The 20 Most Essential Jonathan Demme Movies

The Silence of the Lambs (1991) 

Demme’s ticket to horror-movie immortality, and a well-deserved one at that. This iconic thriller about an FBI agent (Jodie Foster, never better) using a serial killer to catch a serial killer made a superstar out of Anthony Hopkins; compare the actor’s work here to his subsequent turns as the charismatic, cannibalistic Dr. Hannibal Lecter and you can see the director’s sense of less-is-more restraint paying dividends. The film also broke a bloody glass ceiling at the Oscars, too, becoming the only horror movie to date to win Best Picture. But it’s the thoughtful way in which Demme shot the world that our heroine Clarice Starling has to navigate – so many male faces, looming huge in the frame and staring right into her (and our) eyes – that remains Silence’s most pointed commentary on predators and patriarchy. STC

I forgot to link to this when it went up, but Rolling Stone put together a lovely tribute to the work of the late director Jonathan Demme, and I was honored to contribute a few words on The Silence of the Lambs, a great film.

“Fargo” thoughts, Season Three, Episode Four: “The Narrow Escape Problem”

Varga’s theory of human behavior is expressed via a memorable metaphor: bulimia. Twice in this episode, we see him in his deliberately shabby suit, gorging on rich food, then heading for the bathroom and bringing it all back up. (The handkerchief he neatly unfolds to protect the knees of his pants from the men’s room floor is a lovely little shoutout to the similar ritual performed by the Faulkneresque alcoholic writer W.P. Mayhew in Barton Fink.) Consume all you want — just don’t dare to leave a trace of it where people can see.

I reviewed this week’s episode of Fargo, which more or less argues that wealth is inherently immoral, for Decider.

How “Billions” Became One of TV’s Best Shows

I was ready to write Billions off as a loss. Debuting last year, Showtime’s high-profile financial thriller boasted an impressive cast, helmed by Paul Giamatti and Damian Lewis in the dueling roles of U.S. Attorney Chuck Rhoades and billionaire hedge-fund genius Bobby Axelrod. The writing, led by co-creators Brian Koppelman and David Levien, combined obvious affection for the setting with a gimlet eye for its excesses and crimes (not to mention its denizens’ penchant for comparing themselves to movie gangsters at any given opportunity). But for all that, the combination never quite clicked. The power plays that gave the show its most exciting moments were so fast and furious that character got lost in the shuffle, and Chuck and Bobby’s rivalry, while carefully balanced in terms of audience sympathy, never quite attained the Ahab vs. Moby Dick “from hell’s heart I stab at thee” vibe it demanded.

Then along came Season 2 and, to be blunt, holy shit. Starting with a season premiere that saw it leap straight off the blocks, Billions became one of the most consistently, raucously entertaining shows on television. The war between Bobby and Chuck enlisted a growing cast of characters in its most exciting battles yet, under the eyes of an all-star lineup of directors including Reed Morano (The Handmaid’s Tale), John Singleton (Boyz n the Hood), Karyn Kusama (Girlfight), Noah Emmerich (The Americans), Alex Gibney (Going Clear), Ed Bianchi (Deadwood), and Anna Boden & Ryan Fleck (the upcoming Captain Marvel). The dialogue was drum-tight and laugh-out-loud funny, the suspense sequences white-knuckle stuff, and the moments of pathos all the more compelling for the show’s general disinterest in pulling at your heartstrings when it could make your heart pound instead. All in all it’s a textbook case of a second-season turnaround, right up there with critics’ darlings The Leftovers and Halt and Catch Fire.

What the hell happened?

Good question! I did my best to answer it for Decider.

“The Americans” thoughts, Season Five, Episode Ten: “Darkroom”

“The badly knitted flank might not have caused an accident in and of itself, but further weakened by the frailty of the competitors it set a scene for death on an unprecedented scale.”

—Clive Barker, “In the Hills, the Cities”

I reviewed this week’s episode of The Americans, in part by leading with a quote from Clive Barker, because I can, for the New York Observer.

