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anticipatingevaporation · 3 months

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Barbie

“Humans only have one ending, ideas live forever”

I talk about movies a lot. I watch and listen to movie reviews just as much. I am very much in ~the conversation~ when it comes to movies and TV shows. So much so that I find I tend to over intellectualise these media forms. I look at them as products to be dissected rather than art.

When I think about my favourite movies of all time, I don’t love them because of their artistic merit (although that is definitely a factor). I love them because of the way they make me feel. That yearning to stay in the world created, to make the movie last just a little longer. The ever present desire to watch it all again the second the credits start rolling.

Barbie is by no means a perfect movie. But it made me feel that way again.

Greta Gerwig is a filmmaker I have been familiar with for some time now. My quest to watch all Oscar nominated movies every year means I have seen all three of her directorial works. Each one has inched closer to my tastes, culminating in Barbie, a personal home run.

I particularly love Gerwig’s sensibility as a filmmaker, the tone she strikes is unabashedly feminine. There is a certain softness to her approach that feels like a warm hug I am growing to love.

Barbie is no different. This truly feels like a movie made for ~the Girls~ and I love it. I love that this movie is not shy about its femininity. It doesn’t masquerade it and it is not ashamed to be a girl movie. In a landscape that is so dominated by the opposite, it is more than refreshing to find something so female that is also, so good.

For starters, the screenplay here is beyond brilliant. It is in equal parts smart and funny. You can tell Greta and her writing partner Noah Baumbach have a true understanding of and appreciation for the world and lore of Barbie. There are some deep cuts here, including characters such as Alan and Midge, as well as outfits and set design that are true to the spirit of Barbie, from the first iconic swimsuit to modern day.

I love that there are “multiples” of Barbie and Ken, all named Barbie and Ken. The fact that there are no stars in Barbieland: the Barbies just float from floor to floor? Genius.

It’s these little touches that demonstrate how much care has been put into this movie. Don’t get me started on the production and set design, it is among the greatest I have ever seen.

Something I think and talk about a lot is the current state of TV and Film. It is not controversial to say the landscape has been overtaken by IP driven content. Whether this is a necessary safeguard to avoid financial disappointment or viewers are truly hungry for original content is another discussion, but the point here is it is almost unheard of to craft a truly original movie or TV show nowadays. Everything must be derived from something else, and everything is often, awful.

It would have been so easy to make a by the numbers Barbie movie, something serviceable and somewhat entertaining but forgettable. Producer Margot Robbie and Director Greta Gerwig go a decidedly different route. This movie is manages to be both an entertaining blockbuster and a nuanced discussion of feminism today. When you think about it, the Barbie doll perfectly lends to conversations like these, and Gerwig more than pulls it off.

When it comes to performances and characters in this movie, there is a clear stand out. And that is Ryan Gosling’s Ken. This performance is beyond brilliant, I would wager the best in Gosling’s career. He perfectly understands the tone this movie is striking and gives it an 11 in every scene he is part of. His every expression is perfect, and his timing is impeccable. Comedic performances often don’t get the praise they deserve. Ken is by far the highlight of the movie, and it would simply not succeed without Gosling’s performance here.

Gerwig’s decision to make Ken’s character such a key aspect of the film is, in my opinion, the secret to its success. Putting Ken in the position of women in the real world is a subtle and brilliant way to drive the point of the movie home and another example of the brilliant writing on display here.

Much has been made of Margot Robbie and Greta Gerwig’s lack of nominations for this film in the Best Actress and Best Director categories at this year’s Oscars. The topic has unfortunately become politicised, and getting too involved in the discourse regarding this is enough to make any sane person’s head spin.

Putting all that to one side, I really do think both Robbie and Gerwig were deserving of nominations for their work here. Having said that, I don’t think Ryan Gosling’s nomination is a sleight of any kind, or a knock against feminism. His performance was far and away the best part of the movie, and if by some miracle he wins for this, I would be absolutely elated.

I don’t doubt that Margot Robbie will win her Oscar someday, she keeps putting out really interesting work as a producer. Further, Gerwig stands a chance in screenplay for Barbie, and I personally find that the category she would deserve it in the most. In conclusion, the snub is a shame, but not the end of the world.

Speaking of the Oscars, a trend I find rearing its head time and again is films that are true cultural moments being overlooked, only for us to realise their full potential after the fact. It is often difficult to tell which movies will stand the test of time and which will be forgotten within a year. But it is beyond apparent to me that Barbie did something unique this year. It made an insane amount of money and broke box office records while also having a significant cultural impact. The famous Barbenheimer phenomenon was unlike any of us have seen in recent memory. People flocked to the theatres in droves to experience the double feature, myself included. In a society where our attention is becoming more and more fractured, it was incredible to see everyone do something together again. Barbie was part of an actual watercooler moment, and we shouldn’t take that for granted.

