Independence Days

Ready for the parade, age 6.

On the Fourth of July, my first task as a child was always to put out the flags. Every year, my parents and I marched in the local parade. By 10 AM, seemingly the entire neighborhood would meet up two blocks away from our house at St. Helen’s parish parking lot where each participant would receive a small American flag-on-a-stick to carry and wave in the procession. The three of us always hung onto them afterwards—I’m certain sticking a flag in the trash would’ve seemed unpatriotic (the worst thing to be on July 4th!) so they sat on a basement shelf 364 days a year, gathering dust and seemingly multiplying. By age 12, we had accumulated nearly three dozen and you can sure as hell bet I planted every single one across our lawn, lining the sidewalks and increasingly any other available space in our front yard.

Once gathered at the lot, we would all walk together the two blocks west to 13th Street to join a parade already in progress. For years, my mom helped decorate St. Helen’s parade float, always covered in red, white and blue crepe paper and similar crafty accoutrements. It usually had an appropriate theme (on the year of the Statue of Liberty’s 200thanniversary, the float featured a small chintzy replica of it.) While my parents walked with other civilians besides the float, I marched as a member of the Cub Scouts, decked out in my navy blue, yellow-and-red kerchiefed uniform (swap blue for tan once I transitioned into Boy Scouts.)

Growing exponentially as other parishes and organizations joined up, the parade swelled to a veritable throng by the time we reached 16th Street. We then all marched four length-wise blocks to Howard Avenue and entered Wilson Park. Our reward? A dixie cup of vanilla ice cream and a flat wooden spoon to consume it with. As temperatures spiked into the 90s and beyond, such a cheap treat never tasted so good (though not the year I came down with a nasty cold as the morning progressed; there’s a snapshot of me looking wretched and green in the face, however complimentary it was to my tan Scouts uniform.) At the park, we never stuck around for the talent competition although we had to at least stay for a judging of the floats. St. Helen’s was named Best Float the first three years Mom worked on it and I’d like to think she was chiefly responsible for these triumphs. Not for nothing had she mastered the art of cross-stitching, stenciling and other household crafting over the years.

Arriving home with our three additional flags in tow, I’d change out of my Scouts duds and we’d drive out to the suburbs to visit another family, longtime friends of my parents we often vacationed with. We’d have a leisurely BBQ dinner of grilled hamburgers, hot dogs, corn on the cob and baked potatoes with melted margarine, followed by fireworks at the local high school’s football field. It was a less impressive display than the “official” Milwaukee fireworks always put on by the Bartolotta Family on Lake Michigan the night before. We honestly had more fun setting off store-bought fireworks in the cul-de-sac by our friends’ home afterwards. Often, when lighting a flying lantern or a spark-spewing colorful fountain, one of the dads might (to a point of seeming almost comic) have to rapidly jump away from the now-lit fuse to avoid getting burnt before the sparks materialized. Us kids were happy as long as we had our handheld sparklers and gunpowder snaps that loudly popped with minor smoke residue when thrown on the ground. I was most fond of those light sticks that glowed when activated by “breaking” them in the middle, tying them to strings where one could swing them around, otherworldly streaks of neon orange, green, yellow and blue illuminating the night sky.

By 16, I had quit the Scouts and rarely attended the parade and/or fireworks because I couldn’t get the day off from a series of menial retail jobs. A couple years later, I’d spend the holiday engaged in more age-appropriate activities like drinking at Summerfest on the Lakefront. One time, my friends and I showed up at the admission gate early on the Fourth to pay our fee to Henry Maier Festival Park for the day and, more importantly, get our hands stamped so we could attend the Violent Femmes concert at the park’s Marcus Ampitheater that night for free (albeit with upper lawn seating.) Each night of the 11-day festival would conclude with fireworks although for us, they ceased to be the main attraction, not when there was Sprecher Beer on tap, Venice Club’s fried eggplant sticks with rich marinara sauce for dipping and Gordon Gano and company wailing out “Blister In The Sun” to an appreciative hometown audience.

A year after moving to Boston at 22, my parents visited me on Independence Day primarily so they could in person watch the Pops perform their annual concert on the Esplanade followed by fireworks. The first year of this ritual, we thought we were clever arriving there by 10 AM to secure a seat at the Hatch Shell. Of course, the concert space and its immediate perimeter were already standing room only. We found a grassy, shady spot further away, out of sight of the stage but presumably with a view for the fireworks. We claimed this space and stayed put all day. Temperatures reaching the mid-late 90s by noon, Mom and I walked over to the Star Market at the Prudential Center to replenish our food supply while my dad sat on a blanket in the shade, thrilled not to have to move.

