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: #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: #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: #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. 

Top Five Reads of 2012: #5 Katherine Hannigan's IDA B

For those of you that follow my Goodreads, much of this will already be known to you, but for the next few posts, I’m going to breakdown my Top-Five Reads. These are simply books that I read this past year. While a few came out here in 2012, they can have been released anytime in the past. All that matters is that I read them. This year. Enjoy.

I don't think I'm the demographic for this book. At all. But holy crap... I loved this book so much.

On the cover of my copy, there’s a blurb from Kate DiCamillo: "I feel a deep gratitude that Ida B. exists." On first read, I thought that was a rather odd thing to say about a book. Definitely not the traditional blurb that I'm used to (“I couldn’t put it down!” or “I was spellbound!” or some other such nonsense). Yet, after having read the book, I see what she means. 

This isn't simply a story to be told and entertained by and forgotten. This is a story that shoots straight to your core and simply makes you FEEL: happiness, sadness, anger, and everything in between. My emotions rollercoastered right along with Ida B's, and I couldn't have been happier about it—mostly because of the narrator’s way of seeing the world.

The voice in this book is nothing short of amazing. Any author and would-be author has constantly heard about voice, about what your narrator sounds like. It's a concept drilled into you. Yet it's still such a rarity to see and hear and feel such a well-developed voice as Hannigan creates in this book. You can HEAR Ida B the whole way through, and it's a voice that you want to listen to. Despite often used images, Hannigan still manages to make Ida's outlook so unique that you can't help but love the way the story is told. And by the end, you want more, to follow this wonderful character around a bit longer, if only to keep hearing this voice.

I'm not saying that anyone and everyone should run out and buy this book, as I don't feel like it's one for everyone, and there will be many that it simply won't resonate with. But, like DiCamillo, I'm just glad that this book exists. To me, this is why I write, in hopes I can create something that will click so strongly with even a single person.

P.S. Much as I wanted to 8-bit the covers for these, I simply don't have the time, as my top albums and films of the year will follow.