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grigori77 · 5 years

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2018 in Movies - My Top 30 Fave Movies (Part 1)

30. MANDY – easily the weirdest shit I saw in 2018, this 2-hour-plus fever dream fantasy horror is essentially an extended prog-rock video with added “plot” from Beyond the Black Rainbow director Panos Cosmatos. Saying that by the end of it I was left feeling exhausted, brain-fried and more than a little weirded-out might not seem like much of a recommendation, but this is, in fact, a truly transformative viewing experience, a film destined for MASSIVE future cult status. Playing like the twisted love-child of David Lynch and Don Coscarelli, it (sort of) tells the story of lumberjack Red Miller (Nicolas Cage) and his illustrator girlfriend Mandy Bloom (Andrea Riseborough), who have an idyllic life in the fantastically fictional Shadow Mountains circa 1983 … at least until Mandy catches the eye of Jeremiah Sand (Linus Roache), the thoroughly insane leader of twisted doomsday cult the Children of the New Dawn, who employs nefarious, supernatural means to acquire her. But Mandy spurns his advances, leading to a horrific retribution that spurs Red, a traumatised war veteran, to embark on a genuine roaring rampage of revenge. Largely abandoning plot and motivation for mood, emotion and some seriously trippy visuals, this is an elemental, transcendental film, a series of deeply weird encounters and nightmarish set-pieces that fuel a harrowing descent into a particularly alien, Lovecraftian kind of hell, Cosmatos shepherding in one breathtaking sequence after another with the aid of skilled cinematographer Benjamin Loeb, a deeply inventive design team (clearly drawing inspiration from the artwork of late-70s/early 80s heavy metal albums) and a thoroughly tricked-out epic tone-poem of a score from the late Jôhan Jôhannsson (Sicario, Arrival, Mother!), as well as one seriously game cast. Cage is definitely on crazy-mode here, initially playing things cool and internalised until the savage beast within is set loose by tragedy, chewing scenery to shreds like there’s no tomorrow, while Riseborough is sweet, gentle and inescapably DOOMED; Roach, meanwhile, is a thoroughly nasty piece of work, an entitled, delusional narcissist thoroughly convinced of his own massive cosmic importance, and there’s interesting support from a raft of talented character actors such as Richard Brake, Ned Dennehy and Bill Duke. This is some brave, ambitious filmmaking, and a stunning breakthrough for one of the weirdest and most unique talents I’ve stumbled across a good while. Cosmatos is definitely one to watch.

29. THE GIRL IN THE SPIDER’S WEB – back in 2011, David Fincher’s adaptation of Stieg Larsson’s runaway bestseller The Girl With the Dragon Tattoo became one of my very favourite screen thrillers EVER, a stone-cold masterpiece and, in my opinion, the superior version of the story even though a very impression Swedish version had broken out in a major way the year before. My love for the film was coloured, however, by frustration at its cinematic underperformance, which meant that Fincher’s planned continuation of the series with Millennium Trilogy sequels The Girl Who Played With Fire and The Girl Who Kicked the Hornet’s Nest would likely never see the light of day. Even so, the fan in me held out hope, however fragile, that we might just get lucky. Seven years later, we have FINALLY been rewarded for our patience, but not exactly in the fashion we’ve been hoping for … Fincher’s out, Evil Dead-remake and Don’t Breathe writer-director Fede Alvarez is in, and instead of continuing the saga in the logical place the makers of this new film chose the baffling route of a “soft reboot” via adapting the FOURTH Millennium book, notable for being the one released AFTER Larsson’s death, penned by David Lagercrantz, which is set AFTER the original Trilogy. Thing is, the actually end result, contrary to many opinions, is actually pretty impressive – this is a leaner, more fast-paced affair than its predecessor, a breathless suspense thriller that rattles along at quite a clip as we’re drawn deeper into Larsson’s dark, dangerous and deeply duplicitous world and treating fans to some top-notch action sequences, from a knuckle-whitening tech-savvy car chase to a desperate, bone-crunching fight in a gas-filled room. Frustratingly, the “original” Lisbeth Salander, Rooney Mara, is absent (despite remaining VERY enthusiastic about returning to the role), but The Crown’s Claire Foy is almost as good – the spiky, acerbic and FIERCELY independent prodigious super-hacker remains as brooding, socially-awkward, emotionally complex and undeniably compelling as ever, the same queen of screen badasses I fell in love with nearly a decade ago. Her investigative journalist friend/occasional lover Mikael Blomkvist is, annoyingly, less well served – Borg Vs McEnroe star Sverrir Gudnasson is charismatic and certainly easy on the eyes, but he’s FAR too young for the role (seriously, he’s only a week older than I am) and at times winds up getting relegated to passive observer status when he’s not there simply to guide the plot forward; we’re better served by the supporting cast, from Lakeith Stanfield (Get Out, Sorry to Bother You) as a mysterious NSA security expert (I know!) to another surprisingly serious turn (after Logan) from The Office’s Stephen Merchant as the reclusive software designer who created the world-changing computer program that spearheads the film’s convoluted plot, and there’s a fantastically icy performance from Blade Runner 2049’s Sylvia Hoeks as Camilla Salander, Lisbeth’s estranged twin sister and psychopathic head of the Spiders, the powerful criminal network once controlled by their monstrous father (The Hobbit’s Mikael Persbrandt). The film is far from perfect – the plot kind runs away with the story at times, while several supposedly key characters are given frustratingly little development or screen-time – but Alvarez keeps things moving along with typical skill and precision and maintains a tense, unsettling atmosphere throughout, while there are frequently moments of pure genius on display in the script by Alvarez, his regular collaborator Jay Basu and acclaimed screenwriter Steven Knight (Dirty Pretty Things, Locke) – the original novel wasn’t really all that great, but by just taking the bare bones of the plot and crafting something new and original they’ve improved things considerably. The finished product thrills and rewards far more than it frustrates, and leaves the series in good shape for continuation. With a bit of luck this time it might do well enough that we’ll finally get those other two movies to plug the gap between this and Fincher’s “original” …

