It’s that time of the year again where everywhere you look is pink and red and disgustingly romantic. It’s just awful, isn’t it? Whether you’re lonely and resentful or single and loving it, sometimes being berated by these images is just exhausting.

Well, luckily, we’re here to remove some romance from the occasion. Maybe you’re alone and just want to eat a pizza and not think about love. Maybe you and your love interest like watching sad or disturbing movies. Maybe you just really hate “Love Actually.” Or maybe you just wanna hear about some good movies!

Regardless of your motivation, here are 10 of the least romantic movies we could think of for your viewing displeasure.

1. “The Passion of the Christ”

Let’s start off strong with an extremely gruesome yet utterly boring romp through the crucifixion of our Lord and Savior, Jesus Christ. Nothing will get you and your partner going like remembering that he suffered and died for our sins over 2,000 years ago. Not only that, but he’s always watching, so remember to leave some room for the Holy Spirit! “The Passion of the Christ” was fairly divisive when it came out. These days, one thing is for sure: it’s boring and is undoubtedly the peak of Mel Gibson’s antisemitism. Sounds lovely, doesn’t it?

2. “Schindler’s List”

Instead of steamy thoughts and urges, this movie will move the mind to one of the most devastating times in human history. Sure to stimulate existential thought, this is perfect for a night in, alone, in a dark room or as the most intense second date vibe test of all time.

3. “Mother!”

Do you and your boo ever wish you could experience multiple home invasions? Look no further! Darren Aronofsky’s “Mother” is a disturbing, chaotic and violent retelling of the story of the Bible. It’s claustrophobic, awkward, frightening, sickening and almost every other unpleasant adjective. Not to give away too much, but if this movie doesn’t kill your appetite for both grub and smooches, you should potentially reevaluate.

4. “Human Centipede”

If you’re getting a romantic dinner with your main squeeze or eating spaghetti out of the pot by the handful alone, I can’t recommend “Human Centipede” enough as a transition into digestion. There’s nothing like physical manipulation of the human anatomy through surgery and forcible experimentation to round out a delicious meal. Blood, organs, mouths where they don’t belong? I’m getting hungry already!

5. “Tinker Tailor Soldier Spy”

This is potentially the most romantic film on this list. By the end of it, you’re guaranteed to be knocked unconscious in a nice cozy nap next to your partner out of sheer boredom. “Tinker Tailor Soldier Spy,” despite being a spy movie starring almost every sexy British actor (Gary Oldman, Colin Firth, Benedict Cumberbatch and Tom Hardy) will undoubtedly assassinate any romance or sexual tension between any two human beings. I’m starting to doze off just thinking about suffering through its slog again.

6. “The Lighthouse”

Speaking as someone who actually saw this movie on a second date, this psychological thriller about madness and isolation is a great choice. The overwhelming anxiety that hovers over the entire movie — escalating until you feel like you’re losing your own mind — pushes you to think: “Am I ready for a relationship?” “Can I make space in my life to commit to someone?” “Will they accept me for who I am? Insecurities and all?”

7. “A Clockwork Orange”

Yeah, I mean, yikes. This movie is just. Sheesh. A tough watch. Set in a dystopian future that is built on brain-washing and hyperviolence, it just doesn’t let up. You’ll feel scared and disturbed for over two hours and just be upset with humanity as a whole. It will also probably forever ruin “Singin’ in the Rain” for everyone involved. Ugh, yeah. Strap in for this one.

8. “Saving Private Ryan”

My sexual awakening was the first scene of “Saving Private Ryan.” There! I said it! If I’ve said this once, I’ve said it a thousand times: nothing gets me going like military strategy, especially when it’s wrapped up in overwhelming chaos. While you’re on this vibe train, keep up the Tom Hanks theme and consider renting “Castaway” for more romantic, bloody moments.

9. “The Revenant”

The most romantic thing in this movie is Leonardo DiCaprio being viciously torn apart by a bear. If watching a man be buried alive only to scream and claw his way out of the dirt doesn’t make you wanna snuggle up under a blanket with your Significant Other, I don’t know what would. Feeling hungry? Join in the cast and eat some live fish to settle your stomach. Hey, maybe if you and your boo are feeling frisky you can play a little “Cowboys and Indians” and violently shed each other’s blood, maybe on horseback! The winner gets to scalp the loser!

10. “Texas Chainsaw Massacre”

Valentine’s Day is the holiday for racing hearts, so why not make your own heart skip beats? Bloodlust, kidnapping and murderous pursuit will surely make your heart thump more than holding bae’s hand ever could. Leatherface is, of course, a romantic icon trying to prove his true love to Sally through the chase of a lifetime. He already has proven his love by wearing the skin from previous relationships, but will it be enough for Sally?

Many people don’t really think about cheerleading. If they do, they think of the Dallas Cowboys and  women with pom-poms and big white smiles. But there’s a lot more going on in the world of cheerleading than that. The new Netflix documentary series “Cheer” sets out to shed a spotlight on the athleticism, intensity and community of collegiate competitive cheerleading.

“Cheer” follows the Navarro College cheer team through their season on their way to the National Championships at Dayton. If you’ve never heard of Navarro College, that would make sense. Navarro is a relatively small junior college in Texas, but in the world of collegiate cheer, they are the top dog. At the time of the filming of the documentary, Navarro had won the national championship 13 times since 2000.

Led by coach Monica Aldama, the Navarro Cheer team has won the national championship more often than they’ve lost it.

The six-part documentary series follows the 2019 season team from the beginning of their season to the national championship at Daytona. And it is riveting.

When I first started the show, I wasn’t sure that it would grab me. There is a specific kind of person who closely follows the world of gymnastics and cheer, and it seemed like this might be more of their kind of niche thing. I was very wrong about that. By the second episode, this show had its hooks in me.

Between watching the cheerleaders doing acrobatic and athletic feats, the injuries that often resulted from routines and the charming and compelling cast of characters that make up the team, it was impossible to stop watching.

You have to understand that the cheer that these students do is not the cheer that you’re thinking of. Sure, they’re doing some choreography, and they’re smiling, and they even cheer for the Navarro football team, but when it comes to competition, it’s an entirely different animal. The complexity of their routines and the difficulty and athleticism involved with pulling off the stunts that they do is unbelievable. It often doesn’t even look real.

