the wildest thing about the scene where Callie and Shauna are at the diner and Callie is literally wearing Jackie's old uniform is that it's the only time we ever see Callie show genuine concern or affection for her mom. so when Callie says "you're SO not fine, you think I can't see that?" it really is like Shauna's dead best friend is reaching through her bratty, shitty, spitting-image-of-Jackie daughter and reminding her just how fucked up and sad and horrible everything about Shauna's life has been since the wilderness

it's like Jackie is almost possessing her (in the very same episode we see Lottie get possessed, no less) just so she can look Shauna in the eye and say: "everything went wrong since you lost me, and no one will ever understand you the way I did, no one will ever get under your skin the way I did, I will never ever stop haunting you, and you will never let me go"

Brothers anon, it makes me really happy and comforts me that you enjoy reading what I submit. It makes me really happy to write all of this and finally be able to tell someone my ideas. Thank you so much.

At first he kept trying to deny the father figure role, but when one night Jackie had a nightmare and came to him and ended up calling him dad, he stopped denying it and accepted it. And once he accepted it he did basically adopt all of them. Jackie and Grievous are literally chaos incarnate most days. They regularly love to prank the contestants and just act insane. Ran and Jackie just kind of hang around eachother, like Ran could be reading and Jackie training and they'd enjoy eachothers company. They do sometimes nap next to eachother, or play card games (which is a rare instance where Ran gets (playfully) rilled up and competitive). Grievous and Ran bonding sadly gets interrupted when Ranbob suddenly drops in, but before that Grievous would try to talk to Ran about what book he's reading and just try to make conversation with him.

Oh the height difference definitely remains. And its both terrifying and hailours to new people. It's even better when it's a 2v2 fight because Jackie has a habit of just climbing Ran like a monkey gym and sitting on his shoulders and its terrifying.

Well, since the drinking age is 3, I personally think the age limit is like 14 or something close. I believe I made their ages as Ran is 19 (almost 20. Maybe 4 months away), Jackie is 16, Watson is 30 something, Grievous is 22, and Ranbob is 28 (Ran is younger than his brother by 9 years) I have written down all their ages somewhere (and the ages where the events of Mizu took place) and if I got any wrong I will submit another ask with their ages. The other gladiators have managed to keep good relationships with most of eachother. A few like Grievous and Genevieve are close, Edward, Levi, and Watson are drinking buddies. Lagguis sadly isn't as involved cause he is sick and can't vist often at all. (I think I got everyone. Tell me if I missed anyone please, I cant check cause whenever I exit tumblr, tumblr deletes everything in my ask :') )

I dont have many rules for the Pit rn but I do have, no injuries that could cause long term or chronic damage, no sabotaging opponents, no teaming unless its a team round, no blackmail or anything of the sort to force an opponent to forfeit, and in order for a battle to end due to forfeit both sides must agree to it. But the Pit in general is a lot of things, there's fights for money, fame, and positions (like general). There's tournaments meant for nothing other than to show skill and just to fight your heart out. It's open to anyone above 14 and anyone under 80, to people from Subbin to those just passing through.

And there are different battles in the Pit, theres singles, the ones we saw in the Tales of the SMP episode. Teams, where teams of 2 battles against eachother. Free-for-all, where literally everyone fights against eachother. And Ion battles, battles where there are super powered weapons (like flame 2 iron sword. Or strength 3 potions) that spawn in the area at random. Typically Ran and Watson work best toghere, as their strategists and plan everything with back up plans, and they always call out warnings and watch eachothers back so its incredibly hard to actually hit them. And Jackie and Grievous work best toghere, with the two going insane and often taking people by surprise with their unmeasure and randomized movements and attacks.

At the start Ranbob was completely under Dreams thrall, not being able to really think for himself and even foregoing self care. When Ranbob starts to become himself again the fishermen are more than confused and hesitant, with Cletus especially stating multiple times that it may just be a trick. So it takes a while but Isaac actually is the one to suggest maybe it isn't a trick, and has to do with the mask that was found. This is later confirmed when the mask is brought to the group and Ranbob has a massive negative reaction that sets him back to how he was when they first met him.

Im honestly not sure yet, I think I want it to be a 'lets never go back' type thing but im not positive yet.

I dont have a solid backstory for the fishermen, but I know I want a little bit of it to tie to the story. Do you have any ideas for their backstory or nah? I do know I want them to have met eachother while they where in unfortunate situations and because of those they got family level close.

