Song of the Day #3,462: ‘Crash Into Me (Live)’ – Dave Matthews Band

The year is just about over and while I have a number of films left to see, I’m pretty close to a worthy 2017 top ten movie list.

This week I’ll write briefly about my 20 favorite movies of the year, grouped into four broad categories: Women Directors, Award Favorites, Superheroes, and Comedies. Several movies I’ll mention fall into more than one of these categories, and in those cases I’ll just pick the best fit.

First up is a category I’m thrilled to see well-represented, especially in the year of #metoo: Women Directors.

This year four of my top ten films, including my #1, are directed by women. That has to be a record, in part because I haven’t worked hard enough to seek out female-directed films in previous years but mostly because women are increasingly being trusted to helm major studio releases.

Each of these films is better because it is directed by a woman, which I hope is a signal to studio bosses that hiring more women directors isn’t a risk but an opportunity.

Before I get to the movies on my list, I’ll mention four films directed by women I haven’t (yet) seen: Kathryn Bigelow’s Detroit, Sofia Coppola’s The Beguiled, Angela Robinson’s Professor Marston & The Wonder Women, and co-director Valerie Faris’ Battle of the Sexes. I hope to catch up with all of those in due time.

Also, I saw one female-directed film this year that didn’t crack my top 20. Julia Ducournau’s cannibalism allegory Raw, like last year’s Lobster, is exceptionally well-crafted and performed but so thoroughly off-putting that I can’t say I enjoyed it. My tolerance for intentionally unpleasant cinema has decreased over the years.

Writer-director Greta Gerwig’s Lady Bird (#1) is holding steady as my favorite film of the year. It’s a simple coming-of-age story, but so expertly assembled and deeply felt that it transcends its well-explored genre. I went into Lady Bird with a mix of high expectations (based on its perfect 100% Tomatometer score) and trepidation (based on my negative reaction to Gerwig’s grating girl-woman persona in films like Frances Ha). But there is nothing precious or pretentious about this film. It’s funny, real and wise. And it achieved what very few films have by bringing a tear to my eye — a sure-fire way to climb up my year-end list.

Note: Today’s SOTD is one of several 90s songs memorably used in Lady Bird.

The 2017 movie I’ve seen more than any other (four times and counting) is Patty Jenkins’ Wonder Woman (#4). Powered by Jenkins’ refreshing approach to the superhero genre and the nuclear star power of Gal Gadot, the film brings the iconic comic book character to life in spectacular fashion. Alternately funny, sweet, touching and kick-ass, Wonder Woman is a bright spot in the otherwise dreary DC Universe. And in Gadot’s fearless trek across No Man’s Land, it boasts one of my very favorite scenes of 2017.

I have NetFlix to thank for making Dee Rees’ Mudbound (#7) so easily available. I’m a big fan of day-and-date releases for smaller films like this one that otherwise might struggle to find an audience. Based on a 2008 novel about two families — one black, one white — sharing farmland at the end of World War II, this is a powerful and poetic film. The African-American Rees rewrote the script to give equal focus to both families (an earlier version treated the black family as supporting characters) in a perfect example of why behind-the-camera representation matters.

Finally, I missed Gillian Robespierre 2014 film Obvious Child, but this year I was fortunate to catch her follow-up, Landline (#9). Starring national treasure Jenny Slate, the film depicts two New York sisters who discover their father is having an affair while dealing with their own assorted issues. Landline plays like a modern-day Moonstruck with a lot more sex and drugs and features wonderful performances by the whole cast, especially John Turturro and Edie Falco as the messed-up but well-meaning parents.

[Verse 1]
You’ve got your ball, you got your chain
Tied to me tight, tie me up again
Who’s got their claws in you my friend?
Into your heart I’ll beat again
Sweet like candy to my soul
Sweet you rock, and sweet you roll
Lost for you, I’m so lost, for you

[Chorus]
Oh, when you come
Crash into me
And I come into you
And I come into you
In a boy’s dream, in a boy’s dream

[Verse 2]
Touch your lips just so I know
In your eyes, love, it glows so
I’m bare boned, and crazy for you

[Chorus]
Oh, when you come
Crash into me
Yeah, baby, when I come into you
In a boy’s dream, a boys dream

[Verse 3]
If I’ve gone overboard
Then I’m begging you
To forgive me for my haste
When I’m holding you so girl
Close to me
And you come
Crash into me, baby
And I come into you

[Verse 4]
Hike up your skirt a little more
And show the world to me
Hike up your skirt a little more
And show your world to me
A boy’s dream, in a boys dream
Oh I watch you there
Through the window
And I stare at you
You wear nothing but you
Wear it so well
Tied up and twisted
The way I’d like to be
For you, for me, come crash
Into me
Baby, come crash into me, yeah
Crash into me
Crash into me

[Outro]
Oh, you know
I’m king of the castle
You’re my dirty rascal
Crash into me
Please crash into me baby
We both know
See the way, come crash into me
See the way you come rash into me
Crash into me
Oh no no no no hey
Oh no no no no hey, yeah

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7 thoughts on “Song of the Day #3,462: ‘Crash Into Me (Live)’ – Dave Matthews Band

  1. Dana Gallup says:

    You’re comment about Hollywood trusting woman directors reminded me of the great take on this from Michelle Wolf from The Daily Show, when she said, “you know when it will feel like women are equal at the box office? When we get to make a really bad superhero movie and then immediately get the chance to make another one.” Here’s the whole clip:
    http://www.cc.com/video-clips/pikmtf/the-daily-show-with-trevor-noah–wonder-woman–breaks-the-invisible-ceiling

    • Amy says:

      Loved this bit on The Daily Show and have referenced it throughout this year. That Ladybird had to have a 100% RT rating to start getting some notice is exactly what’s wrong with the current system. That said, I, too, am thrilled to see more films helmed by women and POC getting that notice.

  2. Maddie says:

    Great choices! Excited for this week of film celebration. Go watch Obvious Child (it’s far superior to Landline) 🙂

    • Amy says:

      !!!! What she said. What are you waiting for to see Obvious Child, which was near the top of my list of films for that year. LOVE, LOVE that movie.

  3. Amy says:

    Loved the way Crash Into Me was used in Lady Bird, not only in terms of a suitable use of music but also as a way to further deepen our understanding of the characters. Great movie, great song. (Now go see Obvious Child)

  4. Peg Clifton says:

    Looking forward to your posts on the films. I agree that women directors are so important and there is an article in the newspaper on women becoming cops (editorial to follow 😊) so one can certainly agree that we need more women everywhere especially in Congress! I saw two of the movies you mentioned—Wonder Woman which I loved and Professor Martsen and that one is definitely in my top ten.

  5. The Cool Guy (Daniel) says:

    I need to see Ladybird! I too am very happy with the female director representation this year and though it is possible that I wasn’t as crazy about Wonder Woman as everyone else I still thoroughly enjoyed it. Landline was okay but I couldn’t really feel for any of the characters and Obvious Child is much better.

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