Wrestling The Bear

More than 6% of adults in the US have an alcohol use disorder. Around 12.5% of people in the US smoke. There are 14 million workers in the restaurant industryu, representing 10% of the the entire US workforce. In the restaurant industry, 11.8% have substance use behaviors. The only occupations that have more substance abuse problems are in construction and mining. 

What makes the service industry so special in this regard? Well, for one the people who spend time in the kitchen spend more time at their jobs than they do in their homes. They will cover shifts and work overtime to compensate for the minimum wage they make. A single bad experience can cost them their job and in the age of social media, future jobs. Their is no union representation, so employees have to put up with the abuse of the job. In 2015, the Substance Abuse and Mental Health Service Administration reported that employees in the restaurant industry had the highest rates of substance abuse in the American workforce. 

The high-stress environments and being constantly on your feet would make adrenaline junkies feel right at home. I have been employed in a restaurant for the past 7 years. First as a host then I moved up to a food runner. When I am a food runner, I have an expediter by my side traying up the food to go out to it's respective tables. When the expediter is not with me, I tray up the food myself then take it out. There are many factors to consider: 

   1) Timing. Did the server hold the dish? If not, I will be walking out the entree before the soup and salad get there. Potentially angering the guest. 

   2) Gathering the correct dishes for the table. If I don't do this, the cook will get angry. 

   3) Ticket overload. This usually happens when there are no complete tickets in the window. So I am unable to take a completed ticket to a table. 

   4) Location notification words: corner, behind, hot, sharp. Always making sure to use these when coming out of the kitchen and into the restaurant. All it takes is one time for someone to not use these notifications and a crash ends up happening. 

So here's a question: given the high anxiety movies to come out lately (Whiplash, Uncut Gems) how has no one realized the potential for a movie about the stress of the restaurant industry? Well, my question was answere earlier this year in the form of a series for Hulu. It was called The Bear and my friend Aaron raved about it. Other friends in the service industry were astonished at how much it got right. So I jumped on it. 

It wasn't just a series about the service industry though. It takes place in the same city where I live, Chicago. The south side to be more accurate. The way the show utilizes the city makes it feel alive. Whether it's a shot of the exterior of the Art Institute at night or Sydney waiting on the platform at a station for the Pink Line, The Bear integrates it beautifully. 

The shit talking is something present in every kitchen. It can be used as a form of comeraderie or to just take the edge off. The shit talking can also be used negatively as we see in a scene where Carmen is at a Michelin starred restaurant in New York. The prep chef fucks up and order and causes Carmen to get behind. When a manager comes in, she is sent home. The manager then comes up to Carmen and proceeds to verbally assault him by whispering "You should be dead." into his ear. Unfortunately, this is something not uncommon in these types of environments. This type of abuse gets passed down from chef to chef. We see Carmen use it on people who he works with at The Beef. We see cooks use abuse tactics like weaponizing personal information. It all rears it's ugly head in Episode 7. A pressure cooker of an episode that is panic attack inducing. 

People flipping out, strained relationships at home, the OCD levels of cleanliness that goes on in the kitchen permeates these episodes and gives it a level of authenticity I've rarely seen in depictions of the service industry. There's nothing glamorous about it. Not to mention, the impetus of Carmen taking on The Beef: the suicide of his brother who was the owner of the establishment. There are many long takes in this show. While the long take has been abused to the point of parody, this show wisely utilizes it effectively. They don't feel showy or forced. We are invested in the characters and the scene and not the filmmaking. 

The restaurant industry is not for everyone. The anxiety is so high that it has driven several of it's employees to become alcoholics. But the people who love it, as evidenced by the characters in the show, have it envelop them. 

Outside of Better Call Saul's stellar final season, The Bear is my favorite show of 2022 and I don't see anything topping it. 

