My Top Twelve Songs of 2019

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Lists

Wow, what a year it has been! I usually post my year-end song list in January, but between the passing of my dad and the coronavirus pandemic, things have been rather hectic. Perhaps it’s just the comparison with this year so far, but 2019 was largely a really good year, for me at least, and the music released was a big part of that. I was finally able to become a web developer and get a desk job, and that allowed me to listen to a whole slew of songs and artists I might never have stumbled upon otherwise. And naturally, I had to compile a Top Twelve list of my favorites.

In past years, there were certain artists I discovered that defined the year and became instant favorites (Florence and the Machine in 2016, Kygo in 2017, Aurora and Chvrches in 2018), but 2019 revealed artist after artist that I was thrilled to discover for the first time: Saint Motel, September, Kensington, Kaiser Chiefs, Sigala, The Naked and Famous, TWRP, Skyhill, Foxes, The Protomen, Sigma, Parade of Lights, and the list goes on. Fans of those artists may wonder what rock I’ve been under, but I’m certainly glad to join their ranks. While not all of these released new albums, there was still so much good music last year, and so little of it is actually on the radio. I can only shake my head over Billie Eilish’s “Bad Guy” getting the most attention.

As always, my list below is strictly my personal choices based on my personal tastes. There are plenty of other good songs out there for other tastes, so I wanted to recommend Chris’s list at Movies and Songs 365 as an alternate Top 10. I was particularly hard-pressed to pare down my honorable mentions, and in the end, I still ended up with over 60. Forgive me for the length, but it could have been longer, and they all deserve mention. And no doubt, I’ll likely discover some songs in the next year that slipped through the cracks and will make me wish I could include them here. I certainly wish I could have highlighted TWRP’s “Starlight Brigade” or Metric’s “Now or Never Now” on last year’s song list.

Without further ado, let the Top 12 countdown of 2019 songs commence!

 

12. “Tokyo” – White Lies

 

I agonized over what should be #12 for a long time, because there were at least eight songs that might as well have been a tie. In the end, with the assistance of my tie-breaking VC, I decided to go with the instant earworm of “Tokyo.” The chorus is one of those instantly-recognizable tunes that most bands wish they could conjure, and it’s an ethereal delight. Special mention also for their “Hurt My Heart.”

 

11. “Something Unreal” – The Script

 

In addition to discovering artists new to me, I also realized how much I had underrated bands I’d known for years. The Script’s new album made me recognize how good the Scottish band can be, and the melodic, pulsing beat of “Something Unreal” might be my favorite song of theirs. Special mention for “The Hurt Game,” “Same Time”, and “Hot Summer Nights.”

 

10. “It Only Gets Better” – WILD

 

I always like to highlight lesser-known bands with songs that deserve more attention, the kind that never see airplay and can only be found by those tooling around YouTube. WILD doesn’t even have a Wikipedia page, but boy, do they deserve one and so much more. “It Only Gets Better” is a joyous, indie, sing-along type of song that never gets old, guaranteed to raise the spirits of those lucky enough to stumble upon it.

 

9. “In Case You Don’t Live Forever” – Ben Platt

 

Not many songs can bring me close to tears, but this one did. Releasing his first solo album after the Tony-winning success of Dear Evan Hansen, Ben Platt delivered a haunting ballad expressing a child’s appreciation for a parent, which all too often is realized too late. With the loss of my dad fresh in my mind, this song strokes the deepest feelings of grief and love and is beautiful to boot. Special mention for “Bad Habit” and “Grow As We Go.”

 

8. “Timebomb” – Walk the Moon

 

And Walk the Moon returns to the year-end song list, last placing #2 back in 2017! Ever since “Shut Up and Dance,” they’ve been among my favorite bands, and this is a fine addition to the quartet’s stellar record of radio bangers. Special mention for “Eat Your Heart Out” and “If I Lose You.”

