5 Horror Movies You NEED To See! (#3)

By: James Southworth

It's finally Halloween! This means it's time for my to write up one of my favorite posts of the year. As the title of this post indicates, I will be recommending to you five different horror movies that are perfect to watch on the creepiest day of the year. Each year, I challenge myself to come up with five movies I've never talked about on my site. Often this means intentionally going through a lot of different movies, which can also mean that I have to bear through a lot of garbage. But it's always worth it because I get some real gems I can come back to again and again. So here you go: five horror movies you definitely should watch!

1.The Last Exorcism

The found footage horror genre was very popular back in the day, but not so much now. I think I understand why: more often than not, these movies were criticized as being cheap and uneventful. That's because they usually were. There are your occasional underrated found footage films ("V/H/S" and "The Den" come to mind), but those get harder and harder to uncover amongst all the trash. So, I was pleasantly surprised with "The Last Exorcism", a film that was generally liked by critics but not liked nearly as much by general audience members during its time. What works in this movie really works. For one, it's debatable to call this found footage. It definitely has elements of that genre, but honestly functions more like a mockumentary in many parts. I think this works incredibly well for the film. It also helps that the characters in the movie generally are like people you could casually meet on the street. This is due in large part to the great performances, especially by Patrick Fabian as Cotton Marcus and Ashley Bell as Nell Sweetzer. Even in the weaker parts of the movie, the performances don't feel over the top. Often times, it does feel like you're just watching a documentary and not a movie. This helps make some of the horror elements legitimately unsettling. For the most part, there are no over the top special effects or big jump scares. This was really refreshing to me, and surprising since this movie was released in a time when we were not in a good horror landscape. This movie works great for Halloween, and I could see it scaring a group of people because of how real it feels at times. I would, however, suggest you stop the movie before its last 10 minutes. It really goes off the rails in its finale, and not in a good way. It suddenly becomes more like every bad found footage film, and doesn't match up with the relatively grounded tone the rest of it has. Still, the good stuff here is good enough to give this one a strong recommendation.

2. Rosemary's Baby

I don't know how I've missed out on Roman Polanski's classic horror film for so long. There is definitely a reason why it's a classic, as this movie sent genuine chills up in me several times. The movie takes its concept very seriously. It's a very messed up version of the Nativity Story, and not once does it delve too much into comedy or over the top ridiculousness. The horror elements are quite grounded, and in fact, we don't really get to see what the horror itself looks like. I appreciate that the horror itself isn't just the physical manifestation of Rosemary's child: for a big portion of the movie, it's her paranoia and the potential that her neighbors are crazier than they seem. The movie also really goes there in terms of its tone: it's quite dark and foreboding, oftentimes even making you feel a little gross once you realize what is going on. I appreciate that Polanski is never dismissive of Rosemary's trauma, instead showing us repeatedly how what she feels is very real. Mia Farrow's stellar performance brings this fact to life even more so. It's incredibly how effortlessly Farrow transforms from enthusiastic mother to frightened and unwilling participant. There are many other great performances here, such as Ruth Gordon's frightening turn as Minnie, and John Cassavetes doing almost too good a job at being a despicable husband. Polanski himself is probably the biggest star here, though, really making this movie shine in every way throughout its run time. There's no other horror film I've seen quite like this one, and it has already made its way into one of my top 10 horror movies of all time.

3. Midsommar

I've already talked about this movie at length in a review this year, so I'll keep this one a little briefer. As I mentioned in my review, I love how unconventional this film is in terms of the way it delivers its scares. Instead of being in the dark and with hidden demonic entities, here our horrors take place in the daylight, and can even look beautiful in a very twisted way. Say what you will about director Ari Aster's sometimes elusive script writing, I don't think you can deny that in two films he has proven himself to be masterful at delivering scares. He specializes in build-up, and then having intense moments where there's nothing but frightening moments happening. In some ways, I like "Midsommar" better than "Hereditary" just because of how well each scare is set up and then paid off. The addition of very dark comedy only serves to seal the deal for me. Florence Pugh is better than ever in this movie, and I really am happy to see her career take off. This movie may not bring Halloween to mind instantly, but I think it's one I'll be watching during the season.

4. The Others

Now, whereas "Midsommar" may not have the Halloween vibes, "The Others" definitely does. In fact, in many places it visually looks like old time horror films, especially ones with a Victorian or Gothic aesthetic. It's also clear the movie was inspired by Alfred Hitchcock, which can only be a good thing. This movie does a really good job at being subtle when it needs to be, and being big when it's appropriate. I love how well-paced the movie is- it's endlessly engrossing and keeps you on the edge of your seat. Nicole Kidman as Grace is superb in this movie; in fact, I would say this is still her best performance to date (although her turn in "Big Little Lies" is in good competition). She really holds this film together with her thoroughly emotional turn that makes her a consistently engaging person to watch. Also great in the film is Fionnula Flanagan as Mrs. Mills and Christopher Eccleston as Charles. What helps this film is that every character is intriguing, even Grace's children. Everyone is well-developed. But what really makes this movie work is its jaw-dropping twist. This is one of the best twists I've seen in any movie, as it hits you like a brick wall and leaves your mouth hanging open. The more you think about it, though, the more it makes sense. Returning to the movie you can see clever clue-ins of the twist being in your face all along. This movie earns itself a place in the conversation of the best modern horror movies for sure, and maybe could even be put in conversation alongside the classics.