Ranbob doesn't take the little space well at first; staying outside when able too, even though that really upset Benjamin; and Ranbob has no idea how the outside works and has no idea how to read the weather or what he can and cant eat, but hey the enderman boi is trying his best to make up for everything he's done. And trying to build his own house to not impose on the fishermen (much like Ranboo did with Techno), but Benjamin wouldn't accept that and kept dragging him inside. It wasn't that hard for Benjamin, Isaac, and Charles to get used to Ranbob, already being used to sharing a small house, it was more Cletus with him refusing to leave Ranbob alone even for a second because he doesn't trust Ranbob at all.

The two groups actually get along surprisingly well! They like eachother and Watson once said, "It was like a family reunion. Or like long lost siblings finally found their way home."

I am once again not sure! Originally I planned for them to stay in Subbin and in the Pit. But the more I think about it the more boring that is and more I like the idea of the groups traveling toghere in the world.

I like this question! So enderman travel in groups called hauntings right? I personally headcanon the enderman in this group are basically family, biological or not. And ever since Ran and Ranbob lost their family they lost their haunting, which can be mentally damaging to a enderman. Once Ran found Waston, Jackie, and Grievous and started hanging around them more, he started feeling a connection ot them he hasn't felt on a long time. He's claimed them, as his haunting, his family. And he'll defend them with his life against anyone and anything. And then suddenly Ranbob came in, a enderman that should be part of his haunting but isn't, a enderman that killed his previous haunting. So Ran is incredibly defensive over his group, and is trying his best to keep Ranbob as far from his haunting as possible, to protect them.

Now Ranbob also got a haunting, his being Charles, Isaac, Benjamin, and even Cletus. So Ranbob is also defensive over his family. But unlike Ran, Ranbob still considers his brother as part of his haunting, his family (and yes, Ranbob did think Ran was dead when he first chased him out years ago, so he's shocked and relieved that his baby brother is still alive). And he sees how his family gets along so well with Rans family and then starts to even consider Rans haunting part of Ranbob's. Basically Ranbob has a big heart and is willing to accept almost anyone into his family, no matter what they've done.

Yep, the reason Porkius is so interested in Ran is because he's an enderman hybrid. And no one else is a hybrid expect for the two brothers (and Porkius, with him being a piglin hybrid).

Porkius is excited! He's excited to see what happens and is more than happy to agree to help as long as he is kept in the loop. Though unless he's directly asked to be involved he prefers watching from a distance at whats happening. Just so he doesn't get mauled by a pissed off enderman.

Sorry for any spelling mistakes (its late) and its so long! Im probably going to try to shorten them.

I’m glad you’re happy, it’s a nice thing to feel. Your ideas are really cool, and I hope I’ll get to see more of them in the future.

Now, can I simply say how adorable so much of this is? Jackie going to Watson when he had a nightmare, the Rans being protective of their groups, Jackie climbing Ran? I love that, it’s very heartwarming and cute, and it made me smile.

So Watson wasn’t really sure what to do with his new title at first, hm? And then Jackie called him dad? How’d he feel about that? How’d Jackie feel about the slip? Or did he even notice? He’s parenting them all, he’s gonna have a dad voice and everything. How do the adopted ones feel about him embracing it?

Jackie and Grievous, two people to truly fear when they wish to cause havoc. Tremble before them. Do they prank people, or do they just become absolute madmen on the battlefield? Or something else. Honestly, anything with these two just instantly makes me amused. 

Jackie and Ran being chill buddies. very nice. Ran getting competitive over card games is a funny thought. Does he win often? Does Jackie? What kind of card games do they play?

Rather sad Ran and Grievous bonding is interrupted, but it’s nice to hear Grievous trying it. Hopefully they’ll get there someday. 

Oh my god, it’s the height difference. Jackie getting on Ran’s shoulder sounds absolutely terrifying. Imagine being some poor new guy pitted against these gremlins and the short ones climbs on the tall ones shoulder-both look absolutely gleeful with the destruction they’re about to wreak, and you already know you cannot outrun them. 

Jackie...Jackie...he’s da youngest. He’s small, and young, and you have no idea how much I’m laughing at this. I don’t even know why, it’s just really, really funny to me. Probably something to do with what a complete force of chaos we all know this boy is. Oddly fitting, but hilarious. How does Jackie feel about this? 

How do the others? Are they a bit more protective over him? Does Ran like to flaunt his three years more over him? 

Grievous and Genevieve are buddies! Very nice, they seem to have a good dynamic. Watson, Edward, and Levi also being close? Very interesting, has a lot of potential. I bet they share a lot of funny stories.

