movies like nimona and across the spiderverse makes me realize that I never want to see another live action movie again. The way you can utilize animation and make visuals so interesting, as well as the flow and colors, is just something you can't do with real people

I watched American Psycho yesterday.

The fact that all these men make a bunch of remarks about blowing other men and do the usually wall street ‘im fucking you’ stuff the moment another man shows interest in patrick romantically he has a breakdown is the single most accurate depiction of male culture and its so sad its still relevant.

So interesting, as an American I just had this conversation not too long ago with a friend from the UK - we were talking about the latest season of You and their depiction of classism of the UK vs US. To put in plainly she explained this exactly, what James is saying.

Michael Gambon seems a little out of touch with that perception if you ask me.

^^^^

THOUGHTS? DEAD POET'S SOCIETY EDITION

Just thoughts I wanted to get out there

So Dead Poet's Society? Right? Now that I think of it was a film that came out when my dad was in his like late teens (technically he was around the same age as some of the cast). And somehow this film - made and released during their time has been one that resonated with the next generation? I am looking at the film and thinking, and I couldn't help but wonder.

I am not talking specifically about the aesthetic or anything but namely how this one film was definitely not made for my demographic. However - 35 or so years later I read a post here or come across a playlist or an edit or a series of head canons - I see how much this single film has impacted generations who came after.

I relate to this film on a very personal level (put the shipping factors aside). I remember watching scenes with Neil and I could almost recall having similar conversations in life and I had to take a step back and think as to why I wanted to block this film out for a while. I resonated with Todd as a writer but also as someone who had a very similar experience (shy - lack of confidence - but one who found their people). Other than that there were relationships within the story that made me look back at the ones I have and had and all that I am grateful for.

Also as a coming of age film I feel like it is one of the most realistic ones out there. The themes and the extremely bittersweet ending are raw and it hit me like a pile of bricks. The fact that they fell apart because of the things they loved - the heart of the group not being there made things drift apart - and those dreamers and poets who speak out are the ones to leave behind a deeply flawed system (and the cause and reason and leaving is depicted in extremely sad ways - they might give up on everything - or be kicked out for what they believed in - or carry extreme guilt for the rest of their lives) - There are those who fall in love and the ones that betray you and all of that can happen in just a few month. Things that took years to build like friendships and fellowships can crumble because of something external and all you believed in might not fix that.

(Also something weird just jog my memory if I am wrong but throughout the film these three use O Captain, My Captain - and its all in important moments - The last one to use it is Todd - Which I just think just captures his growth - he's taken up the confidence brought by two of his closest friends and a teacher who changed his life for at least a small fraction in time)

I had a few teachers in my life like Keating. They are the reason I never gave up on writing or doing things I love. They gave me reason to believe that I had something small I could put to use - I had a teacher who taught me at 14 who told me to never give up writing and another teacher who told me to continue writing poetry - another who showed to me that I should continue to fall in love with reading - another who showed me that the world was beyond the academics (as I studied classics - it was far more than that cookie cutter stereotype) - Also Keating as a teacher who actually listens - who is there to guide and help the boxes that literally hold students in uniformity

I don't know why - and how a film from the past can have such an impact on me in the 21st century - Very few films have impacted me in this manner and most of the films that have impacted me in that way were released in my lifetime. That being said I think myself lucky to have this to go back to. The film is a cathartic ritual of living, laughing in the moment and weeping and crying afterwards.

While yes, the religious symbols in Evangelion were implemented mainly because the creators thought it would "look cool", I feel as though alot of people disregard the fact that any time it is brought up in the show its for a distinct purpose. Mainly to convey a theme or story element. It doesn't "mean nothing" as the narrative surrounding the symbolism goes.

this doesn’t get mentioned enough either because it’s very blink and you’ll miss it but we do know goncharov’s first name.

throughout the film he’s only called by his last name because his first is “complicated.” we, the audience, think that’s just a rare cheeky line from an otherwise sullen, stoic character. it’s poking fun a bit at how he’s trying to keep a low profile AND how his first name might be difficult for his italian acquaintances to pronounce.