5. Alien

In space, no one can hear you scream. That was the tagline of "Alien", and man what an effective tagline it is. The fact this movie is set in the vast emptiness of space only serves to make it scarier. Sure, you could argue that this is a sci-fi movie in some ways. And it is. But, at its core, this movie is undeniably a horror film. All the elements are there, and all of them meld together to make for what is one of my top 3 horror movies of all time. Ridley Scott has made some iconic films, and I think "Alien" is probably his best. The thing that helps this movie so much is that you are able to care for all the characters. This movie is more of an ensemble effort, which I think is cool because it makes you unsure of who will survive. Of course, most of us know the character of Ripley now, but no one really knew her when this movie came out, and I'd predict she didn't really become truly iconic until "Aliens". Ripley is, of course, still a great character here, and Sigourney Weaver delivers in the awesomeness department. Easily one of the best horror protagonists of all time right up there with Ash from "The Evil Dead". Other characters here definitely deserve recognition as well, such as Tom Skerrit as the fearless leader Dallas or Ian Holm's legitimately menacing performance as Ash. I love the twist they do with his character, as it helps you to see him in a whole new light on repeat returns to the movie. As far as scares go, this is one of the few movies out there that legitimately scares me even on repeat returns. The confined spaces, usage of lighting, sound design, and entirely unsettling structure of the Xenomorph all help make this movie one that sets me on edge every time. It is a seminal horror film, and a seminal Halloween film. Please see this one for yourself, if you haven't!

There you have it: five horror movies for you to choose from for your viewing pleasure. Happy Halloween, everyone!

Halloween Playlist 2019!

By: James Southworth

If you didn't know by now, my favorite holiday is Halloween. I just love everything to do with it: the atmosphere of the fall weather, the limitless potential from horror movies, the house decorations, and of course, the music. There's lots of songs out there that just scream Halloween to you when you listen to them, sometimes intentionally and other times not so much. Last year, I detailed a couple different full albums you should listen to for this season. This year, I'm giving you 10 different songs to add to your October Playlist. With Halloween on the way soon, hopefully these cuts can get you in the spirit!

1. "Main Titles (Trick 'r Treat)"- Douglas Pipes

In my recurring series "5 Horror Movies You Need To See"- another one is on the way next week- one of the movies I mentioned for the 2018 edition was "Trick 'r Treat". The film has honestly become one of my favorite horror films, and it's pitch perfect for Halloween. I'll probably be watching it again this year. The music behind the film is just great for this time of year, especially the title sequence. The urgent string arrangement feels like it would fit just great behind almost any horror movie, and it embodies the spirit of "Trick 'r Treat" perfectly. It has almost an action comic book feel to it in some parts (which is purposeful given the comic book styling of the intro sequence), while at other times the creepy tension keeps ratcheting up. How could I not enjoy listening to this?

2. "Halloween Theme"- John Carpenter

This might be an obvious pick, but I can't just skip over it either. The titular theme does a great job at encapsulating what Michael Myers is like. It has a frightening, mysterious feel to it, with the menacing piano creeping at a steady pace throughout the film. The backing drumming has an odd, otherworldly feel to it, really helping to add to the identity of this song. This cut proves that John Carpenter is a masterful composer in a variety of ways. This song will definitely help you remember "The Night He Came"! And, maybe even more importantly, it encapsulates the atmosphere of October and the season of scares in a way not too many other songs can. 

3. "Black Rain"- Creeper

The band's name is a pretty accurate representation of what they are as a group. They definitely like the Halloween aesthetics, and in the process, are able to make some really great music. For those who don't know them, Creeper are a punk/rock group with a small but passionate fan base. I really got hooked on them with "Black Rain", and I do think this song is just right for this season. There are several things about the song that make it work. The most primary of those is the theatricality of the track. It feels big in all the right ways, with the guitar riffs and drumming pounding. Lead vocalist Will Gould really lets his voice go over the top, and in a way where it doesn't cross into parody territory. The lyrics have a pretty dark atmosphere to them as well: "And in the rain/I scream your name/So just you shut your pretty mouth/I know I mean nothing to you now". The use of keys in the song seals the deal; definitely check this one out!

4. "Mama"- My Chemical Romance

I'm a little surprised that I didn't include "The Black Parade" in my list of albums for Halloween to check out last year. My Chemical Romance's third album is great for October for a lot of reasons. I could've chosen almost any song, but I went with the truly epic cut "Mama". The band are firing on all cylinders with this cut. Similarly to Creeper, the over the top theatricality pushes this song in a really cool direction. The song has a dark cynicism to it as well. There's just something about it that makes it feel like it would fit right into a horror flick. I'd be willing to bet a lot of my readers have heard this song before, but if you haven't, it's a good one to play for when trick or treaters come by your house on Halloween day. 

5. "The Insidious Plane/Insidious"- Joseph Bishara

Does this one really need an explanation? In my opinion, the "Insidious" theme is just as iconic as the theme from "Halloween" or "Friday The 13th". What Joseph Bishara does so right in this song is building up the tension. Even without watching "Insidious", the way the strings operate in "The Insidious Plane" never fails to send cold chills up my spine. It's almost like there's something stalking you, and it keeps coming closer, and closer... until it's right up on you. That's when the strings really pick up, and everything turns absolutely chaotic. The climactic moment is one of the most memorable parts of any horror score I've ever heard. The title track "Insidious" is a little more subtle, but in some ways might be even more effective. This song works really well in conjunction with the credits of the first film.