Not only was the movie a cultural reset, the marketing was just as impressive. The “This Barbie is…” posters released, the red carpet outfits paying homage to classic Barbie looks, the unabashed wearing of pink and constant, “Hi, Barbie!” greetings. It is easy to forget how much of a moment this movie was. It had a cultural impact we can’t truly quantify, and I would hate to watch it go unrewarded in its time.

Having said all of this, Barbie is certainly not a perfect movie. While the story elements concerning Ken soared, those involving the Mattel executives faltered for me. There were a good few laughs elicited- I’m not one to find Will Ferrell that funny, but he was amazing here- but overall this portion of the movie just dragged, especially in contrast to how compelling the rest was.

I also found the third act to be a little sloppy. The grand finale where all the characters meet felt a little weak, likely because the Mattel executives were involved again. I honestly think cutting them out would have significantly improved the movie as a whole.

I mentioned earlier that this movie felt like it was made for the girls. More than that, it felt like it was made for me. I recognised almost every side character from some TV show I’ve watched over the years. The sense of humour was a hit almost every time. Not to mention, Dua Lipa is my favourite musical artist ever. Her cameo and song were just SO perfect for me. (Not to be outdone, “I’m Just Ken” will go down in power ballad history, and “What Was I Made For?” is a masterpiece)

It’s easy to get caught up in the discourse surrounding a film, and to let that inform how we feel about the movie itself. Especially in a world where everyone (including me) has something to say. But I’m putting that all to one side. The Barbie movie is really special to me. I love it in a deeply personal way that I can’t explain no matter how long my review is. There was a moment in the theatre where I laughed out loud and said “That is ME!” This movie felt like both a mirror and a lens. I am so beyond happy to see it get so many nominations and so much love. I think it would be so fitting for it to win big at the Oscars, the ultimate celebration of film. Because Barbie reminded me what a movie can do, how it can speak to something you didn’t know needed to be said. And most importantly, how it can make you feel.

To quote once again, “Humans have only one ending, ideas live forever.” I hope the Barbie movie lives on for a very long time.

#My Review #Barbie #sorry not sorry its long

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cruisinmississippin · 11 months

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Conan o Brien is seriously slept on as a comedian

He's mostly known for being a late night show host, n for making self deprecating jokes, but he's remarkably smart n I don't say tht lightly. He's an actual genius. I think the dude even went to Harvard, but he plays it off like he's not educated enough to comment thoughtfully about the stuff that happens all over the world.

Which is a shame, because his TV show where he interview celebs is not where he shines. It's the same thing tht happened to Trevor Noah, where over the years you see tht he loses a big chunk of his analytical n critical skills (comedically) to whatevers the topic, n it doesn't challenge nor fully utilise his immense talents.

Interestingly enough, you'd see a diff side of him in Conan Remote episodes or even the ones showing his daily interactions w his staff. That's where u go HOLY SHTTT this guy is really 1 in a million. His ability to interact, improv on the spot, with language barriers, hierarchal barriers even, just making ppl lose it, is just unmatched.

He's the Anthony Bourdain of Travel Shows but he doesn't know it. Or atleast he doesn't capitalise it to its full potential.

SNL people like Tina Fey, Amy Poehler, Comedy Central ppl like Key n Peele are also MAD talented but there's a certain boundary they can't cross. Most of their stuff is written before-hand. Improvs from standups tu lein cerita ah leh prepare gak.

Throw them out into the streets, get em to talk w ppl in diff language, can they genuinely make complete strangers laugh to the point of losing it? Idk that'd be hard to pull off. Conan can though. He has his ways w people, young or old, rich or poor, women and men, educated or not, its truly insane what he can do within minutes. You're not gonna be able to be a tight ass w that dude around.

1 of these days, dude is gonna retire n the world wouldn't even truly know the depths of his hilarity. Idek if there are comedians like that any more these days from the newer generations.

I can kind pin down what makes his brand of jokes diff

- He's awkward looking n he self deprecates about it a lot just not in a low self esteemed way. He knows he's lanky n has disproportionately long torso n arms, is pasty-white, is also a Ginger, n he makes use of tht. To the fullest.

But weirdly enough, whatever he's doing or how much he does it doesn't quite cheapen it or makes it annoying. Idk how he does it. Point is, he knows he look funny in some ways.

Idk I just find it rare tht he's 1 of those very very few ppl in the world who could probably get away w casually sitting down on the pavements w just about anybody n make everybody laugh w him or at him. That's something else.