28. ISLE OF DOGS – I am a MASSIVE fan of the films of Wes Anderson. Three share placement in my all-time favourite screen comedies list – Grand Budapest Hotel, The Life Aquatic With Steve Zissou and, of course, The Royal Tenebaums (which perches high up in my TOP TEN) – and it’s always a pleasure when a new one comes out. 2009’s singular stop-motion gem Fantastic Mr Fox showed just how much fun his uniquely quirky sense of humour and pleasingly skewed world-view could be when transferred into an animated family film setting, so it’s interesting that it took him nearly a decade to repeat the exercise, but the labour of love is writ large upon this dark and delicious fable of dystopian future Japanese city Megasaki, where an epidemic of “dog flu” prompts totalitarian Mayor Kobayashi (voiced by Kunichi Nomura) to issue an edict banishing all of the city’s canine residents to nearby Trash Island. Six months later, Kobayashi’s nephew Atari (newcomer Koyu Rankin) steals a ridiculously tiny plane and crash-lands on Trash Island, intent on rescuing his exiled bodyguard-dog Spots (Liev Schreiber); needless to say this is easier said than done, unforeseen circumstances leading a wounded Atari to enlist the help of a pack of badass “alpha dogs” voiced by Anderson regulars – Rex (Edward Norton), King (Bob Balaban), Boss (Bill Murray) and Duke (Jeff Goldblum) – and nominally led by crabby, unrepentantly bitey stray Chief (Bryan Cranston), to help him find his lost dog in the dangerous wilds of the island. Needless to say this is as brilliantly odd as we’ve come to expect from Anderson, a perfectly pitched, richly flavoured concoction of razor sharp wit, meticulously crafted characters and immersive beauty. The cast are, as always, excellent, from additional regulars such as Frances McDormand, Harvey Keitel and F. Murray Abraham to new voices like Greta Gerwig, Scarlett Johansson, Ken Watanabe and Courtney B. Vance, but the film’s true driving force is Cranston and Rankin, the reluctant but honest relationship that forms between Chief and Atari providing the story with a deep, resonant emotional core. The first rate animation really helps – the exemplary stop-motion makes the already impressive art of Mr Fox seem clunky and rudimentary (think the first Wallace & Gromit short A Grand Day Out compared to their movie Curse of the Were-Rabbit), each character rendered with such skill they seem to be breathing on their own, and Anderson’s characteristic visual flair is on full display, the Japanese setting lending a rich, exotic tang to the compositions, especially in the deeply inventive environs of Trash Island. Funny, evocative, heartfelt and fiendishly clever, this is one of those rare screen gems that deserves to be returned to again and again, and it’s definitely another masterpiece from one of the most unique filmmakers working today.

27. VENOM – when Sam Raimi’s Spider-Man saga came to a rather clunky end back in 2007, it felt like a case of too many villains spoiling the rumble, and it was pretty clear that the inclusion of bad-boy reporter Eddie Brock and his dark alter ego was the straw that broke that particular camel’s back. Venom didn’t even show up proper until almost three quarters of the way through the movie, by which time it was very much a case of too-little-too-late, and many fans (myself included) resented the decidedly Darth Maul-esque treatment of one of the most iconic members of Marvel’s rogues’ gallery. It’s taken more than a decade for Marvel to redress the balance, even longer than with Deadpool, and, like with the Merc With a Mouth, they decided the only way was a no-holds-barred, R-rated take that could really let the beast loose. Has it worked? Well … SORT OF. In truth, the finished article feels like a bit of a throwback, recalling the pre-MCU days when superhero movies were more about pure entertainment without making us think too much, just good old-fashioned popcorn fodder, but in this case that’s not a bad thing. It’s big, loud, dumb fun, hardly a masterpiece but it does its job admirably well, and it has one hell of a secret weapon at its disposal – Tom Hardy. PERFECTLY cast as morally ambiguous underdog investigative journalist Eddie Brock, he deploys the kind of endearingly sleazy, shit-eating charm that makes you root for him even when he acts like a monumental prick, while really letting rip with some seriously twitchy, sometimes downright FEROCIOUS unhinged craziness once he becomes the unwilling host for a sentient parasitic alien symbiote with a hunger for living flesh and a seriously bad attitude. This is EASILY one of the best performances Hardy’s ever delivered, and he entrances us in every scene, whether understated or explosive, making even the most outlandish moments of Brock’s unconventional relationship with Venom seem, if not perfectly acceptable, then at least believable. He’s ably supported by Michelle Williams as San Francisco district attorney Anne Weying, his increasingly exasperated ex-fiancée, Rogue One’s Riz Ahmed as Carlton Drake, the seemingly idealistic space-exploration-funding philanthropist whose darker ambitions have brought a lethal alien threat to Earth, and Parks & Recreation’s Jenny Slate as Drake’s conflicted head scientist Nora Skirth, while there’s a very fun cameo from a particularly famous face in the now ubiquitous mid-credits sting that promises great things in the future. Director Ruben Fleischer brought us Zombieland and 30 Minutes Or Less, so he certainly knows how to deliver plenty of blackly comic belly laughs, and he brings plenty of seriously dark humour to the fore, the rating meaning the comedy can get particularly edgy once Venom starts to tear up the town; it also fulfils the Marvel prerequisite of taking its action quota seriously, delivering a series of robust set-pieces (the standout being a spectacular bike chase through the streets of San Fran, made even more memorable by the symbiote’s handy powers). Best of all, the film isn’t afraid to get genuinely scary with some seriously nasty alien-induced moments of icky body horror, captured by some strangely beautiful effects works that brings Venom and his ilk to vivid, terrifying life. Flawed as it is, this is still HUGE fun, definitely one of the year’s biggest cinematic guilty pleasures, and I for one can’t wait to see more from the character in the near future, which, given what a massive success the film has already proven at the box office, seems an ironclad certainty.