But, this is a series that follows the team through a whole season, meaning you see them from when they start to learn the routine to a year later when they compete. And they only really compete once. Daytona is their only chance at a competition and it only comes once a year, so they train for months for a two minute and fifteen-second performance.

Seeing whole process as a viewer, you witness the highs and the lows of both the routine and the team members. The number of injuries involved in the sport is not surprising but is still almost staggering. Watching someone fly through the air and then realizing there is no one there to catch them feels almost as terrifying as doing it yourself. Not only that, but if people get hurt, they get substituted out and can’t compete that year, creating a tension that runs through the entirety of the season.

Monica is there to cut the tension. She is no doubt one of the most interesting people you will hear about this year, and, in a way, the documentary is about her intimately capturing her role as a coach and as an almost mother to the students. She pushes them very hard and can be unforgiving, but in pursuit of a larger goal and in pursuit of teaching them something.

Many of the students on the team come from fairly wealthy backgrounds and have been afforded many opportunities to get to where they are at Navarro. Not to say their lives have been easy, but many of the other students have not been afforded those same privileges. Monica brings them together and gives them a home, and it’s obvious throughout the show that they love her deeply.

The students are just such good, interesting subjects for a documentary as well. There’s Jerry Harris, who works endlessly to support his fellow teammates and bring some positive but is still gunning for his place on the mat so he can compete. Then there’s Morgan Simianer, who is tiny and has a lot of potential but has a lot of work to do on her technique. Then there’s Lexi Brumback, who comes from a rough background but has found stability and a home in cheerleading. And La’Darius Marshall, who has also come from a hard upbringing and has a short fuse but is one of the best athletes on the team. And, of course, Gabi Butler, an extremely talented cheerleader who has achieved some fame as a cheerleader but realizes that comes with the price of her very difficult parents and the pressure of celebrity.

It’s just a perfect little melting pot of people that are so fascinating to watch interact and learn more about. It surprised me how much I cared for each and every one of them by the end. I wanted to see them win so badly.

The turns that the series takes are dramatic, and the filmmaking is very impressive. Creator Greg Whiteley, who also created the show “Last Chance U,” found something very special to explore in this show, and I cannot recommend it enough.

Director Ladj Ly’s “Les Miserables” is not at all what I expected. In a way, that’s my fault because going into it, I was under the impression it was a sort of modern retelling of Victor Hugo’s original novel of the same name, which it is not. Even besides that, though, once I realized what “Les Miserables” actually was, it took me on an unforgettable and deeply moving ride that felt equal parts dramatic and thrilling.

It tells the story of three Street Crimes Unit officers in Paris as they attempt to resolve conflicts among rival groups in the city. Most of the film plays out with two of the officers, Chris, a.k.a. “Pink Pig” (Alexis Manenti), and Gwada (Djibril Zonga) showing new recruit Stephane, a.k.a. “Pento” (Dammien Bonnard), the ropes. Most of it feels like a very well made police drama, but the dark turn that it takes midway through and the jaw-clenching third act that it builds to are nothing short of awe-inspiring.

So if this “Les Miserables” isn’t regaling the story of Jean Val Jean, Cosette and Marius, what is going on here? And why does this film share its name with the classic work of literature and musical?

Well, answering those questions takes some explaining. I don’t want to go into any specific spoilers, but this movie truly comes alive in its narrative and the way that it’s structured. There are many events that you see unfold in real-time, but, like the SCU protagonists, they often feel slightly confusing because you as the viewer have little context for them. Then when it is revealed what is actually happening, it’s gratifying for us as an audience.

The film is set on the streets of Paris, where Victor Hugo wrote his famous novel, and there are a few allusions to it in dialogue throughout the film, but the largest similarities lie in the themes of the two pieces. When the film concludes, it fades to black and a quote from Hugo comes up that says, “Remember this, my friends: there are no such things as bad plants or bad men. There are only bad cultivators.”

I can’t put the message of “Les Miserables,” both the original novel and this film, into words better. The film does a great job of riding a line between showing the protagonists being vile and abusive in some moments and then making them seem weak and frail in others. We feel their frustration and alienation from the community they think they’re protecting.

That being said, the film does not portray them as heroes, especially not Chris, who is constantly spitting some sort of slur at one person or another. Stephane and Gwada are a bit more sympathetic, but even  Gwada becomes a heavily conflicted character as Stephane tries desperately to maintain some sort of moral code.

The disturbing lengths that this film goes to without feeling like “trauma porn” are a testament to how human and well-written the characters in it are. When anything happens to them, you feel immensely for them.

Bonnard was amazing in his role as Stephane, and despite Chris being a disgusting character, Manenti brings him to life in an eerily realistic way. Issa Perica, who plays Issa, is also excellent in his role. Issa plays a fairly large role in the story that I neglected to mention before because I feel like this is a film that is best experienced with as few preconceptions as possible. Every actor in this movie sunk into their characters. There were times where I forgot I was watching actors and not a documentary.

The cinematography of this film is also stunning. The colors and visual layers of these parts of Paris pop with a crisp clean color palette and some clever camera work. The large amount of hand-held camera work does give the more intense moments of “Les Miserables” a strong documentary feeling.

I can’t help but be a little bit annoyed that “Portrait of a Lady on Fire” got the snub for the French entry in the International Film category in the Oscars this year. However, “Les Miserables” is a strong contender in and of itself and another reminder that, like fellow International Film nominee Bong Joon Ho said, “Once you overcome the 1-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.”

There are a lot of war movies. And a lot of really great ones at that. But even in the past five years alone there have been movies like “Dunkirk” and “Hacksaw Ridge” that have shown there are still areas to be explored in the genre.

What makes a war movie stand out is having a human story to tell and telling that story through intentional and creative film-making. Sam Mendes’s most recent film “1917” does just this. The film is set on the Western Front in France during World War I and follows two soldiers tasked with delivering a message to a group of soldiers across the frontlines.

Mendes is best known for his work as director of the most recent two James Bond films, “Skyfall” and “Spectre.” While the former received wider critical acclaim, “Spectre” was met with a fair amount of criticism and scrutiny. Earlier in his career though, Mendes directed movies like “American Beauty,” “Road to Perdition” and “Jarhead,” all of which were met with some level of positive critical reception. All that being said, it’s fair to say that “1917” is his magnum opus.