but briefly we’re shown some papers in his study addressed to vsevolod and in katya’s final chance for him to turn back and maybe change himself, she doesn’t call him goncharov like she usually does. it’s hard to catch but she whispers “sevochka” which is, you guessed it, a diminutive for vsevolod.

now this name is actually an interesting choice from scorsese. he could have just been picking a much more rare and interesting sounding russian first name BUT if he did this to be clever (which i believe to be the case), there’s quite a bit to unpack here.

vsevolod is an ANCIENT russian first name that directly translates to “ruler of everything.” it’s believed to maybe be the origin of the more modern name vladimir and was frequently used by royalty but is now considered very uncommon, even in russia.

this whole film is about goncharov’s misguided quest for power and structure and identity so him being given a prophetic name like vsevolod is certainly interesting and almost tragic. he’s quite literally destined for power but it keeps eluding him because of both his own flaws and the way others seem to not see him fully and clearly. he’s destined for greatness but he’s also turning away from it by forgoing his given name in favor of the simpler surname he possesses, goncharov.

it’s almost a wolf in sheep’s clothing kind of deal. he himself doesn’t always seem so sure in his fate either. he doesn’t realize until the very end when andrey comes for him but by that point it’s already too late. he accepts this, though. it’s beautiful the way he lets death come for him. it’s not just because its andrey of all people but because he’s finally making a choice. he’s not dying as some great and powerful leader like he always thought he would or even as sevochka the loving husband: he’s dying as simply goncharov, the man who wanted so much and fought so hard to be ruler and master over everything in his life but realized too late that none of it was worth it in the end.

Cagula became a fave Dracula so fast for me, i think before he just hits every mark. When he wants to be scary, i was full of genuine dread, like Teddy finding the lair full of bodies felt like a Saw movie or something, it was really gripping and tense. And when he knocked the vase down, it was like all oxygen had been sucked from the room. But when he wants to be funny i really am giggling. The overdramatic 'oh do go on face' in the apartment, blood drunk Dracula sleazily going 'wooo" Like there's been scary Draculas, funny Draculas but Cage really was a perfect blend of horror-comedy. It made me appreciate him as an actor more. Like i used to think he was just a meme man, now im like 'i gotta watch more of him'

Nicolas Cage is such an amazing and acclaimed actor alongside the meme moments, not in spite of them. Sure, he's had some more memey over the top performances, but I can think of just as many that are less memey and more serious.

It also helps that, along with just being a great actor, he's a really great guy in general. You must watch the 'Renfield behind the scenes' if you haven't already. You feel for every other actor on set when Cage is with them. And Cage himself in interviews is so down to earth. You feel his love for his profession. You can tell he's having a blast, and that's why he's so fun to watch. I truly believe he loves acting.

As for Dracula, hands down. A role he was made to play. One of my favorites, no doubt. I can watch him for hours and hours. A good mix of everything that makes a character. He's funny. He's scary. He's treatening. He's a little silly. He's compelling but not justified.

Many criticisms for Renfield 2023 is that people have a problem with the cop/gang story. Saying it's clunky and/or gets in the way of more Dracula. As a Cageula devotee, I couldn't disagree more.

Would I have enjoyed less cop/gang stuff to see more conflict between Dracula and Renfield. Yes. Would I have enjoyed an entire movie of just Cage's Dracula preformance? Also yes. But what those criticisms miss is that Renfield is NoT a Dracula movie. It's a Renfield movie. (Pretty obvious from the title) The movie is about Renfield. And Renfield is the type of character who strives to do things for the good of others. So him getting involved with the police because one individual cop inspired him is great and flows well with his arc of overcoming Dracula.

As for the relationship between Renfield and Dracula, with all the little crumbs and the fantastic scenes between the two of them, I believe that to unpack just the two of them compellingly would require more than an hour and half to tell. That's more suited for a TV show.

🥰👏💬

The Power of Dune Part Two’s Final Act: Stepping Away From the Messiah

Stunning photo by Jack Davidson

So I didn't think I would be talking about Dune in my first post for this page (considering that I intended it to be more Star Wars focused and also since I haven't read the Dune books yet), but the final stretch of this movie has been on my mind ever since I left the theater a few weeks ago.

