Assuming we all survive to December, I'll write a Top 15 of 2020. That is going to be a weird list for a weird year. It is not just the fact that all the major blockbuster have disappeared. Frankly, I wasn't all that excited for
, and I could wait years for those. It is just that it is much harder to find movies now. The releases are so infrequent and poorly advertised. My 2020 Top List until July was basically just
in the running.
So thank god that in July movies started coming out again. There are three movies on this list that could very well make the Top 15. Spoilers, maybe, but Relic and Palm Springs are both in the running for my Number 1. It felt like movies mattered again. And then nothing's come out for weeks since. What is coming up in August? I'm a movie-guy and I don't know.
So I wanted to explore Spike Lee's filmography more. I wanted to better understand what people saw in this guy. I found quite a few of his movies were great. But just as many are train wrecks, like the hatefully bad Jungle Fever, a movie I'm very sorry to have watched. So assuming you want more of a White guy's opinion on a Black artist's work, I guess read ahead. Obviously I will not be the final word on Mr. Lee and never intend to be.
I should probably rename these lists from "Top 10" to "Most Interesting 10" or "the 10 Movies I Wanna Write About". Because Chi-Raq is not a good movie in my opinion. I think it is a deeply flawed movie which I do not really recommend. But it is a really interesting movie. It also is a great case study of what makes Spike Lee such a unique filmmaker... and such a frustrating one. How many movies have you seen that combine modern street violence with ancient Greek theater? How many movies would think to combine the rhythms of iambic meter and hip-hop? Flawed or not, I've never seen a movie like Chi-Raq.
Right off the bat, Chi-Raq has a big problem. This was only five years ago, but "why don't we ever talk about Black on Black crime" was already an NRA talking point to deflect blame on issues like police violence and mass shootings. The movie fundamentally assumes on some level that murder is an issue the African American community can just solve with a few weeks of abstinence. Lee knows this, and preemptively bends over backwards to fill his movie with defenses. Mostly through the one White character, John Cusack as the Reverend. He gives the audience a lecture on economic opportunities, media manipulation, and yadda yadda yadda. It is a flurry of facts that do not belong in a movie which is a joke about blue balls saving the world.
There is a fun movie in here where say, Teyonah Parris' Lysistrata visits a racist KKK leader and tricks him into giving up his guns by tying him to a Civil War cannon/blatant phallic symbol. How can I not recommend a movie with that scene in it? The guy wears Confederate undies and rides the cannon like he's Slim Pickens on a nuclear warhead. Wesley Snypes and Samuel L. Jackson are hamming it way up. But they do not belong in the same movie as Jennifer Hudson's character, a mother whose daughter was murdered. She spends the whole movie weeping uncontrollably. Chi-Raq has no tone. It's too much of an exhausting lecture to be fun, yet the sex jokes are too often lame and corny to belong in a great statement of Black liberation. Comedy is a great way to pull in your metaphor and message. That's how the original Lysistrata could be a feminist work in one of the most sexist societies in human history. But Spike Lee doesn't trust his own movie to pull that off, so he ruins it with lecture after lecture.
So good? Bad? Not sure. Definitely a mess. Definitely interesting. I like that Rahm Emanuel gets shit on a lot by this movie. Rahm Emanuel has that coming.
9. She's Gotta Have It (1986), dir. Spike Lee
Okay, now only good movies from here on out.
She's Gotta Have It is the very first movie Spike Lee ever made. Some directors can pull off a first work that looks very mature. Get Out looks so polished and poised, that you'd never believe Jordan Peele had never directed before. She's Gotta Have It looks like a student movie. It's shot on filthy black and white 8mm. Most of it takes place in a single studio apartment. It's cheap, it's simple. It's great. "Student film" is not a negative if you can make a movie this sincere and this heartfelt so early in your career.
Most of the problem I have with Spike Lee as a filmmaker is this: he makes movies that are two hours long that should be ninety minutes. Almost all of them would be better if he sliced out a half hour. I wish so badly he would focus on his main idea and cut the unnecessary subplots. With She's Gotta Have It, Lee barely had enough money to finish filming. He couldn't throw in forty minutes of unnecessary sideplots involving the Italian neighbors or homeless drug addicts. Lysistrata in Chi-Raq disappears from her own movie so long you forget she's the lead. She's Gotta Have It has an economy of storytelling. It's a casual slice of life, arguably the first mumblecore movie. Yet every single scene is essential to the core idea. I wouldn't cut a single line of dialog.