The story of the film is inspired by the stories told to Mendes by his grandfather, Alfred Mendes, who fought in World War I. He goes so far as to dedicate the film to his grandfather before the credits roll. His grandfather would regale him with stories of his time in the war and this one story of a messenger always stuck out to him, and when we see it unfold on screen it’s easy to see why.

“1917” is nothing short of beautiful. I hesitate to say that it is perfect, but it is film-making at its finest. Much of that beauty lies in the simplicity of its story, complexity of its techniques and the brilliance of its cast.

The film opens very suddenly, showing our two leads sleeping next to one another by a tree when Lance Corporal Blake (Dean-Charles Chapman) is awoken by an officer who tells him to report to the General, that he has an assignment and has to pick someone to go with him. He wakes up Lance Corporal Schofield (George MacKay) and they set out on their way to see the general.

They reach General Erinmore (Colin Firth) who tasks them with crossing the frontline to deliver a message to the Second Battalion of the Devonshire Regiment to call off an attack that is believed to be a trap. To add a little more tension to the already high stakes, Blake’s brother, Joseph, is in the second battalion. If they can’t get there in time, Joseph and 1,600 other men are bound to be massacred.

From that point on, the film never stops. There is a sense of momentum that runs through every minute of its almost two-hour runtime that seems to only accelerate as time progresses. There was never a dull moment or a time where I checked my watch to see how much time was left. It flies by, and in its quickness, hits such glorious highs and heart-wrenching lows that it feels like you’re being rattled and battered by a flurry of emotions.

I won’t give any spoilers but will say that this simple narrative allows for the molding of creative and intense set-pieces that submerge the audience in the setting of the film. It feels as though you are taking this journey alongside Blake and Schofield. You feel everything they feel from the stress and fear to the relief and exhaustion.

While the script is a large contributor to creating this feeling for the audience, it is really the work of cinematographer Roger Deakins who achieves this. He’s a frequent collaborator with The Coen Brothers and Denis Villeneuve, working on films like “No Country for Old Men,” “True Grit” and “Blade Runner 2049.” He also has shot three of Mendes’s other projects, including “Skyfall.” Deakins is inarguably one of the greatest cinematographers of all time, and potentially the greatest working today and “1917” is another prime example as to why.

“1917” is a one-shot film. Not actually, of course, there’s some digital trickery throughout that was used to allow for cuts, but between those cuts are sometimes 15-minute sequences of active camera movement following these two men along their journey.

The intimacy of this camera work, with the camera always slightly behind or ahead of them as they walk, or racing alongside them in moments of intensity captures the audience’s attention and makes it impossible to look away. Even in slower moments, the immersion is so strong and the camerawork so careful that you can’t help but sit there in awe. “1917” isn’t the first movie to do this “one-shot” technique but it does it so incredibly well and in such creative and seamless ways that it’s hard to not be impressed.

War movies have a tendency to be visually uninteresting. They’re often very gray or brown and gritty but “1917” was very refreshing. Its visuals were very crisp and its colors bright. There were moments that focused on serenity and beauty in color and nature in what was otherwise a war-torn wasteland that were stunning. One scene comes to mind in which a character encounters a large burning building at night and the flames create this chaotic, hellish lighting as they navigate through the town that put me deeply on edge.

All of that being said, “1917” is a film that largely focuses on just two characters. We spend almost all of our time with them, anchoring the camera with at least one of them when they are apart. Chapman and MacKay had a lot of heavy lifting to do here as relative newcomers, and they absolutely succeed. Mendes intentionally cast lesser-known actors because he didn’t want people to see actors on the screen, he was keenly focused on the immersion of the audience. Many of the characters that the two encounter are more famous, like Mark Strong, Benedict  Cumberbatch and the aforementioned Colin Firth, but they each only get a few minutes on screen.

Chapman and MacKay are the focus, and both are brilliant. The range of emotion they show with their faces and bodies in moments of both dialogue and silence is incredible. Blake and Schofield feel like real people, who are just as unsettled and out of their element in this setting as the audience is. I can’t wait to see what these two go on to do because they are both incredibly talented.

There’s so much more to be said and so little room left to say it, but the soundtrack is fantastic, the sound design of the firearms and explosions and settings are beautiful and detailed in an unpretentious and often frightening way. It’s all just amazing and every element comes together to create one of the best films ever made.

The 2017 Broadway hit musical “The Band’s Visit” has finally reached the stage of the Academy of Music with the Philadelphia stop in its 2019 touring production. Based on the 2007 film of the same name, the musical follows an Egyptian police band who accidentally ends up in the small Israeli town of Bet Hatikva, a modest, slow-moving town inhabited by a group of fun locals. Over the course of the 24 hours in which the band is stuck there, they get to know the people of the town and learn a lot from one another about life and love.

The narrative follows three members of the band and their interactions with different groups of people in the town. The conductor, Tewfiq (Sasson Gabai), spends his evening with the owner of a cafe named Dina (Janet Dacal). Meanwhile, Simon (James Rana) stays with Itzik (Pomme Koch), his wife Anna (Jennifer Apple) and Itzik’s father-in-law, Avrum (David Studwell). Haled (Joe Joseph) tags along with Papi (Adam Gabay) as he stumbles his way through a date.

The first and most important thing to understand about “The Band’s Visit” is how unique it is. Despite being widely loved by the musical theater community, it almost serves as an antithesis to what musical theater typically is. There are no bombastic dance numbers, no quick-changes and no booming harmonized choruses; there isn’t even a second act. The show is just one act, that runs about an hour and a half. Its beauty lies in these bucking of conventions to tell the touching and human story that it sets out to tell.

That story is one that is inherently political but sets politics aside to convey its message through its script and characters. This is a group of Egyptian police musicians in a small town in Israel. But instead of the show being about a clash between their religions and cultures, it is instead about the two groups coming together.

Each group speaks two languages, but the only language that they share is English, a second language for them all. So the story breaks down into these two groups of people finding this common ground to be able to communicate and learn about each other. It also means that the characters are choosing all of their words very deliberately. This is an area where “The Band’s Visit” shines: its characters.

