for curious eyes here is a preliminary list of the various topics/sections i intend to cover in my 1-10 writeup

The Shape of Water Review

The Shape of Water is an enchanting 1960s-set fairy tale told very well; a powerful, expertly-made work of art about the marginalized in our society. Director Guillermo del Toro got outstanding performances out of his stars while capturing the style and feel of the era perfectly, then used the time period to comment on today’s social issues through a story about the downtrodden rallying together against the establishment to preserve life and love.

Full Spoilers…

Sally Hawkins brilliantly conveyed character and emotion entirely through her expressions and sign language as Elisa Espostio (Sally Hawkins), a mute cleaning lady at a top-secret government laboratory who falls in love with an amphibian man (Doug Jones) captured in Latin America. It’s great to see a mute lead character and even better that the film doesn’t allow it hold her back at all, despite what those in power might think of her capabilities. Conveying the romance with and genuine love for the Amphibian Man was mostly on Elisa’s shoulders and Hawkins absolutely sold every bit of it. A wonderful moment late in the film includes an unexpected musical sequence that perfectly illustrates the impact he has on her heart, showing love can transcend even the strangest of barriers. That said, I don’t think Elisa is fully human herself, but the product of an earlier romance between a human and a different aquatic cryptid: her mysterious “scars” and backstory of being found by a river felt like a classic superhero secret origin. If that’s the case and the Amphibian Man healed her gills instead of creating them, then their relationship not only fuels her voice, but allows her to discover her truest self.

I also liked the easy friendships Elisa shared with her coworker Zelda (Octavia Spencer) and next-door neighbor Giles (Richard Jenkins). It was a nice and all-too-rare touch that these platonic relationships were just as important to Elisa’s life as her burgeoning romance with the Amphibian Man. It was a relief to find Elisa living a fully-functioning life even while she was longing for romantic love. I loved Zelda’s reactions to the Amphibian Man and to updates about Elisa’s love life. In addition to comic relief, Zelda brought common sense to Elisa’s interest in the Amphibian Man, at first keeping her friend’s head level and later recognizing that risking her life and career to help Elisa save him was something they had to do, even though she was greatly concerned for her best friend’s safety. Zelda being so dismissed in her marriage and having her decisions undercut (even if it was to save her life) by her husband (Martin Roach) was a solid mirror to Elisa and the Amphibian Man’s more mutually respectful relationship and to Strickland’s (Michael Shannon) domineering, controlling marriage. While Zelda was a fully-formed character, it would’ve been nice if she had a subplot of some kind of her own, like Giles did. His failed advertising posters (and failed interest in a guy (Morgan Kelly) working at a not-so-great pie shop) gave the movie a glimpse of the world and society outside the lab that we didn’t get from many other characters. Then again, perhaps it’s the fact that Zelda and Elisa work together and Giles doesn’t that made his world feel bigger than hers. It may also be that his ability to pass as an “acceptable” member of society grants him the ability to travel a wider world than Zelda can, as exemplified by the Pie Guy kicking an African-American family out of the pie shop. Despite his long reach, the sadness and rejection encompassing so much of his world, be it from the Pie Guy or the ad agency he was trying to sell to, painted a haunting picture of the world inhabited by those who “proper” society ignored or—at best—used, and I hope the world Elisa gets to travel to at the end of the film is happier and more equal. Still, I liked that Giles had a sense of hope to him; even if the world was clearly weighing on him, he still believes in the possibility of “happily ever after.”

The make-up for the Amphibian Man was mind-blowing and the movie deserved the Best Costume Design Oscar for it, while Doug Jones did an amazing job of conveying emotion and a sympathetic nature under all those prosthetics. The biggest thing I would’ve liked to see more of in the movie was his backstory. Actual god or not, I wanted to know what he wanted (beyond freedom and to love Elisa), what he thought of the world of men, etc. Who were his followers in South America and what “primitive” rituals did they use to worship him? What did he give them in return? Did he even register that he was worshiped as a god, or do his thoughts transcend those labels? What was his thought process as he went from worshiped to imprisoned? I wish he could’ve communicated better to give us some grander idea of his opinion on things, because his actions made him seem torn between gentle emotions and instinct-driven outbursts, like killing one of Giles’ cats. Perhaps it would be an interesting comment on society if this “god” were really just a different sort of animal and the people who worshiped it had simply projected their need for a god onto him, but I’m almost always against “grounding” half-measures in stories like this (if you’re gonna go there, go there), so I interpreted him as truly a god and would’ve liked to know more. That said, having Elisa fall in love with someone so outlandish was a strong metaphor for how those in power at the time (and honestly, in the present as well) saw homosexual and interracial love.