- Something about him within, tht u could tell from the way he treats his staff, n how everybody treats him tht he truly doesn't give a fck about fame or any of tht stuff as much. He's legitimately 1 of the most human of all the humans tht ever came out of the Hollywood machine. Which is fcking bonkers, because what sort of outlook or philosophy would u have to adapt to be like that anyhow? To not let it get to you n be humbler as the years go by? Fckin insane, that's what.

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hollandsmoose · 2 years

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just saw comedic genius russell howard live and in two days i'm seeing trevor noah live...... i'm so blessed

#shitty pic i know

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irineey · 4 years

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#on a scale from annie to noah how do u react when angry cgi crows start attacking you

#schitt's creek #schitts creek #noah reid #annie murphy #look okay i had to gif this because them dramatically acting here is so fucking funny it had me cackling #or should i say.....it MURDERED me #because......ya know a group of crows........is a murder #comedic genius from yours truly #schitts creek bts #sc behind the episode #schitt's creek cast #schittscreekedit #my gifs

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pavlmescal · 5 years

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Honestly Noah’s comedic timing is underrated he’s a fucking genius

#im rewatching the crowening and his line its kinda hard to build customer loyalty when your store is just like spontaneously open or closed #sbskdjd UNDERRATED LINE #noah reid #you comedic genius

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aaronmaurer · 3 years

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TV I Liked in 2020

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Was there ever a year more unpredictably tailor-made for peak TV than 2020? Lockdowns/quarantines/stay-at-home orders meant a lot more time at home and the occasion to check out new and old favorites. (I recognize that if you’re lucky enough to have kids or roommates or a S.O., your amount of actual downtime may have been wildly different). While the pandemic resulted in production delays and truncated seasons for many shows, the continued streaming-era trends of limited series and 8-13 episode seasons mean that a lot of great and satisfying storytelling still made its way to the screen. As always, I in no way lay any claims to “best-ness” or completeness – this is just a list of the shows that brought me the most joy and escapism in a tough year and therefore might be worth putting on your radar.

10 Favorites

10. The Right Stuff: Season 1 (Disney+)

As a space program enthusiast, even I had to wonder, does the world really need another retelling of NASA’s early days? Especially since Tom Wolfe’s book has already been adapted as the riveting and iconoclastic Philip Kaufman film of the same name? While some may disagree, I find that this Disney+ series does justify its existence by focusing more on the relationships of the astronauts and their personal lives than the technical science (which may be partially attributable to budget limitations?). The series is kind of like Mad Men but with NASA instead of advertising (and real people, of course), so if that sounds intriguing, I encourage you to give it a whirl.

9. Fargo: Season 4 (FX)

As a big fan of Noah Hawley’s Coen Brothers pastiche/crime anthology series, I was somewhat let down by this latest season. Drawing its influence primarily from the likes of gangster drama Miller’s Crossing – one of the Coens’ least comedic/idiosyncratic efforts – this season is more straightforward than its predecessors and includes a lot of characters and plot-threads that never quite cohere. That said, it is still amongst the year’s most ambitious television with another stacked cast, and the (more-or-less) standalone episode “East/West” is enough to make the season worthwhile.

8. The Last Dance (ESPN)

Ostensibly a 10-episode documentary about the 1990s Chicago Bulls’ sixth and final NBA Championship run, The Last Dance actually broadens that scope to survey the entire history of Michael Jordan and coach Phil Jackson’s careers with the team. Cleverly structured with twin narratives that chart that final season as well as an earlier timeframe, each episode also shifts the spotlight to a different person, which provides focus and variety throughout the series. And frankly, it’s also just an incredible ride to relive the Jordan era and bask in his immeasurable talent and charisma – while also getting a snapshot of his outsized ego and vices (though he had sign-off on everything, so it’s not exactly a warts-and-all telling).

7. The Queen’s Gambit (Netflix)

This miniseries adaptation of the Walter Tevis coming-of-age novel about a chess prodigy and her various addictions is compulsively watchable and avoids the bloat of many other streaming series (both in running time and number of episodes). The 1960s production design is stunning and the performances, including Anya Taylor-Joy in the lead role, are convincing and compelling.

6. The Great: Season 1 (hulu)

Much like his screenplay for The Favourite, Tony McNamara’s series about Catherine the Great rewrites history with a thoroughly modern and irreverent sensibility (see also: Sofia Coppola’s Marie Antoinette). Elle Fanning brings a winning charm and strength to the title role and Nicholas Hoult is riotously entertaining as her absurdly clueless and ribald husband, Emperor Peter III. Its 10-episodes occasionally tilt into repetitiveness, but when the ride is this fun, why complain? Huzzah!