Dad guarding our space on the Esplanade. I’m now the age he was in this photo!

Even though we couldn’t literally see the concert, we did watch it on a big remote screen set up nearby. When fireworks finally commenced around 9:45 PM, the trees that had made the sweltering muggy day somewhat bearable now blocked our view. We stood up, gathered our blanket and cooler and navigated the crowd to get as close to the Charles River as we could. It was a dazzling display, certainly dwarfing even my hometown’s Bartolotta extravaganzas; still, I remember the crowd more, the Esplanade swarming with a whopping 300,000 people that night. Getting out of there was a lengthy, slow-as-molasses process. We eventually made our way to the adjacent Storrow Drive, closed to traffic so that us and thousands of participants could walk along it to disperse from the masses all the way through Kenmore Square and down Beacon Street to my parent’s hotel in Brookline.

Folks viewing the Esplanade Fireworks from the back of a Beacon Street highrise, 2009.

My folks came back to Boston three more times for this exact experience over the next decade. On the second of these return jaunts, I met up with them for lunch in the North End, then parted ways, strategically deploying the excuse of attending a party at a friend’s house in Cambridge. Fortunately, I still got to see fireworks that night as a dozen of us walked a mile or two from the party down to the Charles River to watch the display from the opposite side. A decent crowd had accumulated, albeit less than a tenth of the size of that on the Boston side. If I had lived in Cambridge, I’d consider making this an annual ritual. Instead, pushing 30, the tradition had lost some of its urgency. By then, I’d seen dozens of fireworks displays. In years to come, I felt satiated watching the Esplanade fireworks on TV (and often, not at all.) Call me officially an Old Man at that point. When my parents reached their 60s, they decided they had enough of the crowds as well and never requested to visit Boston on Independence Day again. Amazingly, they still hung on to all of those flags of my youth long after moving to another state. They finally disposed of them at a sanctioned burning of old flags (thrown by the local Boy Scouts, no less.) However, before giving them over to the flag inferno, my parents we required to remove all the sticks, tearing off a couple dozen of them one by one.

These days, for me the Fourth of July is strictly a day of rest and relaxation—in other words, a typical holiday. I usually try to grill on my back patio with a menu not far off from the dinners we shared with the other family back in the day (though I would never, ever use margarine.) With the current dubious political climate, I don’t feel a strong sense of patriotism anymore, especially as it’s increasingly twisted for ideological gains. Still, as frustrating, disillusioning and just plain backwards as it can be, I love my country, my home, the environment that made me who I am. Its flaws only provide motivation to stay here, fight the power and work together to make things better for everyone. On the occasion of the United States of America’s 250th Birthday, I may even watch the Esplanade fireworks on TV tonight.

Halfway Through 2026

The Love That Remains

To list favorite films and albums at a year’s midpoint is to assess what I’ve consumed and what’s sticking; it’s also a speculative game of sorts—which titles will remain near the top of my eventual year-end lists?

Since prestige films both big and small tend to surface during the year’s last quarter (i.e. Awards Season), this is somewhat a lopsided exercise. Occasionally, I’ve seen my top film early in the year (Do Not Expect Too Much From The End of The WorldQuo Vadis, Aida?); four films I listed at last year’s midpoint made it into my year-end top ten. Half of the 2026 releases below were seen at IFF Boston in April plus two more at that organization’s Fall Focus last October (The Love That RemainsSound of Falling). Silent Friend also played the latter but even a recent viewing in one of the Coolidge’s smallest theaters didn’t diminish its impact for me. That leaves surprise hit (by indie standards, anyway) Pillion and Nadav Lapid’s hilarious and incendiary Yes, which I just watched and may write about at another date.

As release schedules go, albums are more luck-of-the-draw situations. At last year’s midpoint, I had already heard what would end up my year-end number one (Doves’ Constellations For The Lonely) and very much expected it to end up in that place (or close to it). Still, most of my other midyear selections ended up honorable mentions outside the top ten, so you never know. Six months in, 2026 seems pretty average for new albums; most of what’s included below are the latest efforts from artists I already love—many of them good (Gonzalez, Ware, Parks, Robyn) rather than great (the Orton just came out but I’m already feeling strongly about it.) I need to spend more time with Lu’s first release in seven years and Harding’s latest, but the key is I want to keep listening to them. The closest to a standout here is the second album from Brit RAYE (and its irresistible single “Where Is My Husband!”), which positively gives off Janelle Monae-circa-The ArchAndroid-theater-kidvibes minus the sci-fi pretensions. With new releases to come from beabadoobee, Nicole Atkins, The Tubs, Carly Rae Jepsen and more, as usual, we’ll see where things measure up in another six months.