Michael Shannon’s Colonel Richard Strickland was a great villain and I loved how his control-freak nature demanded everyone around him become subservient, much like the paranoid American government he works for and represents demanded conformity. This made him simultaneously threatening and weak, hiding behind a thin veneer of socially-acceptable power. I especially liked his reaction when he found out just how replaceable he could become if he didn’t find the Amphibian Man; his easy dismissal in the event of his failure also contrasted nicely with how Zelda was always willing to cover for Elisa, from rescuing the Amphibian Man to simply holding her place in line to ensure she clocked in on time. Clearly there’s no friendship, loyalty, or leeway among the conformists, only control or destruction. Watching him break down as many people around him as he could—even his wife (Lauren Lee Smith), forcing her to be quiet while he focused on what he wanted out of their sex life—was very uncomfortable, so it was great to see his frustrated reaction to his inability to intimidate or break Elisa and Zelda. Not allowing his wife to speak was a great contrast to the Amphibian Man, who helped Elisa to not just talk, but to sing. The whimsical, silver screen nature of their classic Hollywood dance sequence also contrasted perfectly with the rot just under the “idealized” surface of 1960s America that Strickland upheld. Though the dance sequence is pure fantasy, it’s the only place where “the good old days” were actually good.

Another aspect that perfectly utilized the era was Dimitri Mosenkov/Robert Hoffstetler (Michael Stuhlbarg), a Soviet spy embedded in the lab. Like the threat of the Other found in African-Americans, the gay community, and a sea god, the Red Scare epitomized America’s desperate drive to destroy what it couldn’t control or understand. As I’ve seen noted elsewhere, it was very cool that the film subverted expectations and had Mosenkov not only help Elisa save the Amphibian Man from vivisection at the hands of the Americans, but that he gave Elisa information on how to keep him alive once she’d extracted him. That he cared more about the Amphibian Man as a living thing than as a means to attain Soviet superiority by vivisecting it was great; I definitely expected him to try to give him to his spymasters, where the South American god would’ve met the same fate the American military planned for it. It’s certainly a powerful indictment of our government that this spy sent to undermine us had more humanity than our people, who are only concerned with being “the best” no matter what that does to their souls. The fact that Mosenkov literally had a secret identity is also a nice thematic tie to Giles’ closeted homosexuality, Elisa’s mysterious origins, and the hidden power and passion the oppressed in this time concealed from their conformity-demanding government.

Universal’s classic Creature from the Black Lagoon was an inspiration for this film, and The Shape of Water is an excellent sort of remake, touching on similar themes while updating them and making them relevant to a modern audience. It was very smart of del Toro to explore the limitations of social mores of 1962 by focusing on a cast made up of those without power back then (who are still facing under-representation and lack of power today). However, I would argue that while setting this in the past has the desired effect of getting the audience to let its guard down, it also allows the audience to distance themselves too much, letting us say “those problems have been solved” and never forcing us to inspect ourselves. Still, I absolutely loved the score and the entire 1960s aesthetic del Toro achieved! I could easily have seen this taking the Best Cinematography Oscar. 

The Shape of Water looks beautiful, has an excellent cast who are all on point, and has a very strong love story at the center of a powerful tale of those without power subverting the accepted system. I definitely recommend it!

 Check out more of my reviews, opinions, and original short stories here!

Best of 2018

Anna Birch – “Belle Isle” What starts as a slide-guitar-country-crooner transitions into a rockabilly bridge before settling back into sentiment. A heartbreakingly earnest and beautiful love song about moving to a new place and meeting a new person. I saw Birch open for Speedy Ortiz last summer, watched a young couple slow dance to the song, and started crying a little bit. After Birch sang the closing lyric, beginning with “we danced to that song/twice in a row,” she was exhorted by Speedy Ortiz lead singer Sadie Dupuis to play the song again. She didn’t; I wish she had.

Big Red Machine – “Melt” I was introduced to this song because it was the theme song to a podcast about the disastrous 1996 U.S. Men’s National Soccer Team (find that excellent pod here), and found the chanting rising “when you are who you are” sort of mesmerizing. The lyrics are obtuse (much like the entire project, a collab between Justin Vernon and one of the Dressners from the National where they dress like Mad Max Kanye [which, what the fuck]). It is a good time to hear Vernon scream “YOU KNOW IT’S A STRUGGLE, IT’S A KIND OF DEBACLE” like he’s Jim Ross calling a particularly exciting Attitude Era WWE match. A slobberknocker!

boygenius – “Me & My Dog” Politically, 2018 will go down as the Year of Woman as female candidates ran and won in historic numbers in the midterms. In a less historic achievement, it was the Year of the Woman in my best of list, where female fronted or involved projects carried 12 of 18 spots. 2018 was the year when the majority of the best rock records were made by women, and few put out better albums that the three headed monster supergroup, boygenius. “Me & My Dog” is the best track on their superlative self-titled LP. The first third starts with simple orchestration and Phoebe Bridgers’ voice followed by Lucy Dacus and Julien Baker swooning swelling harmonies until the song kicks into another gear in the middle before crescendoing higher and higher until the punchline and plaintive lyric “I wanna be emaciated.” The album version is great, but the live versions best capture the catharsis. boygenius is my favorite new band of the year.