2022 Catch-up: Men, Deep Water, Resurrection, Dr. Strange In The Multiverse Of Madness, NOPE

  Like most of Alex Garland's output, this is some frustratingly spotty shit. Aside from some benevolent racism, an underwritten protagonist, and a CGI-dependent climax, MEN is fucking creeeeeeepy. The first 75% has that look-over-your-shoulder and try-to-find-shapes-in-the-dark spook factor. Garland seems to be having fun, too, with gleefully indulgent montages of cool imagery. Jessie Buckley and Rory Kinnear fucking bring it, too, with remarkable performances (Kinnear does what I thought was impossible: he rivals McAvoy in SPLIT). The last quarter would work better if the effects were flat-out practical and if the horror weren't deflated by stakes-killing 'metaphorror'. Less-is-more goes more-is-more, that's all I'll say for spoilers' sake. I tolerate its flaws, like with Candyman (2022), cuz when it works: it works. C+

  Deep Water is knee-slappingly entertaining. Ben Affleck and Ana De Armas have unbeatable chemistry and the script's sense of humor is so persistent that the whole thing feels like a parody of Erotic Thrillers. Adrian Lyne's first movie in 4,000 years probably came with certain expectations and Deep Water, intentionally or not, subverts them. It's catty, snippy, and--at times--blunt to the point of eye-bugging, neck-jerking whiplash. Affleck gives a performance that's so sharply aware I wanted to buy the dude flowers. Hulu alleges that it's a 'Psychological Thriller' but if that's true then Malignant is terrifying. Both are misdiagnosed, but, who cares: it's good to be back at camp! B

  Resurrection has two stellar performances (Rebecca Hall continuing to be one of my favorite working actors and Tim Roth unnecessarily proving he needs to be in...everything) but it's hideous to look at and, I guess fittingly, we watch a woman have a meltdown for almost two hours. It's a pornographically miserable slog. The ending has been compared to Malignant, described as "insane" and "bonkers" but those claims are egregious lies. The ending is actually a cheap, predictable copout chasing the stale sensibilities of 2010s horror, which makes the whole experience ultimately one-note. It's agonizing watching her PTSD consume her and that's...all there is. I doubt this character would be as interesting if Rebecca Hall didn't have the reins - I had similar issues with MEN (which, these two movies share a lot of topical topography, though MEN is much more visually and hilariously bold). There's some provocative shit here, just not enough of it. C/C-

  WandaVision is the MCU's best piece of work; it's nuanced, challenging, moving, cathartic, creative, and uncharacteristically weird. Multiverse Of Madness is the numbskull sequel that turns the colors pale. Wanda is no longer an antiheroine who sparks debate and adoration in equal measure, here they swing the pendulum to straight-up capital-V Villain. The MCU has, rightfully, earned a reputation for its weak villains and, with her oil-soaked face amidst her dreadful red eyes (and sometimes Raimi has her looking like a sleep paralysis demon) and her perpetual body count, Wanda is a formidable baddie in spite of her thin and redundant characterization. Raimi makes sure that every death is fucking memorable, too, with some dazzlingly ghoulish [PG-13] violence. Wanda rips through everyone like an unholy combo of Carrie White and Jason Voorhees. Seeing her massacre every notable cameo right after their manufactured cheer moments was worth the price of admission. Raimi brings the kind of style and personality (dissolves, match-cuts, POV shots, swirls of color and shadow, camp, gags) that this studio has stamped out for its entire filmography. The script is too dumb and too bland for Raimi but he and Danny Elfman make the best of a bad situation. I'm indifferent to literally every other aspect of this fucking movie. C

   I've seen NOPE 4 times; it's the movie of the summer and one of the best of this fresh decade. I have no hesitation in declaring it a new classic. It's across-the-board impressive; Peele is a real-deal bonafide filmmaking talent who's ambitious, values originality, and balances tones like a dab-hand juggler. This movie is so fucking enchanting, tense, scary, funny, and thematically dense. The cgi is seamless and reminds me of the pure movie magic of Spielberg's heyday with some of the most gargantuan visuals I've experienced in the theater; I don't wanna leave the AMC when it's over. I could keep going but it would either be an obsessive ADHD nightmare rabbit-hole or a repetitive collection of synonyms for "good movie, me love it forever." I'll spare you. A+

The Music, Just the Music: Dennis the Menace

    So much to talk about — too much — when it comes to Dennis the Menace (said nobody ever). I could talk about the iconic casting, the flawless comic timing, the razor sharp editing, the polychromatic cinematography, the picturesque compositions, the dynamic camerwork, the Demme-esque close-ups and inserts, the fact that it’s the best movie Nick Castle was ever involved with, but I wanna focus on the music — just the music — which may very well be the movie’s one towering strength above all others.