She's Gotta Have It is the story of Nola Darling (Tracy Camilla Johns), a young Bohemian living in Brooklyn who is not willing to commit to a single relationship. She has three guys in her orbit and even one interested woman. This movie is just the drama of her working through this phase of her life. None of the dudes are happy, but it is pretty obvious that a monogamous relationship was never going to work with any of them. Spike Lee plays one of the lovers, Mars Blackmon, a loser who is clearly out of his league. This movie is never condemning Nola for her choices. But it never glamorizes them either. There are moments where the love affairs are beautiful. There's a really great scene on Nola's birthday where one of her boyfriends sets up dancers to perform for her. Lee knew that scene was great since he shot it in color. But then there are moments where the affairs are just awkward, painful, or not worth the stress.
Spike Lee movies are often too thick with the director's "voice" talking over the movie. He can't help but shove his footnotes in your face. With She's Gotta Have It, there are no footnotes. Lee was willing to let his movie speak for itself.
8. Attack the Block (2011), dir. Joe Cornish
Attack the Block would have been one of my favorite movies of 2011 if I had seen it in 2011. There is a version of twenty-year-old me in some alternate universe who write 3,000 words about this movie (with spelling and grammar mistakes) back in college. I bet that piece in that universe got 200 views and no comments. Attack the Block should have gotten a wide release. It would have easily become a cult classic for young White blogger critics. This was the movie for people way into Scott Pilgrim or Cabin in the Woods. Instead fucking Cowboys vs. Aliens got a wide release. The world is not fair.
Attack the Block is basically a Doctor Who story without Doctor Who. Imagine if weird aliens landed in London and there wasn't a quirky Time Lord to get to the bottom of the situation for the confused Englishmen. In this case, the aliens land in a council estate, the English equivalent of housing projects. Imagine Cabrini-Green but instead of Candyman, you got aliens. A local gang of barely pubescent teenagers finds a little alien. Then they kill it because it looks weird. Unfortunately, then wave upon wave of much bigger, much meaner aliens show up, and they're pissed.
Immediately this is a very interesting movie. Attack the Block pulls off quite a bit with its low budget. Most aliens are a simple CG effect, but artfully done. They're so dark as to be silhouettes. They're like voids of light. How much more black can they be? None more black. The movie is fearless too with its young actors. It starts out as this fun Super 8-esque romp of kids on an adventure. Then several die very violently. Attack the Block is the movie that made John Boyega a star. He is fantastic as the lead. Most of the movie's dialog is a weird London slang. I've never heard people talk like this. That's probably why the movie never got a proper release, it would have needed subtitles in the US. But that kind of odd language gives it an authenticity. I don't know this place where they speak this language, but I believe this place exists.
By the way, if you think the cops are gonna save the day, you've never been to a housing project on either side of the Atlantic.
7. Sleepaway Camp (1983), dir. Robert Hiltzik
I went to sleepaway camp in the third grade. That was a mistake. I hated camping, I hated the outdoors, I hated sports, I
hated group activities, and I had a big mouth that usually got me into trouble.
Those four weeks were some of the worst of my entire life. So, while I can imagine
not fitting in, I can’t imagine never being able to fit in. It’s bad enough to
be “the weird kid”, it is unimaginably horrible if your own body locks you out
of the group, no matter what you do.
Eighties slashers are not where I would think to look for a good trans POV story. They're typically aggressive heteronormative. They
are an assault of male-gaze hormones: big bare White-girl tits flapping in the
breeze as Jason Vorhees stabs them. Every girl is either fucking a boy or wants
to fuck a boy, and only the latter get to live. Sleepaway Camp, however, right from the start feels unusual. Its gaze is on the
male bodies, and uncomfortably on very young bodies. There is a girl, Judy (Karen
Fields), who looks too young to be this sexualized. But most of this movie is boys with short-shorts,
mesh shirts, and halter tops. The boys go skinny dipping, the girls stay
clothed and dry. There’s a baseball scene for no reason other than to pad the
movie with more male bodies on display. There’s a pedophile cook (who luckily
does not last long), a pair of homosexual lovers, and even, yes, a trans main
character. The sexuality of Sleepaway Camp is all over the place. Sleepaway Camp 2 and 3 feel like normal horny slasher movies. The original has a much much queer psychology.
