This Is a Movie Review: ‘The Greatest Showman’ Promotes P.T. Barnum’s Brand of Happiness with Enough Surface-Level Charms

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CREDIT: Niko Tavernise/Twentieth Century Fox

This review was originally posted on News Cult in December 2017.

Starring: Hugh Jackman, Michelle Williams, Zac Efron, Rebecca Ferguson, Zendaya

Director: Michael Gracey

Running Time: 105 Minutes

Rating: PG for Unruly Crowds Violently Demanding a Good Show

Release Date: December 20, 2017

PT Barnum, the famed 19th Century circus purveyor, just wanted to make audiences happy. Sure, he trafficked in exploitation and probably a fair bit of flimflam, but his name lives on as one synonymous with showmanship. So why shouldn’t he have a foot-stomping big-screen musical celebrating his life and legacy? Thus, we have The Greatest Showman, with Hugh Jackman donning the top hat and cane, which zips along and finishes up in just over 100 minutes, thus avoiding the exhaustion that musicals are always at risk of. Its delights are mostly surface-level, but not to be dismissed, as it celebrates freaks and tolerance, while pooh-poohing stuffiness and losing sight of what’s important.

The songwriting, courtesy of La La Land and Dear Evan Hansen duo Benj Pasek and Justin Paul, is unrelentingly bombastic. It both fits the subject matter and forces the audience to surrender to the spectacle. The effect is initially chaotic. The opening number drops us right into the lavishness, starting off not so much in media res, but rather in finis res. Eventually it settles into a bearable rhythm, but do prepared for some dizzying and overstuffed cinematography.

There are a few classic conflicts to this story that have me a little distressed for how long they remain inadequately unaddressed. For example – and this is the crux – what really drives Barnum? Is he more concerned about putting on a great show or paying off a lifelong grudge by showing up his rich, pompous father-in-law? Do his loyalties lie more with the freaks who made his name or the opera singer (Rebecca Ferguson) who can win over high society for him? I mean, the answers he seeks should be super obvious, as all he has to do is look at and listen to his wife (Michelle Williams) and daughters and know that he has already won at life. And what of his business partner (Zac Efron) – when he will be willing to publicly display his love for the black trapeze artist (Zendaya) who has won his heart?

These issues are all eventually resolved to sufficient satisfaction, though they do skimp a bit on the hard work of rectification and forgiveness. But that speed works according to the logic of musicals. Emotions are so outsize that genuine reunions can be forged over the few minutes of a reprise. Ultimately, it works out well enough that it leaves me with a smile, and if it has you feeling the same, then The Greatest Showman has fulfilled P.T. Barnum’s hope for happiness.

The Greatest Showman is Recommended If You Like: Hugh Jackman singing more often than Zac Efron, Musicals at their most achingly earnest

Grade: 3 out of 5 Trapezes

This Is a Movie Review: ‘Happy End’ Finds Michael Haneke Still Stinging, But Less Focused

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CREDIT: Sony Pictures Classics

This review was originally posted on News Cult in December 2017.

Starring: Fantine Harduin, Matthieu Kassovitz, Isabelle Huppert, Jean-Louis Trintignant, Franz Rogowski, Laura Verlinden, Toby Jones

Director: Michael Haneke

Running Time: 107 Minutes

Rating: R for Secret Sexual Proclivities and Mental Illness Troubles

Release Date: December 22, 2017 (Limited)

Austrin auteur Michael Haneke does not make his viewing experiences easy for his audiences, and that is exactly the point. The world as he sees it is stiff and unforgiving, so why not make his films just as ramrod confrontational? His 1997 home invasion thriller Funny Games plays wildly with morality, also disorienting his audience with fourth-wall breaking tricks and film grammar deconstruction. His latest, Happy End, proves that he still has the same impish spirit and penchant for poking his nose at the middle class, but this time the effects are slighter and more scattered.

Happy End is essentially about emotional numbness and how suicidal tendencies run through one family. This is difficult material, but worth exploring. The trouble is, Haneke’s approach is so cold and detached here that it is difficult to understand what point he is making and what is really going on. The film begins with preteen Eve (Fantine Harduin) poisoning her mother with sedatives, and I am still trying to figure out if she was in fact trying to kill her, or if she had any clear motivation at all. She poisons herself in the same way later on, and she is so hard to read that I cannot tell whether or not this suicide attempt is due to actual depression. When she helps her frail, wheelchair-bound grandfather Georges (Jean-Louis Trintignant) commit suicide by drowning, it suggests that depression runs in the family. But Georges’ decision might be based more on the pain of old age.

