November Favorites

"Would You Call That Love", Kelly Clarkson: I mainly like this song because it reminds me of "Say What You Want" by Texas. The 90s pop goddesses and their breathy backing vocals are strong with Ms. Clarkson, and there is something wonderfully delightful about this song despite that the subject at hand is heartbreak.

The Late Henry Moss benefit reading: I was drawn to this benefit reading for The New Group both because I am still looking for a Sam Shepard play that I can understand and because Ethan Hawke was directing the performance and reading the stage directions for it. Despite the fact that the reading featured Keith Carradine, Alessandro Nivola, and Vincent D'Onofrio, Hawke completely stole the show. These powerhouse actors were no match for the delight that played across Hawke's face as he watched them read this play. He was cracking up at all the wry lines more than anyone in the audience, and got so caught up at one point that he forgot to read some of the stage directions. Basically, Ethan Hawke really is as cool as I have always suspected, and I would love a chance to get to see him on stage in a Sam Shepard play, even if the meaning of the work continues to escape my grasp.

Rocket Boys, Homer H. Hickam, Jr.: This book is utterly absorbing, and I knew it had really gotten to me when the final chapter brought tears to my eyes, along with the feeling that I didn't want these boys to grow up. Hickam does a marvelous job bringing to life a rural West Virginia town in the late 1950s. His story has plenty of ups and downs, but Hickam benefited from a mother and about half a town that believed in the dreams and ambitions of him and his friends. The ingenuity and pluck of these boys is inspiring and heartwarming – and the rockets are pretty impressive too.

Red Pill Blues, Maroon 5: The deep, early-2000s lounge-style grooves that snake their way through this album make it rather addictive. Right out of the gate, "Best 4 U" (was this title left over from a Robin Thicke album?) and "What Lovers Do" (which has grown on me considerably since it was first released as a single) set the low-key rave tone that would be right at home on the third "sunrise" disc of a Hed Kandi Beach House compilation. In fact, the whole album exudes this lazy, hazy weekend vibe, with the exception of the misguided "Help Me Out". Other solid bops abound though, with "Who I Am" and "Denim Jacket", and "Closure" (my favorite track on the album, which is mainly just a killer jam session that is a bit reminiscent of something from Dave Matthew's Under The Table And Dreaming – aka the soundtrack of seventh grade) being particularly notable. All in all, Red Pill Blues is an excellent chill-out album, perfect for escaping the hustle and bustle of the busy fall season.

Mudbound: This is an engaging film that convincingly transports the viewer to Mississippi in the 1940s. It presents provocative portraits of two families – one white and one black – as well as of one young man from each family trying to find their places in their rural community after serving in World War II. These young men are played by Garrett Hedlund (who should be in so many more movies than he is) and Jason Mitchell, and it is the performances of these actors that truly make Mudbound worth watching. Their emotional struggles and the way they relate to their families and each other form the heart of this film. Other than these two young men and Mary J. Blige as the matriarch of the black family, most of the characters are quite (or very) unlikable – and yet their story is still compelling. The film is reminiscent of a John Steinbeck novel in its ability to capture the working class of a certain era, except for the fact that Steinbeck never wrote something that conveys the emotional heft that underlies this film.

Sweet Virginia: Terrific performances from Jon Bernthal, Rosemarie DeWitt, and Christopher Abbott elevate what would otherwise be a run-of-the-mill neo-noir thriller. While many of the key plot points can be seen coming well in advance, the three lead performances add a captivating edge to the story. Abbott, giving a nuanced performance notable for the character's inability to react normally to others and tendency to phrase questions with just the right amount of social awkwardness to be unsettling, is suitably creepy as a sociopath. Meanwhile, Bernthal and DeWitt deliver appropriately adult performances for characters who have seen and been through a lot in life and have found refuge in each other. The chemistry between these two actors is electric, and their intimate scenes together are by far the standout moments of the film, due to both tenderness and sensuality. The contrast between the lack of emotion in Abbott's character and the emotionally charged scenes between Bernthal and DeWitt add a layer of complexity to an otherwise predictable thriller.

The Book of Dust, vol. 1: La Belle Sauvage, Philip Pullman: While not as challenging as His Dark Materials in any way, La Belle Sauvage still delivers an engrossing and thought-provoking adventure tale. The journey undertaken by protagonists Malcolm and Alice reminded me quite a bit of The Odyssey, as it is a sea voyage fraught with many fantastic islands and mysterious & strange people/creatures/adversaries. There are still plenty of details about the fascist theocracy that is the Magisterium to paint it as a truly abhorrent threat to our heroes. While I certainly missed (the grown up) Lyra and Pan, it was still wonderful to have a chance to return to their world. I am eagerly anticipating the second installment of The Book of Dust and the further adventures that are sure to come along with it.

Call Me By Your Name: This is a rare awards season movie that lives up to (and possibly exceeds) the hype surrounding it. Call Me By Your Name is an excellent and gorgeous film. Armie Hammer's and Timothée Chalamet's performances are exceptional; the chemistry between their characters is off the charts, and their relationship is the stuff that dreams are made of. The film captures summer in the 1980s perfectly, exuding a puckish, languid warmth – not to mention short shorts and fabulous sunglasses – that is irresistible. All of the characters are so likable and open-minded; they are people that you want to spend time with – which is especially true of Hammer's Oliver and Chalmet's Elio. To top it off, the soundtrack is excellent as well, as is to be expected from a Luca Guadagnino film (see also: A Bigger Splash and I Am Love). Call Me By Your Name is destined to be a romance for the ages, and as such, it is a film I could easily watch over and over again.