So much of Sleepaway Camp is a build-up to the big gender
reveal at the end. It is truly an awful moment. A young person’s body is used as a
“shock” for a cis audience in the most crass exploitative way you can imagine. But then the rest of the movie handles this issue
with a lot of care and sympathy. The real terror of this movie is not in the
kills, which are actually decent if you’re a gore fan. (You don’t see the kills
but you do get to see the bodies afterwards, which is an effective choice.) No,
the terror is following a character you know can’t be part of this group.
They’re different. They know they’re different. They have to hide in every
interaction. Most movies of this time would not care to put a cis audience in
the mind of a trans character. Trans people would just be monstrous “freaks”.
Sleepaway Camp wants you to understand being a freak… while also terrified of
them at the same time. I'm not sure what to make of that.
Felissa Rose deserves a lot of credit as the lead girl, Angela Baker in
Sleepaway Camp. It’s a solid performance that was ripped-off entirely for the
character of Eleven in Stranger Things. If this movie can be anything other
than gross exploitation, it is thanks to this young actress.
I don’t get to decide if
Sleepaway Camp is problematic or
progressive. Is this good or bad? Not my call. Cis White male critics decide
too much already, I’ll leave that decision to somebody else. This month I'm taking the L. Somebody else can decide on Spike Lee, somebody else can decide on
Sleepaway Camp. I will say,
however, it is a fascinating movie. Definitely more interesting than its sequels.
6. 25th Hour (2002), dir. Spike Lee
25th Hour is the story of Monty (Edward Norton) a
successful drug-dealer with a fine apartment and an even finer girlfriend
played by Rosario Dawson. He’s got one day left of freedom before facing seven
years of hard time upstate. This might as well be Monty’s last day alive. His
friends, Jacob (Phillip Seymour Hoffman) and Frank (Barry Pepper) are all but
burying him in their mind. The only thing they can do for him is have one
last big party before the end. This movie is thus the slow wait for the
execution, the moment Monty needs to say goodbye and drive to his end. Spike Lee has not made many movies about White characters. But this is one of his very best. Perhaps he's better without race on his mind all the time?
Or maybe race was on his mind making this movie. I read an excellent essay by Ivan Cañadas with an interesting argument. Monty
is arrested by four Black cops and his future is over the moment they walk into
his brownstone. This is not the White experience of the criminal justice
system. A Black drug dealer arrested by four White cops is doomed. They’re in
the system and will die in that system, one way or another. A White drug dealer
can call lawyers, can use his family’s connections, and has enough assumed
sympathy to survive. Monty never does that: he never uses any of his options.
That’s because he looks White to us, but he isn’t. He’s a Black man in Edward
Norton’s skin. Spike Lee is pulling a trick on us, the audience. We
would never have enough sympathy for the real Monty if we could see his real
skin tone.
Back in 2002, 25th Hour got a lot of positive
press due to Spike Lee’s decision to stage two characters talking right in
front of Ground Zero. This was back when most Hollywood movies were digitally
erasing the Twin Towers from existence, looking to avoid the issue. However,
I cannot really tie 9/11 into this story in a solid way. Monty gives a grand
Trump-esque soliloquy about how much he hates every person in New York,
including some racist comments about Arabs. But that’s about it. This is
Monty’s movie, not Ground Zero’s. His rage against the entire city of New York
is a final scream of impotence. Helplessness so often breeds the worst sides of
ourselves, including racism. But you don't need burning skyscrapers to make that point. In retrospect, 9/11 distracts from the real point
more than it adds. If I wanted to be really uncharitable, I’d call the Ground
Zero scene a gimmick.
Speaking of distractions, the entire subplot involving
Jacob’s infatuation with an underaged student (Anna Paquin) was disgusting and
had
nothing to do with anything. The fuck were you thinking when you added this
in, Spike Lee? These scenes are the worst things he's ever made - worse than his remake of
Oldboy.
But back on the positives: The last twenty minutes of 25th Hour are a gorgeous conclusion to Monty’s
story, including some stunning acting by Brian Cox as Monty’s dad. I
recommend getting through the icky parts. This movie is worth it.
