This Is a Movie Review: Old Hollywood and Working-Class England Come Into Each Other’s Orbit When ‘Film Stars Don’t Die in Liverpool’

December 27, 2017

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CREDIT: Sony Pictures Classics

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

Starring: Annette Bening, Jamie Bell, Julie Walters, Kenneth Cranham, Stephen Graham, Vanessa Redgrave

Director: Paul McGuigan

Running Time: 106 Minutes

Rating: R for Tenderly Shot Brief Nudity

Release Date: December 29, 2017 (Limited)

There’s something a little strange about that title, and it’s so small that you might not even notice it. It took a few weeks for it to even cross my mind. People frequently say “movie stars,” but who regularly says “film stars”? The title is the same as the memoir it’s based on, so I guess we have to pin this one on Peter Turner. Maybe it’s a British thing. But there is something appropriately spellbinding about this particular phrasing. “Film” is a traditionally more respectable term than the common and vulgar “movie,” so “film stars” has a way of lending gravitas to frivolousness. Such is the fate of big names whose times have passed them by like Gloria Grahame.

Grahame was, as one character put its, “a proper film star,” and as another clarifies, she “always played the tart.” She achieved fame in the late ’40s and early ’50s, primarily in noirs like The Big Heat and The Bad and the Beautiful (for which she won an Oscar). But as Film Stars Don’t Die in Liverpool opens, she is seeking stage work in London and looking for someone to take her disco dancing. Annette Bening acts the role with one layer upon another, wherein Grahame is always playing the part of the star in her day-to-day life. Or maybe a select few people really are just always that naturally alluring, i.e., they’re not really acting. Although, in a sense, everyone is always acting to some way, but perhaps with Grahame, her more outsize performances were much less of a put-on than the average person’s. Either way, into her orbit is drawn Peter Turner (Jamie Bell), and while their multiple decades age difference is a concern, it is no roadblock to genuine passion and affection.

Film Stars fundamentally tracks the importance of interpersonal acceptance. Gloria’s mother and sister are scandalized by her shacking up with a much younger man, while Peter’s family is there to take care of her when her cancer diagnosis becomes debilitating. But the greater struggle for acceptance is internal. Not only is it impossible for film stars to pass away in working-class English port towns, they cannot have diseases whose treatments are so aesthetically stripping. As Gloria comes to terms with her illness, the film takes on a woozy, dreamy quality. A humbling reality surrounds her, but a spectacular, star-making gaze is what she filters it through. It’s a little bit intoxicating.

Film Stars Don’t Die in Liverpool is Recommended If You Like: Billy Elliot (for the sake of the Jame Bell/Julie Walters reunion), Being Julia, Sunset Blvd.

Grade: 3.5 out of 5 Magical Cancer Recoveries

This Is a Movie Review: In ‘Phantom Thread,’ Daniel Day-Lewis is a Master Dressmaker in Love with Routine

December 22, 2017

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CREDIT: Laurie Sparham/Focus Features

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

Starring: Daniel Day-Lewis, Vicky Krieps, Lesley Manville

Director: Paul Thomas Anderson

Running Time: 130 Minutes

Rating: R for More F Bombs Than Expected

Release Date: December 25, 2017 (Limited)

In the beginning of Phantom Thread, Reynolds Woodcock’s muse and lover Alma (Vicky Krieps) describes him as “the most difficult man.” Such a definitive claim could potentially set us up for disappointment, but if anything, it turns out to be a bit of an understatement. So then the issue could bethat the dialogue is too on-the-nose, but that is not a problem with a lead actor and a director as precise as Daniel Day-Lewis and Paul Thomas Anderson are. And that precision is really what this film is about. The story of a dressmaker, no matter how legendary, strikes me as a rather niche attraction, but it should be known that Phantom Thread is primarily the (love?) story of two stubborn people butting up against each other.

If you are a fan of P.T. Anderson, or cinema in general, but do not have strong feelings towards fashion, you might be comforted to know that the focus is on the relationships. But you may soon find yourself discomforted by how discordant those relationships are. Or you might find all that hilarious. This is definitely an example of the rarely seen prestige cringe comedy, and I cringed more than I guffawed, though I appreciated the craft and the crack comic timing.

The setting is 1950s London, but due to the lack of electric devices in Reynolds Woodcock’s house, it feels like it could be decades earlier. Reynolds and the waitress Alma are quite smitten with each other, so he takes her into his home as his muse, in-house model, and soon enough, lover. Cyril (Lesley Manville), his sister and assistant, is on hand to make sure everything remains in tip-top shape in the wake of this new arrival. While at first there appears to be a genuine spark between Reynolds and Alma, it does not take long for there to be troubling signs. He casually drops some remarks about her imperfections, while she surprisingly enough has the gumption to give as good as she gets. But instead of maintaining her dignity, this results in the two of them butting up against each other with their shared obstinacy. Yet she manipulates him towards marriage, while I quietly scream that they need to cut their losses and run away from each other.