Because of its almost humble demeanor relative to its peers, the glitz and glam are left in favor of these deep characters who share their stories — some tragic, some beautiful and some both. The emotional heights reached by this show wouldn’t be possible without the brilliant book penned by Itamar Moses, and, of course, the actors to bring the words to life.

Gabai, who replaced Tony Shalloub in his role as Tewfiq, shines in every moment he is on stage. Though many of you may not know his name, Gabai is widely regarded as one of the best actors in Israeli cinema, and his performance in this show speaks volumes as to why. The gentle civility and vulnerability he brings to the character is captivating to watch unfold.

Dacal had big shoes to fill in those left by Katrina Lenk, who played Dina on Broadway. She succeeds in most ways, especially near the end of the show as Dina and Tewfiq’s relationship starts to develop. I commend her performance and the details she brought showed the softer side of Dina that hides under the aloof exterior, but, despite her great performance, I couldn’t help but compare her to Lenk and feel slightly disappointed.

Though the performances are what breathe life into this show, it would not be anything close to what it is without its music. “The Band’s Visit” shows a love for and understanding of music that is unlike anything else on Broadway. The life of this show is music. Composer David Yazbek uses elements of Egyptian and Middle Eastern music to bring the setting of the show to life in both the lyrical songs and instrumental interludes that the band plays on the stage’s sides. Most members of the eight-man band had very few or no lines but would play the accompaniments and instrumentals on stage. It was a wonderfully immersive way to shine a spotlight on Yazbek’s stunning compositions. There is also something about watching the actors actually playing the music in the context of the show that is enchanting.

This show is unlike any other show that exists right now. Its beauty lies in the depth of its simplicity. I genuinely can’t recommend this show enough. It’s running at the Kimmel Center from Jan. 7-19. I implore you to experience this uniquely human story and the captivating music that ushers it along, which make for a performance you will never forget.

25. “Shazam!”

DC has finally figured out what it was doing with its live-action movies. After the success of “Wonder Woman” and the disastrous “Justice League,” things seemed to be up in the air again, but “Shazam!” shows that the comics giant is not giving up on this fight just yet. Zachary Levi brings the right amount of child-like wonder to his role. It ditches the dreariness of DC’s other films in favor of a fun story set right here in Philly!

24. “Good Boys”

“Good Boys” fits in rather appropriately with director Gene Stupnitsky’s other work. This comedy, produced by Seth Rogen and Evan Goldberg, is stuffed to the gills with immature R-rated humor and preteen angst and hormones. Under its comedic, red-band exterior lies a very endearing and wholesome story about growing up. It’s worth a watch — just maybe not with the family, or at least the younger members.

23. “It Chapter Two”

Though the sequel to the 2017 horror hit based on Stephen King’s “It” was disappointing to some, it still managed to be a fun and interesting update in the characters’ lives from the first film. Jessica Chastain and Bill Hader stood out for the personality and depth that they brought to their roles. Though it’s not chock full of scares, it’s a fun adventure movie that’s worth seeing if you enjoyed its predecessor.

22. “Downton Abbey”

An extension of the beloved ITV historical drama that ended in 2015, “Downton Abbey” reunited fans with the Crawley family. The year is now 1927, and the estate will be graced with a visit from the King and Queen of England. The film is as heartwarming and charming as the series and the visuals are even more stunning on the big screen.

21. “Someone Great”

This is the film that helped introduce Lizzo’s “Truth Hurts” to the masses. Jennifer Robinson’s directorial debut is one of the best to come out of the rom-com genre’s revival. It follows Jenny Young (Gina Rodriguez), fresh out of a breakup on her last day in New York City before she moves across the country for her dream job. It is a fresh take on the genre that puts in the work to highlight diversity.

20. “Captain Marvel”

Brie Larson is the perfect Captain Marvel. Though the plot of the movie may have fallen into some classic pitfalls of the superhero genre, Larson’s Captain Marvel is so cool and badass that it doesn’t really matter. She’s a joy to watch in the role and the movie that surrounds her is a fun adventure with a lot of cool effects and action. What’s not to like?

19. “Wine Country”

Amy Poehler, Maya Rudolph, Rachel Dratch, Tina Fey and many more unite in this fun romp through Napa Valley. Directed by Poehler, “Wine Country” is essentially a vehicle for a group of very funny women to be put in a variety of settings and be funny together. The improvisational tone of much of the humor in this movie shines through, and it was one of the most fun and wholesome comedies this year.

18. “Aladdin”

Disney’s recent tear of live-action remakes have had their hits and misses, but it’s fair to say this year’s remake of “Aladdin” was a hit. Will Smith managed to bring something new to his role as the Genie while still incorporating some of the traits the classic Robin Williams’ version of the character. The introduction of some new plot elements and Guy Ritchie’s lively signature style all blend together well with some pretty visuals to make this nostalgia trip worth taking.

17. “Ad Astra”

Brad Pitt plays an astronaut tasked with tracking down his father at the ends of the solar system. Equal parts “Heart of Darkness” and “Interstellar,” “Ad Astra” is visually stunning and tells the compelling story of a man and his relationship with his father on a massive scale. Though it’s not an action-packed sci-fi romp, it doesn’t need to be. Instead, it is much more interesting and thought-provoking, and Brad Pitt greatly impressed with his performance.

16. “Toy Story 4”

The Pixar movie no one saw coming, since “Toy Story 3” ended so well. Audiences were understandably skeptical heading into it, but it proved to be worthwhile. The film starts where the third one left off; Woody, Buzz Lightyear and the rest of the bunch go on a road trip with Bonnie and new addition Forky (Tony Hale of “Veep”). The road trip turns into a surprise reunion when they run into Bo Peep. As Woody and Bo discuss the old days, they soon start to realize they are worlds apart in terms of what they want for their life as a toy.

15. “Spider-Man: Far From Home”

It may not be the best Spiderman movie ever, but it was definitely an entertaining two hours. Obviously, as the first MCU installment following Endgame, it is a little overshadowed by the scale we’ve come to expect from superhero movies recently. However, it works well as its own movie and improves on what we got in Homecoming. We get to see Spiderman in places and situations we’ve never seen him before, while still getting a movie that feels like a worthy installment for our friendly neighborhood webslinger.