Haneke has a knack for stretching the limits of both civility and cinema, and that is present in Happy End in ways that have stuck with me. A troubled son (Franz Rogowski) disturbs his mother’s (Isabelle Huppert) engagement by showing up with a group of uninvited refugees. Eve’s father (Matthieu Kassovitz) and his new wife (Laura Verlinden) are too distracted by the blah-ness of life to really know what is going on around them. Multiple shots consist of cell phone video footage or a computer message screen. But the overall approach is as numb as its characters and doesn’t add up to a coherent message.

Happy End is Recommended If You Like: The Discreet Charm of the Bourgeoisie, Funny Games, The Square, but like, the first draft version of all of those

Grade: 2.5 out of 5 Hamster Videos

This Is a Movie Review: Christian Bale Gives It His Grimmest in the Dour, Distressing ‘Hostiles’

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CREDIT: Lorey Sebastian/Yellow Hawk, Inc.

This review was originally posted on News Cult in December 2017.

Starring: Christian Bale, Rosamund Pike, Wes Studi, Rory Cochrane, Jesse Plemons, Adam Beach, Q’orianka Kilcher, Ben Foster, Bill Camp, Stephen Lang

Director: Scott Cooper

Running Time: 127 Minutes

Rating: R for Western Hostility

Release Date: December 22, 2017 (Limited)

Christian Bale excels at playing men who are forced into carrying the weight of a profoundly demanding mission, whether by their own volition or due to leverage someone else holds over them. The Dark Knight’s “the hero Gotham deserves, but not the one it needs right now” is basically that status as personal credo. In the 1892-set Western Hostiles (Bale’s second collab with his Out of the Furnace director Scott Cooper), he plays a much more reluctant protagonist, an Army captain forced to deliver a Cheyenne chief and his family back to tribal lands, under threat of losing his pension if he refuses. He looks like he hasn’t bathed in years; that stink and his impressive mustache tangibly represent the brunt he is under.

Ergo, Captain Bale (Captain Joseph Blocker is his character name) is filled with a lot of hostility, and he is surrounded by a lot of low-grade or full-blown hostility, whether it be from his fellow soldiers, the suicidal widow (Rosamund Pike) whose family was recently slaughtered, his Cheyenne transports, or the natives that ambush them. We might have our winner for Most Accurate Title of the Year right here.

While nobody in this film is particularly heroic, I do worry that its portrayal of Native Americans hearkens back to a more racist tradition of Westerns. The opening scene presents a group of Comanches at their most savage. For no clear reason, they burn down a family’s home, skinning the father’s scalp and mercilessly killing him and his two young daughters. I am sure that some natives were actually this brutal in late-19th century frontier America, and I do not mean to say that I think that Hostiles is implying that all of them (or all of this particular tribe) were this awful. But the fact that this worst version is all we see of them and that this portrayal is presented so bluntly is concerning.

At least we can appreciate at the aesthetic pleasures (or anti-pleasures, really) with fewer moral qualms. If you ever wanted to see Ben Foster tied up in the cold, muddy rain at night, Hostiles is the film for you. Cooper’s designs for how icky and uninviting nature gets without modern amenities is thoroughly harsh. Lovingly so, even (at least the crafty attention to detail is loving). You’ll probably want to shower afterwards, in a cathartic sort of way, or if you’re a 19th century fetishist, you’ll run right out and find the closest available barren lands.

Hostiles is Recommended If You Like: John Wayne and Clint Eastwood at their most rugged

Grade: 2.5 out of 5 Hostiles

Billboard Hot Rock Songs – Week of December 30, 2017

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Each week, I check out the Billboard Hot Rock Songs chart, and then I rearrange the top 25 based on my estimation of their quality. I used to rank all 25, now I just rank the cream of the crop.