5. Dispatches From Elsewhere (AMC)

A limited (but possibly anthology-to-be?) series from creator/writer/director/actor Jason Segal, Dispatches From Elsewhere is a beautiful and creative affirmation of life and celebration of humanity. The first 9 episodes form a fulfilling and complete arc, while the tenth branches into fourth wall-breaking meta territory, which may be a bridge too far for some (but is certainly ambitious if nothing else). Either way, it’s a movingly realized portrait of honesty, vulnerability and empathy, and I highly recommend visiting whenever it inevitably makes its way to Netflix, or elsewhere…

4. What We Do in the Shadows: Season 2 (FX)

The second season of WWDITS is more self-assured and expansive than the first, extending a premise I loved from its antecedent film – but was skeptical could be sustained – to new and reinvigorated (after)life. Each episode packs plenty of laughs, but for my money, there is no better encapsulation of the series’ potential and Matt Berry’s comic genius than “On The Run,” which guest-stars Mark Hamill and features Laszlo’s alter ego Jackie Daytona, regular human bartender.

3. Ted Lasso: Season 1 (AppleTV+)

Much more than your average fish-out-of-water comedy, Jason Sudeikis’ Ted Lasso is a brilliant tribute to humaneness, decency, emotional intelligence and good coaching – not just on the field. The fact that its backdrop is English Premier League Soccer is just gravy (even if that’s not necessarily represented 100% proficiently). A true surprise and gem of the year.

2. Mrs. America (hulu)

This FX miniseries explores the women’s liberation movement and fight for the Equal Rights Amendment in the 1970s and its opposition by conservative women including Phyllis Schlafly. One of the most ingenious aspects of the series is centering each episode on a different character, which rotates the point of view and helps things from getting same-y. With a slate of directors including Ryan Bowden and Anna Fleck (Half-Nelson, Sugar, Captain Marvel) and an A-List cast including Cate Blanchett, Rose Byrne, Uzo Aduba, Sarah Paulson, Margo Martindale, Tracey Ulman and Elizabeth Banks, its quality is right up there with anything on the big screen. And its message remains (sadly) relevant as ever in our current era.

1. The Good Place: Season 4 (NBC)

It was tempting to omit The Good Place this year or shunt it to a side category since only the final 4 episodes aired in 2020, but that would have been disingenuous. This show is one of my all-time favorites and it ended perfectly. The series finale is a representative mix of absurdist humor and tear-jerking emotion, built on themes of morality, self-improvement, community and humanity. (And this last run of eps also includes a pretty fantastic Timothy Olyphant/Justified quasi-crossover.) Now that the entire series is available to stream on Netflix (or purchase in a nice Blu-ray set), it’s a perfect time to revisit the Good Place, or check it out for the first time if you’ve never had the pleasure.

5 of the Best Things I Caught Up With

Anne With An E (Netflix/CBC)

Another example of classic literature I had no prior knowledge of (see also Little Women and Emma), this Netflix/CBC adaptation of Anne of Green Gables was strongly recommended by several friends so I finally gave it a shot. While this is apparently slightly more grown-up than the source material, it’s not overly grimdark or self-serious but rather humane and heartfelt, expanding the story’s scope to include Black and First Nations peoples in early 1800s Canada, among other identities and themes. It has sadly been canceled, but the three seasons that exist are heart-warming and life-affirming storytelling. Fingers crossed that someday we’ll be gifted with a follow-up movie or two to tie up some of the dangling threads.

Better Call Saul (AMC)

I liked Breaking Bad, but I didn’t have much interest in an extended “Breaking Bad Universe,” as much as I appreciate star Bob Odenkirk’s multitalents. Multiple recommendations and lockdown finally provided me the opportunity to catch up on this prequel series and I’m glad I did. Just as expertly plotted and acted as its predecessor, the series follows Jimmy McGill/Saul Goodman on his own journey to disrepute but really makes it hard not to root for his redemption (even as you know that’s not where this story ends).

Joe Pera Talks With You (Adult Swim)

It’s hard to really describe the deadpan and oddly soothing humor of comedian Joe Pera whose persona, in the series at least, combines something like the earnestness of Mr. Rogers with the calm enthusiasm of Bob Ross. Sharing his knowledge on the likes of how to get the best bite out of your breakfast combo, growing a bean arch and this amazing song “Baba O’Reilly” by the Who – have you heard it?!? – Pera provides arch comfort that remains solidly on the side of sincerity. The surprise special he released during lockdown, “Relaxing Old Footage with Joe Pera,” was a true gift in the middle of a strange and isolated year.