14. “Joker”

Many critics were surprised to hear that Todd Phillips would be directing and co-writing the new Joker film. They were even more surprised to find Joker became the highest-grossing R-rated film and most profitable comic book movie of all time. The film paints Gotham as a slum, with piling trash and “super rats” flooding the streets. Arthur Fleck (Joaquin Phoenix), a defeated clown trying to bring laughter and joy to the world, is left trying to care for his elderly mother and navigate a harsh and unforgiving city. Arthur soon learns that in order to be happy, he needs to take control of his life. Joker poses questions about our society many other films are too afraid to ask. It questions why the world seems to be, as Arthur says, “getting crazier out there.”

13. “John Wick 3: Parabellum”

Once again, Chad Stahelski gives us an action movie made for action movie fans. It’s debatable whether Parabellum is the best of the trilogy, but it does not disappoint in giving fans more of what they came to love in the first two John Wicks. From start to end, Keanu Reeves kicks ass like only he can against an army of skilled henchmen that give henchmen the respect that they’ve always deserved. The unique world of assassins is expanded as we see it come out in full force against one of cinema’s latest and greatest action heroes.

12. “Marriage Story”

“Marriage Story” is one of Netflix’s big successes this year. Adam Driver and Scarlett Johansson are absolutely brilliant in what is one of the most emotional and relatable stories told in film this year. If you haven’t had the displeasure of witnessing the effects of a collapsing marriage, then “Marriage Story” is a brilliantly written, directed and acted window into the anger, sadness and love that it entails.

11. “Us”

Jordan Peele’s newest horror masterpiece follows the Wilson family’s fight for survival from murderous doppelgangers. The film follows Peele’s last intellectual horror, “Get Out,” and something that should be appreciated about his movies is the detail and care put into all aspects of each film. The soundtrack of “Us” is haunting, the camerawork begs for the audience’s attention and the script has great dialogue. While the film’s level of intelligence cannot compare to its predecessor, it has horror movie homages and great acting from Lupita Nyong’o and Winston Duke.

10. “The Lighthouse”

Robert Eggers’ new film “The Lighthouse” is certainly weird and unique. A24 has been on a roll this year, and “The Lighthouse” is clear evidence. Shot in black and white and a 1.19:1 aspect ratio, the film follows two lighthouse wickies (Willem Dafoe and Robert Pattinson) as they drive each other to the brink of insanity while trapped on their lighthouse island enduring a storm. There’s simply not another movie quite like it.

9. “The Last Black Man in San Francisco”

Speaking of A24, “The Last Black Man in San Francisco” also made a big impression this year. It’s a film that views a serious subject matter through a somewhat quirky and dreamlike lens. The film follows two cousins as they attempt to take back the house that the protagonist’s grandfather built. It tackles gentrification and striving to stay in touch with one’s culture and history but does so in a creative and unique way.

8. “Once Upon a Time… in Hollywood”

Directed by Quentin Tarantino with an all-star lead cast of Leonardo DiCaprio, Brad Pitt and Margot Robbie, this film is Tarantino’s love letter to Los Angeles during the late 1960s, with a focus on hippie Hollywood. In 2017, Sony got the distribution rights to the film and executed a heavy $90 million marketing plan, with billboards, multiple television spots and a catchy soundtrack — all assisting in making it the movie of summer 2019. DiCaprio plays actor Rick Dalton, who gained fame in Hollywood but struggles to get more expressive work. Brad Pitt plays Cliff Booth, Dalton’s stunt double and extremely easygoing best friend, who somehow gets entangled in with Charles Manson.

7. “The Farewell”

This movie came out of nowhere for a lot of people. Director Lulu Wang was relatively unknown in the mainstream, but that’s sure to change after this year. “The Farewell” is a brilliant exploration of Chinese culture and family, as well as personal grief, humility and alienation. Though the pitch of a family hiding their grandmother’s cancer diagnosis from her sounds like a comedy, and it does have its lighter moments, this film hits hard. The performances are top-notch across the board, especially from Awkwafina and Zhao Shuzhen. Simply put, this is a beautiful film that demands its audience’s attention during every minute of its runtime.

6. “Knives Out”

“A Whodunnit like nobody has ever dunnit” proves to be more than just a catchy tagline, as Knives Out gives us everything we love and everything we never knew we wanted from the murder mystery genre. The script is impeccably paced and expertly balances a character ensemble worthy of the all-star cast. Though none of the actors are likely to take home any hardware, they all bring their A-game with solid performances that bring the characters to life.

5. “Midsommar”

After Ari Aster wrote and directed his commercially and critically acclaimed film “Hereditary,” fans were eager to see what other terrifying scenarios Ari Aster could bring to the big screen. His response, “Midsommar,” did not disappoint. Aster delivered with a terrifying, non-conventional breakup film using a bright, disorienting and fairy tale color scheme. The juxtaposition between the fantasy world and its nightmare within creeps up on the audience until it is too late.

4. “Rocketman”

“Rocketman” is everything that 2018’s “Bohemian Rhapsody” wanted to be and so much more. Taron Egerton brings Elton to life onscreen in a complexly fabulous yet eerily dark way that captures Elton’s real-life journey perfectly. The fantastical elements and raucous musical numbers carefully tread the line between seriousness and bombastic blasts of extravagance. This film oozes with personality in all aspects.

3. “Parasite”

Bong Joon-ho delivers what may be the most creative and compelling drama this year in “Parasite.” This is very much a film where the less you know going in, the more you will enjoy it. From the script to the direction to the cinematography, every aspect is perfection. You feel transported to the world of these characters as they bounce back and forth between the slums and high society of Korea. It’s a near-perfect film.

2. “Avengers: Endgame”

This movie marks the end of a decade of films orchestrated by Disney that began with 2008’s “Iron Man,” which ultimately brought back Robert Downey Jr.’s acting career portraying eccentric billionaire Tony Stark. In “Endgame,” it comes full circle. Running over three hours, the movie starts back up where “Infinity War” left off, with Tony Stark alone in space as his oxygen supply starts to run out. The other Avengers, Thor, Black Widow, Captain America and Bruce Banner, are trying to figure out how to bring back their allies that disappeared in Part 1 in order to fully defeat Thanos.