Favorite Films of 2026 so far (alphabetical by title):

  • Blue Heron
  • Cookie Queens
  • I Love Boosters
  • The Invite
  • The Love That Remains
  • Pillion
  • Remake
  • Silent Friend
  • Sound of Falling
  • Yes

Favorite Albums of 2026 so far (alphabetical by artist):

  • Aldous Harding, Train On The Island
  • Arlo Parks, Ambiguous Desire
  • Beth Orton, The Ground Above
  • Boards of Canada, Inferno
  • Jessie Ware, Superbloom
  • Jose Gonzalez, Against The Dying Of The Light
  • Kelsey Lu, So Help Me God
  • RAYE, This Music May Contain Hope.
  • Robyn, Sexistential
  • Tori Amos, In Times of Dragons

Ranking 1970s Paul McCartney Albums

For years I’ve listened to a single artist’s or band’s discography (often in its entirety) an album a week on my morning commute. I’ve gone my way through the back catalogues of everyone from Led Zeppelin and solo Paul Simon to Alison Moyet and Neil Young (at least through the 1970s.) For whatever reason, it never occurred to me that I should write about these audio journeys until now. Since I just finished listening to the first decade of Paul McCartney’s post-Beatles career, on his 84thbirthday, here’s how I would rate his studio albums from the 1970-79. At some point, I’ll also do this with his output from McCartney II to the just-released The Boys of Dungeon Lane.

I considered going best-to-worst, but it’s better to get the lesser stuff (actually, much less of it than boomer critics at the time suggested) out of the way.

9 – Red Rose Speedway (Paul McCartney & Wings, 1973)

When the excessively syrupy and lame ballad “My Love” is your best choice for a single, you know you’re in trouble (“whoa, whoa-whoa, whoa”, indeed.) At 18, I first delved into Paul’s solo career with his 1987 hits comp All The Best! and the best thing about it was that it placed this track at the very end of it, thus making it easier to skip. The rest of RRS is not bad, necessarily, just relentlessly unmemorable (although the instrumental track is pleasant.) He’s supposed to be a melodic genius, but precious little here sticks.

8 – Wild Life (Wings, 1972)

Initially, Paul’s “Let’s start a new band with my wife and some dudes” proved more novel in theory than in practice. This is the only McCartney studio pop album devoid of any top 40 hits until the 1990s. While his originals don’t live up to the adorably ramshackle cover of “Love is Strange”, they’re pleasant tunes that could’ve benefited from some trimming (“Dear Friend”) and others that barely justify their brief durations.

7 – Back To The Egg (Wings, 1979)

Similarly, a lack of both focus and a killer hit single tarnishes the final Wings album. Side two meanders on and on, dribbling to a close with his umpteenth “When I’m 64” knockoff (“Baby’s Request”). Fortunately, side one’s compactness and energy both suggest he’s at least aware of punk/new wave even if the results veer (encouragingly!) closer to Fleetwood Mac (“Old Siam, Sir”) and Steely Dan (“Arrow Through Me”).

6 – McCartney (Paul McCartney, 1970)

His “let’s-get-this-one-out-before Let It Be” home-recorded solo debut famously has three good-to-great songs (“Maybe I’m Amazed”, “Every Night” and Beatles leftover “Junk”) and numerous little sketches not meant to be anything more than that. The whole DIY approach has aged well compared to a lot of rock and roll bloat from that period but if asked, I couldn’t hum any of the other tracks except for “Man We Was Lonely”.

5 – London Town (Wings, 1978)

The most diverse Wings album? Not much here resembles the competent (if tepid) middle-of-the-road hit, “With A Little Luck”. While making room for such odd bedfellows as “Strange Groupies” (which could’ve been sung by hobbits) or the rockabilly “Name and Address”, it somehow coheres (unlike Back To The Egg), even if it should’ve been a tight ten tracks instead of fourteen. Finale “Morse Moose and the Grey Goose” is one of his most peculiar mini-epics and also his most thrilling.