“Better Call Saul” thoughts, Season Three, Episode Five: “Chicanery”

Yeah, I know that there are viewers who are vocally disinterested in the Chuck vs. Jimmy storyline, because I see them saying so on social media. (To be fair, you can see people say just about anything on social media—get a load of this crank who hates Mad Max: Fury Road, for instance. The nerve of some people!) This is a disinterest I don’t share, and understand only insofar as I understand that there will always be an audience segment who dislikes the most prominent non-criminal on any show involving criminals. But by god, Better Call Saul is at least in part about what two damaged, middle-aged brothers do to one another, despite the love they constantly and sincerely profess. When was the last time you saw anything like that on television?

I’m consistently amazed by how well the show, and actors Michael McKean and Bob Odenkirk, handle this particular strain of love-hate relationship—the resentment that comes from being tied to one another like a rat king, unable to permanently break free of one another because they care, driven to new heights of anger and vengeance because of it. Both characters are smooth talkers in their own way—Chuck is a high-class attorney, Jimmy’s a confidence man—so the choice of the creators and performers to depict their moments of greatest conflict by making their voices break and crack with rage is a brilliant one. Think of Jimmy screaming like a madman when he breaks in to Chuck’s house. Think of Chuck lashing out at Jimmy over his law degree, comparing him to a chimp with a machine gun. Think of the climactic scene of this episode, with Chuck uncontrollably venting a literal lifetime of spite and disgust against his baby brother, near tears as he recalls Jimmy’s juvenile betrayal of their hard-working father decades ago. That shit is so real to me, so raw. In each man’s voice you can hear the cognitive dissonance: They really do love and care about the person they hate most in the world. How can you live with that? How can you live like that? We’re finding out, and it isn’t a story with a happy ending.

I reviewed this week’s Better Call Saul for the New York Observer. It occurs to me that as much as I enjoy the Mike material on this show, more than the Jimmy material on balance I’d say, the Chuck/Jimmy scenes, or perhaps more accurately the Michael McKean/Bob Odenkirk scenes, are the things that stick with me the longest. I’ve never seen this before.

Slowdive: Slowdive

Nature metaphors come so readily to mind when listening to shoegaze—clouds, stars, skies, storms, oceans, whirlwinds, maelstroms—that it’s easy to believe that, like the weather it evokes, it just sort of happens. Invest in the right guitar pedals, put the right breathy spin on your vocals, and bam—instant Loveless, or close enough to fool a stoned and heartsick teenager. It’s as easy as walking out your front door and letting the spring air greet you.

For some bands that may well be all there is to it. But song by song, moment by moment, sometimes even note by note, Slowdive do it better. There’s nothing elaborate in the bassline for “Slomo,” the opening track of their first album in 22 years, given the thick bed of guitars it bounces on. Just seven notes, the sixth of which leaps unexpectedly up an octave instead of continuing the bassline’s descent. Or at the end of “Slomo,” when Rachel Goswell’s voice pulls off a similar trick, first when she takes over lead vocals from Neil Halstead, then when she starts singing them at the very top of her register. At the end of “Go Get It,” Halstead sings two different lyrics laid on top of one another simultaneously, like his conversation with Goswell is over and now he’s talking to himself.

In a genre beloved for its comfortable reliability, all it takes are these small but striking detours to remind us that this glorious noise is the work of human hands and the skill that move them. If there’s a story to Slowdive—the band’s return to active recording together after decades of slowly mounting critical and audience acclaim—beyond the human-interest angle of the return itself, the swerves in the songcraft tell it: This is an album as thoughtful as it is beautiful.

I reviewed Slowdive’s self-titled comeback album for Pitchfork, which awarded the record Best New Music.

“American Gods” thoughts, Season One, Episode Two: “The Secret of Spoons”

They’re gettin’ the pantheon back together, man! “The Secret of Spoons,” American Gods second episode, is where the show truly begins living up to its title, as Mr. Wednesday and Shadow Moon meet a series of deities from around the world, up to and including an idol of the silver screen itself. But the residual thrill you get from watching the show do its version of a movie trope as familiar and beloved “the team comes together” is where this episode’s pleasures begin and end. Alternately corny and cringeworthy, it otherwise leads you to suspect that American Gods is material tailor made to bring out the worst in Bryan Fuller. It reduces his visual spectacle to mere excess and flattens his writing from operatic to dime-store paperback.