 

7. “Almost (Sweet Music)” – Hozier

 

It took a while, but I’ve come to appreciate Hozier’s distinct vocals and lyrical ingenuity. “Almost” or “Sweet Music” has such a lilting joy and a smooth mellifluence that it feels like a song that will be enjoyed for years to come. Special mention for “Dinner and Diatribes,” “Movement,” and “Would That I.”

 

6. “What Lies Ahead” – Kensington

 

The Dutch band Kensington was one of the best discoveries I made last year, and I was delighted when they then released new music for their brand new fan. Perhaps not as good as “Do I Ever” or “Slicer,” but “What Lies Ahead” is a great example of their special brand of catchy semi-hard rock that I’ve come to love. Special mention for “Bats” and “Uncharted.”

 

5. “Save Me” – Saint Motel

 

Of all the bands I was lucky enough to discover last year, I think Saint Motel is my favorite. Nearly every single song of theirs is consistently lovely, inventive, memorable, invigorating, haunting, or some combination of all five. To my mind, they’re like a modern-day version of The Beatles. And “Save Me” is a smooth, let-your-eyes-roll-back-in-your-head kind of song, with a strangely nostalgic aura. How did I not hear of them sooner?! Special mention for “Diane Mozart,” “Van Horn,” and “Old Soul.”

 

4. “Fireman and Dancer” – Royal Republic

 

Walk the Moon doesn’t corner the market on bangers; Royal Republic may be their steepest competition. This infectiously dance-worthy jam is a should-be hit with an unabashedly ‘80s aesthetic. How is this not all over the radio? Special mention for “Boomerang” and “Anna-Leigh.”

 

3. “Wild Roses” – Of Monsters and Men

 

Of Monsters and Men is another band that has only grown in my estimation the more I hear of them. The Icelandic group’s latest album is a bit more pop-ish than their usual folk style, but that’s hardly a bad thing when it produces songs like this. “Wild Roses” is an immersive earworm, at once soothing and energizing. Put simply, it makes my ears very happy. Special mention for “Wars” and “Alligator.”

 

2. “The Upside” – Lindsey Stirling

 

In addition to Walk the Moon, Lindsey Stirling has also graced a past list, snagging #4 back in 2016. Not to be confused with the Bryan Cranston/Kevin Hart movie of the same name last year, “The Upside” is Lindsey’s best song in years. With its exuberant lilting energy, it shows how rip-roaring a violin can be in the hands of the right person. Although she teamed with Elle King for vocals, I prefer the pure instrumental track for sheer audio euphoria. Special mention for “Darkside,” “Sleepwalking,” “Between Twilight,” and the whole Artemis album.

 

1. “Never Be the Same” – Tritonal, feat. Rosie Darling

 

When I heard “The Upside,” I was convinced it would be my #1 by the end of the year, but no, there can only be one. And this is the one! “Never Be the Same” isn’t your typical progressive house song. No, this is the culmination of progressive house at its best. With possibly the finest drop I’ve ever heard, this song fills me with a primal, head-banging rhapsody that makes me worry about dain bramage afterward. It is my favorite song of 2019. Special mention for “Little by Little,” “Bloom,” and “Shivohum.”

 

 

And those are my Top Twelve Songs of 2019! What did you think? Solid picks or totally off-base? Even with all the music I’ve found in the last year, I’m sure I’ve only scratched the surface of what’s out there. Let me know your favorites in a comment and maybe I’ll find a new favorite too!

As promised above, I’ll now list my many, many runners-up, continuing the ranking in descending order (#13, #14, etc.), and if any of these are unfamiliar, I’d love for you to give them a listen. Songs and artists are only obscure until they get enough fans, and these deserve fans. 😊

 

“Don’t Throw Out My Legos” and “Karma” – AJR

“It’s Mine,” “Without You,” “Stronger,” and “Dying for You” – Mystery Skulls

“Chances”, “Sober”, and “Lies” – Ashton Love

“Back in My Body,” “Love You for a Long Time”, and “Fallingwater” – Maggie Rogers

