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#friendship with *robert de niro voice* it is what it is over
robert-deniro · 2 years
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#my last two brain cells
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baddiedaddy7 · 3 years
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𝙽𝚎𝚙𝚝𝚞𝚗𝚎 𝙸𝚗 𝙷𝚘𝚞𝚜𝚎𝚜🦄💜
do not plagiarize. all of this is my work.
𝙽𝚎𝚙𝚝𝚞𝚗𝚎 𝙸𝚗 𝙵𝚒𝚛𝚜𝚝 𝙷𝚘𝚞𝚜𝚎
dreamy. big on makeup, enhancing your looks. eyes are usually round/almond. the best feature of their face are their eyes. so many gorgeous girl celebs have this. has a dreamy look, but may also look like a fish tbh lmao. sympathizes w/strangers. usually tender hearted manners, and lovely vibe. shy/reserved. you’re like a sponge. if someone is being bitchy, chances are you will be too. keeps personal life on the down low. can be unrealistic.
celebrities:Kylie Jenner, Marilyn Monroe, Jim Carrey, Denzel Washington
𝙽𝚎𝚙𝚝𝚞𝚗𝚎 𝙸𝚗 𝚂𝚎𝚌𝚘𝚗𝚍 𝙷𝚘𝚞𝚜𝚎
voice is probably chill, or has a soft vibe to it. voice may also be naturally low. remember it’s nice to be generous, but not too generous. don’t just give your money away easily, or to just anybody. make sure the money, or possessions you give away are put to good use. don’t be naive w/your money/possessions. the clothes you buy are probably creative/artsy or discreet/low key. focus on loving yourself. seafood lover or hater lol. might like “weird” foods. indulgent.
celebrities:Jennifer Aniston, Tina Turner, Muhammad Ali, Dwayne Johnson
𝙽𝚎𝚙𝚝𝚞𝚗𝚎 𝙸𝚗 𝚃𝚑𝚒𝚛𝚍 𝙷𝚘𝚞𝚜𝚎
thinks unconventionally. you may lack communication w/siblings. may be great at poetry, writing in general. writing is probably unique, and beautiful. may love the beach or lakes, traveling to places with water lol. siblings may have pisces/neptune influence in their chart. the reserved student. might have a soft spot for math, english, or art classes. visionary.
celebrities:Madonna, Dua Lipa, Keanu Reeves, Ryan Reynolds
𝙽𝚎𝚙𝚝𝚞𝚗𝚎 𝙸𝚗 𝙵𝚘𝚞𝚛𝚝𝚑 𝙷𝚘𝚞𝚜𝚎
parents may have been absent, or neglectful. parents may have also been addicted to substances(alcohol, drugs, even food, etc). parents may have sheltered you from certain things, that you had to learn a different way(puberty, sex in general, etc) might’ve been raised by other ppl than their bio parents, but if it’s positive, parents may have taught you to be creative, and sweet. this indicates the childhood house being near water or wanting it to be, or even being aesthetic lol. may have love fantasy growing up, fantasy movies/shows, mystical creatures, etc. childhood memories may be foggy. you’re distinctive/stand out, but you may also be over-sensitive.
celebrities:Emma Watson, Jessica Alba, Johnny Depp, Robert De Niro
𝙽𝚎𝚙𝚝𝚞𝚗𝚎 𝙸𝚗 𝙵𝚒𝚏𝚝𝚑 𝙷𝚘𝚞𝚜𝚎
may have “pisces” traits in the dating world(wears rose tinted glasses, loving, naive, selfless, etc). try not to put your partner on a pedestal too high, cause then you might be disappointed. you may get too caught up in the moment, so birth control may be your best friend. i’ve heard of ppl w/this placement that had unexpected pregnancies. your hobbies range from painting, singing, inventing, sleeping, binge-watching, daydreaming, hanging out, astrology, and if on the bad side drugs/alcohol. children may have pisces/neptune influence in chart. very artistic ppl.
celebrities:Angelina Jolie,Cameron Diaz, Drake, Elon Musk
𝙽𝚎𝚙𝚝𝚞𝚗𝚎 𝙸𝚗 𝚂𝚒𝚡𝚝𝚑 𝙷𝚘𝚞𝚜𝚎
don’t stress so easily. when stressed, letting your creativity may help how you feel, or just letting it all out(crying, writing in a diary, etc). sleeping probably even helps your stress lmao. may be a vegan/vegetarian since they adore animals sm. neptune rules pisces which is represented by fish, so a fish may be an ideal pet. if not then a cat, as cats are mysterious. may not prioritize their health. may love junk food. likes being an helping hand, so may put themselves out there to help certain organizations, ppl, etc. i feel like these ppl probably shower/bath more than once a day. you’re very considerate.
celebrities:Selena Gomez, Drew Barrymore, Will Smith, John Lennon
𝙽𝚎𝚙𝚝𝚞𝚗𝚎 𝙸𝚗 𝚂𝚎𝚟𝚎𝚗𝚝𝚑 𝙷𝚘𝚞𝚜𝚎
attracts ppl with pisces/neptune in chart, platonic and/or romantic. enemies also tend to have pisces/neptune energy. ppl you attract may be cheaters/liars, so watch out. they may also be really romantic or obsessive/delusional. you may attract damaged souls, that may end up trying to put their damage on you. make sure to set limits in love. but on the bright side, you may attract ppl w/positive pisces traits(dreamy, selfless, good listener, etc). senseless in love. believes in fairytales. you’re gregarious.
celebrities:Lady Gaga, Mariah Carey, Denise Richards, Ashton Kutcher
𝙽𝚎𝚙𝚝𝚞𝚗𝚎 𝙸𝚗 𝙴𝚒𝚐𝚑𝚝𝚑 𝙷𝚘𝚞𝚜𝚎
prefers to fuck ppl they have a connection with. may like to have sex in water(showers, bath, jacuzzi, etc)or near it(beach,lake, etc). sex can take you away from the real world. emotions are powerful. got some psychic shit going on😂. dreams are usually in depth, and interesting. might hide vulnerable side. death may be bc of drugs, alcohol, etc. also you may drown, die in water in general or die in your sleep. death may also be mysterious(going missing, not knowing the cause of death, etc). may be moody.
celebrities:Whitney Houston, Demi Moore, Michael Jackson, George Clooney
𝙽𝚎𝚙𝚝𝚞𝚗𝚎 𝙸𝚗 𝙽𝚒𝚗𝚝𝚑 𝙷𝚘𝚞𝚜𝚎
flexible mind. may go to college for drama, artsy jobs, etc. probably believes in religious miracles. probably loves traveling to places with water, so an island is your best bet/not a landlocked country. may be fascinated w/other cultures. in laws may have pisces traits(positive:loving, good listeners, considerate negative:manipulative/backstabbing, liars, addicted to substances, etc). try not to accidentally join a cult lmao.
celebrities:Rihanna, Miley Cyrus, Heath Ledger, Jimi Hendrix
𝙽𝚎𝚙𝚝𝚞𝚗𝚎 𝙸𝚗 𝚃𝚎𝚗𝚝𝚑 𝙷𝚘𝚞𝚜𝚎
(i’m gonna say “we” cause this is my placement☺️)
if you’re famous, fans will fantasize abt you/crush on you. will have a career where they can express themselves(acting, singing, painting, etc), water related(marines, scuda diver, etc) or one that helps ppl since neptune is selfless(mental health, hospital, paramedic, humanitarian, etc). we can’t decide what we want to do in the future 😂, might even have multiple jobs. we may be known as romantic, sweet/loving, selfless, naive and other pisces traits. we’re usually so creative, and charming that ppl copy off of us(ik that’s said a lot but it’s true), we’re 💫inspiring💫. on the bad side, our reputation can be messed with since ppl make rumors abt us, and neptune rules illusion. good at coming up w/ideas, and inventions. resourceful, but can be off track.
celebrities:Christina Aguilera, Kourtney Kardashian, Matt Damon, Bruno Mars
𝙽𝚎𝚙𝚝𝚞𝚗𝚎 𝙸𝚗 𝙴𝚕𝚎𝚟𝚎𝚗𝚝𝚑 𝙷𝚘𝚞𝚜𝚎
friends may have neptune/pisces influence. friends are usually toxic. also attracts damaged friends. watch out for who you hang out with/don’t put all your trust into certain ppl. friendship is very important to these ppl, and they’re usually the advice giving friend, or just the one that’s laid back tbh. a lot of your “friends” tend to be 🐍. usually shy as a child, but comes out of shell as they get older. ppl that may crush on you may have pisces/neptune influence often. altruistic, but strange.
celebrities:Zooey Deschanel, Christy Turlington, Zayn Malik, Brad Pitt
𝙽𝚎𝚙𝚝𝚞𝚗𝚎 𝙸𝚗 𝚃𝚠𝚎𝚕𝚏𝚝𝚑 𝙷𝚘𝚞𝚜𝚎
sleeps often. follow your gut feelings. usually empaths. stay away from addictive things. not confident. doesn’t express their feelings. focus on loving yourself, it’s okay to take time for yourself. clairvoyant. you’re a dreamer. enemies take advantage of your/pray on your weakness, are manipulative, and you may also feed of off each other’s toxic energy. enemies may have pisces/neptune in chart. you happen to be self-contained/shy.
celebrities:Megan Fox, Winona Ryder, Bradley Cooper, Prince
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cancerjupiter · 3 years
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🍃 earth venus 🍃
venus in taurus
ex: paul mccartney, lana del rey, princess diana, ariana grande, prince, daniel day-lewis, grimes, baekhyun
material security is a major focus of their attention and desires, sometimes to the point of being noticeably greedy or cheap. they can be infinitely patient, kind, and sustaining for others, feeding them with food for body and soul; at their best, they’re pleasingly sociable, and quite artistic. if they don’t achieve satisfaction, they become very mean and irritable because they simply must have their pleasure or object of desire.
expresses affection physically, warmly, steadily, and possessively.
their reluctance to show feelings or lose control hampers intimate exchanges.
value material comfort and beautiful physical objects; deeply appreciates all physical senses.
taurus venus have a winning, considerate manner (at least in public and when in a good mood), and often have a pleasing voice, either talking or singing. taurus gives a need for continuity and comfort when dating. they easily settle into a quiet routine involving at least one other person - however, their partner might not be available at every moment taurus venus needs them. they enjoy “love” but prefer regularity rather than surprises and are often lazy and not very experimental. possessiveness is a dominant trait of theirs, and they stay for a long time, taking a while to get over relationships that didn’t work out.
their retentiveness about money and possessions extends to feelings; although they’re gently affectionate and attentive in a practical manner, they’re rarely emotionally demonstrative. they have a quality of patience and one-on-one communication, however, that smooths over even an aggressive personality. the simple pleasures of life slow them down, and more than any other sign, they love comforting routines they can savor. they’re attracted to earthy, solid, reliable types of people - someone they can depend on, for care and feeding in particular. they appreciate intelligence and personality, but basic qualities are higher priorities.
taurus venus understand love deeply; accept it with their whole being, and are confident to express it wordlessly, valuing love’s silences rather than its speeches. they cling to a mutual love with unbelievable tenacity, even if facing significant obstacles. all sense reactions (touch, sound, smell, sight) are enhanced by this placement. they’re very comfortable in their bodies and in tune with their surroundings. they know how to make others comfortable and enjoy nurturing. most tend to be involved with art.
unfortunately, they can be very laid-back about relationships, inwardly very involved, but reluctant to show their feelings. scared of being exposed. they pretend not to care and put up a wall. very security conscious, but stubbornly unable to express deeper feelings. but once they become attached, they’re not leaving unless it gets way too bad.
venus in virgo
ex: leonard cohen, gillian anderson, john lennon, mick jagger, robert de niro, kieran culkin, demi lovato, bella hadid, carrie fisher, sylvia plath, joni mitchell
virgo venus voracious love of analysis often leads to excessive criticism of both self and others and to a great deal of self-consciousness. although they want a healthy, faithful relationship, they also have a greater passion: work and duty. they have a tension between sensuality and puritanism; they never seem sure if things are morally, aesthetically, or sexually perfect enough. often needlessly creates tension within themselves through denial or repression of physical needs.
there is a tendency to underestimate the powers of attraction, and they will express their inherent modesty in a genuine shyness to developing relationships. communication and friendship need to be part of a good love story for them, and they must consciously relax into a relationship. my ultimate assessment is that they need a relationship to incorporate both mental and sensual communication.
expresses affection directly, modestly, helpfully, practically, and timidly.
petty criticisms and natural reserve can interfere with a healthy relationship.
a need to serve and be useful gives emotional satisfaction; find pleasure in attention to details and analytical mental activity.
once they’re fully committed, virgo venus can be the most honest and helpful partners in the world. if they have accepted the other person completely (faults and all!) and have relaxed their sharply critical attitudes, they can be a reliable partner without peer. they’re usually concerned about appearance and, like taurus venus, must learn their partner is not a possession. they’re methodical and cautious in their relationship approach, and slow to awaken to its possibilities. 
virgo venus mastered self-criticism! they’re constantly doubting their own attractiveness and value. however, they do appreciate affection from others since they do not have great confidence or experience in that area of life. they worry constantly about love and how they actually feel about someone, creating problems through excessive analysis. a mental connection must be established before entering any serious relationship. in fact, they talk about sex more than have it.
