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Existentialism at the Third Grade Level

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By Guest Blogger-Editorialist Charles Schnell, Singing “Hello, Dolly!” Too Loudly in the Afterlife

 

The possibility that there is no almighty deity, definitive meaning, or afterlife is a frightening notion, particularly if you’ve been paying for a Netflix subscription all this time.

After taking AP Chemistry for quite a few weeks now, I have come to hope that there is an afterlife, that there is more than this.

Though, when I reach the afterlife, I have a few questions that need some answering before I can start enjoying myself. Firstly, how long has it been since the afterlife was founded? How late is the neighborhood delicatessen open? Will my college debt carry over? Are there more levels of education? Have we gotten a clear lay of the land? How much money are the cartographers making per 1,000 maps? And, of course, is there anything after the afterlife? Is there anything after the afterlife’s afterlife? How many afterlifes are we going to have to go through before we get some peace and quiet? And, on average, what is the cost of quality plumbing in each of them?

Having posed those questions, we must remind ourselves that all of them will be answered eventually. It is of the utmost importance that we try not to worry about the future so much. How could we? There’s too much going on in the present moment to consider what could be, as well as what could have been.

Editor: Luke Langlois

Teachers and Students

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By Charles Schnell, Self-Proclaimed King of Mediocrity, Controversy, and Unavailability

 

Is it better to be the teacher or the student? Neither, if you still do not have a significant other.

When all is said and done, there is not much of a difference between teachers and students. We are all human, and that means on our best days, we are all imperfect. (Albeit, some more than others.)

Teachers and students are more similar than the teachers would like to admit. For one thing, we all fall in love. Teachers fall in love with Lincoln, the Ti-84, the government, and the College Board. And students, well, we fall in love with each other–for better or worse.

Additionally, we all have favorite foods. I am sure all my teachers are craving an In-N-Out burger as much as I am. The difference here is students have the metabolism to handle the burger, the shakes, and the fries that find themselves tossed around in the bag.

Sure, metabolism is great, but being a student certainly is not free of its own disadvantages; teachers have a “leg-up” on us in many things. They cannot be grounded by their parents, only the law; they get to correct the homework instead of doing it; they can drink. As a lover of freedoms like these, I would rather be a teacher than a student. However, if you were to ask teachers, I’m sure they’d rather be students again.

To sum it up, teachers and students have one key similarity trumping all other similarities: our humanity. We are all human, so maybe we can reach an understanding and compromise. Teachers, if you stop giving us homework, we will stop giving you homework to grade. Imagine how many outings to Applebee’s we could make.

 

Editor: Luke Langlois

Why you Shouldn’t Live for the Weekend, Proven by Math. (NOT CLICKBAIT)

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By Luke Langlois

In honor of National Positive Attitude Month, I, Luke Langlois, am here to say that “living for the weekend” is a horrible way to live. I define living for the weekend as counting the days, every week, until you reach the short, two-day weekend. Why live like this? Why not appreciate every day given?

No one is ever skeptical of numbers; therefore, I will use numbers to prove my point. To start, let’s look at some facts. Using my big brain knowledge, I can tell you that there are 52 weeks in a year. If we multiply 52 by 2, we get 104. 104 is the number of weekend days we get a year. If we subtract 104 from 365 (days), we get 261. That would be 261 weekdays in a year. If you despise the weekdays and only live for the weekend, you fail to appreciate 261 days out of the year. Let’s go further. The average human lifespan is 79 years. An average 79 year old experiences 28,835 days (unless they happen to have fallen into a coma). That is a lot of days. More big brain knowledge tells me that 79 (years) multiplied by 261 (weekdays) is 20,619. Finally, let us subtract 20,619 from 28,835. That would be 8,216 weekend days in a 79 year old’s life .

So, in conclusion, live for all seven days of a week. It is to the entire planet’s benefit to learn to appreciate every day that you live. If you live to be 79 and only live for the weekend, you will only appreciate 8,216 days of your life, compared to the possible 28,835. That is a lot of days you could be missing out on! Please, appreciate your days, at least for National Positive Attitude Month.  

Editor: Makena Behnke

Different Time, Same Humans

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By Luke Langlois

Unless you happen to be an 80’s movie star with easy access to a certain DeLorean, you most likely have not time traveled. However, you’ve definitely thought of what kind of petty things you could do with the power of time travel. You could tear the very fabric of the universe in order to procrastinate a little longer! While that would be incredible, the sun may implode before we figure that out. For now if we really want to time travel, we simply need to look to one the world’s greatest inventions, film.