“Nostalgic,” “Find Someone,” “Where You Are,” and “Problems” – Arizona

“Slide Away” – Miley Cyrus

“I Say No” – new song from Heathers musical

“Die Young” – Sheppard

“The River”, “The Seed”, and “Dance on the Moon” – Aurora

“Safe Place” – Pelago, feat. Maximus

“Golden Oldies,” “Lucky Shirt,” “Northern Holiday,” “Wait,” and the whole Duck album – Kaiser Chiefs

“Grand Escape” – RADWIMPS (from the film Weathering with You)

“Sixteen” – Ellie Goulding

“Harmony Hall” – Vampire Weekend

“Miracle” – Caravan Palace

“Moderation” – Florence and the Machine

“Think About You” (feat. Valerie Broussard) and “Carry On” (feat. Rita Ora) – Kygo

“Lion” – Hearts & Colors

“Longshot” – Catfish and the Bottlemen

“Bismarck” and “Fields of Verdun” – Sabaton

“555” – Jimmy Eat World

“Orphans” and “Arabesque” – Coldplay

“Black Gold” – Editors

“Inferno” and “Nexus” – Hiroyuki Sawano (from the film Promare)

“Fences,” “Feels Like,” and “Home” – Vicetone

“Into the Unknown,” “Some Things Never Change,” and “Show Yourself” – Frozen II

“Wish You Well” – Sigala, Becky Hill

“I Get No Joy” – Jade Bird

“Free to Go” – Seeb, feat. Highasakite

“The Bones” – Maren Morris, with Hozier

“So Am I”, “Torn”, and “Freaking Me Out” – Ava Max

“Talk” – Two-Door Cinema Club

“So Heavy I Fell Through the Earth,” “4ÆM,” and “Violence” – Grimes

“Love Me” – Felix Cartal & Lights

“In Degrees” – Foals

“The Best” and “California Halo Blue” – AWOLNATION

“Nomad” – Jeremy Renner

“Heavenly” – Cigarettes After Sex

“Heart upon My Sleeve” (feat. Imagine Dragons) and “Never Leave Me” (feat. Joe Janiak) – Avicii

“Paper Rings” and “Cornelia Street” – Taylor Swift

“Hidden Potential” – TWRP

“The Way I Feel” and “Love Too Much” – Keane

“You Mean the World to Me” and “Castles” – Freya Ridings

“Hurt People” – Gryffin, with Aloe Blacc

“Sad Forever” – Lauv

“Missed Connection” – The Head and the Heart

“Fight,” “Touch Your Body,” and “Mermaids” – Deamn

“LPs” – Jeffrey Lewis & the Voltage

“Walk Me Home” – P!nk

“One Day” – Sam Feldt and Yves V

“Mama” – Clean Bandit, feat. Ellie Goulding

“Dear Future Self (Hands Up)” – Fall Out Boy, feat. Wyclef Jean

“Globetrotter” – Ludvigsson

“Start Stoppin’” and “I Got You” – The O’Jays

“Stand Up” – Cynthia Erivo (from the film Harriet)

“Death Stranding” – Chvrches

“mother tongue” – Bring Me the Horizon

“Coming Home” – Adon, Nicolas Haelg, Sam Halabi

“Sucker” – Jonas Brothers

“Your Light” – The Big Moon

“Juice” – Lizzo

“Gloryhammer” – Gloryhammer

“Never Really Over” – Katy Perry

“Forgotten Kids” – Callum Pitt

“I Dare You” – The Regrettes

“Living in the Future”, “Forgot Your Name,” and “Tears in Her Eyes” – Mini Mansions

“Midas” – Skott

“Seventeen” – Sharon Van Etten

“Alive” – Dabin, feat. RUNN

“Dylan Thomas” by Better Oblivion Community Center

 

Despite everything going on with COVID-19, let’s hope 2020 will offer another year of great music!