Always remember, Paul is a Weirdo

4 – Wings At The Speed Of Sound (Wings, 1976)

This has a bad reputation for including written (and sung) contributions from all five Wings members. While Linda’s “Cook of the House” is admittedly fluff, it’s charming fluff and some of the others (Denny Laine’s “The Note You Never Wrote”) could’ve come from Macca himself. Happily, Paul’s own tunes are top-notch: the deathless, hypnotic “Silly Love Songs”, the so-straight-faced-it’s-probably-subversive “Let ‘Em In” and the almost majestic “Beware My Love”.

3 – Venus and Mars (Wings, 1975)

Making the most convincing case for Paul-as-rocker (“Rock Show”, “Letting Go”, the exquisite “Call Me Back Again”) of the entire Wings era, it’s nearly as strong as its predecessor (see below), with the lovely “Love in Song” this period’s least silliest love song. To be a fan is to appreciate both the effortless hook of “Listen to The Man Said” and the utter daftness of “Magneto and Titanium Man” and Paul can ably pull both off when he’s this focused.

2 – Band On The Run (Paul McCartney and Wings, 1973)

His most widely loved solo album, I once thought it was overrated, not much to admire beyond the singles and propulsive closer “Nineteen Hundred and Eighty Five”. “Let Me Roll It” showing up as an effective needle drop in Licorice Pizza changed my mind somewhat, then came the proto “Hey Ho’s!” of “Mrs. Vanderbilt”; now, I like all of it except for the meandering “Mamunia”. Rather than fussing over his craft, Paul seems to be trusting his instincts here and it makes a big difference.

1 – Ram (Paul and Linda McCartney, 1971)

A less controversial take than it might’ve been decades ago, but I think Ram is the best Beatles solo album, period (and it’s co-credited to one of their wives, no less!) Not to disparage the previous entry or even John Lennon/Plastic Ono Band or All Things Must Pass, first hearing Ram in the mid-90s was akin to finding a lost Beatles album, not so much in sound as in sensibility. Think of it as an all-Paul version of The White Album, his stoner humor translating into a mostly non-linked suite of often eccentric (“Uncle Albert/Admiral Halsey”) and occasionally insane (“Monkberry Moon Delight”!) but always impeccably crafted, infectious miniatures. I can sense its division (chances are it will either irritate or engage with little middle ground) but when a new generation of listeners discovered and fell for it in the early 21st century, I felt vindicated.

Additionally, McCartney released a slew of non-album singles through the decade. Here’s how I’d rate them best to worst (with notable B-sides also listed):

  1. “Live and Let Die” (1973)
  2. “Goodnight Tonight”/”Daytime Nighttime Suffering” (1979)
  3. “Junior’s Farm”/”Sally G” (1974)
  4. “Helen Wheels” (1973)
  5. “Give Ireland Back to the Irish” (1972)
  6. “Another Day”/”Oh Woman Oh Why” (1971)
  7. “Hi, Hi, Hi” / “C Moon” (1972)
  8. “Mull of Kintyre”/”Rock School” (1977)
  9. “Maybe I’m Amazed (Live)” (1977)
  10. “Mary Had A Little Lamb” (1973)

Top Ten Films: 1980

My Top Ten Films of 1980:

  1. The Shining
  2. Melvin and Howard
  3. Airplane!
  4. 9 to 5
  5. The Elephant Man
  6. Raging Bull
  7. Grown-Ups
  8. Atlantic City
  9. Babylon
  10. Pixote

Honorable Mentions: Altered States. American Gigolo, Dressed to Kill, The Empire Strikes Back, The Fog, Ordinary People, Popeye, Private Benjamin, Times Square

For My Watchlist: Bad Timing, Coal Miner’s Daughter, The Long Good Friday, Permanent Vacation, Used Cars 

*

I’ve previously written about 1980 as an exceptional year for some fascinatingly bad movies (and television); in that context, the good stuff from this era feels almost miraculous. Even during such a confused, in-between period, studios were still capable of great art amongst dreck like Neil Diamond’s ill-advised remake of The Jazz Singer.

My top three titles above are all worthy of the number one slot. I ultimately went with my favorite Stanley Kubrick film, an idiosyncratic adaptation of Stephen King’s novel that at least seems completely devoid of studio tampering (save for the deleted coda/ending.) For this reason, perhaps, it’s one of the most inexplicable films ever made (although the subjects of documentary Room 237 will argue otherwise.) It courses with baffling choices (um. the painting in Scatman Crothers’ bedroom!); one certainly notices but inevitably accepts them since this entire world is wired so weirdly.