When we young people tend to look back to the land before our conceivable time, it’s usually in black and white photography. While we may think we have a general idea of what’s going on, do we really? Personally, I find it difficult to actually process what I’m seeing. My brain registers a black and white picture as little more than a relic of history. In reality though, these people were once living, breathing, and struggling, just like ourselves. My eyes have recently been opened to the past due to the gears of capitalism–advertisements.

Humans seldom look back on what has changed. We seem to view the mid-20th century as a completely different time with things like the Cold War, funny hats, and video games like Pong. While of course big changes have been made globally and culturally, humans have always been humans. Last weekend, I was on YouTube, a rare occurrence in these junior days. On YouTube, as people do, I looked up “old commercials.” I clicked on a video that was titled “Commercials from the 60s.” I was expecting ridiculous advertisements for irrelevant products or some sort of American propaganda. However, I had heard of almost every product featured (look below for a link to said video). It was almost surreal, though that may be a bit dramatic. Many things have changed, but, in the grand scheme of things, there is so much that hasn’t changed at all. We humans are still just humans. While the advertisements are a bit strange by today’s standards, it’s really just a bunch of food, coffee, or medicine commercials. Yes, the Trix rabbit has been attempting to steal cereal for more than half a century.

The point is, we can’t time travel in the science-fiction sense, but we do have access to a type of time travel. I encourage you all to watch any available old film, audio, or video, to put life, and previous eras, into context. Who knows, maybe you’ll be enlightened! Along with the video of commercials I referenced, check out things such as old political or colorized footage.

Tide–because the world has always been in color.

Link to video of advertisements below. Students, you’ll have to watch it at home.
https://www.youtube.com/watch?v=a2AQdyB34so)

Editor: Holden Hartle

The Story, Production, and Genius of “Arrested Development”

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By Charles Schnell

Arrested Development is my favorite sitcom. With the release of the first half of season five on Netflix on May 29, I thought I would write a post explaining why.

To put it in the show’s own words, Arrested Development is “the story of a wealthy family who lost everything, and the one son who had no choice but to keep them all together.” Enter the Bluths: a wealthy family who owns a real estate development firm named the Bluth Company. Not only are they a very wealthy family but they’re also an extremely dysfunctional family. After the CEO of the company, George Bluth Sr., runs into legal trouble, the family starts falling apart, and it’s all up to one of his four children, Michael Bluth–the “one son”–, to keep them from plunging completely off the deep end, all the while trying to keep the company afloat. So, why does keeping his family together pose a challenge for Michael? Well, once you see his family, you can understand why. His family includes a lying, lazy, selfish, indecisive twin sister whose favorite hobby is to crack open the company checkbook; an arrogant, foolish, self-centered older brother trapped within his hopeless dream of being a magician; a gullible, post-hemispherectomy younger brother who’s overly attached to his mother; and an oblivious, neurotic, ex-therapist of a brother-in-law who’s chasing his dreams of acting. These four are just a fraction of his family. And what happens when you place this dysfunctional family right in the heart of a highly satirized Newport Beach? Chaos, crime, romance, loss-of-limbs, death, and hilarity!

Arrested Development was created by Mitchell Hurwitz. The show originally began in 2003, airing on Fox. Upon the completion of its first season, the show was met with critical praise, winning six Primetime Emmys and a Golden Globe. However, due to poor marketing, the show received poor ratings. Thus, in 2005, its second season was cut from a planned twenty-two episode run to eighteen episodes, with which it was still able to garner eleven Emmy nominations and one win. A similar but more unfortunate event occurred in 2006 with its third season: twenty-two episodes became thirteen, and the show was ultimately cancelled by Fox.