So we’ve established the basics of The Pit. Doesn’t seem too bad, for a fighting arena, to be honest. Seems pretty popular, actually. Do the gladiators live there? In the palace? Or do they just have a house somewhere nearby? What kind of establishments and areas are around? Food places, stores? 

So Ran and Watson are the scariest team because of their strategy, and Jackie and Grievous are the scariest team because of their randomness? It checks out. I’m curious though, how do the other combinations work out?

Ranbob sounds like he has a less than fun time here, and the poor guy could really use some closure. What’s he like, free from the influence of the mask? He seems pretty close to Benjamin, so at least he’s got that going for him. Though he and Cletus don’t seem to have the strongest bond at first. How is that resolved?

And how does Ran feel about his brother’s new haunting, after everything? I imagine that he’s at least a little bit unhappy with it, for one reason or another-and there’s quite a few reasons for him to pick from.

How did that house-building attempt go, between Ran never being above water, and probably never building a house before? I can’t imagine too well.

Some ideas for backstory, well, hm. Isaac seemed dressed a bit fancier than the others, perhaps he comes from a richer family than the others? That’s about all I’ve got for now, sorry. 

It’s nice to hear they got along, who clicks the easiest?

Possible road trip? Always fun.

So, the enderman hybrids have adopted their respective groups as their hauntings. You’ve mentioned Ranbob’s pretty cool with this, how does Ran feel? Obviously, he’s less than pleased with Ranbob, but what about the fishermen? Protective Ran and Ranbob! How protective exactly? Is it subtle, or overbearing at times? Actually, how do their instincts lead to them interacting with their groups overall?

Porkius must not see Ender hybrids too often, if he’s so interested in them. It’s nice that he’s willing to help out though, and his concern is valid. I wouldn’t want an angry enderman hybrid after me either. 

Are hybrids not overly common, then, if there’s only Ran, Ranbob, and Porkius around currently, or are they just not mentioned a lot?

Thanks for the ask, a lot of it made me smile. I enjoyed reading it, and I hope you’ll be willing to send more when you have the time.