6. "Bury A Friend"- Billie Eilish

This is easily one of the most unique pop songs I've heard all year. It doesn't feel quite like any other stuff on the Billboard Hot 100, which is what makes it so refreshing. Billie Eilish knows how to use electronics and other sound effects to make a dark, foreboding song. She does great here at making the song have a legitimate menace to it, while also not taking herself too seriously. Probably my favorite parts of the song is when she uses a lot of different sound effects, with some of them sounding like someone screaming in terror. Others sound like a killer stalking its prey. The way they combine together does feel like something straight out of a horror movie. Eilish's whispering, and sometimes almost alien-like vocals, bring the horror effect home in a compelling way. Check this one out!

7. "Sowing Season"- Brand New

Similarly to My Chemical Romance's "Black Parade", I could put any song from Brand New's "The Devil and God Are Raging Inside Me". That album is, in my opinion, one of the seminal releases for fall in general. But "Sowing Season" is the one I chose. Man, does this song just build on emotional atmosphere perfectly. I'm not even sure I could adequately describe in words how well this song works, as it leaves me speechless every single time.

8. "Burn The Witch"- Radiohead

This song is seriously so awesome. I like listening to this track at any time of the year, but fall/Halloween is definitely the feeling it emulates the most. The creepy plucking of the strings and Thom Yorke's beautiful voice draw you in to the song effortlessly. As the song goes on, the creep factor of it builds up more and more, until it eventually reaches a fever pitch. When the climax inevitably arrives, it is a truly powerful moment. This is one of those cases where I would suggest you watch music video for the song, as the two together create something really special. You will also be able to see what movie this song was probably inspired by. This song proves that Radiohead and Halloween really do go together sometimes. 

9. "Spiders"- Slipknot 

This is the newest edition on my list (besides Billie Eilish, which is also from this year), and it's a well-deserved edition. On "We Are Not Your Kind", Slipknot took a lot of bold risks, and "Spiders" is one of their most different-sounding songs to date. I would consider it very criminal if this song wasn't played near haunted houses or at Halloween parties. The song is fun and has a spooky feel to it that can easily put a smile on my face. Corey Taylor really embraces the haunted feel of the song, as he lets his singing voice have some unique cadences to it. This is especially true of the chorus, where he lets his voice get higher than it typically would on a Slipknot track. The emphasis on keys and electronics is not something I would've expected from a heavy metal band, but here we are. And it's only a good thing in this case. I have a feeling I'll be coming back to this one in later October seasons.

10. "This Is Halloween"- The Citizens of Halloween/Danny Elfman

I have mentioned the cover of this song by Marilyn Manson in my 2016 edition of 10 Songs for Halloween. The original version is still a classic Halloween cut in every sense of the word. There's not much I could say about it that's already been said. Danny Elfman encapsulated the spirit of Halloween in one song, and I'm not really sure if there's any cut out there that does it better. This song is a perfect masterpiece, and it should always be listened to when this iconic holiday rolls around.

There you have it. 10 Songs, some newer and some older, for your listening pleasure this Halloween. I hope everyone has a great time on this scary holiday, and that maybe this playlist can make the day even more memorable for you!

"El Camino" Movie Review

By: James Southworth
Rating: 3.5/5 Stars

I still vividly remember the first time I finished watching "Breaking Bad". I was absolutely in speechless awe of all that I had seen. It was perhaps the most satisfying ending to any TV show I had seen. The character arcs were all perfectly realized; it felt like Walter White and Jesse Pinkman ended up exactly where they should be. Of course, I wasn't the only person to think this, as BB is now regarded as one of the best shows of all time, oftentimes put alongside "The Sopranos" and "The Wire". I certainly think it's the best show of the 2000s, and for me, it's my favorite show of all time. There was hardly ever a bad episode (although it could be debated there were some filler moments in Season 1 and the start of Season 2). Show creator Vince Gilligan worried me a little bit when he announced the prequel series "Better Call Saul". After all, we're living in a time where it feels like series like these are more cash grabs than anything. But I was proven wrong, as BCS has become one of my favorite shows of the 2010s. So, I had all the faith in the world that Vince would do right by "Breaking Bad" enthusiasts with the film "El Camino". Does he? Well, while "El Camino" doesn't quite compare to the series it's following, it still offers a satisfying ending. Thankfully, it doesn't remotely ruin BB's legacy either. It's not perfect, but it's still really good. Be warned, there will be SPOILERS for both the show and movie in this review, so proceed with caution if you haven't seen either of them.