   In general, I don’t often dwell on all-time favorite performances, cinematography, editing, etc. Partly because I can’t, in good faith, abstract those things from their intended contexts and compare them to one another. And it’s also partly because, frankly, I just don’t find it to be an interesting intellectual exercise. But I think about favorite scores quite often — more often than almost anything else in movies. This is due, obviously, to the fact that movie music takes on a life of its own outside the film in question, and it’s also because, well, music is arguably the most cinematic thing about cinema. If you ask Brett Easton Ellis he’ll say that cinema is defined by cinematography and story structure; if you ask(ed) Kubrick, he’d say it’s defined by editing. Me? I say movies are defined by music, which is such a nonsensical and paradoxical statement that it must be true.

   Favorite Film Scores is a topic I’ve revisited over and over again throughout my life, usually unconsciously. Before I ever made a single “Favorite Movies” list, I was already in the habit of instinctively crafting “Favorite Movie Music” lists. At various points in my life, my favorite film score was Terminator 2, or The Thin Blue Line, or The Conversation. Recently, it’s Dennis the Menace.

   I said I’d steer clear of talking about directing, editing, etc, but the reality is that this movie demands a comprehensive, holistic assessment when singling out any one element; like all great cinema, everything in the film has a life of its own, yet can’t be abstracted from anything else. In other words, the movie is a dance, not unlike Magnolia or Punch-Drunk Love, except that it’s better (yeah I said it). It moves at such a rhythmic pace that it might as well have a time signature, comparable to Scorsese’s output at the time, as well as a lot of other lesser movies. The overall aesthetic of the film is a (literally) surreal timewarp, a seamless blend of modernity and old Hollywood affectations, situating it as the bright-eyed, bushy-tailed nephew to David Lynch’s Blue Velvet. And that’s where Jerry Goldsmith comes in...

   What Goldsmith did here, as far as I’m concerned, is at least as good as anything John Williams has ever produced, if not better. Compositionally, it falls somewhere between Midnight Cowboy and the Imperial March, and is just as instantaneously recognizable: the mischievous-yet-innocent harmonica paired with the playfully sinister horns, anxious strings, and plucky woodwinds. I can’t imagine a more timeless evocation of a breezy summer day in white suburbia. In particular, the theme for Switchblade Sam is a tightrope balancing act of villainous and funny. Whimsy this potent could’ve single-handedly saved Little Rascals from itself or made me into a Macaulay Culkin fan. Instead, Mason Gamble will forever be my Kevin McCallister.

Windy City Haunts

 I've long debated doing this post. After all, if you don't live in Chicago, what good is this? I then reassessed and realized it would be of use. These are my happy places. Going to any of these coffee shops and reading a book I got from any of these bookstores. That is my idea of bliss. So if you ever visit Chicago, these are places I reccomend checking out: 

EATS

Kumas Corner

Location: Belmont

What is better than listening to heavy metal and watching horror movies? Listening to metal, with horror movies playing in the bakground AND devouring delicious beef. It's as if someone looked into my soul and said "Ya know what? I can take all your obessions and make a tangible place out of it." This isn't the only place on this list that feels this way. The genre movies that have played when I've been in there have all been choice cuts: Creepshow, The Exorcist, Donnie Darko, The Lost Boys, Prince of Darkness, The Evil Dead. 

For my last two birthdays, I've had one location I've wanted to go to in the city to eat: Kuma's. 

What I get: 

Sourvein

Goatsnake

Mastodon

Kizuki Izakaya Ramen

Location: Wicker Park, North Clybourn

What I get: The Garlic Tonkotsu Ramen (pictured above) is . If I'm feeling like an appetizer, the Chicken Karaage 

Garrett's 

Locations: 

What I get: The Garrett Mix

Mark Sommers did a good job explaining the lure behind Garrett's on Unwrapped. This stuff is my drug of choice. 

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BOOKS

Unabridged Bookstore

Location: Belmont

A staple of the Belmont community and easily the best selection of books in the city, Unabidged comes complete with staff selections, a huge LGBTQ section and a generous sales section. 

City Lit Books

Location: Logan Square

Before I knew about Unabridged, this was the bookstore I frequented. It was the first one I went to that had staff recommendations. A huge plus when navigating through a store and not knowing what to pick up. 