Although I haven’t seen Melvin and Howard in some time, this parable of average Americana altered by an extraordinary crossing of paths remains my favorite non-concert Jonathan Demme film for its warm, generous humor (not to mention Mary Steenburgen’s deserved, Oscar-winning breakthrough.) I also have no qualms putting Airplane! at top—it’s fiercely committed to the point where it locates the sublime within the silly at a hit rate that puts nearly all of its imitators to shame.

9 to 5 is nearly as hilarious a comedy even if little in it touches the let’s-off-the-boss dream sequences (though Lily Tomlin’s reading of the line, “That’s right, I’m a doctor… so why the hell am I talking to you? Piss off!” is of the same caliber.) On the other end of the tonal spectrum, The Elephant Man, which I hated after a high school class viewing, was revelatory on a rewatch a little over a decade later. Anyone who dismisses David Lynch as incapable of tenderness or sincerity should watch it (along with Mulholland Drive and the first season of Twin Peaks.)

The rest of my top ten is quite the assortment from Scorsese’s anti-hero biopic (decades before that actually became a thing) and Pixote’s astonishingly candid study of child criminals to Atlantic City’s intimate character study and Grown-Ups’ acidic take on young marrieds (see the latter for a delightfully, incomparably unhinged Brenda Blethyn.) A first-time watch last year, Babylon is a vital time capsule of an ultra-specific culture (Jamaican immigrants in London) that remains ever-relevant in how it examines racism from various angles.

My honorable mentions contain what is likely to be the only Star Wars film on these lists as well as one of the few John Carpenter flicks. Roberrt Altman’s looney Popeye remains a sentimental fave, its inclusion justified by its weirdness (rivaling that of The Shining, only as an intentional comedy). Once generally regarded as a written-off bomb, Times Square is increasingly ripe for rediscovery for serving as both another time capsule and slightly ahead of its time (I’d like to think young Madonna was watching and taking notes) and also for the amazing Robin Johnson, a proto-Natasha Lyonne.

For me, Used Cars is something of a great white whale. As an admirer of other early Zemeckis films, it’s been on my watchlist forever. It also rarely seems to be streaming anywhere but I’ll try to see it, soon. Bad Timing is currently on Criterion, but I may have to get over my slight aversion to Art Garfunkel-as-actor (picked up since not being fully convinced by Carnal Knowledge.) Bob Hoskins and Sissy Spacek are primary reasons for wanting to check out the films they star in; as for Jim Jarmusch’s first feature, is it worth seeing or juvenilia like Sean Baker’s first feature Four Letter Words?

Silent Friend

I love cities and have never not lived in one; however, reasonable proximity to a botanical garden, natural reserve or even a leafy neighborhood park is essential. To spend an hour or the better part of an afternoon soundtracked by birdsong and surrounded by a spacious weeping willow or paths lined with flowers and other plants is a serene, near-meditative reminder of a planet populated by species other than us dominating mammals.

I suspect Hungarian writer/director Ildikó Enyedi had this in mind when she conceived of Silent Friend. Its main “character” is a voluminous ginkgo tree in a garden in the University town of Marburg, Germany—a constant presence across three time periods. The first follows visiting Hong Kong neurologist Tony Wong (In The Mood For Love’s Tony Leung in his first European film) who’s stranded on campus during COVID-19 lockdown in 2020. The second centers on Grete (Luna Wedler) whom in 1908 becomes the first female student accepted to the University. Set in 1972, the third story features Hannes (Enzo Brumm), a young male student from a rural background. Introduced in this order, the three narratives soon overlap, their narratives eventually bouncing off each other, often in obvious ways (the settings), occasionally only gradually surfacing (all three characters come off as likable misfits in terms of how others perceive them.)

While all three form attachments to the ginkgo tree, the common motivator extends more to how plant life transforms their understanding of their world. Wong, whose research involves tracking newborn brain activity via a digital scanner, is moved to perform a similar experiment on the gingko tree with assistance via Zoom from French botanist Alice Sauvage (Lea Seydoux); this is much to the bewilderment of the only other person on campus, janitor Anton (Sylvester Groth). Grete, who faces sexism at nearly every turn due to her pioneering presence at the university, finds solace in studying botany before stumbling into an apprenticeship as a photographer’s assistant where she soon combines her two budding (so to speak) interests. Hannes befriends a female classmate, Gundula (Marlene Burow), who, like Wong, tracks the development and behavior of plant life (in this case, a sole geranium’s activity recorded via an analog printer.) Hannes steps in for her when she leaves town for a long camping trip and also has a breakthrough from attending to the plant (his actions mostly scoffed at by his male, would-be-radicals classmates.) 