they’re usually attracted to someone “proper” - someone neat, intellectual, disciplined, and probably career oriented (someone they can look up to). however, by defining love and sex too narrowly and perfectly, they create a problem and a source of guilt and disappointment. getting realistic about their true needs, desires, and capacities is the only remedy
they love feeling helpful and able to give practical support to their lover’s needs, especially if they have been suffering. they feel like helping therapeutically. guilt or pity plays a role in motivating them to show affection to another. they’re emotionally practical and think they know what they need in a relationship, try to find it and stick with it. they’re somewhat shy and don’t reveal themselves too easily, with a tendency to be ‘picky'. they're hard to satisfy because they're perfectionists, and demand perfection in others and themselves.
venus in capricorn
ex: brad pitt, miley cyrus, bjork, james dean, the weeknd, sinatra, rupaul, david lynch, alex turner, elliot page, virginia woolf, megan thee stallion, sza
cap venus is serious about anything that affects their emotions, reputation, or material security. they have a great sense of humor, but they may express it with a certain restraint. there’s a great deal of self-control. the deeper the emotions, the harder they are to express them, and they would much rather express them by action than words. they strengthen others through their solid commitment and affection, and do a great deal to support their partners and make sure they’re successful. they’re proud of their reliability and old-fashioned loyalty - even if violating it now and then. 
their insecure, defensive nature uses formal manners as a means of protection. they’re very conscious of how their relationship looks, and many like to show off their loved one, almost as a status symbol. their natural attunement to authority manifests in how easily they fall for authority figures. they often have a particular fixation for the father - a common obsession for anyone with major capricorn placements.
expresses affection cautiously, seriously, and with perseverance.
they can inhibit relationship development because of their need for self-control and emotional reserve (that comes out as aloofness).
capricorn venus require some kind of commitment (at least a long time) before they feel comfortable getting involved in a relationship. they’re quite conscious of conventional behavior and public image and thus are rarely publicly demonstrative, though privately one shouldn’t doubt their capacity for deep passion and sincere, physically expressed feelings. this is the one venus placement that delivers far more than they promise, both sexually and emotionally.
they’re usually attracted to someone older, or in a position of authority. they’re not above marrying for security reasons - or at least postponing or denying themselves a relationship because of a lack of financial foundation. they view intimate relationships far too seriously sometimes. they can be very demanding of affection when deeply committed.  if acting too passively, they become insecure and uneasy about how emotionally vulnerable they seem, so they like taking control.
in order to feel attuned to a situation or another person, emotionally, they need a sense of structure. cautious about opening up to others, distant and detached with strangers; not talkative and involved, even superficially. as get to know people, they become more spontaneous, but still guarded and easily defensive. until a serious commitment, the capacity to express love doesn’t really open up.
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sapphiics · 2 years
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Super late September Sum-Up!! September was a real growth month, and I discovered so many good things. Here’s the rundown:
Books: Two words- WILDER GIRLS. I finished this book wayyy back at the beginning of the month, and no friendship has ever pierced my heart the way byatt and hetty’s has. It’s a sci-fi thriller that just gets more and more tense as the book goes on. Not a perfect book but it’s deeply captivating and I read like 85% of it in one day lying in my bed for hours on end. The ending gets messy, and it’s maybe a bit too open-ended for my taste, but I would recommend it to all my sci-fi besties. if i hear anybody boil this down to some tropey romance I’m showing up at your house.
I also read Conviction by Kelly Loy Gilbert because of a recommendation from one of my favorite blogs!(technically finished it today but it’s a september book) and I found it exhilarating. Such a novel. I have to admit that my main issue was how there’s so much baseball imagery and description that i didn’t understand, but everything else was golden. I was speed reading the last 100+ pages at a school yesterday and it was a race. All of the characters are complex and you just feel so much about each of them, whether good or bad these are full fleshed human beings with the way the author writes
Movies: Shang-Chi— great movie but some marvel guy at the theatre started grilling me on why I liked it which killed the mood.
Wind River- it could’ve been a great movie, and it’s pretty good, but this whole message about natives and their girls and the dangers they face and how nobody’s searching for these missing girls is heavily diluted by the fact that the movie is headed and mainly focuses on two famous white people. this story set up and statistic at the end seems very hypocritical when you feature two starring white people. if this were a native story, you would use native women to play it out. do better
A Bronx Tale- watched it on a whim and had a merry little good time this was robert de niro’s reader-insert fantasy film 😵‍💫🙏 for realsies though idk i kind of liked it the little teen couple was awkward and cute but the little boys yelling out slurs was unsettling. kind of comforting i’m gonna watch again.
Music- big month music wise for me i’ve expanded my taste and become hotter in the process
Artists— Tei Shi and Nasty Cherry owned me this month. Tei Shi shifted the world when Crawl Space released, and Charli XCX knew what she was doing when she put Nasty Cherry together. Stream their discographies I’m bonafide obsessed. Nasty Cherry is a personal fave but Tei Shi is objectively better and is carrying massive amounts of talent
Songs: My body by NC, Lucky by NC, How Far by Tei Shi, Creep by Tei Shi, GEMINI FEED BY BANKS, Everything is Embarrassing by Sky Ferrira, Johanna by Suki Waterhouse
Personal: I started journaling more consistently, and adjusting to my siblings at college is going a lot smoother than expected!! also mental health was fluctuating but overall decent
video essays: i can’t remember what i watched this month or october but I watched a bojack horseman video with this soothing british guy’s voice that really broke down bojack’s relationships with each character, and I particularly enjoyed the section on Princess Caroline and her never-ending movie. Her speech about ‘ the tough part of the movie’ and how bojack gives her a problem to solve and distract her from life. He keeps her working towards a goal because there is just so much to ‘fix’ with this man. He ‘kept’ ( i don’t like to imply he had that much hold over her. even when he did) her story from being over in PC’s own eyes. god bless whatever writer put her and jonah together
decent month overall and october was even better. living a pretty good life atm
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My Top 20 Films of 2019 - Part Two
I don’t think I’ve had a year where my top ten jostled and shifted as much as this one did - these really are the best of the best and my personal favourites of 2019.
10. Toy Story 4
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I think we can all agree that Toy Story 3 was a pretty much perfect conclusion to a perfect trilogy right? About as close as is likely to get, I’m sure. I shared the same trepidation when part four was announced, especially after some underwhelming sequels like Finding Dory and Cars 3 (though I do have a lot of time for Monsters University and Incredibles 2). So maybe it’s because the odds were so stacked against this being good but I thought it was wonderful. A truly existential nightmare of an epilogue that does away with Andy (and mostly kids altogether) to focus on the dreams and desires of the toys themselves - separate from their ‘duties’ as playthings to biological Gods. What is their purpose in life without an owner? Can they be their own person and carve their own path? In the case of breakout new character Forky (Tony Hale), what IS life? Big big questions for a cash grab kids films huh?
The animation is somehow yet another huge leap forward (that opening rainstorm!), Bo Peep’s return is excellently pitched and the series tradition of being unnervingly horrifying is back as well thanks to those creepy ventriloquist dolls! Keanu Reeves continues his ‘Keanuassaince‘ as the hilarious Duke Caboom and this time, hopefully, the ending at least feels finite. This series means so much to me: I think the first movie is possibly the tightest, most perfect script ever written, the third is one of my favourites of the decade and growing up with the franchise (I was 9 when the first came out, 13 for part two, 24 for part three and now 32 for this one), these characters are like old friends so of course it was great to see them again. All this film had to do was be good enough to justify its existence and while there are certainly those out there that don’t believe this one managed it, I think the fact that it went as far as it did showed that Pixar are still capable of pushing boundaries and exploring infinity and beyond when they really put their minds to it.
9. The Nightingale
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Hoo boy. Already controversial with talk of mass walkouts (I witnessed a few when this screened at Sundance London), it’s not hard to see why but easy to understand. Jennifer Kent (The Babadook) is a truly fearless filmmaker following up her acclaimed suburban horror movie come grief allegory with a period revenge tale set in the Tasmanian wilderness during British colonial rule in the early 1800s. It’s rare to see the British depicted with the monstrous brutality for which they were known in the distant colonies and this unflinching drama sorely needed an Australian voice behind the camera to do it justice.
The film is front loaded with some genuinely upsetting, nasty scenes of cruel violence but its uncensored brutality and the almost casual nature of its depiction is entirely the point - this was normalised behaviour over there and by treating it so matter of factly, it doesn’t slip into gratuitous ‘movie violence’. It is what it is. And what it is is hard to watch. If anything, as Kent has often stated, it’s still toned down from the actual atrocities that occurred so it’s a delicate balance that I think Kent more than understands. Quoting from an excellent Vanity Fair interview she did about how she directs, Kent said “I think audiences have become very anaesthetised to violence on screen and it’s something I find disturbing... People say ‘these scenes are so shocking and disturbing’. Of course they are. We need to feel that. When we become so removed from violence on screen, this is a very irresponsible thing. So I wanted to put us right within the frame with that person experiencing the loss of everything they hold dear”. 
Aisling Franciosi is next level here as a woman who has her whole life torn from her, leaving her as nothing but a raging husk out for vengeance. It would be so easy to fall into odd couple tropes once she teams up with reluctant native tracker Billy (an equally impressive newcomer, Baykali Ganambarr) but the film continues to stay true to the harsh racism of the era, unafraid to depict our heroine - our point of sympathy - as horrendously racist towards her own ally. Their partnership is not easily solidified but that makes it all the stronger when they star to trust each other. Sam Claflin is also career best here, weaponizing his usual charm into dangerous menace and even after cementing himself as the year’s most evil villain, he can still draw out the humanity in such a broken and corrupt man.
Gorgeously shot in the Academy ratio, the forest landscape here is oppressive and claustrophobic. Kent also steps back into her horror roots with some mesmerising, skin crawling dream scenes that amplify the woozy nightmarish tone and overbearing sense of dread. Once seen, never forgotten, this is not going to be everyone’s cup of tea (and that’s fine) but when cinema can affect you on such a visceral level and be this powerful, reflective and honest about our own past, it’s hard to ignore. Stunning.
8. The Irishman
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Aka Martin Scorsese’s magnum opus, I did manage to see this one in a cinema before the Netflix drop and absolutely loved it. I’ve watched 85 minute long movies that felt longer than this - Marty’s mastery of pace, energy and knowing when to let things play out in agonising detail is second to none. This epic tale of  the life of Frank Sheeran (Robert De Niro) really is the cinematic equivalent of having your cake and eating it too, allowing Scorsese to run through a greatest hits victory lap of mobster set pieces, alpha male arguments, a decades spanning life story and one (last?) truly great Joe Pesci performance before simply letting the story... continue... to a natural, depressing and tragic ending, reflecting the emptiness of a life built on violence and crime.
For a film this long, it’s impressive how much the smallest details make the biggest impacts. A stammering phone call from a man emotionally incapable of offering any sort of condolence. The cold refusal of forgiveness from a once loving daughter. A simple mirroring of a bowl of cereal or a door left slightly ajar. These are the parts of life that haunt us all and it’s what we notice the most in a deliberately lengthy biopic that shows how much these things matter when everything else is said and done. The violence explodes in sudden, sharp bursts, often capping off unbearably tense sequences filled with the everyday (a car ride, a conversation about fish, ice cream...) and this contrast between the whizz bang of classic Scorsese and the contemplative nature of Silence era Scorsese is what makes this film feel like such an accomplishment. De Niro is FINALLY back but it’s the memorably against type role for Pesci and an invigorated Al Pacino who steals this one, along with a roll call of fantastic cameos, with perhaps the most screentime given to the wonderfully petty Stephen Graham as Tony Pro, not to mention Anna Paquin’s near silent performance which says more than possibly anyone else. 
Yes, the CG de-aging is misguided at best, distracting at worst (I never really knew how old anyone was meant to be at any given time... which is kinda a problem) but like how you get used to it really quickly when it’s used well, here I kinda got past it being bad in an equally fast amount of time and just went with it. Would it have been a different beast had they cast younger actors to play them in the past? Undoubtedly. But if this gives us over three hours of Hollywood’s finest giving it their all for the last real time together, then that’s a compromise I can live with.
7. The Last Black Man in San Francisco
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Wow. I was in love with this film from the moving first trailer but then the film itself surpassed all expectations. This is a true indie film success story, with lead actor Jimmie Fails developing the idea with director Joe Talbot for years before Kickstarting a proof of concept and eventually getting into Sundance with short film American Paradise, which led to the backing of this debut feature through Plan B and A24. The deeply personal and poetic drama follows a fictionalised version of Jimmie, trying to buy back an old Victorian town house he claims was built by his grandfather, in an act of rebellion against the increasingly gentrified San Francisco that both he and director Talbot call home.
The film is many things - a story of male friendship, of solidarity within our community, of how our cities can change right from underneath us - it moves to the beat of it’s own drum, with painterly cinematography full of gorgeous autumnal colours and my favourite score of the year from Emile Mosseri. The performances, mostly by newcomers or locals outside of brilliant turns from Jonathan Majors, Danny Glover and Thora Birch, are wonderful and the whole thing is such a beautiful love letter to the city that it makes you ache for a strong sense of place in your own home, even if your relationship with it is fractured or strained. As Jimmie says, “you’re not allowed to hate it unless you love it”.
For me, last year’s Blindspotting (my favourite film of the year) tackled gentrification within California more succinctly but this much more lyrical piece of work ebbs and flows through a number of themes like identity, family, memory and time. It’s a big film living inside a small, personal one and it is not to be overlooked.