This definitely falls into the category of films I admire but do not particularly enjoy. The characters are marvelously realized, but too bullheaded to be pleasant for any extended period. I think that intimate exposure of imperfections is the point, and there is certainly a lot of room to appreciate that, but preferably from a safe distance.

Phantom Thread is Recommended If You Like: The Devil Wears Prada, Who’s Afraid of Virginia Woolf?, Witnessing the painstaking creative process

Grade: 3.75 out of 5 Measurements

This Is a Movie Review: ‘All the Money in the World’ Brings the Life-or-Death Thrills, But Could Go Deeper in the Psychology of Vast Wealth

December 22, 2017

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CREDIT: Sony/Columbia TriStar

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

Starring: Michelle Williams, Mark Wahlberg, Christopher Plummer, Charlie Plummer, Romain Duris

Director: Ridley Scott

Running Time: 133 Minutes

Rating: R for Kidnapping-Related Dismemberment and the Vices of the Rich and Organized Criminals

Release Date: December 25, 2017

First off, for those of you wondering: yes, director Ridley Scott has seamlessly replaced Kevin Spacey with Christopher Plummer in the role of J. Paul Getty. No distracting editing or effects tricks appear to have been necessary, and anyone unfamiliar with the backstory should not have any reason to suspect an unusual production.

As All the Money in the World states explicitly, the Getty family’s massive fortune makes them practically an alien species living among human beings. Is it J. Paul Getty’s billions that make him see the world differently, or has he always been that way? Certainly his instinct for negotiating every possible deal is unprecedented, but his particularly uncompromising worldview goes beyond that. How else to explain a man who takes extreme measures not to ensure that his grandson is freed from kidnappers, but rather to ensure that he gets the best possible deal out of the exchange?

Ridley Scott’s knack for ruthless efficiency makes it difficult to really plumb those psychological depths. (It also means that there are moments when characters are staged partially in shadow and I am not sure if it is an artistic decision or just poor lighting.) It is impossible to avoid them entirely, because of Getty’s singularity and Plummer’s inherent understanding of the role. The audience is left to draw its own conclusions, but we are nudged towards just accepting that this man is totally inscrutable.

While this efficiency may skimp on the thematic depth, it at least ensures the satisfaction of a nail-biting thrill ride. The kidnapping victim, John Paul Petty III, who goes by Paul, (Charlie Plummer, unrelated to Christopher) is adrift by his familial station, but he has still enough of a survival instinct to give his scenes plenty of verve. Paul’s mother Gail (Michelle Williams, with a distractingly self-aware but perhaps historically accurate Mid-Atlantic accent) is understandably constantly on the verge of an emotional breakdown, but she remains steely, surprising herself perhaps most of all. And Mark Wahlberg is unusually upright and decent as the former CIA operative assisting J. Paul and Gail. In the moment of watching, the rescue mission grips you, but in the long run, the mark of J. Paul Getty leaves you existentially disoriented.

All the Money in the World is Recommended If You Like: Films About Real Life Rescue Missions and the Most Notorious Criminal Enterprises, Attempting to Understand the Wealthiest People on the Planet

Grade: 3.5 out of 5 Negotiations

This Is a Movie Review: ‘Molly’s Game’ Has Jessica Chastain Deliver What Must Be a Record-Setting Amount of Dialogue in Aaron Sorkin’s Directorial Debut

December 21, 2017

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CREDIT: STX Films

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

Starring: Jessica Chastain, Idris Elba, Kevin Costner, Michael Cera, Jeremy Strong, Brian d’Arcy James, Chris O’Dowd, Bill Camp, Graham Greene, J.C. MacKenzie

Director: Aaron Sorkin

Running Time: 140 Minutes

Rating: R for the Vices That Surround Poker and a Brutal Assault Scene

Release Date: December 25, 2017 (Limited)

Effective poker strategy usually involves plenty of silence, so a poker film would seem to be an odd fit for the directorial debut of Aaron Sorkin, one of the most verbose screenwriters of all time. But don’t fold on him just yet, because Molly’s Game isn’t about the poker but rather the woman running the game. And a lot of talking has to be done behind the scenes to get to the point where you can stay silent behind the cards. And let’s just say Molly Bloom (Jessica Chastain) talks (and does) a lot to get to be the big kahuna running a high-stakes underground poker ring. From near-Olympic skier to lowly assistant to self-made millionaire, she lives quite the whirlwind. The tabloids call her the “poker princess,” but give a queenpin the respect she deserves and don’t saddle her with a patronizing nickname.

The players at Molly’s games consist of Hollywood hotshots and Wall Street bigwigs, and that high-profile money moving has the FBI thinking she might be involved with drug running and tax fudging. So she turns to smooth-talking but upright lawyer Charlie Jaffey (Idris Elba) to represent her. He’s a bit pricey, though, and her assets are not exactly currently liquid, so she appeals to him on the basis of personal credit. Much of the film is a frame story of Molly filling Charlie in on the details of her life. Because they are reading dialogue written by Sorkin, Chastain and Elba have to deliver about four times as many words as they would in an average movie. Both are more than up to the task, Chastain especially, as she also has to deliver a ton of voiceover narration on top of her on-screen dialogue. It’s an electrifying story, but with nary a second of silence, plus frenetic editing on top of that, it is a bit exhausting, or at least it was for this viewer.