26. SOLO: A STAR WARS STORY – the second of Disney’s new phase of Star Wars movies to feature in the non-trilogy-based spinoff series had a rough time after its release – despite easily recouping its production budget, it still lost the $100-million+ it spent on advertising, while it was met with extremely mixed reviews and shunned by many hardcore fans. I’ll admit that I too was initially disappointed with this second quasi prequel to A New Hope (after the MUCH more impressive Rogue One), but a second, more open-minded viewing after a few months to ruminate mellowed my experience considerably, the film significantly growing on me. An origin story for the Galaxy’s most lovable rogue was always going to be a hard sell – Han Solo is an enjoyable enigma in The Original Trilogy, someone who lives very much in the present, his origins best revealed in the little details we glean about him in passing – but while it’s a flawed creation, this interstellar heist adventure mostly pulls off what was intended. Like many fans of The Lego Movie, I remain deeply curious about what original director duo Phil Lord and Chris Miller could have achieved with the material, but I wholeheartedly approved Disney’s replacement choice when he was announced – Ron Howard is one of my favourite “hit-and-miss” directors, someone who’s made some clunkers in his time (The Da Vinci Code, we’re looking at you) but can, on a good day, be relied on to deliver something truly special (Willow is one of my VERY FAVOURITE movies from my childhood, one that’s stood up well to the test of time, and a strong comparison point for this; Apollo 13 and Rush, meanwhile, are undeniable MASTERPIECES), and in spite of its shortcomings I’m ultimately willing to consider this one of his successes. Another big step in the right direction was casting Hail, Caesar! star Alden Ehrenreich in the title role – Harrison Ford’s are seriously huge shoes to fill, but this talented young man has largely succeeded. He may not quite capture that wonderful growling drawl but he definitely got Han’s cocky go-getter swagger right, he’s particularly strong in the film’s more humorous moments, and he has charisma to burn, so he sure makes entertaining viewing. It also helps that the film has such a strong supporting cast – with original Chewbacca Peter Mayhew getting too old for all this derring-do nonsense, former pro basketball-player Joonas Suotamo gets a little more comfortable in his second gig (after The Last Jedi) in the “walking carpet” suit, while Woody Harrelson adds major star power as Tobias Beckett, Han’s likeably slippery mentor in all things criminal in the Star Wars Universe, and Game of Thrones’ Emilia Clarke is typically excellent as Han’s first love Qi’ra, a fellow Corellian street orphan who’s grown up into a sophisticated thief of MUCH higher calibre than her compatriots. The film is dominated, however, by two particularly potent scene-stealing turns which make you wonder if it’s really focused on the right rogue’s story – Community star Donald Glover exceeds all expectations as Han’s old “friend” Lando Calrissian, every bit the laconic smoothie he was when he was played by Billy Dee Williams back in the day, while his droid companion L3-37 (voiced with flawless comic skill by British stage and sitcom actress Phoebe Waller-Bridge) frequently walks away with the film entirely, a weirdly flirty and lovably militant campaigner for droid rights whose antics cause a whole heap of trouble. The main thing the film REALLY lacks is a decent villain – Paul Bettany’s oily kingpin Dryden Voss is distinctive enough to linger in the memory, but has criminally short screen-time and adds little real impact or threat to the main story, only emphasising the film’s gaping, Empire-shaped hole. Even so, it’s still a ripping yarn, a breathlessly exciting and frequently VERY funny space-hopping crime caper that relishes that wonderful gritty, battered old tech vibe we’ve come to love throughout the series as a whole and certainly delivers on the action stakes – the vertigo-inducing train heist sequence is easily the film’s standout set-piece, but the opening chase and the long-touted Kessel Run impress too – it only flags in the frustrating and surprisingly sombre final act. The end result still has the MAKINGS of a classic, and there’s no denying it’s also more enjoyable and deep-down SATISFYING than the first two films in George Lucas’ far more clunky Prequel Trilogy. Rogue One remains the best of the new Star Wars movies so far, but this is nothing like the disappointment it’s been made out to be.

25. AQUAMAN – the fortunes of the DC Extended Universe cinematic franchise continue to fluctuate – these films may be consistently successful at the box office, but they’re a decidedly mixed bag when it comes to their quality and critical opinion, and the misses still outweigh the hits. Still, you can’t deny that when they DO do things right, they do them VERY right – 2017’s acclaimed Wonder Woman was a long-overdue validation for the studio, and they’ve got another winner on their hands with this bold, brash, VERY ballsy solo vehicle for one of the things that genuinely WORKED in the so-so Justice League movie. Jason Momoa isn’t just muscular in the physical sense, once again proving seriously ripped in the performance capacity as he delivers rough, grizzled charm and earthy charisma as half-Atlantean Arthur Curry, called upon to try and win back the royal birthright he once gave up when his half-brother Prince Orm (Watchmen’s Patrick Wilson), ruler of Atlantis, embarks on a brutal quest to unite the seven underwater kingdoms under his command in order to wage war on the surface world. Aquaman has long been something of an embarrassment for DC Comics, an unintentional “gay joke” endlessly derided by geeks (particularly cuttingly in the likes of The Big Bang Theory), but in Momoa’s capable hands that opinion has already started to shift, and the transition should be complete after this – Arthur Curry is now a swarthy, hard-drinking alpha male tempered with a compellingly relatable edge of deep-seeded vulnerability derived from the inherent tragedy of his origins and separation from the source of his immense superhuman strength, and he’s the perfect flawed action hero for this most epic of superhero blockbusters. Amber Heard is frequently as domineering a presence as Atlantean princess Mera, a powerful warrior in her own right and fully capable of heading her own standalone adventure someday, and Wilson makes for a very solid and decidedly sympathetic villain whose own motivations can frequently be surprisingly seductive, even if his methods are a good deal more nefarious, while The Get Down’s Yahya Abdul-Mateen II is more down-and-dirty BAD as David Kane, aka the Black Manta, a lethally tech-savvy pirate who has a major score to settle with the Aquaman; there’s also strong support from the likes of Willem Dafoe as Curry’s sage-like mentor Vulko, Dolph Lundgren as Mera’s father, King Nereus, the ever-reliable Temuera Morrison as Arthur’s father Thomas, and Nicole Kidman as his ill-fated mother Atlanna. Director James Wan is best known for establishing horror franchises (Saw, Insidious, The Conjuring), but he showed he could do blockbuster action cinema with Fast & Furious 7, and he’s improved significantly with this, delivering one gigantic action sequence after another with consummate skill and flair as well as performing some magnificent and extremely elegant world-building, unveiling dazzling, opulent and exotic undersea civilizations that are the equal to the forests of Pandora in Avatar, but he also gets to let some of his darker impulses show here and there, particularly in a genuinely scary visit to the hellish world of the Trench and its monstrous denizens. It may not be QUITE as impressive as Wonder Woman, and it still suffers (albeit only a little bit) from the seemingly inherent flaws of the DCEU franchise as a whole (particularly in yet another overblown CGI-cluttered climax), but this is still another big step back in the right direction, one which, once again, we can only hope they’ll continue to repeat. I’ll admit that the next offering, Shazam, doesn’t fill me with much confidence, but you never know, it could surprise us. And there’s still Flashpoint, The Batman and Birds of Prey to come …