As most of you who were interested in seeing this movie probably know, "El Camino" follows Jesse Pinkman directly after he escapes a group of white supremacists who made him cook Walter White's famous blue meth. Walter White is dead, and as a parting gift to Jesse, he gave him a car to drive away in. Now Jesse is on the run, both from the police and the emotional trauma of all he's gone through. He hopes to get a fresh start, and maybe, just maybe, finally discover happiness. Let's talk about all that works in this movie, because there is a lot. I think the best thing about this film, far and away, is Aaron Paul's absolutely stellar performance. The last episode of "Breaking Bad", "Felina", showed Bryan Cranston in his best form, and provided a fitting farewell for Walter. This movie serves as a farewell to Jesse Pinkman, who didn't get quite as big of a focus in the final season of the show. Paul really immerses himself into this character, having him go through the gamut of emotions. I could really feel Jesse's deep trauma throughout the film; it affected pretty much all of his actions throughout. There's never a moment where Paul is not believable in the film; after all these years he is still able to embody the personality of Jesse to a pretty much pitch perfect degree. I also think that the first act of this movie especially is really strong. The movie does a good job at establishing its theme with an effectively brief flashback between Jesse and Mike, where Mike asks Jesse what he might do when the stuff with Walter is finally over with. The scene is bittersweet since you know where both characters are going to end up, and it really packs an emotional gut punch right away. The flashback scene does an awesome quick cut to Jesse in the present riding away from the place where he was imprisoned. Director Vince Gilligan often does a great job in this film of transitioning between flashbacks and present day scenes. Sometimes the transitions are so seamless, it took me a minute to realize we were in the present or going back to the past. This makes the flashbacks, typically, feel a part of the movie's identity rather than just nostalgic pandering (there are a couple flashbacks that don't quite work, more on those later). In the first act of the film, we also get to see Jesse interacting with both Skinny Pete and Badger. I honestly wish more time in the film had been spent with these two characters, as they prove to provide some much needed comic levity to the movie. I also thought Gilligan was going to develop Skinny Pete a little more, but unfortunately the character doesn't appear again when Jesse inevitably leaves them. At the same time, though, this movie is about Jesse, so I understand why Vince doesn't have him spend too much time with anyone else.

There are several other standout things about this film to talk about. The other highlight performance of the film was not one I was expecting: Robert Forster, as the "vacuum salesman" Ed. Of course, to Jesse he's known as the guy who can give Jesse a whole new identity and fresh start. Ed was in "Breaking Bad" for a very short amount of time, so we didn't get to know him very well. I feel like he got a bit more development here, making for an intriguing character. Once again, I do wish we'd gotten to see some more of him, but for the time he was in this movie, he was great. It's saddening to know that Robert Forster passed away almost a week after the film was released. He gave quite a great performance for us to remember him by. Jesse Plemons was also superb in this film as Todd, probably the character with the second most screen time in the film. Plemons does great at showing us even more of this character's empty psychopathy that makes him one of the most haunting characters I've ever seen on television. A lot of people were complaining that they were taken out of the flashback scenes with Todd due to Plemons gaining weight. That fact doesn't really take me out of the scene, and feels more like nitpicking to me. Plemons's acting is good enough for me to ignore those things, and I think it's a little disingenuous to critique a film for something like weight gain. The other major highlight of the film is the distinct camera work it has. This movie very much has a similar style to "Breaking Bad", and there are a lot of cool visual callbacks to it. Perhaps my favorite scene in the movie was a montage sequence, which really brought back memories of all the iconic montage sequences in the original show. There are a lot of memorable shots in this film, such as one where Jesse is pointing a gun at a cop, or the beautiful shots of Alaska that appear at the end of the movie.

There are a couple of critiques I have for this film. Probably the most primary is that some of the flashback sequences feel a little bit too long. This is especially true of the ones with Todd. Even though I love the performances from Paul and Plemons in these sequences, ultimately they start to feel like padding at a certain point. The sequences do have a purpose, but I think they could've gotten to the point a bit quicker than they did. I expected there to be a flashback with Walter and Jesse, and there was. While this scene did initially bring a smile to my face, something felt a little bit off about it. It just didn't feel like Walt and Jesse had quite the same relationship with one another in this scene that they did in the original show. It also seemed that Bryan Cranston wasn't super invested in the scene to me. This was the one time in the movie where Aaron Paul's acting felt a little off as well. The best flashbacks were the ones that appeared at both the beginning and the end of the movie: the former being with Mike, and the latter being with Jane. The reason both of these worked is they were brief and to the point. They were able to reinforce the themes of the movie in a concise way. Another sort of problem with the movie is that most of the new characters here are not very compelling at all. Neil is the the main antagonist of the film, and ultimately, there's not a whole lot to him. I understand why he is an enemy to Jesse. However, he didn't really do much directly to Jesse in the same way that Todd, or even Walter, did. He is a pretty generic villain, and you can predict pretty easily what's gonna happen to him. His other villain cronies aren't very interesting, either. There's also this scene that serves as the climax of the movie, where Jesse and Neil have a literal Wild West gun-off. While this scene put a smile on my face, I do have to admit it was over the top, especially considering the pretty grounded tone the rest of this film had. It honestly felt like the scene belonged in a different movie, because there's nothing else in the film quite like it.

As a whole, I really enjoyed "El Camino". I am a passionate "Breaking Bad" fan, and for anyone else who feels the same as me about the show, this movie is worth a watch. The film has several big things going for it: the masterful performance by Aaron Paul, Vince Gilligan's distinct directorial style, and most of all, the legacy of BB is not messed up. The movie plays it safe, and I think that's only a good thing in this case. It was easy for me to get over the critiques I had of this film, simply because it was a good watch. Is it as good as the TV show it's following? No, but I think that would be incredibly tough to do in even the best of scenarios. "El Camino" serves as a very well-done, and often poignant, coda to a series that is loved by many. I can easily recommend it; it's definitely one of Netflix's better original movies!