The Mandalorian (Disney+)

One of the few recent Star Wars properties that lives up to its potential, the adventures of Mando and Grogu is a real thrill-ride of a series with outstanding production values (you definitely want to check out the behind-the-scenes documentary series if you haven’t). I personally prefer the first season, appreciating its Western-influenced vibes and somewhat-more-siloed story. The back half of the second season veers a little too much into fan service and video game-y plotting IMHO but still has several excellent episodes on offer, especially the Timothy Olyphant-infused energy of premiere “The Marshall” and stunning cinematography of “The Jedi.” And, you know, Grogu.

The Tick (Amazon Prime)

I’ve been a fan of the Tick since the character’s Fox cartoon and indie comic book days and also loved the short-lived Patrick Warburton series from 2001. I was skeptical about this Amazon Prime reboot, especially upon seeing the pilot episode’s off-putting costumes. Finally gaining access to Prime this year, I decided to catch up and it gets quite good!, especially in Season 2. First, the costumes are upgraded; second, Peter Serafinowicz’s initially shaky characterization improves; and third, it begins to come into its own identity. The only real issue is yet another premature cancellation for the property, meaning Season 2’s tease of interdimensional alien Thrakkorzog will never be fulfilled. 😢

Bonus! 5 More Honorable Mentions:

City So Real (National Geographic)

The Good Lord Bird (Showtime)

How To with John Wilson: Season 1 (HBO)

Kidding: Season 2 (Showtime)

Unbreakable Kimmy Schmidt: Kimmy Vs The Reverend (Netflix)

#tv #television

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sssshhhthefilmsabouttostart · 4 years

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The best and worst films of 2019

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…

50. READY OR NOT

49. GLASS

48. HAL (DOCUMENTARY)

47. STUDIO 54 (DOCUMENTARY)

46. HOTEL MUMBAI

45. THE HOUSE THAT JACK BUILT

44. CRAWL

43. MISSING LINK

42. SCARY STORIES TO TELL IN THE DARK

41. THE CLOVEHITCH KILLER

40. BURNING

39. AVENGEMENT

38. YESTERDAY

37. THE SISTERS BROTHERS

36. BRIGHTBURN

35. FIGHTING WITH MY FAMILY

34. HAIL, SATAN (DOCUMENTARY)

33. VELVET BUZZSAW

32. COLD PURSUIT

31. STAR WARS: THE RISE OF SKYWALKER

30. SPIDER-MAN: FAR FROM HOME

29. BEN IS BACK

28. THUNDER ROAD

27. THE REPORT

26. TOY STORY 4

25. MID 90′S

24. LAST BREATH (DOCUMENTARY)

23. VOX LUX

22. GLORIA BELL

21. THE FAREWELL

20. SHAZAM

19. FREE SOLO (DOCUMENTARY)

18. KNIVES OUT

17. BOOKSMART

16. DRAGGED ACROSS CONCRETE

15. US

14. ROCKETMAN

13. AD ASTRA

12. JOJO RABBIT

11. MIDSOMMAR

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.

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.

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.

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.

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.

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.

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.

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.

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.

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!

20. UNDER THE SILVER LAKE

19. THE MULE

18. STUBER

17. AT ETERNITY’S GATE

16. IT: CHAPTER 2

15. THE BANANA SPLITS MOVIE

14. HAPPY DEATH DAY 2U

13. ALADDIN

12. ANGEL HAS FALLEN

11. TERMINATOR: DARK FATE

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.

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.

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.

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,

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.’

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.

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.

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.’

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!

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.

#the best and worst films of 2019

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bookishlife · 5 years

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“We tell people to follow their dreams, but you can only dream of what you can imagine, and, depending on where you come from, your imagination can be quite limited.”

“I don’t regret anything I’ve ever done in life, any choice that I’ve made. But I’m consumed with regret for the things I didn’t do, the choices I didn’t make, the things I didn’t say. We spend so much time being afraid of failure, afraid of rejection. But regret is the thing we should fear most. Failure is an answer. Rejection is an answer. Regret is an eternal question you will never have the answer to. “What if…” “If only…” “I wonder what would have…” You will never, never know, and it will haunt you for the rest of your days.”