Fortunately, in 2013, Netflix, who had nabbed the rights to the show, released a fourth season. Many aspects were different about this fourth season. For instance, while all the main actors were able to come back, many crew members, writers, and producers did not return. Another thing is that almost all the actors had reached new heights of fame since the original series. Jason Bateman, Will Arnett, Michael Cera, and David Cross are all Arrested Development actors that have been in multiple movies and TV shows and have become more popular since the end of the third season. Because of this, Hurwitz and the rest of the creative team had trouble working around the actors’ schedules, especially without a film budget. Thus, the fourth season had to undergo a different writing and presentation style than the original three seasons. The original series was full of scenes of the characters being together, and what made the original so great was how cleverly the writers had the characters interact with each other. The fourth season had to go a different route, since the actors’ schedules were very limiting. Thus, while there are some scenes of the Bluths together, the majority of the fourth season was written with each episode being dedicated to one of the main characters’ individual adventures. The writers decided to turn this handicap into an advantage, as they used this to structure the plot of season four in a very complex way. Season four was not ordered chronologically upon release. Because of this, the writers ended up turning season four into an intertwining, complex, out-of-order story. This fourth season eventually unfolds into a mystery storyline. And this led to the controversy of season four. Some argue that much of the charm and wit of the original series was lost, as one of the reasons the original show was so great was because of how the characters played off of each other. Others praised season four, claiming that the complex plot of season four that gradually turns into a mystery made the show much more engaging and much more than “just a comedy.” While I would agree that the show is way more than “just a comedy” even if the fourth season never happened, I really like season four. The writing is extremely clever and well thought out. I think that about the original three seasons too, but the difference is that the first three seasons are clever in a comedic sense, while the fourth season is clever more so in its plot and storytelling, while still being funny.

After five years of little news regarding a fifth season, we recently received great news. About a month ago, Mitchell Hurwitz announced that not only was season five going to be released very soon, but that he had made the Season Four Remix: a recut of season four that not only put the fourth season back into chronological order, but cut and reordered all the scenes as well, putting the season into episodes that each contained multiple characters’ stories per episode. This recut, that turned the original fifteen thirty-minute episodes of season four into a new twenty-two-episode season with each episode being twenty-two minutes, has been positively received and generally recognized as better than the original fourth season. Some have even claimed it is just as good if not better than the original series. All the complaints of a convoluted plot and character-overdose per episode are taken care of in the recut. While I agree the recut is way funnier than the original season four, I still appreciate the original for taking its production circumstances and trying to do something bold with them. Plus, the writing in the original season four is still really organized and well-thought out. (Thankfully, both season four’s are available on Netflix. The original has been tucked away in the “Trailers and More” section).

Okay, enough with season four. I want to get to why I love this show. On May 29, the first half of season five launched on Netflix. Season five continues the mystery cliffhanger left by season four. But remember, it’s still a comedy first and foremost.

The writing is extremely clever, silly, intertwining, connected, organized, and hilarious. From funny one-liners to ridiculous physical mishaps, the script of almost every episode is non-stop laughter. Every line is delivered with the exact delivery it calls for. The actors all have great chemistry with one another and, also thanks to the brilliant scripts, can play off each other well. The pacing is very rapid and works beautifully; the only problem is sometimes your laugh from one punchline will extend over another punchline. Not only are the actors’ deliveries spotless, but their facial expressions and body language are always on point, sometimes even garnering more of a laugh than the line does. The soundtrack, while not the highlight of the show, is fitting and is subtly funny in its own way. Some of the tracks become their own on-running gags. Speaking of which, I hope you like on-running gags and inside jokes because this show is chock full of them and will never hesitate to use them time and time again, even when you least expect it. Another thing I will say about the writing is while Arrested Development is first and foremost a comedy, the storyline is not horrible. Unlike numerous sitcoms, a continuous storyline actually exists and has its own little surprises, twists, and turns. And, because of the continuous storyline, this is not a sitcom where you can jump around. In order to fully understand what’s going on in an episode and all the jokes an episode might have, you must have seen all the episodes prior to that episode respectively. The storytelling becomes much more of a focus with the Netflix seasons than the original series, which provides the story as a backdrop for all the crazy comedic scenarios that occur, as well as a relief from the otherwise non-stop one-liners and on-running gags. Finally, Ron Howard is the narrator. In the first season, he more or less acts as a normal omniscient narrator. However, as the show continues, Howard starts saying more and more witty one-liners and clever, comedic quips, and he gradually becomes one of the comedic highlights of the show.

Arrested Development is a hilarious, ridiculous, absolutely crazy comedy that also knows how to tell a compelling story. This show never fails to make me laugh, and with the release of the fifth season and the upcoming summer break, I hope you will give this show a chance. For those of you who already like this show, aren’t we glad that Netflix is keeping this show alive? And for those who do not like this show… we’ll agree to disagree.