I reviewed this week’s episode of American Gods for Decider.

“The Leftovers” thoughts, Season Three, Episode Four: “G’Day Melbourne”

SPOILER ALERT

This is the way the relationship between Kevin Garvey and Nora Durst ends: not with a whimper, but a bang. A big one, apparently. Sirens-in-the-street big. No-cabs-available big. “All flights have been grounded” big.

I wouldn’t be surprised if we look back on “G’Day Melbourne,” tonight’s episode of The Leftovers, and conclude that not showing us the explosion that brought society to a standstill was the smartest thing it did. In the luxurious confines of their personal hell hotel, neither Kevin nor Nora (nor we in the audience) had any idea it even happened. They were too busy undergoing an emotional apocalypse of their own.

I reviewed this week’s episode of The Leftovers for Vulture. Carrie Coon + Justin Theroux forever.

“Billions” thoughts, Season Two, Episode Twelve: “Ball in Hand”

Last week’s time-jumping cat-and-mouse game was Billions’ equivalent of Game of Thrones episodes like “Blackwater” or “The Rains of Castamere”: a climax that comes in the penultimate episode so that the finale’s mopping-up operation has room to breathe. But “Ball in Hand,” the finale for the financial thriller’s killer sophomore season, does more than pick up the pieces. It plays with them, juggles them, and rearranges them before moving them into their final positions. It’s a marvel to behold. This show has gotten so good at playing to its characters’ strengths that seeing the show uncover new ones in the season finale is surprising to the point of “okay, now you’re just showing off.”

I reviewed the excellent season finale of Billions’ excellent second season for the New York Observer. What a pleasure this show has been to watch.

I also met the cast and creators and took a selfie with David Costabile last week. 🙂

“Fargo” thoughts, Season Three, Episode Three: “The Law of Non-Contradiction”

Hawley tapped John Cameron, a longtime collaborator of both the Coens and their old friend Sam Raimi, to helm one of the series most Coen-esque installments ever, which is really saying something. (Un)comfortably ensconced in Los Angeles rather than the upper midwest, Fargo could really bring its Barton Fink/Big Lewbowski A-game, with some of its most explicit shout-outs and hat-tips yet. For example, the “ring for service” bell that never seems to stop ringing, the shot of Gloria reclining on the beach looking out into the sea, the mysterious shoes and the equally mysterious box, the screening room lit by the hazy light of the projector, Tad’s role as a screenwriter whose success in another medium leads him to get in over his head in Hollywood: That’s that Barton Fink feeling, baby, brought to you by filmmakers who understand the feelings of alienation and insecurity they’re supposed to engender in you, not just by people who are trying to coast on the residual goodwill of previous work with throwaway references.

In some places the allusions seem to fold endlessly into one another — Gloria’s motel simultaneously evokes Barton Fink’s hotel, the motel that figures prominently in No Country for Old Men, and the site of the Sioux Falls Massacre from the show’s previous season — to say nothing of cinema’s ur-motel, run by one Norman Bates and his mother. The emotional resonance here is dense, is what I’m saying; unlike some shows I could mention — fuck it, I mean Stranger Things — it’s designed to last beyond the mere fact of recognition. In other words, to paraphrase Barton Fink, it will show you the life of the mind.

Despite not caring fro two prominent aspects of last week’s Fargo, I liked the overall thing quite a bit, and explained why at Decider. (That cameo from you-know-who!)

