to see hit the big screen in the full, trilogy form (though that might take away from that “thinking man” feel.)

Basically, if you’re into horror, you need to read this book. And if you simply like a scary story, then this is just as much for you. I’ll admit, I don’t normally read much by way of horror or scary stories—and I hardly watch many such films anymore—but if more folks wrote like Jones, then I’d be more than willing to wade through all the blood and gore.

Top-Five Reads of 2012: #3 Daniel Handler's WHY WE BROKE UP

Illustrated by Maira Kalman

I can see why some folks have—or will have—an issue with this book, as some of it can be a bit of a stretch in terms of how the events unfold. Even the naïveté of our narrator might need that Mary Poppins’ remedy to swallow. Plus, you know simply from the title where this book is going and what’s going to happen, so there are no surprises for the ending here. It’s definitely more of a story for the journey than a story for the ending. Plus, the writing isn't quite the norm for most YA books. But that's what makes this one so good to me.

The writing is gorgeous. I love Min’s voice. It’s insightful, spiteful, and full of wit. As she paints every scene, we witness a new heartbreak unfold, one more of those “insignificant” moments that when we reflect on them, we see where everything was going wrong, and we can’t help but wonder, “Why in the world did it take me so long to figure this shit out?” To me, that’s what makes this book so real, because of its focus on the power of hindsight and how we tend to assign such meaning to the smallest of things, which are illustrated in simple and wonderful paintings.

It’s easy to think that this book could’ve worked just as well without the illustrations. I honestly don’t think I would’ve liked it any less, but the visual anchors work quite well, too. Besides, can you really argue with some beautiful artwork?

The last thing I loved about this book was all of the film references. They were so obscure and bizarre that even the film nerd in me had to google more than a few of them. And that’s saying something, seeing as I not only have a film degree, but I also have watched a crapton of films in my life—including many “oldies” and foreign films. So it’s nice to know that there are folks out there with even more film-nerdom within them than even I have. I tip my “useless knowledge” hat to you, Daniel.

Even taking his writings as Lemony Snickett on their own, Mr. Handler is quickly becoming one of my favorite authors, and this book's original voice and success in telling a love story that's doomed from the beginning but still keeps a reader invested lifts his rank even higher in my world of Christopher.

Like Ida B., this one won't be for everyone, but I loved it. A lot. It hit all the right “quirk” notes that I need in a story, and it hit them as cleanly as a shot from either Katniss or Merida’s bows.

Top-Five Reads of 2012: #4 Mark Haskell Smith's HEART OF DANKNESS

It’s true: I studied writing under this man; however, this isn’t simply lip service to the guy that helped out my own writing exponentially. It wouldn’t be on this list if I didn’t feel like it should be there. This book more than earns its place in my top five.

I'll admit, too, that I'm a fan of Smith's novels. What that says about me and my sense of humor, well, I'll let you be the judge... But the biggest thing a reader might wonder about this book is how an author that primarily writes fiction would do in the non-fiction realm. For Smith, he's made the transition phenomenally well.

This book has his trademark, no-holds-barred sense of humor, which most likely will offend the general populous in some form or another. Meanwhile, he not only presents us with some wonderful and colorful folk, but he also provides a ton of current information on the Cannibus Cup, the legalization movement, and even manages to slip in some philosophical ideas on what it means to be "Dank."

The best part is simply how “human” he paints this culture and subculture. Too many in the general populous think of drugs and still have that back-alley, shady/skeevy dealer that comes to mind. Or maybe they simply imagine Hollywoodized drug lords. But Smith manages to bring this down to the realistic level that many never see, how those people that choose to be in this industry believe in what they’re doing, so much so that it moves into passion, if not obsession, for providing a quality product and producing something truly amazing. Most of these folks aren’t out to nab that quick buck or live that “high” life (pun intended) which so many films paint; they grow because they love their work, and can we really begrudge someone for following a passion?

Seriously, I can't recommend this book enough. And, no, it's definitely not just for "stoners." It's a thoughtful and insightful book that's written for the intelligent reader that has a sense of humor and wants to know a bit more about Cannibus culture. Sure, stoners will like it, too, but to mistake this book as one for pot heads is doing yourself a disservice.