Bucket O Blood Books and Records 

Location: Belmont

Horror books. Horror movies. And a metal section in the vinyl area that puts most record centric stores to shame. Located right across the street from Kuma's Corner, it is impossible to visit one without visiting the other. 

MUSIC/FILM

Reckless Records

Locations: Belmont, Wicker Park

One of my holy grails was the Three Films by Teshigahara box set which included Woman In the Dunes. It was at the Wicker Park spot I managed to find a copy for a decent price. Another holy grail I found recently there: Vinegar Syndrome's 5 Films 5 Years Vol. 1: Golden Age Erotica. 

The Exchange

Locations: Belmont, Wicker Park

I primarily shop the used stuff here, which they have in spades. I came across the 2nd season of the Adventures of Pete and Pete at the Wicker Park location and just about peed my pants in excitement. 

COFFEE

The Brewed

Location: Logan Square

Like Kuma's and Bucket of Blood, it was as if someone walked into my brain and got a bunch of the stuff I'm passionate about: horror movies, coffee, horror movie soundtracks. The set up for this shop is a horror fan's wet dream. A TV that plays the Silver Shamrock on repeat, display's of vintage magazines, merchandise, trading cards, and other nifty artifacts. Posted adorn the walls that range from Demons to Zombi 2 to Hellraiser. Even the storage closet has an art design referencing the Candyman mouth artpiece in that film.

Wormhole Coffee

Location: Wicker Park

Ever wish you could go into a Cafe 80's? Well, keep wishing. Unfortunately there are no TV screens telling you to try the Hostage Special. But there is a Wormhole Coffee that comes the closest to achieving this dream. While there's no Pepsi coming out of the counter, there is plenty of delicious coffee to choose from. Plus poster's of 80's classics like Aliens, Ghostbusters, Beetlejuice and Gremlins. The main attraction is a DeLorean toward the back wall. This place is so committed to it retro vibe, that they have a Nintendo for guests to come in and play. 

Intelligentsia

Locations: The Loop, Monandock Center, Wicker Park, Logan Square, Belmont

The place where I first checked out third wave coffee and never looked back. If you want the best coffee has to offer, try any of these locations. I normally get whatever single origin they have in rotation. Then I get their signature drink, the Avena Latte. Avena Latte is a concoction inspired from South America. It has comforting flavors of cinnamon, ginger and vanilla with cayenne pepper on top. 

Metric Coffee

Location: 

After Intelligentsia, I threw out a hunt for what brand I should try next. Metric kept popping up. They only have one location in the Windy City and it takes some walking to get to if you are only using public transportation. But it's worth it. I've never had a bad coffee from them. 

Hexe Coffee

Location: Diversey

Hexe Coffee got its start making cold brew barrel aged coffee. This is where they put the beans in bourbon barrels and what results in a vanilla flavor in the coffee. After setting up shop, Hexe fully embraced its namesake. Their brand is folklore and horror themed. Boneshaker Bourbon, Painted As Monsters, Behemoth Dark Roast, Evil Friends and Blood Witch are the names of just some of their delicious brews. 

4 Letter Word Coffee

Location: Logan Square

The most recent coffee shop I discovered, 4LW is currently just a gran n' go place to get your fix. 

Top 200: 101- 200

“Without turning, the pharmacist answered that he liked books like The Metamorphosis, Bartleby, A Simple Heart, A Christmas Carol. And then he said that he was reading Capote's Breakfast at Tiffany's. Leaving aside the fact that A Simple Heart and A Christmas Carol were stories, not books, there was something revelatory about the taste of this bookish young pharmacist, who ... clearly and inarguably preferred minor works to major ones. He chose The Metamorphosis over The Trial, he chose Bartleby over Moby Dick, he chose A Simple Heart over Bouvard and Pecouchet, and A Christmas Carol over A Tale of Two Cities or The Pickwick Papers. What a sad paradox, thought Amalfitano. Now even bookish pharmacists are afraid to take on the great, imperfect, torrential works, books that blaze a path into the unknown. They choose the perfect exercises of the great masters. Or what amounts to the same thing: they want to watch the great masters spar, but they have no interest in real combat, when the great masters struggle against that something, that something that terrifies us all, that something that cows us and spurs us on, amid blood and mortal wounds and stench.”