While Molly’s story will take you through the gauntlet, you can also vicariously thrill to the stories that her players bring to the table. Several of them basically have their own mini-movies going on (that Molly narrates, natch). You end up feeling that you know enough about their tells and pressure points that you could come in and win a few hundred grand against them even if you’re a complete novice. Especially memorable is Michael Cera with an effortlessly cool vibe unlike anything he’s ever given off before. He fully inhabits “Player X,” an anonymized version of an actual famous actor. (Some quick googling reveals he is essentially playing Tobey Maguire, or some amalgam of Maguire, Matt Damon, and maybe a few others.) It’s a career highlight for him and representative of the film’s emphasis on affirmatively filling out the clothes you wear in poker and in life.

Molly’s Game is Recommended If You Like: Poker movies, Poker competitions, Women Taking Control of Their Own Narrative

Grade: 3 out of 5 Spreadsheets

This Is a Movie Review: Miniaturization is Only the Start of ‘Downsizing’s’ Quest to Save the Human Species

December 21, 2017

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CREDIT: Paramount Pictures

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

Starring: Matt Damon, Hong Chau, Christoph Waltz, Kristen Wiig, Udo Kier, Rolf Lassgård, Jason Sudeikis, Maribeth Monroe

Director: Alexander Payne

Running Time: 135 Minutes

Rating: R for Scientific Full-Frontal Nudity

Release Date: December 22, 2017

How do you live in such a way that ensures both the health of the planet and yourself? That’s really what Downsizing is asking. Its light sci-fi innovation about shrinking people is just a quirky way to get in there and explore this big conundrum. No single piece of entertainment is going to answer that question to everyone’s satisfaction, but Downsizing at least knows how to grab our attention, and Alexander Payne’s take is interesting enough in getting us to where he wants to go.

Fair warning, if it is not clear already, that Downsizing is not exactly the movie advertised in its trailer. Its whimsical tale of the land of the miniatures is present, but it is ultimately just an entry point to smuggle a thornier story into. After all, there is only so far you can go with the visual humor of size differential juxtaposition. There are a few bits wringing laughs out of giant (i.e., regular-sized) crackers or Jason Sudeikis sitting on a cutting board and drinking from a tiny wine glass, but those moments are there to just add quick bursts of establishing color. In fact, most of the shots in the miniature world do not feature any contrast to the normal-sized surroundings.

The miniaturization process has been invented to reduce the strain that humans have been putting on the environment, which makes clear sense: if you’re only 5 or 6 inches, you consume many fewer resources than if you’re 5 or 6 feet. And from a personal standpoint, it’s a no-brainer as well, as the exchange rate is tremendous, multiplying the real spending value of your money by about a hundredfold. So Paul Safranek (Matt Damon), bored by his office job and feeling glum at home, signs right up. But his wife Audrey (Kristen Wiig) pulls out of the procedure at the last minute, portending that everything may not be as rosy as promised.

Downsizing is primarily interested in digging into the questions raised by this near future world. The practical and scientific matters (like, do babies born to downsized adults grow up to be similarly small adults?) are not explained too thoroughly, but those matters are not ignored; you kind of have to roll with the film a bit and accept that those things have already been settled. Instead, the focus is on the knottier philosophical questions and the unexpected implications of downsizing. Why has this scientific breakthrough happened while people with chronic diseases still suffer? Should downsized people have the same rights as the natively-sized? Will governments use involuntary downsizing to tamp down undesirable segments of their populations?

The answer to that last question turns out to be a resounding yes, and we see its fallout in the form of Ngoc Lan Tran (Hong Chau, giving the most forcefully charming performance of the year), a Vietnamese dissident who has been downsized against her will and then smuggled into America in a TV box. As we and Paul are introduced to her life, Downsizing makes it clear that it believes that humans are wired to always separate themselves into separate classes, no matter what utopian urges drive us. As she and Paul become entwined, the underlying, most burning question of this film becomes clear: is it better to specifically attempt to save the entire species, or to focus on being a good person in your own particular space? The resolution that Payne offers is a little pat, but not dishonest. Miniaturized or not, utopian or practical, whatever your station in life, no matter how weird things get, you have to give yourself the room to be a good person.

Downsizing is Recommended If You Like: Being John Malkovich, Captain Fantastic, Robot & Frank

Grade: 3.5 out of 5 Utopias

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

December 20, 2017

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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

December 19, 2017

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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’

December 19, 2017

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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

December 19, 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

December 19, 2017

jmunney Billboard Charts, Billboard Hot 100, Music , , , Leave a comment

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

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