(Spoilers for Dune: Part Two)

It's strange in the sense that we are suddenly distanced from Paul, and also in that the climax seems to accelerate the story faster than ever before. So far (in both movies), there has been a pretty strong focus on Paul and a very deliberate pace that let all the plotlines simmer. It’s a masterclass of immersion, both technically and emotionally. The humanity of its characters aren’t lost in the many elements at play. Paul is a character whose empathy and how it makes him conflicted with what is placed before him make him quite likable. Spending so much time with him, Chani, and Stilgar makes us grow attached to them, not just because they’re the heroes, but because they feel real. And yet we’re pushed away. In the third act Paul's dark transformation happens swiftly (you’d initially think from how it’s shown the water of life turns you evil), and by the story’s end we only see Paul from a distance in the eyes of other characters, unable to see him resolving the concerns we’ve wrestled along with him, unable to get a good read on his motivations anymore. The final battles with our heroes happen rather quickly as victory over the Harkonnans and the Emperor comes pretty easily. On one hand this shift could feel unsatisfying, and the first time I watched the movie I was a little unsatisfied. But I’m not here to say this is a fault of the movie; in fact, this shift results in something greater happening, and it’s the most powerful triumph of Part Two’s story.

By the end, even when we do zoom in on Paul we're not sure what's really behind his intensity. (All the Dune screencaps are from Dune Perfect Shots 4K on Twitter).

Dune’s story up until this point, from what I know about these two films at least, is all about complexity, discerning the many variables, the need to carefully monitor both these variables and one's own behavior. The importance of mastering oneself. (This video by Alt Shift X talks about this really well, and it definitely helped me understand this aspect of the story better). But Paul’s tests, like the Gom Jabbar in Part 1 and the worm ride in Part 2, carry not just that significance but also the danger of a prophetic horror being more and more certain. Therein lies an irony - you can gain power but tied to it is something much larger that’s out of your control. This becomes pretty key to the whole story, and there’s something I was reminded of that helped me put all this into perspective. I brought this up in my first-time watch review too, but I think I have more to say about it now. But bare with me as this might end up being convoluted.

In one of my classes this semester we read the poem “The Promised Land” by Gabeba Baderoon, and I was really struck by this image that it alludes to called the Angel of History.  Described by Walter Benjamin based on the painting Angelus Novus by Paul Klee, it depicts an angel whose wings get caught in the winds of a destructive storm “blowing from Paradise.” It’s trapped in the storm’s momentum going forwards with no way to escape. All the while, its head is permanently twisted backwards, forced to watch the wreckage of the storm, named progress, gathering below it. From what we discussed in that class this disturbing image suggests that all the events of history, all that we do or achieve or create, is not a series of events affecting each other, but instead one ever-building catastrophe barreling forwards. Both the Bene Gesserit’s century-spanning machinations and Jessica’s usurping of it all by birthing a boy. Whether the Harkonnen house or the Atreides house controls Arrakis. All of these are merely before a future that’s larger than any of them individually; the messiah and his holy war will come regardless. Even if it’s towards her own end rather than that of the Bene Gesserit, Jessica still uses their propaganda to facilitate his rise. The two houses end up converging anyways in their family trees with the Baron, and Muad’dib Atreides embraces it, merging the two families’ ideologies like the Kwizatz Haderach was always intended to. Whether his sudden ruthlessness is him embracing his desire for revenge or actually a strategic choice after sifting through the past and futures laid out, we’re denied of knowing for sure as we look at him from afar, and this denial by the film questions if the answer even matters much. The Angel image and the movie’s narrative dispel the idea that we have the capability to easily fix things when we make progress. It’s a notion that renders reasoning or means as having little ability to empower, envisioning us all moving towards the same horror anyways. It suddenly renders all the complexity of the plot and these competing ideas and factions inconsequential. And I don’t mean that in a bad way — it’s crucial to what the film is really getting at.

"We're Harkonnens... so that's how we'll survive. By being Harkonnens."

“You of all people should know there are no sides, Reverend Mother.”