And to end this musical extravaganza, like in past years, I wanted to provide a small tribute to all the musical artists lost in the last year, including Michel Legrand, Peter Tork of The Monkees, Andy Anderson of The Cure, Doug Sandom of The Who, Nipsey Hussle, Doris Day, Ian Gibbons of The Kinks, Jeff Fenholt, Eddie Money, Ric Ocasek of The Cars, Robert Hunter of the Grateful Dead, Jerry Naylor of The Crickets, Marie Fredriksson of Roxette, Kelly Fraser, Jack Sheldon, and so many others. Thank you for the music, and may you all rest in peace.

VC Pick: The Fly (1986)

Tags

Horror, Sci-fi, VC Pick

Whenever some genius succeeds in inventing a teleportation device,
Whoever created it ought to be wary and test the darn thing at least twice.
For things can go well in initial experiments; but, due to bug or pollutant,
It only takes one time for things to go wrong, and next thing you know, you’re a mutant.
_________________________

MPA rating: R (very R)

Remakes often get a bad reputation, but certain remakes are more well-known than the original. Although I haven’t seen all of it, the original version of The Fly has that famous scene of a woman screaming into the compound eyes of a fly-headed scientist. Yet I’ll bet most people think of Jeff Goldblum before anything else in the 1958 film (except maybe the high-pitched “Help me! Help me” scene). That’s probably because David Cronenberg’s version of The Fly is extremely… memorable, one of the great gross-out flicks that still carries something of a message in its extreme body horror.

The Fly works well because of its gradual nature. Goldblum’s Seth Brundle, a scientist working out of a deserted warehouse, proudly shows attractive journalist Ronnie Quaife (Geena Davis) what he’s been working on, a pair of teleportation pods. They’re unfinished, though, and despite the horrific results of testing it on a baboon, he perseveres until he believes it safe for human testing. Spoiler alert: it’s not. Whereas the original film had an immediate head-and-arm swap between the man and the fly inside the telepod, Brundle’s transformation is gradual, taking a while for him to realize what went horribly wrong, and the results are anything but pretty.

The transmogrification of Seth Brundle is a pitiful sight, and Goldblum succeeds in exposing the character’s initial hubris and later desperation, even while being covered in more and more disfiguring makeup. Comparisons with unstoppable diseases like cancer or leprosy are unmistakable. One scene felt like a precursor to a similar scene in Prometheus that I’ve always found deeply disturbing. And then there are the final scenes, in which the visual effects and Oscar-winning makeup make the most of a gruesome finale. The ending is a bit too abrupt, not unlike An American Werewolf in London, but it has staying power, haunting the brain and keeping the heartbeat elevated even after the credits roll.My VC thinks this is possibly Jeff Goldblum’s best role, but I’m still surprised that she recommended this movie, considering she is far from a fan of shock horror, and neither am I. Still, The Fly felt like a higher form of it, one that’s hard to ignore. It was also a nice surprise when I was reminded that the famous line below originated in this film. If you don’t enjoy grotesque imagery, The Fly is not for you, but if you can stomach some for the sake of compelling sci-fi, it’s a classic of its genre.

Best line: (Ronnie, to a potential victim of Seth’s) “No. Be afraid. Be very afraid.”

 

Rank: Honorable Mention

 

© 2020 S.G. Liput
670 Followers and Counting

 

My 2019 Best Picture Ranking

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Lists

I know it’s over a month late, but now that I’ve finally finished reviewing last year’s Best Picture nominations, I figured that a good old-fashioned ranking was in order. While much of 2019 cinema didn’t stand out very much, it offered a surprisingly strong group of nominees, the best since 2016 I’d say. Even if some of them were not for me, several I loved, so I can’t wait to see what 2020 has in store (whenever this whole virus situation allows the movie industry to return).

 

9. The Irishman

Martin Scorsese’s gangster epic was more of a lackluster bore than a magnum opus.

 

8. Once Upon a Time in Hollywood

Quentin Tarantino’s love letter to classic Hollywood was too rambling for its own good, with an over-the-top bloody conclusion that left a bad taste in my mouth.

 

7. Joker

Timely and well-acted, this comic book villain movie was also nihilistic to an unsettling degree.