1. “Booksmart”

Olivia Wilde’s directorial debut, “Booksmart,” is a tour de force in charming, coming of age story-telling following two best friends trying to have one night out before college. Calling it “‘Superbad’ for Gen X” doesn’t do justice to what is at its core: a creative, clever, relatable and heartwarming story wrapped in a bow of talented film-making, writing and performances. Wilde shows immense amounts of promise as a director, and co-stars Beanie Feldstein and Kaitlyn Dever have a palpable chemistry that elevates this film to its position in our number one spot.

25. “Wasteland, Baby” — Hozier

Hozier just loves making songs that hurt our hearts. Maybe it’s his crooning, powerfully raw voice that swoops through his tracks, or maybe it’s his bittersweetly beautiful lyrics painting vivid pictures, but Hozier’s overall tone of his music trends downward and introspectively. On “Wasteland, Baby,” Hozier shines bright by celebrating music and the power of emotion, but the follow up to his debut “Hozier” seems to fall slightly short.

24. “DIE FOR MY BITCH” — Baby Keem

You may not recognize the name Baby Keem now, but with this new project, the Vegas-based rapper is sure to be a household name in no time. Keem’s distinct voice and fun lyrics stick like glue to both the intense trappy beats and lighter, more SoundCloud rapper tracks on this album. This album is a perfect encapsulation of the state of hip-hop in 2019.

23. “Lover” — Taylor Swift

Taylor Swift closes her 20s with another magnificently written, vulnerable pop album. The first to be released on a major label, “Lover” sees Swift embraces all the aspects of her journey in music so far. You can hear her country roots, the lyrical wit of “Red,” the blockbuster pop of “1989” and even that slick confidence from “Reputation.” It is a great close to one chapter and the dawning of the next.

22. “All Mirrors” — Angel Olson

Though written as stripped-down, guitar-centric songs, Olson’s “All Mirrors” was released as lush tracks backed by 12-piece string arrangements. The album takes a step back to ask questions about identity, not only as an artist but as a person trying to connect with themself again. It is a bold and angry statement piece that takes the time to be playful and introspective.

21. “When I Get Home” — Solange

This experimental album from the younger Knowles sister is a love letter to their hometown, Houston. The songs go beyond traditional structure and grounded themes, instead opting to focus on the ephemeral feeling of “home.” This album’s meaning is truly in the hands — and ears — of the listener to decide.

20. “Dedicated” — Carly Rae Jepsen

“Dedicated” may not be the perfect pop record that “Emotion” was, but it is still one of the strongest of the past decade. The record is heavily influenced by the ’80s, calling specifically on the spirit of Cyndi Lauper. The melodies are infectious and the story-telling feels distinctly more personal.

19. “TURN OFF THE LIGHT” — Kim Petras

Kim Petras released two projects this year. While both were stellar, there’s something about the electronic rave elements and twisted lyrics on her Halloween project “TURN OFF THE LIGHT” that elevate it as a the better of the two.

18. “Bandana” — Freddie Gibbs & Madlib

Freddie Gibbs and producer Madlib have garnered a widely known and respected reputation on the hip-hop scene. Gibbs’ intense and badass lyrics flow smoothly over Madlib’s sample-laden classic hip-hop style beats. This album is a feat that old school rap fans will no doubt enjoy but also offers some interesting beats and production for the younger crowd as well.

17. “Singular: Act II” — Sabrina Carpenter

Last year, Sabrina Carpenter release part one of her “Singular” project. It was full of perfectly written pop earworms, and this year’s offering is no different. “Singular: Act II” is a great mash-up of R&B and bubblegum pop sonics with many different iterations. Carpenter shows off her range as a vocalist and an artist, proving to be one of the most impressive young pop stars.

16. “Saves the World” — MUNA

On their new record, MUNA pull from ‘90s alt-rock touchstones to create their offering of pop tunes. The record showcases a keen sense of self-awareness that not many have. The lead songwriter, Katie Gavin, sinks her teeth into heavy topics like addiction, cheating and suicidal tendencies. Yet the record holds a sense of optimism. She has made it through the journey and found the light at the tunnel’s end. In saving yourself, you can save the world.

15. “Social Cues” — Cage the Elephant

Cage the Elephant returned this year with another rock album. The band did not gain as much public attention for this album as they did with past releases, but each song is still very strong. “Social Cues” takes on a harsher tone than their other albums with gritty lyrics that don’t resemble the lyrical style of past work (which resembled rock songs from the 1970s). This album is an example of a band currently experimenting with a new style as they continue to change from a mid-2000s rock group into a famous 2019 band.

14. “Homecoming: The Live Album” — Beyonce

The Netflix film of her landmark performance at Coachella in 2018 has a soundtrack that allows you to take a Beyonce concert with you wherever you go. The reconceptualization of her most popular songs into big band anthems is stunningly captured with expert mixing and engineering. While the visuals of the performance in the documentary are striking, listening to the soundtrack alone reminds you that under all the outfits, choreography and pyrotechnics, Beyonce is a f–king talented vocalist.

13. “Magdalene” — FKA twigs

In a character study of the biblical Mary Magdalene, FKA twigs explores conservative sexism in a rich and experimental sonic palette. The album raw with emotion of taking on not just the plight of Magdalene but also the backlash twigs herself has faced in the public eye. Each song is a visceral narrative slinking over trap-adjacent beats. It seeks to establish both a modern vision of womanhood and genre-defying music.

12. “III” — Banks

Banks carved out a unique space for herself in the musical landscape with her first two albums. Her dark, brooding and primal sonic palette accompanied by her aching, unconventional lyricism reverberated with many fans. On her third album “III,” Banks expands her vision and incorporates new elements into her music. She also reveals a new sense of empowerment and optimism that she has grown into. This album contains some of the strongest vocal performances and experimental productions of the year.

11. “IGOR” — Tyler, the Creator

Following up his first real mainstream success with “Flower Boy,” Tyler dropped “IGOR” this year. The album features a more scattered and harsh production than its predecessor with a lot more of Tyler singing than on any of his previous work. That being said, its an extremely unique and interesting body of music that has its slower, more tender moments but also its moments of heavy bass and high energy.

10. “All My Heroes are Cornballs” — JPEGMAFIA

JPEGMAFIA can sing! And he’s coming for anyone who doubted him. On his third full-length project, Peggy has opted to ground his music a bit more and it works in his favor. Though this album may not have a sample of a police officer being shot, it does have varied totally unique production, clever lyrics and catchy hooks that make it one of the best hip-hop albums of the year.