24. THREE BILLBOARDS OUTSIDE EBBING, MISSOURI – filmmaker brothers Martin and John Michael McDonagh have carved an impressive niche in cinematic comedy this past decade, from decidedly Irish breakout early works (In Bruges from Martin and The Guard and Calvary from John) to enjoyable outsider-looking-in American crim-coms (Martin’s Seven Psychopaths and John’s War On Everyone), and so far they’ve all had one thing in common – they’re all BRILLIANT. But Martin looks set to be the first brother to be truly accepted into Hollywood Proper, with his latest feature garnering universal acclaim, massive box office and heavyweight Awards recognition, snagging an impressive SEVEN Oscar nominations and taking home two, as well as landing a Golden Globe and BAFTA for Best Picture. It’s also the most thoroughly AMERICAN McDonagh film to date, and this is no bad thing, Martin shedding his decidedly Celtic flavours for an edgier Redneck charm that perfectly suits the material … but most important of all, from a purely critical point of view this could be the very BEST film either of the brothers has made to date. It’s as blackly comic and dark-of-soul as we’d expect from the creator of In Bruges, but there’s real heart and tenderness hidden amongst the expletive-riddled, barbed razor wit and mercilessly observed, frequently lamentable character beats. Frances McDormand thoroughly deserved her Oscar win for her magnificent performance as Mildred Hayes, a take-no-shit shopkeeper in the titular town whose unbridled grief over the brutal rape and murder of her daughter Angela (Kathryn Newton) has been exacerbated by the seeming inability of the local police force to solve the crime, leading her to hire the ongoing use of a trio of billboards laying the blame squarely at the feet of popular, long-standing local police Chief Bill Willoughby (Woody Harrelson). Needless to say this kicks up quite the shitstorm in the town, but Mildred stands resolute in the face of seemingly overwhelming odds, refusing to back down. McDormand has never been better – Mildred is a foul-mouthed, opinionated harpy who tells it like it is, no matter who she’s talking to, but there’s understandable pain driving her actions, and a surprisingly tender heart beating under all that thorniness; Harrelson, meanwhile, is by turns a gruff shit-kicker and a gentle, doting family man, silently suffering over his own helplessness with the dead end the case seems to have turned into. The film’s other Oscar-winner, Sam Rockwell, also delivers his finest performance to date as Officer Jason Dixon, a true disgrace of a cop whose permanent drunkenness has marred a career which, it turns out, began with some promise; he’s a thuggish force-of-nature, Mildred’s decidedly ineffectual nemesis whose own equally foul-mouthed honesty is set to dump him in trouble big time, but again there’s a deeply buried vein of well-meaning ambition under all the bigotry and pigheadedness we can’t help rooting for once it reveals itself. There’s strong support from some serious heavyweights, particularly John Hawkes, Caleb Landry Jones, Peter Dinklage, Abbie Cornish and Manchester By the Sea’s breakout star Lucas Hedges, while McDonagh deserves every lick of acclaim and recognition he’s received for his precision-engineered screenplay, peerless direction and crisp, biting dialogue, crafting a jet black comedy nonetheless packed with so much emotional heft that it’ll have you laughing your arse off but crying your eyes out just as hard. An honest, unapologetic winner, then.

23. RED SPARROW – just when you thought we’d seen the last of the powerhouse blockbuster team of director Francis Lawrence and star Jennifer Lawrence with the end of The Hunger Games, they reunite for this far more adult literary feature, bringing Jason Matthews’ labyrinthine spy novel to bloody life. Adapted by Revolutionary Road screenwriter Justin Haythe, it follows the journey of Russian star ballerina Dominika Egorova (Lawrence) into the shadowy world of post-Glasnost Russian Intelligence after an on-stage accident ruins her career. Trained to use her body and mind to seduce her targets, Dominika becomes a “Sparrow”, dispatched to Budapest to entrap disgraced CIA operative Nate Nash (Joel Edgerton) and discover the identity of the deep cover double agent in Moscow he was forced to burn his own cover to protect. But Dominika never wanted any of this, and she begins to plot her escape, no matter the risks … as we’ve come to expect, Jennifer Lawrence is magnificent, her glacial beauty concealing a fierce intelligence and deeply guarded desperation to get out, her innate sensuality rendered clinical by the raw, unflinching gratuity of her training and seduction scenes – this is a woman who uses ALL the weapons at her disposal to get what she needs, and it’s an icy professionalism that informs and somewhat forgives Lawrence’s relative lack of chemistry with Edgerton. Not that it’s his fault – Nate is nearly as compelling a protagonist as Dominika, a roguish chancer whose impulsiveness could prove his undoing, but also makes him likeable and charming enough for us to root for him too. Bullhead’s Matthias Schoenarts is on top form as the film’s nominal villain, Dominika’s uncle Ivan, the man who trapped her in this hell in the first place, Charlotte Rampling is beyond cold as the “Matron”, the cruel headmistress of the Sparrow School, Joely Richardson is probably the gentlest, purest ray of light in the film as Dominika’s ailing mother Nina, and Jeremy Irons radiates stately gravitas as high-ranking intelligence officer General Vladimir Andreievich Korchnoi. This is a tightly-paced, piano wire-taut thriller with a suitably twisty plot that constantly wrong-foots the viewer, Lawrence the director again showing consummate skill at weaving flawlessly effective narrative with scenes of such unbearable tension you’ll find yourself perched on the edge of your seat throughout. It’s a much less explosive film than we’re used to from him – most of the fireworks are of the acting variety – but there are moments when the tension snaps, always with bloody consequences, especially in the film’s standout sequence featuring a garrotte-driven interrogation that turns particularly messy. The end result is a dark thriller of almost unbearable potency that you can’t take your eyes off. Here’s hoping this isn’t the last time Lawrence & Lawrence work together …