Damien Jurado – “Percy Faith” Shouts to my dude Kit who made sure that I checked out this album, the first I’ve listened to from Mr. Jurado’s enormous discography. While I find the sheer size of that discography pretty intimidating, this song is approachable—a time traveling track about big band leaders, hostage situations, and being on your phone too much. Wry lyrics delivered with a straight face (see, “I am writing from Seattle/Where they now have put a trademark on the rain”) are the star of the show, but the soaring strings and noodling organ sustain multiple listens.

Father John Misty – “Date Night” It shambles, it Jaggers, it oozes confidence in both senses of the word. Ooze is correct, and I wouldn’t be shocked if FJM revealed the swirling synths were covered with cheap, greasy pomade. It’s the best song on great record that’s funny (“I’ll get you ice cream if you give me a card”) and propulsive enough to close a set. God’s Favorite Customer was a return to form after the solipsistic bloat of the second half of Pure Comedy. Here’s hoping he remains in poem zone going forward.

illuminati hotties – “(You’re Better) Than Ever” Too precious by half but catchy as hell, “(You’re Better) Than Ever” was the song that I listened to the most despite of my better judgment. It’s a straight forward rocker about an ex that’s doing better than you are. Problem is the song is delivered with a smile instead of a sneer, and the mean lyrics don’t match the sweet delivery. Still, the surf rock drums and harmonies are great. More importantly: illuminati hotties is the best new band name of the year.

Jeff Rosenstock – “Yr Throat” SEE BELOW

Lucy Dacus – “Night Shift” Without question, the SONG OF THE YEAR. One third of the boygenius titanic triumvirate, Dacus’s anthem starts in a diner with a two-timing ex and ends with a division of the city by time of day. Dacus knows that she isn’t necessarily being practical, but she’s emotionally unreasonable and raw. Quiet/loud that would leave Black Francis and Kim Deal taking notes, the last two minutes are sad and soaring, roaring and resigned.

Mitski – “Nobody” Mitski made the leap this year, basically the music business version of 2018 Brewers slugger Christian Yelich. Like Yelich, Mitski had flashed elite tools in prior years but never quite put it all together (somehow this is Mitski’s first official appearance on my list; honorable mention only in 2015). In 2018, things changed with the New York City songstress dropping Be the Cowboy, the audio equivalent of Yelich’s monstrous .326/.402/.598 (w/ 36 dingers and 22 bags!) 2018 line. Mitski took home album the year from a number of publications and Yelich was the National League MVP. “Nobody” is the basically Yelich’s mega-game from August 29 where he went 6 for 6 and hit for the cycle, helping the Brewers pull out a one run win over the Reds. A slinking disco home run, the song showed Mitski feels both seamless and like five different songs at once. Excellent delivery, danceable and delectable. I’m seeing her in April, right around Opening Day. If you’re looking for me, I’ll be the one leading the MVP chants.

Pusha T – “If You Know You Know” The best of Kanye’s bizarre 2018 productions (the less said about Mr. West at this point, the better), Push’s irresistible ode to (what else, literally what else?) having once dealt cocaine was so good it convinced me for about three weeks that Kanye was back. Also, apparently Pusha T beefed with Drake this year; I’m okay with that.

Robyn – “Ever Again” SEE BELOW

Shannon Shaw – “Freddies ‘n’ Teddies” A brassy wall of sound missive from Shaw, a big voiced Californian who, I just discovered, fronts an outfit called “Shannon and the Clams,” who also released an album in 2018. I’m concerned I should have picked a song by “Shannon and the Clams.” Alas, we’re not starting the new year with regret. “Freddies ‘n’ Teddies” is an excellent throwback jam. It’s a pearl.

Speedy Ortiz – “Lucky 88” Had a weird experience at the Speedy Ortiz show last summer—they went on at like 10:30 PM and played, like, my six favorite Speedy Ortiz songs in a row. At that point, I’d rode my bike to the show and realized a couple things: 1) it was a work night, and 2) I really didn’t want to hear any more of the songs. So, I left! Never done that before. Anyway, goes without saying that “Lucky 88” was one those songs. It’s very good of Speedy Ortiz to keep making Rilo Kiley records because I like Rilo Kiley! Tackling subject of gross dudes with interesting percussion and evocative and tongue-twisty lyrics lyrics (See, “Try and work in this town/without a silver spoon and foot in your mouth” and “One more time with reeling” and “I was born in the cold-clotted heart of the storm”) it’s a stand out track on a good record.