1.  

I rarely get to share the films that excite me with people other than my girlfriend. If it's not her, it's people who I've become friends with online. When I'm talking to people who share an interest of mine, I feel like I am doing so with my back held up against a door- hundreds of books, movies and music recommendations waiting to burst out and overtake the conversation. Sometimes I just open the door a crack so I can tailor the movie I recommend to what their interest is. I'm not going to go up to a stranger and recommend WaterPower to them. But if by chance, they are into that sorta thing, then more power to them. After all, the biggest gift a film love can impart onto another is a movie they love.

The above Roberto Bolano quote is a love letter to 'messy art'. Magnolia always struck me as the example of this type of movie. It doesn't quite share the same critical space as say, There Will Be Blood. This is in no way diminishing the quality of Blood. To leave it at that would be lazy and contrarian. You can get your special prize for being oh so unique and return to your seat. It does ultimately come down to personal preference. I feel the same way about Citizen Kane and F For Fake. I just get more enjoyment out of the latter. Welles is on fire with ideas about trickery, art forgery and the idea of authorship. There's been two constants in my top ten since it started way back when: Magnolia and Apocalypse Now. Two films where you watch 'the great masters spar.' Real fucking combat. 

2. Jeanne Dielman to Jackass

German-Jewish philosopher Walter Benjamin once said: "Higher art sought concentration while lower art fostered distraction. All of this in order to distort and corrupt the original and justified interest of the masses of film- an interest in them understanding themselves and therefore their class." The Music Box Theater in Chicago recently had a series called Highs and Lows. In the series, they coupled what one would consider high art and low art. They paired Dumb and Dumber with Y Tu Mama Tambien, How High with Daisies, Billy Madison with The Phantom of Liberty, Peggy Sue Got Married with The Last Temptation of Christ. All of this in hope to warp and distort the line separating high and low art. 

What is so frustrating is finding people who put limitations on their media consumption. Black and white, foreign language and silent films are just too artsy for the horror kid and exploitation, hardcore and SOV movies are too low brow for the arthouse kid. I say try it all. It shouldn't matter if it was made in 2021 or 1921. When I meet someone whose taste is set in stone or has hit a comfortable ceiling of exploration, I don't walk the other way, I run. What I look for in a fan of movies is one who can enjoy a Russ Meyer film on Saturday and an Ingmar Bergman film on Sunday. The kinds of moviegoers who are willing to stand on the cinematic highway and thumb down whatever vehicle comes by, who are willing to takes chances. Wittgenstein said it best: "The limits of your language are the limits of your world." Exploring new avenues of cinema shouldn't have to feel like homework. Once it does, might as well throw in the towel. 

I've never been to film school, but I imagine it being mind numbingly dull sitting next to a guy who pontificates about mise en scene. Or going through a syllabus filled with strictly arthouse fare. As if there is nothing of value to be found in say, Jackass: The Movie. A horror convention is a place I find myself more at home. The merchandise helps out. 

There are various sub groups out there. The A24 fans who seem to only like movies from 2010 onward. From my experience, it's niche genre fans- I'm thinking the ones who are into hardcore adult films- that are the most open. And ya know what? It kinda makes sense. They are already a fan of the most looked down upon subgenre of film there is, so you have no choice but to expand outward. This isn't just a trend I see in film. I've seen it pop up frequently with fans of heavy metal. 

3. "Today it looks like Disneyland" 

I remember just last year crafting a list of my top 20 films from 1971 to celebrate it's 50th anniversary. The list expanded to top 30 and even then, I felt I was missing some gold. The film that ended up at number 30 felt just as essential as the film that topped the list. Nowadays, I struggle to make a top 10 with that feeling. The moment I feel I'm filling up slots just to make it reach ten is the moment I reassess and question whether I should make a list at all. Hence, the last couple years being more of a best of media. 

Truth is, I'm exhausted. The constant barrage of Marvel, Star Wars, and all the other ways studios are capitalizing on nostalgia is enough to make me tune out of it all. Nobody dies and everything is a shared universe. Get turned into CGI confetti in one movie and come back in the next one. Take us away, climate change. 