Kevin Cage of @spotlightsaga reviews... Orange is the New Black (S05E13) Storm-y Weather Airdate: June 9, 2017 @oitnb Ratings: @netflix original Score: 8/10 **********SPOILERS BELOW********** What now? Watching an OITNB finale is a bit like the next day after a great roll... You had a great time, and emotionally you're drained, there's a bit of magic still floating around in the air, you wonder will happen next... But in a way, you're kind of sad that it's all over. And of course, you're too stunned to do much of anything except furrow your brow like James Franco attempting to show any simple range of emotion beyond 'stoned'. Until next time, right? The best thing about the end of OITNB5 is the fact that we know it's going to come back for a 6th & 7th season, but with the massively radical shakeup we saw happen here in S5... There's never been a time in the series' history that we have been in such a place where we don't even have a slight inkling of an idea as to what is coming next. Over the course of 4 years and 5 seasons, we've seen characters come, go, pass, come back again, disappear into MAX, and some that have more of a final ending. It's safe to say that as tragic as the S5 ending was, as we saw best friends, lovers, and feelings as safe & simple as familiarity being separated and hauled off into different vans, going god knows where, at least we don't have to deal with another loss like the magnitude we dealt with at the end of S4. It took hours of sobbing and patting my back just to come back to reality and stop crying after that one. We have praised S5 for featuring new characters, as well old characters in a different way... As well as experimentation with new types of storytelling and even head-first dives into different genres just to give the series a fresh beat. It's hard to believe that all this happened in just a 3-Day timespan... Technically we've spent years with some of these women, but never has the series reached such heights in tension as it did here. One again, I feel it pertinent to mention that I'm just glad they decided to not put me in a situation where I could possibly cry like a baby for hours on end. I always knew that this riot would never end well for any of the women, and by E12 when everyone was having their personal revelations and epiphanies as to where they stood in life and with each other, I immediately sensed that they'd all be ripped apart from one another. No way things could be this harmonious with such an ugly consequences hanging above like dark pulpy rain clouds just waiting to burst over all of their heads. I'm not going to lie, there was a part of me that thought someone was going to die (as there usually is a major death in every season), but I was relieved when we were delivered the death of Piscatella instead of a beloved inmate. With Piscatella dead and Angie (Julie Lake) & Leanne (Emma Myles) redeeming their 'bad girl' ways... A majority of which was spent reeking havoc throughout Litchfield, torturing Pensatucky (Taryn Manning), putting on 'Litchfield's Got Talent', and raping CO Stratman (Evan Hall), all by wiping everyone's slate clean in a fire burning everyone's records... It looks like maybe Maria's (Jessica Pimentel) attempt at stealing all the hard work Gloria (Selenis Leyva) put in to moving the guards from 'Spanish Harlem' to 'Poo', by way of cutting a hole in the fence, actually payed off. The additional time Piscatella recommended will most likely never be added on to her sentence and she actually got to hold her baby. As mad as I was at Ruiz in that moment, I couldn't help but shed a tear or two. She made a snap decision, did what she had to do, and actually achieved something from it... Whether this will be only for a short term prize or even as something as big as a sentence reduction, we'll have to wait and see... But even though MCC isn't exactly the keepers of words or showers of good faith, Nita (Gita Reddy) did show that she was appreciate of Maria's sacrifice. That little hint of empathy that Nita let us all see had to count for something, at least I hope for Maria's sake that it does. Just as Pensatucky was once a fearless leader of many and fell to the 'Litchfield Pariah', Maria's decisions will land her in a similar path. I have absolutely zero doubts about that. And now... 'The 10 Count' and other wild inconsistencies of the 5th season of OITNB... Because as great as OITNB can be, it's never without its faults. There were powerul performances throughout this season... Uzo Adbua, Danielle Brooks, Selenis Leyva, Adrienne C Moore, Beth Dover, Miriam Morales, Rosal Colon, Dale Soules, Vicky Jeudy, Julie Lake & Emmy Myles... And some breakout performances by Francesca Curran, Daniella De Jesus, Asia Kate Dillon, and Kelly Karbacz... While Kimiko Glenn, Laura Gomez, Amanda Stephen, Kate Mulgrew, Natasha Lyonne, Lea DeLaria, Diane Guerrero and Jackie Cruz felt wildly under utilized and other extremely talented women were either lost in the shuffle or given small or subplots that won't see greatness born from them until further into the series. Alas, at least the seeds were planted. Even the incredibly talented Taryn Manning went massively underused, but it feels like that they are setting her up for a proper story arc in S6, so at least she'll have her moment soon. Ending her arc in S5 in the Guard House with Coates, snuggled up with her rapist under a blanket, makes for endless possibilities to spiral a psychologist's wet dream of a character study. Obviously the cast of OITNB is massive and not everyone can have large chunks of time devoted to complete character arcs that tie in heavily to the main narrative, but then again women like Uzo Aduba & Beth Dover were still able to take the time and scenes they were given and steal the spotlight, making the most of a short amount of time. It's up to these women, as character actresses, to really take it all the way... But it's also up the writers to give them something worthwhile to chew on and hang onto. And while there is plenty to discuss at the end of S5, not all of it is good. Like many other writers, bloggers, reviewers, and fans... We did the math and we are a bit confused on the '10 count' of missing ladies the men who violently and haphazardly stormed the women's prison turned temporary castle shouted out when attempting to tell Caputo and MCC the progress of the raid. Even with Linda being accounted for, we're not sure where that number came from... Just a small example of short-sighted missteps we occasionally see from an otherwise talented writing team. Also, as a Drug & Harm Reduction activist, I'm not sure why Cindy giving Suzanne a few Lithium pills (which I was under the impression she was prescribed anyway) would ever result in a coma like state needing as something as extreme as an EpiPen. It was just a short stick that wasn't thought through that was inserted into the finale for some additional drama and to get Taystee, Cindy and Suzanne in Frieda's abandoned pool turned bunker. It was sloppy and we at Spotlight Saga condemn any storylines that promote ignorance or false information about chemicals and drugs. Simply put, OITNB is better than that. However, it's hard to deny how beautiful that end result was... Seeing these women who once were so stuck in a pattern of self-segregation stand together, holding each other's hands with grace and dignity brings tears to my eyes as I merely picture the scene writing about it. That picture was worth far more than a thousand words, carried a beautiful message, but could have been achieved without compromising any artistic or factual integrity. I don't aim to cheapen the moment, it was beautiful, and I anxiously await the outcome with a heavy heart. Unfortunately I must steer the conversation back to inconsistencies because I truly believe that OITNB is also better than to not have MCC know that Linda from Purchasing was there at the time of the riots or had at least gone missing around the starting time of these riots. This is the type of woman who'd show up for work, even on the weekends. Maybe this was to give characters and fans satisfaction at the end when they all claimed to work for MCC to make Linda look crazy... But honestly, even though I understand their feelings of betrayal, you would think at least Boo would buy what she was selling. I did. Maybe I'm wrong, but I feel like Linda grew copious amounts during the short time that S5 took place and actually meant what she said when she promised she would do her part to incite change amongst the prison system. If they treated her right at the end, they could have had a great ally. Now... I'm thinking not so much. If I was Linda, I wouldn't be too pleased with any of those women. I feel like another potential beautiful moment, future or otherwise, was compromised for comedy and unnecessary comeuppance. If it's any consolation, Beth Dover, you were absolutely amazing this season and we have our eye on you and Danielle Brooks for any end of the year awards, such as one we've already locked in favor of Uzo Aduba's incredibly nuance performance throughout the entirety of S5. Regardless of any short sighted plot stick, surely the events of S5 will bring about change to more than just where inmates are shipped after the riot. While OITNB is fictional, New York law states that 'Riot in the First Degree' is a Class E Felony, which doesn't carry much weight, but will still ensure that most of these women, especially those that were public symbols during the riot, will have a few years tacked on to their sentence. I'm actually hoping the plan is to clear the prison, clean it, and then ship most of the important women and characters back to Litchfield to carry on their storylines in a similar fashion under new circumstances. Whatever happens, things are going to be different... But as the series ended on the women left inside Litchfield in the pool as the rest of the prison had been swept and cleared, fading to orange, leaving their fates hanging in the air... I think the main thing we are left hoping for is that none of our favorite women that remain in that lineup are hurt or killed and taken away from us forever. Overall, S5 was a mostly successful season of OITNB... But baby, this doesn't have anything on S4 and the epic rise and fall of one of the greatest characters of Litchfield Women's Prison... The woman whose demise started this whole thing... Poussey Washington. We miss you, Samira Wiley. You were so incredible, so inspirational, your unjust and untimely exit caused a series to be turned upside down on its head. Until S6, guys. You know we'll be there!