 

Editors: Renée Vazquez and Leo Milmet

some movies that i love and you might not but i don’t care because i love them with all my heart

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By Makena Behnke

 

some movies i like suck; some rule. it’s all a matter of opinion, okay? it’s summer, so instead of going outside and getting a tan, stay inside your little cave of a room and watch movies (most of these are on Netflix by the way). so, here we go.

  • The Craft. four girls experiment in the world of witchcraft. can they handle it, or do they go power mad? plus it has Skeet Ulrich soooo, yes.
  • Almost Famous. a 15-year-old kid goes on tour with a band in the 70s. as far as i know, this is the most realistic movie about band life on tour. also, a true story. love, peace, and joy, man.
  • 10 Things I Hate About You. despite what Leo says, it’s great. Julia Stiles and Heath Ledger? yes! also, a modern interpretation of a Shakespeare play? yes! also, set in the 90s? yes! overall, yes.
  • Hush. the horrorest of horror. not really, but it’s still good. It involves a deaf girl who lives in the middle of the forest and a murderer. the girl’s cat’s name is my favorite thing; i’m not allowed to mention it on the blog, but trust me, it’s good.
  • Peter Pan–the 2003 one specifically. the very story of Peter Pan just makes me so happy, but the actors and the way it’s executed makes me love it more.
  • Scream. so darn good. a classic. it has Matthew Lillard, Skeet Ulrich, Neve Campbell and Courteney Cox–my favorite 90s actors. truly one of my favorite movies ever.
  • Bring It On and Bring It On: All or Nothing. i was obsessed with this for a long period of time. i probably still can remember most of the cheers (and probably most of the script), but don’t ask me to cheer; i won’t.
  • 13 Going on 30. a movie everyone should watch. although a little chick-flicky, it’s great. can a magical birthday present fast forward through seventeen years? 
  • Kong: Skull Island. i haven’t seen any other giant monkey movies, but this was on the plane, and i couldn’t sleep on the plane. so far, i’m a fan of giant monkey movies. my last two eight-hour plane rides were good movie days.

 

Warning: some movies are Rated R, so beware.

Editor: Claire Jenkins

The Value of Guilty Pleasures

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By Leo Milmet

Have you ever seen a film or television show, or read a book, or listened to a song, that you really, really like (or maybe even…LOVE) that you know is just awful? Or maybe you hate something for many reasons, but love to analyze just why you hate it, or you genuinely like a film, book, show, or song that everyone else hates? These various types of films are often called guilty pleasures, and I must say that I have many of them. I used to think of guilty pleasures as embarrassing, but not anymore. I actually really embrace my enjoyment of many truly bad (or badly reviewed) film and shows, like Maris Curran’s drama Five Nights in Maine, the new Burt Reynolds film The Last Movie Star (the rare film that I truly, honestly love that still has terrible reviews), almost any M. Night Shyamalan film (with the exception of Lady in the Water and the god-awful The Last Airbender) or, especially, the CW-produced coming-of-age show Gossip Girl. I really, honestly like that show. It’s awful, yes, and I despise nine out of ten shows of its type, but for some reason, I enjoy Gossip Girl. All art is subjective, so subjective that, in fact, you could easily argue that there should be no such thing as a “guilty pleasure,” but no matter. There is value to these artistic works.

Now, you may ask, “Where on earth is the value in Gossip Girl, or The Village, or even in Five Nights in Maine?” For myself, I find the value in “bad” films or shows by analyzing them, just to understand why they are bad. I can safely say that Gossip Girl is bad. The dialogue is sometimes ridiculously unrealistic, and the plotting can be very lazy. But, it’s incredibly fun for me to watch, and I love to analyze just why it is, in fact, a bad show. It’s simply a bad show that I watch all the time. And, doing exactly that, with whatever guilty pleasure you may have, is what I recommend to you today. If you’ve always had a couple of guilty pleasures that you’ve been embarrassed about for a while, maybe go through them again one day and try to figure out just why they are bad, good, or some mixture of the two. Trust me, it can be a lot of fun.

Editor: Makena Behnke

The Under-Appreciated Art of Short Films

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By Shelby Armor

Everyone takes the time to go with a couple of friends to see the latest blockbuster that just hit theaters, but people rarely go out of their way to see a short film. The art of the short film is rarely talked about, and I can’t think of many people that rave about an amazing new short film they just saw.