5. Hamilton (2020), dir. Thomas Kalil
This is not how I wanted to finally see Hamilton. I mentioned this awhile ago that my New Years' Resolution for 2020 was to see Hamilton on Broadway. It seemed like a simple, very attainable goal. All I needed was a free afternoon and $300 in my pocket. And now Broadway is closed until 2021 at least. Hamilton will come back, I'm sure. So maybe I can live out that dream one day. Until then I'll have to watch this recording on Disney+ with the curses bleeped out. I think it's a fine recording. The editing is decent and does not distract from the performance. I wish there was less of it, but that's me.. You get great close-ups of the actors really crying. But watching this musical on your couch with some leftover wine is not actually watching it live with the energy of a crowd, and never can be.
The weekend Hamilton came out was an interesting weekend on Twitter. I admit, this show is probably overdue for a reappraisal. But it seems like particularly bad timing and a bad look for everybody to automatically decide "Hamilton is bad actually" the moment that regular people can see it. It isn't anybody but Broadway's fault that Broadway is the last truly exclusive medium. There's an unintentional elitism about it. "Oh you peons have Hamilton now? Well, we're done with that shit. That's some Obama-era neoliberal trash, Lin-Manuel Miranda sucks actually, and he can't sing." It isn't musical theater's fault that the show is aging. It is their fault for locking away this recording of Hamilton from 2016 with the original cast until now. If Broadway is elitist, that is because it makes itself elitist. The fans are not the problem.
And also fuck you, Broadway, for killing Beetlejuice. I'm still mad.
This is barely even a first-watch considering how much I've listened to the soundtrack already. I know the original cast recording so well that I could sing along to the lyrics. I can call out exactly where Johnathan Groff makes a different decision playing George III than he did on the album. My opinion on the show is not going to change much just because I can see it live. What I do know now is that Lin-Manuel Miranda's singing is only okay but he sure act. He's great on stage. Daveed Diggs is a national treasure in his purple Thomas Jefferson suit. And the Schuyler Sisters are by far the best part of the show. Maybe it should have been about them and not Alexander Hamilton.
And, yeah, I am less sympathetic to Alexander Hamilton today than in 2016. He's a man whose dream was an undemocratic oligarchy to support capitalism and who bought into the slave economy (but felt bad about it sometimes!). So he's a lot less heroic today. The vision of the good wise leader taking care of us in closed room compromises is much more Obama-era fantasy. After two acts of drama all we get is a damn bank? Even the musical itself does a pretty bad job explaining what was so great about Hamilton. It's a ton of build-up to the Great Man whose great things are then told to us, but not shown. Yet the worst thing Hamilton does in this musical's eyes is diddle some lady. This is why the Schuyler Sisters and even Burr become the emotional core of the narrative, Hamilton himself remains illusive.
But man, Helpless/Satisfied fucking slaps. Then it leads instantly into Wait for It, which is so damn good. Leslie Odom Jr. is a king on stage. So Hamilton is the greatest musical of the last decade, for better or worse. You have to watch this. Ignore all my bitching. This is a 10/10 show.
4. Do the Right Thing (1989), dir. Spike Lee
Frankly the whole reason I even did a Spike Lee-focused month was to force myself to finally watch this movie. I've been writing about movies now for well-over a decade. All that time I've been an imposter. This universe's version of me never wrote that review of Attack the Block in 2011, but it would have been bullshit written by a liar. You cannot be a film critic who knows anything if you haven't seen Do the Right Thing. It is an absolutely fundamental movie of the last thirty years of American culture. You cannot escape 2020 without seeing this movie. I'm sorry.
So much of what makes Do the Right Thing famous is the last twenty minutes. People remember this movie as being about police violence and race riots. That's true, but really, Do the Right Thing is a story about a neighborhood not just the one terrible moment in that neighborhood's history. The opening credits feature Rosie Perez dancing to "Fight the Power", an angry political song lyrically - but also one with a slamming fun beat. How do you not groove to that? Do the Right Thing is a movie I avoided because it seemed like a very heavy watch. And yes, the scene where the cops strangle a man in front of you is tough. But this is also a very light watch. It feels like a real slice of Brooklyn with real characters and a real tone, and that tone is not overly bleak or angry. This was a normal day, albeit a very hot one, that was turned into a nightmare by pointless violence.