Original Version
1. Imagine Dragons – “Thunder”
2. Portugal. The Man – “Feel It Still”
3. Imagine Dragons – “Believer”
4. Walk the Moon – “One Foot”
5. The Revivalists – “Wish I Knew You”
6. 30 Seconds to Mars – “Walk on Water”
7. Theory of a Deadman – “Rx (Medicate)”
8. Imagine Dragons – “Whatever It Takes”
9. Alice Merton – “No Roots”
10. AC/DC – “Thunderstruck”
11. Foo Fighters – “The Sky is a Neighborhood”
12. Beck – “Up All Night”
13. AC/DC – “Back in Black”
14. U2 – “You’re the Best Thing About Me”
15. Vance Joy – “Lay It on Me”
16. Noah Mac – “River”
17. Foster the People – “Sit Next to Me”
18. Five Finger Death Punch – “Gone Away”
19. The Neighbourhood – “Scary Love”
20. Led Zeppelin – “Immigrant Song”
21. AC/DC – “You Shook Me All Night Long”
22. Portugal. The Man – “Live in the Moment”
23. AC/DC – “Highway to Hell”
24. Linkin Park – “One More Light”
25. Gary Clark, Jr. – “Come Together”

Jmunney’s Revision
1. Immigrant Song
2. Back in Black
3. No Roots
4. Up All Night
5. Feel It Still
6. Highway to Hell
7. Thunderstruck
8. The Sky is a Neighborhood
9. Live in the Moment
10. You’re the Best Thing About Me
11. Come Together
12. Scary Love
13. Lay It on Me

Billboard Hot 20 – Week of December 30, 2017

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Each week, I check out the Billboard Hot 100, and then I rearrange the top 20 based on my estimation of their quality. I used to rank all 20, now I just rank the cream of the crop.

Original Version
1. Ed Sheeran and Beyoncé – “Perfect”
2. Post Malone ft. 21 Savage – “Rockstar”
3. Camila Cabello ft. Young Thug – “Havana”
4. Lil Pump – “Gucci Gang”
5. Imagine Dragons – “Thunder”
6. Migos, Nicki Minaj, and Cardi B – “MotorSport”
7. Sam Smith – “Too Good at Goodbyes”
8. Halsey – “Bad at Love”
9. Mariah Carey – “All I Want for Christmas is You”
10. G-Eazy ft. A$AP Rocky and Cardi B – “No Limit”
11. Cardi B – “Bodak Yello (Money Moves)”
12. 6ix9ine – “Gummo”
13. Maroon 5 ft. SZA – “What Lovers Do”
14. Dua Lipa – “New Rules”
15. Gucci Mane ft. Migos – “I Get the Bag”
16. NF – “Let You Down”
17. Portugal. The Man – “Feel It Still”
18. Demi Lovato – “Sorry Not Sorry”
19. Post Malone – “I Fall Apart”
20. J. Balvin and Willy William ft. Beyoncé – “Mi Gente”

Jmunney’s Revision
1. New Rules
2. Feel It Still
3. Havana
4. Mi Gente

This Is a Movie Review: The Defense of Journalism Mounted by ‘The Post’ is Admirable and Often Rousing, But Almost Quaint

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CREDIT: Niko Tavernise/Twentieth Century Fox

This review was originally posted on News Cult in December 2017.

Starring: Tom Hanks, Meryl Streep, Bob Odenkirk, Tracy Letts, Bruce Greenwood, Matthew Rhys, David Cross, Alison Brie, Sarah Paulson, Bradley Whitford, Jesse Plemons, Carrie Coon, Zach Woods

Director: Steven Spielberg

Running Time: 115 Minutes

Rating: PG-13 for Deadline-Related Light Profanity

Release Date: December 22, 2017 (Limited)/Expands Nationwide January 12, 2018

The First Amendment of the United States Constitution guarantees some fundamental freedoms, but certain limits on those freedoms are understood. Hate speech is not protected by free speech, for example, and human sacrifice is not protected by freedom of religion. But there is not quite the same shorthand for limits on a free press. Publishing anything demonstrably libelous is certainly unacceptable, but when is it inappropriate to print what is in fact true and has hitherto been hidden? This question is at the heart of so many present-day media matters, so in comes Steven Spielberg’s The Post, which examines a time when this conflict was a momentous occasion and not an everyday one.

In 1971, The Washington Post finds itself in possession of the Pentagon Papers, a trove of documents detailing the United States’ involvement in Vietnam over the past few decades. Executive editor Ben Bradlee (Tom Hanks) and his team of journalists think the public deserves to know this information. The federal government says it would be a felony to print it. There is no mistaking where The Post (both the paper and the film) comes down on this conflict. This is not new information and thus serves no imminent threat to American troops in Vietnam. The only harm it can cause is embarrassment for former presidents. The actual conflict that The Post grapples is the attempted reconciliation between ethical and business concerns.