6. Little Women
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I had neither read the book nor seen any prior adaptation of Louisa May Alcott’s 1868 novel so to me, this is by default the definitive telling of this story. If from what I hear, the non linear structure is Greta Gerwig’s addition, then it’s a total slam dunk. It works so well in breaking up the narrative and by jumping from past to present, her screenplay highlights certain moments and decisions with a palpable sense of irony, emotional weight or knowing wink. Getting to see a statement made with sincere conviction and then paid off within seconds, can be both a joy and a surefire recipe for tears. Whether it’s the devastating contrast between scenes centred around Beth’s illness or the juxtaposition of character’s attitudes to one another, it’s a massive triumph. Watching Amy angrily tell Laurie how she’s been in love with him all her life and then cutting back to her childishly making a plaster cast of her foot for him (’to remind him how small her feet are’) is so funny. 
Gerwig and her impeccable cast bring an electric energy to the period setting, capturing the big, messy realities of family life with a mix of overwhelming cross-chatter and the smallest of intimate gestures. It’s a testament to the film that every sister feels fully serviced and represented, from Beth’s quiet strength to Amy’s unforgivable sibling rivalry. Chris Cooper’s turn as a stoic man suffering almost imperceptible grief is a personal heartbreaking favourite. 
The book’s (I’m assuming) most sweeping romantic statements are wonderfully delivered, full of urgent passion and relatable heartache, from Marmie’s (Laura Dern) “I’m angry nearly every day of my life” moment to Jo’s (Saoirse Ronan) painful defiance of feminine attributes not being enough to cure her loneliness. The sheer amount of heart and warmth in this is just remarkable and I can easily see it being a film I return to again and again.
5. Booksmart
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2019 has been a banner year for female directors, making their exclusion from some of the early awards conversations all the more damning. From this list alone, we have Lulu Wang, Jennifer Kent and Greta Gerwig. Not to mention Lorene Scafaria (Hustlers), Melina Matsoukas (Queen & Slim), Jocelyn DeBoer & Dawn Luebbe (Greener Grass), Sophie Hyde (Animals) and Rose Glass (Saint Maud - watch out for THIS one in 2020, it’s brilliant). Perhaps the most natural transition from in front of to behind the camera has been made by Olivia Wilde, who has created a borderline perfect teen comedy that can make you laugh till you cry, cry till you laugh and everything in-between.
Subverting the (usually male focused) ‘one last party before college’ tropes that fuel the likes of Superbad and it’s many inferior imitators, Booksmart follows two overachievers who, rather than go on a coming of age journey to get some booze or get laid, simply want to indulge in an insane night of teenage freedom after realising that all of the ‘cool kids’ who they assumed were dropouts, also managed to get a place in all of the big universities. It’s a subtly clever remix of an old favourite from the get go but the committed performances from Kaitlyn Dever and Beanie Feldstein put you firmly in their shoes for the whole ride. 
It’s a genuine blast, with big laughs and a bigger heart, portraying a supportive female friendship that doesn’t rely on hokey contrivances to tear them apart, meaning that when certain repressed feelings do come to the surface, the fallout is heartbreaking. As I stated in a twitter rave after first seeing it back in May, every single character, no matter how much they might appear to be simply representing a stock role or genre trope, gets their moment to be humanised. This is an impeccably cast ensemble of young unknowns who constantly surprise and the script is a marvel - a watertight structure without a beat out of place, callbacks and payoffs to throwaway gags circle back to be hugely important and most of all, the approach taken to sexuality and representation feels so natural. I really think it is destined to be looked back on and represent 2019 the way Heathers does ‘88, Clueless ‘95 or Easy A 2010. A new high benchmark for crowd pleasing, indie comedy - teen or otherwise.
4. Ad Astra
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Brad Pitt is one of my favourite actors and one who, despite still being a huge A-lister even after 30 years in the game, never seems to get enough credit for the choices he makes, the movies he stars in and also the range of stories he helps produce through his company, Plan B. 2019 was something of a comeback year for Pitt as an actor with the insanely measured and controlled lead performance seen here in Ad Astra and the more charismatic and chaotic supporting role in Once Upon a Time... in Hollywood.
I love space movies, especially those that are more about broken people blasting themselves into the unknown to search for answers within themselves... which manages to sum up a lot of recent output in this weirdly specific sub-genre. First Man was a devastating look at grief characterised by a man who would rather go to a desolate rock than have to confront what he lost, all while being packaged as a heroic biopic with a stunning score. Gravity and The Martian both find their protagonists forced to rely on their own cunning and ingenuity to survive and Interstellar looked at the lengths we go to for those we love left behind. Smaller, arty character studies like High Life or Moon are also astounding. All of this is to say that Ad Astra takes these concepts and runs with them, challenging Pitt to cross the solar system to talk some sense into his long thought dead father (Tommy Lee Jones). But within all the ‘sad dad’ stuff, there’s another film in here just daring you to try and second guess it - one that kicks things off with a terrifying free fall from space, gives us a Mad Max style buggy chase on the moon and sidesteps into horror for one particular set-piece involving a rabid baboon in zero G! It manages to feel so completely nuts, so episodic in structure, that I understand why a lot of people were turned off - feeling that the overall film was too scattershot to land the drama or too pondering to have any fun with. I get the criticisms but for me, both elements worked in tandem, propelling Pitt on this (assumed) one way journey at a crazy pace whilst sitting back and languishing in the ‘bigger themes’ more associated with a Malik or Kubrick film. Something that Pitt can sell me on in his sleep by this point.
I loved the visuals from cinematographer Hoyte van Hoytema (Interstellar), loved the imagination and flair of the script from director James Gray and Ethan Gross and loved the score by Max Richter (with Lorne Balfe and Nils Frahm) but most of all, loved Pitt, proving that sometimes a lot less, is a lot more. The sting of hearing the one thing he surely knew (but hoped he wouldn’t) be destined to hear from his absent father, acted almost entirely in his eyes during a third act confrontation, summed up the movie’s brilliance for me - so much so that I can forgive some of the more outlandish ‘Mr Hyde’ moments of this thing’s alter ego... like, say, riding a piece of damaged hull like a surfboard through a meteor debris field! 
3. Avengers: Endgame
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It’s no secret that I think Marvel, the MCU in particular, have been going from strength to strength in recent years, slowly but surely taking bigger risks with filmmakers (the bonkers Taika Waititi, the indie darlings of Ryan Coogler, Cate Shortland and Chloe Zhao) whilst also carefully crafting an entertaining, interconnected universe of characters and stories. But what is the point of building up any movie ‘universe’ if you’re not going to pay it off and Endgame is perhaps the strongest conclusion to eleven years of movie sequels that fans could have possibly hoped for.
Going into this thing, the hype was off the charts (and for good reason, with it now being the highest grossing film of all time) but I remember souring on the first entry of this two-parter, Infinity War, during the time between initial release and Endgame’s premiere. That film had a game-changing climax, killing off half the heroes (and indeed the universe’s population) and letting the credits role on the villain having achieved his ultimate goal. It was daring, especially for a mammoth summer blockbuster but obviously, we all knew the deaths would never be permanent, especially with so many already-announced sequels for now ‘dusted’ characters. However, it wasn’t just the feeling that everything would inevitably be alright in the end. For me, the characters themselves felt hugely under-serviced, with arguably the franchise’s main goody two shoes Captain America being little more than a beardy bloke who showed up to fight a little bit. Basically what I’m getting at is that I felt Endgame, perhaps emboldened by the giant runtime, managed to not only address these character slights but ALSO managed to deliver the most action packed, comic booky, ‘bashing your toys together’ final fight as well.
It’s a film of three parts, each pretty much broken up into one hour sections. There’s the genuinely new and interesting initial section following our heroes dealing with the fact that they lost... and it stuck. Thor angrily kills Thanos within the first fifteen minutes but it’s a meaningless action by this point - empty revenge. Cutting to five years later, we get to see how defeat has affected them, for better or worse, trying to come to terms with grief and acceptance. Cap tries to help the everyman, Black Widow is out leading an intergalactic mop up squad and Thor is wallowing in a depressive black hole. It’s a shocking and vibrantly compelling deconstruction of the whole superhero thing and it gives the actors some real meat to chew on, especially Robert Downy Jr here who goes from being utterly broken to fighting within himself to do the right thing despite now having a daughter he doesn’t want to lose too. Part two is the trip down memory lane, fan service-y time heist which is possibly the most fun section of any of these movies, paying tribute to the franchise’s past whilst teetering on a knife’s edge trying to pull off a genuine ‘mission impossible’. And then it explodes into the extended finale which pays everyone off, demonstrates some brilliantly imaginative action and sticks the landing better than it had any right to. In a year which saw the ending of a handful of massive geek properties, from Game of Thrones to Star Wars, it’s a miracle even one of them got it right at all. That Endgame managed to get it SO right is an extraordinary accomplishment and if anything, I think Marvel may have shot themselves in the foot as it’s hard to imagine anything they can give us in the future having the intense emotional weight and momentum of this huge finale.
2. Knives Out
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Rian Johnson has been having a ball leaping into genre sandpits and stirring shit up, from his teen spin on noir in Brick to his quirky con man caper with The Brothers Bloom, his time travel thriller Looper and even his approach to the Star Wars mythos in The Last Jedi. Turning his attention to the relatively dead ‘whodunnit’ genre, Knives Out is a perfect example of how to celebrate everything that excites you about a genre whilst weaponizing it’s tropes against your audience’s baggage and preconceptions.
An impeccable cast have the time of their lives here, revelling in playing self obsessed narcissists who scramble to punt the blame around when the family’s patriarch, a successful crime novelist (Christopher Plummer), winds up dead. Of course there’s something fishy going on so Daniel Craig’s brilliantly dry southern detective Benoit Blanc is called in to investigate.There are plenty of standouts here, from Don Johnson’s ignorant alpha wannabe Richard to Michael Shannon’s ferocious eldest son Walt to Chris Evan’s sweater wearing jock Ransom, full of unchecked, white privilege swagger. But the surprise was the wholly sympathetic, meek, vomit prone Marta, played brilliantly by Ana de Armas, cast against her usual type of sultry bombshell (Knock Knock, Blade Runner 2049), to spearhead the biggest shake up of the genre conventions. To go into more detail would begin to tread into spoiler territory but by flipping the audience’s engagement with the detective, we’re suddenly on the receiving end of the scrutiny and the tension derived from this switcheroo is genius and opens up the second act of the story immensely.
The whole thing is so lovingly crafted and the script is one of the tightest I’ve seen in years. The amount of setup and payoff here is staggering and never not hugely satisfying, especially as it heads into it’s final stretch. It really gives you some hope that you could have such a dense, plotty, character driven idea for a story and that it could survive the transition from page to screen intact and for the finished product to work as well as it does. I really hope Johnson returns to tell another Benoit Blanc mystery and judging by the roaring box office success (currently over $200 million worldwide for a non IP original), I certainly believe he will.
1. Eighth Grade
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My film of the year is another example of the power of cinema to put us in other people’s shoes and to discover the traits, fears, joys and insecurities that we all share irregardless. It may shock you to learn this but I have never been a 13 year old teenage girl trying to get by in the modern world of social media peer pressure and ‘influencer’ culture whilst crippled with personal anxiety. My school days almost literally could not have looked more different than this (less Instagram, more POGs) and yet, this is a film about struggling with oneself, with loneliness, with wanting more but not knowing how to get it without changing yourself and the careless way we treat those with our best interests at heart in our selfish attempt to impress peers and fit in. That is understandable. That is universal. And as I’m sure I’ve said a bunch of times in this list, movies that present the most specific worldview whilst tapping into universal themes are the ones that inevitably resonate the most.
Youtuber and comedian Bo Burnham has crafted an impeccable debut feature, somehow portraying a generation of teens at least a couple of generations below his own, with such laser focused insight and intimate detail. It’s no accident that this film has often been called a sort of social-horror, with cringe levels off the charts and recognisable trappings of anxiety and depression in every frame. The film’s style services this feeling at every turn, from it’s long takes and nauseous handheld camerawork to the sensory overload in it’s score (take a bow Anna Meredith) and the naturalistic performances from all involved. Burnham struck gold when he found Elsie Fisher, delivering the most painful and effortlessly real portrayal of a tweenager in crisis as Kayla. The way she glances around skittishly, the way she is completely lost in her phone, the way she talks, even the way she breathes all feeds into the illusion - the film is oftentimes less a studio style teen comedy and more a fly on the wall documentary. 
This is a film that could have coasted on being a distant, social media based cousin to more standard fare like Sex Drive or Superbad or even Easy A but it goes much deeper, unafraid to let you lower your guard and suddenly hit you with the most terrifying scene of casually attempted sexual aggression or let you watch this pure, kindhearted girl falter and question herself in ways she shouldn’t even have to worry about. And at it’s core, there is another beautiful father/daughter relationship, with Josh Hamilton stuck on the outside looking in, desperate to help Kayla with every fibre of his being but knowing there are certain things she has to figure out for herself. It absolutely had me and their scene around a backyard campfire is one of the year’s most touching.
This is a truly remarkable film that I think everyone should seek out but I’m especially excited for all the actual teenage girls who will get to watch this and feel seen. This isn’t about the popular kid, it isn’t about the dork who hangs out with his or her own band of misfits. This is about the true loner, that person trying everything to get noticed and still ending up invisible, that person trying to connect through the most disconnected means there is - the internet - and everything that comes with it. Learning that the version of yourself you ‘portray’ on a Youtube channel may act like they have all the answers but if you’re kidding yourself then how do you grow? 