Now, it’s fair to question the nihilistic bent of this (are we in the real world truly powerless to stop to this continuous catastrophe???), but the Angel of History and Dune use the stories they put forth as cautionary tales where that all-encompassing bleak endgame are meant to deconstruct our notions of progress and control. If we are powerless to shape history, how strong is the power we wield? And how good is the power we wield? As we strive for “paradise” and celebrate attaining it we often forget what happened as we got there, and we fail to see where we really are. If the reasoning for our actions doesn’t empower us, the effects of them in turn are even more debasing. The Baderoon poem that alludes to the Angel of History does so to examine this too. In its discussion of the end of apartheid and the ushering in of a democratic South Africa, “The Promised Land” weaves in the legacy of the jazz pianist Moses Molekelwa, who, despite influencing the poem’s speaker’s attitudes towards social progress (and appearing as an idol in that sense), is shown as getting off the hook in the eyes of history for strangling his wife to death. The triumph of his music is remembered while his wife’s murder is willfully forgotten, and the poem concludes that “our forgetting is also our home, which is why we will never leave the old country.” Baderoon warns of when the celebration of progress doesn’t factor in the ugly parts we still carry with us into the future, and her allusion to the Angel of History works to convey that danger. (Obviously the real anti-apartheid struggle of South Africa is very very different from the story of Dune, and I wouldn’t want to compare them to each other. Dune’s exploration of complicated progress instead speaks more towards the dangers of charismatic leaders and the co-opting of a cause). The only thing I want to highlight is just that Dune, Baderoon’s poem, and the Angel of History all hone in on the need to not lose sight of the now. 

This is why the third act’s shift away from Paul works so well. The film doesn’t show people “forgetting” necessarily, but we do see them caught in the fervor without acknowledging what’s happening to them. Paul is an exception in that he sees it all: his arc sees him changing his perspective on the destiny laid ahead and taking control to ensure it happens on his terms. He doesn’t really turn evil, but since we’re denied of seeing past his new icy exterior as he looks ahead with his prescience, the film instead turns us back to the now, like the angel looking behind. We're with Chani now, the only (non-psychic) person who’s seeing this all. We already believe in Paul’s goodness. If we were to see what Paul sees and fully understand his reasoning, it would make it easy for us to downplay the costs. The story thus has us focus on the consequences of Paul’s path beginning to gather in real time, the Fremen being exploited as they are led into a coming bloodbath by their messiah.

And this is the sadness of it all, right? Things that were once honorable, like Jessica protecting Paul like she promised Leto and the legacy of Leto that Gurney hopes for Paul to carry with him, are twisted into foul and manipulative actions. Good intentions and real connections, like Paul’s empathy, his and Chani’s relationship, and his and Stilgar’s friendship, all give way to the storm.

The quickness of the third act’s events compounds this danger. The path Paul takes may be the best possible option after considering all the variables, but the story doesn’t revel too long in the glory of his successful leadership and strategy.

The awe-inspiring images speak not to just heroism but something volatile and intoxicating. It's not that the film oversimplifies the moral dilemmas at stake, but by letting the big battle, Gurney slaying Rabban, and Paul slaying the Baron happen all too easily, it removes the focus from only being the powerful exploits of Paul and the Fremen and adds emphasis on how they become like Harkonnens and how the Fremen become entrenched in Paul’s conquest. The Harkonnen bodies are burned like the Atreides were before them, and the Fremen Fedaykin ultimately fight carrying the Atreides banner instead of their own. They lose sight of this fact as they place all their faith in Paul, their cause and faith co-opted. It happens so fast and it can’t be stopped. We’re caught in the momentum of the storm raging, pushing us forward, and at the same time the film adjusts its focus to ensure that we don’t forget to recognize the consequences of Paul’s choices. This is what I find so compelling about this movie — we’re given a story that details the complexity of all things and also ultimately denies complicated factors and necessary evils of becoming excuses that wave the wreckage of progress away.

Hopefully this was enjoyable to read and wasn't pretentious or anything! Lemme know what you think about the movie!

This narrative is that "movies are dying" is such bullshit. There is so much more to filmmaking than just the American blockbusters, and even then, there is still heart in those movies. Art is more than just the auteur theory. Martin Scorsese and Quentin Tarantino didn't make their movies on their own. "Guardians of the Galaxy Vol. 3" is a movie about coming to terms with PTSD and finding your place in this world. "Across the Spider-Verse" and "Puss and Boots: The Last Wish" are showcases of some of the best animation in decades. The best horror movies of the year are two indie movies made by YouTubers: "Talk to Me" and "Skinamarink" that bring new life into the horror genre.