22. WIDOWS – Steve McQueen is one of the most challenging writer-directors working in Hollywood today, having exploded onto the scene with hard-hitting IRA-prison-biopic Hunger and subsequently adding to his solid cache of acclaimed works with Shame and 12 Years a Slave, but there’s a strong argument to be made that THIS is his best film to date. Co-adapted from a cult TV-series from British thriller queen Lynda La Plante by Gone Girl and Sharp Objects-author Gillian Flynn, it follows a group of women forced to band together to plan and execute a robbery in order to pay off the perceived debt incurred by their late husbands, who died trying to steal $2 million from Jamal Manning (If Beale Street Could Talk’s Brian Tyree Henry), a Chicago crime boss with ambitions to go legit as alderman of the city’s South Side Precinct. Viola Davis dominates the film as Veronica Rawlings, the educated and fiercely independent wife of accomplished professional thief Harry (a small but potent turn from Liam Neeson), setting the screen alight with a barely restrained and searing portrayal of devastating grief and righteous anger, and is ably supported by a trio of equally overwhelming performances from Michelle Rodriguez as hard-pressed mother and small-businesswoman Linda Perelli, The Man From UNCLE’s Elizabeth Debicki as Alice Gunner, an abused widow struggling to find her place in the world now she’s been cut off from her only support-mechanism, and Bad Times At the El Royale’s Cynthia Eriyo as Belle, the tough, gutsy beautician/babysitter the trio enlist to help them once they realise they need a fourth member. Henry is a deceptively subtle, thoroughly threatening presence throughout the film as Manning, as is Get Out’s Daniel Kaluuya as his thuggish brother/lieutenant Jatemme, and Colin Farrell is seemingly decent but ultimately fatally flawed as his direct political rival, reigning alderman Jack Mulligan, while there are uniformly excellent supporting turns from the likes of Robert Duvall, Carrie Coon, Lukas Haas, Jon Bernthal and Kevin J. O’Connor. McQueen once again delivers an emotionally exhausting and effortlessly powerful tour-de-force, wringing out the maximum amount of feels from the loaded and deeply personal human interactions on display throughout, and once again proves just as effective at delivering on the emotional fireworks as he is in stirring our blood in some brutal set-pieces, while Flynn help to deliver another perfectly pitched, intricately crafted script packed with exquisite dialogue and shrewdly observed character work which is sure to net her some major wins come Awards season. Unflinching and devastating but thoroughly exhilarating, this is an extraordinary film (and if this was a purely critical list it would surely have placed A LOT higher), thoroughly deserving of every bit of praise, attention and success it has and will go on to garner. An absolute must-see.

21. JURASSIC WORLD: FALLEN KINGDOM – Colin Trevorrow’s long-awaited 2015 Jurassic Park sequel was a major shot in the arm for a killer blockbuster franchise that had been somewhat flagging since Steven Spielberg brought dinosaurs back to life for the second time, but (edgier tone aside) it was not quite the full-on game-changer some thought it would be. The fifth film, directed by J.A. Bayona (The Impossible, A Monster Calls) and written by Trevorrow and his regular script-partner Derek Connolly (Safety Not Guaranteed and JW, as well as Warner Bros’ recent “Monsterverse” landmark Kong: Skull Island), redresses the balance – while the first act of the film once again returns to the Costa Rican island of Isla Nublar, it’s become a very different environment from the one we’ve so far experienced, and a fiendish plot-twist means the film then takes a major swerve into MUCH darker territory than we’ve seen so far. Giving away anything more does a disservice to the series’ most interesting story to date, needless to say this is EASILY the franchise’s strongest feature since the first, and definitely the scariest. Hollywood’s most unusual everyman action hero, Chris Pratt, returns as raptor wrangler Owen Brady, enlisted to help rescue as many dinosaurs as possible from an impending, cataclysmic volcanic eruption, but in particular his deeply impressive trained raptor Blue, now the last of her kind; Bryce Dallas Howard is also back as former Jurassic World operations manager turned eco-campaigner Claire Dearing, and her His Girl Friday-style dynamic with Pratt’s Brady is brought to life with far greater success here, their chemistry far more convincing because Claire has become a much more well-rounded and believably tough lady, now pretty much his respective equal. There are also strong supporting turns from the likes of Rafe Spall, The Get Down’s Justice Smith, The Vampire Diaries/The Originals’ breakout star Daniella Pineda, the incomparable Ted Levine (particularly memorable as scummy mercenary Ken Wheatley) and genuine screen legend James Cromwell, but as usual the film’s true stars are the dinosaurs themselves – it’s a real pleasure seeing Blue return because the last velociraptor was an absolute treat in Jurassic World, but she’s clearly met her match in this film’s new Big Bad, the Indoraptor, a lethally monstrous hybrid cooked up in Ingen’s labs as a living weapon. Bayona cut his teeth on breakout feature The Orphanage, so he’s got major cred as an accomplished horror director, and he uses that impressive talent to great effect here, weaving an increasingly potent atmosphere of wire-taut dread and delivering some nerve-shredding set-pieces, particularly the intense and moody extended stalk-and-kill stretch that brings the final act to its knuckle-whitening climax. It’s not just scary, though – there’s still plenty of that good old fashioned wonder and savage beauty we’ve come to expect from the series, and another hefty dose of that characteristic Spielbergian humour (Pratt in particular shines in another goofy, self-deprecating turn, while Smith steals many of the film’s biggest laughs as twitchy, out-of-his-comfort-zone tech wizard Franklin). Throw in another stirring and epic John Williams-channelling score from Michael Giacchino and this is an all-round treat for the franchise faithful and blockbuster fans in general – EASILY the best shape the series has been in for some time, it shows HUGE promise for the future.