When I saw this in the cinema, I watched a mother take her seat with her two daughters, aged probably at around nine and twelve. Possibly a touch young for this, I thought, and I admit I cringed a bit on their behalf during some very adult trailers but in the end, I’m glad their mum decided they were mature enough to see this because a) they had a total blast and b) life simply IS R rated for the most part, especially during our school years, and those girls being able to see someone like Kayla have her story told on the big screen felt like a huge win. I honestly can’t wait to see what Burnham or Fisher decide to do next. 2019 has absolutely been their year... and it’s been a hell of a year.
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The best and worst films of 2019
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It was of the general consensus that 2019 was a truly amazing year for cinema, with audiences treated to a wide and impressive array of films. As usual, the year produced a number of sure bets from both well known directors and arthouse favourites, but it also treated cinemagoers to some truly unexpected treats from the cinematic mainstream.
Having watched just over 100 films (released in Australia), those that made this year’s ‘best list’ have been selected on the basis of the lasting impression they have left on this viewer after the lights have come up and the curtain’s been drawn.
So, what succeeded and what failed?
Ladies and gentlemen, may we please offer for your consideration…
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50. READY OR NOT
49. GLASS
48. HAL (DOCUMENTARY)
47. STUDIO 54 (DOCUMENTARY)
46. HOTEL MUMBAI
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45. THE HOUSE THAT JACK BUILT
44. CRAWL
43. MISSING LINK
42. SCARY STORIES TO TELL IN THE DARK
41. THE CLOVEHITCH KILLER
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40. BURNING
39. AVENGEMENT
38. YESTERDAY
37. THE SISTERS BROTHERS
36. BRIGHTBURN
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35. FIGHTING WITH MY FAMILY
34. HAIL, SATAN (DOCUMENTARY)
33. VELVET BUZZSAW
32. COLD PURSUIT
31. STAR WARS: THE RISE OF SKYWALKER
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30. SPIDER-MAN: FAR FROM HOME
29. BEN IS BACK
28. THUNDER ROAD
27. THE REPORT
26. TOY STORY 4
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25. MID 90′S
24. LAST BREATH (DOCUMENTARY)
23. VOX LUX
22. GLORIA BELL
21. THE FAREWELL
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20. SHAZAM
19. FREE SOLO (DOCUMENTARY)
18. KNIVES OUT
17. BOOKSMART
16. DRAGGED ACROSS CONCRETE
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15. US
14. ROCKETMAN
13. AD ASTRA
12. JOJO RABBIT
11. MIDSOMMAR
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10. APOLLO 11 (DOCUMENTARY)
Though this outstanding assemblage of archival footage about the 1969 Apollo 11 moon landing featured no narration, interviews or analysis, director Todd Douglas Miller successfully managed to create an amazingly beautiful and surreal experience about one of humanities greatest achievements. Featuring never-before-seen footage of both the launch and the mission itself, ‘Apollo 11′ was as thrilling as any sci-fi and eye-wateringly beautiful to behold. 
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9. EIGHTH GRADE
It was an impressive year for many ‘coming-of-age’ films (‘Booksmart,’ ‘Good Boys,’ ‘Mid 90′s’) but it was writer-director Bo Burnham’s poignant and sensitive exploration of the challenges of early adolescence in the age of social media that really resonated. Focusing on the socially awkward Kayla - played with exquisite, jittery control by teen actor Elsie Fisher - ‘Eighth Grade’ was a thoughtful observation on the universal truths of growing up in the modern age.
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8. FORD V FERRARI
With director James Mangold at the wheel, ‘Ford V Ferrari’ was a highly enjoyable sports car racing movie that left audiences with a lasting and highly satisfying impression all the way to the finish line. Based on the rivalry between the car manufacturers Ford and Ferrari in their pursuit to win the 24 hour Le Mans sports car race in 1966, ‘Ford V Ferrari’ featured heart-pounding racing sequences and impeccable performances from Matt Damon & Christian Bale.
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7. THE NIGHTINGALE
Though not a horror film in the strictest definition of the term, you were less likely to find a more horrific cinematic experience this year than Australian director/writer Jennifer Kent’s 'The Nightingale.’ Kent's follow up to her critically acclaimed debut ‘The Babadook' was an extremely unsettling and bleak revenge tale, that relentlessly beat the audience with its unflinching violence and depictions of cruel racism. 
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6. AVENGERS: ENDGAME
"Part of the journey is the end...” A cathartic and satisfying experience for all MCU fans worldwide, 'Avengers: Endgame' was everything we needed and more than we deserved. Full of callbacks and emotional pay-offs 10+ years in the making, ‘Avengers: Endgame' was a thrilling conclusion and a deeply emotional exploration of loss and love, duty and honour, friendship and family. Just remember to lean into the tears.
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5. JOKER
Whether you ended up either loving or hating ‘Joker,’ there was no denying that the landscape of cinematic comic book adaptations had been changed forever. Drawing inspiration from Martin Scorsese’s ‘Taxi Driver’ and ‘The King of Comedy’ and featuring Joaquin Phoenix’s magnificently dedicated and exhaustive performance, ‘Joker’ was a truly outstanding cinematic achievement that would be discussed and debated for many years to come.
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4. THE IRISHMAN
A magisterial entry in his long and masterful career, Martin Scorsese’s violent yet poignant crime epic featured flawless performances from a stellar ensemble cast (De Niro, Pacino, Pesci, Keitel). With a script that was nothing short of a master work, coupled with an intricate production design and stylish cinematography, ‘The Irishman’ felt like an apt end point for Scorsese’s fascination in narratives detailing the ultimate price that comes from a life of sin.
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3. PARASITE
Renown South Korean filmmaker Bong Joon-ho already had an impeccable track record (’The Host,’ ‘Snowpiercer,’ ‘Okja’) but really stepped up his game with this brilliant and powerfully revealing social satire. An intricate look at modern-day social hierarchies, ‘Parasite’ kept flipping audience expectations with its radical shifts in tone - from clever comedy to violent, dark tragedy - whilst delivering some brilliant thematic elements. 
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2. MARRIAGE STORY 
Writer-director Noah Baumbach’s drama about the pain of the divorce process was a phenomenally crafted piece of cinema. A tragic tale amplified by both Baumbach’s screenwriting genius and tour-de-force performances from Adam Driver and Scarlett Johansson, ‘Marriage Story’ highlighted the struggles of an everyday situation and the real efforts to maintain it, leaving audiences with heavy hearts and thoughts.
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1. ONCE UPON A TIME...IN HOLLYWOOD
Set against the backdrop of Hollywood’s changing of the guard and the looming large presence of the Manson Family, ‘Once Upon A Time...in Hollywood’ was a melancholy, slow burning, comedic love letter to a filmmaking era long gone, and easily one of Quentin Tarantino’s best films.
As a wonderfully painted portrait of 1969 Hollywood, Tarantino delivered something truly special - a cinematic opus featuring so many film references, both obscure and in your face, that it was an absolute delight for cinephiles everywhere to luxuriate in the sights and sounds of this historical fantasy. 
Leonardo DiCaprio and Brad Pitt delivered the most emotionally vulnerable performances of their careers as soon-to-be has-beens, whilst the film’s vibrant production and costume design and playful soundtrack perfectly captured a snapshot of a special place and time in film history.
If Tarantino is still adamant to call it quits on his directing career after his next movie, ‘Once Upon A Time...in Hollywood’ was a timely reminder that we should all definitely try to enjoy the filmmaker whilst we still can.
...AND NOW, THE WORST!
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20. UNDER THE SILVER LAKE
19. THE MULE 
18. STUBER
17. AT ETERNITY’S GATE
16. IT: CHAPTER 2
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15. THE BANANA SPLITS MOVIE
14. HAPPY DEATH DAY 2U
13. ALADDIN
12. ANGEL HAS FALLEN
11. TERMINATOR: DARK FATE
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10. CAPTIVE STATE
Director Rupert Wyatt, the brains behind the effective ‘Rise of the Planet of the Apes’ reboot, easily delivered one of the worst sci-fi films of the year. Despite a premise filled with potential and talent both in front of and behind the screen, ‘Captive State’ was a major disappointment. The screenplay (co-written by Wyatt) was an epic mess of confusion that lacked both a compelling narrative and characters to hold it together, resulting in a huge misstep for all involved.
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9. RAMBO: LAST BLOOD
It’s ironic a film franchise that started out telling the sad story of a man trying to show an uncaring world he was still a human being should have its final chapter demonstrate the exact opposite. This much touted ‘final entry’ in the Rambo saga was a deeply unpleasant and unnecessary exercise that featured little wit, inventiveness or originality. The character of John Rambo deserved a better swan song than ‘Rambo: Last Blood,’ and so did we.
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8. GEMINI MAN
Directed by Ang Lee and starring Will Smith as a government assassin facing off against a clone of his younger self, ‘Gemini Man’ was an empty and tiresome thriller dressed up in a lot of fancy tech, and Smith’s biggest box office flop since ‘Wild, Wild West.’ Despite costing $138 million to produce, all the Hollywood SFX wizardry in the world couldn’t excuse a lifeless picture, with the final result nothing more than a bland action clone.
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7. THE LION KING
Soulless was how best to describe Disney's shot-for-shot live action version of the 1994 animated classic. The core failure of this latest incarnation of 'The Lion King' was the studio’s inexplicable choice to go fully photorealistic with the animation. The animal characters may have all been zoologically accurate, but there was absolutely zero expression or emotion conveyed in their faces (let alone the voice talent). Sadly, ‘The Lion King' was nothing more than a cash grab that relied heavily on the nostalgia and success of the original, 
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6. WELCOME TO MARWEN
Robert Zemeckis, the director behind such cinematic gems as ‘Forrest Gump,’ ‘Back to the Future’ and ‘Cast Away,’ was also responsible for this woeful and misguided outing. Despite being based on the true story of a man learning to cope with a terrible trauma through the power of art and imagination, ‘Welcome to Marwen’ focused its attention on the visuals of the story instead of its narrative. Our advice? Watch the original 2010 documentary ‘Marwencol.’
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5. THE CURSE OF LA LLORONA
Let’s cut straight to the point - the reason Hollywood keeps making cheap, crappy horror films with little, if any, imagination is because they will always make their money back within the opening weekend. And ‘The Curse of La Llorona’ was a prime example of this, a formulaic slab of supernatural dirge destined to be forgotten by year’s end. Filled with jump scares, loud musical cues and devoid of any originality, horror fans deserved better than this.
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4. MEN IN BLACK: INTERNATIONAL
Despite the box office success of the first ‘Men in Black’ film and its two well-received sequels, ‘Men in Black: International’ was a dull and dreadful reboot that severely tarnished the franchise. There were all sorts of bad things happening in this fourth film, but none were as unforgivable as wasting the talents of both Chris Hemsworth and Tessa Thomspon. You didn’t need your memory wiped after this one - the movie did it for you.
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3. DARK PHOENIX
The ‘X-Men’ films have been less hit and more miss in recent times and, unfortunately for fans, ‘Dark Phoenix’ closed out the this once-great franchise in an extremely disappointing fashion. Suffering from extensive rewrites and reshoots to the point where not even the film's stars knew which characters they were playing, ‘Dark Phoenix’ was a far cry from the pitch-perfect conclusion James Mangold gave us with the vastly superior ‘Logan.’
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2. HELLBOY
Director Neil Marshall’s bloody misfire of the ‘Hellboy’ franchise was a damned mess, undeserving of both your hard-earned money and your valuable time. The film’s storytelling was clumsy rather than clever, the atmosphere oppressive rather than immersive and the characters colourless rather than captivating. Try to imagine Guillermo del Toro’s original two movies, except without any spark, wit, fun, tension and excitement. Absolute hell, boy!
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1. CATS
Don’t act as if you’re surprised by this year’s winner of worst film - ‘Cats’ was an epic misfire, deserving of the vitriol it received from critics everywhere (the furry community, however, LOVED IT).
From the initial spark of the thought that turning Andrew Lloyd Webber’s musical into a film would be a good idea, the project was doomed. With every single decision involved in this movie more baffling than the last, the biggest and most fundamental problems were the concept design of the cats themselves and there being absolutely no semblance of a plot.
Despite there being pussy galore, ‘Cats’ failed to capture any sense of spectacle or fun, and instead plodded through an inane, boring and predictable story that was used mostly as a platform for some big West End musical numbers and A-list cameos.
Watching your neighbour’s cat lick its own arse was far more enjoyable to behold than this cinematic disaster.
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fandomshatewomen · 5 years
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Hey uh, did you guys hear about what happened to Eliza Dushku on Bull?? It's very bad (twitter(.)com/elizadushku/status/1075481945805594624 here is what happened, tw for rape mention and sexual harrassment)
Ok so I followed it to the article and because you only get two free articles I will be including the description of her harassment and her subsequent firing under the cut. But if you can please please support this article and visit the link and Eliza https://www.bostonglobe.com/opinion/2018/12/19/eliza-dushku-responds-what-happened-cbs-took-job-and-because-objected-being-sexually-harassed-was-fired/OCh7h0pwg4Aq7xfwOUasyO/story.html
Ok so I didn’t realize how long the article was so please please go to the link and read it for yourself! tweet about it and make sure not to watch Bull! get the show cancelled! Micheal Weatherly deserves to lose his income like Eliza is losing out on a show.
mod ali
The narrative propagated by CBS, actor Michael Weatherly, and writer-producer Glenn Gordon Caron is deceptive and in no way fits with how they treated me on the set of the television show “Bull’’ and retaliated against me for simply asking to do my job without relentless sexual harassment. This is not a “he-said/she-said” case. Weatherly’s behavior was captured on CBS’s own videotape recordings.[…]
In explaining his bad behavior, Weatherly, who plays Dr. Bull, claimed I didn’t get his attempt at humor. That’s how a perpetrator rationalizes when he is caught. For the record, I grew up in Boston with three older brothers and have generally been considered a tomboy. I made a name for myself playing a badass vampire slayer turned tough LA cheerleader; I have worked with numerous leading men, including Robert De Niro, Leonardo DiCaprio, even CBS’s own David Boreanaz. I can handle a locker room. I have been on Howard Stern and was hired by Kevin Smith for a film where I wore a black leather cat suit and played a member of an international diamond-thief-gang-ring. I do not want to hear that I have a “humor deficit” or can’t take a joke. I did not overreact. I took a job and, because I did not want to be harassed, I was fired.