"Joker" Movie Review

By: James Southworth
Rating: 4.5/5 Stars

One of the most profitable movie genres in this day and age is, obviously, comic book films. Never has there been a time been so profitable to make movies about superheroes. They are part of our casual pop culture conversation now as much as the Star Wars films or Disney princess films are. This isn't a good thing to everyone. Many are quick to say that the superhero genre is over saturated thanks to the many, many films made by Marvel and DC over the past couple years. Maybe, in some ways, these people are right. When I first heard about an origin film on the Joker being made, I was very skeptical. It seemed to me like an inherently flawed idea: after all, the point of this iconic Batman villain is that he's not supposed to have a true origin. That's why the Joker of "The Dark Knight" works so very well; none of the stories he told about how he became the Joker were reliable. That's what makes the Joker scary; we don't know him at all really. But, as more information came out about this movie, I became more intrigued, especially when the unbelievably talented Joaquin Phoenix was announced to play the titular villain. "Joker" centers around Arthur Fleck, a failing comedian with a mental deficiency that makes him laugh uncontrollably in uncomfortable situations. Fleck feels like he will never be understood or liked by anyone, until one situation puts him face to face with an alter-ego, and a life of crime and chaos.

The trailers for this film made me really excited, and thankfully, the movie doesn't disappoint. In fact, I liked it even more than I was expecting to. Even though I do generally like comic book movies to a  certain degree, there's still no denying that they are starting to be a little similar to one another. "Joker" feels like an entirely different beast. This is a comic book film in some ways, but in most it is actually a beautifully made tragedy. The movie almost feels Shakespearian in some senses, as the tragedy here is inevitable yet still saddening all the same. This movie really works at its best thematically when it studies how society treats people with mental health. As I mentioned in the beginning of my review, Arthur is a person who has mental illness, and the movie shows how ill equipped Gotham City is to deal with people like him. Even though this movie takes place in a fictional world, director Todd Phillips clearly intends for this to hold a mirror to our world and how we deal, or rather don't deal, with very prevalent mental issues. This movie, unlike some other films based on comic books out there, really has something to say beyond just providing us with a cool origin story. Sure, it is interesting to see an interpretation of how the Joker may have come to be. But that doesn't seem to be as important to this movie. Instead, the movie really wants to study a protagonist who is deeply flawed and who could've been helped, but instead is turned away at every corner. I appreciate when the film shows this idea in subtle ways (there are times when this message is shown a little too over-the-top, more on that later). The ruminations on mental health here are really what make this movie its own distinct entity, and make it worth watching.

Let's really talk about what makes this movie work: Joaquin Phoenix himself, of course. Wow, what a performance he gives us here. I've been a pretty big fan of Phoenix's, and this may well be his best work to date. That's really saying something when you look at his impressive back catalog. Phoenix makes Arthur fully realized to almost an uncomfortable degree. Fleck doesn't feel like a caricature, even when he does inevitably become the Joker. In every moment, you can see this character's deep pain and heartache that spurs on every action that he does. Phoenix does well at handling the transition from sympathetic anti-hero to absolute villain. We do feel for Fleck in his struggles with mental health, but there is a point when Phillips means for us to condemn him. This movie almost turns into a horror flick at points in the way it depicts the Joker. Honestly, the movie leaning into horror at some points is really effective. It wasn't something I was expecting here, but Phoenix's deliberately unsettling performance really brings it home in a raw way. Perhaps my favorite moments from Phoenix come in the dancing scenes of the film. These scenes do not feel like filler; rather, they almost speak for themselves in the way that Arthur moves. The movie shows us how Fleck feels, rather than just explicitly telling us. There are many other aspects of the movie that work as well. The incorporation of the Wayne's feels effective rather than forced, and thankfully they don't take away from the central purpose of the movie. Visually, this movie is quite stunning from beginning to end. There are a lot of great visual moments that are clear callbacks to other iterations of the Joker or other Batman movies. Once again, these aspects do not distract from the movie; they instead are sincere homages to me. Finally, the movie's ending is really effective. There was something about it that deeply disturbed me and left me with cold chills.

To talk about "Joker" is to talk about the controversies that went on with it. And there were many. One of the most primary was that this was dubbed as a "movie for incels". Incels, for those who don't know, are people who feel that they have been wronged by everyone in the world, and because of that, are justified in holding despicable views, particularly against minorities. Typically, incels are also very misogynistic. I don't really agree with "Joker" being a "movie for incels" by any means. However, I can understand that there are people who feel uncomfortable that this movie might unintentionally encourage dangerous behavior. Nevertheless, I think this movie condemns Arthur Fleck when he becomes the Joker rather than praising his actions. There is one scene of the movie that bothered me (SPOILERS): when Arthur is on a late night show, he talks about how society has ostracized him, and maybe if they hadn't, he wouldn't have had to kill so many people (END SPOILERS). Now, this seems like a bad way for Phillips to try and bring sympathy to a bad person. I don't think that Phillips believes what Joker is saying in this moment, but still, I could see other people parroting this theme with the purpose of taking it out of context of the scene it was placed in. I think that this line from Arthur is a little too on-the-nose anyway.

Now that I've acknowledged the controversies and see where people are coming from, I still personally really enjoyed "Joker". Is it a masterpiece? I'm not quite sure I can say that, but this is still an excellent film. The thematic arc of mental health is pretty powerful throughout the majority of it, and Joaquin Phoenix's performance of the Joker is pretty much flawless. It comes about as close to Heath Ledger's pitch perfect turn as one could get, which is a worthy compliment in itself. I definitely recommend you see this movie for yourself; it's certainly one of my favorite films of the year!