#mandy #the girl in the spider's web #isle of dogs #venom #solo a star wars story #aquaman #three billboards movie #red sparrow #widows #jurassic world fallen kingdom #2018 in movies

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laughingpinecone · 5 years

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Chocobox 2019 letter

I am laughingpineapple on AO3

This year’s theme is, apparently, out-of-left-field intra-party interactions (plus the occasional ship). For any of these, I’d be thrilled to get any small situation or event that highlights the dynamic you see between these characters - show me what ties them together, what could make them drop their barriers with the other person. Or a big situation! I like plotty fic too! But especially if we matched on some bizarre “&” combo that never even interacted in canon, I’d love to simply see what a scene between them could be like.

All requests are art or fic - for art, my fave kind of fanart is based on interaction. It can be super simple - one character makes a face and the other one emotes accordingly, or they’re having a cup of coffee together, walking together, chatting, that kind of stuff. Anything that shows that they enjoy each other’s company, or have each other’s back, or get on each other’s nerves but with gusto. Slice of life fanart, if you will.

Likes: worldbuilding, slice of life (doubly so if the event the fic focuses on is made up but canon-specific), missing moments, 5+1 and similar formats, bonding and emotional support/intimacy, physical intimacy, lingering touches, loyalty, casefic, surrealism, established relationships, future fic, hurt/comfort or just comfort from the ample canon hurt, throwing characters into non-canon environments, banter, functional relationships between dysfunctional individuals, unexplained mysteries, bittersweet moods, journal/epistolary fic, dreams and memories and identities, canon-adjacent tropey plots , outsider POV, UST, exploration of secondary bits of canon, leaning on the uniqueness of the canon setting/mood, found families, characters reuniting after a long and/or harrowing time, friends-to-lovers, road trips, cuddling, wintry moods, flannel, ridiculous concepts played straight,sensory details, sickfic

Cool with: any tense, any pov, any rating, plotty, not plotty, gen, shippy, IF, nerdy canon references, unrequested characters popping up

DNW: non-canonical rape, non-canonical children, unrequested ships, canon retellings, consent issues

Final Fantasy VI

Gogo & Cyan Garamonde

Mog & Terra Branford

Sabin Rene Figaro & Celes Chere

Sabin Rene Figaro & Cyan Garamonde

Strago Magus & Celes Chere

I recently replayed FFVI and truly fell in love with it for the first time. The game does a wonderful job of juggling such a big party but I spent all the downtime daydreaming about all the intra-party dynamics I could think of - these characters are all so cool and should talk to each other more. Worldbuilding also very welcome if that’s your thing. I don’t have any strong shippy feelings here but if you want to background something, I do dig Celes/Terra.

Gogo & Cyan: ascetic Gogo leaves their cave to fight for a higher cause. What’s it like, being a hermit but having a skillset that is literally based on other people? Something something abnegation of the self? What’s it like, suddenly being among so many loud, unique people? Do they and Cyan meditate together and find a moment of respite from the crowded mess that is the Falcon, what does Cyan think about them, what does it feel like to see Doma’s otherwise lost sword techniques mimicked on the battlefield? (I default to they for Gogo but he or she work just as well. I’d just like them to be their own person, no identity reveals. And a pretty big person at that, going by Amano’s artwork, regardless of gender!)

Mog & Terra: fae folk bonding, basically? It’s such a central aspect of Terra’s character but I saw it in Mog too - the way moogles break the fourth wall, how they help her at the beginning like an aid from the earth itself, and Mog’s own Geomancer skillset, his dances that draw from the power of the earth... so maybe some cute friendship between these two otherworldly characters, each in their own way?

Sabin & Celes: Celes could use some friends she could rely on and Sabin always felt so... safe to me. Good bear. So when they got their moment to shine in the World of Ruin, I was overjoyed. Sabin’s comforting presence was just what she needed to find first! And that long chocobo ride along the serpent trench, chasing hope, seeing the cultists’ tower from afar...

Sabin & Cyan: Sabin’s leg of the journey is something else and I’d love to know more about his adventures with Cyan, or their feelings about their homes, one lost, one left behind. They’re both pretty emotionally charged at that point and I think it’d be interesting to explore. They also share some form of martial training, making imho for an interesting common ground.

Strago & Celes: descendant of the mage knights & artificially infused magitek knight, what does magic feel to them? Does Strago’s odd family have space for an added granddaughter (especially if Cid died on the island, but Strago was the Coolest Grandpa anyway, no offense to Dr Del Norte Marquez and his magnificent banana coat)?

Ghost Trick

Cabanela & Pigeon Man

Jowd & Lynne

Jowd & Pigeon Man

Jowd & Sissel

Alma/Cabanela/Jowd

Jowd/Alma & Cabanela

Alma & Cabanela

Cabanela/Jowd

Lynne & Memry

Lynne/Memry

Pigeon Man & Memry

Cabanela & Sissel

Jowd & Yomiel

Open to AUs here, especially for generic fantasy or sci-fi settings or the Final Fantasy ones I prompted for Yuletide. GT is one of my forever fandoms, I love all about it, especially how heartfelt and over the top it manages to be at the same time.

Cabs & PM: how do they meet in the new timeline, what makes their odd friendship stick this time? I love how they play off each other, with Pigeon Man’s snark bouncing off Cabs like water off a duck’s back...

Jowd & Lynne: please show me the Worst Mentor doing his Worst Mentoring? How is chicken involved? (this one would lend itself particularly well to a Jedi AU, I suspect) Or does Lynne’s optimism save the day on one occasion when Jowd is doing his cheerful nihilist thing?