St. Vincent – “Fast Slow Disco” Technically a remix of the “Slow Disco” off of 2017 Album of the Year, MASSEDUCTION, the new version improves on the original in every way. On Twitter, Annie Clark wrote that she “always felt this song could wear many different outfits and live many different lives. here she is in disco pants, sweating on a new york dance floor.” Sweat and live it does, transformed from the original prayer to a fucking Pet Shop Boys song. It’s a banger, and continued proof that Clark is one of the best pop artists working.

Swearin’ – “Grow into a Ghost” There’s some Fleetwood Mac-y shenanigans going on with this band—basically, the two lead singers were dating and then broke up but then made this record. I don’t know; it’s not my business. This song is my business. With Allison Crutchfield leading the way with an excellent read on the lyrics, this pop punk potato chip isn’t particularly substance, but it is really good, crunchy, and with the right amount of salt.

Tranyanne and Danny – “O’Keeffe” There’s a swaying simplicity, putting you in mind of the Ben Folds Five at their most daydreamy with a dash of Broadway panache. Ostensibly about titular painter, it’s a duet that’s good for a slow dance with a dip or two.

U.S. Girls – “Incidental Boogie” You like art rock? U.S. Girls love art rock! It’s a feminist statement piece about (I think, I’m ready to be really wrong here) about domestic violence, BDSM, and empowerment that puts you in mind of The Knife’s masterpiece Silent Shout and maybe The Phantom Thread. It’s all over the place and I’m too thick to figure it out.

Young Gun Silver Fox – “Lenny” This 70’s cheese rock throwback is delicious trash. Essentially, it’s “One for My Baby (And One More for the Road)” if, 1981, someone commissioned Daryl Hall and Michael McDonald to write a yacht rock musical based on Frank Sinatra songs. I’m not saying this song is frozen pizza rolls—I’m saying it’s gourmet frozen pizza rolls that are filled with the finest heirloom tomato sauce, cured salumis, and aged cheeses. It’s stupid and it’s bad for you and I will eat a million of them.  

ALBUMS OF THE YEAR: Honey by Robyn and POST- by Jeff Rosenstock.

These are two very different albums. The lyrics are in English and no one, like, throat sings, but Rosenstock’s raw, claustrophobic punk and Robyn’s luscious electropop seem antithetical. Taken together, the two help me best explain what was like for me to be alive in 2018.

Dropped on New Year’s Day, POST- begins screaming, “Dumbfounded, downtrodden and dejected/Crestfallen, grief-stricken and exhausted/Trapped in my room while the house was burnin'/To the motherfuckin' ground.” Rosenstock captures just how fucking stressful it is to be living through the Trump Administration. The grift, the humanitarian horror, the callous and smirking racism, the grinding and clobbering indecency. He captures the paralysis and that feeling that it won’t get better, he won’t go way; “it’s not like any other job I know/If you’re a piece of shit they don’t let you go.”

There were so many times this year when I was struggling with something personal—anxiety, the stresses of my job, feeling mean or irritable and it would feel worse because President Diaper-Butt said something repugnant. The political stress and the personal stress fed each other.

On “Powerlessness”, Rosenstock sings “[s]o where can you go when the troubles inside you/Make your limbs feel like they're covered in lead?/How can you solve all the problems around you/When you can't even solve the ones in your head?” I struggled with this all year and basically defaulted to paralysis. Rostenstock put words to that ennui.

Rosenstock sang about feeling bad—Robyn sang about getting better. Her record starts in a similar place of psychic pain. It’s more mundane, a break up, but Robyn blows the heartbreak out into pop hits. On “Missing U,” she’s just as vulnerable and paralyzed as Rosenstock, “[c]an't make sense of all of the pieces/Of my own delusions/Can't take all these memories/Don't know how to use them.”

Over the course of the record, Robyn gets better. In interviews, she explained that she took the time to go through a couple years of psychotherapy (this is privilege; we all can’t take years off from work to sort out our shit—I can’t, Rosenstock certainly can’t) and emerges better—fully realized and in charge of herself. The two centerpieces of the second half of the album, the titular “Honey” and the finale, “Ever Again” are physical and optimistic. She put the work in and got better.

I tried to get better in 2019, as well. It was a mixed bag—lost a bunch of weight, gained it back. Bought a house and was driven half-crazy by the process. Got a promotion, lost some hard cases. But I really improved my mental health. I worked hard on being mindful and trying to feel better. I didn’t get all the way (unlike Roybn, I don’t feel like “I’m never gonna be brokenhearted ever again”), but I feel better than I did a year ago.

There’s going to be at least more years of the political degradation. I can’t control that. But both albums end on hopeful notes, expecting that things will get better. I don’t know if they will. But the emotion and message of these albums, make them the best of 2018.