Downton Abbey: The Good and the Bad

By: James Southworth

Earlier this year, I saw the trailer for the movie "Downton Abbey". I had been aware that the TV show was popular and beloved, and had always had a mild interest in watching it. The movie trailer increased my interest even more. So, I decided that it was about time I watched what is probably PBS's most popular show they've ever made. I had the expectation that I would get a show that was a bit of a soap opera with a lot of poking fun at the British high class. In some ways, I was right. However, this show really managed to surprise me. It does have its share of melodramatic moments, but overall, "Downton Abbey" is a rather great TV series with a very compelling cast of characters. It also has some surprisingly good commentary on class relations and how controversial issues were treated in the time period of the early 20th Century.

I will say that the show's first three seasons are slightly stronger than the last three seasons for the most part. From the beginning, this show does a great job at establishing what it will be like. We get to see how both the upper and lower class lived in this time period. This movie is set at a powerful house led by Robert Crawley, the Earl of Grantham. He believes it is his sworn duty to keep the Abbey running as well as it possibly can, as it is a great source of employment for the Yorkshire area. Robert's father had monetary problems running the estate, and so the area was in financial trouble upon his passing. Because of this, Robert married Cora Levinson, a rich American heiress, whose money is put into the Abbey. The Crawleys have three daughters: Lady Mary, Lady Edith, and Lady Sybill. This makes Robert have to find a male heir to the Abbey, as in this time it was not allowed for there to be a woman heir to such a powerful estate. Overall Season 1 of the show is great, and ranks among the best the show has to offer. We get to witness a levy of great characters right away, and it was easy for me to be compelled by nearly all of them. It was a smart choice for S1 to make John Bates the sort of main character, as he is new to the Abbey, and so we get to experience things in his eyes. He is not always the main person of the show (that turns out to be primarily Lady Mary and Lady Edith in later seasons), but he still remains to be one of the most fun characters to watch. To talk about this show is talk about how the classes related to one another. This season more than any other really highlights class disparities. The rich characters are excessively rich, and the lower class are needing to work constantly in order to earn their wages. For both upper and lower classes, men are treated in higher regard than women are. Show creator Julian Fellowes shows the effects of a patriarchal society repeatedly, and he also shows the effects of a heavily class-divided Britain. He doesn't shy away from people's varying viewpoints at the time, and I really respect that.

Season 2 and 3 are where the show is at its strongest, in my opinion. Season 2 works well because of it being centered around World War I. Downton Abbey ends up being a place where wounded soldiers are taken care of, because the local hospital simply can't hold them all. I think I appreciate this season a lot because it shows how the war really changed things about how Britain runs, and in effect, how Dowton runs. We see in this season how traditionalist people are, both upper and lower class. Many are uncomfortable to change. Those that are enthusiastic about things changing are not necessarily looked highly upon. This season actually does a fairly good job of balancing its dark war tone with other subplots. After rejecting Matthew's first proposal, Mary is realizing that she does in fact love Matthew, but she can't really do anything about it since he's in the war, and is now engaged to Lavinia Swire. I do not find Mary and Matthew's romance to be overly melodramatic at this time, as it makes sense why Mary wouldn't want to be with him initially. In fact, most of the many romantic subplots in this show are not insufferable (with a couple exceptions, which I'll get into later). There are so many great character moments in this season, but I'm going to talk about characters in more detail later on. Season 2 has a somewhat unsurprising occurrence of Lavinia dying to the Spanish flu. I knew they would probably do this in order for Matthew and Mary to finally be together, but the death feels like it was built up to well. Season 3 is probably where this show is at its strongest. It has some of the biggest moments of the show, and actually surprised me in what it did with one character. Mary and Matthew are finally married now, and their relationship is a real delight to watch. What is the real meat of this season is Bates's experiences in prison. It's really quite intense to watch him deal with corruption in the form of both his cellmate and other cops. Matthew has some powerful character moments here as well, as he struggles with whether to accept Lavinia's inheritence or not, but finally comes to the realization that it's what she would have wanted. Then, a big surprising moment happens here when the youngest of the Crawleys, Lady Sybill, dies from eclampsia. Once again, this death doesn't feel melodramatic; it feels built up to. Nevertheless, it was a surprising death for me, as Sybill was a rather significant part of the show, and her death affects the way the rest of the show plays out significantly. It seems everyone is affected by the death, most primarily the Crawley family and Sybill's husband Branson. This death has a huge weight put onto it, and I appreciate that the show doesn't just forget about it in future seasons. Though Season 3 as a whole is the best season of the show, its ending death did feel like it was meant for just cheap shock value. After Mary gives birth and it seems like everything is going well for the Crawleys, Matthew dies in a car crash on the way to Downton. This death did not seem like it was logical, and almost seems to undermine the character arc the show was building for Matthew. The death was surprising, I admit, but it was not as effective as Lady Sybill's.