I, personally, am in love with short films. The thing that I find most amazing about short films is their ability to construct an entire complex story, often times in less than ten minutes. I find that this is the particular challenge faced by short films. You have fewer than forty minutes (as the Academy of Motion Picture Arts & Sciences defines it) to make your audience fall in love with your characters and feel invested in the story that you’re telling. You are creating an intricate story with just as much complexity as a full-length feature film. This is a challenge. When watching a TV show, the creators take time and slowly introduce you to characters, knowing that you’ll like them eventually. But, in a short film, you have the length of an episode to accomplish the same thing and more.

Shorts can be anything from a soul-sucking drama to a childish animation. This is what is so beautiful about them. Even in their time constraints, they have such freedom of expression. Shorts are often used to make statements, to comment on human nature, or to take a strong political stance. But, they can also be used to just make people happy and laugh.

Well known for making people happy are shorts made by Pixar. I grew up on these films. My favorite film that I must have watched one hundred times and still enjoy today is called Boundin’ (https://www.youtube.com/watch?v=7WyR4AqRweY). And while this short may be very amusing, it holds a deeper message for people, telling them to love and accept themselves no matter how they look. Another one of my personal favorites as a child was For the Birds, also by Pixar (https://www.youtube.com/watch?v=WLdfpBNjdDc). This one is supposed to be pure comedy with an annoying bird being pecked at by smaller birds as they sit on a wire together.

And, if you take another example from Pixar’s Red’s Dreams (https://www.youtube.com/watch?v=NBtIPJM2AsI), there is a much darker theme. It follows a young unicycle who is lying alone in a run-down shop, dreaming of the day he is bought and can go to the circus. All of these short films are only about five-ten minutes long, but even after not having watched the shorts in about ten years, I still remember every detail. I remember how I loved them so and first began to fall in love with the under-appreciated art of short films.  

Short films have the ability to tug at your heartstrings and lay out a grand story in less than an hour. There is such complexity to them, and they require so much skill to write, which is often not thought of when you see a short film. The ability to do what a short film does, to pull in viewers like they do within such a small time frame, is truly astonishing.

 

P.S. I highly recommend watching the Pixar short film collection, as they are all really amazing. Two really good ones to check out are Geri’s Game (https://www.youtube.com/watch?v=9IYRC7g2ICg) and Lifted (https://www.youtube.com/watch?v=LVLoc6FrLi0). Another one of my favorites (not from Pixar) is The Present (https://www.youtube.com/watch?v=WjqiU5FgsYc). Happy short film watching!

 

Editor: Brennan Nick

LGBT+ Superheroes

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By Comic Lover and Blogger Peter Kadel

America Chavez–Marvels first LGBT latina superhero

In the past two decades, there has been a major shift in pop culture and modern entertainment. Comic books and comic book movies have gained an incredibly high popularity as comic books have become a legitimate form of art, and their film adaptations have grossed  billions.

Recently, I was talking with Mr. Griffin after a GSA meeting. The subject of comic books and comic-book movies came up after Mr. Griffin complimented me on my knowledge of Marvel comic books. As the conversation continued, we eventually got to the subject of minority representation in comic-book superhero movies. It was at this point that Mr. Griffin asked, “When is there going to be an LGBT Superhero on the big screen?” And, while I could not answer the question off the top of my head, I decided that I needed to find the answer. At first glance, it seems like there are no LGBT+ heroes and that there aren’t likely to be any in the near future. But upon a closer look, the opposite is true. In terms of current representation, many existing LGBT+ characters have hit the big screen, and there are even more LGBT+ characters that exist in the comics that have not yet been adapted to the big screen. Harley Quinn who appeared in the DC Extended Universe’s movie, Suicide Squad, is bisexual in the comics, having had romantic encounters with Poison Ivy. However, the movie adaptation, where Harley Quinn is played by Margot Robbie, did not explore that side of the character’s sexuality. On the Marvel side of comic-book movies, the character Deadpool, who received his first stand-alone movie in 2016, identifies as pansexual. And, while he has not yet had an on-screen romance with a man, many people involved with the franchise, including Deadpool actor Ryan Reynolds, have voiced interest in pursuing this side of the character’s sexuality. 