The constant struggle of press outlets, even institutions as big as The Washington Post, is figuring out how to make money by delivering the truth. That struggle is writ large when making a public offering, which is what we’ve got here. Do you make a stronger case to your investors by laying low or by making a ruckus in the course of standing up for your principals? As publisher Katharine Graham, Meryl Streep is all contorted faces and knotted anxiety as she takes the lead to make the decision of printing the Papers or not. The drama is wrung in screwball fashion, with Bradlee appealing to her over the phone at the last a minute, as a gaggle of other interested parties hop on the line.

For as grand as The Post’s ambitions are, it is strange to consider that most of it takes place over the course of just one day. It all then feels almost inconsequential, but of course, certain individual moments can change the course of everything. When that is the case, there has probably been months, or even years, of work behind the scenes setting up those moments, as conveyed by an early scene of Daniel Ellsberg (Matthew Rhys) gathering and absconding with the Papers. Also delivering the dynamic agita is Bob Odenkirk as Ben Bagdikian, an old buddy of Ellsberg’s who tracks down the delivery. Odenkirk’s comedic background is an asset – he moves about with a paranoid shuffle that is somewhere between absolutely necessary and hilariously unnecessary. Also rousing is a typesetting montage following the decision to publish the Papers. This mechanical peek at how things are done is a valuable reminder of underlying structure in much the same way that Michael Mann’s Blackhat spent so much visual space on the wires that undergird the Internet.

Ultimately, while The Post’s advocacy for journalism is timeless, its story feels small-scale, a prelude to the much bigger fallout of Watergate and all the modern-day scandals that use -gate in their nomenclature. The Richard Nixon of The Post is only ever seen from behind and through a window. His fight against the press was fought in the shadows, but today his same tactics are being employed right out in the open. The Post’s lessons are ones I hope everyone takes to heart, but I wonder (despair?) how useful they are when the sorts of secrets exposed by the Pentagon Papers are now nonchalantly tweeted every day.

The Post is Recommended If You Like: All the President’s Men, Spotlight, a Free Press

Grade: 3.5 out of 5 Sealed Documents

Is ‘The Last Jedi’ the Funniest ‘Star Wars’ Movie Ever?

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CREDIT: Lucasfilm

This post was originally published on News Cult in December 2017.

Spoiler Alert: This article discusses details from specific scenes of Star Wars: The Last Jedi.

In the opening scene of Star Wars: The Last Jedi, Poe Dameron (Oscar Isaac) makes contact with a First Order ship and uses the opportunity to mess with General Hux’s (Domhnall Gleeson) head. Their tele-connection is fine, but Poe pretends that he cannot hear anything Hux is saying, driving the general to spiral out in frustration. This is a classic crank call routine, which begs the question: has even Star Wars adopted the Marvel penchant for overly practiced humor? Ultimately the moment is wrapped up with diction that assures us this is still a sufficiently lived-in Star Wars setting, as a First Order fleet member explains to Hux, “I believe he’s tooling with you, sir.”

This scene sticks out less when the remaining 2-plus hours of Last Jedi prove to be just as filled chock-a-block with so much humor. (Not to mention it fits Poe’s impish spirit.) Just about every scene is punctuated or punched up with a joke, a physical gag, character-based humor, or just plain weirdness. Which leads me to wonder: is this the funniest Star Wars movie yet? It is not like this series has hitherto been devoid of humor, far from it. But it is surprising when the hype of this middle entry was that it would be all Empire Strikes Back-style, dark-night-of-the-soul middle edition, but instead there is so much hilarity.

Here are just a few of the many memorable gags and laugh lines: BB-8 informs Poe that Finn is “naked” and “leaking,” Luke concurs with Rey that Jakku is “pretty much nowhere,” Poe is told to get his head out of his cockpit, Chewbacca attempts to eat roast porg while distraught porgs beseech him otherwise, an alien gambler at Canto Bight slots some coins into BB-8, Luke wipes metaphorical dirt off his shoulder. Honestly, this article could just be a list of every moment that made me laugh and it would be long enough to merit publishing.

I could worry that Last Jedi overdoes it with the humor, but that would miss the inherently subversive point of this film. Poe’s punking of Hux gives us our first taste of the chuckles, but it is a particularly anticlimactic moment a little bit later that really sets the tone. The Force Awakens ended with a lovingly shot tableau of promise, as Rey held out Luke’s lightsaber to summon him back to his Jedi/Rebel destiny. The Last Jedi returns us to that moment by having him callously toss his iconic weapon over his shoulder like a stinky old sneaker. Yes, it’s funny, but the laughter co-exists with a despair that the hope that has held this universe up is dissipating.