The 50 Best ‘Star Wars’ Characters of All Time

7. Rey

Complaints that The Force Awakens‘ desert-dwelling heroine is just too good at everything she does – pilot, mechanic, Force-wielder, lightsaber duelist, escape artist – ignore two important factors. First, her flashbacks indicate that there’s much more to her mysterious past than meets the eye, and we wouldn’t be surprised if long-buried memories of Jedi training were a part of it. Second, breakout star Daisy Ridley is an absolute joy to watch in the role, a magnetic screen presence who nails moments of mirth and melodrama alike. (The same could be said for her franchise warrior-sister Jyn Erso, who feels as if she’s been cut from the same cloth as Rey.) If she’s the Star Wars Universe’s new chosen one, the good folks at Lucasfilm have chosen wisely. STC

I added a few new entries to Rolling Stone’s list of the best Star Wars characters of all time.

“American Gods” thoughts, Season One, Episode One: “The Bone Orchard”

Will you believe in American Gods? There are two ways to uncover the answer, and fortunately neither involves accepting any deity as your personal lord and savior. The first hinges on how you felt about Hannibal, AG co-creator Bryan Fuller’s spectacularly disgusting, confrontationally beautiful (or is that the other way around?) adaptation of Thomas Harris’s Hannibal Lecter novels. The slow-motion gouts of computer-enhanced arterial spray, the gardens of the dead, the highly symbolic horned-animal imagery — it’s all here, as spectacular as ever under frequent Fuller collaborator David Slade’s sure directorial hand. (Even if Hannibal composer Brian Reitzell’s score works way too hard to sell it to you.)

The second hinges on whether you can stomach characters called Shadow Moon and Mad Sweeney fighting for the pleasure of Mr. Wednesday in a show called American Gods. For fans of Neil Gaiman, the comics writer and novelist from whose book Fuller and co-creator Michael Green adapted the show, this is the sort of modern-fairy-tale whimsy that makes him such a beloved and influential figure. (His work has inspired some comics writers’ entire careers. Hell, it’s inspired some comics publishers’ entire careers.) But if you’re allergic to Gaiman’s “it’s the Magic of Storytelling” schtick, or to the urban-fantasy vibe that this show shares with series like Preacher and True Blood (themselves based on books that are hard to imagine existing without Gaiman), you may be out of luck.

Looks like I’m covering American Gods after all! I reviewed the series premiere, which as you can see above shook out how you might have thought it would for me, for Decider.

“The Americans” thoughts, Season Five, Episode Nine: “IHOP”

The Americans is no stranger to boredom. Boredom is the flipside of the danger and glamour that are Philip and Elizabeth Jennings’ nominal stock in trade. It’s the constant travel to decidedly un-exotic destinations like Topeka and Harrisburg, the endless surveillance and reconnaissance details, the dull dinner dates with uninteresting people they only pretend to like, the logistics and mechanics of spycraft which are so often no more thrilling than what an HVAC technician might do. But “IHOP,” this week’s episode, pushed the tedium envelope farther than ever. It showed Philip and Elizabeth doing jobs—listening to untold hours of recorded office chatter on the one hand, sitting around watching late night television while waiting for their teen-spy “son” Tuan to return home on the other—that are boring not just by their standards, but by ours. If you’ve ever sat in on a lengthy conference-call meeting or killed time until a delivery guy showed up, you know their pain. Almost, anyway. You never had to worry that you might need to kill someone at the end of it all.

Watching this episode, I was struck by just how exhausted everyone looks and sounds. Some of the characters are quite vocal about it, in fact; the language of enduring, or failing to endure, is everywhere. In a well-intentioned but poorly received attempt to check up on an asset who gave everything for the cause, wittingly or not, Gabriel tells Martha (Alison Wright, returning for a second welcome cameo this season) that he retired because he was just “done.” The late Frank Gaad’s widow tells Stan Beeman, making a parallel visit, that everything’s been so quiet since her husband’s funeral. We finally get to see the CIA bigshot father of Kimmy (Julia Garner, another face it’s good to see again), and he looks like a fatigued middle manager rather than the heroic hard-charger Kimmy and Philip’s conversations had conjured. The priest-slash-spy who reports to Philip in Gabriel’s absence suggests that he pray: “It is a great solace,” he says, “especially when you live this kind of life.” In a particularly unpleasant heart-to-heart, Oleg’s father bitterly describes decades of life with his mother, a changed woman after her experiences in a prison camp, as a sort of jail sentence itself. Tuan schleps all the way to Pennsylvania to surreptitiously call his former adoptive family back in Seattle, whose six-year-old son is suffering from leukemia. Philip half-suspects Tuan wanted to be caught doing this in order to get sent home, “pulled out of this shit, start over.” “It’s not who he is,” Elizabeth says, disagreeing. You have to wonder who she’s trying to kid.