9. “Charli” — Charli XCX

Charli XCX doesn’t get the mainstream recognition she deserves. Her 2019 album “Charli” is top to bottom bops, from the catchy hooks to bouncy verses. Charli is making pure, unfiltered pop music in its most modern sense. The album blends some PC production into its more electronic moments and contains features from the likes of Lizzo, HAIM, Kim Petras and many more.

8. “Father of the Bride” — Vampire Weekend

Vampire Weekend returned this year with their fourth full album after a six-year hiatus. “Father of the Bride” provides a new sound for the band that is more upbeat than past albums but still recognizable with Ezra Koenig’s distinct vocals. This album featured several guest musicians and gained critical acclaim for its unconventional indie-pop sound. “Father of the Bride” pushed Vampire Weekend to new musical limits, redefining the band’s mastery of the indie-rock genre.

7. “Ginger” — Brockhampton

Brockhampton is sad. Not “iridescence” sad, but the self-proclaimed “world’s greatest boy band” is still working through a lot. And it shows on their new project, “Ginger,” that serves as a reflection on the group’s rocky past year and does so over interesting production and with dynamic lyrics and flows. It doesn’t seem like the group is returning to their “Saturation” vibes any time soon, and if this is what we get instead, maybe it’s for the best.

6. “When We All Fall Asleep, Where Do We Go?” — Billie Eilish

Billie Eilish gets a lot of flack, but the music she puts out consistently proves that she doesn’t deserve it. With her debut studio album releasing this year, it’s incredible the amount of talent and creativity that she and her co-writer/producer brother, Finneas, have at such a young age. Her talent shines throughout this album despite its dark tones and production. This album is a milestone in what is sure to be the next wave of pop music and a promising start for a young talent.

5. “thank u, next” — Ariana Grande

It was an album that launched a thousand memes and Instagram captions, but it was also full of vulnerable, reflective and relatable material. Made in the middle of severe heartbreak and grief that was fervently documented by the media, Grande found refuge in the studio and made an optimistic and experimental body of work with her best friends. It debuted with the biggest recorded streaming week for any pop album and took over the top three spots of the Billboard Hot 100 — an accomplishment previously only achieved by The Beatles. Grande and “thank u, next” are sure to shape pop music for years to come.

4. “Heard It In A Past Life” — Maggie Rogers

Look folks, Maggie Rogers is a gem. After her breakthrough single “Alaska” graced virality through Pharell Williams and an NYU Masterclass, Maggie Rogers followed up her EP with her profound debut album “Heard It In A Past Life,” released Jan. Her powerful, heartfelt voice coupled with her personal experiences coursing through each track make this album worth listening to several times. Rogers breaks down the grips of fame; she shows how to be genuine in the age of technology and she is a steward for how to truly love yourself.

3. “Sucker Punch” — Sigrid

If you aren’t listening to Sigrid, you’re making a grave mistake. The Norwegian pop-singer served up a piping hot serving of bops on her debut album “Sucker Punch” this year. Between her interstellar voice and range, cute persona and occasionally emotionally devastating lyrics about losing love, Sigrid will no doubt be blowing up here soon in the way she has across the pond. Do yourself a favor and get in on the ground floor.

2. “Cuz I Love You” — Lizzo

Lizzo’s major label debut album “Cuz I Love You” feels like a complete portrait of her. Though the Minnesota rapper’s biggest songs this year have come from past releases, this album is full of energetic songs that prove she continues to push the envelope. She gives you different emotions; she sings, she raps and she busts out her famous flute. Most importantly, she shows you how joyous it can be to love yourself and invites you to do the same.

1. “Assume Form” — James Blake

“Assume Form” may be James Blake’s most accessible album, but he did not sacrifice any of his distinct voice, style or quality to make it so. If anything, this project may be Blake’s best to date. Yet again, Blake strikes gold with his soft vocals and heartfelt, happy lyrics harmonizing over spacy, graceful production. The album also contains a litany of features from the likes of Andre 3000, Travis Scott, Moses Sumney and Rosalia, all of whom fit perfectly into Blake’s style. It’s a masterpiece of genre-blending beauty.

There isn’t another movie like Robert Eggers’s new film “The Lighthouse.” The closest thing I can think to compare it to is the director’s first feature length film, “The Witch,” which was released back in 2015. What that tells me is that Eggers has a distinct and inimitable style that is evident in every frame and aspect of his films. Like “The Witch,” which was branded as more of an overt horror film, “The Lighthouse” takes its time to immerse its viewer in the rustic, grim world in which it lives only to throw its characters into the grips of chaos and violence.

“Grim” is genuinely the best word I can think of to describe “The Lighthouse.” The story follows Ephraim Winslow (Robert Pattinson) as he arrives on a remote lighthouse island to study as a lighthouse watchmen under the tutelage of Thomas Wake (Willem Dafoe), an eccentric, embittered old man with a mysterious origin. The two get to know each other over the course of four weeks, and as they go about their duties on the island, they grow to hate one another and drive each other mad. It’s a feel-good movie for sure. Much of what happens in the movie, especially later on, is wildly fun to watch unfold, so I won’t give too many details about the plot, but that’s all you really need to know.

Now let’s get into what makes this movie as amazing as it is. First: the performances. This movie is, for the most part, focused on two people: Pattinson and Dafoe. For the majority of the one hour and 49 minute runtime, at least one of them is on screen. This movie lives in its script and their performances. Pattinson has come a long way in reclaiming his reputation following his role as Edward Cullen in the “Twilight” series. If you haven’t seen some of the great films he’s done since then like “Good Time,” then this is a perfect opportunity to gauge his range. He was perfectly cast as this solemn, young drifter who is just looking to find a place where he can forget about his life.

Dafoe, on the other hand, perfectly combines the gruffness you would expect from an old lighthouse watchman and a chaotic, almost slap-stick comedy that feels both out of place and entirely appropriate. He sounds like a salty sea captain with his harsh British tones contrasting Pattinson’s strong New England accent.