At two-and-a-half hours, Silent Friend is slow cinema in the most palatable sense: immersive, thoughtful, deliberate and occasionally surprising (I’ve surely never been so invested in a geranium’s well-being before.) The digital scans in Wong’s narrative first serve as a transition to the beginning of Grete’s story; then, they become a motif: gorgeous, hypnotic, swirling strands of color adding texture, working in tandem with the film’s soothing electronic score. It requires patience—in particular, the Hannes sections, which feel somewhat less profound than the other two until Gundula leaves town and Hannes more or less finds himself. Rather than escalate each narrative to a conclusive, triumphant end, Enyedi cumulatively arrives at something more metaphysical and resounding—a connection between us and the natural world that, if so inclined, carries an emotional charge and perhaps a spiritual one as well. Not for nothing is Goethe’s Metamorphosis of Plants a key text utilized here.

Then and Now: Best Albums of 1996

I’ve always looking back on my own best-x-of-the-year/decade/etc. lists and thinking about what changes I’d make if I were to compile the same list today. I began making album-of-the-year lists at the end of 1996 and posted them annually online as of my first blog in 2002. Thirty years on, I’m looking back at what I liked then vs. now.

One caveat: until streaming and the adoption of Friday as a global release day in 2015, the occasional record release would often fall by country in different dates and in some cases, years. A few beloved albums on my lists were not available in the U.S. until the calendar year after their original UK/European release. For the most part, I’m sticking with those US release years for point of comparison, only using original release dates on the rare occasion when I bought the import instead of waiting for a release here.

My pre-blog best-of lists were always recorded in handwritten journals I kept as of 1995. No list for that first year, so we begin with ’96.

Then:

  1. Aimee Mann, I’m With Stupid
  2. Cibo Matto, Viva! La Woman
  3. Everything But The Girl, Walking Wounded
  4. Soundtrack, Trainspotting
  5. R.E.M., New Adventures In Hi-Fi
  6. Pet Shop Boys, Bilingual
  7. Luscious Jackson, Fever In Fever Out
  8. Cowboy Junkies, Lay It Down
  9. Suzanne Vega, Nine Objects of Desire
  10. Beck, Odelay

I’m With Stupid defined my 1996. A UK release the previous summer, it was delayed here until January. Not long after finally getting my hands on it, I wrote a review of it for my Critical Writing class at Marquette; the professor liked it enough to make copies and share it with the entire class (are teachers still allowed to do this w/out the author’s permission?) We didn’t have iTunes or Spotify back then and thus no easy means of keeping track of spins but I’m almost positive I listened to it more than anything else at the time.

Kooky Japanese-America duo Cibo Matto I discovered via their video of “Know Your Chicken” on MTV’s 120 Minutes. A week later, I found a freshly used promo CD of it at my regular used-record store, Second Hand Tunes. Along with Everything But The Girl’s full-on dive into club music shortly after the success of the remixed “Missing”, it was my soundtrack going into summer between Junior and Senior years; the Trainspotting soundtrack, R.E.M.’s final classic lineup release and late-in-the-year additions from Pet Shop Boys and Luscious Jackson would take over for the fall and winter.

Now:

  1. Belle and Sebastian, If You’re Feeling Sinister
  2. Aimee Mann, I’m With Stupid
  3. Morcheeba, Who Can You Trust?
  4. Tori Amos, Boys For Pele
  5. Soundtrack, Trainspotting
  6. Cibo Matto, Viva! La Woman
  7. Ani DiFranco, Dilate
  8. Amy Rigby, Diary of a Mod Housewife
  9. Luscious Jackson, Fever In Fever Out
  10. Fiona Apple, Tidal

Only something I hadn’t heard at the time could possibly knock Mann off the top spot; I’ve written length about Belle and Sebastian’s near-perfect record here. Morcheeba and Ani DiFranco would become favorites in 1997 (and the former still gets plenty of spins from me in 2026.) I also bought Boys for Pele when it came out (two weeks before I’m With Stupid) but had difficulty absorbing all 70+ minutes of it, returning to some tracks often (“Hey Jupiter”, “Putting The Damage On”) while ignoring others altogether (“In The Springtime of His Voodoo”?) Only after a decade or two did I come to love it nearly as much as Little Earthquakes. A dense, demanding labyrinth, Pele is worth living with for the long haul as was 2002’s similarly sprawling Scarlet’s Walk (and, though too soon to tell, potentially this year’s In Times of Dragons.)