There are thousands of titles out there at the tips of our grubby little hands. Streaming sites such as Shudder and The Criterion Channel cater to our little curated corners of cinephilia. There are no more excuses for there not being anything to watch. Thanks to Criterion, Vinegar Syndrome, Severin, Blue Underground, and many others, I have a growing library of titles I can retreat to and watch in the comfort of my home. As such, this list grows larger in archive titles than it does in new releases. Not for lack of me trying. I try to watch a good amount of new releases in the theater. Maybe 2 or 3 a month and then 4 to 5 around November thru December. Out of those releases, very few have left me stunned. If we're talking the last few years, only one movie has eeked out amidst the hundreds of movies to come out, Titane. 

4. THE LIST

I couldn't limit my list to 100. So I extended it to 200. The criteria for these are: would I want to rewatch this or is this a one and done movie I admire more than actively love?  Am I adding this for personal reasons or to impress someone else? Yes to the former? OK. Yes to the latter? You're out. 

Editing the list has taken close to a year in blog form. It's a constantly mutating, ever changing beast and you gotta be fuckin' kidding me if you think it's going to look like this a year from now. 

I have heard the phrase "what your favorite film is says a lot about you as a person" tossed around a lot. A list of favorite films should be able to give a good representation too. 

To give you a glimpse of how agonizing the process of creating/limiting this list was, here is a section titled

HONORABLE MENTION

or: what snuck into the list, then was dropped the next day...

Sunrise: A Song of Two Humans (1927), The Passion of Joan of Arc (1928), The Life and Death of Colonel Blimp (1943), The Ox-Bow Incident (1943), Detour (1945), Notorious (1946), Black Narcissus (1947), In A Lonely Place (1950), Strangers On A Train (1951), Ugetsu (1953), All That Heaven Allows (1955), Paths of Glory (1957), Eyes Without A Face (1959), Some Like It Hot (1959), Last Year At Marienbad (1961), The Exterminating Angel (1962), Funeral Parade of Roses (1962), Harakiri (1962), Shock Corridor (1963), Onibaba (1964), The Train (1964), Kwaidan (1965), Repulsion (1965), Kill, Baby...Kill! (1966), Le Samourai (1967), Beyond the Valley of the Dolls (1970), The Conformist (1970), The French Connection (1971), Investigations of A Citizen Above Suspicion (1971), Female Prisoner #701: Scorpion (1972), Play It Again Sam (1972), Coffy (1973), The Long Goodbye (1973), Messiah of Evil (1973), Black Christmas (1974), Truck Turner (1974), Monty Python and the Holy Grail (1975), Grey Gardens (1976), Kings of the Road (1976), Network (1976),  News From Home (1977), Stroszek (1977), Airplane! (1980), Cannibal Holocaust (1980), Cruising (1980), Modern Romance (1981), Ms. 45 (1981), Southern Comfort (1981), Pieces (1982), Poltergeist (1982), The Boxer's Omen (1983), Blonde Death (1984), The NeverEnding Story (1984), Cobra (1986), The Money Pit (1986), Broadcast News (1987), Born On the Fourth of July (1989), The Killer (1989), Lethal Weapon 2 (1989), Baraka (1992), Batman Returns (1992), Last of the Mohicans (1992), Malcolm X (1992), Addams Family Values (1993), Dazed and Confused (1993), Jurassic Park (1993), Last Action Hero (1993), Philadelphia (1993), Dead Man (1995), Fallen Angels (1995), Velvet Goldmine (1998), Audition (1999), The Iron Giant (1999), Wonder Boys (2000), Yi Yi (2000), Wet Hot American Summer (2001), Y Tu Mama Tambien (2001), Adaptation. (2002), Punch- Drunk Love (2002), OldBoy (2003), Before Sunset (2004), Napoleon Dynamite (2004), The Assassination of Jesse James By the Coward Robert Ford (2007), Uncle Boonmee Who Can Recall His Past Lives (2010), Take Shelter (2011), We Need to Talk About Kevin (2011), The Act of Killing (2012), Inside Llewyn Davis (2013), The Duke of Burgundy (2014), Enemy (2014), Interstellar (2014), Magic Mike XXL (2015), Bad Black (2016), Manchester By the Sea (2016), First Reformed (2018), The House That Jack Built (2018), You Were Never Really Here (2018), 

Parasite (2019)