Jowd & PM: anything about their friendships from back in the day when Pigeon Man was still Jowd’s coroner to a new timeline where PM is still fascinated by meteors/astronomy/alien conspiracies and Jowd humors him...

Jowd & Sissel: oh the shenanigans. Some clever communication between them, on a case or otherwise? Sissel doing cat things? Gossiping through the ghost world?

Alma/Cabanela/Jowd: what’s a hobby one of them has that the other two are dragged into? How about a day at the beach? Or in a cabin? I’ll take hot springs or basically any standard anime filler plot too. Unless you want to write about their get-together, which will never get old for me.

Jowd/Alma & Cabanela: see above but with INTENSE found family instead. Cabanela finding a place where he belongs, two people who feel like home. I can totally see it not being romantic at all and just as intense. When did it click for them?

Cabanela/Jowd: please no infidelity, I only like the ship without Alma during the canon times when Alma is dead or at most a what-if where she’s not around. Did Cabanela lower his mask for a hot minute during their walk to the minister’s office? What if he’d stayed dead and tagged along with Jowd and Lynne after 15? What if no-reset scenarios? Or office shenanigans where Alma is backgrounded by virtue of not working there but she’s okay with what’s going on.

Lynne & Memry: next generation detectives! Action! Ridiculous murders! Secret ghost cats! A little bit in the future maybe? Odd girl & odder girl teaming up and leaning into each other’s quirks... maybe undercover?

Lynne/Memry: same as above but they kiss - and Memry trying to get through Lynne’s obliviousness sounds like my kind of fun.

Pigeon Man & Memry: please evacuate everyone else from the expected blast radius when these two start talking. But she’s a detective - Special Investigation Unit, at that! - and he used to be a coroner and still has several aces up his sleeve, so who knows what could get them working together...

Cabanela & Sissel: let Sissel have his fun. He’s been eyeing Cabanela’s quirks since that fateful night, please let him tag along and enjoy the eccentricities. He can do the whole noir detective narration and Cabanela (who, lbr, would jump at the chance to be even more extra) can act accordingly...

Jowd & Yomiel: the PTSD team. Even beyond the experiences they have in common and the memories they can’t share with anyone else who’d truly understand them, there’s something about their approach to life that makes me think they’d bond quick and be able to get over the respective atrocities. They also share Sissel! What do they talk about in jail, or what do they do on a day off once Yomiel is out (cat dads’ cat date!!)?

Pyre

Big Bertrude & Volfred Sandalwood

Celeste | The Gate Guardian & Tariq | The Lone Minstrel

Sir Gilman & Jodariel

Vagabond Girl & Tariq | The Lone Minstrel

Volfred Sandalwood/Tariq | The Lone Minstrel

Hedwyn & Jodariel

Any cutesy activity lifted from the game would be great, like X doing laundry with Y. Any postcanon very welcome with any combination of endings as long as the revolution was peaceful. I love everyone so much. Good with background Volfred/Oralech, Bertrude/Pamitha if applicable.

Bertrude & Volfred: something nice Volfred does for Bertrude? Some mild adventure as he brought her to the Nightwings? A bizarre request for her shop? That dialogue about their relationship slew me dead - friendship through unrequited love is one of my rare tropes, so I’d like to see any aspect of their bond. Or epistolary with an ending that splits them, either way?

Celeste & Tariq: something completely alien set at any point before the ending, showing how inhuman they both are (but maybe Tariq picked up /something/ during his travels?) or, on the contrary, figuring out humanity as they travel together as a mysterious indie duo?

Sir Gilman & Jodariel: On war, honor, the Bloodborder... Sir Gilman is in awe of her, obviously, but is she in a state of mind where she can be boosted by his unrelenting energy?

ae & Tariq: Moon Moon! And Tariq looks like someone who knows a whole lot about the Scribes, so I think she might try to figure him out at some point, in her own way... but mostly, moon connection...

Volfred/Tariq: All I know is Tariq of all people fell and fell hard - he makes it sound like Volfred is the biggest deal ever and he's some servant... but he's the herald and Volfred is actually some dude who got kicked Downside (albeit a particularly charismatic and idealistic dude). And I like this dual imbalance very much. What happened in the woods during Volfred’s self-imposed exile? Or do they find each other again after the ending, in the Union? If you want to lean on how alien Tariq is and/or how tree Volfred is, please do!

Hedwyn & Jodariel: (I see them as brotherly more than mother-and-son, fwiw) what was their reunion like? How much did Hedwyn find Jodariel changed, horns and dramatic makeup aside? What about fic where her transformation recedes in the Union? Or their early days in the blackwagon - or their late days in the blackwagon when it’s not just them anymore? What can she absolutely count on him for?

The Last Guardian

The Boy & Trico

The boy & the very good boy... I’d like to read about a distant reunion. I was surprised by the boy being the combo breaker after the former Ueda protagonists cast their societies behind. He gets to live his life with his people, apparently, but what makes him leave and find Trico again? What’s their bond like, years later? Or is it Trico who comes back to search for him?

The Last Remnant

David Nassau & Allan

David Nassau & Duke of Ghor

David Nassau & Emmy Honeywell

David Nassau & Roberto

Emmy Honeywell/Glenys

Pagus/Maddox/Sibal

David/Rush is a welcome exception to my “no unrequested ships” DNW. I’m mostly interested in post-game exploration, which means either a David who has lost his bf or fic set further in the future where Rush has somehow come back.

David & Allan: Allan is tsundere enough about Torgal (not necessarily in a romantic sense!) and enough of a stuck-up cat in general that I think it’d be fun to throw a skilled diplomat at him, and one who knows Torgal very well at that.

David & Ghor: I like the Duke of Ghor a lot, and the more well-adjusted Yama characters in general. Politics talk? Or something more personal? What’s Ghor’s position in the new political landscape, what would David’s visit be like?

David & Emmy: if David was Emma’s filial figure and Emmy her actual daughter, did they perchance grow up together before Emmy left for her journey? How about some reminiscing? What did Emma teach them, how are they coping and moving forward?

