There are so many parallels between this movie and Wolfwalkers, which is just as well since they are the two main contenders for the 2021 Academy Awards. Both have masterfully innovative animation, but where Wolfwalkers looked back at the old texts and pre-renaissance perspective for inspiration and side-stepped into something new, Soul pushes La Linea and its own work to 11 with Terry, the best non-villain villain since the wind in Kiki’s Delivery Service.

Note also Trent Reznor’s notes bleeping and blooping away in the background. The soundtrack is another thing on par with Wolfwalkers. As you may have seen in the trailers and guessed from the title, most of the music in Soul is jazz, melded with ethereal electro-something.¹

Both fumble the narrative: Wolfwalkers' story because it was predictable, Soul’s because incoherence. The presumed big conflict — man v. death — is deemphasized in favor of many small ones: art v. education, passion v. commitment, meaning v. nihilism, hippies v. bureaucrats, moments of inspiration v. the daily grind. It is just too much philosophizing, and this is coming from someone who has, from the age of six, been called a philosopher by exasperated adults.²

Not that the story is bad, it is just not as focused as its closest Pixar ancestor — Inside Out — another villain-less meditation on the internal lives of humans.³ Even so, it takes the top half of the Pixar pantheon, at least a few notches above Docter’s first movie, Up.⁴ Wish other studios put out things that were half as good this year.

Take Groundhog Day, punch up the message to make it more on the nose, add a few scenes of awkward sex, finish with an after-credits sequence that chooses charm over consistency. It’s still a good movie, now oh so very millennial.

I didn’t hate it.

Directed by Max Barbakow, 2020.

Remember that climactic scene in Shaun of the dead where they each take a pool stick and beat the zombie pub owner to his second death to the beat of Queens “Don’t stop me now”? You know, this one? The actual beating doesn’t start until 1:05. Well, Baby Driver is an entire movie made out of that scene — even Queen makes an appearance — only it’s guns instead of sticks and gangsters instead of zombies. Also, Atlanta, Georgia instead of London, England with a baby-faced youth instead of Simon Pegg, so only a third as charming though it’s an Edgar Wright film so still very charming indeed.

Trigger warning: the movie contains Kevin Spacey who first behaves like the rotten bastard we know he is but then goes and (spoiler alert) redeems himself. The movie does kill him off in a rather gruesome manner, if that’s any consolation. Did the writer/director know something we at the time didn’t?

Written and directed by Edgar Wright, 2017.

The camerawork alone makes it a timeless classic. It doesn’t hurt that the deliberate, slow pace is perfect for my increasingly middle-aged mind. Yes it runs for 3 hours, but I’ll take three hours of this

over two and a half hours of that well-known super hero franchise any time.

Directed by Stanley Kubrick, 1975.

A predictable story, beautifully animated. It has the most straightforward plot of the Celtic triology Which is to say The Secret of Kells, Song of the Sea, Wolfwalkers, and no I don’t think that’s the official title but that’s how I have it filed in my mind. but also the most complex imagery and a soundtrack that equals the two prior films, making it the perfect Oscar contender. And even the simple A to B to C storyline allows for many different interpretations. Is it about man versus nature, town versus country, old versus young, masculine versus feminine, blue eyes versus green? Probably all of the above.

Side note: Wolfwalkers came out on AppleTV+, pretty much sealing its status as the new HBO. Still, it would be nice to see the animation in a theater next year, if any are left.

Netflix has a knack for producing empty calories, and Enola Holmes is not an exception. Pretty visuals, female empowerment, and decent to above-average acting can’t hide the blandness of its storyline nor the absence of any reasoning, deductive or otherwise.

It is, by the way, hard to think of Enola’s character as particularly empowered when the next three women in screen time order are her mother the polymath rebel, her friend the black martial arts teacher, and an aristocratic evil mastermind. Not to mention the brief appearance of a coitery of female anarchist geniuses. In Victorian London!¹ A bit too on the nose, maybe? To paraphrase the Incredibles, when everyone’s special, no one is.

Things I found to be scarier than this movie:

• “Cabin in the Woods”
• “Coraline”
• “Toy Story 3”
• My father upgrading his Windows PC
• My 2-year-old’s diaper
• The thought that I have spent almost two hours watching this drek

That this was co-written and produced by Guillermo del Toro and directed by the same person who did The Autopsy of Jane Doe is not exactly mind-boggling, but certainly disappointing. I wonder what went wrong.

Directed by André Øvredal, 2019

There are so many wasted opportunities in this movie that I hesitate to recommend it. Here is the raw material in more-or-less chronological order: an atheist theoretical physicist studying time, black holes, and the beginning of the universe falls in love with a devout wife, develops a catastrophic neurological condition, gets married and has children, becomes world-famous, gets a tracheotomy and can’t talk any more, gets a robotic voice, falls out of love, divorces, marries his nurse, denies suspicions of domestic abuse by the said nurse, divorces the nurse, reconciles with the first wife, never wins a Nobel prize and never will because it will take too much time for his theories to be proven correct.

With so many intertwined plot lines and obsession with time you would think this would be non-linear story, or better yet a series of reverse-chronological set pieces that covers the highlights in depth. What we get instead is a shallow, lukewarm love story carried entirely by the walking-to-debilitated transformation of Eddie Redmayne whose best actor Oscar is one of the better deserved. If you want to tell such a complex life story beginning-to-end, make it into a mini-series and put it up on Netflix.

Directed by James Marsh, 2014

• Yes, I know I’m late to this.
• Comedy and horror both work by playing with your expectations, so that a comedian made the best horror movie in decades is not a complete surprise.
• A surprise is how good of a director Jordan Peel is: you could easily take 95% of the dialogue, and 80% of the acting, and make a comedy out of this. That it is so suspenseful and creepy is all from direction.
• Speaking of creepy: Catherine Keener. Yikes.
• Of course there was still some comedy gold — the surgery scene in particular (yes, I know it wasn’t meant to be funny).
• Watch it at least twice. The second time, pay attention to Rose (i.e. Allison Williams, i.e. Marnie).
• The 2018 best movie Oscar went to The Shape of Water. I thought it was a bad choice after watching Phantom Thread, but now it’s a travesty: Get Out was clearly the most deserving that year.

Directed by Jordan Peele, 2017

A cheap (estimated budget $5,000,000) sci-fi movie that doesn’t look cheap. Its looks are a blessing and a curse: yes, the camera work is good and the actors are photogenic but what are supposed to be gritty run-down inner cities of the utopian/dystopian near-future look instead like HD-bloomed props of a glossy magazine photoshoot.

The story features drones, self-driving cars, moments of gender ambiguity, and — the title gives it away — upgraded humans. It is timely, but also kind of lazy; I would have preferred more time dedicated to the huge inequalities between the different flesh-and-blood humans rather than the more obvious AI versus humanity plot line.

But I like where the movies are going much better than TV: the barrier to entry for both the makers (again, $5 mil) and consumers (90 minutes on the couch) is low, potential payoffs high (Upgrade’s gross was double its budget, a pretty good return on investment), and with word-of-mouth traveling more quickly and easily than ever before the good ones are more likely if not guaranteed to get awareness. Upgrade is not as good as it gets, but it’s pretty good.

Directed by Leigh Whannell, 2018