Season 4 really struggles in its beginning episodes to adapt to the loss of two major characters. I think that maybe Matthew's death should've been waited on if that was the plan from the beginning. S4 is definitely the weakest of the show. We also see the leaving of a key working class character, Mrs. O'Brien, who never actually gets to admit what she did to Cora (if you watched the show, you know what I'm talking about). Lady Edith unfortunately is unable to get love for the third time in the show, as Michael Gregson (who was easily my favorite of the people Edith fell in love with) dies to some of Hitler's Brownshirts. I will admit that, unlike Matthew's death, this one had a compelling reason for it happening. I think what this season does best is its commentary on sexual assault, as we see how Anna has to keep her rape secret for fear that she will be ostracized by society. The commentary cuts deep, and is what keeps this season afloat. Season 4 also benefits from the addition of Lady Rose, who is perhaps one of the most fun characters of Downton Abbey as a whole. Season 5 is a bit of an improvement over Season 4. However, I did find the love triangle between Lady Mary, Lord Gillingham, and Charles Barke nearly insufferable to watch at times. It's probably the weakest romance plot in the whole series, as it's entirely obvious Mary isn't going to choose either of them. What does work romance-wise is Lady Rose's engagement to Atticus, which brings about effective commentary about how Jews were viewed at the time of the show. I appreciate how the show, once again, pulls no punches and makes the audience uncomfortable with characters' prejudices. Lady Edith proves to be a great character in the second half of the show, especially in her struggles to keep her child Marigold (who was conceived out of wedlock, a truly scandalous thing in the 20th century). Season 5 ends on a great note as Mr. Carson proposes to Mrs. Hughes, something that it feels like was being built up to from the very beginning.

Season 6 ends Downton Abbey on a very high note, as the show goes somewhat back to the basics of Season 1. It does feel a little nostalgic in that regard, and works as an effective bookend. There isn't as much over the top melodrama here, which feels right. Instead, the focus is how times are changing, and the way that Downton Abbey is running is old news. The ways of these high class people are out of fashion, and reductions in staff have to be made. In this season, we see the younger folks flexible to the change, while the elders like Lady Grantham are sticking more staunchly to tradition than ever before. What works best about this season is character interactions/arcs finally being wrapped up or coming to a head. Mary and Edith finally have the argument that they probably needed to have from the very beginning of the show. Thankfully, this leads to them resolving their differences, and Edith is even able to be happy. Lady Grantham and Isobel Crawley's friendship is as delightful as ever to watch. Robert and Cora become stronger than ever in their marriage, vowing to respect and love one another in these changing times. Isobel is finally able to be with Lord Merton, probably one of the most touching relationships in the show. Anna and John Bates have a child, which feels so earned after all the misery both of them had to go through. Mr. Moseley gets a full-time teaching position, and Thomas Barrow seems to finally be able to be happy with himself so he can be a good person to others. Mr. Carson, due to age, has to basically retire, but can still serve Downton in other ways, and him and Mrs. Hughes are able to be happy in their marriage in this new time.

Sorry if this review is getting a little long, but there's just so much to say about this show. I now want to talk about many of the great characters/performances. Even in the weaker seasons here, the cast is pretty much pitch perfect. It took me a bit to warm up to her, but I do think that Michelle Dockery is good as Lady Mary. I would've probably preferred someone else be the main character, but she was solid enough. She was a slightly weaker link, but some really strong moments from her made her a character easy to watch. On the other hand, Laura Carmichael as Lady Edith is consistently excellent in the show. She has a challenging character to deal with, and she handles her many arcs with grace. But easily my favorite of the upper class characters is Maggie Smith as Lady Grantham. She does almost too good of a job at playing a snobbish, elderly, upperclass woman. I love her line delivery, as she is able to deliver some of the most witty, laugh out loud dialogue of the whole show. She is very funny, but she isn't without her touching moments. Grantham feels fully realized in every way. I think my favorite character in general is probably Allen Leech as Tom Branson, who is endlessly interesting to watch. He's the character who debatedly changes the most as he goes from a radical socialist who disagrees a lot with the Crawleys to a more somber, but still politically strong, character after Lady Sybill's death. I really think Leech does a great job at handling these transformations, and he does a good job at building intriguing relationships with other characters. Brendan Coyle and Joanne Frogatt are very easy to root for as John and Anna Bates. They're the couple with the most chemistry on screen; their love for one another is genuinely touching. Even though Branson is my favorite character, I have to say Robert Thomas-Collier probably has the strongest performance throughout the show as Thomas Barrow. He does a really good job at making you alternately despise and feel sympathy for his character. Collier does a good job at making the audience understand why his character acts the way he does, and we root for him to finally be happy. It is so nice when that finally happens. Other highlight performances of the show include Phyllis Logan as Mrs. Hughes, Jim Carter as Mr. Carson, Lily James as Lady Rose, and Dan Stevens as Matthew Crawley (Who I really wish had been in the show for its full run time).

While "Downton Abbey" isn't flawless, it's still an excellent show. Its studies of class relations, as well as its never-ending supply of great characters, is what really makes this show work. When something big happens in the show, typically it is not forgotten and effects the characters. Character arcs are built up really well, and everyone feels like they are where they should be at the show's conclusion. Even if there are problems here and there (mainly in S4 and S5), the good of this show vastly outweighs the bad. In fact, it might be enough to make this one of my favorite shows I've ever seen. If you haven't seen "Downton Abbey", check it out. You won't regret it!

Dayseeker "Sleeptalk" Album Review

By: James Southworth
Rating: 4.5/5 Stars

It seems like every year, there is a band/album that comes out of nowhere and surprises me in the best way possible. This year, that band happens to be Dayseeker. Now, it's not like I've never heard of the band before. They're generally well-regarded in the metalcore/hardcore scene. I am not very familiar with them, so I don't really have the knowledge of their musical history or anything to stand on for this review. I think this new album, "Sleeptalk", is probably very reflective of how excellent their past releases have been. Nearly everything about this album is superb, from its consistent themes to every band member contributing something incredible.