The fact the riot and "message" of the movie are locked into the end means that Do the Right Thing's content mostly stands on its own. I hate Spike Lee's more recent work because he always dumps these clumsy Powerpoint presentations of Wikipedia pages he's found. Do the Right Thing is about the people of the neighborhood and their lives, good and bad. It's a matter of fact presentation of the movie's reality, not a lecture. There's racial tensions, yes, but that's not the whole story. Out hero, Mookie (played by Spike Lee himself) has a girlfriend and a son, and is trying to make that work. I love the old man character played by Ossie Davis who seems half-mad, calling everybody "Doctor", and yet rambles wisdom sometimes. Danny Aiello as the White pizza parlor owner is an extremely well-written character who is far more than just a victim or a villain.
Do the Right Thing is also the movie that arguably ruined Spike Lee. He's been trying to make a movie as poignant and deep as this for decades. He reminds me a bit of M. Night Shyamalan, whose movies were terrible for years after critics told him to be the next Alfred Hitchcock. Both Lee and Shyamalan made one truly great movie, then worked way too hard on surpassing that masterpiece. A few years after The Sixth Sense we got The Happening. Spike Lee correctly predicted thirty years of police violence, gentrification, and even the struggles of generations of Black people to define themselves after the Civil Rights Movement "ended". This movie predated the Rodney King Riots by three years. He's been trying to hit that kind of zeitgeist ever since. And sadly, after Do the Right Thing, we got Jungle Fever, a fucking trainwreck of a movie. That movie is much much worse than The Happening, by the way.
3. Shirley (2020), dir. Josephine Decker
Do I need to read Shirley Jackson's novels now? I might need to read Shirley Jackson now. Everybody who has ever taken an English class has read her classic short story The Lottery. But I've somehow gone my whole life as a horror fan and never read The Haunting of Hill House, perhaps the definitive haunted house novel. I should really fix that because Shirley, the new drama film based on Shirley Jackson's life, is now streaming on Hulu and is one of my favorite movies of 2020.
If I had a least favorite film genre it would have to be biopics. They're so often too broad, try to cover too much, and are terrible ways to educate people about historical figures. It feels to me a great disservice to people like Alan Turing to cram their entire complicated lives into a few LGBT themes and autism awareness slogans, while entirely ignoring the intricacies of their work. So the Turing biopic, The Imitation Game belongs somewhere on a list of the worst movies of the last decade. Shirley is not a biopic, it's a feminist drama film that just so happens to star a historical figure. And yet, I know Shirley Jackson much better from this movie than I'll ever know Alan Turing.
For one, Shirley is not filmed like a biopic at all. Most of the movie is shot as a gothic horror tale. It's very metaphorical and impressionist. We meet Shirley Jackson (the ever-great Elisabeth Moss) through the eyes of our POV character, Rose (Odessa Young). Rose is standing in the back of a crowded party, only able to catch glimpses of the author between the heads of taller people in the front row. Rose and her husband, Fred (Logan Lerman), move in with Shirley and her total bitch of a husband, Stanley Edgar Hyman (Michael Stuhlbarg). This awkward meeting sees Shirley and Rose come together in an extremely complicated relationship. The men are philandering, manipulative scum. Shirley has been driven to deep depression but then finds some kind of inspiration in Rose.
There is a lot to compare in Shirley with Portrait of a Lady on Fire. Both films explore how women's spaces separate from men are their only freedom in a patriarchal society. Yet this is not a blunt "#Pride" demand like you'd get in a simpler drama film. It is much more difficult to categorize. Is this even a romance?
I love how much Shirley can convey through its filmmaking versus blunt dialog. Shirley and Rose pressing their knees into each other creates more sexual charge than entire RomCom movies. Rose walking down a street watching women play on a tree is this image of a crazy free life she could have away from her husband and her unborn baby. Shirley's imagined heroine for her upcoming novel starts out in her imagination as this young woman with no face. Then thought the movie, that girl grows Odessa Young's face. Rose herself turns into a cypher for Shirley Jackson, her dialog turning into the same acidic prose that Elisabeth Moss recites the entire film. Shirley ends with the audience unable to separate where Rose ends and Shirley begins.
2. Relic (2020), dir. Natalie Erika James
Most supernatural horror movies are just there to scare you. That's fine. If there's any genre of horror that has particularly low ambitions, it's ghost stories. Things like The Nun or Annabelle or The Curse of La Llorona do not particularly have much on their mind. I mostly skip these kinds of movies because they're so similar that they blend together in my mind. Kevin Bacon stars in The Darkness and You Should Have Left, two mostly identical-looking movies about upper middle class families in a haunted house. I could not tell you which was which. I am not telling anybody not to watch say, Ouija, but it isn't my thing. I'll wait for the critics to filter them out and years later if somebody tells me that Annabelle: Creation was actually great, maybe I'll check it out sometime.