What makes this particular humor successful is that it is not a distraction from the scene’s dramatic and thematic significance, but rather part and parcel of it. And that is why the comedy works as well as it does throughout the film. Just consider: while Rey is on Ahch-To training with Luke, she blows a hole through a cave with her blaster and later carelessly knocks down a structure, and on both occasions we see the amphibious Caretakers forced to deal with the fallout, plowing on with bemused frustration. Or when Rey faces Snoke, he utilizes his Force powers by boomeranging a lightsaber to hit her in the head with it. Dressed like a ’70s glam rock god, his vanity is just as, if not more, important than his thirst for power. And then you have Snoke castigating Kylo Ren for his Darth Vader-style helmet, inimitably demanding, “Take that ridiculous thing off.”

It is not as if the previous Star Wars movies have completely lacked humor. Indeed, who can forget C-3PO’s famously bad timing, or Yoda rummaging through Luke’s belongings, or BB-8 zapping anyone who crosses him with an electric shock? But what is uniquely notable with The Last Jedi is that the most consistently funny characters – the droids, the puppets, and the furries – have relatively less time than in earlier films. The traditionally flesh-and-blood folks carry a greater share of the comedic weight, whether by narrative fate or by design of characterization. Now, it is not as if the droids are completely absent from Last Jedi, and when they do appear, they make the most of it, as when C-3PO calculates the very specific unlikely odds of escape, or when BB-8 rolls around under cover of a (trash?) can, or when BB-8 blows the “smoke” off his “gun,” or when Poe scratches BB-8’s “belly” (so basically anything with BB-8).

I would argue that Star Wars loses its way when it loses its humor. I am of the (apparently minority) opinion that the prequel trilogy gets progressively worse with each successive entry. The much-maligned Phantom Menace wins out over the relatively better-regarded Revenge of the Sith because I think it is better to err on the side of dorkiness than to go all in on overly deathly seriousness. Or at least if you’re going to be deathly serious, be weird about it. Several elements of The Last Jedi do not necessarily count as comedy, but they are so strange and unprecedented that all I can do is laugh. What to make of Benicio del Toro’s scoundrel DJ, who speaks with a whimsical, practically Seussian stutter and drops zingers like “blip-bloppity-bloop”? And of course how can we forget Luke squirting and drinking green milk out of the bosom of an alien creature lounging by the sea?

To answer this article’s question, I would need to thoroughly re-watch every Star War and make a detailed inventory of every bit of humor. The Last Jedi may or may not be the funniest of the franchise. It is certainly near the top. But a better and more readily declared conclusion is that it is the Star Wars film with the most important humor. This is the most democratic of the series, making it clear that anyone can be one with the Force, no matter what their origins. The Last Jedi sticks its nose at the slavish devotion to format that preceded it, not because there is anything wrong with the old way, but because there is a whole variety of alternatives that are also worth exploring, and as we get to them, it only makes sense to have as much fun as possible.

SNL Review December 16, 2017: Kevin Hart/Foo Fighters

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CREDIT: Will Heath/NBC

My letter grades for each sketch and segment is below. My in-depth review is on NewsCult: http://newscult.com/snl-love-itkeep-itleave-kevin-hartfoo-fighters/

A Christmas Message From the White House – C

Kevin Hart’s Monologue – B-

Pandora – B

Office Phone Call (BEST OF THE NIGHT) – B+

Captain Shadow and the Cardinal – C+

Inside the NBA – C+

Foo Fighters perform “The Sky is a Neighborhood” – B+

Weekend Update
The Jokes – B
Guy Who Just Bought a Boat – C+

Nativity Play – C-

Christmas Party – C-

Active Jack – C+

Foo Fighters perform “Everlong”/”Christmas (Baby Please Come Home)”/”Linus and Lucy” – B+

 

This Is a Movie Review: Ferdinand is Not Your Typical Bull, But ‘Ferdinand’ is Your Typical CG-Animated Kids Movie

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CREDIT: Twentieth Century Fox

This review was originally posted on News Cult in December 2017.