My Favorite Movies of 2016 in Nine Digestible Categories

Every year it is the same story. As the year happens, people bemoan the state of movies. Then by the end of the year, and people compile their end of the year lists, we realize that movies are not a dying medium, slowly being replaced by television. Studios just succumb to the antiquated model of old release patterns. Movies vying for Oscars has to come out late in the year for momentum and blockbusters must be released in the dead heat of the summer. Both “20th Century Women” and “Why Him?” were close to sell outs last weekend as I attended my local multiplex. “Lion,” although only playing in two theaters in New York, sold out a 560-seat theater and its highest billed actor was Dev Patel.

Sure, those films were helped by the holiday bump and limited releases, causing the demand to look greater due to the lack of supply, but people are still going to the movies. And if not, the means of production has allowed for filmmakers to make $20 million indies with sources of output like Amazon Prime and Netflix along with the traditional studios to distribute to a wider net of audiences. With emerging voices like Barry Jenkins and Damien Chazelle and returning veterans and legends like Jarmusch and Scorsese releasing films this year, it is hard to begin eulogizing cinema.

So, it is my job to highlight 20 of my favorite films of the year. And to not succumb to the usual listicle, this list will be broken down to ten categories because all these films deserve to be watched.

Best Movies of the Year where Mahershala Ali Plays an Untraditional Father Figure for about 10 minutes of the movie

Moonlight, Kicks

Thank god for “Moonlight,” a film that has been written about so much that I do not know what I can bring to the conversation at this point. Without it, people may be left to try to salvage Nate Parker’s ill-begotten “Birth of a Nation,” as the obligatory black film of the year that it was positioned as at Sundance back in January of last year. But, “Moonlight” should not be considered a token of a film. Its rise to the top through think pieces and word-of-mouth speaks to how it was able to naturally build its base of spectators. “Birth of a Nation,” on the other hand, struggled to connect partially due to its controversy but also to its haphazard “Braveheart” style hero narrative and questionable use of victimhood especially that of rape. “Moonlight” is cinema at its best. It is a passport to a world, a mindset, an experience that is not readily available. It is empathy.

While “Moonlight” has dominated the conversation, Justin Tipping’s “Kicks” has been barely touched upon. It has been spoken so little of that since I saw it I have questioned my love of this small film. Tipping riffs on “Bicycle Thieves,” in which an African American teen, Brandon, gets his brand-new sneakers stolen in a city right on the outskirts of Oakland. This allows for Tipping to breeze through the neighborhood as Brandon and his two buddies searches for the men who stole his shoes. It’s a small film that screams that this is a first feature, but the style is so assured. Tipping is not afraid to take risks, allowing for flourishes of style and metaphors (there is a motif of an astronaut that aggressively highlights Brandon’s alienation for the things around him) that many more conservative filmmakers would not bother to entertain. Like “Bicycle Thieves” the plot is simply an excuse to explore a post-world II Italy, the plot here is an excuse for Tipping to explore the neighborhoods that has been forgotten about in film since the early 90’s. These characters are so richly drawn beyond what could easily be caricatures. If “Boyz in the Hood” gave a glimpse to life in “the hood,” “Kicks” is a portraiture. Also, best Mahershala Ali performance this year.