Sometimes the difference between indie horror and mainstream horror is just the budget and how many jump scares there are. Last year's The Hole in the Ground could have been a wide release if Blumhouse had made it and added more screams for the trailer. Relic actually is a difficult film. If you're just in for the ride of scares, The Conjuring was fine, watch that. Relic has a lot more on its mind. It does not want to just make you jump. It wants to haunt you. This movie lives with you for days afterwards, a heavy specter clinging onto your shoulder that you cannot quite get free of.
This is an Australian horror movie. The comparisons to The Babadook are inevitable. Much like Mr. Babadook, The Relic is using horror as a metaphor to explore some very grim realities of life. A mother, Kay (Emily Mortimer) and her daughter, Sam (Bella Heathcote) discover that Grandma Edna (Robyn Nevin) is suffering from serious dementia. Eventually we all reach that point in our lives where we cannot take care of ourselves, either physically or mentally. Sadly, Edna is fraying apart at the seams. She's lost in her own house, losing her ability to recognize her own children and grandchildren. It does not help that the house is terrifying and seems fucking haunted.
For regular audiences, Relic might be too slow for them. But it definitely packs the punches of scares by the last act. You may not get a ghost for awhile. Trust me, it's worth the wait. Nobody will be bored once the house itself becomes a metaphor for grandma's distorted mental state. Mild spoiler, but Relic is as good of a House of Leaves adaptation as we'll ever get. And it comes with an extraordinary ending. My next movie, Palm Springs uses its genre to work through growing up. Relic uses horror to work through death. This is palliative care by way of a haunted house. The finale is gross, inexplicable, but beautiful in a terrible way. I cannot recommend Relic more highly.
1. Palm Springs (2020), dir. Max Barbakow
Palm Springs picks up the baton right where 1993’s Groundhog
Day dropped it. I can name a few time loop movies like Happy Death Day or Edge
of Tomorrow, but none of them seem to be so directly in conversation with the
Bill Murray classic. Palm Springs is not borrowing the concept for an
action movie or a horror movie. It is directly reconsidering the ideas of
Groundhog Day and expanding on them. At the start of the film, Andy Sanberg’s
character, Nyles, has been in the loop so long that he has practically
omniscient powers. He’s reached the bored immortal god phase that Bill Murray’s
character was in at the end of his movie. Palm Springs then creates a
massive complication by throwing a love interest, Sarah (Cristin Milioti) into
the loop with him.
Nyles and Sarah can then share immortality for an endless
vacation. They're at Palm Springs, California for Sarah’s sister’s wedding. Sarah's younger sister's wedding - a detail that is important. Nyles has
spent seemingly an infinite span of time chugging beers by the pool. For the
first time he has something like a playmate. They’re both incredibly charming
characters. I had no idea Andy Sanberg was such a great leading man. He may not ever win an Oscar, but when he needs to be a warm presence leading the audience on, Sanberg is great. Palm
Springs is easily the best comedy of the year so far, thanks to these
characters just enjoying themselves for a good chunk of the movie. They're people having a positive experience with each other.
I love things like Relic but sometimes I just need something cute and pleasant.
But then, at a certain point, Sarah decides she has to leave
the Loop. Where Groundhog Day was a purifying morality play, Palm Springs is
not that simple. (Sarah tries the whole selflessness thing on her first day in the Loop and it does
not work.) This movie’s idea of immorality and infinite vacationing is really a
solid metaphor for growing up. Like many Rom Coms, Sarah is saving Nyle from his
own male toxic stupidity. But Palm Springs is a strong enough movie to know Sarah does
not need Nyle, and can easily go home without him. As long as Nyles is in the
loop, he never has to be anything or do anything. He is not just a slacker,
he’s the ultimate God of Slackers.
But that isn’t a life. Lives need change,
growth, and even decay to matter. You can't bubble yourself up forever in a wall of beer and sun. If you can't be alive, you might as well already be dead.
....
Next month's theme: KAIJU MOVIES. Watching Spike Lee felt like work. I did not have fun. Jungle Fever is a monstrosity. I want to do something I find fun, so here's adorable monstrosities destroying Japan.
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