Book: Born a Crime: Stories From a South African Childhood Author: Trevor Noah Published: Spiegel & Grau (2016)

My Review: Not that long ago, Trevor Noah was just some guy that was taking over one of my favorite shows from Jon Stewart. I didn’t know him, and I wasn’t stoked about Stewart’s retirement. Turns out, Trevor Noah is just as much of a comedic genius as Stewart (thank goodness), with a largely unbeatable coming of age story. In fact, from a clinical perspective, it’s actually pretty incredible that Noah turned out to be as functional and kind as he is given all the trauma he experienced as a child. Humans are resilient and gritty; we can survive a whole lot of horrific things. But surviving is different than thriving, and the folks who thrive despite their trauma are absolutely awe-inspiring.

Growing up in South Africa, Noah was half-white in a world where his parents could have spent time in jail for creating him (hence the title of this book). He lived in poverty. He was surrounded by criminals and crime, and was definitely a bit of a troublemaker himself. He had a horrifically abusive step-father and a semi-present biological father. But Noah had two things working in his favor: his intelligence, and his mother.

Reading this book, it became clear that Noah’s natural instinct seems to have been to always make the best of things. He found humor, friendship, happiness. He stayed true to himself and worked with what he had. And, if you ask me, his mother was his ultimate saving grace. She may not be America’s idea of the perfect mother, but she loved Trevor fiercely and made that known. Had it not been for her, I think this story would have ended very differently.

This is a wonderful book that sheds light on a culture very different from what those of us who grew up in America are accustomed to. It gave me new perspective, and highlighted the things that are really important in life. And, of course, it gave me a whole new respect for the brilliance of Trevor Noah.

#Book Review #Born a Crime #Trevor Noah #Memoir #South Africa

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featuristicfilm · 5 years

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Movies of Fall/Winter 2019 (and 2020) that I’m really excited to see

With awards season kicking in, the movie release slate is about to bring us some incredible pieces of cinema. There are many films this year that sound fun, interesting, profound and promising so here is a shortened list of the ones that get me giddy with most anticipation. TOP 5 let’s go! (and a few honourable mentions)

5. Lucy in the Sky (Noah Hawley, December 6th, 2019, UK)

Randomly stumbling upon its trailer on Youtube, I was surprised as to why I haven’t heard anything about this film at all because it actually looks super intriguing. Even though the notion of a space movie can feel fairly worn-out, and there is only so much originality you can bring to that kind of concept, Lucy in the Sky looks like it’s going to be a completely shifted take on space dynamics and exploration. In fact, it seems it’s going to be a story fully centred around one character’s individual, self-reflective, very personal journey, with space acting only as a narrative device that creates the background, rather than it being at the forefront of the film’s events. Natalie Portman seems completely in her shoes in this trope of a study of a character who’s deeply damaged and emotionally transformed by whatever trials she undergoes. The trailer is put together so perfectly as well. It tells just enough information for us to understand what is the movie’s premise while also creating a dramatic and suspenseful energy. Also, to me the imagery feels very grounded and serious but also kind of weird, daring and eccentric in some shots, so if the creators managed to balance a kind of art-house approach with some epic, grandiose visual elements it is going to be one hell of a film. To be fair, I was kind of excited just ‘cause it’s Natalie Portman but the more I think about the story the more interesting and promising it sounds. Unfortunately, it comes out October 4th which means its going to have a biiiiit of a competitor in the box-office in the form of Joker.

4. Jojo Rabbit (Taika Waititi, January 3rd, 2020, UK)

This one exhibits several traits that make the film very enticing. First of all, of course, the subject matter. I think it’s fair to say that a little boy interacting with Adolf Hitler in the shape of an imaginary friend is as crazy and amusing an idea as it gets. And, of course, many of us have our understanding and reaction towards the people and events of the WW2 era but to have that portrayed in a comedy genre is definitely going to cast a whole new light on the subject, at least as seen on the big screen. This will most likely be a story exploring harsh realism through imagination and fantasy but also through the earnest and innocent eyes of a child and it will likely be a surprising take and not what anyone expects it to be. Due to many reasons, it is, obviously, going to be a widespread conversation piece and for that alone I have to see it. The other thing that perfectly complements the idea of this project, is the man himself, Taika Waititi. I don’t think a better combination between the material and the creator can emerge because it is hard to imagine someone else taking on such a bold proposition. He’s just the type of writer and director that is so unique in style and taste that you just believe anything he makes is going to turn out special in one way or another, and having creative will and freedom and integrity might be exactly what made this whole thing possible in the first place. Plus Waititi himself is playing Hitler which, I’d imagine, just raises the scale of humour and energy and dynamics of the whole piece.