Best Movies of the Year where the Central Theme is that Grief is a Motherfucker

Manchester by the Sea, Jackie

There are horror movies which relies on jump scares. Like a roller coaster these momentary jumps are fun but ultimately has no lingering effects except for a scratchy throat. That is exactly the same way I feel about tearjerkers. Movies like “Lion” or “Beaches” live on sentimentality and tears. Like a superficial thrill ride, these films have a purpose and place. But, then there is a film like “Manchester by the Sea.” The film is filled with little moments that prove that Kenneth Lonergan is one of the great humane dramatist working today. Sadness and grief seeps into you like water slowly draining into the ground. But, what is so illuminating about the film is how the film portrays people dealing with grief; with anger, ambivalence. These characters are simply living. I have a friend, unfamiliar with Lonergan’s works and what struck as well was how funny the film was. That’s because even when our closest love ones are gone that does not mean that life stops going.

What happens, though, if someone’s life is defined by a person who dies? Pablo Larrain is one of the most exciting filmmakers working today. In “Jackie,” he takes what could have been a maudlin drama and with an incredible score by Mica Levi, creates a horror film. The monster for Jackie Kennedy is the weight of legacy, purpose and the American ideal. Is this what the real Jackie Kennedy went through in the immediate aftermath of JFK’s assassination? Probably not. But, what historical fiction does is to draw a parallel with these pristine historical figures with everyday living. What struck me most with “Jackie” was the amount of decisions that had to be made immediately after the tragedy. The same with “Manchester.” Jackie Kennedy mourns while also keeping up appearances in a role that has been bestowed upon her. She is the first lady of America, after all. She can’t be seen too sad, angry, or drunk. The real-life piece that is written about her weeks after JFK’s funeral which is fictionalized here as a framing device, was instrumental in sculpting that image. It sculpted a Camelot.

The Best Movies of the Year Where Coming-of-age is Manifested as a Monster

Closet Monster, The Fits

Not enough movies talk about how scary it is to become an adult. I’m in my early twenties, on the precipice of doing adult things like getting a full-time career and job and I still go to sleep at night in the fetal position. So, it is no wonder that puberty, adulthood and burgeoning sexuality has been portrayed in films as some sort of monstrosity. “Closet Monster,” a small Canadian film that I do not know anyone who saw, creates a monster in a teenager who is discovering his sexuality for the first time as he goes off to college. But, the complexity of this film from first time director, Stephen Dunn, comes from the fact that he is not defined by his burgeoning sexuality. Rather, this stress is compounded by the facts of adolescence. Pressure come from his single-parent father, whose self-destruction comes from the loosening of his grasp of his child, his artistic ambitions while confined in a small Canadian suburb, and the trauma from the abandonment of his mother. The monster in the on-the-nose title is not just one of repressed sexuality, but rather repression in all fronts. It’s no wonder that the violent act that occurs in this film is not because of sexuality at all.

The monster in “The Fits,” another small film by a first-time filmmaker, Anna Rose Holmer, also rides the line of imagined or real. Her characters are on the precipice of teen-hood. This is the time when divisional lines are truly cemented, especially gender norms. Her protagonist starts off in a boxing gym, filled with males but is drawn across the hall to an all-female dance troupe. Insecurities are never immediately present especially from those who are feeling it. It usually comes with a look. Especially for a teenager, there is no greater currency than a sense of belonging. “The Fits’s” ability to hone in on that central need in a way that is not pedantic really creates a powerful image. The final shot of bliss as Royalty Hightower finally embraces the monster that would make her belong is one of the great cinematic images of 2016.

The Best Horror Movies Where the Little Girl is the Most Terrifying Things about It

The Wailing, The Eyes of My Mother

To be fair, little girls are terrifying. It probably has something to do with the corrupting of something innocent that gets into the crawl of everyone’s skin. “The Wailing” is a Korean epic of a possession movie. And like the best Korean films, there is fluidity with genre in this film. The film readily goes from horror to police procedural mystery to comedy. Horror films are best when it comes from an assured hand and Na Hong-Jin is certainly assured in his skill and style. He slowly paces out the film with mood, atmosphere and uncertainty. At 2 ½ hours, each layer is lovingly paced. Not all the best movies have something to say in the undercurrent of the film. Some can just be plain scary and fun.