THE HARASSMENT Weatherly harassed me from early on. The tapes show his offer to take me to his “rape van, filled with all sorts of lubricants and long phallic things.” There was also his constant name-calling; playing provocative songs (like “Barracuda”) on his iPhone when I approached my set marks; and his remark about having a threesome. He made the threesome remark to me about himself and me in a room full of people. Minutes later, a crew member sidled up next to me and, with a smirk, said in a low voice, “I’m with Bull. I wanna have a threesome with you too.” For weeks, Weatherly was recorded making sexual comments, and was recorded mimicking penis jousting with a male costar — this directly on the heels of the “threesome” proposal — and another time referring to me repeatedly as “legs.” He regularly commented on my “ravishing” beauty, following up with audible groans, oohing and aahing. As the tapes show, he liked to boast about his sperm and vasectomy reversals (“I want you to know, Eliza, I have powerful swimmers”). Weatherly had a habit of exaggerated eye-balling and leering at me; once, he leaned into my body and inhaled, smelling me in a dramatic swoon. As was caught on tape, after I flubbed a line, he shouted in my face, “I take you over my knee and spank you like a little girl.”
One day, when my now husband, Peter Palandjian, visited the set, Weatherly made us all watch as he pretended to urinate on an indoor office plant, then spun around pretending to shake himself off and pull up his zipper. The tapes show Weatherly routinely exclaimed “yellow card” after distasteful remarks. I learned from crew members that, because there had been previous harassment training on “Bull,” Weatherly’s delight in yelling “yellow card” was his way of mocking the very harassment training that was meant to keep him in line. Weatherly also bragged about his friendship with CBS chief executive Les Moonves. He regaled me with stories about using Moonves’s plane, how they vacationed together, and what great friends they were. Weatherly wielded this special friendship as an amulet and, as I can see now, as a threat. 
Weatherly did all this. His conduct was unwelcome and directed at me. Watching the recordings in the settlement process, it is easy to see how uncomfortable, speechless, and frozen he made me feel. For Weatherly’s part, it looks like a deeply insecure power play, about a need to dominate and demean. In no way was it playful, nor was it joking with two willing participants. It was not “Cary Grant ad-libbed lines,” an incredulous Weatherly excuse which, even if true, asks us to believe that Hollywood behaviors from 70 years ago might be acceptable today. What is hardest to share is the way he made me feel for 10 to 12 hours per day for weeks. This was classic workplace harassment that became workplace bullying. I was made to feel dread nearly all the time I was in his presence. And this dread continues to come up whenever I think of him and that experience.
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drawingwithgreen13 · 6 years
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Things that don’t get as much attention in Be More Chill as they should (based on the original bootleg and audio)
Gonna put them under a read more coz this list is L O N G
Jeremy lifts his shirt up in his bathroom to look for muscles
Jeremy thinks of Robert De Niro as a ‘hero’ and a cool guy
Rich literally lifting Jeremy up by his shirt collar when Gerard’s legit 5′4
I’d say Jeremy sounds genuinely interested in play rehearsal but a lot of people already know about that
Pretty much all the shenanigans that go on during the first classroom scene, like Rich doing the finger-through-hand fucking thing to Michael
Jeremy outright says he has small nuts
Michael wears his hoodie all the time until he sees Jeremy
Michael knows about Jeremy’s thing for Christine and is supportive of him!
Jeremy writes letters to Christine
Rich doesn’t actually point to Jeremy when yelling ‘gay!’, he just holds his fist up (or he points with his pinkie, I didn’t see)
Jeremy gets surprised by Michael when the two are at the door to play rehearsal, which is where the line ‘I guess evolution's not for everyone...’ comes from
MICHAEL THREATENS TO MOCK JEREMY FOREVER IF HE DOESN’T GO TO REHEARSAL WHAT A NERD
Christine tries to make a joke
Christine knows about sex and makes jokes based on it (’You’re a virgin. First play rehearsal!’ ‘You never forget your first...play rehearsal!’)
All the shenanigans happening in the background of Mr Reyes talking about the play (Jake pumping his fist up when Mr Reyes talks about the sport team and RICH GOING ON HIS KNEES TO PULL A CHAIR UP FOR BROOKE TO SIT ON)
Mr Reyes hugging Christine after saying Shakespeare is dead
Jake trying to be smooth with Christine and Christine obviously being kind of bothered by it, but trying to be kind
THE LITTLE EXTRA PART JEREMY SINGS WHERE HE TALKS ABOUT HAVING A BREAKDOWN THIS BOY HAS HAD BREAKDOWNS FROM NERVES
Rich’s hips during ‘confidence’, you know the one
Rich slapping himself for talking with his lisp
Rich pretty much hinting that he has a small dick
Whatever those weird hand things he was doing were during the ‘it’s from Japan’ part
Slide-y slide-y ‘IT’S FROM JAPAAAAAAAN’
How when Rich sings the next part, a robotic voice plays in the background, almost like it’s his SQUIP talking...?
More hip wiggles
‘TEENAGE ROCKSTAR SPLENDOR’ AIR MICROPHONE AND MORE HIP WIGGLES
Jeremy is a clean freak by the looks of it (’Aren’t you gonna wash your hands?)
Rich’s dancing (THE SHIRT LIFT THO)
How Rich flushes the urinal at the end
All the shenanigans during Two Player Game (stealing controllers from each other, switching beanbags, Michael fucking Tickling Jeremy)
The boys like Nintendo!
Jeremy getting annoyed at Michael’s constant ‘coooool at college’es
Mr Heere entering his son’s room, knowing fully that there’s a guest in there, WITHOUT PANTS
‘Are you hanging out with a girl? Oh...hey, Michael.’
Mr Heere was gonna order pizza for them aww
Michael sounds genuinely concerned when Jeremy talks bad about his parents
Jeremy legit flips Michael off after he says ‘favouwite person’
Michael reminding Jeremy to get to the point during the SQUIP deal
Scary Stockboy is more of a drama queen than Mr Reyes, who’s a drama teacher
Michael’s ‘whatever’ look at Stockboy’s ‘I DON’T KNOW WHY!’
The fact that the ‘pumps’ line was improvised
Jeremy was willing to share the SQUIP with Michael
‘I like to think that some day, you’ll owe me one’ FORESHADOWING
Mountain Dew can apparently be sold in cups?
Jeremy likes chilly fries apparently
Jenna immediately going to record Jeremy spasming on the ground
(The rest is just gonna be from the audio now) Jeremy sounding high as fuck when he says ‘you look like...Keanu Reeves’
Eric not being able to do a British accent for the life of him
How fucking excited Jeremy sounds when he says ‘LIKE IN X-MEN??’
Jeremy’s first independent shirt choice was...a girl’s shirt. What does that imply with his fashion sense? Or maybe he’s so thin only girl’s tops can fit
Chloe making Madeline sounds like the person who murdered her entire family in front of her
How fittig Lauren’s singing style is for ‘Do You Wanna Ride’ like wow?
CHLOE SINGS WITH BROOKE LIKE WHAT, CHLOE WAIT UNTIL ACT 2
The scene where Jeremy is tiredly singing before going to sleep and the SQUIP calling him ‘slugger’
Chloe is, like...really selfish. The way she talks to Christine about Jake makes it clear she isn’t over him
Christine sounding genuinely upset that Jake didn’t go to play rehearsal, and not just sad-upset. She sounds legit betrayed
Jeremy and Christine slow dance Jeremy lifts Christine up and spins her do you see the love in his eyes when he’s looking at her
How well Will C’s and Stephanie’s voices go together
The SQUIP literally breaking ‘cause Christine said she liked Jake
The fucking volleyball line, SQUIP you’re gross
How convincing Will C’s crying is (side note but hearing him cry makes me think back to the fact that during one show he legit started sobbing during the ‘everything about you is so terrible’ line and the show had to stop to calm him down)
BROOKE IS A GOOD GF WHOEVER SHE ENDS UP WITH IN THE FUTURE IS LUCKY
‘Super old and kinda mean to women’
The SQUIP saying he ‘didn’t exactly’ kill Eminem, when in fact, it didn’t kill Eminem, at all. It just predicted a favourable possible outcome for it happening
This isn’t an underappreciated part but I need to bring it up. They straight up killed Eminem (this happened in the book too like Ned u good?)
‘Our future is so clear’ is Brooke thinking about her and Jeremy’s future together?
Whatever her and the SQUIP are doing to Jeremy to make him question his sexuality
WILL C LEGIT SOUNDS LIKE A YOUNG BOY OR A GIRL WHEN HE REPEATS THE ‘UPGRADE’S
Jake is a good boyfriend if kinda a dick at points
Jake Boyd can fuck me up
Eric going l o w when singing with Jeremy at the ‘Christiiiiine’ part
Jeremy gets overwhelmed by voices in his head
The SQUIP is okay to just...leave Jeremy’s head
Michael gets genuinly sassy when he’s upset
Despite Jeremy ignoring him all day, he’s still super excited and happy for Jeremy when he finds that the SQUIP worked
Jeremy literally stating that being honest doesn’t get him anywhere
How we never see Michael’s reaction to Jeremy optic-nerve blocking him? Like, we don’t know if he was sad or angry or confused or all three?
Brooke is a flirt when it coms to Halloween costumes
Jake has...a condom. As if that’s the only thing he’s bringing to the party
Rich has an older brother! Who happens to have a Jason mask
Also, a loaf of bread...
Jeremy being a n e r d with his costume
Apparently the SQUIP wears a Matrix costume?? There’s no bootleg with that footage but wow
Jake not understanding how to treat his girlfriend 101
Rich getting sad during the last ‘It’s Halloween’s
Chloe thinks Jeremy is cute
Chloe is, indeed, probably worse then Madeline when it comes to the sluttiness
Jeremy trying his best to be kind and polite even when Chloe’s pretty much on top of him
Chloe’s ‘flask’ is a baby bottle
THE SQUIP MAKES JEREMY DRINK IT CHLOE DOESN’T FORCE HIM
They actually kiss
The SQUIP actually speaking correct Japanese (and Eric speaking it well)
Chaos
Michael thinks his ‘clever disguise’ isn’t clever at all, judging by his tone
Jeremy and Michael had been friends for 12 years
Joe T took the part in the book where Michael said his BROTHER took a SQUIP and changed it so that someone ELSE’S brother took it instead (side note, this probably makes more sense considering Michael has two mums)
Michael thinks that Jeremy just wants sex with Christine
Will C’s acting is oof so good
Apparently Michael makes a lot of awkward movements with his arms during Michael In The Bathroom, which I find interesting
Also apparently Chloe’s the one knocking?
The scene where Jeremy and Christine talk o the couch
How upset Christine is that Jake and Chloe are having sex, so maybe Christine saw their relationship as more then just romantic...?
‘Popular people are messed up!’ Christine isn’t popular
The monster on the couch making weird noises along with Christine and Jeremy, and all of them laughing
Christine pretty much admitting that she may have feelings for Jeremy, too
Ok I wanted to make a post about this by itself but I need to mention it here, too. When Jeremy says ‘I thought we were friends’, do you hear how angry he sounds? How...almost selfish he sounds? It’s like the SQUIP made him act like he was entitled
The fact that apparently Rich wasn’t drunk or high during the party, so his actions were done while he was sober
Jenna’s ‘WAaAaAoOoHh’
Chloe straight up lying to Brooke about the sexcapade for the sake of them to maintain their friendship
How quick Brooke is to forgive her
How scarily accurate school tragedies are treated during The Smartphone Hour? Like, people make a big deal out of it, only because it’s drama. Like, seriously, the ‘R-I-C-H, can’t you see just how much I love your tragedy?’ almost gave me chills
Jenna, Chloe and Brooke all say Rich is their best friend for no reason? They just say it just ‘cause? What’s up with that huh
Mr Heere is so broken and lazy that he doesn’t even know his own son is starring in a play
How they kept the SQUIP giving Jeremy instructions, like, they didn’t forget about that good job Joe
Jeremy can drive, apparently? Unless that was the SQUIP’s doing like in the book
Jeremy sounds so frustrated with his dad for all the times he wasn’t there for him, due to his mother leaving. In my opinion? He totally deserved to say that
Paul sounds like he’s crying when the first part of ‘The Pants Song’ is playing?
HE LEAVES THE HOUSE WITH NO PANTS MR HEERE ARE YOU GOOD
What shirt is Michael even wearing
He and Jeremy like Weird Al!
The fact Michael tries to hide the blunt from Mr Heere
The fact that Mr Heere thinks its incense
When Mr Heere says ‘do you love him?’ and Michael responds with ‘...what?’ he doesn’t sound like he’s been caught, it sounds more like he’s genuinly confused as to why he was asked that, so maybe it wasn’t intended to be romantic?