This album has a really clear through line in regards to its thematic arc: it talks about different types of brokenness. It seems to go into the perspectives of different types of pain and hurt that one can go through. Because of that, this album is quite dark and can be very tragic in many ways. The heartbreaking feel of this album starts right away with "Drunk", which tells the story of a father with an incurable illness who uses alcohol to cope with it. The song does an excellent job musically at building off this dark theme, beginning with effective vocoded vocals from lead vocalist Rory Rodriguez. Like I mentioned in the beginning of the album, all the band members are on their A-Game here, and Rory really plays a big part in bringing this album home. His vocal delivery here, particularly in the chorus, is laced with raw emotion that only serves to accentuate the tragedy of the subject matter here. I love the way guitars and synths fuse together in this track, making it a great opener to the album. It really does a good job at setting up what you're going to get for the rest of the release.  "Crooked Soul" is a great follow-up to "Drunk", and is perhaps one of the catchier songs on the album. I appreciate that the song has some clear pop sensibilities that are well-incorporated with rock and a little bit of the band's metalcore style they're known for. This song seems to be more personally connected to Rory, as he talks about the fact that he seems to be unable to feel anything despite the fact that he knows he has a heart. This irony makes the song sound truly desperate, as Rory vocally seems to be truly want to feel, but can't. The song is pretty heart wrenching to listen to in that regard. Just for the cherry on top, the guitar riff that goes throughout this song at certain times is to die for. It reminds me a bit of Architects while not being a direct rip-off. "Burial Plot" was one of the singles for the album, and one can see why. It really emphasizes on Rory's ability to sound catchy and intense at the same time. The song has some of the best lyrics on the album, using powerful imagery to represent a broken relationship: "A burial plot for you and I/Where we can both learn to die/It's my fault that you're gone/I've been digging in the dirt, finding every way to hurt". Like I said before, this album's tragic themes are intense. But they always work due to the way they're lyrically and musically represented.

My clear favorite of the album turns out to be the title track. This was the one song I heard in advance of the album, and I've been addicted to it ever since I heard it. This song is the most clear example that Dayseeker really know how to write a great hook, as this song is catchy to an almost criminal degree. The catchiness makes the song's subject matter all the more easy to latch on to. I love the way the song lyrically paints a picture of a relationship that is simply doomed to fail: "It's  toxic, the same dance/Our  feet firm in quicksand/Love is bitter when I see/How  much I can make you bleed". This is so different from your typical relationship song in my opinion. We see the exact reasons why the relationship doesn't work, and Rory doesn't wash his hands clean of the blame. In fact, he (or the perspective of the person he's going into) seems to think he's entirely in the fault for it not working. The interplay of electronics and guitar play in this song is easily at its best on this song, and the tear-jerking hook "The worst is yet to come" makes this track one that is pretty much unforgettable. Not only is this the best cut on the album, it'll almost surely be one of my top 10 songs of 2019. The album continues to be stellar with yet another major highlight, "The Color Black". If the title track represented this album at its most catchy, then "The Color Black" is the album at its most intense. And man, is the intensity earned on this track. The guitar riffs and drumming slam through this song at an intense speed. The song expresses some real anger at someone who is abusive to his wife. Rory doesn't let this man get off in the slightest, as the lyrics truly cut deep. I love how dissonant in the harmonies the song gets when Rory sings out "But your soul is the color black". It really sends chills up your spine, and it's meant to do so.

"Already Numb" isn't one of my absolute favorites on the album, but I can't deny how gorgeous of a track it is. This song is pretty simple musically, just having an acoustic guitar and some sparse electronics throughout. I appreciate that the song doesn't do too much, as this helps Rory's vocals take center stage. The song is a little cliched in lyrical matter, but the lyrics aren't badly written, so I can't complain too much. "Gates of Ivory" is another effectively intense moment on the album, this time detailing religious hypocrisy. This is a topic that is pretty typical of the metal genre, but Dayseeker does a great job of putting their own spin on it. In the song, it seems that Rory is personally pained by this person's self imposes importance: "The grace is undeserving, if you don't practice what you preach/You used to know me/But you let go slowly/It must be lonely, being so holy". I really like how intense this song gets at all the right moments, with Rory letting loose song of his best screams here. But honestly, the ballad "Starving To Be Empty" might be the one I slightly prefer in the ending half of the album. This song brought tears to my eyes, as Rory and guest vocalist Seneca Petee discuss in heart wrenching detail an eating disorder. They both poignantly point out the physical and emotional hurt that comes with having one of these. This song might be the most hopeful on the album in a way, as they both plead to anyone listening "Don't leave me all alone". I love the way these two's vocals come together in the finale of the song, as it really closes things out on a powerful note. "Crash and Burn" is a great way to end the album, as it is definitely the most epic song on the album. This song builds and builds to a fever pitch, and then absolutely explodes in the best way possible. My mouth was honestly left hanging open by this song, and it really leaves you in awe of this album as a whole.

There isn't really much to complain about on this album. I suppose that the instrumental cut "The Embers Glow" is a little bit underwhelming. I also do wish there were a couple more songs to round out the album a little more. With the songs we get, though, it's hard to really fault the album for being short. Every full track here impresses, with the best cuts here being among the best songs I've heard all year. The wonderful combination of pop, rock, and metal makes this album very multi-faceted. Completing the whole effect is the powerful thematic arc that goes throughout this album, making it feel like a true experience from front to back. Please, listen to this album. "Sleeptalk" is easily one of the best releases of the year!

Favorite Songs: "Sleeptalk", "The Color Black", "Starving to Be Empty", "Crash and Burn", "Burial Plot"
Least Favorite Songs: "The Embers Glow"