3. Jumanji: The Next Level (Jake Kasden, December 13th, 2019, UK)

I know, a not so popular of a choice. Compared to the way every other film is awaited based on their technical and creative merits, with this one I am so genuinely eager to experience the fun. After all the amusement Jumanji: Into the Jungle brought to the franchise, I don’t see why anybody wouldn’t be excited about this next instalment. I absolutely loved that film, it was so so so funny and entertaining! The story was really great because not only did it bring that fantasy and adventure aspect once again but also the way the avatar/game player narrative approach was incorporated was so unique. So, after seeing the trailers for this sequel, it sparked even more excitement to see how else can they possibly spin that concept. With that in mind, bringing in Danny DeVito and Danny Glover, well regarded comedic figures and over all talents, to the mix is genius. Them trapped in the bodies of Dwayne Johnson and Kevin Hart is, honestly, a hilarious thought and having old guys interact with the other teenage friends and deal with challenges in the desert, jungle, mountain tops will be no less than a thrilling journey. I think this is going to be just the right film to kind of step back from all the serious and deep dramas that will be in full motion for Oscar season at the time, and switch to some good-old light-hearted cinema. With holidays coming up during its release (December 13th) - nothing better than to go see a fun family movie. And if the playfulness and humour combined with the fond spirit of the story lands at least the same way as it did with the previous film, it’s going to win over people’s hearts and probably the box-office. Can’t wait to just fully enjoy the action and immerse myself in the wonder of this adventure all over again!

2. Joker (Todd Philips, October 4th, 2019, UK)

I have to admit, while initially I was very interested in this new iteration of Joker purely on a general movie-goer level, it was maintained and gradually piqued as time went on largely due to everyone talking about it so much. The sheer amount of hype and anticipation this announcement has managed to create is baffling. Every film coverage outlet, magazine, blog was discussing it. And maybe it’s just that I follow a lot of superhero genre loving people and maybe the idea of this film, in fact, doesn’t concern the general viewer as much, still it has kept many eagerly waiting. The thing that gives it an edge, though, is the fact that this is not simply going to be your general superhero action blockbuster but rather an intense psychological drama reflecting on certain societal issues applied to a familiar mythology. The character everyone knows as a rival to Batman here seems to be a troubled man, beaten down literally, as well as emotionally due to social injustice and his own mental complications. Therefore, this film will probably not rely on epic showdowns and comic tropes as much but actually will give the concept of an ‘origin story’ a different meaning. It’s exciting that DC took it upon themselves to make a bold and creatively charged version of their beloved character, and with Joaquin Phoenix as the lead and Todd Philips as director I think they can be confident about their vision. Whether it is going to be received well or not, that’s the question. While it did already receive heaps of acclaim, including the Golden Lion in the Venice Film Festival, the early audience reviews are quite widely mixed. Nonetheless, it is very intriguing. I have to say, it’s shaping out to be one of those films, and performances, in particular, that have the ability to stay in the minds of the viewers long after. Not long to wait now and we’ll finally see if it lives up to what it set out for. ‘Cause let me tell you, the standard’s high, for sure.

Knives Out (Rian Johnson, November 29th, 2019, UK)

For the longest, this film and Joker were up to par for the number one place on my list of the most awaited movies of the rest of year. Every trailer amped up the excitement so much more and, ultimately, when I felt that I could’t stop thinking about Knives Out, counting days ‘till it’s release, I knew which one has won me over. No surprise, though. I absolutely love whodunnits!!! There’s just a certain thrill to a mystery or a detective style film that cannot be found anywhere else. There’s always so much room for exploration of characters and narratives and the story can take so many directions. If a screenplay for a murder mystery is done right, and all the twists and turns are unexpected and smartly placed, it’s just the best. I also love the interactive aspect of it. Even though I know I can’t change the way it all plays out, I have the ability to have my own reasoning and conclusions that I can apply in my head as the events role out. So with this film I was instantly hooked. Chris Evans’ attachment to the project definitely helped me discover it, though. I’m a huge fan of his and I was curious already to see what kind of role he is about to take on next after the culmination of his journey as Captain America in the MCU. Since I find him to be a very intelligent actor, I think I can trust his judgement on what kind of material is interesting to explore and what kind of people are worth collaborating with. That in mind, this cast looks absolutely incredible! Some really experienced ‘veterans’ in Toni College, Jamie Lee Curtis, Christopher Plummer, a big big star Daniel Craig, as well as some less known but promising names such as Ana de Armas and Katherine Langford, for example. And that’s just to name a few… Wow. With the nature and genre of the story, given it’s a suspenseful mystery but with a comedic flare, a good ensemble of performers is crucial, as is their dynamic. Hopefully, writer/director Rian Johnson has managed to create a rich, powerful and unique film that will entertain and won’t disappoint. I do believe that will be the case, as that much talent on screen and behind the camera is usually a recipe for success.