Mr Heere calls Jeremy a little shit and I love that so much
Michael is aware of how much of a ‘not-dad’ Mr Heere has been and calls him out on it
Again, how school tragedies are really treated is scarily accurate. It’s clear Christine’s saying what she’s saying because obviously you’re an asshole if you ignore the person in the hospital from a fire, even if you never talked to them
‘Break a leg!’ ‘Not cool’
Jeremy saying that Christine didn’t help him figure himself out, right after she asked. Wow Jeremy way to be an ass
Mr Reyes being the understudy for two characters like damn
(I forgot to talk about The Pitiful Children so I’ll talk about it here) how quickly Jenna is ready to take a SQUIP, thinking it’s a drug
The SQUIP thinks that showing sadness is a human error
ALSO FORGOT TO MENTION THIS EARLIER BUT THE SQUIP WEARS DIFFERENT OUTFITS
How Joe T literally couldn't’t make it anymore obvious that the drink for the play was gonna SQUIP the whole cast
Mr Reyes wants to go to Broadway
The SQUIP’s mock sigh
Michael literally refusing to give Jeremy the MDR ‘cause he wants an apology
The SQUIP blocks Jeremy from speaking
How they’re both arguing while the SQUIP makes Jeremy physically fight Michael
Michael likes to eat eel
Jeremy and Michael are jealous of each other
Oh yeah uh Michael is high throughout all of this
How Will C’s voice breaks when he says ‘I’m SORRY!’
‘Actually, that doesn’t sound weird at all’ Jake what do you like to watch online
Jake says ‘Upgrade! Upgrade! GOD, I love me!’ 
Chloe thought Jeremy slept with Brooke
Michael doesn’t like girly stuff by his ‘ugh...’
Jenna seems to have been given the power to tell what happens through her mind or something?
When Christine sings about wanting to be with Jeremy. I’m like 95% sure that’s not just her SQUIP telling her to say that
Jeremy made Christine drink the MDR, not knowing that it was gonna get rid of all of the SQUIPS. He willingly offered to sacrifice his happiness and freedom for the sake of freeing Christine. If y’all think that he just has some sorta puppy crush on her, I don’t know what to think
Not super unappreciated but Michael screaming with the others ‘cause he’s freaked out
How casual Rich is when Jeremy wakes up in the hospital
Rich decribes the SQUIP as a ‘shiny, happy hivemind’ 
Rich refers to himself by his full name, and not just ‘Rich’
How quick he is to assume Michael is Jeremy’s boyfriend
‘I’m sure some special someone will be lucky to have you, Rich’ is Michael hinting at something, here?
How fucking excited Michael gets when talking about how the SQUIP was destroyed. Like, this boy loves tech and science so much!!
When Jeremy asks why Michael came to help him even after all the stuff he did, Michael immediately responds by saying his dad also helped.
Jeremy sounds like he’s happy crying when he sees his dad
‘It’s reassuring. He still doesn’t know anything about girls’ most people take this line as Michael saying he’s happy ‘cause maybe he has a chance with Jeremy. I think it was originally written as a sorta ‘oh, good, he still doesn’t know about girls, the SQUIP didn’t change him too much’
Mr Heere is legit good at romantic advice
Michael gives not very good advice, presumably because he, too, doesn’t know a thing about girls
‘Tell her that the exthites you thexthually’
The fact that Chloe mentions doing ecstasy is a cool nod to the book
Jeremy is, indeed, an acne boi
Jake is almost as 90s as Michael
The fact that Christine’s original SQUIP was Hilary Clinton raises a lot of questions
Since there’s no visual aid for this, I’m just going by what I’ve heard. Apparently, after Christine agrees to go on a date with Jeremy, HE KISSES HER.
Jeremy proudly confronts the SQUIP. You go boi
Holy FUCK this list was way longer than I thought but it was worth it. I wanna draw stuff for some of these moments in the future damn
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highonbits · 4 years
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10 Great Movies to Watch During This Quarantine
Feeling bored in this quarantine??? here are some movies you can watch during this quarantine/lockdown. whenever you google something they show you some movies which you never heard before, so we recommend you these 10 movies which has everything, drama, entertainment, humor, suspense, period films and morals for life.
Avengers: Endgame
Phenomenally entertaining movie and a masterpiece! The movies have everything; drama, uptight, some funny comedy moments, adventure, mystery, and impressive action sequences. The movie will have you off the edge of your seat, surprises, emotional sad events which that you can’t miss at all. Their legacy of the finale is Perfect. Amazing movie!!! If we talk about acting, it was phenomenal and convincing. Beautifully directed and with a fantastic plot. An amazing emotional experience for everyone that has seen all the Marvel movies collected all together with our most favorite iconic characters. What an incredible journey of 22 Marvel movies. I can surely say that these movies will not disappoint you. With a bunch of great twists and turns, these movies leave a great impression on us. To deal with tragedy, disaster, and the consequences of our actions and to overcome our struggles in life. Countless heartwarming moments will make you melt.
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The Godfather Part II
The Godfather Part-2 is a movie/series which has a theme of loyalty, family, and sacrifice. One of the first sequels ever to surpass its forerunner, the movie flows with confidence. Part II takes a look at Vito Corleone’s early years in Sicily, depicting his accomplishments before he became a New York City mafia. Robert De Niro joins Al Pacino in the role of the young Don in the greatest gangster movie ever made.
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Casablanca (1943)
Casablanca’s the great American movie. A brilliant blend of romance, thriller, and warlike field with two of his game’s top-actors in leading roles. You can’t deny the visibility of two world war adventures by Michael Curtis, who sees Humphrey Bogart and Ingrid Bergman as two lovers who can’t be together. The chemistry like them is chemistry is fantastic, it is the result of his off-set friendship which also gave the film its memorable small joke. Meanwhile, Bogart, teaches his co-star Poker, often repeated the phrase, “He is looking at you,” to Bergman with genuine affection.
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1917(2019)
1917, is a film by acclaimed director Sam Mendes. One can say that the movie is a great combination of excellent editing and superb acting.1917 is an example of absolute cinematic perfection. It gives the illusion of a single take and it works in conveying a feeling of realism in present-day films. It has its own sets providing a dramatic and even shocking contrast between the two. Thomas Newman did a fantastic job with the movie’s soundtrack, which feeds wonderfully into the already immersive atmosphere. I must say that the movie strikes the perfect balance of being calm and soft in some instances, or extremely intense in others. sound design had a great work in this movie. Here, each gun is the weight of the shot ton, making everyone question whether it landed or not. The cast is also brilliant. The story remains consistent throughout the film keeping you guessing all times. 1917 is without a doubt an absolute sensation.
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Bloodshot
This movie is way deeper than its trailer. Trailer only shows the primary 1/2 the movie & it should make us think that this can be just another Sci-fi action movie, but it’s NOT! nobody can even presume a touch about the uptight of this film until it’s revealed after the interval. Fans of Vin Diesel will surely visiting Respect this. The computer graphics during this movie are worthwhile. It’s a big-budget film. they’re amazing and keep us on our toes. This movie is worth expecting its computer graphics. you will see that each scene has been highlight enough to know easily. Cinematography is so detailed that each action scene is felt by the audience deeply. that’s the most effective feature of this film. HIGHonBITS says that is has Neither too slow neither too fast but detailed concepts.
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Once Upon A Time In Hollywood(2019)
the title says it all! The movie may be a period film and is about Actor Rick Dalton who gained fame and fortune by starring during a 1950s television Western, but he’s fighting to seek out meaningful add a Hollywood that he doesn’t recognize anymore. with a budget of $ 90-96M. movie earns $374.3M. one can say that the movie is blockbuster. there isn’t any shame in watching this movie. Multiple storylines within the modern fairy tale.
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Joker(2019)
Dark as hell, Joker takes you through the journey of Arthur Fleck, from being a clown & a wannabe comedian (with just one joke with him – his life) to be THE “JOKER” this journey never looked fake. As this journey is logical and beautifully graphed also captured. Heath Ledger from the ‘Dark Knight’ was my favorite joker till date & Joaquin Phoenix took the legacy of Heath to a different level altogether. That laugh, that dance, that sprint, that walk! can’t endure that !!! inspite of all this. The movie gives such a large amount of morals to measure life.
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Dolittle(2020)
This movie encompasses a bunch of comedy punches and tragedy (the story of Dolittle’s wife’s fate and Dolittle being isolated for years makes the tone slightly dark.) But overall, the story is extremely light. The chemistry between humans and animals is well illustrated and provides us life lessons. The voice-over artists for the animals are very nice. This movie is a reunion of WWE player John Cena, Oscar winners like Marion Cottilard (La vie en rose) and Rami Malek (Bohemian Rhapsody), singer Selena Gomez, Kumail Nanjiani, and RDJ and Tom Holland.
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Jumanji: the subsequent Level(2019)
In 2019, three years after their adventure in Jumanji, actors have developed their lives. If you’re someone who likes to watch adventure movies and have an interest in games you want to opt for this one! The movie is a few games where the lead actor and their friends travel from reality to the virtual world of games and the way they enjoy it’s worth watching. The group decides to carry a reunion brunch in Brantford that year. On his first night back, he begins to contemplate returning to Jumanji with a purpose of getting held onto the broken video-game system. The movie begins with the four friends Spencer, Fridge, Martha, and Bethany deciding for a reunion. Spencer, who gets skeptical about the meeting and somehow restarts the videogame! The film keeps you on the sting of your seat almost through the film. Film involves a bunch of hilarious jokes and humorous scenes. This movie may be a good combination of entertainment.
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Toy Story 4
After the heartwarming finale from “Toy Story 3”, one among the best-animated sequels that have ever been made, it had been believed that the beloved saga had reached its end. Fortunately, thanks to how strong of a franchise it means to everyone who’s grown up with great fondness towards these characters, they simply can’t seem to urge enough of them. So with all the build-up and hype for nearly ten years, we’ve got this highly ambitious sequel, which picks up directly after the last film, where all the familiar toys we’ve grown to like are passed onto a brand new generation. A welcome expansion to the story. Children must opt for this movie. Fun entertaining and amazing experience while watching these.
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chicagoindiecritics · 4 years
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New from Kevin Wozniak on Kevflix: Review – The Irishman
    In arguably the most iconic shot of Martin Scorsese’s 1990 gangster masterpiece Goodfellas, Scorsese uses a tracking shot to follow Henry Hill (Ray Liotta) and Karen (Lorraine Bracco) as they go from the front of the Copacabana to the inside using a side door and cutting through back hallways, staircases, and even through the kitchen to then pop up at the front of the club, where a busboy brings out a table for them right in front of the stage with a fresh bottle of champagne.  All of this set to The Crystals “Then He Kissed Me”.
The opening of Scorsese’s latest film, The Irishman, is similar to that shot from Goodfellas.  We get a slow moving tracking shot set to the doo-wop jam “In the Still of the Night” by The Five Satins.  Only this time, the tracking shot isn’t through a club and it isn’t with a young, attractive couple who’s relationship is blossoming.  This time, Scorsese tracks through a nursing home.  A brightly lit, white-walled nursing with old people and nurses slowing moving around the home.  The tracking shot ends on Frank Sheeran (Robert De Niro), an elderly man who looked like a skeleton with white hair sitting in a wheel chair.  This immediately sets the stage for The Irishman.  This is a movie that may have been made by Scorsese, but he’s a far different filmmaker than he was twenty-nine years ago.  This is a film made by an older, wiser director who made a movie not so much about crime and gangsters, but about time, regret, and loyalty.  The Irishman isn’t Goodfellas or Casino, but a new gangster classic from Scorsese and one of the best movies of 2019.
The Irishman, based on the novel I Heard You Paint Houses by Charles Brandt, takes a look at the life of Sheeran and his life working for the mafia, from starting out working for the Russell Bufalino (Joe Pesci) to his relationship with Jimmy Hoffa (Al Pacino) and his involvement in Hoffa’s slaying.
Netflix financed and is distributing The Irishman and I honestly couldn’t be happier with this decision because there is no way any studio would green light everything Scorsese did here.  This is a three-and-a-half-hour long crime epic that spans over decades.  We watch Sheeran, Bufalino, Hoffa, and a number of other characters age throughout time and rather than hire different actors to play each character in each part of their character’s lives, Scorsese decided to push the new and popular de-aging technology to the max by using it on De Niro, Pesci, and Pacino.  It’s kind of startling at first when you first see it, but you can’t help but be in awe at how far this technology has come.  Turning 70-plus-year-old actors back into their fifties is an incredible feat and shows how far this technology has come along.
What’s best about the de-aging technology is that it doesn’t take away from the performances in the film.  De Niro gives his best performance in years as Sheeran.  Sheeran is a man who is good at what he does.  He knows he’s good at his job and he takes pride in it, always coming through when he’s needed even if it takes him away from his family.  Sheeran wasn’t a loud guy, but De Niro makes sure we know how he’s feeling through his eyes and how he delivers his lines.  It’s a sad, moving performance that looks at a man who has been living with the guilt of the relationships he’s squandered and regret for how things turned out in his life.