David & Roberto: Can someone please adopt the good Marquis - celibate Roberto, for example? I imagine they could feel at ease with each other, got each other’s emotional back covered...

Emmy/Glenys: Sword lesbians? With very different hangups about proving themselves... if you want to go full weird with Glenys, especially wrt her mysterious connection to the homonymous kingdom, be my guest!

Pagus/Maddox/Sibal: old men being together like they couldn’t be in their youth when life got in the way, please? Get-together (who makes a move...? or established Qsiti triad would all be amazing...

Twin Peaks

Harry Truman & Garland Briggs

Albert Rosenfield/Harry Truman & Frank Truman/Doris Truman

Gordon Cole & Constance Talbot

Gordon Cole/Phillip Jeffries

Maddy Ferguson & Audrey Horne

Dale Cooper & Laura Palmer & Wally Brando

Dale Cooper/Albert Rosenfield

Albert Rosenfield/Harry Truman

Dale Cooper/Harry Truman

Dale Cooper/Albert Rosenfield/Harry Truman

Bobby Briggs & James Hurley

Chet Desmond/Sam Stanley

The mystery of the woods. How do they relate to the woods, what do they gain and what do they lose in the woods. Case fic but they don’t find out jack shit, someone disappears, David Bowie was there, it’s complicated. Fragmented, shifted, mirrored identities. New Lodge spaces. The risks of staring into the void for too long. Gentle illusions. The moon. Static buzzing. Any title from the s3 ethereal whooshing compilation used as a prompt, actually. AUs and fusion AUs are great for this fandom! I have Final Fantasy on my mind a lot recently so any FFVI, VII, T, IX, X, XII or XIII reimagining would be fantastic, but also regular fantasy, space opera, sci-fantasy… anything fancy!

Canon-specific dislikes: any singular Dreamer being the ‘source’ of canon, BOB (let alone Judy) being forever defeated in the finale, Judy being an active malevolent presence in the characters’ lives, ‘Odessaverse’ being the reality layer, the Fireman’s House by the Sea being the White Lodge, Gordon being a harmless, fun dad or conversely having the worst intentions. Clear explanations for canonical ambiguities.

Harry & Garland: Bookhouse Boys&Bue Rose-adjacent friendship, quietly aware of the mysteries that surround them? Or, as per Mark Frost’s AMA, Harry finding out important info throughout the 25 years and passing them to Garland - but Garland isn’t conventionally alive and physical throughout the 25 years, so did he travel through strange places to reach him?

Albert/Harry & Frank/Doris: Albert needs someone to shout AT, Doris needs some to shout BACK, I think. It could be therapeutic for both of them. Could they meet through the Trumans? Frank and Doris’ relationship can be as complicated and probably doomed as we saw it - I do feel that they care for each other and I’m really invested but it’s too strained, too sad.

Gordon & Constance:is she involved in some new strange case or is Gordon cleaning up the Briggs mess? What’s it like, sparring with someone who still has the fire of a young Albert? What does she suspect? (no Albert/Constance, please. Albert&Constance otoh I’m interested in)

Gordon Cole/Phillip Jeffries: does Gordon eventually manage to throw himself into the void (that’s one way of considering a retirement plan!) and reach Phillip? What’s left inside that teapot alembic, or is he the smoke? How did Gordon even get word from Phil - in his pt17 infodump, he seems perfectly aware of the other’s status - what kind of contact have they kept? I love all the fanon I’ve seen for them, if you want to lean into it.

Maddy Ferguson & Audrey Horne: looking for Laura in each other, finding out they’re not Laura through each other? It’s a shame that Maddy and Donna never really got to explore this angle in canon and it’s an even bigger shame that Maddy and Audrey, also on her path toward Laura-ification, didn’t even meet! Or, if you will, wild postcanon meeting. Mfrost said Maddy is alive now, so...!

Dale Cooper & Laura Palmer & Wally Brando: I have a soft spot for Dale and Laura traveling through strange spaces, lost, slowly healing. On this background, imagine, if you will: Wally speeding by on his bike. I need this meeting...

Dale Cooper/Albert Rosenfield: fiery early days? Dream meetings that Albert will inevitably write off as a product of his aching subconscious? Post-finale where Albert has made his peace with Coop not being part of this world and not even deigning to greet him, except one day Coop is back - with apologies? Post-post-finale where they’re peacefully living out their days as best as they can?

Albert Rosenfield/Harry Truman: did they tragically fall into each other’s arms in the wake of Coop’s disappearance? Did they realize they’re so good for each other, but neither of them was willing to give up their life? And/or was the wound of Coop’s disappearance too fresh for them to try to heal? Do they keep in touch throughout the years? Does Albert resign on the spot with a resounding fuck it after the s3 finale and rush to see Harry? Does he stay this time?

Dale Cooper/Harry Truman: Harry seeing his Coop again… somewhere, somehow. Maybe he perceives him in the woods, maybe Coop isn’t all human now. Monster cuddles very welcome. Could be canon divergence but could very well be post-s3. Harry getting closure for waiting all that time in front of Glastonbury and never giving up on Coop… they can live in the woods together…

Dale Cooper/Albert Rosenfield/Harry Truman: basically the sum of the three sides of this triad… give them peace, given them nice things, give them so much love… Coop finding his place in the world and making up for lost time… give time to these old wounds…

Bobby Briggs & James Hurley: once Laura stops being a burning wedge between them, could they maybe... begin to get along? There’s something to be said about their complementary approaches to the bad boy image - besides, Shelly thinks that James was always cool and Bobby does value her opinion! Could also be Bobby/Shelly & James, if the Briggs manage to reconcile... maybe through James somehow?

Chet Desmond/Sam Stanley: reunion fic! Chet’s been AWOL for years, Sam has fallen through the cracks, how do they find each other again and why do they choose to remain off the grid? I would also like to read about them in the present day-ish, handwaving the return and reunion. Maybe they made a new life for themselves. If Sutherland were to play Sam again, Sam would be… notably more buff. What caused that change, was it traveling with Chet, what kind of person is he now? Could they be in Buenos Aires, investigating on their own whatever that shrinking box was?

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