If not for the short list… I have so many other films that have caught my attention and that will absolutely have me in the cinema seat on opening night. These include Bombshell whose team is worth an applause for that amazingly well put teaser trailer; Just Mercy, for a true story that will no doubt have an impact on me and for what seem to be astounding performances by the lead cast; and Marriage Story because it will make me cry… Stories about family, love and relationships always hit close home, this one might break my heart but there’s pain and joy in life all the time, I look forward to seeing the often difficult reality reflected on screen.

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weedinduceddepression · 4 years

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best to worst icarly characters:

1. spencer (jerry trainor is a comedic genius)

2. sam (lesbian)

3. gibby (he was funny until they ruined his character in the last seasons, and noah munck is a neo-nazi now)

4. carly (boring as shit)

5. freddie (incel)

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devouringyourson · 5 years

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Had anyone gifef the Noah's Ark scene yet it's comedic genius

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gayfraphne · 6 years

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How would you make the gang's characterization and relationships if you were making a show/movie/comic/whatever.

this is the best question. thank you.

i would want to do a tv show where they’re aged 20-25 (they say that they’re teens in the dvds but??? they really aren’t?? daphne made out with a 64 year old man? so somebody is lyin) and basically it would be them as consulting detectives working with different police forces in different cities across america, helping them solve “weird crimes” (some are more supernatural than others, thinks like cults & cannibals & psychos generally tho). and they would stay in motels and have their little personal drama in between, like spn or the x files. as for characterization…

FRED

fred’s dad is a serial killer who killed his mom & hecka other people. (criminal parent(s) is the superior fred jones headcanons and you can quote me on that). he tends to be very controlling because he wants to keep people safe, what with his past trauma and all. he’s very emotionally damaged, and dangerously obsessed with solving mysteries, so he’s in a permanent downward spiral. he takes himself so seriously that it’s funny. he’s in his early 20’s but he acts like an old man, he drinks black coffee, wears a robe, and needs reading glasses to look at the morning paper every day. fred’s number one priority at any given time is daphne, and so he’s always trying to coddle her and protect her, which can cause her to resent him at times.

DAPHNE

daphne’s entire career is an act of rebellion against her preppy parents with high expectations of her. daphne would keep her quirky, optimistic, and immature personality. she loves puns and always tries to lighten the mood with poorly timed jokes. that being said, she’s also exceptional at hand to hand combat, sharp shooting, acting, horseback riding, and anything else you can possibly think of. even though she’s sweet and cute, she isn’t naive, and will 100% throw hands if someone tests her. she’s such a little fireball and wants nothing more than to be put in the field, but fred won’t let her do more dangerous stuff.

VELMA

velma is an absolute sass-god. she will drag anyone. she calls out everyone’s crap and keeps it insanely real. she’s also super insecure and emotionally unavailable, even though she wants to be soft and sweet SO BAD, she just doesn’t know how. she’s also a crazy genius with multiple PhDs, who knows just about everything about everything.

SHAGGY

shaggy is the softie of the group. he cheers everybody up & he doesn’t make drama ever. he really strips it down and can get super deep when you talk one on one with him. he’s also friggin hilarious. he definitely knows a lot about pop culture, and and is honestly in the gang for a good time and, surprise, terrified of all the spooky stuff and gets really freaked out and disgusted (in a comedic way).

RELATIONSHIPS

fred & daphne

fred and daphne, a lot like now, have a very close relationship. they’re easily eachother’s best friend, even though they often have disagreements. fred is very controlling and protective of daphne- who she talks to, where she goes, what she does- but it’s TRULY because he’s so afraid of losing her. but fred being daphne’s protecter can be a good thing too, because she’s a little girl at heart and whenever she needs hugs, or a sip of coffee, or a jacket, or somebody to cuddle with when she’s cold, she always goes right to fred. when she decided to move out of her parents house, fred gave her a room at his place and now they’re roomies (when they’re in coolsville, that is). they sort of have an unspoken “we are totally in love thing.” and they both just sort of know that they’re going to get married one day, so they aren’t really in a rush to date.

shaggy & velma

shaggy and velma are also best friends. he’s the only person who can make velma laugh so hard it hurts, and they always end up getting into crazy situations when they’re together. velma is totally shaggy’s mom. she packs him snacks, she looks out for him, she keeps him in check, etc. shaggy opens up velma to all the happiness in her life.

other notes

- scooby is a dog. he cannot talk. noah fence, but i aim for versilimitude in my show (idk if i spelt that right lmao)

#scooby doo #this is my favorite ask i’ve ever gotten #thanks anon!#mystery inc.#this has way too much goin on to tag everything #ask me stuff

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