I reviewed this week’s episode of The Americans for the New York Observer.

“Better Call Saul” thoughts, Season Three, Episode Four: “Sabrosito”

It’s not a cold open so much as a cool, refreshing one: Don Eladio, the drug-cartel king played by the delightful Stephen Bauer, going for a dip in his lovely in-ground swimming pool. Several years later he’ll take a real dive into that thing, victim of a poisoning plot orchestrated by Gus Fring and Mike Ehrmantraut that will leave him and the entire leadership caste of the cartel dead. So much of “Sabrosito,” this week’s episode of Better Call Saul, feels like a direct prequel to that stand-out episode of Breaking Bad that the end result is the most Breaking Bad-esque episode of BCS ever. That yellow south-of-the-border tint to the film, the constant dick-measuring between Eladio and his underbosses Hector Salamanca and Juan Bolsa, Gus getting in the good graces of Albuquerque’s public servants, a confrontation with Hector in the Los Pollos Hermanos restaurant Gus personally manages designed to test his patience, a late-night deal struck between Gus and Mike as two wary men who each respect the way the other does business—it’s all straight from the BB playbook.

If you’re the sort who’s had your fill of Breaking Bad, or simply doesn’t think it should slowly assume control of its Better Call Saul host organism like the alien from The Thing, this might be cause for concern. I still think that concern is misplaced. The vibe may be familiar from BB, but it’s still unmistakably BCS in pacing and staging; as director Thomas Schnauz has noted, even the scene at Don Eladio’s compound, as direct a throwback as you can get, was shot with a more stationary and staid camera than they’d have used on the previous series.

I reviewed this week’s episode of Better Call Saul for the New York Observer.

STC vs. FYC: BILLIONS

fyc-billions-1180x520-1

I’ll be hosting the Emmys “For Your Consideration” panel for Billions this Friday evening at 7pm at the NYIT Auditorium on Broadway between 62nd and 63rd. In addition to a screening of this week’s excellent episode, I’m conducting a 45-minute Q&A with the co-creators and cast, including Paul Giamatti, Maggie Siff, Toby Leonard Moore, Asia Kate Dillon, David Costabile, Brian Koppelman, and David Levien. I believe it’s for Television Academy members and their plus-ones only, but it that applies to you I hope to see you there!

“Billions” thoughts, Season Two, Episode Eleven: “Golden Frog Time”

In a dazzling display of plot-mechanic pyrotechnics, the final minutes of the episode reveal that everything you thought you knew was wrong was actually right all along. Deftly playing with the “TWO WEEKS AGO / TWO DAYS AGO / EARLIER TODAY / NOW” time-jumping that the show’s done on and off all season, co-creators and co-writers David Levien and Brian Koppelman peel back the various schemes and double-crosses like an onion—only to reapply the shit they peeled back and then peel it back again to reveal what’s really going on. In short, this is Billions at its best.

I reviewed this week’s episode of Billions, which was peak Billions, for the New York Observer. This is the kind of episode the show’s been building to for a long time.

“The Leftovers” thoughts, Season Three, Episode Three: “Crazy Whitefella Thinking”

Like the best science fiction, The Leftovers throws reality out the window for a reason. Its outlandish genre elements give voice to emotions that are present in our everyday lives, but which have an intensity our everyday vocabulary of ideas and events is incapable of adequately expressing. There’s a throwaway bit in “Crazy Whitefella Thinking,” this week’s episode and a wall-to-wall showcase for Scott Glenn at his most wild and weathered, that illustrates this beautifully.