Representation within the DC comic-book universe–Poison Ivy and Harley Quinn

But there are even more LGBT+ characters in comic books that have not yet made their way onto the big screen. The best example is Marvel character America Chavez (aka Miss America). She is a lesbian latina superhero who was raised by lesbian parents. She is likely our best bet in terms of an LGBT+ hero with a stand-alone movie. The character is currently set to appear in an animated film titled Marvel Rising: Secret Warriors. While that is not the great big live action event that the character deserves, it’s a start. Miss America is an empowered young woman who always stands by her ideals and does not put up with bigotry and injustice. She is the perfect role model for younger generations, not only because of her ideals, but because she is more than her sexuality and relationships. This is how representation should be. People are more than their sexuality, or race, and this is shown in the way Miss America is handled as a character. America Chavez is a step towards representation that will ensure the relevance of Marvel Comics. Comic books are very popular among young people, so it only makes sense that they appropriately represent the young people of America. 

Marvel comic books especially have a long history of representing the under-represented and making us fall in love with those we thought were unlovable. Stan Lee (the major creative force behind the most popular Marvel characters) has a penchant for taking society’s outcasts and making them heroes. The core of the best marvel heroes are not their looks or social standing but the content of their character. The importance of representation in comic books is not the race or sexuality of the character, but the fact that they are shown as being worthy of being heroes.

Editor: Shelby Armor

Underseen and Underrated Films, Volume Two

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By Leo Milmet, The Bird on Fire Resident Film Critic

 

I had several other ideas for my previous post “Underseen and Underrated Films,” from various decades, so I retroactively (after submitting it to my editor) titled that post “Volume One” and this “Volume Two.”  This time, however, the decade in which a film is released means nothing. These are simply some extra films that I love just as much as the others that were left out in order to follow my original rule of “one per decade.” Hope you enjoy.–Leo

The Cabinet of Dr. Caligari (dir. Robert Wiene, 1920): A beautiful, German, monster-horror-silent film that exudes pure artistry and pure terror at the same time. A fascinating and expressionistic masterpiece.         

Mr. Smith Goes to Washington (dir. Frank Capra, 1939): An all-time American classic about a  layman who is chosen to become part of the Senate.

The Third Man (dir. Carol Reed, 1949): A masterful noir thriller. Joseph Cotten stars as Holly Martins, a pulp author who goes to visit his old friend Harry Lime in postwar Vienna, only to realize Harry is dead. Obsessed with understanding the circumstances surrounding Harry’s passing, he is led into a confusing web of contradicting stories about the victim.

The Night of the Hunter (dir. Charles Laughton, 1955): Despite initial failure, this ingeniously directed, incredibly suspenseful thrill ride is one of my favorite films of all time. Robert Mitchum stars as Reverend Harry Powell, a murderous and fanatical priest in prison for car theft when he meets a man who admits he has stolen and hidden $10,000. How far will Powell go to get his hands on the loot?

A Man Escaped (dir. Robert Bresson, 1956): A brilliant exercise in sound editing and mixing. The simple (but wonderfully executed) plot concerns the escape of a prisoner of war in World War II.

Network (dir. Sidney Lumet, 1976): A poignant political satire of insane proportions. Featuring Peter Finch in one of the greatest performances of all time.

Blue Velvet (dir. David Lynch, 1986): A twisted psychological thriller about a happy little suburban town and its deep, dark underbelly.

Clerks (dir. Kevin Smith, 1994): This low-budget, black-and-white comedy depicts the type of people who’d nonchalantly ring you up at a convenience store and then feel entitled to mock you just after you leave. Clerks is one of the best of its type because while it cracks its sometimes-funny and always overly sophomoric jokes, it entices you to latch on to its realistic, relatable and (surprisingly) intelligently drawn characters in a way that few comedies of its type can accomplish. Personally, I don’t watch this movie just to laugh, and that might be the biggest compliment I can give it.

Dark City (dir. Alex Proyas, 1998): This fascinating story, a visionary blending of science fiction and film-noir, is executed with beautifully bleak cinematography and production design. If you like film-noir or science fiction, this is an absolute must-see, even according to Roger Ebert, who named it his #1 film of 1998. Also, if you’ve never heard of this film, don’t look it up, just sit back and watch it one day, as the risk of spoiling one of the film’s many wonderful twists and turns is too high.

My Friend Dahmer (dir. Marc Meyers, 2017): This “horrifying coming-of-age story”  (the words of the director, Marc Meyers) concerning the teenage life of the infamous real-life serial killer Jeffrey Dahmer is one of my absolute favorite films of last year. Its well-written script is brilliantly executed, managing to be at once chilling, hilarious, and emotional without ever missing a beat.

Editor: Claire Jenkins