When I hear " movies are dying" what you're telling me is that late-stage capitalism has crushed the old market of movie making. When smaller movies could be made because home media like VHS and DVD could bring that movie new life and sales over time. Now, movie studios are making higher-budgeted movies that have to bring in larger sales at the cost of narrative. Capitalism ruins everything it touches, yet I still have a fun time at the movies. We get so lost in the sauce of doomerism that we forget a lot of people go to movies to hang out with their families and friends for 2 hours. To get lost in an amazing movie or to riff a bad movie, it's all the same. Art, whether it be personal or highly commercial, is still made by people who do care about these projects. Barbie is both a commercial for a toy brand but also a heartwarming movie about the struggles of being a woman. Both can exist.

Robert is so fucking hot in "Remember Me" which currently free on YouTube. Highly recommend this movie to anyone with taste! Especially those who like the type of movie endings that hits you like a jet liner.

Comment your thoughts of the movie, "Remember Me"! Id love to hear your thoughts :)

Stays a King.

Hi Guys,

Fangirl Reviews is back tomorrow to do another react video for our fans. Tomorrow we react to Fright Krewe Trailer here. See you all then! https://www.youtube.com/watch?v=OaBFxHq2XqQ via YouTube

A question for everyone:

If you had a genie wish for ONE piece of lost media—like, a season finale that was never made for your favorite tv show, or a director’s cut of a film that was lost in a house fire, or a storyboard that was canned by a focus group:

What would it be?

Some notable mentions from the group chat to start us off—

- Sam Raimi Spider-Man 4

- Ralph Bakshi’s first concept for Cool World

- Guillermo del Toro’s vision of H.P Lovecraft’s ‘At the Mountain’s of Madness’

- the original super-cut of Event Horizon

You know what movie would absolutely not work nowadays? “Bad Boys II”. Looking back at that movie, it’s kind of a time capsule of what was acceptable back in the 2000s. Of course, critics hated the movie at the time, but if the movie was made today, it’d be absolutely eviscerated.

Reasoning:

1) There’s a comedic moment where Will Smith casually says he’ll kill the only remaining survivor of the Haitian gang in order to avoid the paperwork. This is after he and Martin Lawrence killed all the other members of the gang in a warrant-less raid.

2) The Miami police illegally cross into Cuba and fight the Cuban army, who are all aligned with the drug lord villain. The climax is straight up a Bay of Pigs invasion, but the American side wins.

3) Will Smith and Martin Lawrence are in a morgue and they spend a great deal of the scene making jokes about a dead woman’s breasts. Well, okay, they weren’t joking around, but the scene was clearly meant to be funny, as in “haha, big boobs on corpse”.

4) 15-year-old Megan Fox danced around in a bikini during the nightclub scene.

5) Will Smith and Martin Lawrence have an emotional moment, but it’s played for jokes since it sounds like they’re gay and are describing their love life. They even had one lady tell them they need Jesus.

So, we got police brutality, Americans invading other countries, bizarre necrophilia, sexualization of a minor, and homophobia. I’ve seen movies get significant negative attention for less shit than this, which is why I feel “Bad Boys II” oddly works as a time capsule for the early 2000s.

Thoughts on Promising Young Woman - TW: Discussions of SA

I just watched Promising Young Woman and wanted to share my thoughts. I thought the movie was fantastically done, but one thing I wanted to comment on was how nobody involved in the making of this film seems to know what age people usually go to medical school??? I saw an interview from Bo Burnham discussing the film where he said that the characters were probably around 19 when they SA’d Nina, but by that age they would most likely been in college, not in medical school, which it was established is when the SA occurred. Also the characters mention in the actual movie that they were “just kids” when they committed the SA, but by medical school age they definitely should not be “just a kid” age. IDK it was kind of a small detail but it really bugged me. I think this movie will weigh on my mind for a while so feel free to DM or reblog with a comment if you have any similar recommendations or want to talk about it!