 

6. Ford v Ferrari

This real-life tale of two men and the expectation-challenging car they created hits most of the right feel-good notes; considering I’m not into racing films, it did its genre proud.

 

5. Parasite

The surprise Best Picture winner was a surprise to me as well, a twisty and perceptive thriller that I keep liking more and more.

 

4. Marriage Story

Brilliant performances highlight this devastatingly real depiction of divorce and how it brings out the worst sides in people.

 

3. Jojo Rabbit

Taika Waititi’s merger of hilarious quirk and scathing satire may be divisive but handles its balancing act to great entertaining effect.

 

2. Little Women

Wholesome in the best way, this oft-remade adaptation is a joy of a film, managing to combine both old-fashioned and modern sentiments.

 

1. 1917

I love tracking shots, so I was destined to love this film. Boasting both a compelling story and bravura direction, it’s a genuinely awesome feat of film-making.

 

What did you think of the Oscar nominees? Anyone else wish Avengers: Endgame had snagged a nomination? Feel free to comment with your thoughts!

The Irishman (2019)

Tags

Drama, History, Netflix

Some people rebel for as long as they can;
They buck every trend and defy every plan.
But others are quiet and willing and pleased
To do as they’re told, keep the masters appeased,
And these are the ones you must watch and beware,
The don’t-rock-the-boat-ers, who heed but don’t care,
For with the right orders behind such as they,
The renegades pale next to those who obey.
_____________________

MPAA rating: R

After over a week of delay, I’m finally getting to the last of 2019’s Best Picture nominees, which just so happens to be the last one I saw and the least good, in my opinion. I’ll freely admit that I have little love for the gangster genre or for Martin Scorsese’s films (honestly, Hugo is the only one I’ve cared to see), and The Irishman did nothing to remedy that opinion. There’s a fine film somewhere in it, but you’ll likely fall asleep before you get to it.

The three-and-a-half-hour plot plays out as a mob epic, spanning decades and following the life of ex-GI Frank Sheeran (Robert De Niro), an Irish meat delivery driver, who happens to meet Russell Bufalino (Joe Pesci) and from there becomes gradually introduced to the shady but profitable world of organized crime. Settling into a job of “painting houses” or murder for hire, Frank proves to be a talented hitman and eventually becomes the body guard and right-hand man of Teamster leader Jimmy Hoffa (Al Pacino). Yet, as Hoffa’s interests begin to stray from those of the mob families, Frank feels his loyalties torn and must figure out how to live with his decision.

Based on the nonfiction book I Heard You Paint Houses, The Irishman feels detailed and comprehensive in its depiction of the Philadelphia underworld and certainly believable in showing how a nobody like Frank could rise through the ranks. The Oscar-nominated effects used to de-age the three main characters are also highly convincing, an illusion broken only by the knowledge of what they actually look like right now. And of course, it certainly has star power, further aided by the presence of Ray Romano, Harvey Keitel, and Bobby Cannavale, who all fit their unscrupulous characters to a T. It’s not quite as violent as I feared from Scorsese, but it feels like he’s definitely in his comfort zone.

Yet, for all of its seemingly lofty ambition, The Irishman, put simply, drags. Even watching on Netflix from home, you’d have to be truly fascinated by the gangster genre (or just feel obligated to get through it, in my case) to watch the whole thing in one sitting, and I can’t help but think it would have been better served as a miniseries. Just like with Peter Jackson and The Hobbit trilogy, there comes a time when a director becomes so enamored with his subject matter that he can’t bear to edit it properly. It’s a quality production from beginning to end; there’s just too much in between them.

In addition, while the acting was good overall and both Pacino and Pesci snagged Supporting Actor nominations, I can see why De Niro was not similarly honored. Beyond the oddness of an Italian actor playing an Irishman surrounded by Italians, the role of Frank Sheeran is fairly one-note until the very end, always doing what’s expected of him and letting himself be controlled by his bosses and his temper. De Niro gives a solid performance but doesn’t give Frank enough depth, just as The Irishman is a decent gangster movie but fails to distinguish itself among the rest of the genre. I liked aspects of the production, such as Frank’s narration and the labels thrown up to introduce certain characters and the usually violent ways they died, which strengthened the theme of the gangster life being ultimately hollow, but there’s little reason that I would watch The Irishman again, at least not all at once.