From the epic nature of “The Wailing,” comes the efficiency of “The Eyes of My Mother.” Nicolas Pesce’s first feature runs at a little under an hour and 20 minutes, and will undoubtedly become a cult film in which high schoolers show their friends to revel in how fucked up it is. Once again, this film thrives on the assured hand of Pesce’s direction. The black and white photography, the loving reconstruction of a minimalist household and the combination of aspects of image, costuming and setting creates a total cinematic experience. This film is informed by many in the past. The black and white images is reminiscent of early David Lynch and the economy of violence reminds me of the European art-house horror from Bunuel to Franju. Eyes plays a big role in horror films. It is scary to not be able to see and sight is connected to something so fragile and disposable. The camera is our eyes to this particular world. And the film works with the whole image. In one scene, we saw our hero/monster washing dishes and it is what we see through the window that is grotesque and haunting. These are images, that will not escape anybody who will eventually discover this film.

The Best Movies Where the Traditional Notions of How We Fall in Love is Questioned

The Lobster, The Love Witch

Love is overrated. Well, the way most people think about love is overrated. “The Lobster,” from Greek satirist Yorgos Lathimos, skewers our societal pressure on people to find a partner. The film’s dystopic setting strips away all that feels human so that all that is left is a kaleidoscope view of human interactions. Here, people decide that they are perfect for each other because of the most artificial of reason; short-sightedness, nose bleeds and beautiful hair. Everything is played pitched perfectly to dry deliveries anchored by Colin Ferrell at his best. Oh, and if I was had to be turned into an animal I would be a turtle. They have a portable shelter and could be proficient on both land and water.

I took a B-movie class at SUNY (Inset NY state city here) and the films we saw was a mish mash of exploitation with some rising to the top with subtle feminist’s ideology. But, for most of them, they are pure sexploitation of the woman’s body. Anne Biller lovingly recreates this subgenre of 60’s sexploitation film to create the defining feminist statement of the year. Everything is so acutely detailed that you might get distracted by the immersion into the world. The colors are in technicolor splendor, the clothes are beautifully retro and the acting is purposefully stilted that requires levels of acting that Brad Pitt will never reach. Yet, underlying all this is a story of a woman, a witch, who because of societal pressures keeps changing to what a man wants. She is the fantasy of every man but no man ever becomes the subject of her fantasy. In a genre that is often defined by superficial satisfactions of the id, Biller is able to create a nuanced film while not only embracing all the idiosyncrasies of a form from a bygone age, but by upending them.

Movies that follows the day in the life of its protagonists that eventually leads to drunken screaming and crying

Blue Jay, Krisha

The way people get excited about Marvel Movies is the way I get excited by the latest Mark Duplass joint. His latest film is a micro-budget film with Sarah Paulson that follows the familiar trope of two people walking and talking for a day that had been perfected by Linklater in the “Before Trilogy.” But, what it does with that trope is create an intimate film about lost love that becomes unpredictable. You question why are two central characters are doing what they are doing until the end makes it crystal clear. “Blue Jay” deserves to be watched twice just for the nuances that Paulson is able to portray that will not be clear the first time through. As if anyone needs any reminder that Sarah Paulson was a great actress.

In another micro-budget indie, Trey Edward Shults’ first feature does not even have any actors of note in it. In fact, everyone in the film is played by members of his own family about a story that is based on events from his life.  “Krisha” is truly a family affair. Everyone knows the anxiety of coming back home for a big family dinner. Here, Shults films it as if it was a sweeping epic film. The way Terrence Malick films the fields in “Days of Heaven,” is how Shults moves his camera through the big open house as Krisha comes back home after stints in rehab. To call Krisha self-destructive will be an understatement. Here Stults captures moments of family that feels too close to home. With specificity comes relatability; Krisha prepares herself before she goes into the house, children running around with no care for the adult conversations, courtesy small talks with family members who no one cares for. In the end, it is the conflict of hope and shame family has for Krisha that makes the film unforgettable.