Joe Pesci came out of retirement for his performance as Russell Bufalino and what a decision it was.  Pesci gives the best performance of 2019 and I will be amazed if I see a better one.  Much like Pesci’s character in Goodfellas, Tommy DeVito, Bufalino is a man you don’t mess with.  But unlike DeVito, who was a raging psychopath with his finger always on the trigger, Bufalino never raises his voice.  He’s a man who moves in silence and one who will never get his hands dirty, but knows how to solve any issues he has.  But even with his calm, quiet demeanor, Bufalino is a terrifying man and someone you don’t want to double cross.  Pesci conveys this masterfully and gives a performance that reminds us just how great of an actor Pesci was.
Pacino has the loudest performance in the film, but he never goes overboard.  Jimmy Hoffa is a legendary person in history.  He was a man who changed how people viewed unions and who’s death and disappearance was one of the great mysteries of the twentieth century.  Working with Scorsese for the first time, Pacino brings Hoffa back to life.  Pacino shows us how Hoffa was a big name in the union game, but when it came to dealing with the mafia, he was a small man who’s honor and name meant more than making a deal with criminals.  Pacino hasn’t been this good since 2002’s Insomnia and I hope he continues to take great roles like this and give excellent performances like this.
Sheeran’s relationship with Hoffa and his loyalty to Bufalino is the driving force of The Irishman.  Bufalino got Sheeran into this world.  He saw a man who he knew he could count on and Sheeran came through, allowing himself to get to the ranks of watching over Hoffa.  But as Sheeran becomes closer to Hoffa and actually becomes his friend, the mob begins to have different ideas about how they feel about Hoffa and what to do with him.  Sheeran had never been pulled like this before and he must struggle with his loyalty and his friendship.  Having Sheeran tell us this story as an old man gives us his first hand perspective but also shows us how he feels about the decisions he made and about the people he lost along the way.  He may have done the things he did at the time, but looking back on it, maybe they weren’t the best decisions.  The Irishman is a movie that looks at loyalty and friendship while also looking at how time affects our perspective and how we must live with the decisions we’ve made.  This is a movie made by a wise director who is continuing to get older and is constantly looking back at his life.
Like all Scorsese films, The Irishman is a technical wonder.  The three-and-a-half-hours fly by so fast, I honestly could have sat through another hour or two.  The editing my Scorsese regular Thelma Schoonmaker is top-notch, the cinematography and set designs look great, and the rest of the ensemble, featuring the likes of Harvey Keitel, Ray Romano, Jesse Plemmons, Bobby Canavalle, and Anna Paquin, who is quietly amazing, all hold their own with the three legends.  The Irishman is a different kind of Scorsese film, but it is still a masterful piece of filmmaking that will go down as one of the great movies of 2019.
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tortuga-aak · 6 years
Text
Dave Franco explains why he's done worrying about being in the shadow of his brother James
Samantha Lee Business Insider, AP
"The Disaster Artist" was the first time Dave Franco and his brother James had a substantial amount of screen time together in a movie.
Franco shared how "in character" as Tommy Wiseau his brother was while directing the movie.
He also revealed how losing 20 pounds to play a role in his upcoming Netflix movie, "6 Balloons," led to some physical and emotional problems.
For most of his career Dave Franco has carefully navigated a path that stayed out of the very large wake left by his brother James. The younger Franco slowly found his niche through building credits doing zany comedies like “21 Jump Street” and “Neighbors.” But when his brother came to him about the two making a movie together about the cult classic “The Room,” it was an offer too good to pass up.
“The Disaster Artist” (opening in limited release on Friday and wider the following week) is a behind-the-scenes look at the making of the 2003 low budget movie, “The Room,” which is regarded as one of the worst movies ever made. James directs and also stars as Tommy Wiseau, the bizarre writer-director of “The Room,” while Dave plays Tommy’s best friend and fellow aspiring actor, Greg Sestero, who follows Wiseau on the journey to make “The Room.” Though hilarious at times, the movie’s backbone is the bond the two friends have and it's all pulled off perfectly by the brothers’ performances.
Dave sat down with Business Insider to talk about making this unique buddy comedy with his brother. He also clarified how far James took being "in character" as Wiseau while directing “The Disaster Artist,” and explained what drove him to lose 20 pounds for an upcoming Netflix movie.
Jason Guerrasio: What was it about "The Disaster Artist" that not only made you want to work with your brother but also start a production company with him, Ramona Films?
Dave Franco: When I first started acting I did make a conscious choice to distance myself from him work-wise just because I wanted to paint my own path, not be referred to as James Franco's little brother for the rest of my life. But after a while it just got to the point where I was like "he's my brother and I love him and I respect him," and with “The Disaster Artist” the dynamic between these characters just felt right. I understood these guys. I'm an actor, I understand the struggle of an actor starting out. And I can relate to the idea of how important it is to have an ally and someone who believes in you and encourages you.
In terms of the production company, my brother and I are very drawn toward projects that do feel slightly outside the box. And at the same time are accessible enough that they could draw a slightly wider audience.
Warner Bros
Guerrasio: Starting the production company, did the idea come during production?
Franco: It was during post production when he started to invite me to the edit room. I quickly realized we share a brain and we had this shorthand where we get each other. We really modeled the production around what Seth Rogen has been doing forever. What Judd Apatow does. They create these very collaborative environments where everyone has a say and no one is more powerful that anyone else and the best idea always wins. 
Guerrasio: Did you guys go as far as Seth and Judd go in videotaping the audience's reaction at early screenings to see if a joke didn't land right or something could be tweaked in the edit?
Franco: I don't think they videotaped. And the reason for that is that works best for a full-on comedy. This is very funny at points but in regards to tone it's most similar to something like "Boogie Nights." A bunch of crazy characters in strange circumstances but everyone is playing it as straight as possible and the humor comes from that. During our test screenings we were most concerned if the friendship between Tommy and Greg was playing. That's the core of our story. Because without the friendship it had the potential of just being an extended "SNL" skit. 
Guerrasio: Were you into "The Room" before all of this?
Franco: My brother and I were both pretty late to the game. He actually read Greg Sestero’s book before he even saw "The Room," and he's probably the only person on the planet who did it in that order. But then he reached out to me and said, "If you haven't seen 'The Room' watch it immediately, I think we need to make a movie about it." So at the time I was working in Boston so I watched "The Room" in a hotel room by myself, which is not the right way to watch that movie for the first time. There's so much coming at you need to turn to someone and say, "What the f--- is going on?" So I finished that viewing and just feeling very unsettled, to be honest. But soon after I went to one of the midnight screenings where the audience is throwing stuff at the screen, reciting every line. And I then immediately understood why "The Room" is such a cult movie. Since then I've seen the movie roughly 25 times, which is more than any movie I've seen in existence. [Laughs.]
TPW Films
Guerrasio: I talked to your wife, Alison Brie, for "The Little Hours," and she said you also did the book on tape of Greg's book.
Franco: Yeah. And I would recommend the book on tape for this because it's Greg reading it and he has a great Tommy impersonation. I sat down with Greg a handful of times before we started filming and through production, and one of the things I asked him was during production of "The Room" if he ever thought it had a chance of being a good movie. And he claims that he did not but I don't fully believe him just because as a young actor all you care about is getting on a set. When you're on set you almost have to have this blind optimism and believe that whatever you're working on could be great. Even from the outside everyone can see it's objectively bad. I've been in those scenarios. I've been on set and everything is going smoothly to the point where people were talking about the movie being nominated for awards and I bought into the hype. Then the movie came out and not only was a it not good but it was a full-on piece of sh--. It was probably the worst thing I’ve ever done. It just makes you think about the fact you do anything creative you have to give all of yourself over to the process. There are going to be moments when you question whether or not what you're doing is brilliant or if it's a total disaster.
Guerrasio: Now I'm trying to think back on the movies you've done to figure out which one you think is the worst thing you've ever done.
Franco: [Laughs.]
Guerrasio: Anyway, how did you and James work on the characters? Did you want to rehearse with him before shooting?
Franco: We didn't really rehearse too much beforehand just because his style of filmmaking, like Seth's style, is very loose and improvisational. Yes, we had an incredible script to work off of but we always kept it loose. 
A24
Guerrasio: So going into shooting he gave you no head's up that he would be being in character as Tommy behind the camera as director?
Franco: I don't think he knew. I think he just fell into it and it was just easier to stay in character instead of bouncing back and forth between Tommy and James.
Guerrasio: On the first day was he just James on set?
Franco: No, from day one he was Tommy. There was definitely an adjustment period. He can articulate this better than me, but I do think a huge reason why he did this was because he didn't want to lose the Tommy voice. Yes, he stayed in character while he directed but that didn't mean he adopted Tommy's personality. He was still James but he was doing the Tommy voice. He wasn't a dictator on set. 
Guerrasio: Have you ever gotten into a role in your career where you're so into it it takes a while to snap out of it? 
Franco: I’ve never been the type of actor who comes home at the end of the day and goes, "I can't get rid of my part." But, I have a movie coming out early next year for Netflix called "6 Balloons" where I played a heroin addict and so I lost 20 pounds. 
Guerrasio: For you, that's kind of scary.
Franco: Yeah, I'm not a big guy. So when you lose that much weight it depresses you and I was full-on depressed. I remember at one point my wife saying, "You're not yourself, you're not fun to be around." And I was like, "I'm f---ing starving! What do you want from me?" But on set I also wasn't fun to be around. I wasn't really interacting with anyone. I was in the corner by myself, miserable. That was the most I ever got deep into a character. I'm glad I did it. It was the hardest role I've ever done and it scared the hell out of me but I think that's a good thing as an actor. To go into something that makes you uncomfortable.
Rich Fury/Getty
Guerrasio: Do you feel you could ever do that again?
Franco: Not for a long time. I almost really f---ed up my health. Not to get too dark, I was running all day every day to lose weight and I ended up messing up my knee to the point that when we finished production I had to go to physical therapy for a couple of months.
Guerrasio: I mean, we've heard the stories from Robert De Niro to Christian Bale, of the losing and gaining of weight for roles. I would think for every actor there’s a wonder if you can take it to that limit. 
Franco: I know. And it was very rewarding but I don't need to transform my body like that for a long time. While I was in it I do remember looking at a lot of pictures of Christian Bale throughout his career, he's losing weight or gaining weight, so that was inspiring. [Laughs.] "If he can do this 15 times I can do it once."
Guerrasio: So, back to "The Disaster Artist," what was Tommy and Greg's reaction to the movie when they first saw it?
Franco: They saw an early screening, even before the South by Southwest work-in-progress. We were more nervous about Tommy's reaction than Greg's. They both loved it but after Greg saw it he was so taken by it that he went off and for the next four days wrote an entire script for him and Tommy to star in. So since then they've filmed this new project, called "Best F(r)iends," and little did we know that "The Disaster Artist" is part two of "The Room" trilogy. [Laughs.] 
Guerrasio: Wow. So what's going forward for the production company? Are you going to produce? Direct?
Franco: I can't get into many details but all the projects are all over the place in genre and size of budget. But the unifying aspect of all of them is they do feel unique. I'm having so much fun. As much as I love acting and I hope to be doing it for a long time, it almost feels more natural for me to be a producer. I came into all of this because I'm a fan of movies and I wanted to find any way I could to be a part of it all. I happened to take the acting route but it could have been a million different ways in. Now that I'm producing it's just really fun for me to work with people that I really admire and put people together who I think will work well together. Just having a little more control.
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bodizwonder · 7 years
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Jerry Lewis, Comedy Legend, Dead at 91
The French are typically proper about wine, cheese and pastry. They have additionally all the time been proper about Jerry Lewis, who died Sunday at age 91, his publicist confirmed to the Associated Press
Lewis might be greatest recognized to folks beneath 70 as a movie actor: He was the star, in addition to the writer-director, of images like The Nutty Professor (1963), a potty work of genius during which he performed the twin roles of a nerdy scientist and his alter-ego, Buddy Love, a suave, impolite Ratpack-style lothario. In 1982 he appeared, reverse Robert De Niro, as kidnapped comedy kingpin Jerry Langford in Martin Scorsese’s King of Comedy. Lewis’s MDA Labor Day Telethon, which he hosted to boost cash for the Muscular Dystrophy Association, was nearly unavoidable late-summer-holiday tv from 1966 to 2010. More lately, Lewis continued to carry out stay, promoting out reveals even at age 90.
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And most individuals know that, as a part of his lengthy profession as a writer-director in addition to an actor, Lewis directed and starred in an ill-advised movie in 1972 known as The Day the Clown Cried, a few clown who accompanied kids to the gasoline chambers in Nazi focus camps. The movie has by no means been proven, on Lewis’ orders, however its identify alone has all the time served as a helpful punch line for anybody who needed to chop Lewis right down to dimension. But perhaps we must be considering of that unseen movie as the head of risk-taking in a performer who was all the time prepared to take possibilities, usually bodily harmful ones. The pratfalls and foolish walks that Lewis devised to thrill us, 12 months after 12 months and film after film, resulted in again accidents—to not point out habit to painkillers—that primarily led to lifelong ache. Being humorous hurts.
But you’d by no means realize it to observe Lewis, within the films he made each with and with out his well-known accomplice, Dean Martin. Although Lewis’ comedy has come to be higher appreciated lately, for many years individuals who had been clearly lacking the purpose thought-about it too broad, too brassy, too filled with facial mugging. But Lewis was actually a musician and dancer rolled into 1, even when he was neither taking part in music or dancing outright. His routines had been an excellent rush of improvisatory looseness and seemingly contradictory precision: He’d know intuitively when to cross his eyes or jut his jaw, and if his split-second selections had been as definitive as a well-placed 16th observe, in addition they felt wild and a bit of harmful, an invite to reckless freedom and pleasure.