During his conversation with the ill-fated Aboriginal man Christopher Sunday (who will soon die when the titular Crazy Whitefella falls off a roof and lands on him), Kevin Garvey Sr. talks about the tape recorder he’s been carrying around during his long walkabout across Australia. It originally belonged to Kevin Jr., who received it as a Christmas gift from his mother just a month before she died of cancer. After that, the dad explains, his son brought it with him everywhere — Kevin Sr. hugs it to his own chest by way of illustration. Clearly Kevin Jr. saw the tape recorder as a totem of his mother, and brought it with him wherever he went to keep her with him as well.

All of us use these kinds of grieving mechanisms, whether or not we understand them is such. Is it really that big a leap from little Kevin using a tape recorder as a security blanket after his mom’s death to the stranger things people did to deal with the stranger trauma of the Sudden Departure? Kevin’s tape recorder contains shades of Nora Durst hiring sex workers to shoot her in the chest, or Matt Jamison writing a new book of the bible about his weirdly durable brother-in-law, or Kevin Sr. deciding the voices in his head are telling him he’s the only man in the world who can stop the next Great Flood. The Departure and everything that happened afterwards are just everyday loss and coping (or failure to cope) writ large; the metaphor works because there’s no such thing as “everyday loss” to those who experience it.

I reviewed this week’s episode of The Leftovers for Vulture.

The Boiled Leather Audio Hour Episode 62!

A Game of Thrones Revisited
The Boiled Leather Audio Hour goes back to the beginning! Sean & Stefan kick off their great A Song of Ice and Fire reread project with an episode dedicated entirely to A Game of Thrones, the novel that started it all. What did George R.R. Martin do as a writer to distinguish his work from the epic fantasy hordes? How has he changed as a writer since? Which elements turned out to matter, which didn’t, and which are we still scratching our heads about? The answers to all these questions, plus our takes on all the major characters (teaser: Sean compares Ned Stark to the Dude from The Big Lebowski), await you in this episode!

DOWNLOAD EPISODE 62

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The Boiled Leather Audio Moment #5

Moment 05 | Battlestar Galactica Season 3

Don’t worry, Westerosophists—our next Boiled Leather Audio Hour will be a deep dive into one of ASoIaF’s foundational texts. But we’re mixing it up on BLAM a bit this month, with a look at a different franchise: the mid-’00s Battlestar Galactica reboot, specifically its landmark third season. With a hot-button political storyline featuring the occupation of the new human homeworld by Cylon invaders, the reign of a collaborationist regime led by President Gaius Baltar, a human insurgency replete with suicide bombings, and the eventual fall of the regime and trial of its leader/catspaw Baltar, it’s led one of our readers to ask us how we think the season speaks to the political climate of 2016/2017, and what its influence on Game of Thrones might have been. Listen and find out in our latest Patreon subscriber-exclusive mini-podcast!

“Fargo” thoughts, Season Three, Episode Two: “The Principle of Restricted Choice”

We live in a world run by racist monsters who would gladly murder your children in front of you if it meant an extra zero for their net worth, so you have to take your pleasure where you can get it, and I get it from Shea Whigham. Best known to fans of excellent crime dramas for his role as Eli Thompson on Boardwalk Empire — the Ray Stussy to Steve Buscemi’s Emmit-like Nucky Thompson, basically — he slowly but surely became one of my favorite things about that show: a character so consumed by his own failures that you could hear it in his voice like a speech impediment and watch it seep out of his face like five o’clock shadow. He’s only in “The Principle of Restricted Choice,” this week’s episode of Fargo, briefly. And he’s delivering the sort of angry-police-chief comic relief familiar to anyone who’s ever watched a cop show, chewing out recently demoted Gloria Burgle and her deputy for operating their podunk department (now absorbed into the county’s police force) from a meeting room in the public library, using a storeroom for a prison cell and eschewing computers entirely. We live in the future, he insists, and she’d better get with the program. If the future includes more of this gravelly voiced actor with a face like a stern Renaissance aristocrat, I’m fucking in.

Don’t believe the anti-prestige-TV hype part 3: I reviewed this week’s marvelous Fargo for Decider.