Best line: (Whispers DiTullio) “To tell you the truth, I’m a little concerned.”
(Frank Sheeran, narrating) “Whenever anybody says they’re a little concerned, they’re very concerned.”
(Whispers) “As a matter of fact, I’m really more than a little concerned. “
(Frank, narrating) “And when they say they’re more than a little concerned, they’re desperate.”

 

Rank: Dishonorable Mention

 

© 2020 S.G. Liput
669 Followers and Counting

 

Joker (2019)

Tags

Drama, Superhero

The ills of this world sit upon a low shelf
Of only concerning the cares of one’s self:
My money, my job, my family and time,
My needs of the moment, my mountain to climb;
My headaches are worse and my schedule more pressing
Than all of the others who likewise are stressing.
It’s such a low shelf that we reach it with ease,
For selfishness is everyone’s expertise.
_____________________________

MPAA rating: R (for language and violence)

If it wasn’t for the cultural fervor over it and the Best Picture nomination, I probably wouldn’t have sought out Joker, certainly not in the theater. From the trailers, it looked like one of those dark, society-blaming screeds about cruelty breeding more cruelty, which isn’t the kind of movie I enjoy. Yet friends of mine praised it and urged me to watch it with an open mind, so I did. On the one hand, it was exactly what I was expecting, and on the other, it held more depth than I expected, buoyed by Joaquin Phoenix’s committed, Oscar-winning performance.

We’ve already had three big-screen versions of the Joker, two outstanding and definitive (Nicholson and Ledger) and one mostly meh (Leto), not to mention the host of animated incarnations, so it’s impressive alone that the filmmakers were able to put their own stamp on this much-rebooted character, much less win a second Oscar for the role (after Ledger’s posthumous Supporting Actor win). Set in the yellow-tinged urban decay of 1981 Gotham City, Joker forgoes superpowers or vats of acid in favor of a psychological profile of a broken man. Arthur Fleck is a socially awkward clown-for-hire and wannabe comedian, an easy target and scapegoat for unkind strangers and acquaintances, who also suffers from a condition that causes him to laugh uncontrollably at inappropriate times. His only relationship to speak of is with his aging mother (Frances Conroy), but he tries to make a connection with a caring neighbor (Zazie Beetz). When a late-night subway ride turns deadly, his fragile psyche begins a mental spiral into violence with plenty of blame to go around.

As I said, Joker was, in many ways, exactly the kind of movie I wasn’t looking forward to watching. There’s no hero to root for, no answer to the deep-seated societal flaws laid bare, and, by the end, what little hope and sympathy that graced Arthur’s life deserts him, replaced by a nihilistic anger that paints Joker as an unholy champion of class rage and rebellion. Yet at the same time, it makes its points effectively. Pitiful in every sense, Arthur was definitely mentally ill from the start, but there are multiple times where other people’s treatment of him could have gone two ways and usually takes the crueler route, only feeding the inevitability of his breakdown. If it takes a village to raise a child, it also takes one to bring them as low as Fleck does.

There’s a reason I reviewed Joker so soon after A Beautiful Day in the Neighborhood. Despite their vast differences, it fascinates me that both sparked the same feeling within me, namely the desire to be a better person. Mr. Rogers was the epitome of human kindness and consideration, while Joker is the product of their complete absence, taken to the extreme. Together, the two films show what wonderful things can come from goodwill and forgiveness versus what terrible things can happen when they are withheld. Empathy can change perceptions and transform lives, but its power is most evident when it’s gone.