Starring: John Cena, Kate McKinnon, David Tennant, Bobby Cannavale, Anthony Anderson, Peyton Manning, Jerrod Carmichael, Gina Rodriguez, Gabriel Iglesias, Miguel Ángel Silvestre, Flula Borg, Boris Kodjoe, Sally Phillips, Lily Day, Juanes, Jeremy Sisto

Director: Carlos Saldanha

Running Time: 107 Minutes

Rating: PG for Destruction Wrought by a Bull Who Refuses to Accept How Big He Is

Release Date: December 15, 2017

Based on Robert Lawson’s 1936 children’s book The Story of Ferdinand, the Blue Sky animated film Ferdinand is all about one of the most massive bulls in all of Spain. He is a beyond-perfect physical specimen for bullfighting, and in this country it goes without saying that calves spend their youths obsessing about the day they will get to face off against the matadors. But Ferdinand does not have the same pugnacious instinct as his peers. He would much rather spend his days on the farm, sniffing flowers, scarfing down carrots, and just hanging out with the preteen girl who dotes on him. But in a world that sees him as a beast, he must find a way to reconcile his hulking physicality with who he is on the inside.

Ferdinand the film, however, does not stick out from the pack as much as its titular character does. Its message of staying true to yourself is de rigueur in kids’ fare, and the CG animation, while certainly professional, does not pull off any truly lasting images. Thus, it lives and dies on the strength of its voice cast and the laugh-generating power of its gags. John Cena’s giant teddy bear persona is the correct vibe for Ferdinand, while Kate McKinnon is just right as the goat sidekick she’s versatile enough that she probably could have voiced any or all of the characters if the Ferdinand casting crew had been in the mood for that). While everyone else is at least adequate, the only significant standout is David Tennant as a heavily accented Scottish bull. Regarding the chuckles, there is some amusement to be had, as when Ferdinand sucks a caterpillar up his nose and sneezes it out as a butterfly or when the mostly blind owner of a china shop mistakes his tail for a feather duster.

Ferdinand also touches upon the fate of the bulls who are not deemed worthy of the bullfighting ring. I’m talking about the chop shop. This raises the question: are all films about talking animals secretly vegetarian propaganda? And if so, is that always, sometimes, or never intentional? A frequent, nigh-unavoidable trope of this genre is the slaughter that is just around the corner from failure or carelessness. When your lead character is an animal whose meat is favored by carnivores and omnivores, it is only natural to draw sympathy out of the threat of being eaten. Efforts to remain kid-friendly often result in daring escapes from pulverization as moments of triumph, and that is very much the case here. I do not mean to make a moral judgment one way or the other, but instead offer a philosophical pondering: are vegetarians drawn into working in the talking animal film business, or does the talking animal film business make its workers vegetarian?

Ferdinand is Recommended If You Like: Every Talking Animal Movie Ever

Grade: 2.5 out of 5 “Macarena”-Playing Flowerpots

Billboard Hot Rock Songs – Week of December 23, 2017

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Each week, I check out the Billboard Hot Rock Songs chart, and then I rearrange the top 25 based on my estimation of their quality. I used to rank all 25, now I just rank the cream of the crop.

Original Version
1. Imagine Dragons – “Thunder”
2. Portugal. The Man – “Feel It Still”
3. Imagine Dragons – “Believer”
4. Walk the Moon – “One Foot”
5. The Revivalists – “Wish I Knew You”
6. Theory of a Deadman – “(Rx) Medicate”
7. 30 Seconds to Mars – “Walk on Water”
8. Imagine Dragons – “Whatever It Takes”
9. AC/DC – “Thunderstruck”
10. U2 – “You’re the Best Thing About Me”
11. Five Finger Death Punch – “Gone Away”
12. The Lumineers – “Angela”
13. Alice Merton – “No Roots”
14. Chloe Kohanski – “Call Me”
15. Beck – “Up All Night”
16. Foo Fighters – “The Sky is a Neighborhood”
17. AC/DC – “Back in Black”
18. Led Zeppelin – “Immigrant Song”
19. Vance Joy – “Lay It on Me”
20. AC/DC – “You Shook Me All Night Long”
21. Linkin Park – “One More Light”
22. Gary Clark, Jr. – “Come Together”
23. AC/DC – “Highway to Hell”
24. Foster the People – “Sit Next to Me”
25. Portugal. The Man – “Live in the Moment”

Jmunney’s Revision
1. Immigrant Song
2. Back in Black
3. No Roots
4. Up All Night
5. Feel It Still
6. Highway to Hell
7. Thunderstruck
8. The Sky is a Neighborhood
9. Live in the Moment
10. You’re the Best Thing About Me
11. Come Together
12. Lay It on Me

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