The only post-2000 discovery here is Rigby’s now-classic debut, as accomplished an introduction as Little Earthquakes (or perhaps Fiona Apple’s Tidal, which I also likely first heard in ’97.) I hemmed and hawed over including Diary of a Mod Housewife and/or Viva! La Woman in my 100 Albums project but already had six entries for 1996 and wanted to spread the wealth around to adjacent years. I still listen to Nine Objects of Desire and Bilingual regularly; Odelay, not so much. Walked Wounded is a good EBTG album but perhaps not one of the greatest in a fairly stacked discography.

Speaking of which, is 1996 one of the *best* years for music? I haven’t even mentioned Stereolab’s Emperor Tomato Ketchup, Pulp’s Different Class, Gillian Welch’s Revival, DJ Shadow’s Endtroducing…, George Michael’s Older or Fishmans’ Long Season. We’ll see if even 1997 measures up to it.

IFFBoston 2026: The Invite

Any resemblance between The Invite and Who’s Afraid of Virginia Woolf is not coincidental. From a screenplay written by Will McCormack and Rashida Jones and directed by and starring Olivia Wilde as Martha surrogate Angela, it is almost entirely set in her and Joe’s (Seth Rogen) San Francisco apartment.  One night, Joe returns from his job as a music teacher to learn that Angela has invited a neighboring couple, Pína (Penelope Cruz) and Hawk (Edward Norton) over to dinner within the next hour. Their bickering-cum-full-out-arguing hits a wild crescendo just as the doorbell rings announcing Pína and Hawk’s arrival.

While it roughly follows the trajectory of Mike Nichols’ classic film of the Edward Albee play, this is not a remake of it (actually, it’s a remake of the Spanish film The People Upstairs.) For one thing, despite the earlier film’s gallows humor, The Invite is unashamedly hilarious (the words “screwball cringe” came to mind early on) with its rat-a-tat-tat dialogue, one-liners and sight gags (Rogen struggling to bike up the city’s infamously hilly streets is a highlight of the latter.) It’s not long before sex-therapist Pína and ex-firefighter Hawk feel like near-kindred spirits to Angela and Joe, especially in their own neuroses. All four actors are a delight to watch with a reminder of still-otherworldly Cruz’s often obscured talent for comedy.

As the night lingers on, events become more outrageous before the film pulls back for pathos and some catharsis. The shifting tone is handled elegantly even as it slows the built-up momentum to a crawl. As for Wilde, this makes the misguided Don’t Worry Darling feel like an aberration in her filmmaking career. While more fun than profound, The Invite is worth sitting through to arrive at an affecting if ambiguous détente of a conclusion between two of its four characters.

IFFBoston 2026: Blue Heron

“Write what you know” has become a cliché but it’s still valuable advice for anyone telling a story no matter how fantastical or accurately reflective of one’s own experience. At IFFBoston this year, I saw at least two features falling under this category: Romeria and Blue Heron. Both begin steeped in realism before unexpectedly shifting into dream sequences. The former imagines a meeting between the main character and her parents from before her birth; the latter, however, presents something more complex, using a sort of psychodrama to reinterpret a defining incident from one’s past.

In Blue Heron, filmmaker Sophy Romvari’s 1990s childhood comes to life in the form of a Hungarian family settling into a new home on Vancouver Island. Her surrogate, Sasha (Eylul Guven) is the youngest of four children and the only one to be born in Canada. Her oldest brother, Jeremy (Erik Beddoes) blatantly doesn’t resemble any of his siblings, much less his parents (his actual father was someone whom his mother previously dated; he didn’t have any involvement in raising him.) As the rest of the family studiously works on assimilating into this new environment, Jeremy acts out. At first, his behavior is that of your average frustrated teen (moody, argumentative). Then, it escalates. He gets caught shoplifting. He climbs on his home’s roof, refusing to come down. He smashes his hand through a window. He refuses to communicate, at all. His family becomes worried for his safety, and also their own.

The shift from a near-neorealism to a far more dreamlike scenario occurs when Sasha as an adult (played by Amy Zimmer) appears and attempts piecing together the decisive actions her parents took to deal with Jeremy. I don’t want to spoil exactly what happens, for it unfolds as an act of discovery but also one of analysis, sifting through facts to arrive at some conclusion even if it’s a subjective truth. Romvari paints as an impressionist, dotting her frames with cultural signifiers both shared (pop songs, ambient sounds, suburban talismans such as freshly cut grass) and singular (the elaborate fake maps Jeremy draws which are actual ones from Romvari’s own brother.) As a filmmaker/storyteller, Romvari fully grasps the slipperiness of memory. Following a series of acclaimed shorts, Blue Heron is a remarkable first feature due to such an understanding and her ingenuity in expressing it.