It’s interesting how Joker almost seemed to lean into similarities with maligned scenes from other superhero films, like the dancing scene from Spider-Man 3 becoming a now iconic dance down some stairs in the Bronx. (I can see the filmmakers saying, “Remember that ridiculous scene? Let’s do something like that but dark and metaphorical.”) It’s hard to see how this gritty and grounded drama could lead to the DC world of Batman and other heroes, even with a direct tie-in to Bruce Wayne’s origin story. Phoenix’s Joker, gaunt and middle-aged, is clearly not the same Joker a modern-day Batman would face, but he certainly could have inspired a more diabolical copycat in the years to come. Time will tell if they explore that possibility with any success.

Despite its perceptive, even eloquent dive into a desperate mind, I don’t think I’ll ever feel the desire to watch Joker again, but I can admit its cultural timeliness, even if I disagree with its unsubtle class warfare themes. It’s a film to appreciate, to appraise, not to like. Between Phoenix’s Oscar-caliber theatrics and the caustic social grievance that fuels it (plus Hildur Guðnadóttir’s powerful, Oscar-winning score), Joker has cinematic quality to spare, but its moral hollowness is too disturbing to ignore.

Best line: (Arthur) “How ’bout another joke, Murray? What do you get when you cross a mentally ill loner with a society that abandons him and treats him like trash? I’ll tell you what you get! You get what you f***in’ deserve!”

 

Rank: Dishonorable Mention

 

© 2020 S.G. Liput
665 Followers and Counting

 

A Beautiful Day in the Neighborhood (2019)

Tags

Biopic, Drama, Family

We’re told that, if one can’t be kind,
It’s best if one not speak their mind,
But in our minds, we also need
More gentleness to intercede,
That we may speak them free of shame
And help the world to do the same.
________________

MPA rating: PG

I vaguely recall watching Mr. Rogers’ Neighborhood when I was a kid. I remember the puppet king and the camera zooming in on the educational videos playing on Picture Picture. I think I even read a children’s biography of Fred Rogers for a book report. As I grew older, I thought his style was too tailor-made for kids to appeal to me anymore, yet I still viewed him as an admirable figure. My mom, however, remembers the years when he was practically a laughingstock among cynical adults, so it warms both our hearts that he’s finally getting his due, at least in the movies.

Tom Hanks has made a living playing America’s most trustworthy figures, from Walt Disney to Captain Sully. In both cases, and with Mr. Rogers here, he doesn’t entirely disappear. He still looks like Tom Hanks, yet he manages to wield the audience’s good will so well that it doesn’t matter. He can practically be two people at once. He manages to adopt Fred Rogers’ soft-spoken manner and genteel politeness so well, that it’s no wonder cynical reporter Lloyd Vogel (Matthew Rhys) finds him hard to believe when Vogel is told to profile Rogers for an article about heroes.

A Beautiful Day in the Neighborhood isn’t quite what is advertised, its greater focus being on Lloyd and his troubled relationship with his father (Chris Cooper) rather than Mr. Rogers. Well, there’s a reason Hanks was nominated for Best Supporting Actor. Yet, Lloyd’s story (loosely based on Tom Junod, who also profiled Mr. Rogers in the 1990s) is still meaningful, with Rogers acting as sort of a homespun shoulder angel for him, urging him to rediscover his priorities and even the value of silence. I was surprised at how much I identified with elements of Lloyd’s story, particularly his father’s terminal illness, and it touched me more than I was expecting. I also liked the visual style borrowed from Mr. Rogers’ show, with most outdoor scenes presented as a miniature diorama, though one dream sequence of Lloyd’s threatened to get too silly at times.

I think the reason Mr. Rogers is so beloved now is his unsullied brand of kindness, regardless of the person or whatever they’ve done. In a world where nastiness seems to be rewarded all too often, we as a society have begun to crave what once was viewed as quaint and puerile, and he was the paragon of a gentleness we’ve largely lost. A Beautiful Day in the Neighborhood is a lovely tribute to a lovely man, not some subversive exposé but a confirmation that Rogers’ public persona was him. If it makes even one person choose kindness over the alternative, then it will have lived up to the example of Fred Rogers.

Best line: (Mr. Rogers) “There is no normal life that is free from pain.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
665 Followers and Counting