The movie is surprisingly hilarious. Though I will say most of the complexities involved in the story’s heavy symbolism went over my head, there is enough there to understand and enough jarring yet legitimately hilarious humor to keep the viewer interested. It’s not a movie that seems like it will be as funny as it is, but there are a few standout scenes (namely, when the duo argues about the quality of Wake’s cooking and when Winslow savagely beats a seagull to death) that embody the dark humor that runs through this film.

Beyond performances and characters, the tone and cinematography of this movie were fascinating. It’s shot in a 1.19:1 aspect ratio on 35 mm film and is black and white. The majority of the first half of the movie sees Winslow performing a variety of old-timey chores. There’s little dialogue, but between the fascinating cinematography that consists of interesting framing and shot composition, the mundanity of these tasks is conveyed while still being entertaining.

There’s also a sense of unease that this helps to create, furthered by the excellent sound design of the film. There is the lighthouse horn’s almost constant, loud blaring at a variety of volumes and the perpetual sound of pounding rain or crashing waves with a grainy sound filter that matches the graininess of the visuals. Between the long periods of silence and the sudden bursts of chaotic noise or visual stimulus, I always felt somewhat on edge and never quite sure of what was going to happen next.

This movie is certainly not for everyone, in the same way that “The Witch” isn’t. It’s a slow burn, but if what I’ve said about it so far entices you, there’s a good chance that you will like this movie as much as I did. I’m looking forward to watching it again and unpacking it a bit more.

There’s been a resurgence of horror in the 2010s that is welcomed by many. Smaller studios like A24 and a newfound craving for real horror has caused a substantial uptick in new horror IP and players. No longer is James Wan making every horror movie to hit the silver screen (although he is still making quite a few). So I thought, in honor of the spooky season, why not list some of the best horror flicks that have come out of one of the biggest players in the genre this decade, Blumhouse Productions?

For some background, Blumhouse Productions was founded by film producer Jason Blum 19 years ago. However, it wasn’t until 2006 that the studio began releasing films, and they didn’t hit the mainstream until 2009 with the now classic “Paranormal Activity.” Blumhouse has gone on to produce the entire “Paranormal Activity” franchise, as well as other popular horror like “The Conjuring” and “Annabelle.” They have also produced a number of non-horror flicks that have received critical acclaim, like “BlacKkKlansman,” “Whiplash,” “Upgrade” and “Split.”

At its core, however, Blumhouse is rooted in horror and thriller movies. While they have produced their fair share of stinkers, here’s some of the best in release order:

“Paranormal Activity” (2009)

This is the one that started it all. Before “Paranormal Activity,” horror movies had largely become gore fests without suspense, like the “Saw” franchise and “Final Destination.” It was the directorial debut of Israeli-American director Oren Peli, who has gone on to direct most of the “Paranormal Activity” and “Insidious” films. If you somehow don’t know what the premise of the movie is, it follows a family being haunted by an evil presence but adds in the element of found footage. The film is shot entirely through handheld and security camera footage, including many scenes of people going about their lives or sleeping while scary stuff happens overtly or subtly in their surroundings. It’s a classic at this point, and if you haven’t seen it, it’s a must-watch for horror fans.

“Oculus” (2014)

This was the first scary movie I watched that really clicked for me. I never understood the appeal of being scared. Why would I watch a movie that makes me feel like I’m going to die when I can watch “Toy Story” or “Jackass” or something? But with “Oculus,” I got it. The flick, directed by Mike Flanagan (“The Haunting of Hill House”) starring Karen Gillan (“Guardians of the Galaxy”), centers on a horror trapped within an old mirror. Between its cool visuals and suspenseful moments of tragedy, it’s an unforgettable addition to the Blumhouse lineup.

“Creep” (2015)/“Creep 2” (2017)

I’m cheating here by including both of the “Creep” films together, but they work best as a package deal, so I’m going to do it anyway. These movies are insane. I didn’t watch them until last year, and they carry on the trend of found-footage horror that was pioneered by “Blair Witch Project” back in the day. The first follows a documentarian who is hired by a cancer-diagnosed man to document his life in a tape he is recording to leave behind for his children. Let’s just say that isn’t the entire truth. The second follows the events of the first, but in a meta sense where someone attempts to hunt down the subject of the first film only to find herself lured in and trapped. Both movies are amazing and weird and manage to make mundanity absolutely terrifying.

“The Gift” (2015)

This movie introduced me to Joel Edgerton, and I’m so glad that it did. The indie darling actor stars in this suspenseful thriller/horror film alongside Jason Bateman (“Ozark”). The story is about a man (Bateman) who runs into an old friend (Edgerton) when he moves back to his hometown. He then proceeds to keep running into him as Edgerton’s character starts to act creepier and creepier and further crosses boundaries. This movie is a master class in suspenseful dialogue and doesn’t rely on jump scares to achieve its most tense moments.

“Get Out” (2017)

There is a debate to be had about whether or not Jordan Peele’s directorial debut, “Get Out,” is a horror movie. Peele himself referred to the film as a “documentary,” which certainly didn’t quell the arguments around the genre-bending film. Undoubtedly, there are strong horror elements in “Get Out,” and it manages to stay unique, interesting and tense for the entirety of its duration. The incorporation of racial tensions into the horror framework only serve to elevate the already extremely good film to an amazing one.

“Happy Death Day” (2017)/“Happy Death Day 2U” (2019)

Horror can be more than just scary, as we see in the “Happy Death Day” series. If the name didn’t tip you off, the goofy time loop horror series is a parody of a genre that it obviously has great admiration for. These movies are dumb fun, and I thought the second may have crossed the line into self-indulgence just a bit too much, but at the end of the day, they have some fun scares and big laughs. Consider this for something a little lighter as you gorge on discount bags of candy from Target.

Honorable Mention:

“Truth or Dare” (2018)

This movie is not good. I would venture to say that it’s bad, quite bad actually. But in any horror movie list, there needs to be some genre towards the cheesy “so bad it’s good” subgenre that pervades in scary movies. The film follows a cast of fairly annoying teenagers as they initiate a deadly game of “Truth or Dare” that causes them to hallucinate and accidentally kill their friends. Yeah, it’s as bad as it sounds, and that’s what makes it so great. It’s a dumb, easy watch, made even more fun by the addition of alcohol if you’re of the age to do that kind of thing. If you’re into laughing and not getting scared at bad writing and acting, this one’s for you.