Movies in which Adam Driver plays a character who is unsure of himself

Silence, Paterson

Quentin Tarantino has always said that he was afraid about the complacency old age might bring him with his directing. Well, Martin Scorsese has not grown complacent. With “Silence,” Scorsese proves to be as vibrant, self-reflexive and edgy as he was in the 70’s. This film will be the definitive mark of his greatness. “Silence,” is the nearly three-hour epic about Jesuit priests facing persecution for their faith in Japan. The film becomes a meditation of faith in all kinds of obstacles. And as an early-twenties American living in the 21st century with no religion to call my own, I identified with the plight of the people longing for Catholicism and the priests that bring them. Scorsese creates a total cinema that is more sensory than any artificial 4D can create. The theater melts away and you become immersed in 17th century Japan. The first two hours are physically brutal but the genius is with the emotionally brutal last hour when the form of storytelling changes, ending in a beautiful final shot.

Best dog of the year goes to the now departed Marvin, whose presence in “Paterson” puts him in the pantheon of great dogs in cinema alongside Toto and Uggie from “The Artist.” I don’t know how to explain this film to people except to say that it is the exactly what you expect from Jim Jarmusch. He has not made a film like this in a while; a poetic meditation of a bus driver in Paterson, New Jersey. Much of this film was influenced by the poetry of William Carlos Williams and the film moves like a poem. There is a structure but not a traditional story structure. The film ambles along like a NJ Transit bus and characters move in and out. Adam Driver as Paterson warns at one point, before he reads his poems, that it does not rhyme. I feel like I have to preface this film the same way. But, I like my films like that. Jarmusch instead populates the film with colorful characters, including a couple that cyclically fights and breaks up and a gang in a convertible warning about dog-jackers.

Documentaries that subvert the form

Kate Plays Christine, Cameraperson

I love meta explorations into the form of films and why we watch them. So, to see Robert Greene continue to question why people watch film while also making his audiences question what is real brings me pure bliss. Here, Greene follows actress Kate Lyn Sheil as she prepares to play Christine Chubbuck, a real-life reporter who committed suicide on live television in the 70’s. There is no role for Sheil, just the process. But, through the process in which we see her try to get into the head of a person who suffered through manic depression, Greene and Sheil begin to question our obsession with these figures. Chubbuck fought against the increasing exploitation of violence on the news and her senseless violence has since made her into a cult figure that has seen people desperately searching for the video of her death like it is the holy grail. It’s unclear what parts of “Kate Plays Christine” is real but the questions certainly are.

What we learn from that film and “Cameraperson” is the camera is inherently subjective. We see what the camera person wants us to see. And we know based on what images are put together and what sequence they come in. Kristen Johnson has been a longtime cinematographer for some of the greatest documentarians from Michael Moore to Laura Poitras. Through those films, she has saved plenty of footage and compiled a film that is a diary of sorts. Through the montage of out of context footage, we get a story of who Johnson is, despite the fact that we barely see Johnson. The only times we do is when she shows footage of her mom and she documents her struggles through Alzheimer’s. It is an amazing way of presenting self and highlighting the power of the form. Also, it is strangely satisfying to see the philosopher, Derrida, casually crossing a street in Manhattan.

Movies in which little trinkets given to the main character serves as important character development

Kubo and the Two Strings, American Honey

Laika takes a Studio Ghibli approach to filmmaking. Their films take time and persistence to make, not just because of their intricate animation style but because so much attention is put to little humane moments. Animation has the distinct advantage of being able to do the impossible, but the best of animation comes when the human moments are recreated amongst the impossible. “Kubo” is Laika’s crowning achievement in their young history and it is a shame that more people did not see it. It’s an exploration of grief and how people deal with it but it never stops being a children’s film. It achieves the sublime beauty of storytelling and art. This the type of movie that kids will be drawn to because of its beauty and action and watch again to realize the complexity of emotions it is tackling with. Here as an unnecessary dig, “Kubo and the Two Strings” does more for the genre of animation than all of Illumination films combine.

Rhianna is the soundtrack of youth. Last year the French film, “Girlhood” had the best use of “Diamonds” is a film when four young French girls lip-sync to it bathed in neon lights. Now, a bunch of runaways in Andrea Arnold’s “American Honey” does the same to “We Found Love” in a Midwestern grocery store. Rhianna is freedom. And “American Honey” is the truth. A somewhat divisive film, the film follows a magazine crew, a mish mash of reckless youths selling overpriced magazine subscriptions. Our protagonist is Star, played by a future star in Sasha Lane, as she decides to leave her constrained life to freedom with this band of merry people led by Riley Keough and Shia LaBeouf.  The film wanders along with this crew who has no destination. Rather, the destination is a journey for Star as she achieves self-actualization through wandering across the American landscape. This is a life unknown to me, a pleasure to be in, and an aftertaste sweet as Tennessee honey.