IFFBoston 2026: Romería

In 2004, 18-year-old orphan Marina (Llúcia Garcia) visits the port city of Vigo, Spain. She’s meeting with her paternal grandparents to obtain a notarized signature for her to be recognized on her father’s death certificate so that she can attend university. Until now, she’s never met any of her blood relatives. They seem eager and welcoming to her—perhaps overly so as her grandparents want to shower her with money out of guilt or maybe as encouragement for her to keep silent about what little she knows of her parents, along with scattered clues she picks up on from her similarly-aged cousin Nuno (the single-monikered Mitch).

She gradually pieces together a version of what happened between her parents that varies slightly from what she’s officially told. Then, the film shifts into magical realism at the initially casual appearance of a stray cat, an impetus for Marina and the audience to discover the truth, or at least a version of it (maybe Marina’s idealized one?). As with previous feature Alcarràs, director Carla Simón has a keen eye for composition and framing naturally beautiful landscapes with more depth than your average pretty picture. Despite that, Romería is pleasant but sometimes dramatically static until that shift in the third act. Apparently based on Simón’s own experiences, it didn’t entirely express the urgency of why it was being told or how it may have shaped her adulthood and career. However, the post-cat material nearly saved it; I would not have minded seeing an entire feature (or at least a short) squarely focused on that story.

IFFBoston 2026: Remake

Given our current tendency to document just about everything (especially ourselves) with our smartphones, will younger and future generations retain a seemingly infinite treasure trove of recorded media to reference, look back on and cultivate into living histories? Or will the ephemeralness, marginality, and sheer excess of it all render much of it forgotten detritus, lost to time, not anything worth sifting through and (re)discovering?

North Carolina born, Boston based Ross McElwee wasn’t the first filmmaker to conceive of documentary as memoir but his landmark first feature Sherman’s March (1986) suggested a manifesto of possibilities. Without the access and options we have today, he’d simply film himself and others with his 16mm or video camera and provide commentary. His mild southern accent and droll, self-deprecating humor were endearing identifiers as he tracked the titular Civil War route; in a parallel narrative, family and friends set up the still-single-in-his-mid-30s Ross with an array of (often questionable) female suitors. A surprise hit, McElwee followed it with a series of check-ins where he continued recording his life as seen through the prism of marriage and fatherhood (Time Indefinite, 1993) and as a middle-aged man parsing his family’s ancestral connection to the tobacco industry (Bright Leaves, 2003).

“I used to be a filmmaker” are his initial words spoken in Remake, his first feature in about 15 years. During that time, McElwee got divorced and remarried but the real focus is on his son, Adrian, whom in his mid-20s died of a drug overdose about a decade ago. Given his tendency to film himself and his family, McElwee has that treasure trove of footage; here, he includes it discriminately, often cutting from footage of himself and/or Adrian from one point in time to another to make sense of such life and loss. As a result, it almost resembles McElwee’s own version of Michael Apted’s Up series, which checks in on a dozen subjects every seven years with each subsequent film in the series incorporating previous footage to exhibit growth and change over a lifetime. Like Apted, McElwee has a knack for making connections and earning an emotional charge from viewing the same person at different life phases.

Remake has its own dual narrative. McElwee began work on it when a producer contacted him to buy the rights to turn Sherman’s March into a fictional feature, the process of which he intended to document, perhaps as a bonus feature. Naturally, this premise foregrounds McElwee’s sly humor as we see the adaptation-in-progress shuffle through many, many iterations (where it finally ends up is too good to spoil.) Putting everything aside after Adrian’s death, McElwee eventually resumed the project but with a different focus. Working through his grief and considering the events leading up to this tragedy, the adaptation material serves as a tonic of sorts while also expounding on the idea of remaking a life out of memories and archival footage.

While not as definitive as Sherman’s MarchRemake could be the other primary bookend of McElwee’s career if it ends up his last feature. Incorporating Adrian’s own footage (he was also an aspiring filmmaker), drawings, animations and even some of his musical contributions to the soundtrack, McElwee’s rarely been this formally adventurous in his own aesthetic. Not all of it works (time-lapse sequences, Ross?), but what resonates is an impetus to firmly exist in and make sense of the present no matter how much the past informs or haunts it.