Even although Lewis was well-known for his exaggeratedly squeaky talking voice, he seldom wanted phrases. In The Bellboy, his ingeniously made 1960 directorial debut (he additionally wrote and produced), Lewis performs a nonspeaking bellhop named Stanley, bumbling by means of his job at Miami’s tony Fontainbleau Hotel: When the supervisor asks him to thoughts the entrance desk for a minute, one of many telephones positioned on it begins ringing. Unable to find out which 1 it’s, Stanley, the rattled naïf, herds them collectively as in the event that they had been bleating sheep. The trailer for the movie is a mini delight by itself, during which Lewis depicts, in sometimes exaggerated vogue, a sarcastic cigar-chomping producer, a matted author lacking a tooth and hunched over a typewriter, a director sporting a scar throughout 1 eye and growling in a heavy German accent. Even if trendy viewers need to make some allowances for racial gags that won’t have aged properly, Lewis might take any drained stereotype and make it sing.
But to grasp Lewis as a performer, it’s important to know the attain, and the brilliance, of Martin and Lewis, a duo that had been like rock stars earlier than rock stars even existed. Lewis was born in Newark in 1926. His father was a vaudeville performer, his mom performed piano for a radio station: Both carried out at resorts within the Catskills, and as a child, Lewis would be a part of them. As a young person he developed a routine during which he would mime to phonograph data. This is the act he was procuring round New York City golf equipment in 1945, the 12 months he met Martin, casually, on the road—the 2 had been launched by a mutual buddy. They turned a comedy duo the next 12 months.
If not for that partnership, Lewis would by no means have change into the Jerry Lewis we all know. You can see their rapport within the films they made, just like the Frank Tashlin-directed Artists and Models (1955) or Hollywood or Bust (1956), the pair’s remaining movie, made as their partnership, and their friendship, was disintegrating. But the truest revelation of Martin and Lewis’ grandness, collectively and individually, comes from watching clips from the present that made them stars, The Colgate Comedy Hour. Their components was repeated seemingly advert nauseam and but was in some way endlessly humorous: Martin, suave, clean and devilishly good-looking, would try and croon a music; Lewis, gangly and stressed, a hyperactive man-boy, would reduce into the second with a impolite noise, an over-the-top grimace or grin, or another manufactured interruption.
One of the good joys of those routines is watching Martin do his damnedest to not crack up. Sometimes, he would fail, and Lewis would find yourself laughing, too. This isn’t an instance of the dreadful phenomenon of comedians’ laughing at their very own jokes. It’s one thing each extra joyous and extra mysterious, an occasion of the viewers being let in on enjoyable in the absolute best method. Martin was Lewis’ preferrred accomplice and excellent viewers rolled into 1.
The Martin and Lewis partnership lasted solely 10 years. Professional jealousy and various different tensions introduced it to an finish, bitterly, in 1956, and though the 2 tried occasional cordial conferences, the break up lasted the remainder of their lives. (Martin died in 1995.) The breakup pained Lewis vastly. In his marvelous 2005 memoir, Dean & Me: A Love Story, written with James Kaplan, Lewis recounts the ultimate present the 2 males carried out collectively, on Tuesday, July 24, 1956, on the Copacabana in New York. It was 10 years to the day after they’d first cemented their partnership as a comedy group. “When I awoke on Wednesday afternoon,” Lewis wrote, “I understood how an amputee must feel.”
Lewis might by no means bear to observe Hollywood or Bust. It’s the one considered one of his movies, he wrote in his memoir, that he hasn’t seen. In 2016, Lewis gave a taciturn on-camera interview to the Hollywood Reporter. Most questions had been met with crabby three- and four-word non-answers. When the determined however affected person off-camera interviewer requested if Lewis had a favourite interval, or a time when he was happiest, Lewis stalled at first, after which mentioned outright, “When my partner was alive.” The interviewer pressed additional: What made it nice? “I’ll show you some material,” Lewis continued crossly, as if he couldn’t even imagine he needed to clarify such a factor, “you’ll know.”
In Dean & Me, Lewis wrote very briefly of attending Martin’s memorial. He was grateful, he mentioned, to have missed the burial. “I lost my partner and my best friend. The man who made me the man I am today….I miss him every day I’m still here.” The first time Lewis and Martin carried out collectively as a bona fide group, they drove an Atlantic City viewers wild with a makeshift routine they’d scrawled, in eyebrow pencil, on a greasy brown paper pastrami sandwich bag. As of the time he wrote Dean & Me, Lewis nonetheless had the bag, saved in a safe-deposit field. Great careers, like nice friendships, usually have ignoble beginnings, and who can actually script their endings? No 1 is aware of what Heaven is like, but when it’s acquired a deli, you possibly can wager there’s a suave, good-looking Italian man there, ready with a sandwich. He’s additionally in all probability attempting to maintain a straight face.
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tortuga-aak · 6 years
Text
Dave Franco explains why he's done worrying about being in the shadow of his brother James
Samantha Lee Business Insider, AP
"The Disaster Artist" was the first time Dave Franco and his brother James had a substantial amount of screen time together in a movie.
Franco shared how "in character" as Tommy Wiseau his brother was while directing the movie.
He also revealed how losing 20 pounds to play a role in his upcoming Netflix movie, "6 Balloons," led to some physical and emotional problems.
For most of his career Dave Franco has carefully navigated a path that stayed out of the very large wake left by his brother James. The younger Franco slowly found his niche through building credits doing zany comedies like “21 Jump Street” and “Neighbors.” But when his brother came to him about the two making a movie together about the cult classic “The Room,” it was an offer too good to pass up.
“The Disaster Artist” (opening in limited release on Friday and wider the following week) is a behind-the-scenes look at the making of the 2003 low budget movie, “The Room,” which is regarded as one of the worst movie ever made. James directs and also stars as Tommy Wiseau, the bizarre writer-director of “The Room,” while Dave plays Tommy’s best friend and fellow aspiring actor, Greg Sestero, who follows Wiseau on the journey to make “The Room.” Though hilarious at times, the movie’s backbone is the bond the two friends have and it's all pulled off perfectly by the brothers’ performances.
Dave sat down with Business Insider to talk about making this unique buddy comedy with his brother. He also clarified how far James took being "in character" as Wiseau while directing “The Disaster Artist,” and explained what drove him to lose 20 pounds for an upcoming Netflix movie.
Jason Guerrasio: What was it about "The Disaster Artist" that not only made you want to work with your brother but also start a production company with him, Ramona Films?
Dave Franco: When I first started acting I did make a conscious choice to distance myself from him work-wise just because I wanted to paint my own path, not be referred to as James Franco's little brother for the rest of my life. But after a while it just got to the point where I was like "he's my brother and I love him and I respect him," and with “The Disaster Artist” the dynamic between these characters just felt right. I understood these guys. I'm an actor, I understand the struggle of an actor starting out. And I can relate to the idea of how important it is to have an ally and someone who believes in you and encourages you.
In terms of the production company, my brother and I are very drawn toward projects that do feel slightly outside the box. And at the same time are accessible enough that they could draw a slightly wider audience.
Warner Bros
Guerrasio: Starting the production company, did the idea come during production?
Franco: It was during post production when he started to invite me to the edit room. I quickly realized we share a brain and we had this shorthand where we get each other. We really modeled the production around what Seth Rogen has been doing forever. What Judd Apatow does. They create these very collaborative environments where everyone has a say and no one is more powerful that anyone else and the best idea always wins. 
Guerrasio: Did you guys go as far as Seth and Judd go in videotaping the audience's reaction at early screenings to see if a joke didn't land right or something could be tweaked in the edit?
Franco: I don't think they videotaped. And the reason for that is that works best for a full-on comedy. This is very funny at points but in regards to tone it's most similar to something like "Boogie Nights." A bunch of crazy characters in strange circumstances but everyone is playing it as straight as possible and the humor comes from that. During our test screenings we were most concerned if the friendship between Tommy and Greg was playing. That's the core of our story. Because without the friendship it had the potential of just being an extended "SNL" skit. 
Guerrasio: Were you into "The Room" before all of this?
Franco: My brother and I were both pretty late to the game. He actually read Greg Sestero’s book before he even saw "The Room," and he's probably the only person on the planet who did it in that order. But then he reached out to me and said, "If you haven't seen 'The Room' watch it immediately, I think we need to make a movie about it." So at the time I was working in Boston so I watched "The Room" in a hotel room by myself, which is not the right way to watch that movie for the first time. There's so much coming at you need to turn to someone and say, "What the f--- is going on?" So I finished that viewing and just feeling very unsettled, to be honest. But soon after I went to one of the midnight screenings where the audience is throwing stuff at the screen, reciting every line. And I then immediately understood why "The Room" is such a cult movie. Since then I've seen the movie roughly 25 times, which is more than any movie I've seen in existence. [Laughs.]
TPW Films
Guerrasio: I talked to your wife, Alison Brie, for "The Little Hours," and she said you also did the book on tape of Greg's book.
Franco: Yeah. And I would recommend the book on tape for this because it's Greg reading it and he has a great Tommy impersonation. I sat down with Greg a handful of times before we started filming and through production, and one of the things I asked him was during production of "The Room" if he ever thought it had a chance of being a good movie. And he claims that he did not but I don't fully believe him just because as a young actor all you care about is getting on a set. When you're on set you almost have to have this blind optimism and believe that whatever you're working on could be great. Even from the outside everyone can see it's objectively bad. I've been in those scenarios. I've been on set and everything is going smoothly to the point where people were talking about the movie being nominated for awards and I bought into the hype. Then the movie came out and not only was a it not good but it was a full-on piece of sh--. It was probably the worst thing I’ve ever done. It just makes you think about the fact you do anything creative you have to give all of yourself over to the process. There are going to be moments when you question whether or not what you're doing is brilliant or if it's a total disaster.
Guerrasio: Now I'm trying to think back on the movies you've done to figure out which one you think is the worst thing you've ever done.
Franco: [Laughs.]
Guerrasio: Anyway, how did you and James work on the characters? Did you want to rehearse with him before shooting?
Franco: We didn't really rehearse too much beforehand just because his style of filmmaking, like Seth's style, is very loose and improvisational. Yes, we had an incredible script to work off of but we always kept it loose. 
A24
Guerrasio: So going into shooting he gave you no head's up that he would be being in character as Tommy behind the camera as director?
Franco: I don't think he knew. I think he just fell into it and it was just easier to stay in character instead of bouncing back and forth between Tommy and James.
Guerrasio: On the first day was he just James on set?
Franco: No, from day one he was Tommy. There was definitely an adjustment period. He can articulate this better than me, but I do think a huge reason why he did this was because he didn't want to lose the Tommy voice. Yes, he stayed in character while he directed but that didn't mean he adopted Tommy's personality. He was still James but he was doing the Tommy voice. He wasn't a dictator on set. 
Guerrasio: Have you ever gotten into a role in your career where you're so into it it takes a while to snap out of it? 
Franco: I’ve never been the type of actor who comes home at the end of the day and goes, "I can't get rid of my part." But, I have a movie coming out early next year for Netflix called "6 Balloons" where I played a heroin addict and so I lost 20 pounds. 
Guerrasio: For you, that's kind of scary.
Franco: Yeah, I'm not a big guy. So when you lose that much weight it depresses you and I was full-on depressed. I remember at one point my wife saying, "You're not yourself, you're not fun to be around." And I was like, "I'm f---ing starving! What do you want from me?" But on set I also wasn't fun to be around. I wasn't really interacting with anyone. I was in the corner by myself, miserable. That was the most I ever got deep into a character. I'm glad I did it. It was the hardest role I've ever done and it scared the hell out of me but I think that's a good thing as an actor. To go into something that makes you uncomfortable.
Rich Fury/Getty
Guerrasio: Do you feel you could ever do that again?
Franco: Not for a long time. I almost really f---ed up my health. Not to get too dark, I was running all day every day to lose weight and I ended up messing up my knee to the point that when we finished production I had to go to physical therapy for a couple of months.
Guerrasio: I mean, we've heard the stories from Robert De Niro to Christian Bale, of the losing and gaining of weight for roles. I would think for every actor there’s a wonder if you can take it to that limit. 
Franco: I know. And it was very rewarding but I don't need to transform my body like that for a long time. While I was in it I do remember looking at a lot of pictures of Christian Bale throughout his career, he's losing weight or gaining weight, so that was inspiring. [Laughs.] "If he can do this 15 times I can do it once."
Guerrasio: So, back to "The Disaster Artist," what was Tommy and Greg's reaction to the movie when they first saw it?
Franco: They saw an early screening, even before the South by Southwest work-in-progress. We were more nervous about Tommy's reaction than Greg's. They both loved it but after Greg saw it he was so taken by it that he went off and for the next four days wrote an entire script for him and Tommy to star in. So since then they've filmed this new project, called "Best F(r)iends," and little did we know that "The Disaster Artist" is part two of "The Room" trilogy. [Laughs.] 
Guerrasio: Wow. So what's going forward for the production company? Are you going to produce? Direct?
Franco: I can't get into many details but all the projects are all over the place in genre and size of budget. But the unifying aspect of all of them is they do feel unique. I'm having so much fun. As much as I love acting and I hope to be doing it for a long time, it almost feels more natural for me to be a producer. I came into all of this because I'm a fan of movies and I wanted to find any way I could to be a part of it all. I happened to take the acting route but it could have been a million different ways in. Now that I'm producing it's just really fun for me to work with people that I really admire and put people together who I think will work well together. Just having a little more control.
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